Search Results (106)

Augmented reality (AR) guidance is reshaping architectural heritage interpretation, yet multimodal evidence remains limited on how it affects users’ emotions, cognitive processing, and cultural identity. Using a one-factor within-subject design, 60 participants experienced both audio guidance and simulated AR guidance. Subjective questionnaires, electrodermal activity (EDA), heart rate variability (HRV), and electroencephalography (EEG) were collected to compare the two guidance modes in terms of emotion, the EEG-based flow indicator, cognitive load, and cultural identity. Mediation analyses examined the affective and experiential pathways linking simulated AR guidance to cultural identity responses. Results showed simulated AR guidance significantly increased subjective emotional valence, subjective emotional arousal, and dominance, elevated physiological arousal, reduced cognitive load, and enhanced overall cultural identity scores, especially affective, perceptual, and behavioral identity aspects. Mediation analyses showed that subjective emotional arousal and valence were main pathways through which simulated AR guidance elicited stronger cultural identity responses. Skin conductance level (SCL) also showed a positive mediating effect on behavioral identity, whereas the EEG-based flow indicator did not show a significant mediating effect. The results provide multimodal evidence for mechanisms underlying stronger cultural identity responses under simulated AR guidance and highlight the need to differentiate experiential goals in future AR heritage design. Full article

Camera calibration is crucial to accurate vision tasks for its establishment of the mapping between 3D space and 2D image space. Traditional calibration methods often suffer from limited accuracy and time-consuming processes. In this study, we propose an automatic guidance system leveraging an improved particle swarm optimization algorithm to achieve fast and high-precision camera calibration. Our system dynamically recommends optimal camera poses for the next calibration image, effectively reducing calibration uncertainty and enhancing accuracy. Furthermore, for wide-angle cameras, we introduce a pre-estimation of distortion coefficients to guide the calibration process, significantly improving the calibration of distortion parameters. Experimental results demonstrate that our method outperforms existing guidance systems, achieving higher calibration accuracy with fewer images and shorter calculation time. The results of camera parameters calibrated by the system are applied to the reconstruction based on point clouds, and can achieve desirable reconstruction effect. The proposed system holds promise for applications in film and television shooting, promoting the development of the industry by reducing calibration errors and equipment debugging time. Full article

The Author argues that the audiovisual image of reality cemented in films as audiovisual media reflects in a particular way the developments occurring in the community that produced these images. This refers also to the religiosity of a specific society. The article will begin by providing a brief overview of its main theoretical perspective of social imaginaries formulated and implemented in the field of sociology by Charles Taylor. In order to pave the ground for future studies in the area, the method of implementation of Taylor’s term will be presented to highlight how narrative films and television series as products of audiovisual culture reflect the state of the collective consciousness of the Polish national community in terms of Christian religiosity expressed through attachment to Catholic rituals, practices and customs as well as usage and understanding of religious symbols and also basing personal and collective behaviors and decisions on the value system that arose from Christian ethics. This means that in spite of people moving away from orthodoxy and a shift to postsecular attitudes, Christianity shaped images (including visual metaphors) that still provide people with mental shortcuts or become tools of persuasion as a means of audiovisual communication with the viewer. Full article

