The present study aimed to integrate findings from technology acceptance research with research on applicant reactions to new technology for the emerging selection procedure of asynchronous video interviewing. One hundred six volunteers experienced asynchronous video interviewing and filled out several questionnaires including one on the applicants’ personalities. In line with previous technology acceptance research, the data revealed that perceived usefulness and perceived ease of use predicted attitudes toward asynchronous video interviewing. Furthermore, openness revealed to (...) moderate the relation between perceived usefulness and attitudes toward this particular selection technology. No significant effects revealed for computer self-efficacy, job interview self-efficacy, extraversion, neuroticism, and conscientiousness. Theoretical and practical implications are discussed. (shrink)

Purpose The purpose of this paper is to defend the notion of “trust in technology” against the philosophical view that this concept is misled and unsuitable for ethical evaluation. In contrast, it is shown that “trustworthy technology” addresses a critical societal need in the digital age as it is inclusive of IT-security risks not only from a technical but also from a public layperson perspective. Design/methodology/approach From an interdisciplinary perspective between philosophy andIT-security, the authors discuss a potential instantiation (...) of a “trustworthy information and communication technology ”: a solution for privacy respecting video surveillance. Here, strong data protection measures address grave concerns such as the threat of bulk biometric tracking of citizens. In a logical argument, however, the authors show that this technical notion of “trust” needs to be complemented by interlocking trust relations to justify public trust. Findings Based on this argument, the authors demonstrate that the philosophical position considering “trust in technology” to denote either “reliability” or “interpersonal trust” is too limited as it fails to address critical aspects of IT-security. In a broader, socio-technical sense, however, it is shown that several distinct accounts of trust – technical, interpersonal and institutional – should meaningfully interlock, to address concerns with ICTs. Originality/value This conceptual study demonstrates the potential of “trust in technology” for a more comprehensive evaluation of ICTs within the context of operation. Furthermore, it adds to the discussion of trust in IT-security by highlighting the layperson’s challenge of judging a technology’s trustworthiness. Vice versa, it contributes to Ethics of Technology by highlighting crucial IT-security needs. (shrink)

BackgroundVideo-calls have proven to be useful for older care home residents in improving socialization and reducing loneliness. Nonetheless, to facilitate the acceptability and usability of a new technological intervention, especially among people with dementia, there is a need for user-led design improvements. The current study conducted focus groups with an embedded activity with older people to allow for a person-centered design of a video-call intervention.MethodsTwenty-eight residents across four care homes in the South West of England participated in focus groups (...) to aesthetically personalize and ‘dress-up’ the equipment used in a video-call intervention. Each care home was provided with a ‘Skype on Wheels’ device, a wheelable ‘chassis’ comprising an iPad or tablet for access to Skype, and a telephone handset. During the focus group, residents were encouraged to participate in an activity using colorful materials to ‘dress-up’ SoW. Comments before, during and after the ‘dress up’ activity were audio recorded. Framework analysis was used to analyze the focus group data.ResultsOlder people, including seven with dementia were able to interact with and implement design changes to SoW through aesthetic personalization. Themes arising from the data included estrangement, anthropomorphism, reminiscence, personalization, need for socialization versus fear of socialization and attitudes toward technology. After this brief exposure to SoW, residents expressed the likelihood of using video-calls for socialization in the future.ConclusionCare home residents enjoy engaging with new technologies when given the opportunity to interact with it, to personalize it and to understand its purpose. Low cost aesthetic personalization of technologies can improve their acceptability, usability, and implementation within complex care environments. (shrink)

Video assistant referee was officially introduced into soccer regulations in 2018, after many years in which referee errors were justified as being “part of the game.” The technology’s penetration into the soccer field was accompanied by concerns and much criticism that, to a large degree, continues to be voiced with frequency. This paper argues that, despite fierce objections and extensive criticism, VAR represents an important revision in modern professional soccer, and moreover, it completes a moral revolution in the (...) evolution of the sport as a whole. Theoretically speaking, this technology enables an improvement in the sport’s professional standards and its public image and prestige, and especially its moral standards – Fair play. Furthermore, the introduction of this technology makes it possible to discover additional weaknesses (Standardization for extra time, a clear definition of a handball offense and more) that professional soccer regulations will probably be forced to address in the future. (shrink)

