Video‐recording healthcare interactions provides important opportunities for research and service improvement. However, this method brings about tensions, especially when recording sensitive topics. Subsequent reflection may compel the researcher to engage in ethical and moral deliberations. This paper presents experiences from a South African genetic counselling study which made use of video‐recordings to understand communicative processes in routine practice. Video‐recording as a research method, as well as contextual and process considerations are discussed, such as researching one's own field, (...) issues of trust and anonymity, the challenge of providing true informed consent and capturing details which may cause psychological harm. Several recommendations for research practice in diverse healthcare settings are made. This includes the value of reflective pieces, the importance of retrospective consent, disclosure of the limitations to anonymity, as well as the collective responsibility of those involved to produce ethical research. These recommendations have value for genetic counselling and other healthcare fields. (shrink)

In this paper, I deal with video data not as a transparent window on social interaction but as a situated product of video practices. This perspective invites an analysis of the practices of video-making, considering them as having a configuring impact on both on the way in which social interaction is documented and the way in which it is locally interpreted by video-makers. These situated interpretations and online analyses reflexively shape not only the record they produce (...) but also the interactional order itself as it is documented. Dealing with practices of video-making not as a resource but as a topic, I explore a particular editing practice, the use of the split-screen technique, consisting in combining various camera views within the same image. This technique is now widely used in cinema, professional settings, TV, and social research. I focus on its uses in TV talk shows and debates: through a systematic sequential analysis of the positions where split screen is introduced, I show that directors do orient to the sequential features of interaction in using this technique and that, conversely, their uses of split screen reveal their local understanding—and configuring—of what the interactional dimension of debates and interviews consist of, for all practical purposes. (shrink)

IntroductionThe idea of video recording in the operating room with panoramic cameras and microphones is a new concept that is changing the approach to medical activities in the OR. However, VR in the OR has brought up many concerns regarding patient privacy and has highlighted legal and ethical issues that were never previously exposed.AimTo review the literature concerning these aspects and provide a better ethical and legal understanding of the new challenges concerning VR in the OR.ConclusionsThere is a disparity (...) between the two main legal models concerning VR in the OR, namely the European legal system ) and the American legal framework ). This difference mainly deals with two distinct bioethical paradigms: GDPR places a strong emphasis on protecting patients’ privacy to improve the public health system, whereas HIPAA indicates the need to generate protocols to safeguard the risks connected to medical activity and patient privacy. Following from this point, we may argue that, at the ethical and bioethical level, GDPR and HIPAA depend mainly on two different ethical models: a perspective based on moral acquaintances and weak proceduralism, respectively. It is worth noting the importance of developing additional guidelines concerning different world regions to avoid the ethical problems that may emerge when simply applying a foreign paradigm to a very different culture. (shrink)

In order to understand our thinking, we use all kinds of metaphors. Without them we would be blind to the process of thinking. One of the metaphors is the idea of a "map": the mind is conceived of as something spacial in which our thoughts are located and where connections of all different kinds are established. The process of thinking is conceived of as the travelling along these connections from one thought to another.

As guidelines for neonatal resuscitation evolve from a growing evidence base, clinicians must ensure that practice is closely aligned with the available evidence, based on methodologically sound and ethically conducted research. This paper reviews ethical, legal and risk-management issues arising during the design of a quality-assurance project to make video recordings of neonatal resuscitations after high-risk deliveries. The issues, which affect patients, researchers, staff and the hospital at large, include the following: 1) Informed consent for research involving emergency procedures (...) is often not possible, for lack of time to provide sufficient information. The mental capacity of the subject or parent may be compromised by the impending emergency, and freedom of choice is threatened by the time pressure to consent. 2) Video recording of the inevitable medical errors raises issues of whether participating staff may be identifiable and accountable, affecting their willingness to participate in such research. The approach to staff participation and identification is reviewed. 3) The use of video data for education threatens the privacy of research subjects. The ethics of maintaining privacy is balanced with the ethics of using the data to improve practice of resuscitation. 4) The research subjects (patients, or the staff whose performance is being monitored) must be defined. 5) There are legal and ethical aspects of management and ownership of data. 6) The role of the Human Research Ethics Committee in protecting the research subject and possibly the medicolegal interests of the hospital is discussed. This paper reviews the literature and discusses the issues. (shrink)

