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The development of technology affects the use of learning media in primary schools. This research applies the method of a systematic review literature with the favored revealing things for orderly audits and meta-examination (preferred reporting items for systematic reviews and meta-analyses (PRISMA)) protocol. The research stages include identification, screening, eligibility, inclusion, and presentation of analysis utilizing the help of the Mendeley application, Publish or Perish 7, VOSviewer, and NVIVO 12 Plus. The main topic findings of the articles are multimedia in dance learning and applications in dance learning. Other themes that have a somewhat distant relevance are digital tools, design, computational thinking, elementary school dance learning, kinesthetic learning, dance art, digital literacy skills, children, creativity, dance, and choreography software. The 20 articles were analyzed using NVIVO 12 Plus, then the results were narrated by the research questions. The findings of the analysis state that multimedia-based dance learning in elementary schools uses digital media, social media, films, computer programs, digital dance choreography, and the support of various parties. Multimedia-based dance learning in elementary schools has an impact on competence, and physical and spiritual health in elementary school children. Future researchers need to explore multimedia-based dance learning in elementary schools according to the times. [ABSTRACT FROM AUTHOR]

The article focuses on the reactivation and preservation of multimedia artworks, with an emphasis on the role of artist interviews in maintaining their authenticity. Topics include the challenges in preserving interactive multimedia art, the migration approach for technological obsolescence, and the reactivation process at the Centro di Sonologia Computazionale (CSC) of the University of Padua.

With the maturity of digital technology, the effectiveness of information transmission has received extensive attention. Variable font design is regarded as an extension of graphic design in digital media art, and variable font design is studied from the perspective of information communication design. From the perspective of digital technology, based on the research theory of variable information communication design, combined with the specific methods of font design, the perception, cognitive methods, and aesthetic laws of aesthetic subject vision and psychology in the field of font variable design are discussed. Provide relevant theoretical support for information communication design activities with variable fonts. Based on artificial intelligence technology, a new interactive art expression method is proposed. By analyzing the main expression scenarios of interactive art, namely user information communication scenarios, interactive art push scenarios, interactive art promotion scenarios and personal service scenarios, it provides a scenario application basis for interactive expression, calculate the space complexity, space complexity and resource complexity, according to the complexity calculation results, carry out interaction design from three aspects of visual elements, multimedia elements, and human-computer interaction elements, integrate the topology structure after the interaction is realized, and in the network topology structure. The proposed model consists mainly of visual design, basic design elements, basic visual design, complete design and solution generation. It realizes the expression of interactive art of multimedia elements in display and control. The experimental results show that the interactive element extraction speed of the visual communication expression method based on artificial intelligence technology is increased by 30%, and the flexibility is stronger. [ABSTRACT FROM AUTHOR]

The author describes the use of media, such as drawing, painting, speaking, digital art, Internet, music, film and writing, as sites of memory in teaching art online during the COVID-19 pandemic. The online class explored students' subconscious minds, personal memory and collective memory using multimedia choice-based art. The outcome of the media teaching and learning are highlighted, including development of a sense of identity through memory as a place of belonging.

Background: Rapid growth in early childhood device usage has raised critical questions about the potential impact of digital storybooks on children's reading outcomes. The current study examined how two types of multimedia animations in digital storybooks – animations of storyline elements or details in the illustrations – influenced the story comprehension and enjoyment of young children. Methods: Preschool children (n = 86) read a digital storybook in one of three conditions: storyline‐element animations, illustration‐detail animations or no additional animations. Two digital storybooks with varied difficulty and numbers of animations were examined. After an initial evaluation of vocabulary skills, children read their assigned version of each digital storybook and then completed assessments of story comprehension and enjoyment. Results: Overall, animations focused on illustration details hindered comprehension. For a less difficult story (with limited animations), animations focused on storyline elements improved comprehension. In a more difficult story (with many animations), animations focused on storyline elements enhanced comprehension only for children with high‐vocabulary skills. There were no differences in story enjoyment across conditions. Conclusions: Although illustration details are related to story content, digital storybook animations focused on these visual details may be overwhelming for young children. While animations that depict or extend storyline elements can support comprehension for children, large numbers of these animations in difficult stories have a counterintuitive effect – improving comprehension only for children with high vocabulary. Even storyline‐element animations in difficult stories may overload processing and hinder comprehension. Given no observed effects of varied animations on story enjoyment, a strategic, restrained approach to embedded animations focused on storyline elements may be warranted. Highlights: What is already known about this topic Multimedia animations relevant to story content can support reading outcomes; animations that are incongruent with a story can impair outcomes. What this paper adds Not all relevant animations support comprehension for young children. Multimedia animations that depict or extend the storyline support young children's comprehension outcomes in limited numbers for less difficult stories. For difficult stories, large numbers of storyline‐element animations do not support comprehension, except for children with high existing vocabulary skills.Relevant animations focused on illustration details can disrupt comprehension.Preschool children's enjoyment of digital storybooks is not influenced by the presence of additional animations. Implications for theory, policy or practice Results argue for a less‐is‐more approach to animations in digital storybooks. Developers should implement limited numbers of storyline‐element animations to promote comprehension without sacrificing story enjoyment.Parents and educators should select digital storybooks for young children that offer a small number of animations that reinforce and augment storyline elements. [ABSTRACT FROM AUTHOR]