The gamer’s dilemma offers three plausible but jointly inconsistent premises: (1) Virtual murder in video games is morally permissible. (2) Virtual paedophelia in video games is not morally permissible. (3) There is no morally relevant difference between virtual murder and virtual paedophelia in video games. In this paper I argue that the gamer’s dilemma can be understood as one of three distinct dilemmas, depending on how we understand two key ideas in Morgan Luck’s (2009) original formulation. The (...) two ideas are those of (1) occurring in a video game and (2) being a virtual instance of murder or paedophelia. Depending on the weight placed on the gaming context, the dilemma is either about in-game acts or virtual acts. And depending on the type of virtual acts we have in mind, the dilemma is either about virtual representations or virtual partial reproductions of murder and paedophelia. This gives us three dilemmas worth resolving: a gaming dilemma, a representation dilemma, and a simulation dilemma. I argue that these dilemmas are about different issues, apply to different cases, and are susceptible to different solutions. I also consider how different participants in the debate have interpreted the dilemma in one or more of these three ways. (shrink)

The philosophic spectator watches from a distance as a “disinterested” and impartial member of an audience, Lectures on Kant’s political philosophy, University of Chicago Press, 1992; Kant, On history, Prentice Hall Inc, 1957). Judicial systems use many of the elements of the spectator in the concept of an eyewitness but, with increased video technology use, the courts have taken the witness a step further by hiring forensic video analysts. The analyst’s stance is rooted in objectivity, and the (...) process of breaking a video down to its component parts to examine it, but is it based on the philosophic spectator? To better understand whether the forensic video analyst has adopted the stance of the philosophic spectator, this paper examines both the analyst and spectator, and discusses the implications for how we think and administer justice. (shrink)

Video ethics in educational research involving children is a recent topic that has arisen since the increase in the use of visual mediums in research especially with the development of new and ubiquitous internet technologies and social media. This paper emerged as an expressed concerned by a group of scholars associated with the new Video Journal of Education and Pedagogy that was established in 2016. The paper is the result of a collective writing process over a period of (...) a few months that discusses visual studies in education and visual ethics in relation to qualitative research in education, and as it applies to children. The article also uses the newly established convention of open review, publishing the results with the paper. (shrink)

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television's conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, (...) the Korean American Nam June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art's growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising. (shrink)

This essay has its origin in a project on the globalization of science that rediscovered the wisdom of past research practices through the technology of the future. The main argument of this essay is that a convergence of digital video technologies with practices of social surveillance portends a methodological shift towards a new variety of qualitative methodology. Digital video is changing the way that students of the social world practice their craft, offering not just new ways of (...) presenting but new ways of practicing field research. We introduce concepts of the fluid wall and videoactive context to emphasize that the camera is an actor in the research process, and both behaviour and observation occur in both directions--in front of and behind the camera. While these practices and procedures are novel in some ways, they may also be viewed as old methods in the context of new instruments for recording as well as a new social understanding of these instruments. Since new technologies interact with the social context, the digital video methods we discuss in this essay are likely to become increasingly important for generations to come. We provide an overview of the use of digital video in research practice and present an account of the use of digital video methodology in Chile. (shrink)

Video ethics in educational research involving children is a recent topic that has arisen since the increase in the use of visual mediums in research (such as photovoice and video) especially with the development of new and ubiquitous internet technologies and social media. This paper emerged as an expressed concerned by a group of scholars associated with the new Video Journal of Education and Pedagogy (Brill) that was established in 2016. The paper is the result of a (...) collective writing process over a period of a few months that discusses visual studies in education and visual ethics in relation to qualitative research in education, and as it applies to children. The article also uses the newly established convention of open review, publishing the results with the paper. (shrink)

Violent video games (VVGs) are a source of serious and continuing controversy. They are not unique in this respect, though. Other entertainment products have been criticized on moral grounds, from pornography to heavy metal, horror films, and Harry Potter books. Some of these controversies have fizzled out over time and have come to be viewed as cases of moral panic. Others, including moral objections to VVGs, have persisted. The aim of this paper is to determine which, if any, of (...) the concerns raised about VVGs are legitimate. We argue that common moral objections to VVGs are unsuccessful, but that a plausible critique can be developed that captures the insights of these objections while avoiding their pitfalls. Our view suggests that the moral badness of a game depends on how well its internal logic expresses or encourages the players’ objectionable attitudes. This allows us to recognize that some games are morally worse than others—and that it can be morally wrong to design and play some VVGs—but that the moral badness of these games is not necessarily dependent on how violent they are. (shrink)

Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I argue that (...) while many ethical objections to playing violent video games seem to miss their marks, there is sufficient reason to take modest steps in order to address the concerns that theorists have raised. (shrink)

