Live Documentary: Talking Through a Thesis Conceptjfische2
This presentation was given at the orientation session for MIT's Comparative Media Studies program as an opportunity to present my early thesis research thinking in an open form for conversation with my classmates. Multiple research trajectories from theories of liveness (beginning with Raymond Williams in television history), telepresence (as it appeared in the engineering and robotics realm) and documentary interaction intersect to crystallize in a single question: what is the meaning and value of *live* documentary?
The document summarizes the filmmaker's process in creating an opening sequence for a film project. It describes researching directorial styles by watching sequences from films like Django Unchained and Pulp Fiction. It also discusses using the apps Celtx and Studiobinder to collaboratively write the script, and sharing resources between team members using Airdrop since they all had Apple products. During editing, iMovie was used due to its free cost and ease of use, including features for file sharing, sound, and transitions.
This document summarizes a mid-term presentation on educational data mining in reference to educational statistics in Nepal. It discusses extracting data from various sources like Excel sheets, cleaning and loading it into a database, and creating an API interface to access the data through calls. The data can then be visualized through various tools like mapping and geo-spatial analysis. Remaining works discussed are relationship mining, clustering, classification, forecasting, an EDI analyzer, and caching the API.
The presentation has the purpose to update the HCI department about my progress on my thesis. It was focused on the speech, not necessarily writing all the information on the slides.
This document discusses using machine learning to improve garbage collection in Java. It explores using machine learning to predict whether an object will survive long enough to be promoted to the older generation of memory. The author conducted experiments using mutual information to determine which object attributes, like allocation site and size, correlate with object lifetime. Based on the results, the author proposes using a decision tree model for classification to predict object tenuring. Future work would involve offline and possibly online training of the decision tree to integrate the predictions into the Java runtime's garbage collection. The experiments found mutual information a useful technique for analyzing object lifetime heuristics and uncovered new attributes related to object type that correlate with lifetime.
The document provides suggestions for creating a single slide summary of a thesis presentation. It recommends including the key elements of the research, results, and relevant images on the one slide. Alternatively, a quote that encapsulates the thesis could be used. The document humorously advises against making the font too small to fit everything or relying on clipart without offering proper tribute to the Gods of Clipart.
The Pixel Lab 2014_Loc Dao_Lessons Learned In Interactive Documentarypower to the pixel
This document provides a summary of several interactive documentary projects created by the National Film Board of Canada (NFB). It discusses key lessons learned from each project, including the importance of having a strong story, knowing the target audience, and conceiving the story and form before production starts. Linear stories combined with non-linear visual experiences seemed to be an effective approach for many of the projects. Strong marketing and developing projects for multiple platforms also helped ensure larger audiences were reached.
The document provides a summary of the pre-production, production, and post-production process for a student film project set in the future. In pre-production, the students planned their story, schedule, researched futuristic technologies, and storyboarded scenes. Production involved shooting with a Fujifilm camera in London locations. Post-production included editing in Final Cut Pro, adding 3D effects in After Effects, and recording voiceovers in Audition and GarageBand. The students evaluated what went well, could be improved, and any problems encountered.
Live Documentary: Talking Through a Thesis Conceptjfische2
This presentation was given at the orientation session for MIT's Comparative Media Studies program as an opportunity to present my early thesis research thinking in an open form for conversation with my classmates. Multiple research trajectories from theories of liveness (beginning with Raymond Williams in television history), telepresence (as it appeared in the engineering and robotics realm) and documentary interaction intersect to crystallize in a single question: what is the meaning and value of *live* documentary?
The document summarizes the filmmaker's process in creating an opening sequence for a film project. It describes researching directorial styles by watching sequences from films like Django Unchained and Pulp Fiction. It also discusses using the apps Celtx and Studiobinder to collaboratively write the script, and sharing resources between team members using Airdrop since they all had Apple products. During editing, iMovie was used due to its free cost and ease of use, including features for file sharing, sound, and transitions.
This document summarizes a mid-term presentation on educational data mining in reference to educational statistics in Nepal. It discusses extracting data from various sources like Excel sheets, cleaning and loading it into a database, and creating an API interface to access the data through calls. The data can then be visualized through various tools like mapping and geo-spatial analysis. Remaining works discussed are relationship mining, clustering, classification, forecasting, an EDI analyzer, and caching the API.
