More and more schools begin to design simulation technology based on virtual imaging technology and virtual reality in their course contents. In particular, among these technical courses, there is a need to first strengthen the Film and Television Production education in higher institutions. This article aims to study the impact of VRT, VR, and Internet of things technology on FTP courses and audience psychology in higher institutions under the era of intelligent multimedia. How to use emerging VR technology (...) to promote the psychological wellbeing of students or patients has become a new research direction, the exploration of which has a far-reaching significance for the applications of the related technologies. First, the principle and applications of VR and IoT technology are described. Thereon, the deep learning -based training model is used to analyze the postproduction of VR-based Sand Table game, and the function and effect of the designed game model are discussed. Subsequently, VR-based Sand Play Therapy is applied to mentally ill patients to obtain its therapeutic effect. The results show that the designed VR-based Sand Table game model can be used to treat mentally ill patients and alleviate their negative psychological states. Meanwhile, the Test Anxiety Scale scores prove the significant therapeutic effect of the designed game model on the mental problems of patients. Therefore, VR-based psychological SPT can be applied in the stress relief of students and the treatment of mentally ill patients, as well as alleviate their mental health problems. This research provides a new direction and some theoretical support for the application field of VR technology. (shrink)

In an information age of youth social movements, Youth Media Matters examines how young people are using new media technologies to tell stories about themselves and their social worlds. They do so through joint efforts in a range of educational settings and media environments, including high school classrooms, youth media organizations, and social media sites. Korina M. Jocson draws on various theories to show how educators can harness the power of youth media to provide new opportunities for meaningful learning and (...) "do-it-together production." Describing the impact that youth media can have on the broader culture, Jocson demonstrates how it supports expansive literacy practices and promotes civic engagement, particularly among historically marginalized youth. In Youth Media Matters, Jocson offers a connective analysis of content area classrooms, career and technical education, literary and media arts organizations, community television stations, and colleges and universities. She provides examples of youth media work--including videos, television broadcasts, websites, and blogs--produced in the San Francisco Bay Area, Los Angeles, New York, and St. Louis. At a time when educators are increasingly attentive to participatory cultures yet constrained by top-down pedagogical requirements, Jocson highlights the knowledge production and transformative potential of youth media with import both in and out of the classroom. (shrink)

The authors examine the conceptual frameworks and substantive ideas of three authors, Lawrence Cremin, Neil Postman and Christopher Lasch, all of whom view technologies as educators. The authors focus on the television as educator and exposit these thinkers' views about relations between television's education and the education of schools, families and communities. The broader social significance involves an examination of the extent to which television's education impoverishes public discourse, the lifeblood of democracy; and the (...) extent to which television's education weakens parents' efforts to educate their children. Cremin and Postman lead the way in respectively providing a framework of analysis and identifying the problems but Cremin fails to recognize the severity of the problems and Postman does not adequately address them. Lasch's work is most promising, his formu lations fit neatly within Cremin's framework but address the problems in a way that improves upon Postman. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and (...) machine technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

The study aims at exploring the salience and functions of media and television contents in children’s lives by focusing on their uses as a discursive resource in naturally occurring peer talk. We observed and recorded Israeli children talk in everyday, natural settings in two separate studies, in 1999–2002 and in 2012–2013. Detailed discourse analysis of television-based interactions from an ethnographic, child-centered perspective reveals the enduring centrality of television as an enjoyable, available, and shared cultural resource with valuable (...) social, cognitive, and discursive affordances: it is frequently mentioned during everyday adult-free interactions; utilized as the basis for drawing and negotiating boundaries and hierarchies within the peer community; and facilitates experiencing a variety of discursive literacy skills, ranging between practicing adherence to original texts and creativity and distancing from them. These findings provide further evidence for the mediatization of everyday life, and may have educational implications, which are discussed. (shrink)