IntroductionThe assisted reproductive technology field deals with consistent and predictable gaps in knowledge. Expressing lack of knowledge with a sentence like “I don’t know” can be challenging for doctors. This study examined physicians’ negative epistemic disclaimer “non lo so” in Italian ART doctor-couple interactions. In particular, it aimed to reveal specific features of “non lo so”: function, topic, temporality, responsibility, and interactional aspects.MethodsThis was a video-based observational study. We used microanalysis of face-to-face dialogue to analyze 20 purposively selected (...) triadic consultations from a corpus of 85. This inductive analysis focused on the function, the content and some selected interactional aspects of the “non lo so”, quantifying and capturing the interaction between these qualitative features.ResultsWe found 82 doctors’ “non lo so” in the corpus. We discovered three main functions of this expression: propositional, relational, discursive. The most frequent topics raising doctors’ “non lo so” were costs, treatment-related aspects, and timing issues. In more than half of the cases, present issues emerged. The majority of “non lo so” was framed using the “I,” with doctors’ taking personal responsibility. Patients played a role in these expressions from doctors: Patients initiated more than one third of them, and in one fourth of the cases, patients followed up immediately.ConclusionOur findings may be related to characteristics of the specific field of ART. Doctors in this setting must frequently express a direct lack of knowledge to their patients, and when they do, they mean it literally. Patients contribute to such disclosures, and their responses suggest that they find them acceptable, showing that they may expect limitations in their potential to conceive. (shrink)

The epidemic outbreak of the coronavirus has meant a sudden, temporary ceasing of activities as we knew them. The health crisis has led to a social and economic crisis, and these circumstances have revealed solidarity on a global scale. In moments of separation, when culture has brought us closer together, the global phenomenon of charity songs has emerged, generating financial aid for scientific research and care for the most vulnerable people. This work focuses on a charity song turned into a (...) hymn, a narrative poem in the first person that tells everyone's common story, “Aves enjauladas” by the Spanish singer-songwriter Rozalén. This paper carries out a linguistic, stylistic and audiovisual analysis of this multimodal event, which has been transmitted through a ‘lyric video’ and spread in a vertiginous way on digital platforms and social networks, reaching millions of views. Ultimately, the paper analyses the spiritual and material impact, the body and soul of this living poem, taking a still photograph of the artistic recreations and musical, visual, pictorial and pedagogical ‘echoicities’ of this work, as well as appreciating its material socio-economic repercussions in the real lives of families at risk of exclusion. (shrink)

This paper defends two main theses related to emerging deepfake technology. First, fears that deepfakes will bring about epistemic catastrophe are overblown. Such concerns underappreciate that the evidential power of video derives not solely from its content, but also from its source. An audience may find even the most realistic video evidence unconvincing when it is delivered by a dubious source. At the same time, an audience may find even weak video evidence compelling so long as (...) it is delivered by a trusted source. The growing prominence of deepfake content is unlikely to change this fundamental dynamic. Thus, through appropriate patterns of trust, whatever epistemic threat deepfakes pose can be substantially mitigated. The second main thesis is that focusing on deepfakes that are intended to deceive, as epistemological discussions of the technology tend to do, threatens to overlook a further effect of this technology. Even where deepfake content is not regarded by its audience as veridical, it may cause its viewers to develop psychological associations based on that content. These associations, even without rising to the level of belief, may be harmful to the individuals depicted and more generally. Moreover, these associations may develop in cases in which the video content is realistic, but the audience is dubious of the content in virtue of skepticism toward its source. Thus, even if—as I suggest—epistemological concerns about deepfakes are overblown, deepfakes may nonetheless be psychologically impactful and may do great harm. (shrink)

In order to motivate students and create a tension free environment English language teachers implement different technological tools in the classroom. This paper aims to emphasize the importance of using video material in the classroom that facilitates ESL teaching. The study was conducted at SEEU Language Centre with 87 students’. Major ethnical groups include Macedonian, Albanian, Turkish, and Roma. The respondents’ age varies from 18-20 studying ESP classes, such as Computer Sciences 1, ESP as well as Academic and Advanced (...) Academic English, and the research questions are: to what extent students are motivated to study English using videos, do Video presentations stimulate students’ critical thinking skills. Moreover, 8 teachers responded to the questionnaire and strongly agreed that Videos motivate students’ discussions in class. Teaching ESP courses using audio-visual tools is especially beneficial for both students and teachers because the appropriate video material can make students more interested in the subject, more engaged as well as become more confident in communicative language learning competencies. (shrink)

The intelligent transportation system under the big data environment is the development direction of the future transportation system. It effectively integrates advanced information technology, data communication transmission technology, electronic sensing technology, control technology, and computer technology and applies them to the entire ground transportation management system to establish a real-time, accurate, and efficient comprehensive transportation management system that works on a large scale and in all directions. Intelligent video analysis is an important part of (...) smart transportation. In order to improve the accuracy and time efficiency of video retrieval schemes and recognition schemes, this article firstly proposes a segmentation and key frame extraction method for video behavior recognition, using a multi-time scale dual-stream network to extract video features, improving the efficiency and efficiency of video behavior detection. On this basis, an improved algorithm for vehicle detection based on Faster R-CNN is proposed, and the Faster R-CNN network feature extraction layer is improved by using the principle of residual network, and a hole convolution is added to the network to filter out the redundant features of high-resolution video images to improve the problem of vehicle missed detection in the original algorithm. The experimental results show that the key frame extraction technology combined with the optimized Faster R-CNN algorithm model greatly improves the accuracy of detection and reduces the leakage. The detection rate is satisfactory. (shrink)