The presentation has the purpose to update the HCI department about my progress on my thesis. It was focused on the speech, not necessarily writing all the information on the slides.
This document discusses using machine learning to improve garbage collection in Java. It explores using machine learning to predict whether an object will survive long enough to be promoted to the older generation of memory. The author conducted experiments using mutual information to determine which object attributes, like allocation site and size, correlate with object lifetime. Based on the results, the author proposes using a decision tree model for classification to predict object tenuring. Future work would involve offline and possibly online training of the decision tree to integrate the predictions into the Java runtime's garbage collection. The experiments found mutual information a useful technique for analyzing object lifetime heuristics and uncovered new attributes related to object type that correlate with lifetime.
The document provides suggestions for creating a single slide summary of a thesis presentation. It recommends including the key elements of the research, results, and relevant images on the one slide. Alternatively, a quote that encapsulates the thesis could be used. The document humorously advises against making the font too small to fit everything or relying on clipart without offering proper tribute to the Gods of Clipart.
The Pixel Lab 2014_Loc Dao_Lessons Learned In Interactive Documentarypower to the pixel
This document provides a summary of several interactive documentary projects created by the National Film Board of Canada (NFB). It discusses key lessons learned from each project, including the importance of having a strong story, knowing the target audience, and conceiving the story and form before production starts. Linear stories combined with non-linear visual experiences seemed to be an effective approach for many of the projects. Strong marketing and developing projects for multiple platforms also helped ensure larger audiences were reached.
The document provides a summary of the pre-production, production, and post-production process for a student film project set in the future. In pre-production, the students planned their story, schedule, researched futuristic technologies, and storyboarded scenes. Production involved shooting with a Fujifilm camera in London locations. Post-production included editing in Final Cut Pro, adding 3D effects in After Effects, and recording voiceovers in Audition and GarageBand. The students evaluated what went well, could be improved, and any problems encountered.
This document analyzes how the student's media documentary project uses, develops, and challenges conventions of real documentaries. It finds that the project takes a hybrid approach, using expository and reflexive documentary styles. It employs many standard documentary techniques like voiceovers, interviews, establishing shots, and music to set tone. However, it also includes some unconventional elements like warnings and flashes in the opening. Overall, the analysis concludes the project largely conforms to documentary conventions to engage audiences like a real media product.
This document discusses the genre of "docu-soap" television programs. It establishes docu-soap as combining elements of documentary and soap opera by relaxing boundaries between reality and fiction. Examples like "Airport" and "Big Brother" are given, which use extensive camera crews but also employ conventions like fast editing, voiceovers, and personalities who enjoy performing for the camera. While docu-soaps are popular for allowing viewers to relate to "real" everyday lives, some argue they exploit their subjects and prioritize drama over addressing social issues. The document examines how society's demand for realism has influenced this genre and questions how realistic docu-soaps actually are.
The Pixel Lab 2015 | Loc Dao's Lessons Learned in Interactive Documentary power to the pixel
The NFB's Head of Digital Content shares lessons learned around story and form from award-winning, groundbreaking interactive projects Seven Digital Deadly Sins, Circa 1948, The Last Hunt, Bear 71 and Welcome to Pinepoint.
Design and technology meets story and documentary.
This document provides background information and context for a short documentary film about the genre of dubstep music. It discusses the filmmakers' inspiration and goal of determining whether dubstep's international spread has been a positive development. It also outlines conventions of documentary filmmaking that are relevant to the film, including types of documentaries, use of archive footage, interview styles, and techniques. Examples are provided from other documentaries to illustrate these conventions and how the filmmakers' work conforms to or develops upon them.
Ralph is a digital production company with offices in London, New York, and LA. They create engaging video and social media content to promote brands. They have experience producing interactive and personalized videos, social media games, and mobile apps for clients across media, entertainment, and technology. Some of their notable past projects include interactive experiences for Breaking Bad, YouTube, FX, and AT&T.
The document provides guidance on shooting documentary videos using consumer cameras. It discusses framing shots according to the rule of thirds and using techniques like close-ups, medium shots, and wide shots. The document emphasizes shooting to edit by getting all necessary footage and keeping the camera still rather than overusing zooms and pans. Camera movements like zooms and pans should only be used to advance the story.