In Singapore, top down public education campaigns have long been a mode of governance by which the conduct of citizens is constantly regulated. This article examines how in two fairly recent campaigns, a new approach to campaign communication is used that involves media interdiscursivity, viz., the mixing of discourses and genres in which the media constitute a significant element. The present approach involves the appropriation of a popular local television character, ‘Phua Chu Kang’, in order to address the (...) public through educational rap music videos. Media interdiscursivity is based on an attempt to engage the public via a discourse of the ‘lifeworld’. The present article analyzes the ‘lifeworld’ discourse in terms of a combination of two processes, ‘informalization’ and ‘communitization’. The dual processes are examined and discussed in relation to the choice of Phua Chu Kang as an ‘ordinary’ and almost ‘real’ person, including his informal register and speech style; his use of Singlish; and his construction of ‘community.’ The presence of Singlish, in particular, is interesting because it is included as part of PCK’s public performance of the lifeworld. The article concludes by considering this form of media interdiscursivity as the government’s shrewd way of achieving its social governance goals. (shrink)

Building on an action theoretical perspective, it is assumed that most television viewing is a routine response to frequently occurring situations, which together make up everyday life. This interplay between television viewing and everyday life was studied using data from a national survey among Dutch adults and their families. From this survey, data of 225 couples were analyzed using event history analysis. Results indicate that one cannot see television viewing as merely an alternative for other activities. For (...) instance, participatory activities have two distinct effects: They tend to inhibit television viewing by the actor but stimulate television viewing by the actor’s partner. The effect of contacts with other variables appears to be important as well: Being at home, engagement in child care, household work, and eating and drinking often enhances television viewing. But presence of non-family may inhibit television viewing. Education was shown to have a consistently negative impact on television viewing, and there appeared to be some gender specific inducements for termination of television viewing. (shrink)

This article examines the role of middle-school science textbooks in dealing with sensitive social and scientific issues. Education specialists compared the ten most widely used sixth- and seventh-grade textbooks to determine the amount and depth of content presented on five major global issues, including the issue of nuclear weapons. Differences between grade levels were also explored. Implications stemming from the content analysis are discussed within the context of a television culture.

COVID-19 has necessitated inquiry into the capacity of technology to build learning communities to solve problems beyond proximal boundaries. Platforms like Zoom offer pathways for communication and content-delivery, but little stimulus for collective online outcomes (projects/learning-objects/discussion forums). We aim to examine how monetized platforms fit within Marcuse’s technological rationality and its capacity to exercise social control. This owes to dominance of aspects of technology related to providing content rather than how we direct agency towards using it. Such control is reminiscent (...) of influence exercised by portals like television and radio in the mid-1900’s. We suggest Habermas’ communicative rationality using technology can foster critical thinking in online education. We often assume technology is the basis for change in classrooms. As Marcuse says, this enables technology to exact control upon us, and fragment outcomes obtained from using it to learn, warranting creation of new tools. Integrating bottom-up ways of using technology into existing frameworks can mitigate fragmentation of the public sphere resulting from industrialized online education. Fragmentation becomes pervasive with migrating classes online. We provide a framework/design to better encourage critical reflection in online learning communities during unprecedented times such as the era of COVID-19. (shrink)

This inquiry analyzed the extent to which television commercials used mature models, relative to younger models. It also analyzed the extent to which commercials portrayed the elderly in a favorable or an unfavorable manner. The study used content analysis to test twelve hypotheses. The authors arrived at conclusions relating to the depiction of mature individuals in television commercials and set forth various recommendations to advertisers, based on the analysis.

The proliferation of cable television in Israel through independent infrastructures has provided a unique opportunity for a quasi-experimental study on audience response, and Israeli families in particular, to a new media technology. Cable television subscription in Israel differs from non-cable households in the sense that cable television provides more individual viewing situations and encourages solitary TV viewing, and therefore should be considered a new media technology. This study examines various family characteristics and their ability to predict the (...) extent to which families use the new technology for socialization. Data concerning family characteristics, duration of cable TV subscription and the extent families use television for instrumental, integrative and educational purposes, were collected from 254 urban families in 11 neighborhoods in the main cities of Israel. The results support the structural functional theory of communication as opposed to the technological, deterministic theory of communication. Subscription to cable television did not prove to be a significant predictor of the extent to which Israeli urban families use television to fulfill major socialization purposes. Family characteristics were found to influence the socializing role of cable television. The study reveals associations between certain family characteristics and the kind of socialization role that television plays in the family. Cable television, by now a well-established feature in many households, may be considered a test case, and its current uses in the family an indication of the implications regarding the introduction of newer media technologies such as the PC and the Internet, and their potential socialization purposes within families. (shrink)