With the rapid development of the Internet and smart phone technology, a large number of short videos are shared through social platforms. Therefore, video content analysis is a very important and popular work in machine learning and artificial intelligence currently. However, it is very difficult to analyze all aspects of video content originally produced by large-scale users. How to screen out bad and illegal content from short videos published by a large number of users, select high-quality videos (...) to share with other users, and improve the quality of video on the distribution platform of the entire user is a top priority. Based on this background, this paper focuses on optimizing video auditing to provide basic features for algorithm judgment, supporting original content and increasing the distribution of new content, and strengthening manual intervention combining algorithm recommendation with manual recommendation. Four major aspects of the artificial training algorithm model discuss the optimization effect of artificial intelligence on the algorithm in order to provide some guidance for the sustainable and healthy development of mobile short video. (shrink)

This paper demonstrates the value of embracing digital technology in order to effect positive change in a non-governmental charity organisation, in this case the Irish Charity Crosscause. The outcome of the research was the creation of a charity video, Crosscause: Making a Difference, to showcase humanitarian work in Ireland and Romania with a view to inspiring others to contribute in some capacity to this cause. Video is an important medium to provide connections with a wider audience, as (...) it gives humanitarian workers and marginalised communities an opportunity to tell their story by making a compelling and evocative case to others. Visual media not only makes connections with an audience, but can also positively challenge people to consider what is happening in the world around them. The research process incorporated an entrepreneurial methodology - an Educational Entrepreneurial approach to action research-with four steps: Exploring, Understanding, Creating and Transforming, which is designed to guide practitioner-researchers as they embrace digital technology to resolve an identified need in a workplace context, including people in disadvantaged settings. In this research, there was an identified need for a charity video to link the giving in Ireland to the receiving in Romania, so that viewers could see the tangible effects of their contributions. A further aim of the research was to illustrate how volunteering can inspire solidarity among Irish and Romanian communities. (shrink)

Purpose: To explore the characteristics of the use of laughs and jokes during doctor-couple assisted reproductive technology visits.Methods: 75 videotaped doctor-couple ART visits were analyzed and transcribed in order to: quantify laugh and jokes, describing the contribution of doctors and couples and identifying the timing of appearance; explore the topic of laughs and jokes with qualitative thematic analysis.Results: On average, each visit contained 17.1 utterances of laughs and jokes. Patients contributed for 64.7% of utterances recorded. Doctor and women introduced (...) the majority of laughs and jokes. Visits with female physicians had significantly more laughs and jokes than visits with male doctors; no differences were found considering physicians’ age and years of experience, cause of infertility, and prognosis. Laughs and jokes were mainly recorded during history taking and information giving. Four core themes were identified, regarding the topic of laughs and jokes: health status, infertility treatment, organizational aspects, and doctor-patient interaction.Conclusion: Laughs and jokes are common in doctor-couple ART visits and are frequently used during the dialogue, covering a wide range of topics. Results seem to show that laughs and jokes are related to doctor’s personal characteristics, while are not associated with infertility aspects. Given the complexity of this communicative category, further studies are needed to explore the functions and the effects of laugh and jokes. (shrink)

YouTube has been implicated in the transformation of users into extremists and conspiracy theorists. The alleged mechanism for this radicalizing process is YouTube’s recommender system, which is optimized to amplify and promote clips that users are likely to watch through to the end. YouTube optimizes for watch-through for economic reasons: people who watch a video through to the end are likely to then watch the next recommended video as well, which means that more advertisements can be served to (...) them. This is a seemingly innocuous design choice, but it has a troubling side-effect. Critics of YouTube have alleged that the recommender system tends to recommend extremist content and conspiracy theories, as such videos are especially likely to capture and keep users’ attention. To date, the problem of radicalization via the YouTube recommender system has been a matter of speculation. The current study represents the first systematic, pre-registered attempt to establish whether and to what extent the recommender system tends to promote such content. We begin by contextualizing our study in the framework of technological seduction. Next, we explain our methodology. After that, we present our results, which are consistent with the radicalization hypothesis. Finally, we discuss our findings, as well as directions for future research and recommendations for users, industry, and policy-makers. (shrink)