Oliver Daly created the proof-of-concept short film MILES to showcase his vision for a feature film about a boy and his robotic dog companion. He used an ARRI ALEXA Plus camera with vintage anamorphics to achieve a soft, organic look. On set, the DepthKit system allowed them to instantly capture actors and objects as 3D models. This enabled the virtual camera movements and effects added in post. The short was successful in securing representation and a development deal, greenlighting MILES as a full-length feature film.
My DIYDays LA Presentation: Storytelling as Software. I've added a few more details to the presentation for this upload, but if you have any questions, feel free to contact me.
Charlie Clements integrated various technologies in creating a film opening about a girl with dissociative identity disorder. He researched title sequences on Art of the Title and used Netflix to study psychological thriller openings. Scoop.it allowed him to collect information on dissociative identity disorder. He created marketing materials like a questionnaire on Google Forms and edited the film opening in Final Cut Pro. Various other tools like Canon cameras, Photoshop, Blogger and Canva were utilized at different stages of the process.
Charlie Clements integrated various technologies in creating a film opening about a girl with dissociative identity disorder. They used Art of the Title to research title sequences, Netflix to watch psychological thrillers for inspiration, Scoop.it to collect research, and Frank Ash's video for storytelling tips. Charlie filmed continuity exercises and interviews using a Canon camera and edited in Final Cut Pro. Google Maps, Word, Blogger, Photoshop, Canva and YouTube were also utilized at different stages of the project.
LightIron And Pablo Get Togehter For The Social NetworkQuantel
1) The Social Network was produced entirely digitally using file-based workflows from shooting through post-production and delivery to theaters.
2) Color grading was done by Ian Vertovec using Quantel's Pablo system in a mobile DI theater set up on a soundstage for efficiency.
3) Vertovec refined details in nearly every frame but did not do heavy relighting as the film was well-lit on set, instead focusing on subtle enhancements to achieve the director's vision of "sophisticated reality".
The marketing campaign for Cloverfield had a low budget but was highly successful. It targeted internet-savvy young people by releasing minimal information and clues over time to generate buzz and discussion online. This included a cryptic teaser trailer, a website with time-stamped photos, fictional character social media pages, and an alternate reality game, all encouraging speculation and demand to see the movie. Though traditional advertising was also used, the slow release of details and unanswered questions meant the only way to find answers was to see the film. This viral campaign established an entire fictional universe and left many plot points unresolved, fueling discussion and speculation about a potential sequel.
AAM 2014
Tech Tutorial: Principles of Effective Video
Anna Chiaretta Lavatelli
Associate Director of Digital Media
Museum of Contemporary Art Chicago
alavatelli@mcachicago.org
Peter Argentine
Argentine Productions Inc.
peter@argentineproductions.com
Emily Lytle-Painter
Education Technologist
J. Paul Getty Museum
@MuseumofEmily
The document discusses the process of creating a documentary on knife crime. In the planning stages, the group created mind maps of possible topics and chose knife crime due to available information sources. They storyboarded shots including camera angles. In research, they used news websites and articles to find statistics and researched similar documentaries. They filmed based on storyboards using equipment like cameras, microphones, and tripods. They edited footage in Final Cut Express, adding titles, transitions, and effects. They created additional materials like a radio trailer and magazine article to promote the documentary.
The Inside Experience was an 8-episode online film broadcast in 2011 that allowed viewers to participate through social media. It was produced professionally with Hollywood talent like DJ Caruso and Emmy Rossum. Viewers could comment on the main character's Facebook page and vote to be featured in the final film. While an early example of interactive online filmmaking, it provided limited opportunities for participation and narrative influence compared to other social films.
The documentary analyzes the documentary "Flint Town" about the city of Flint, Michigan. It shows the depths of poverty through visuals of large amounts of abandoned property. The sounds emphasize crime and desperation. Earlier documentaries like "Roger and Me" showed the beginning of neighborhood decline through abandoned homes. Camera work draws attention more to residents' faces than police. The documentary conveys the mood of a city left to fend for itself without needed assistance.
The document provides a summary of various creative projects that utilize digital media and crowdsourcing including music videos created using fan-submitted content, interactive installations, data visualizations, and augmented/virtual reality works. It briefly describes projects such as the Johnny Cash Project music video, interactive light displays, location-based mobile games, and tools for visualizing information and trends on social networks. The document covers a wide range of genres including art, film, music, technology, and their intersections.