Recent generative art outputs across music, literature, painting and moving-image media have attracted extensive scholarly and public interest, yet evaluations of their creative capacities are mostly limited to informal observational accounts. Drawing on neuroaesthetic reasoning, this paper puts forward a dual-layer analytical framework that differentiates two distinct modes of aesthetic reception: Alignment, defined as statistical template matching, and evocation, referring to the novel association of scattered embodied memory fragments. Building on this binary categorization, the study introduces the tentative Ring Scale taxonomy—a figurative target-shooting metaphor rather than quantitative metric—as a purely descriptive tool for stratifying relative aesthetic evocation intensity. This framework further unpacks the neurocognitive underpinnings of auditory, visual and textual aesthetic pathways, alongside their combined multimodal interactions within film and television works. It tentatively accounts for why generative systems tend to deliver more cohesive aesthetic outcomes within the auditory domain, and hypothesises a present functional limitation of current large models: these systems perform comparatively well within Alignment-driven aesthetic effects, while layered high-order evocation remains constrained by inherent structural limitations of statistical training architectures. From this diagnostic observation, three directional paradigm shifts for human–AI collaborative creation are outlined: shifting from human substitution to human–machine complementarity, shifting from exhaustive template imagery generation to targeted latent fragment elicitation, and shifting from optimising figurative Ring-tier descriptive labels to pursuing transformative aesthetic fission effects. The study frames imaginative cognition as the central driving force behind fruitful human–AI co-creation, and positions prompt engineering as the actionable operational bridge connecting human imaginative thought to machine-executable generative parameters. Three tentative prompt design tactics are then elaborated: physiological arousal framing, multisensory scenario simulation prompts, and intentional strategic blank-leaving. Additionally, this work discusses the plausible constructive functions of model hallucination phenomena when viewed through the lens of high-tier aesthetic evocation, rather than merely framing such outputs as technical errors. All judgments and tier comparisons raised throughout the paper are framed as unvalidated observational hypotheses open to empirical testing. To facilitate follow-up empirical scrutiny, the paper collates a full set of testable hypotheses derived from its theoretical reasoning and outlines feasible experimental validation pipelines, with an open call for controlled empirical research to corroborate or refine the proposed qualitative framework. Full article

Robust object detection for autonomous driving requires perception models that remain reliable when visible imagery is degraded by darkness, glare, rain, fog, motion blur, or long-range small targets. Visible and thermal infrared cameras provide complementary evidence, yet many RGB–thermal detectors fuse modalities, mainly as aligned tensors, and may underuse relational structure in channel responses, spatial layouts, semantic scales, and modality-specific uncertainty. This paper presents TopoGraph-Fusion, a hierarchical graph-guided dual-modal object detector that formulates fusion as topology-aware reasoning rather than direct feature concatenation. The proposed framework builds a dual-stream backbone for RGB and thermal images, constructs channel-wise topology through a channel-topology graph aggregation module, derives relation-aware spatial and channel global attention from affinity graphs, and replaces fixed feature-pyramid communication with a Graph-Guided Feature-Pyramid Network. A topology-regularized detection objective further encourages stable cross-modal correspondence while suppressing noisy all-to-all connections. Experiments on M3FD, FLIR, RGBTDronePerson, and VEDAI512 cover road scenes, adverse illumination, drone–person perception, and aerial vehicle detection. Within this validation scope, the results and visual analyses indicate that topology-guided fusion improves small-object recall, cross-modal consistency, and robustness under modality imbalance. Full article

Commissioned for West German public television, Rainer Werner Fassbinder’s hotly debated 1972 series Eight Hours Don’t Make a Day was Germany’s first working-class family drama. Centering on the growing class consciousness of a crew of toolmakers in Cologne, the show provoked an explosion of criticism and debate among conservative critics, leftists, and trade unionists alike. Westdeutscher Rundfunk—a leader in high-quality, non-commercial, socially engaged television—sought to meet the cultural demands of the New Left by embracing the “worker film” (Arbeiterfilm) that aspired to bring the lives and dreams of the working class, WDR’s target audience, to the screen for the first time. What they got instead was a radical call for the abolition of capitalism—a TV-show that did not condescend to workers through representation of their everyday struggles, but rather radicalized them into the knowledge that employers need workers, not the other way around. Within a remarkably intersectional framework that appoints the lone non-straight, racialized worker and female characters the intellectual vanguard of the mobilizing workers, the show takes the contradictions between the factory workers’ interests and those of their management as its dramatic motor, converging on the anticapitalist insight that eight hours do not, in fact, make a day. Unsurprisingly, despite its popularity, Fassbinder’s show was cancelled five episodes into an eight episode series. In this article, I consider its potential in terms of two great thinkers of abolition—Mario Tronti, a founding figure in the Operaismo movement, and Mario Mieli, a gay communist organizer who asserted that the “liberation of Eros and the achievement of communism” were two sides of the same coin. Full article