Arts, Real-Time Video and Interactivity for Sustainability is an ongoing collaborative research project investigating how real-time video, DIY surveillance technologies and sensor data can be used as a tool for environmental awareness, activism and artistic explorations. The project consists of a series of digital contexts for aesthetic contemplation of nature and civic engagement, aiming to foster awareness and empowerment of local populations through DIY surveillance. At the core of the ARTIVIS efforts are a series of interactive installations, that (...) make use of surveillance technologies and real-time video as raw material to promote environmental awareness through the emotion generated by real-time connections with nature. Throughout the project development, the surveillance concept has been shifting from the use of surveillance technology in a centralized platform, to the idea of veillance with distributed peer-to-peer networks that can be used for science and environmental monitoring. In this paper we present the history of the ARTiVIS project, related and inspiring work, describe ongoing research work and explore the present and future challenges of appropriating surveillance technology for artistic, educational and civic engagement purposes. (shrink)

This paper considers what it is about violent video games that leads one reasonably minded person to declare “That is immoral” while another denies it. Three interpretations of video game content are discussed: reductionist, narrow, and broad. It is argued that a broad interpretation is required for a moral objection to be justified. It is further argued that understanding the meaning of moral utterances—like “x is immoral”—is important to an understanding of why there is a lack of moral (...) consensus when it comes to the content of violent video games. Constructive ecumenical expressivism is presented as a means of explaining what it is that we are doing when we make moral pronouncements and why, when it comes to video game content, differing moral attitudes abound. Constructive ecumenical expressivism is also presented as a means of illuminating what would be required for moral consensus to be achieved. (shrink)

In their reply to my recent paper on Munchausen's syndrome by proxy, Professor Southall and Dr. Samuels concede that some things may be learned from my observations. They do not attend to the main argument of the paper, however, that the proportion of research interest in their use of covert video surveillance merits consideration of the research protocol by an independent research ethics committee. It will not do simply to assert that the use of this technology for the (...) purposes outlined in their accounts is not research. I formulated arguments based on facts divulged in those published accounts for regarding their work as containing a considerable proportion of research activity. Unfortunately their reply did not address these arguments. Until such points are adequately answered the protection of patients calls for satisfactory judgments to be made on certain important issues which any research ethics committee would be obliged to consider in an evaluation of their activities. I suggest that some of these features will create more difficulties for approval of such a protocol than others. (shrink)

In this digital age the use of video in social science research has become commonplace. As sophistication has increased along with usability, as spiralling staff costs push out direct observation, the researchers training today are grasping video as a means of coming to terms with the continued pressure to produce accessible research. However, the ‘fit’ of technology with research is far from simple. Ideally placed to offer guidance to developing researchers, this new text draws together the theoretical, (...) methodological and practical issues of effectively using video across the social sciences. This book concentrates on how researchers can benefit from the use of video in their own research, whether it is: Video as representation Video as an aid to reflection Video that generates participation Video, voice and articulation, or Video that acts as a provocation. In turn each of these five central functions is discussed in relation to different stages of the research process, consisting of: Research design Fieldwork and data collection Analysis of data and findings Dissemination. As a practical research tool this book shows how, why and when video should be used, representing an invaluable guide for postgraduate and doctoral students conducting research in the social sciences, as well as any researchers, academics or professionals interested in developing technologically informed research. (shrink)

Contemporary philosophy of technology, in particular mediation theory, has largely neglected language and has paid little attention to the social-linguistic environment in which technologies are used. In order to reintroduce and strengthen these two missing aspects we turn towards Ricoeur’s narrative theory. We argue that technologies have a narrative capacity: not only do humans make sense of technologies by means of narratives but technologies themselves co-constitute narratives and our understanding of these narratives by configuring characters and events in a (...) meaningful temporal whole. We propose a hermeneutic framework that enables us to categorise and interpret technologies according to two hermeneutic distinctions. Firstly, we consider the extent to which technologies close in on the paradigm of the written text by assessing their capacity to actively configure characters and events into a meaningful whole; thereby introducing a linguistic aspect in the theory of technological mediation. Secondly, we consider the extent to which technologieshave the capacity to abstract from the public narrative time of actual characters and events by constructing quasi-characters and quasi-events, thereby introducing the social in our conception of technological mediation. This leads us to the outlines of a theory of narrative technologies that revolves around four hermeneutic categories. In order to show the merits of this theory, we discuss the categories by analysing paradigmatic examples of narrative technologies: the bridge, the hydroelectric power plant, video games, and electronic money. (shrink)