The document provides an evaluation of the short film "Apple" created by Sam Thorpe. It discusses how the film used conventions of short films such as having a simple single idea (how our everyday actions can have consequences). It employed experimental camera techniques like first-person shots from the apple's perspective. Feedback was incorporated, such as focusing more on the apple after others said the human interactions were emphasized too much. A variety of technologies were used including cameras, software, and the internet for blogs, Facebook, and uploading the finished film.
The documentary focuses on rising crime rates in the Redbridge region. It aims to inform audiences aged 14-19 about the prevalent crimes and how to prevent further increases. It follows industry practices in production. Victim interviews and reconstructions are included to shock audiences into action. Statistics, authority interviews, and public opinions also provide information to educate audiences. Camerawork, editing, sound, and mise-en-scene aim to immerse audiences and convey the seriousness of crime in the area.
On Storytelling & Magic Realism in Rushdie’s Midnight’s Children, Shame, and ...AJHSSR Journal
ABSTRACT: Salman Rushdie’s novels are humorous books about serious times. His cosmopolitanism and
hybrid identity allowed him access to multiple cultures, religions, languages, dialects, and various modes of
writing. His style is often classified as magic realism, blending the imaginary with the real. He draws
inspiration from both English literature and Indian classical sources. Throughout his works, there is a lineage of
‘bastards of history’, a carnival of shameful characters scrolling all along his works. Rushdie intertwines fiction
with reality, incorporating intertextual references to Western literature in his texts, and frequently employing
mythology to explore history. This paper focuses on Rushdie’s three novels: Midnight’s Children, Shame, and
Haroun and the Sea of Stories, analyzing his postmodern storytelling techniques that aim to explore human
vices and follies while offering socio-political criticism.
KEYWORDS : Magic Realism, Rushdie, Satire, Storytelling, Transfictional Identities
This document analyzes how the student's media documentary project uses, develops, and challenges conventions of real documentaries. It finds that the project takes a hybrid approach, using expository and reflexive documentary styles. It employs many standard documentary techniques like voiceovers, interviews, establishing shots, and music to set tone. However, it also includes some unconventional elements like warnings and flashes in the opening. Overall, the analysis concludes the project largely conforms to documentary conventions to engage audiences like a real media product.
This document discusses the genre of "docu-soap" television programs. It establishes docu-soap as combining elements of documentary and soap opera by relaxing boundaries between reality and fiction. Examples like "Airport" and "Big Brother" are given, which use extensive camera crews but also employ conventions like fast editing, voiceovers, and personalities who enjoy performing for the camera. While docu-soaps are popular for allowing viewers to relate to "real" everyday lives, some argue they exploit their subjects and prioritize drama over addressing social issues. The document examines how society's demand for realism has influenced this genre and questions how realistic docu-soaps actually are.
The Pixel Lab 2015 | Loc Dao's Lessons Learned in Interactive Documentary power to the pixel
The NFB's Head of Digital Content shares lessons learned around story and form from award-winning, groundbreaking interactive projects Seven Digital Deadly Sins, Circa 1948, The Last Hunt, Bear 71 and Welcome to Pinepoint.
Design and technology meets story and documentary.
This document provides background information and context for a short documentary film about the genre of dubstep music. It discusses the filmmakers' inspiration and goal of determining whether dubstep's international spread has been a positive development. It also outlines conventions of documentary filmmaking that are relevant to the film, including types of documentaries, use of archive footage, interview styles, and techniques. Examples are provided from other documentaries to illustrate these conventions and how the filmmakers' work conforms to or develops upon them.
Ralph is a digital production company with offices in London, New York, and LA. They create engaging video and social media content to promote brands. They have experience producing interactive and personalized videos, social media games, and mobile apps for clients across media, entertainment, and technology. Some of their notable past projects include interactive experiences for Breaking Bad, YouTube, FX, and AT&T.
The document provides guidance on shooting documentary videos using consumer cameras. It discusses framing shots according to the rule of thirds and using techniques like close-ups, medium shots, and wide shots. The document emphasizes shooting to edit by getting all necessary footage and keeping the camera still rather than overusing zooms and pans. Camera movements like zooms and pans should only be used to advance the story.
Oliver Daly created the proof-of-concept short film MILES to showcase his vision for a feature film about a boy and his robotic dog companion. He used an ARRI ALEXA Plus camera with vintage anamorphics to achieve a soft, organic look. On set, the DepthKit system allowed them to instantly capture actors and objects as 3D models. This enabled the virtual camera movements and effects added in post. The short was successful in securing representation and a development deal, greenlighting MILES as a full-length feature film.