KARLSSON V, LINDAHL B and BERGBOM I. Nursing Inquiry 2012; 19: 247–258 Patients’ statements and experiences concerning receiving mechanical ventilation: a prospective video‐recorded studyProspective studies using video‐recordings of patients during mechanical ventilator treatment (MVT) while conscious have not previously been published. The aim was to describe patients’ statements, communication and facial expressions during a video‐recorded interview while undergoing MVT. Content analysis and hermeneutics inspired by the philosophy of Gadamer were used. The patients experienced almost constant difficulties in (...) breathing and lost their voice. The most common types of communication techniques patients used were nodding or shaking the head. Their expressions were interpreted as stiffened facial expression, tense body position and feelings of sadness and sorrow. Nursing care for patients’ conscious during MVT is challenging as it creates new demands regarding the content of the care provided. In caring for patients undergoing MVT while conscious, establishing a caring relationship, making patients feel safe and helping them to communicate seem to be most important for alleviating discomfort and instilling hope. (shrink)

Using video to facilitate data collection has become increasingly common in health research. Using video in research, however, does raise additional ethical concerns. In this paper we utilize family therapy data to provide empirical evidence of how recording equipment is treated. We show that families made a distinction between what was observed through the video by the reflecting team and what was being recorded onto videotape. We show that all parties actively negotiated what should and should not (...) go ‘on the record’, with particular attention to sensitive topics and the responsibility of the therapist. Our findings have important implications for both clinical professionals and researchers using video data. We maintain that informed consent should be an ongoing process and with this in mind we present some arguments pertaining to the current debates in this field of health-care practice. (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)

Objective To study how doctors care for their patients, both medically and as fellow humans, through observing their conduct in patient–doctor encounters. Design Qualitative study in which 101 videotaped consultations were observed and analysed using a Grounded Theory approach, generating explanatory categories through a hermeneutical analysis of the taped consultations. Setting A 500-bed general teaching hospital in Norway. Participants 71 doctors working in clinical non-psychiatric departments and their patients. Results The doctors were concerned about their patients' health and how their (...) medical knowledge could be of service. This medical focus often over-rode other important aspects of the consultations, especially existential elements. The doctors actively directed the focus away from their patients' existential concerns onto medical facts and rarely addressed the personal aspects of a patient's condition, treating them in a biomechanical manner. At the same time, however, the doctors attended to their patients with courteousness, displaying a polite and friendly attitude and emphasising the relationship between them. Conclusions The study suggests that the main failing of patient–doctor encounters is not a lack of courteous manners, but the moral offence patients experience when existential concerns are ignored. Improving doctors' social and communication skills cannot resolve this moral problem, which appears to be intrinsically bound to modern medical practice. Acknowledging this moral offence would, however, be the first step towards minimising the effects thereof. (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)

Accounts of video game play developed from an ethnomethodological and conversation analytic perspective remain relatively scarce. This study collects together an emerging, if scattered, body of research which focuses on the material, practical “work” of video game players. The study offers an example-driven explication of an EMCA perspective on video game play phenomena. The materials are arranged as a “tactical zoom.” We start very much “outside” the game, beginning with a wide view of how massive-multiplayer online games (...) are played within dedicated gaming spaces; here, we find multiple players, machines, and many different sorts of activities going on. Still remaining somewhat distanced from the play of the game itself, we then take a closer look at the players themselves by examining a notionally simpler setting involving pairs taking part in a football game at a games console. As we draw closer to the technical details of play, we narrow our focus further still to examine a player and spectator situated “at the screen” but jointly analyzing play as the player competes in an online first-person shooter. Finally, we go “inside” the game entirely and look at the conduct of avatars on-screen via screen recordings of a massively multiplayer online game. Having worked through specific examples, we provide an elaboration of a selection of core topics of ethnomethodology and conversation analysis that is used to situate some of the unstated orientations in the presentation of data fragments. In this way, recurrent issues raised in the fragments are shown as coherent, interconnected phenomena. In closing, we suggest caution regarding the way game play phenomena have been analyzed in this study, while remarking on challenges present for the development of further EMCA-oriented research on video game play. (shrink)