The rapid advancement of information technology and multimedia applications has led to an increasing demand for video data processing. In particular, video fusion technology in multi-camera environments, which integrates and optimizes video data from multiple camera viewpoints, plays a crucial role in enhancing visual quality and improving the completeness of information. This technology addresses the challenge of obtaining high-quality video content in complex and dynamic environments. By improving image clarity, expanding perspective information, and enhancing scene understanding, video fusion technology has shown significant potential for a wide range of applications, attracting considerable attention from both academia and industry. Despite the existence of several review articles on video fusion, they tend to focus on isolated aspects of the technology and often lack a comprehensive, systematic overview of the field. To fill this gap, this paper provides an in-depth review of the research on video fusion technology in multi-camera scenarios. The paper covers the definition of video fusion; offers a detailed classification of key technologies, such as geometric correction and alignment, perspective fusion, spatio-temporal fusion, and multi-modal fusion; and explores its applications in diverse fields including surveillance security, virtual reality, film and television production, intelligent transportation, medical imaging, robotics, and unmanned aerial vehicles. Additionally, the paper examines the role of edge caching in video fusion, highlights the current challenges faced by the field, and discusses the potential of video fusion technology for driving innovation across multiple industries. Full article

Animals feature regularly on children’s television, exposing children to implicit and explicit messages about the natural world. Although animal representation and anthropomorphism have been examined across children’s media, film, literature, and popular culture, less is known about how animals are portrayed in preschool television, particularly in relation to biological and ecological accuracy. This study examined animal representations in programs aired on ABC Kids, the Australian Broadcasting Corporation’s free-to-air children’s television channel, using quantitative and qualitative content analysis. A total of 947 episodes from 92 programs were analyzed, with a subset of 265 episodes (43 h and 45 min) from 39 programs examined in greater detail. Animals were prominently featured, appearing on screen for 88% (171 h and 40 min) of total programming time, with programs featuring animals as central characters accounting for 41% (81 h). Nearly all central animal characters exhibited anthropomorphic traits, such as walking, talking, dressing, or behaving like humans. Inaccuracies in species depiction were common, including portrayals of animals in human-like social structures, unrealistic environments, and mixed predator–prey groupings, alongside a hierarchy based on roles and relationships. These findings indicate that realistic portrayals of animals and the natural world were uncommon. The study highlights the need for greater consideration of how animal characters are represented in preschool television, and how imaginative animal portrayals might be balanced with biologically and ecologically grounded depictions. Further research should examine how such portrayals influence children’s understanding of animals and their connection with nature. Full article

This research examines the transformation of film and TV series consumption within the contemporary media landscape, characterized by digital plenitude and Over-the-Top (OTT) dominance. The study investigates how users navigate the transition from linear broadcasting toward on-demand, platform-centric environments. Through an exploratory qualitative approach as the initial phase of a broader study, 18 semi-structured interviews were conducted with a demographically diverse group of Hungarian participants whose primary commonality is active film and TV series consumption. The findings highlight a rejection of traditional linear television, driven by an aversion to intrusive advertising and a demand for temporal autonomy. While mobile devices, particularly smartphones, are central to this shift, consumption remains predominantly stationary; users prioritize the flexibility of cross-device access within the domestic environment over mobile viewing during transit. Furthermore, the study identifies a growing friction caused by content fragmentation between different OTT platforms and rising subscription costs, while digital piracy persists as a marginal alternative. Ultimately, the study concludes that the modern audience acts as a strategic user navigating a complex ecosystem of excess. This underscores a fundamental shift where the cultural value of content is increasingly defined by the tension between individual agency and the systemic constraints of competing services. Full article

