User education is one of the essential activities of the library to optimize the use of library services. This paper discusses the use of multimedia based videos for the promotion of library services and activities with the help of emerging trends and technologies and the power of Web 2.0 especially YouTube. Through this paper, it is tried to demonstrate the procedural aspects of promoting user education through developing multimedia based user education program and utilizing the services of YouTube as media of marketing and communication at Jaypee University of Information Technology, Solan, Himachal Pradesh, India.

No description available.

No description available.

This thesis presents the LiquiMedia operating system architecture. LiquiMedia is specialized to schedule multimedia applications. Because they generate output for a human observer, multimedia applications such as video games, video conferencing and video players have both unique scheduling requirements and unique allowances: a multimedia stream must synchronize sub-streams generated for different sensory modalities within 20 milliseconds, it is not successfully segregated until it has existed for over 200 milliseconds and tolerates occasional scheduling failures. LiquiMedia is specialized around these requirements and allowances. First, LiquiMedia synchronizes multimedia tasks by invoking them from a shared realtime timer interrupt. Second, owing to multimedia's tolerance of scheduling failures, LiquiMedia schedules tasks based on a probabilistic model of their running times. Third, LiquiMedia can infer per-task models while a user is segregating the streams that the tasks generate. These specializations provide novel capabilities: up to 2. 5 times higher utilization than RMS scheduling, use of an atomic task primitive 9. 5 times more efficient than preemptive threading, and most importantly, the ability to schedule arbitrary tasks to a known probability of realtime execution without a priori knowledge of their running times.

This thesis describes a number of compositions in which the objective was to investigate whether, and how far, the organisation of light can function as an extension of musical expression in the non-figurative visual realm. I explore the extent to which sound and light are compatible as media, in the sense of both being able to communicate a common set of ideas. The thesis begins by placing the discussion in a historical context, with an overview of the history of analogies between sound and light from Antiquity to the 19th century, as well as the history of Light Art. The second part of the thesis describes synaesthesia as a historically developed aesthetic concept and as a field of research that reveals interesting facts about the neuronal processing of stimulations from the senses. The third part forms the core of the research. It leads from a general historic discussion to more specific problems that emerged in my own work with sound and light. Light is a medium strongly characterised by purity; at first, light therefore seemed an inappropriate medium in which to offer plausible translations of different degrees of sonic noise. However, because of the importance that the inclusion of noise has taken in music since the 20th century, this would have meant a severe handicap in looking for a homological relationship between sound and light in artistic contexts. From a discussion of the broad implications the idea of dirt has in social and cultural contexts, the focus is eventually reduced to the aesthetic problem at hand. By means of a classification of three different sorts of noise, a more differentiated understanding becomes possible of the various functions that noise can have. Corresponding forms of ‘dirty light’ eventually become conceivable and artistically applicable. In the fourth part, six compositions and one audiovisual installation are discussed. Each of these works explores different relationships between the visual and sonic component. When appropriate, the various concepts of ‘dirty light’ that have been derived in the third part are reflected in the form of concrete examples. After discussing each work individually, certain practical problems are addressed that surfaced repeatedly under different performance circumstances. In the fifth part I pose the question of how far events that are conceived to be musical have to be based on sonic events. Common definitions of music that describe sonic events as its exclusive concern are questioned and a number of examples of music are discussed where the sonic outcome is hardly audible or even completely silent. I propose a notion that conceives music as a larger field of activity in which visual manifestations form an integral part. The seven audiovisual works form the practical component of this dissertation. As a result of this research a more differentiated understanding of the nature of the coupling of sound and light has emerged, alongside a comprehension of the at times strongly differing views on the general nature of cross-disciplinary works.

Emotional intelligence (EI) plays a significant role in human emotional well-being, personal growth and life satisfaction. Self-awareness is said to be a key to the development of this form of intelligence. It has also been claimed by art therapists and educators that the expressive arts can assist people in self-expression and emotional awareness. In accordance with this belief, the motion picture (a movie) as a form of expressive product has been used to help people become aware of their own hidden feelings and thoughts (i.e. viewing or making an autobiographical movie can promote emotional awareness). However, there has been little research that specifically addresses how the process of making (one particular form of expressive art) may help a person to engage with their emotions. Therefore the central aim of the research was to show firstly how the development of autobiographical animations may engender therapeutic opportunities for greater reflection thereby facilitating personal development of, and emotional awareness in the artist and secondly, to demonstrate that the viewing of such animations may prompt viewers to gain the understanding of the feelings of the animator and be stimulated to reflect on their own experience, followed by the subsidiary goal of demonstrating that making animation could provide additional opportunities to the growth of greater emotional awareness in therapeutic and school education settings. To achieve these aims, a practice-led research approach was adopted. The thesis presents the reflective journey undertaken in creating the final installation ‘A residual cleft in my beautiful life: childhood’ based on childhood memories, showing how reflection-on-practice and in-practice formed key components in shaping the research and accompanying artistic endeavours. The development of the installation confirmed that the processes undertaken in producing an animation provided opportunities for self-knowledge and personal growth (in the artist), and that the audience were stimulated to consider their own childhoods as well as the childhood presented to them. The evidences of the animation installation production and the audience’s responses to the artefact further support the positive feedback on the values of animation to assist in increasing self-awareness from interviews with art therapists, and an online survey with school teachers. Observation of s three month animation teaching placement is also reported to invite further study to explore animation practice and school education. In conclusion, this research contributes to knowledge firstly, by providing a practice based account of the researcher’s exploration of, and development of emotional insight through her therapeutic art; secondly by evidencing the potential of a new form of expressive art - animation – to be used as an expressive arts technique to engage the emotional intelligence of individuals and audiences.