Accounts of video game play developed from an ethnomethodological and conversation analytic perspective remain relatively scarce. This study collects together an emerging, if scattered, body of research which focuses on the material, practical “work” of video game players. The study offers an example-driven explication of an EMCA perspective on video game play phenomena. The materials are arranged as a “tactical zoom.” We start very much “outside” the game, beginning with a wide view of how massive-multiplayer online games (...) are played within dedicated gaming spaces; here, we find multiple players, machines, and many different sorts of activities going on. Still remaining somewhat distanced from the play of the game itself, we then take a closer look at the players themselves by examining a notionally simpler setting involving pairs taking part in a football game at a games console. As we draw closer to the technical details of play, we narrow our focus further still to examine a player and spectator situated “at the screen” but jointly analyzing play as the player competes in an online first-person shooter. Finally, we go “inside” the game entirely and look at the conduct of avatars on-screen via screen recordings of a massively multiplayer online game. Having worked through specific examples, we provide an elaboration of a selection of core topics of ethnomethodology and conversation analysis that is used to situate some of the unstated orientations in the presentation of data fragments. In this way, recurrent issues raised in the fragments are shown as coherent, interconnected phenomena. In closing, we suggest caution regarding the way game play phenomena have been analyzed in this study, while remarking on challenges present for the development of further EMCA-oriented research on video game play. (shrink)

In some young children brought by their parents for diagnosis of acute life-threatening events investigations suggested imposed apnoea as the cause rather than spontaneous occurrence. Covert video surveillance of the cot in which the baby was monitored allowed confirmation or rebuttal of this diagnosis. That parents were not informed of the video recording was essential for diagnosis and we assert ethically justifiable as the child was the patient to whom a predominant duty of care was owed. The procedure (...) also avoids the risk of separation of child from parent on inadequate information. (shrink)

Video data has now become the most common form of data for educational researchers studying classroom interaction and school culture. Software protocols for analysing vast archives of video data are deployed regularly, allowing researchers to annotate, code and sort images. These protocols are often applied by researchers without reflection or reference to the extensive philosophical work in film and media studies. Without exception, this research treats the video image as movement-image or picture, a recording of ‘raw data’, (...) indexical of a given time-space relationship. In this article I situate this kind of research within the history of scientific cinema, drawing on Deleuze's books on cinema, as well as his ideas on colour and figure from The Logic of Sensation, to propose an alternative way of analysing video data. One of the central claims of Deleuze in Cinema 2 is that the time-image reconfigures bodies as expressions of force – the body becomes a ‘shock of forces’. I argue that such an approach allows us to study the student body as less a phenomenological organism with built-in ‘I can’ cognitive and motor capacities, and more an indeterminate crystalline contraction and expansion of intensity. I present an example of how to study classroom video data as time-image, and explore the implications of such work for education research. (shrink)

This revised edition of a standard textbook combines an examination of the cinema and television industries with a detailed analysis of their aesthetic and semiotic characteristics. John Ellis draws on his experience as an independent television producer to provide a comprehensive and challenging overview of the place of film, television and video in our daily lives and their future prospects in a changing media landscape.

Musicians generally believe that memory differs from one person to the next. As a result, memorizing strategies that could be useful to almost everyone are not widely taught. We describe how an 18-years old piano student (Grade 7, ABRSM), learned to memorize by recording her thoughts, a technique inspired by studies of how experienced soloists memorize. The student, who had previously ignored suggestions that she play from memory, decided to learn to memorize, selecting Schumann’s “Der Dichter Spricht” for this purpose. (...) Rather than explicitly teaching the student how to memorize, the teacher taught her to record her thoughts while playing by marking them on copies of the score, adapting an approach used previously in research with experienced performers. Over a 6½ week period, the student recorded her thoughts during practice (five times) and while performing from memory for the teacher (three times). The student also video-recorded 3 weeks of practice, three performances, and the reconstruction of the piece from memory after a 9½-weeks break. The thoughts that the student reported were prepared during practice, stable over time, and functioned as memory retrieval cues during reconstruction. This suggests that the student memorized in the same way as the more experienced musicians who have been studied previously and that teaching student musicians to record their thoughts may be an effective way to help them memorize. The speed and durability of her memorization surprised the student, inspiring her to perform in public and to use the same technique for new pieces. (shrink)

This article will introduce a new method that has been available in Poland since 2015, based on video recordings, for families with children up to 5 years of age - the Video-feedback Intervention to promote Positive Parenting and Sensitive Discipline. The authors first discuss the current framework of development support psychology in Poland. Next, there is a review of methods based on video training. General information about the VIPP-SD intervention program is presented in the following part of (...) the paper, focusing on international evidence-based studies supporting the effectiveness of the method. The need for a cultural adaptation and implementation of the VIPP-SD program in Poland is outlined. (shrink)