My DIYDays LA Presentation: Storytelling as Software. I've added a few more details to the presentation for this upload, but if you have any questions, feel free to contact me.
Charlie Clements integrated various technologies in creating a film opening about a girl with dissociative identity disorder. He researched title sequences on Art of the Title and used Netflix to study psychological thriller openings. Scoop.it allowed him to collect information on dissociative identity disorder. He created marketing materials like a questionnaire on Google Forms and edited the film opening in Final Cut Pro. Various other tools like Canon cameras, Photoshop, Blogger and Canva were utilized at different stages of the process.
Charlie Clements integrated various technologies in creating a film opening about a girl with dissociative identity disorder. They used Art of the Title to research title sequences, Netflix to watch psychological thrillers for inspiration, Scoop.it to collect research, and Frank Ash's video for storytelling tips. Charlie filmed continuity exercises and interviews using a Canon camera and edited in Final Cut Pro. Google Maps, Word, Blogger, Photoshop, Canva and YouTube were also utilized at different stages of the project.
LightIron And Pablo Get Togehter For The Social NetworkQuantel
1) The Social Network was produced entirely digitally using file-based workflows from shooting through post-production and delivery to theaters.
2) Color grading was done by Ian Vertovec using Quantel's Pablo system in a mobile DI theater set up on a soundstage for efficiency.
3) Vertovec refined details in nearly every frame but did not do heavy relighting as the film was well-lit on set, instead focusing on subtle enhancements to achieve the director's vision of "sophisticated reality".
The marketing campaign for Cloverfield had a low budget but was highly successful. It targeted internet-savvy young people by releasing minimal information and clues over time to generate buzz and discussion online. This included a cryptic teaser trailer, a website with time-stamped photos, fictional character social media pages, and an alternate reality game, all encouraging speculation and demand to see the movie. Though traditional advertising was also used, the slow release of details and unanswered questions meant the only way to find answers was to see the film. This viral campaign established an entire fictional universe and left many plot points unresolved, fueling discussion and speculation about a potential sequel.
AAM 2014
Tech Tutorial: Principles of Effective Video
Anna Chiaretta Lavatelli
Associate Director of Digital Media
Museum of Contemporary Art Chicago
alavatelli@mcachicago.org
Peter Argentine
Argentine Productions Inc.
peter@argentineproductions.com
Emily Lytle-Painter
Education Technologist
J. Paul Getty Museum
@MuseumofEmily
The document discusses the process of creating a documentary on knife crime. In the planning stages, the group created mind maps of possible topics and chose knife crime due to available information sources. They storyboarded shots including camera angles. In research, they used news websites and articles to find statistics and researched similar documentaries. They filmed based on storyboards using equipment like cameras, microphones, and tripods. They edited footage in Final Cut Express, adding titles, transitions, and effects. They created additional materials like a radio trailer and magazine article to promote the documentary.
The Inside Experience was an 8-episode online film broadcast in 2011 that allowed viewers to participate through social media. It was produced professionally with Hollywood talent like DJ Caruso and Emmy Rossum. Viewers could comment on the main character's Facebook page and vote to be featured in the final film. While an early example of interactive online filmmaking, it provided limited opportunities for participation and narrative influence compared to other social films.
The documentary analyzes the documentary "Flint Town" about the city of Flint, Michigan. It shows the depths of poverty through visuals of large amounts of abandoned property. The sounds emphasize crime and desperation. Earlier documentaries like "Roger and Me" showed the beginning of neighborhood decline through abandoned homes. Camera work draws attention more to residents' faces than police. The documentary conveys the mood of a city left to fend for itself without needed assistance.
The document provides a summary of various creative projects that utilize digital media and crowdsourcing including music videos created using fan-submitted content, interactive installations, data visualizations, and augmented/virtual reality works. It briefly describes projects such as the Johnny Cash Project music video, interactive light displays, location-based mobile games, and tools for visualizing information and trends on social networks. The document covers a wide range of genres including art, film, music, technology, and their intersections.
The document provides an evaluation of the short film "Apple" created by Sam Thorpe. It discusses how the film used conventions of short films such as having a simple single idea (how our everyday actions can have consequences). It employed experimental camera techniques like first-person shots from the apple's perspective. Feedback was incorporated, such as focusing more on the apple after others said the human interactions were emphasized too much. A variety of technologies were used including cameras, software, and the internet for blogs, Facebook, and uploading the finished film.