Cet article retrace une étape essentielle dans l'histoire de la télévision européenne de service public : la transformation des représentations de son public - d'un public avide de savoir, à la fois de droite et de gauche, elle est passée à un public populaire qui vient en nombre chercher le loisir immédiat, une nouvelle forme de la «populace» d'Ancien Régime. Ce changement a précédé la mesure d'audience qui l'incarne et le confirme aujourd'hui. Le passage d'un public à l'autre pose un (...) défi à la pensée de la culture populaire, emprisonnée l'élitisme traditionnel, le néo-élitisme «de gauche» qui s'avance masqué , un néo-populisme qui donne le primat au texte et un déni du public populaire traité comme une fiction . Contre une pensée globale du populaire qui traite ensemble « le » public populaire et « la » télévision, il faut dépasser les hiérarchies culturelles implicitement ou explicitement à l'oeuvre dans les paradigmes dominants.This article recalls a major episode in the history of European public service television: the transformation of the representations of the public - from a "popular" audience, eager to be educated which came both from the right and the left, which still had a revolutionary people in view, the public became a popular audience eagerly seeking disreputable leisure in throngs: a return of the Ancient Regime's rabble. This episode constitues a challenge for theories of popular culture, all too often imprisonned traditional elitism, neo-elitism which claims than a non manipulated popular audience would have a "better taste", a neo-elitism, a neo-populism which rehabilitates the popular audience by dissolving it into the texts , and finally a denial of popular audiences treated as a "fiction" . Against a global view of television and its audience, it is necessary to go beyond the cultural hierarchies implicitly or explicitly at work in the dominant paradigms. (shrink)

In this paper, we will consider the role of oaths and codes of ethics in undergraduate medical education. Studies of ethics syllabi suggest that ethics educators typically use well-known bioethics texts such as Beauchamp and Childress. Yet, many issues that medical students will face are addressed by codes of ethics and oaths. We will first provide a historical survey of oaths and codes and then address how these sources of ethical guidance can be effectively used in ethics education (...) of medical students. Oaths and codes can be engagingly taught using a range of techniques including visual narrative. Excerpts from television and film can be used to highlight challenging ethical dilemmas in a variety of settings, taking the learning from the theoretical to the more applied while offering context. (shrink)

Designed to help educators address science-related social issues, this publication considers: (1) major challenges associated with science-related social issues; (2) the extent to which these challenges are being met; (3) ways in which educators can improve the education of citizens in science, technology, and social issues; and (4) promising practices that can contribute to building connections between social studies and science curricula. Three challenges outlined in the first of five sections include: (1) informing citizens about complex social issues and (...) decisions, (2) connecting diverse fields of knowledge in school curricula, and (3) resisting antagonists of science and technology. In order to determine the extent to which these challenges are currently being met, the second section examines: goal statements in curriculum reports and major reports in the social studies and the sciences; research findings on student knowledge and attitudes regarding science, technology, and society; and analyses of current curricula and textbooks. The third section describes ways in which "integrative threads" can be used to provide common learning experiences within and between distinct courses in the social studies and sciences. The fourth section presents promising practices that can contribute to this building of connections between social studies and science curricula; the use of "decision trees" and case studies, the use of role play and simulation, and the use of instructional television and microcomputers. Concluding observations in the final section and a bibliography listing over 170 publications conclude the document. (LH). (shrink)

Innovation in ethics pedagogy has continued to evolve and incorporate other forms of storytelling aimed at improving student engagement and learning. The use of bioethics narratives in feature-length films, medical television shows, or short clips in the classroom has a well-established history. In parallel, screenplays present an opportunity for an active approach to ethical engagement. We argue that screenplays and screenwriting provide a rich supplement to current medical ethics teaching and serve as a strong form of reflective learning.