We aim to contribute to recent situational approaches to the study of interpersonal violence by elaborating the concept of trajectories. Trajectories are communicative processes in which antagonists act upon each other’s bodily and verbal actions to project a direction for the interaction to take, which is then (con) tested in the exchanges that follow. We use the notion of trajectories to gain insight in how participants turn an antagonistic situation into a violent encounter, which we contrast to interactionist and micro-sociological (...) understandings. Using ethnomethodological and conversation analytical tools, we detail the trajectories of three violent encounters, captured on phone camera recordings to answer the question how verbal and bodily exchanges project physical violence. Methodologically, our contribution shows how bodily actions can be studied in visual data. Our cases show how antagonists move the interaction toward violence by creating a metaconflict revolving around the conditions under which the interaction will become a physical confrontation; what we call the contested projection of violence. We conclude that the concept of trajectories offers a useful analytical tool to detail the shifts and turns of the interactive process—notably it’s bodily dimensions— that characterize antagonism and violence. Substantially, our analysis raises questions about conceptualizations of the emotional dynamics (notably the role of dominance) of violence, as proposed by earlier micro-sociological and interactionist work. We therefore suggest that future studies engage with these issues in more detail and in larger datasets. (shrink)

The analysis of video-recorded interaction consists of various professionalized ways of seeing participant behavior through multimodal, co-operative, or intercorporeal lenses. While these perspectives are often adopted simultaneously, each creates a different view of the human body and interaction. Moreover, microanalysis is often produced through local practices of sense-making that involve the researchers’ bodies. It has not been fully elaborated by previous research how adopting these different ways of seeing human behavior influences both what is seen from a video (...) and how it is seen, as well as the way the interpretation of the data ultimately unfolds in the interaction between researchers. In this article, we provide a theoretical-methodological discussion of the microanalytic research process. We explore how it differs from “seeing” affect in interaction either as a co-operative and multimodal action or as an intercorporeal experience. First, we introduce the multimodal conversation analytic, co-operative, and intercorporeal approaches to microanalysis. Second, we apply and compare these practices to a video-recorded interaction of a romantic couple. Furthermore, we examine a video-recorded episode of us, the researchers, reflecting on our analytic observations about this interaction. We suggest that adopting a multimodal and co-operative perspective constructs affect as co-produced and displayed through observable action, while an intercorporeal perspective produces affect as an embodied and experienced phenomenon. While the former enables locating affect in a specific moment and identifiable body parts, the latter facilitates recognizing the experienced side of affect. These different modes of professional vision complement one another in capturing affect in interaction while being fundamentally used in local interactions between the researchers. (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)

Develops a view of the difference between film and video that is not based on media specificity but on media practices.

Researchers in the fields of sign language and gesture studies frequently present their participants with video stimuli showing actors performing linguistic signs or co-speech gestures. Up to now, such video stimuli have been mostly controlled only for some of the technical aspects of the video material, leaving open the possibility that systematic differences in video stimulus materials may be concealed in the actual motion properties of the actor’s movements. Computer vision methods such as OpenPose enable the (...) fitting of body-pose models to the consecutive frames of a video clip and thereby make it possible to recover the movements performed by the actor in a particular video clip without the use of a point-based or markerless motion-tracking system during recording. The OpenPoseR package provides a straightforward and reproducible way of working with these body-pose model data extracted from video clips using OpenPose, allowing researchers in the fields of sign language and gesture studies to quantify the amount of motion pertaining only to the movements performed by the actor in a video clip. These quantitative measures can be used for controlling differences in the movements of an actor in stimulus video clips or, for example, between different conditions of an experiment. In addition, the package also provides a set of functions for generating plots for data visualization, as well as an easy-to-use way of automatically extracting metadata from large sets of video files. (shrink)