The documentary focuses on rising crime rates in the Redbridge region. It aims to inform audiences aged 14-19 about the prevalent crimes and how to prevent further increases. It follows industry practices in production. Victim interviews and reconstructions are included to shock audiences into action. Statistics, authority interviews, and public opinions also provide information to educate audiences. Camerawork, editing, sound, and mise-en-scene aim to immerse audiences and convey the seriousness of crime in the area.
Similar to Live Documentary: Thesis in progress (20)
On Storytelling & Magic Realism in Rushdie’s Midnight’s Children, Shame, and ...AJHSSR Journal
ABSTRACT: Salman Rushdie’s novels are humorous books about serious times. His cosmopolitanism and
hybrid identity allowed him access to multiple cultures, religions, languages, dialects, and various modes of
writing. His style is often classified as magic realism, blending the imaginary with the real. He draws
inspiration from both English literature and Indian classical sources. Throughout his works, there is a lineage of
‘bastards of history’, a carnival of shameful characters scrolling all along his works. Rushdie intertwines fiction
with reality, incorporating intertextual references to Western literature in his texts, and frequently employing
mythology to explore history. This paper focuses on Rushdie’s three novels: Midnight’s Children, Shame, and
Haroun and the Sea of Stories, analyzing his postmodern storytelling techniques that aim to explore human
vices and follies while offering socio-political criticism.
KEYWORDS : Magic Realism, Rushdie, Satire, Storytelling, Transfictional Identities
STUDY ON THE DEVELOPMENT STRATEGY OF HUZHOU TOURISMAJHSSR Journal
ABSTRACT: Huzhou has rich tourism resources, as early as a considerable development since the reform and
opening up, especially in recent years, Huzhou tourism has ushered in a new period of development
opportunities. At present, Huzhou tourism has become one of the most characteristic tourist cities on the East
China tourism line. With the development of Huzhou City, the tourism industry has been further improved, and
the tourism degree of the whole city has further increased the transformation and upgrading of the tourism
industry. However, the development of tourism in Huzhou City still lags far behind the tourism development of
major cities in East China. This round of research mainly analyzes the current development of tourism in
Huzhou City, on the basis of analyzing the specific situation, pointed out that the current development of
Huzhou tourism problems, and then analyzes these problems one by one, and put forward some specific
solutions, so as to promote the further rapid development of tourism in Huzhou City.
KEYWORDS:Huzhou; Travel; Development
CYBER SECURITY ENHANCEMENT IN NIGERIA. A CASE STUDY OF SIX STATES IN THE NORT...AJHSSR Journal
ABSTRACT: Security plays an important role in human life and endeavors. Securing information and
disseminating are critical challenges in the present day. This study aimed at identifying innovative technologies
that aid cybercrimes and can constitute threats to cybersecurity in North Central (Middle Belt) Nigeria covering
its six States and the FCT Abuja. A survey research design was adopted. The researchers employed the use of
Google form in administering the structured questionnaire. The instruments were faced validated by one expert
each from ICT and security. Cronbach Alpha reliability Coefficient was employed and achieved 0.83 level of
coefficient. The population of the study was 200, comprising 100 undergraduate students from computer science
and Computer/Robotics Education, 80 ICT instructors, technologists and lecturers in the University and
Technical Colleges in the Middle Belt Nigeria using innovative technologies for their daily jobs and 20 officers
of the crime agency such as: Independent Corrupt Practices Commission (ICPC) andEconomic and Financial
Crimes Commission (EFCC). Three research purposes and questions as well as the hypothesis guided the study
on Five (5) point Likert scale. Data collected were analyzed using mean and standard deviation for the three
research questions while three hypotheses were tested using t-test at 0.05 level of significance. Major findings
revealed that serious steps are needed to better secure the cybers against cybercrimes. Motivation, types, threats
and strategies for the prevention of cybercrimes were identified. The study recommends that government,
organizations and individuals should place emphasis on moral development, regular training of its employees,
regular update of software, use strong password, back up data and information, produce strong cybersecurity
policy, install antivirus soft and security surveillance (CCTV) in offices in order to safeguard its employees and
properties from being hacked and vandalized.
