Studying images on social media introduces several challenges that relate to the size of datasets and the different meaning-making grammars of social visuality; or as aptly pointed out by others in the field, it means ‘studying the qualitative on a quantitative scale’. Although cultural analytics provides an automated process through which patterns can be detected in large numbers of images, this methodology doesn’t account for other modalities of the image than the image itself. However, images circulating social media can (and should) be analyzed on the level of their audience as the latter is co-creating the meaning of images. Bridging the study of platform affordances and affect theory, this paper presents a novel methodology that repurposes Facebook Reactions to infer collective attitudes and performative emotional expressions vis á vis images shared on the large Syrian Revolution Network public page (+2M). We found visual patterns that co-occur with certain collective combinations of buttons, displaying how socio-technical features shape the discursive frameworks of online publics.
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As shown by Fuglesang’s work, some sparks on specific aspects of visual communication and media design were present in the 1980s and 1990s. Notwithstanding these insights, the field of international development for a long time continued to focus on the semiotic point of view, analysing and decoding the ‘language’ of the messages transmitted, and the quest for “systematic study on the evaluation of instructional media took place in different fields. It was in thenext millennium and inspired by the field of the arts that arguments were built toconceive language and text beyond the understanding of visual literacy asopposed to a merely word-based or written language to recognize visual communication and visual languages.
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We propose a novel deception detection system based on Rapid Serial Visual Presentation (RSVP). One motivation for the new method is to present stimuli on the fringe of awareness, such that it is more difficult for deceivers to confound the deception test using countermeasures. The proposed system is able to detect identity deception (by using the first names of participants) with a 100% hit rate (at an alpha level of 0.05). To achieve this, we extended the classic Event-Related Potential (ERP) techniques (such as peak-to-peak) by applying Randomisation, a form of Monte Carlo resampling, which we used to detect deception at an individual level. In order to make the deployment of the system simple and rapid, we utilised data from three electrodes only: Fz, Cz and Pz. We then combined data from the three electrodes using Fisher's method so that each participant was assigned a single p-value, which represents the combined probability that a specific participant was being deceptive. We also present subliminal salience search as a general method to determine what participants find salient by detecting breakthrough into conscious awareness using EEG.
Mondkapjes, of mondmaskers, zijn door de SARS-COV-2 pandemie niet meer uit het straatbeeld weg te denken. De kwaliteit en comfort van de pasvorm van medische en niet-medische mondmaskers wordt bepaald door hoe goed het mondmasker overeenkomt met de afmetingen van het gezicht van de drager. Echter is er geen goed overzicht van de antropometrie van het gelaat van de Nederlandse bevolking waardoor de pasvorm van mondmaskers nu vaak niet optimaal is. Er is dus vraag naar een laagdrempelige en veilige manier om gezichtskenmerken in kaart te brengen en betere ontwerprichtlijnen voor mondkapjes. Driedimensionaal (3D) scannen doormiddel van Light Detection and Ranging (LiDaR) technologie in combinatie met slimme algoritmes lijkt wellicht een manier om gezichtskenmerken snel en laagdrempelig vast te leggen bij grote groepen mensen. Daarnaast geeft het 3D scannen van gezichten de mogelijkheid om niet enkel de afmetingen van gezichten te meten, maar ook 3D pasvisualisaties uit te voeren. Hoewel 3D scannen geen nieuwe technologie is, is de LiDaR technologie pas sinds 2020 geïntegreerd in de Ipad en Iphone waardoor het toegankelijk gemaakt is voor consumenten. Doormiddel van een research through design benadering zal onderzocht worden of deze technologie gebruikt kan worden om betrouwbare en valide opnames te maken van gezichten en of er op basis hiervan ontwerprichtlijnen ontwikkeld kunnen worden. In dit KIEM GoCi-project zal daarnaast ingezet worden om een kennisbasis en netwerk op te bouwen voor een vervolg aanvraag over de inzet van 3D technologieën in de mode-industrie.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
The European creative visual industry is undergoing rapid technological development, demanding solid initiatives to maintain a competitive position in the marketplace. AVENUE, a pan-European network of Centres of Vocational Excellence, addresses this need through a collaboration of five independent significant ecosystems, each with a smart specialisation. AVENUE will conduct qualified industry-relevant research to assess, analyse, and conclude on the immediate need for professional training and educational development. The primary objective of AVENUE is to present opportunities for immediate professional and vocational training, while innovating teaching and learning methods in formal education, to empower students and professionals in content creation, entrepreneurship, and innovation, while supporting sustainability and healthy working environments. AVENUE will result in a systematised upgrade of workforce to address the demand for new skills arising from rapid technological development. Additionally, it will transform the formal education within the five participating VETs, making them able to transition from traditional artistic education to delivering skills, mindsets and technological competencies demanded by a commercial market. AVENUE facilitates mobility, networking and introduces a wide range of training formats that enable effective training within and across the five ecosystems. A significant portion of the online training is Open Access, allowing professionals from across Europe to upgrade their skills in various processes and disciplines. The result of AVENUE will be a deep-rooted partnership between five strong ecosystems, collaborating to elevate the European industry. More than 2000 professionals, employees, students, and young talents will benefit from relevant and immediate upgrading of competencies and skills, ensuring that the five European ecosystems remain at the forefront of innovation and competitiveness in the creative visual industry.