It does not typically seem to be worthwhile rewatching a sport match, for example, in a video recording, once the result is known. Sports matches are like detective stories. Once one knows ‘whodunit’, there seems little point in revisiting the tale. By drawing on an argument from musicologist Edward T. Cone, this paper argues that certain sports matches may be revisited with profit. The initial experience of a game may be of a series of events that are often ambiguous (...) or confusing as to their meaning or purpose. The full appreciation of a sport match requires, not just this initial familiarity with the immediately perceived events of the game, but also an awareness of the tactics being deployed by both sides. An understanding of tactics and strategy is akin to the analysis of a piece of music. A further viewing of the game, during which one can appreciate how the tactics inform the events naively experienced in the first viewing, will yield, it will be argued, an aesthetic pleasure. This takes the experience of sport beyond the merely entertaining or exciting. In certain games, the third viewing may also transcend an appreciation of the merely formal qualities of the game, and so offer substantial insights into what it is to be human. (shrink)

People are adept at perceiving interactions from movements of simple shapes, but the underlying mechanism remains unknown. Previous studies have often used object movements defined by experimenters. The present study used aerial videos recorded by drones in a real-life environment to generate decontextualized motion stimuli. Motion trajectories of displayed elements were the only visual input. We measured human judgments of interactiveness between two moving elements and the dynamic change in such judgments over time. A hierarchical model was developed to account (...) for human performance in this task. The model represents interactivity using latent variables and learns the distribution of critical movement features that signal potential interactivity. The model provides a good fit to human judgments and can also be generalized to the original Heider–Simmel animations. The model can also synthesize decontextualized animations with a controlled degree of interactiveness, providing a viable tool for studying animacy and social perception. (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 study sought to determine if hues overlayed on a video recording of a piano performance would systematically influence perception of its emotional arousal level. The hues were artificially added to a series of four short video excerpts of different performances using video editing software. Over two experiments 106 participants were sorted into 4 conditions, with each viewing different combinations of musical excerpts and hue combinations. Participants rated the emotional arousal depicted by each excerpt. Results indicated that (...) the overall arousal ratings were consistent with the nominal arousal of the selected excerpts. However, hues added to video produced no significant effect on arousal ratings, contrary to predictions. This could be due to the domination of the combined effects of other channels of information over the emotional effects of the hypothesized influence of hue on perceived performance. To our knowledge this is the first study to investigate the impact of these hues upon perceived arousal of music performance, and has implications for musical performers and stage lighting. Further research that investigates reactions during live performance and manipulation of a wider range of lighting hues, saturation and brightness levels, and editing techniques, is recommended to further scrutinize the veracity of the findings. (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)

Although recent years have seen an increase in professional learning communities, use of video and lesson study groups, most teachers still work and learn in isolation. What they know is personal and remains private; little opportunity exists for most teachers to develop shared knowledge or language. The scale of the teaching force, and the rapid turnover of new teachers, makes this lack of shared knowledge an acute problem. This paper explores the potential of records of practice for developing collective (...) professional knowledge about teaching and learning. We define and illustrate what we mean by records of practice and elaborate the meaning of the term collective professional knowledge. Three concrete examples of records of practice, originating in different contexts and times, are presented and their special features are analyzed and discussed. The paper clarifies that records are not in themselves professional knowledge, but constitute a valuable and unique resource for the study of practice and the generation of knowledge originating in and useful for practice. To illustrate varied approaches for studying practice, possible uses of records of practice for the generation of collective professional knowledge are described and analyzed. The paper concludes with questions about records of practice and their uses. (shrink)

The paper examines the attainment and adequacy of informed consent in an ethnographic–discursive study on gynecological visits involving doctors, patients, and nurses. Starting from a theoretical discussion on informed consent and the principles upon which it relies, the paper highlights the changes and the adjustments that these principle undergo in practice, from the planning of the research till later stages of the researcher’s fieldwork and data recording. Analyses first focus on the informed consent as a written artifact and show how (...) the description of the study indexes the prospective participants’ identity, as well as, it works in favor of the researcher’s (or, other institutional representatives such as the managers of the Hospital) accountability. Then, the authors focus on instances of audio and video recorded doctor–patient–nurse interactions in which information is reformulated by the doctors, in such a way as to anticipate and/or respond to the nurses’ and patients’ concerns with regards the project (such as, the risk of exposure to the public). The analysis of these episodes carry ethical implications, in that they alert that patients, nurses, and doctors may be not equally knowledgeable about the project and that they can be conceded unequal opportunities to have their interpretations and identity performances acknowledged and inscribed on the tape. (shrink)