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Early STEM (Science, Technology, Engineering, and Mathematics) education plays a pivotal role in shaping children's science and visual literacy skills. However, in South Africa, there are notable challenges such as delayed initiation of science education and inadequate emphasis on visual literacy. This study aims to investigate the influence of early STEM education on science and visual literacy in South African educational contexts. Drawing upon the post-positivist paradigm and Mayer's cognitive theory of multimedia learning, this research employed a mixed-method approach combining quantitative and qualitative analyses, integrating autoethnography to engage with lived experiences during my master's and doctoral studies. The findings suggest that children exposed to STEM education demonstrate higher levels of science and visual literacy. These findings have implications for curriculum design and educational practice, urging stakeholders to integrate STEM principles early in children's educational journey and to prioritize visual literacy to enhance communication and comprehension of scientific concepts. Recommendations are provided for educational institutions and policymakers to facilitate the implementation of effective strategies addressing these challenges and fostering a generation of learners equipped with essential skills for success in the modern world. [ABSTRACT FROM AUTHOR]

This article explores the socio-political impact of public art installations. It interprets impact indicators, describes public art as a result of sociopolitical transformations, reveals the characteristics of national identity through public art, studies public art during war, and compares the symbolism of public art installations across different countries. The research employed a descriptive methodology, including literature analysis, visual and document analysis, theoretical assessment of impact indicators, historical and comparative analysis, and content analysis. The findings demonstrate that public art is a crucial cultural phenomenon that shapes collective memory, national identity, and cultural heritage. The study identifies various types of public art and highlights the growing popularity of digital and multimedia art. It also distinguishes impact indicators of public art installations and proves that public art plays a vital role in stimulating socio-political transformations, shaping cultural identity, advocating for positive change, increasing civic engagement, and addressing social justice issues. The research emphasizes the short-term and long-term effects of public art installations and pays special attention to their role during wartime. [ABSTRACT FROM AUTHOR]

The article reminisces about the early days of emerging technologies in the 1990s, highlighting the author's experiences with tools like the Amiga 1200 computer and the World Wide Web, which enabled the creation of multimedia art installations. It also discusses the contributions of pioneering artists like Jim Pallas, Lucia Grossberger Morales, Frank Pietronigro, Jody Gillerman, and Ken Rinaldo, who embraced new technologies to push the boundaries of art during that transformative period.

Teaching the birdsong poems and compositions for musical settings of Anne Finch, Countess of Winchilsea, through media theory allows students to connect their own social-media-based expressive arts practices with the multimedia practices of early modern women writers. [ABSTRACT FROM AUTHOR]

The world in 2020 presented Australia with a world on fire, in lock down, and in environmental ruin, with potentially unprecedented social dislocation, homelessness, unemployment and mental health issues. Four artists reaction was to collaborate in an attempt to make sense of the complex COVID-19 context that was unfolding in front of them. Their interdisciplinary collaboration resulted in the multimedia artwork: Contested Spaces. Two iterations of the artwork (2020 and 2021) were exhibited as the artists navigated the unfolding spaces inhabited as they learnt to live and cope under the strictures of COVID-19. The 2021 iteration, was part of a national arts and mental health focus consisting of exhibitions, talks and workshops at the National Art School in Sydney and ECU Galleries in Perth. Through Contested Spaces the artists explored the complexity of unique circumstances brought about by the pandemic. Working collaboratively across disciplinary boundaries, created a space in which alternate understandings manifested as a consequence of the situation. This paper argues that the ongoing narrative of COVID-19 needs to be examined and scrutinized, in reconsidering our constant perpetual present, one that contests ideas and art making processes, proffering interdisciplinarity methods as a productive means for critiquing everyday pandemic complexity. [ABSTRACT FROM AUTHOR]

Copyright of Space & Form / Przestrzeń i FORMA is the property of West Pomeranian University of Technology, Department of Architecture & Urban Planning and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents the discussion on benefits of integrating technology and multimedia into classical performances, inspired by the dynamic elements of rock and pop concerts. Topics include using image and video projections to enhance engagement, interactive polls to involve audiences; and incorporating lighting to create a more immersive experience.