YouTube has been implicated in the transformation of users into extremists and conspiracy theorists. The alleged mechanism for this radicalizing process is YouTube’s recommender system, which is optimized to amplify and promote clips that users are likely to watch through to the end. YouTube optimizes for watch-through for economic reasons: people who watch a video through to the end are likely to then watch the next recommended video as well, which means that more advertisements can be served to (...) them. This is a seemingly innocuous design choice, but it has a troubling side-effect. Critics of YouTube have alleged that the recommender system tends to recommend extremist content and conspiracy theories, as such videos are especially likely to capture and keep users’ attention. To date, the problem of radicalization via the YouTube recommender system has been a matter of speculation. The current study represents the first systematic, pre-registered attempt to establish whether and to what extent the recommender system tends to promote such content. We begin by contextualizing our study in the framework of technological seduction. Next, we explain our methodology. After that, we present our results, which are consistent with the radicalization hypothesis. Finally, we discuss our findings, as well as directions for future research and recommendations for users, industry, and policy-makers. (shrink)

Funded by the U.S. Department of Education, the Baltimore Learning Community (BLC) project established a networked electronic learning community through the use of high-quality digital science and social studies resources and high-speed networking. The project will enable science and social studies teachers to access images, text, Web sites, and full motion video via high-speed connections to the Internet. Extending such multimedia configurations into urban schools has facilitated a rethinking of teaching and learning in content classes as well as a (...) reconsideration of how media and method are integrated. It facilitates teacher engagement in designing authentic classroom instruction framed by performance assessments and links project teachers and school site coordinators through a client server, thus promoting a network of teachers and students engaged in learning across schools. However, such a project is not without its challenges—human as well as technological. This article discusses the BLC project identifying technology possibilities, current situational constraints, and implications of creating networked learning communities across disciplines and beyond school walls. (shrink)

Ethics in video gaming is broad topic that extends beyond the familiar instances of “moral panics”. This chapter will first divide ethical issues into internal and external moral questions. Roughly, this equates to a distinction between the ethics in games and the ethics of games. The ethical issues internal to video games arise due to both their status as fictions and their status as games. Many games afford players the opportunity to perform violent and vicious acts; however, these (...) are of course fictional actions and are often contextualized as part of the game’s competitive play. This raises the general question whether it can ever be morally wrong to perform some fictional action in a video game. To approach this question, this section will first consider how moral values are inherent within games. Players engage with the embedded moral values of games both at the level of their narratives and their rules. Games become objects for moral reflection, not only through the stories that they tell, but also through the ways in which players are invited to engage actively with those stories. Next, external ethical issues are those that focus on the nature of the gaming industry and gaming cultures. The gaming industry has notoriously struggled with representations of gender and race, both in their workforce and in the games that they produce. Turning to the ecological impacts, the gaming industry is a major source of e-waste through the production of gaming technologies. The hardware used in gaming has a lifecycle that begins with the exploitation of resource-rich developing countries that produce the precious materials used in computer screens and processing chips and ends with those same products being dumped in toxic landfills in other developing countries. Additionally, gaming is a major source of energy consumption, particularly as cloud gaming servers are required to run continuously. When considering the ethics of games, such social and ecological concerns must surely figure in one’s moral calculation. Finally, some moral issues straddle the line between the above distinction between internal and external due to the porous nature of virtual interactivity, particularly regarding multiplayer games. Various gaming cultures struggle with their own ethical issues—from the failure to promote sportsmanship in e-sports to the widespread harassment of players in online platforms. This final section will briefly consider problems with multiplayer games, harassment, and trolling. (shrink)

The purpose of the study is to develop and describe the author's model of teaching foreign language listening using authentic video content. As a result, the author presents a six-stage model, which includes content-goal-setting, two activity-technological, two control-evaluative and revising-target stages, concretized through the system of communicative tasks. The novelty of the study lies in the identification of the linguo-methodological potential of authentic video content for teaching foreign language listening and modeling this process on the basis of the (...) corresponding principles – main and specific. (shrink)

Video recording is widely available in modern operating rooms. Here, I argue that, if patient consent and suitable technology are in place, video recording of surgery is an ethical duty. I develop this as aduty to protect,arguing for professional and institutional duties, as distinguished forduties of rescue.A professional duty to protect is described in mental healthcare. Practitioners have to take reasonable steps to prevent serious, foreseeable harm to their clients and others, even if that entails a non-consensual (...) breach of confidentiality. I argue surgeons have a similar duty to patients which means that, provided the patient consents, surgery should be routinely videoed. This avoids non-consensual breaches of patient confidentiality and is aligned with stated professional obligations.An institutional duty to protect means institutions have to take reasonable steps to prevent serious, foreseeable harm at the hands of their surgeons. Rulli and Millum highlighted how institutions can meet their duty using a more consequentialist approach that balances wider interests.To test the force and scope of such duties, I examine potential impacts of routine videoing on aspects of autonomy, justice, beneficence and non-maleficence. I find routine videoing can benefit areas including safety, candour, consent and fairness in access (to surgical careers and expertise). Countervailing claims, for example, on liability, confidentiality and privacy can be resisted—such that where consent and the technology are in place, routine videoing meets aduty of easy protection. In other words, its use should be standard of care. (shrink)