Why would anyone purchase expensive, natural resource-intensive, and seemingly obsolete material carriers of music when streaming providers provide unlimited access to over 40 million songs for a small monthly fee? As I will show, we can no longer assume that contemporary interest is driven solely by a collector’s market or because of the audible qualities of the vinyl listening experience, and must attend to the many ways people engage with record objects today – and by extension, the vinyl record as (...) an ontological multiple. Through an analysis of Record Store Day 2015 and affiliated phenomena including YouTube unboxing videos, other social media activity and the Discogs resale market, I will demonstrate that the vinyl record gains value when the lived experience of materiality becomes an event and enables the performance of self in social contexts. As I will show, while certain types of actors have appreciably benefitted from the recent revival of interest in vinyl (e.g. brick and mortar stores, mastering engineers, manufacturing plants, and ancillary service industries), others have not to the same extent (e.g. musicians, independent record labels). (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)

This article examines interpreters’ embodied displays of trouble in hospital encounters in Norway. In these meetings, participants speak different languages, and the interpreters, that is multilinguals with interpreter education and other formal qualifications, produce utterances in either of the languages in question. As such, the specific interaction in which these embodied displays of trouble occur is mediated in two ways, it is both interpreter-mediated and video-mediated. Video-recordings of hospital settings where the interpreting is carried out through use of (...) video-technology are analyzed using multimodal conversation analysis. The interpreters’ embodied displays of trouble are found resemble recruitmens and are found to initiate repair. The article shows that while the embodied display of trouble might be a versatile device to initiate repair within the video-mediated environment, the video-mediated environment provides a complex interactional space for the perception of the embodied action. (shrink)

Video gaming, specifically action video gaming, seems to improve a range of cognitive functions. The basis for these improvements may be attentional control in conjunction with reward-related learning to amplify the execution of goal-relevant actions while suppressing goal-irrelevant actions. Given that EEG alpha power reflects inhibitory processing, a core component of attentional control, it might represent the electrophysiological substrate of cognitive improvement in video gaming. The aim of this study was to test whether non-video gamers, non-action (...) video gamers and action video gamers exhibit differences in EEG alpha power, and whether this might account for differences in visual information processing as operationalized by the theory of visual attention. Forty male volunteers performed a visual short-term memory paradigm where they memorized shape stimuli depicted on circular stimulus displays at six different exposure durations while their EEGs were recorded. Accuracy data was analyzed using TVA-algorithms. There was a positive correlation between the extent of post-stimulus EEG alpha power attenuation and speed of information processing across all participants. Moreover, both EEG alpha power attenuation and speed of information processing were modulated by an interaction between group affiliation and time on task, indicating that video gamers showed larger EEG alpha power attenuations and faster information processing over time than NVGs – with AVGs displaying the largest increase. An additional regression analysis affirmed this observation. From this we concluded that EEG alpha power might be a promising neural substrate for explaining cognitive improvement in video gaming. (shrink)

To improve the understanding of film and television postproduction for college students in the era of intelligent media, a study is conducted on college students’ short video communication education and audience psychology based on the rapid development of virtual image and the Internet of Things. Primarily, the collaborative filtering algorithm is optimized and combined with the principle of Spark and Hadoop platforms as well as the IoT and virtual image technologies. Then, a hybrid computing model is proposed, and the (...) two algorithms are improved and combined, with 90,000 network video records as data samples. Finally, the push accuracy of the hybrid algorithm and the traditional algorithm is calculated and compared, and based on this, a questionnaire survey on the audience psychology of short video production is carried out for college students. The results show that the time user of the combined algorithm is always at least 0.4 s faster than that of a single algorithm and the running speed of the algorithm with five nodes is nearly 80% higher than the algorithm with a single node. The Spark algorithm with multinode has good versatility in image recording and processing of large groups of college students. When processing more than 100,000 image records, the deviation values of Spark and Hadoop with a single node exceeded 1.1, but the deviation value of the hybrid algorithm was still lower than 1.1. With the increase of data volume, the deviation values of the three algorithms are increasing. Compared with the traditional CFA algorithm, the optimized algorithm has a higher speed in processing data and is more accurate in content pushing. From the questionnaire survey of college students, it is found that contemporary college students are not active in learning knowledge of virtual images. Hence, it is concluded that colleges must carry out relevant courses based on short video communication education and strengthen the short video communication education of college students. A reference is provided for the development of college students’ short video communication education in the digital age. (shrink)