This article, titled "Editorial: Preservation and exploitation of audio recordings: from archives to industries," discusses the importance of preserving and utilizing audio recordings in creative industries. The authors highlight the growth of the creative industry and the need to preserve creative goods as part of our heritage. They also discuss the technological evolution of audio recording and the challenges of preserving and enhancing multimedia content. The article presents research articles on topics such as preserving multimedia installations, the transition from analog to digital artistic practice, piano transcription systems, and the analysis of musical instrument performance. Overall, the article provides valuable models, tools, perspectives, and challenges for the preservation and enhancement of musical and multimedia heritage. [Extracted from the article]

The author, a Swedish artist, arrived in Paris in the 1970s as a painter. She then began working with electronic images and was one of the first artists to produce video in France. Following the evolution of the technology very closely, she continued to develop 2D and 3D computer art, often presented as multimedia installations. Eventually, she began working with virtual reality. In this article, she delivers a personal recollection of the beginning of her artistic meandering, current through the time of writing. [ABSTRACT FROM AUTHOR]

The article explores artist Yuliya Lanina's works, multimedia video performance "My Dear Skeleton" and stop-motion animated film "Gefilte Fish," that were created amid debilitating back pain and that mark her attempt to engage in somatic dialogue with her pain. Topics discussed include brief background of Lanina, description on her animatronic sculptures, and role of female bodies across Lanina's body of work.

Accidents and collisions continue to be an ongoing problem in road safety. While driving, drivers are influenced by stimuli that can affect their behaviour in various ways. Nowadays, various types of multimedia devices have become popular, which, when used by drivers while driving, can influence driver attention. The literature undertakes studies of the impact of such devices on the driver's degree of distraction as measured, for example, by the driver's reaction time. A survey was conducted to identify sources of driver distraction. A total of 237 drivers aged between 18 and 78 years participated in the sample. Of the respondents, 64.6% use a mobile phone while driving, 20.3% use a smartwatch, 33.3% use a multimedia control system for vehicle functions. Respondents indicated that they had either witnessed (18.1%) or been involved (6.3%) in a collision/accident when the driver used various types of multimedia devices while driving. Of those surveyed, 2.1% had caused a collision or accident by using a multimedia device while driving. Respondents are aware of the risks of using different types of media devices while driving, but they still use them. The analyses of the survey data will be used in future research using a car simulator. [ABSTRACT FROM AUTHOR]

Copyright of Constellation Cendrars is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with Jean-Luc Godard's interventions in the multimedia arts, known as « fraternal arts », and ut pictura poesis to reconsider the audiovisual juxtaposition of fiction and documentary in the late sixties and « cinema effects » in contemporary art installations. It retraces some of the main elements of the film One plus One directed by Jean-Luc Godard and addresses its role and importance in the clandestine nature of artistic creation by revealing the interconnections between « musical history in the making » and the aesthetics of graffiti, Brechtian quote, and distancing (Verfremdungseffekt). In the second part, the essay draws on Burgin and Dubois to examine how so-called « Godardesques » emerges in the context of contemporary museum installations. By approaching artistic works, our wish is to reveal the forms of reconstitution of the Godardian One plus One. These works loosely linked to classical cinema can be considered, following Burgin, as cinematic heterotopias. [ABSTRACT FROM AUTHOR]

'The Face Between Us' investigates Otherness by examining the gaze and perceptions formed through embodied experiences. Initially focused on the neurotypical gaze on autism, particularly in relation to my brother with Asperger's syndrome, the research shifted to exploring self-perception and the concepts of 'us' and 'them'. Grounded in the theories of Mulvey, Levinas and Kristeva, and employing autoethnography, the project uses multimedia illustrations, such as animations on mirrors and fog screens, to create an immersive experience. The aim is to highlight the power of our gaze and foster an understanding of our roles as others in different contexts. [ABSTRACT FROM AUTHOR]

The article focuses on the current state and potential future directions of autoethnography, highlighting underexplored topics such as technology, organizational dynamics and popular culture. The authors encourage diverse forms of autoethnographic expression beyond traditional writing, including visual, auditory and multimedia formats. Topics include the need for more research on technology's impact, organizational autoethnographies and exploration of popular culture through autoethnography.