Mixed-scene holographic 3D display for film and television visual content presentation remains challenging because recorded digital holograms and computer-generated holograms (CGHs) are produced under different numerical and hardware constraints. Direct hologram superposition typically causes strong zero-order interference, diffraction efficiency degradation, and sampling pitch mismatch between the recording sensor and the replay panel, while conventional resizing reduces the effective replay aperture and narrows the available parallax. To address these issues, this paper proposes a zero-order-suppressed single-hologram fusion framework with parallax-preserving digital resizing. A recorded digital hologram is first processed by Gaussian high-pass filtering to suppress the dominant zero-order component, then resampled to match the LCOS replay pitch, and finally normalized and fused with a CGH generated through bipolar intensity encoding. On this basis, two resizing routes are developed: a spatial-domain method for aperture-preserving whole-scene scaling and a frequency-domain method for object-selective scaling and translation. Optical validation on a three-channel LCOS prototype shows that the quantitative diffraction efficiency analysis predicts an increase from approximately 10.1% to 20.05% per reconstructed object for the two-hologram fusion case, and the revised experimental results are consistent with this improvement trend. The experiments further verify replay scaling at multiple factors, the selective manipulation of physical and virtual objects, mixed-scene color replay, and occlusion-consistent depth ordering. Together with the distortion analysis, these results demonstrate improved replay visibility after fusion while maintaining geometric controllability and effective replay aperture. By relying on hologram-domain preprocessing and resizing rather than full mixed-scene recomputation, the proposed method also reduces computational burden. The study therefore provides an efficient and controllable mixed-scene holographic replay framework for visually enriched film and television content presentation, although its depth applicability remains bounded and dedicated real-time timing benchmarks are left for future work. Full article

The Beiyue Temple in Quyang County, Hebei Province, served as the host temple for worshipping the Northern Peak Deity (Beiyue shen) from its establishment during the reign of Emperor Xuanwu (483–515) of Northern Wei until the reign of Emperor Shunzhi (1638–1661) of the Qing dynasty. The temple currently houses over 200 inscribed stone steles that predate the founding of the Republic of China in 1912. This study addresses how the sacrificial space inside the Beiyue Temple evolved and transformed. By examining historical and archaeological evidence—including archival documents, epigraphic texts, diagrams, and architectural remnants—and focusing on the ‘front altar, rear garden’, the ‘hall for presenting sacrificial offerings of the common people’, and the ‘overhanging eave’, it demonstrates that the temple’s ritual space developed a dual character shaped by both official and folk practices. This duality reflects the interaction between official and folk practices against the backdrop of ‘the downward diffusion of ritual norms’ (lizhi xiayi) from the Tang and Song dynasties onwards. The findings challenge the conventional view that there was no specific space for folk ritual worship inside state-sanctioned temples during the Northern Song dynasty. It also provides vital evidence for the historical development of the sacrificial hall (xiandian) and the layout of pavilion-style stages (wuting) immediately in front of the main hall in temples built during the Song and Jin dynasties. Full article

This practice-led research examines how virtual production represents a circular return to scenographic practice, reactivating integrated modes of spatial authorship that have long underpinned screen storytelling but were obscured by industrial fragmentation. Drawing on a single-day intensive workshop at the Australian Film, Television and Radio School (AFTRS), the study analyses how spatial authorship emerged through embodied, collaborative engagement with an LED volume environment. Grounded in scenographic theory and concepts of distributed cognition and situated authorship, the article reframes virtual production as a condition that renders pre-digital, collaborative modes of making visible within contemporary screen production. The LED volume functions simultaneously as scenic environment, lighting instrument, and compositional partner, requiring participants to negotiate space, light, movement, and camera as a unified spatial event. Analysis identifies how scenographic understanding emerged through virtual scouting, world-responsive storytelling, physical-digital integration, and embodied realisation. The findings extend production design theory by challenging ocular-centric models of mise-en-scène and positioning scenographic integration as screen practice—an epistemic mode of enacting through collective, materially grounded spatial experimentation. While situated within an educational context, the study points to broader implications for how spatial authorship and collective practice are understood in contemporary screen production. Full article