Increasing behavioural evidence suggests that expert video game players (VGPs) show enhanced visual attention and visuospatial abilities, but what underlies these enhancements remains unclear. We administered the Poffenberger paradigm with concurrent electroencephalogram (EEG) recording to assess occipital N1 latencies and interhemispheric transfer time (IHTT) in expert VGPs. Participants comprised 15 right-handed male expert VGPs and 16 non-VGP controls matched for age, handedness, IQ and years of education. Expert VGPs began playing before age 10, had a minimum 8 years experience, (...) and maintained playtime of at least 20 hours per week over the last 6 months. Non-VGPs had little-to-no game play experience (maximum 1.5 years). Participants responded to checkerboard stimuli presented to the left and right visual fields while 128-channel EEG was recorded. Expert VGPs responded significantly more quickly than non-VGPs. Expert VGPs also had significantly earlier occipital N1s in direct visual pathways (the hemisphere contralateral to the visual field in which the stimulus was presented). IHTT was calculated by comparing the latencies of occipital N1 components between hemispheres. No significant between-group differences in electrophysiological estimates of IHTT were found. Shorter N1 latencies may enable expert VGPs to discriminate attended visual stimuli significantly earlier than non-VGPs and contribute to faster responding in visual tasks. As successful video-game play requires precise, time pressured, bimanual motor movements in response to complex visual stimuli, which in this sample began during early childhood, these differences may reflect the experience and training involved during the development of video-game expertise, but training studies are needed to test this prediction. (shrink)

The article engages with the video installation Madame B by Mieke Bal and Michelle Williams Gamaker. The work was premiered in the city of Łódź in Poland. The author makes use of the exhibition brochure by two artists published by the Museum of Modern Art, and the recording of a seminar held by Bal and Williams Gamaker after launching their work. The article focuses on the innovative audiovisual interpretation of Flaubert’s famous novel. Basing the argument on the concept of (...) framing created by Bal, the author applies it to Bal and Williams Gamaker’s exhibition by relating it to the history and culture of the Polish location where it was first shown. Above all, however, the article discusses the importance of quotation and indistinction in Madame B, where the artists quote from : Louise Bourgeois, Maya Deren, Artemisia Gentileschi, Charlotte Perkins Gilman, William Kentridge and Sol LeWitt. (shrink)

Films, compared with emotional static pictures, represent true-to-life dynamic stimuli that are both ecological and effective in inducing an emotional response given the involvement of multimodal stimulation (i.e., visual and auditory systems). We hypothesized that a direct comparison between the two methods would have shown greater efficacy of movies, compared to standardized slides, in eliciting emotions at both subjective and neurophysiological levels. To this end, we compared these two methods of emotional stimulation in a group of 40 young adults (20 (...) females). Electroencephalographic (EEG) Alpha rhythm (8–12 Hz) was recorded from 64 scalp sites while participants watched (in counterbalanced order across participants) two separate blocks of 45 slides and 45 clips. Each block included three groups of 15 validated stimuli classified as Erotic, Neutral and Fear content. Greater self-perceived arousal was found after the presentation of Fear and Erotic video clips compared with the same slide categories. sLORETA analysis showed a different lateralization pattern: slides induced decreased Alpha power (greater activation) in the left secondary visual area (Brodmann Area, BA, 18) to Erotic and Fear compared with the Neutral stimuli. Instead, video clips elicited reduced Alpha in the homologous right secondary visual area (BA 18) again to both Erotic and Fear contents compared with Neutral ones. Comparison of emotional stimuli showed smaller Alpha power to Erotic than to Fear stimuli in the left precuneus/posterior cingulate cortex (BA 7/31) for the slide condition, and in the left superior parietal lobule (BA 7) for the clip condition. This result matched the parallel analysis of the overlapped Mu rhythm (corresponding to the upper Alpha band) and can be interpreted as Mu/Alpha EEG suppression elicited by greater motor action tendency to Erotic (approach motivation) compared to Fear (withdrawal motivation) stimuli. Correlation analysis found lower Alpha in the left middle temporal gyrus (BA 21) associated with greater pleasantness to Erotic slides (r38= –0.62,p= 0.009), whereas lower Alpha in the right supramarginal/angular gyrus (BA 40/39) was associated with greater pleasantness to Neutral clips (r38= –0.69,p= 0.012). Results point to stronger emotion elicitation of movies vs. slides, but also to a specific involvement of the two hemispheres during emotional processing of slides vs. video clips, with a shift from the left to the right associative visual areas. (shrink)