Creative multimedia refers to integrating different media elements, such as text, graphics, audio, video, animation, and interactive elements to convey a message, tell a story, or evoke emotions in a visually compelling and engaging way. Formation of Tamil movie titles is a crucial process of moviemaking because the director intends to reveal the essence of the movie itself, like a title of a journal article. Tamil cinema, also known as Kollywood, has faced a lot of controversies, and one of them is choosing the title of a film. These days, directors concentrate on movie titles with creative ideas to reach audiences. Therefore, this study intends to 1) analyse creative multimedia approaches in Tamil movie title posters and 2) reveal the meaning and storyline of the film from Tamil movie title posters. This descriptive qualitative study used Tamil movie titles (English version posters) using purposive sampling from the production’s official pages. The data support the findings of the formation of Tamil movie titles collaborating with creative multimedia approaches using textual analysis. Lately, directors or designers have been using creative multimedia approaches to attract the audience’s interest in the movie’s title from pre-production until release. The study disclosed that symbols and creative multimedia approaches became interesting domains to keep the titles intact. The findings help to extract the storyline by inserting creative multimedia into the titles so that the audience can presume the storyline, which attracts their attention and draws them into the theatres. [ABSTRACT FROM AUTHOR]

In the 2017 translation of his article "France-Japan: The Coral Writers," Michaël Ferrier explores the concept of the coral writer, or écrivain du corail. Echoing Fabien Arribert-Narce (2021), this article initially identifies Ferrier himself as an écrivain du corail and expands this concept further as it unearths resonances between creolization and Ferrier's own writing. This article revisits a multimedia project from the 2022 Winthrop-King conference Tokyo Stories: Writing the World with Michaël Ferrier in order to demonstrate that mirroring Ferrier's unique style allows for participation in and promotion of creolization. Using content from the collaborative project entitled "Poétique de la déroute chez Michaël Ferrier : une approche mimétique du fragment" and created with doctoral candidate Carine Schermann, this brief commentary accentuates the unexpected but beneficial discoveries that await if one interprets the world in the style of Ferrier: writing "from the inside" (Ferrier, "France-Japan" 19) and composing seismographically (Ferrier, "L'écrivain sismographe" 96). [ABSTRACT FROM AUTHOR]

This practice snapshot discusses dramaturgy within a devised, multi-media, choreographic context through the performance humattering. Through approaching dramaturgy as a practice of folding, it accounts for some ways in which collaborators uncover the structure of new work in a devising process. In this context, definitions of what can constitute a body, or what can constitute a sense of humanity, can become uncertain. Practices of choreographic dramaturgy could be unsettled, extended and opened, so that embodied states split performance language open. [ABSTRACT FROM AUTHOR]

Ergonomics is a relatively important part of user experience in multimedia art design. The study aims to improve human-computer interaction efficiency using a data-driven neural network model combined with video data and wearable devices to achieve high-precision human motion recognition. Firstly, the human motion skeleton information is extracted based on video information through the OpenPose framework, and the motion characteristics of each joint of the human body are calculated. Then, use the inertia data of the wearable bracelet to calculate the exercise intensity. At last, the two kinds of information are sent to recurrent neural networks (RNN) together to achieve high-precision human motion recognition. The innovative contribution of the article is to establish a multimodal fusion model for human activity recognition. The experimental results show that the recognition precision of the proposed method reaches 97.85%, much higher than the backpropagation neural network (BPNN) and K-nearest neighbor (KNN), whose precision is 94.35% and 90.12%, respectively. The method's superior performance convinces us that the model can provide strong technical support for the interaction design of multimedia art. [ABSTRACT FROM AUTHOR]

Art is increasingly being used by researchers as a medium to engage the public, yet evaluating and capturing impact remains challenging. We report an evaluation of a four-year public engagement project, I:DNA, designed to engage the public with research that explores the views and experiences of people with genetic conditions. An immersive art installation was exhibited at six scientific/cultural venues (2019-22), alongside several supplementary engagement activities, including talks, a game, 'invisible theatre', poetry workshops/performance and children's art workshops. I:DNA reached over 26,500 people (online and in-person), and 268 people left some form of evaluation via postcards, online forms or emails. Through thematic analysis of this evaluation data, as well as the artistic outputs of supplementary activities, evidence of impact was identified in three key areas: changing views, inspiring behaviour change and supporting capacity for future public engagement. Implementation and evaluation of I:DNA highlights the challenges of evaluating the impact of complex arts-based public engagement projects, and the urgent need for methodological development to evaluate the processes by which impact occurs (not just the consequences of that impact), and the significance of venue and context, as well as the short-, medium- and long-term impacts of arts-based public engagement for both public and stakeholder groups. [ABSTRACT FROM AUTHOR]