This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This (...) makes it well-equipped to fulfill the educative function attributed to mass art by Noël Carroll, and to stand out as an example of what he calls popular philosophy. To support this interpretation, I rely on contemporary views regarding the nature of our engagements with fictional narratives. I then explore how philosophical concerns are generated and I elaborate on the role they have in deepening one’s understanding of one’s social circumstances. I further show how the series provides innovative and independent philosophical knowledge by means specific to the medium of generic serialized fiction. The central part of my argument is an analysis of the narrative strategies which enable the informative and philosophical aspects of the series to generate the series’ educative function. (shrink)

This study extends the examination of moral content in the media by exploring moral messages in television programming and viewer characteristics predictive of the ability to perceive such messages. Generalisability analyses confirmed the reliability of the Media’s Moral Messages (MMM) rating form for analysing programme content and the existence of 10 moral themes prevalent in television media. Standard regression analyses yielded evidence indicating viewers’ moral expertise, as measured by the Defining Issues Test (DIT), familiarity with the programme and (...) level of education predicted their ability to perceive moral messages in a television drama popular in the USA at the time of data collection. Identification of patterns in moral content represented in television programming, as well as knowledge of how viewer characteristics relate to their ability to perceive such content, can provide parents and educators with a means for better comprehending messages regarding human interaction to which they or their children are exposed. (shrink)

The implications of Globalization on education are multifaceted. However, roots of all these implications can be traced to the predominance of economic activity at the global level. The education and learning paradigm, around the world is under increasing pressure to meet the demands of the new knowledge and information-intensive global economy in a better way. This kind of pressure is challenging the traditional relationships between teachers and students and causing paradigm shifts in the process of learning. Especially, as (...) noted by KB Power (2002:i) ‘Higher education has undergone important paradigm shifts including the shift from teacher-centered to a student centered learning, and the replacement of the traditional practice of learning over a period of time by the concept of lifelong learning.’ Along with these there are major shifts in the modes of instructional technologies - from face to face oral instruction to print based instruction, and from Multimedia based videotapes and Television channels to E-learning systems. The present paper limits itself to the paradigm shifts in the concept of education with reference to learner. After a brief introduction on how education is understood in globalization the paper discusses the place of learner which is transforming according to the needs of global economy. (shrink)

The author reviews two symposia: 'The Video Arts: Demonstration and Discussion', The American Society for Aesthetics, New York City, 28 Oct. 1978, and 'The Aestheticians Look at Television', National Association of Education Broadcasters, Washington, D.C., 30 Oct. 1978. He also presents an evaluation of the current state of video art in terms of philosophical aesthetics. Furthermore, he attempts to make a clear distinction between television and video art. The differences cited include corporate studio efforts vs efforts of (...) individual artists, commercial vs artistic purpose and the substantial differences between production methods. Other issues considered are style, intimacy and narcissism. (shrink)

Reality medical television, an increasingly popular genre, depicts private medical moments between patients and healthcare providers. Journalists aim to educate and inform the public, while the participants in their documentaries—providers and patients—seek to heal and be healed. When journalists and healthcare providers work together at the bedside, moral problems precipitate. During the summer of 2010, ABC aired a documentary, Boston Med, featuring several Boston hospitals. We examine the ethical issues that arise when journalism and medicine intersect. We provide a (...) framework for evaluating the potential benefits and harms of reality medical television, highlighting critical issues such as informed consent, confidentiality, and privacy. (shrink)