Video surveillance is an omnipresent phenomenon in today’s metropolitan life. Mainly intended to solve crimes, to prevent them by realtime-monitoring or simply as a deterrent, video surveillance has also become interesting in economical contexts; e.g. to create customer profiles and analyse patterns of their shopping behaviour. The extensive use of video surveillance is challenged by legal claims and societal norms like not putting everybody under generalised suspicion or not recording people without their consent. In this work we (...) propose a technological solution to balance the positive and negative effects of video surveillance. With automatic image recognition algorithms on the rise, we suggest to use that technology to not just automatically identify people but blacken their images. This blackening is done with a cryptographic procedure allowing to revoke it with an appropriate key. Many of the legal and ethical objections to video surveillance could thereby be accommodated. In commercial scenarios, the operator of a customer profiling program could offer enticements for voluntarily renouncing one’s anonymity. Customers could e.g. wear a small infrared LED to signal their agreement to being tracked. After explaining the implementation details, this work outlines a multidisciplinary discussion incorporating an economic, ethical and legal viewpoint. (shrink)

This article explores the identity of youth in relation to the information sources they choose in the constellation of information of video games, using the massively multiplayer online game World of Warcraft as an example. From this study, several identities are recognized that are combinations of the participants skill and level in the game, as well as their play style and the information practices they use in relation to school success.

This article considers the ethics of photojournalism from a television news perspective. The author, on the basis of his participant?observation study conducted at two major?market television stations, suggests that while most of the television news photographers he observed and interviewed expressed strong ethical beliefs and values, those same individuals admitted they often acted in contradiction to many of their personal ethical beliefs. Their actions in carrying out their work and their revelations on the structure of their ethical beliefs indicate they (...) face a dilemma in balancing values. They must deal with the often contradictory values of competition, careerism, journalistic norms, peer pressure, technology, and management and organizational expectations. (shrink)

In the research of motion video, the existing target detection methods are susceptible to changes in the motion video scene and cannot accurately detect the motion state of the target. Moving target detection technology is an important branch of computer vision technology. Its function is to implement real-time monitoring, real-time video capture, and detection of objects in the target area and store information that users are interested in as an important basis for exercise. This article (...) focuses on how to efficiently perform motion detection on real-time video. By introducing the mathematical model of image processing, the traditional motion detection algorithm is improved and the improved motion detection algorithm is implemented in the system. This article combines the advantages of the widely used frame difference method, target detection algorithm, and background difference method and introduces the moving object detection method combining these two algorithms. When using Gaussian mixture model for modeling, improve the parts with differences, and keep the unmatched Gaussian distribution so that the modeling effect is similar to the actual background; the binary image is obtained through the difference between frames and the threshold, and the motion change domain is extracted through mathematical morphological filtering, and finally, the moving target is detected. The experiment proved the following: when there are more motion states, the recall rate is slightly better than that of the VIBE algorithm. It decreased about 0.05 or so, but the relative accuracy rate increased by about 0.12, and the increase ratio is significantly higher than the decrease ratio. Departments need to adopt effective target extraction methods. In order to improve the accuracy of moving target detection, this paper studies the method of background model establishment and target extraction and proposes its own improvement. (shrink)

This study examined video game–playing aggression among graduate and undergraduate students at Rochester Institute of Technology in upstate New York. The following three research questions were posed: In the context of video game playing, what differences are there in levels of aggression in relation to sex? What differences are there in levels of aggression and type of video games played? Are aggression and length of video game playing related? A nonprobability sample of students (N = (...) 175) was selected and electronically surveyed. The Buss–Perry Aggression Questionnaire, a widely used self-reported measure, was used to assess aggression. No significant difference was found between men and women with regard to levels of aggression, and no statistically significant relationship was found between aggression and length of video game playing (r = −.05, p =.52). However, significant differences were found in levels of aggression between playing and nonplaying respondents of action role-playing (t = −1.48, df = 175, p =.01) and role-playing video games (t = −1.24, df = 175, p =.02). Players of role-playing games had lower levels of aggression than nonplayers. Since role-playing requires one to take the part of another person, empathy might play a role in reduced levels of aggression. Although exposure to violent video games has been related to decreased empathy, role-playing games show just the opposite. It is suggested that controversies regarding violent video games might best be explained by moral panic theory and that competitive games may attract more aggressive players. (shrink)