Copyright of Revue Universitaire des Sciences Humaines et Sociales is the property of University of Kasdi Merbah Ouargla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the use of screen video art, which involves displaying multiple videos on different screens simultaneously to create an artistic experience. The article investigates experimental projects that address everyday reality and use social art to address visual concerns. Video art has evolved with technology, allowing for greater creativity, but it has faced challenges in terms of recognition and support within the contemporary art context. The article also discusses the integration of creative and digital aesthetics to address social problems through artistic-technological practices. It explores the relationship between technology and art, analyzes the influence of digital technology on art creation and reception, and discusses the role of social media and audience participation. The article acknowledges the challenges faced by video artists, but also highlights the potential for video art to expand and be recognized as an important form of art in contemporary society. It emphasizes the ability of video art to make social critiques and raise questions about technology's impact on society. The article concludes by recommending a deeper understanding and appreciation for the multifaceted nature of video art and its ability to bring artists together in exploring new possibilities. [Extracted from the article]

Recent advances in humanoid robotics have opened up many new directions for humanoid robotics research. Multimedia and arts are applications with significant growth opportunities. In this paper, we introduce magic shows as a benchmark and research problem for humanoid robots and discuss our flexible and versatile system architecture. The goal is to have a humanoid robot perform as a magician in front of an audience. Note that we focus on magic performances that require complex manipulation and interaction of the robot instead of tricks where the robot is passive and used mainly as a prop. So in our tricks, the magic is critically dependent on the skills of the humanoid robot. Furthermore, a successful magic show requires that the robot interacts meaningfully and goal directed with the audience. We describe the technical details of a pen and drawing magic trick, the human-robot collaboration, hardware architecture, and software architecture of our system. One interesting aspect of our system is the inclusion of various personalities for the robot magician. Overall, the robot performed the magic tricks well in the competition and won third place at the IEEE IROS Humanoid Application Challenge(HAC) 2019 in Macau. [ABSTRACT FROM AUTHOR]

In this article, I consider Judy Malloy's durational performance and multimedia artwork, OK Genetic Engineering (OKGE) , 1983–86, in relation to evolving intellectual property laws in the United States and the progression of neoliberalism in the San Francisco Bay Area. Scholars across disciplines have considered the myriad implications of the landmark decisions that allowed for the patenting of genetically engineered lifeforms. These new laws paved the way for the creation of the biotechnology industry, challenged existing conceptions of what constitutes a lifeform, and extended the neoliberal privatization of all things public. Malloy's imagined biotech company, OKGE , incorporated patents, trademarks, and copyright into its many iterations. Thus, the artwork critiqued not only new patent laws, but also intellectual property at large. I argue that Malloy's OKGE relied on the ephemerality of performance, the distribution of materials through the mail-art network, and the cheapness of her chosen materials to reject intellectual property and the harmful effects it had on creative expression and the public good. [ABSTRACT FROM AUTHOR]

The article deals with the relationship between Transhumanism and multimedia music. Multimedia music with breaking all stereotypes foresees the main idea of Transhumanism--transition to a new evolutionary phase. The importance of research is determined by filling the gap that exists in multimedia music research. The purpose of the study is to determine the parameters by which multimedia music corresponds to Transhumanism. The goal is related to solving the following tasks: on what processes the technological progress is based; what constitutes a renewed consciousness; what are the features of multimedia music; to determine the features of a new type of composer's thinking; In the article, there are used historical, divinatory, comparative, and critical scientific research methods. Since multimedia composition is studied for the first time in relation to Transhumanism, the method of divination research is used, which implies intuitive access to the central principle embedded in the work. The object of the article--multimedia music will be discussed in the example of Eka Chabashvili's multimedia project "Voice". Based on the set goals and objectives, the process of analysis will be conducted in two phases: to analyze technological progress and novelties, as well as the transformation of consciousness that will lead us to the next stage of evolution; and to analyze how multimedia corresponds to these processes. It is the research on these issues that constitutes the scientific novelty of the article. In the conclusions, it is emphasized that we are in an era of scientific-technological progress that leads to Transhumanism. The evolution of humanity is not only related to technological changes but also to the transformation of consciousness. Multimedia music is ideally suited to reflect these changes for the following reasons: Transhumanism is based on the idea of human evolution. Multimedia music with new compositional approaches also transforms consciousness and prepares us for a new stage of humankind's evolution in its turn; there occurs an unprecedented integration of scientific branches, and multimedia music is also a synthetic genre. Multimedia music also destroys stereotypes of compositional thinking. The recommendation is to integrate multimedia music samples into musical education and concert programs. [ABSTRACT FROM AUTHOR]