This well‐researched book will be of immense value to the person who will someday write the full story of broadcast regulation in the United States. That story still needs to be written; although in this book the facts are all presented, the story behind the facts is not.Well, actually, not quite all the facts are here either. For example, similar problems tackled in other countries such as Canada, even before the United States began looking into them, aren't even mentioned. True, (...) the title of the book specifies that it is limited to the United States, but to understand the regulations presented we should certainly have some knowledge of how others had attacked the same problem.More important, Hugh Slotten totally ignores the personalities of the people involved. This is a tremendously important consideration, for to understand what happened we must know something about the motives of the people who made the decisions, and since many of the motives were hidden under layers of varying complexity and political beliefs we would like to know something about the personalities of the players. Someone at the Johns Hopkins Press evidently noticed the problem, but the only attempt at fixing it was to lie blatantly on the bookjacket: “His [Slotten's] discussion of the early years of radio examines powerful personalities—including navy secretary Josephus Daniels and commerce secretary Herbert Hoover.” But there is no discussion at all of the personalities of these men. Daniels is mentioned in only two sentences, neither of which touches on him as a person, and although Hoover occurs in several more, nothing of his “personality” is thrown in.Lee De Forest is another example. On page 4 he is identified as the inventor of the audion . On page 61 we read of his “invention” [sic] of that device. Why the quotation marks around “invention”? Did he or didn't he invent it? Actually, there is a good story to be told about that, but you won't read it here. De Forest played an active role in the regulation controversies, and this role is made clear in the book. But precisely because of this, wouldn't it be interesting to know that De Forest was arrested and went to trial for crooked stock manipulation in connection with the audion? The only hint at such activities is Slotten's statement that De Forest was a “maverick.” Wouldn't that one word make you want to know more about him, if only to evaluate his quoted remarks on governmental interference and regulations?Other matters of interest are passed by, as when on page 48 we read: “Decisions about who should receive licenses … could … be based on such qualitative issues as the character of broadcasts … and the educational benefits.” What a can of worms this opens up! Or should open up. Is the government going to censor broadcasting by denying licenses to stations that publicize alternative methods of government, such as communism? How about religious or ethnic controversies: will these be deemed “educational” or subversive? Is the government, through its licensing powers, going to let the public hear only what it wants it to hear, à la Goebbels and Germany? Well, we'll never know, for this particular can is not opened by the author; after this one mention, the subject is never broached again.In summary, if you are actively researching this field, Slotten's book is a must for you. But the full story of radio and television regulation in the United States is still to be written. (shrink)

In 2006, young people were flocking to MySpace, discovering the joys of watching videos of cute animals on YouTube, and playing online games. Not many of them were watching network news on television; they got most of their information online. So when NBC and MIT launched iCue, an interactive learning venture that combined social networking, online video, and gaming in one multimedia educational site, it was perfectly in tune with the times. iCue was a surefire way for NBC to (...) reach younger viewers and for MIT to test innovative educational methods in the real world. But iCue was a failure: it never developed an audience and was canceled as if it were a sitcom with bad ratings. In _The More We Know_, Eric Klopfer and Jason Haas, both part of the MIT development team, describe the rise and fall of iCue and what it can teach us about new media, old media, education, and the challenges of innovating in educational media. Klopfer and Haas show that iCue was hampered by, among other things, an educational establishment focused on "teaching to the test," television producers uncomfortable with participatory media, and confusion about the market. But this is not just a cautionary tale; sometimes more can be learned from an interesting failure than a string of successes. Today's educational technology visionaries might keep this lesson in mind. (shrink)

Based on two years of ethnographic fieldwork in an urban elementary school, this volume is an examination of how school division politics, regional economic policies, parental concerns, urban development efforts, popular cultures, gender ideologies, racial politics, and university and corporate agendas come together to produce educational effects. Unlike conventional school ethnographies, the focus of this work is less on classrooms than on the webs of social relations that embed schools in neighborhoods, cities, states, and regions. Utilizing a variety of narratives (...) and analytical styles, this volume: * explores how curriculum innovations are simultaneously made possible by and undermined by school district politics, neighborhood histories, and the spatial and temporal organizations of teachers' and parents' lives; * situates the educational discourse of administrators and teachers in the changing economic and political climates of the city; * analyzes the motivations behind an effort by school and business proponents to refashion classrooms within the school into business enterprises, and of children's efforts to make sense of the scheme; * examines the role of the school as a neighborhood institution, situating it at the intersections of city planners' efforts to regulate city space and children's efforts to carve out live spaces through out-of-school routines; * contemplates the meaning of school as a site for bodily experience, and looks at how patterns of space and control in the school shaped children's bodies, and at how they continued to use body-based languages to construct maturity, gender, and race; and * investigates the school as a space for the deployment of symbolic resources where children learned and constructed identities through their engagements with television, comic books, movies, and sports. _Tangled Up In School_ raises questions about how we draw the boundaries of the school, about how schools fit into the lives of children and cities, and about what we mean when we talk about "school.". (shrink)