<p> While we believe our perceptions drive our reality, it is our sense of presence that ultimately determines how real an experience truly is. Whether we are fully immersed in a virtual world or captivated by conversation, presence governs our neurological processing, our psychological belief, and our physiological confirmation of all our experiences. Over the last several decades researchers have developed various study paradigms to qualify specific aspects of presence. However, little progress has been made in promoting a comprehensive framework that captures both self-reported responses as well as a full complement of correlative neurological and physiological sensor-based measurements. In this study, I employ a custom three-phase, proof-of-concept schema bridging multiple methodologies. First, exposure to an immersive media experience while collecting ECG and GSR sensor data. Second, administration of the Temple Presence Inventory with FACS and eye-tracking. Third, neurophysiological sensor measurements with EEG, eye-tracking, and FACS, along with ECG and GSR retests, during a randomized viewing of recordings from Phase I self-experience, others-experience, and a neutral-experience, to control for position bias and habituation. This phased correlation-meta-analysis, using sensor-fusion, will also introduce self-actuated mirror neuron response. In all, this study will prove that a holistic, multi-sensor measurement schema is best able to estimate the activation and relative intensity of personal presence and provide an objective assessment of mediated reality experiences. Keywords: presence, perception, augmented reality, virtual reality, mixed reality, AR, VR, MR, narrative transportation theory, flow theory, illusions, proprioception, somatosensory response, vestibular system, haptics, visual system, auditory system, immersion, measurement, mirror neurons, EEG, ECG, GSR, eye-tracking, FACS, reality metaphor </p>

<p> This quantitative study investigates the relationship between video game usage, video game addiction, compulsive Internet use, and subjective well-being. The key variables were measured using three different scales: The Game Addiction Scale; the Compulsive Internet Use Scale; and the Flourishing scale. 121 participants over the age of 18 partook in the study. The empirical results demonstrate a statistically significant, negative correlation between addictive video game usage and well-being. Video game addiction and compulsive Internet use were both found to be negatively correlated with subjective well-being.</p>

<p> This dissertation explains and highlights a scholar-artist-practitioner research model that blends existing theories rooted in social constructionist, narrative, and creative arts therapies with cutting edge digital art practices that better serve the needs of transition age youth (TAY) within the foster care system. This dissertation is an accumulation of work that traverses the fields of child welfare, mental health, and digital media learning. Two research questions are answered in this dissertation (a) What does a digital artistic intervention look like? and (b) How can digital media art be used in therapeutic group sessions with TAY?</p><p> This dissertation draws on my background in behavioral health with youth, work as a videographer and my experience in the realm of hip-hop culture as a disc jockey (DJ). Throughout this dissertation an emphasis is placed on the idea and application of <i>remixing.</i> DJs use remixing as a technique of expression, taking existing songs and mixing them up (blending, cutting, fading, and scratching) to create something new and powerful in return. This dissertation uses the word <i>remix</i> as a metaphor for therapeutic techniques that play with the idea of narrative transformation.</p><p> In particular, I demonstrate how to use iPad applications and a process called digital storytelling (mixing audio and video formats) for the purpose of evoking a client&rsquo;s personal story construction and story transformation through a remix process. Two underlying themes comprise the framework of this dissertation: (a) the construction of narratives and (b) the remix (or creative transformation) of narratives using various forms of digital media.</p><p> The literature review discusses the disciplines of art therapy, expressive arts therapy, narrative therapy, and digital media art and digital art therapy. I also discuss a portion of the foster care system called TAY, and finally I discuss how personal stories and belief systems are subjectively created but more importantly remixed or recreated using the strategies highlighted in this study. The methodology of this dissertation is broken down into three sections: a pilot study, a case study, and a vignette, which display how digital media art is used as a therapeutic intervention.</p>

<p>This dissertation began as an attempt to understand how biomedical concepts and practices, which undermine the salience of norms drawn from the ?natural order? are relayed through mass media and inform self-understanding, social being, self-care, and practices of everyday life. The project tracks makeover TV?s valorization of the metamorphic or transformative body as an ideal that emerges through, and across, various contexts in science and popular culture. This genre of programming is one of the few sites at which the aesthetics of biotechnology are made visible in non-fiction representations and are depicted as part of everyday life. Each of this dissertation?s televisual case studies is exemplary of how popular culture absorbs and makes visible ideas from biomedicine, and how this relates to public policy, economic conditions, and developments in biomedicine. Harnessing biomedicine has aided in television?s recreation of itself as an essential element of ?new? media. It has done so by presenting itself as a technology for managed health care at a distance, and by presenting the body as a primary medium of self-expression. Television encourages ideas about the body as ?transmedial continuity? or form of media, both physical and symbolic, represented through and across variable sites, objects and platforms. Under the aegis of ?health,? medical makeover programs establish a direct relationship between body-based visual identity and life, promote biomedicine as a ubiquitous means of conceiving of the self and body, and posit biotechnology as a tool for transformation and self-care. In this context, health becomes a visual ideal and an organizing principle for self-care, which are framed as prerequisites for social, economic, and political legibility. Although biomedicine challenges essentialist models of ?natural order? through which misogynist and racist norms have been justified in modern culture, its appearances in narratives of self-transformation are overwhelmingly framed by politically retrogressive ideals of embodiment, which it aids in achieving. Given the pervasiveness of visual media and its centrality in refiguring norms that have social, biological and political significance, media literacy and critical acuity are crucial to preserving both cultural and bio diversity.