KEYWORDS: Cybersecurity, cybercrime, cyberattack, cybercriminal, computer virus, Virtual Private Networks
(VPN).
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The Impact of Work Stress and Digital Literacy on Employee Performance at PT ...AJHSSR Journal
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with employee performance at PT Telkom Akses Area Cirebon, both concurrently and partially. Employing a
quantitative approach, the study's objectives are descriptive and causal, adopting a positivist paradigm with a
deductive approach to theory development and a survey research strategy. Findings reveal that work stress
negatively and significantly impacts employee performance, while digital literacy positively and significantly
affects it. Simultaneously, work stress and digital literacy have a positive and significant influence on employee
performance. It is anticipated that company management will devise workload management strategies to
alleviate work stress and assess the implementation of more efficient digital technology to enhance employee
performance.
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3. “Skype, which was the fantasy of our
childhood, gets you back to sitting there
and being available in that old-fashioned
way. Our model of what it
was to be present to each other, we
thought we liked that… But it turns out
that time shifting is our most valued
product. This new technology is about
control. Emotional control and time
control.”
Sherry Turkle
(Call Me! But Not On
Skype or Any Other Video
Chat…, TIME, Jan. 2010)
4. In 2012, artist John Clang created a series of Skype family photos capturing distant family members in a single
portrait by projecting “Skyped in” individuals into their loved ones’ physical space. It is a vision of telepresence as
it was originally theorized, creating the feeling of being-at-a-distance.
Being Together photo project
5. “The mission of the Web Real-Time
Communications Working Group,
part of the Ubiquitous Web
Applications Activity, is to define
client-side APIs to enable Real-Time
Communications in Web Browsers.”
“These APIs should enable building applications that can be
run inside a browser, requiring no extra downloads or plugins,
that allow communication between parties using audio, video
and supplementary real-time communication, without having
to use intervening servers…”
7. OMG: I’m interested in this topic for the same
reason I’m interested in documentary
(What if I combine them? Can you do that?)
8. Research Focus: Live Documentary
Live Performance
Live
Subject
Example project: Elaine
Live-streaming
Live Subject
9. What is a documentary?
Walter Cronkite announces the death of
LBJ after taking a call with the White
House Press Secretary on the air
10. What is a documentary?
What are the impulses
of the documentary
genre that endure?
How do you remediate
them for the web?
What are the web
affordances that can
strengthen the documentary
impulse?
11. LIVE PERFORMANCE
Sam Green:
Utopia in Four
Movements
The Love Song of R.
Buckminster Fuller
Taking documentary
back into the theater
as semi-performed
and semi-constructed,
a new node of early
cinematic practices
MAPPING
THE
FIELD
13. MAPPING
Sam Gregory
CoPresence4Good Initiative
Documentary Witnessing Real Time Witnessing
THE
FIELD
LIVE STREAMING
14. Bear71, National Film Board of Canada
Presence in Story:
User as Live Video
Avatar
A Reflection of
Content: Tracking,
Tagging,
Surveillance
MAPPING
THE
FIELD
LIVE STREAMING
16. LIVE TWO-WAY INTERACTION
in DOCUMENTARY
MY NECK OF THE WOODS: A time-limited live documentary
MAPPING
THE
FIELD
Unidirectional live-streams Live two-way conversation between viewer & subject
17. What’s at stake?
Homophily & “Flocking” Online
Can we use narratives to entice
people to meaningfully engage
outside the flock?
Potential formula:
Emotional propulsion through
narrative
Orchestrated moments of free
communication through
‘liveness’ tech
A new route for documentary to
the longstanding vision of
impact
18. Get in Touch
jfische2@mit.edu
@jufisch
SKYPE: JuFisch1222
Editor's Notes
I’m interested in these. WHY?
What mitigated those utopian visions? What stalled more ubiquitous telepresence technologies?
So much so that this year Skype launched a series of ONLNINE ADS talking about the unique emotional connection of video-calling based on the production of these photos.
Second semester: Connection, emotion, seeing people and engaging with them, hearing their own words, emotional resonance, REAL meaningful content and interactions…
Around this time I was sort of full throttle on involvement and learning in my research lab Open Doc Lab. So I’m spinning my wheels, it’s all about connection, getting a dialogue going, getting people talking to one another making meaningful conversation, that face-to-face experience, the eye contact…
The impulse of documentary to
To me this is the central issue, of how to balance narrative &