This article sets out an assertion that a mass art project can make a virtue of ‘network extension’ through an Instagram account, to build creative community, new connections, and physical artwork outcomes. We Are Making A Film About Mark Fisher is an example of a ‘manifested artwork’, where Fisher’s ideas on capitalism and community are explored through electronic media. We have taken the work of critical theorist, Mark Fisher, and subjected it to a process of détournement, alluding to the work of Guy de Bord and The Situationists. The thing in itself—Fisher’s processed ideas—are reprocessed and held up against the posthumous period between 2017 and now, since he died. The assertion in the work is that while the tools are circumscribed by a set of ‘standards’ and ‘production processes’, this does not delimit them from being employed towards the evolution of embodied and shared actions that develop a counter-narrative or something that eschews the methods of Hollywood or broadcast television documentaries. We just have to learn ways to do this. ‘Decapitalising’ a process, working with human agency and good will, turns the platform of Instagram into a tool of empowerment—reappropriating the algorithm and capturing the collective back from the closed corporate system of control. We see that a form of value is pulled back out of the machinic effects of a proprietary platform. Full article

Wireless sensor network (WSN) coverage optimization is a critical factor in improving network service quality, yet it faces challenges such as deployment uniformity, high-dimensional optimization, and the balance between exploration and exploitation under limited node resources. To address the shortcomings of the cultural historical optimization algorithm (CHOA), including insufficient global exploration, lack of dynamic regulation, and limited local exploitation accuracy, this paper proposes a film and television strategy-based multi-strategy cultural historical optimization algorithm (FTSCHOA). The proposed algorithm enhances performance through three synergistic mechanisms: a DE-style evolutionary operator that strengthens global exploration and population diversity; a film-and-television strategy that balances exploration and exploitation via random perturbations and adaptive parameter regulation; and a memory-based neighborhood local search that performs refined exploitation around high-quality solution sets to improve local optimization accuracy. Extensive experiments conducted on the CEC2017 and CEC2022 benchmark suites with dimensions of 10, 20, 30, and 50 demonstrate that FTSCHOA outperforms comparative algorithms in terms of optimization accuracy, convergence speed, and stability. The Friedman mean rank test indicates that FTSCHOA consistently achieves the best average ranking, while the Wilcoxon rank-sum test confirms that its performance differences with respect to competing algorithms are statistically significant ($p<0.05$). When applied to WSN coverage optimization in a $100\hspace{0.17em}\mathrm{m}\times 100\hspace{0.17em}\mathrm{m}$ monitoring region, FTSCHOA achieves coverage rates of 0.9351 and 0.9738 with 25 and 30 sensor nodes, respectively, which are significantly higher than those obtained by PSO, GWO, CHOA, and other algorithms. Moreover, the resulting node deployments exhibit greater uniformity, fewer coverage holes, and lower redundancy. The experimental results demonstrate that FTSCHOA effectively overcomes the limitations of traditional algorithms and provides an efficient and practical solution for WSN node deployment optimization, with strong potential for application in real-world scenarios such as environmental monitoring and smart agriculture. Full article

Tourism is increasingly shaped by visual experiences of place mediated through television series and audiovisual fiction. Although film-induced tourism research has widely examined how media representations influence destination image and tourist responses, limited attention has been given to the perceptual and cognitive processes through which mediated landscapes are visually attended to and mentally organised, particularly from a neuroaesthetic perspective focused on early perceptual and attentional mechanisms in fictional contexts where tourism is not explicit. Addressing this gap, this study adopts a process-oriented neuroaesthetic approach to examine how landscapes in the television series Killing Eve are visually attended to and cognitively processed as destination imagery. An exploratory mixed-methods design combined qualitative content analysis of free recall responses (n = 260) with simulated visual attention modelling based on low-level visual features. The findings reveal a two-stage process of mediated landscape experience: visual attention initially guided by perceptual salience, followed by the selective cognitive stabilisation of certain elements as destination imagery through recall, imagination and narrative association. The study demonstrates that mediated landscapes are not processed as holistic destination images, but as selectively organised and emotionally inflected elements emerging from the interaction between visual attention and imagery processes. Full article