In a recent and provocative essay, Christopher Bartel attempts to resolve the gamer’s dilemma. The dilemma, formulated by Morgan Luck, goes as follows: there is no principled distinction between virtual murder and virtual pedophilia. So, we’ll have to give up either our intuition that virtual murder is morally permissible—seemingly leaving us over-moralizing our gameplay—or our intuition that acts of virtual pedophilia are morally troubling—seemingly leaving us under-moralizing our game play. Bartel’s attempted resolution relies on establishing the following three theses: (1) (...) virtual pedophilia is child pornography, (2) the consumption of child pornography is morally wrong, and (3) virtual murder is not murder. Relying on Michael Rea’s definition of pornography, I argue that we should reject thesis one, but since Bartel’s moral argument in thesis two does not actually rely thesis one that his resolution is not thereby undermined. Still, even if we grant that there are adequate resources internal to Bartel’s account to technically resolve the gamer’s dilemma his reasoning is still unsatisfying. This is so because Bartel follows Neil Levy in arguing that virtual pedophilia is wrong because it harms women. While I grant Levy’s account, I argue that this is the wrong kind of reason to resolve the gamer’s dilemma because it is indirect. What we want is to know what is wrong with virtual child pornography itself. Finally, I suggest alternate moral resources for resolving the gamer’s dilemma that are direct in a way that Bartel’s resources are not. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

As one of the most widely used methods in deep learning technology, convolutional neural networks have powerful feature extraction capabilities and nonlinear data fitting capabilities. However, the convolutional neural network method still has disadvantages such as complex network model, too long training time and excessive consumption of computing resources, slow convergence speed, network overfitting, and classification accuracy that needs to be improved. Therefore, this article proposes a dense convolutional neural network classification algorithm based on texture features for images in (...) virtual reality videos. First, the texture feature of the image is introduced as a priori information to reflect the spatial relationship between pixels and the unique characteristics of different types of ground features. Second, the grey level cooccurrence matrix is used to extract the grey level correlation features of the image in space. Then, Gauss Markov Random Field is used to establish the statistical correlation characteristics between neighbouring pixels, and the extracted GLCM-GMRF texture feature and image intensity vector are combined. Finally, based on DenseNet, an improved shallow layer dense convolutional neural network is proposed, which can compress network parameters and improve the feature extraction ability of the network. The experimental results show that compared with the current classification method, this method can effectively suppress the influence of coherent speckle noise and obtain better classification results. (shrink)

What makes video games unique as an audiovisual medium is not just that they are interactive, but that this interactivity is rule bound and goal oriented. This means that player experience, including experience of the music, is somehow shaped or structured by these characteristics. Because of its emphasis on action in perception, James Gibson’s ecological approach to psychology—particularly his concept of affordances—is well suited to theorise the role of music in player experience. In a game, players perceive the environment (...) and gameplay situations in terms of the goal-oriented actions they afford. Nondiegetic music, not tied to any place in the digital game world, can play a unique role in the structuring of these affordances. Through a series of case studies, I will show that music creates and structures situations both in the game environment (such as the appearance of enemies in Unreal) and beyond the game environment (such as the death of an avatar and the restart of a level in Super Mario Bros.). (shrink)

This essay proposes an alternative way of studying video games: as thought experiments akin to the narrative thought experiments that are frequently used in philosophy. This perspective incorporates insights from the narratological and ludological perspectives in game studies and highlights the philosophical significance of games. Video game thought experiments are similar to narrative thought experiments in many respects and can perform the same functions. They also have distinctive advantages over narrative thought experiments, as they situate counterfactuals in more (...) complex, developed contexts and present them to players who are participants in game worlds, rather than simply observers. (shrink)

Recent develops in AI technology have led to increasingly sophisticated forms of video manipulation. One such form has been the advent of deepfakes. Deepfakes are AI-generated videos that typically depict people doing and saying things they never did. In this paper, I demonstrate that there is a close structural relationship between deepfakes and more traditional fake barn cases in epistemology. Specifically, I argue that deepfakes generate an analogous degree of epistemic risk to that which is found in traditional (...) cases. Given that barn cases have posed a long-standing challenge for virtue-theoretic accounts of knowledge, I consider whether a similar challenge extends to deepfakes. In doing so, I consider how Duncan Pritchard’s recent anti-risk virtue epistemology meets the challenge. While Pritchard’s account avoids problems in traditional barn cases, I claim that it leads to local scepticism about knowledge from online videos in the case of deepfakes. I end by considering how two alternative virtue-theoretic approaches might vindicate our epistemic dependence on videos in an increasingly digital world. (shrink)

The use of cross-media and transmedia-based art installation has generated new ways for the audience to appreciate, understand and experience art. Transmedia, the integration of multiple media forms to augment a single narrative, has not only been largely used in commercial films, but has also been used by artists to communicate their message more effectively. In this article, we explore some remarkable multi-channel video installations and transmedia artworks to highlight how this technology has shaped new uses of (...) class='Hi'>technology as a new medium to express artistic concepts. We discuss one artwork, an experimental collaboration between artists and scientists, entitled Reefs on the Edge, which communicates valuable information about climate change to a general audience. (shrink)