BackgroundSocial cognition and competence are a key part of daily interactions and essential for satisfying relationships and well-being. Pediatric neurological and psychological conditions can affect social cognition and require assessment and remediation of social skills. To adequately approximate the complex and dynamic nature of real-world social interactions, innovative tools are needed. The aim of this study was to document the performance of adolescents on two versions of a serious video game presenting realistic, everyday, socio-moral conflicts, and to explore whether (...) their performance is associated with empathy or sense of presence, factors known to influence social cognition.MethodsParticipants first completed a pre-test measure of socio-moral reasoning based on three dilemmas from a previously validated computer task. Then, they either played an evaluative version or an adaptive version of a video game presenting nine social situations in which they made socio-moral decisions and provided justifications. In the evaluative version, participants’ audio justifications were recorded verbatim and coded manually to obtain a socio-moral reasoning maturity score. In the adaptive version, tailored feedback and social reinforcements were provided based on participant responses. An automatic coding algorithm developed using artificial intelligence was used to determine socio-moral maturity level in real-time and to provide a basis for the feedback and reinforcements in the game. All participants then completed a three-dilemma post-test assessment.ResultsThose who played the adaptive version showed improved SMR across the pre-test, in-game and post-test moral maturity scores, F = 9.81, pHF < 0.001, ϵ2 = 0.21, but those who played the Evaluative version did not. Socio-moral reasoning scores from both versions combined did not correlate with empathy or sense of presence during the game, though results neared significance. The study findings support preliminary validation of the game as a promising method for assessing and remediating social skills during adolescence. (shrink)

ObjectiveThis article explores the effect of preoperative health education, in the form of animation videos, on postoperative self-reported pain levels and anxiety in femoral fractures.MethodsNinety cases of femoral fracture were divided at random into the oral instruction group, the recorded video group, and the animation video group, with 30 cases in each group. Sociodemographic data were collected the day before surgery. Health education was then offered in one of three ways: orally, using a recorded video, or using (...) an animation video. On days 2, 4, and 7 after surgery, the state-trait anxiety inventory and the visual analog scale were used to assess postoperative anxiety and pain levels, respectively, in the participants.ResultsAt different time points during the evaluation, total anxiety scores in the animation and recorded video groups were significantly lower than in the oral instruction group. STAI scores in the three groups were found to have significant interactions with the measurement time in the three groups.ConclusionPreoperative health education with the aid of multimedia is more effective than oral instruction in lowering patients’ postoperative anxiety and pain levels. In addition, animation videos are superior to recorded videos in mitigating postoperative anxiety. Whether the two approaches differ in reducing postoperative pain in bone fractures remains to be further tested. (shrink)

The use of video for research purposes is something that has attracted ethical attention and debate. While the usefulness of video as a mechanism to collect data is widely agreed, the ethical sensitivity and impact of recording equipment is more contentious. In some clinical settings the presence of a camera has a dual role, as a portal to a reflecting team and as a recording device to obtain research data. Using data from one such setting, family therapy sessions, (...) this article shows how the role played by recording equipment is negotiated in the course of talk and other activities that constitute sessions. Analysis reveals that members of the therapy interaction orient in different ways and for different purposes to the value of recordings. The article concludes that there are layers of benefit to be derived from recording of clinical interactions, including for members themselves, and this has wider implications for the ways in which qualitative research designs in health sciences are evaluated. (shrink)

ABSTRACTDuring the second Intifada which started in 2000 and ended sometime in mid 2000s, Palestinian male and female martyrs used video testimonies, records and documents of death, using the first person pronoun so as to articulate their missions and justifications for carrying out their acts of martyrdom. This study, which focuses on Palestinian female martyrs’ video-testimonies, investigates the elusive relationship between martyrdom and witness. I contend that the female martyr is a witness to the Israeli occupation of Palestine (...) and to the oppression and dehumanisation to which Palestinians are subject. Palestinian female martyrs are also witnesses to Arab leaders’ weakness and their inability to defend Palestine. The act of martyrdom is a collective one, involving the martyr, the agent of narration and the audience. The audience, who bears witness to the martyr, is necessary for martyrdom to be recognised and to take place. I argue that the end of the martyr’s speech marks out her silence and her tra... (shrink)