The aim of this article is to comment on an episode of The Sopranos in which we are shown two simultaneous failed attempts at education. Tony Soprano’s son and “nephew” seek their own path, their own education, and both end up returning to the world of the two families: the Soprano family and the Mafia family. On this road, they meet people who could lead them out of these worlds, but their affiliation with the family will not be (...) scratched: the two families have too many attractions to be abandoned. The missed education of the two young men mirrors the fall of Tony Soprano, whose tragic fate this episode anticipates. (shrink)

The purpose of this article is threefold: to offer a vision of human flourishing in the academy premised upon ‘living in truth’, embracing lived experience and being in relation; to explore counterfactual thinking across the life-course, from the period of compulsory schooling to the end of life, with the emphasis on the latter; and to critique the practice of drawing upon philosophy to provide an interpretative framework through which to address the arts, drawing upon the work of Cora Diamond. The (...) movement towards death is explored through three vignettes, focusing on the lived experience of three ‘characters’ facing the prospect of their imminent demise: the philosopher Richard Rorty, the English television dramatist and screenwriter Dennis Potter and a consultant physician (the father of one of the authors). Drawing upon the work of the historian Timothy Snyder, the relevance of the claim made by Vaclav Havel that ‘essence precedes existence’ is explored in relation to the climate of the contemporary education system. The primacy of essence over existence is also a key feature of the vignettes of the lives of the three players that form the centrepiece of the article. These enable us to ‘think without thinking’, which is perhaps a counterfactual claim par excellence. (shrink)

El presente artículo busca problematizar el modo en que la recepción local del cine programado en la televisión chilena, entre 1965 y 1978, permite replicar y prolongar, en el desfase y la anacronía, un ciclo de imaginario histórico más extenso, determinado internamente por el proyecto desarrollista e ilustrado del Estado educador, y externamente por una representación residual de los regímenes heroicos modernos y, en general, de las imágenes de occidentalidad, integrada por formatos secundarios como la serie, el ensayo histórico y (...) la historieta. Nos proponemos analizar y comprender las diversas y ricas implicancias de esta “repetición”, en los planos de la estética y de la reelaboración simbólica de la representación del mundo. The following article seeks to address the issue of the way local reception of the broadcasting of films in Chilean television, between 1965 and 1978, allows us to replicate and endure, the delay and anachronism of a broader historical imaginary cycle, determined, internally, by the development and illustrated project of an educational State; externally, by a residual representation of the modern heroic regimes, and in general, by the images of westernness, composed by secondary formats, such as TV series, the historical essay and cartoons. We propose to analyse and account for the diverse and nurturing implications of this ‘replication’, in the fields of aesthetics and the symbolic rewriting of the world´s representation. (shrink)

This study involved a content analysis of the degree of portrayal and the favoribility of portrayal of African American children, as they were cast in various roles. It was hypothesized that these children would be less frequently and less positively portrayed in scholarly than in other roles and that scholarly depiction would vary among product classes. The research results did not support the first two but did support the third hypothesis. Various implications of the findings were drawn.

This volume investigates the role of the arts in character education. Bringing together insights from esteemed philosophers and educationalists, it looks to the arts for insight into human character and explores the arts' relationship to human flourishing and the development of the virtues. Focusing on the moral value of art and considering questions of whether there can be educational value in imaginative and non-narrative art, the nine chapters herein critically examine whether poetry, music, literature, films, television series, videogames, (...) and even gardening may improve our understanding of human character, sharpen our moral judgement, inculcate or refine certain skills required for virtue, or perhaps cultivate certain virtues themselves. Bringing together research on aesthetics, ethics, moral and character education, this book will appeal to students, researchers and academics of philosophy, arts, and education as well as philosophers of education, morality, aesthetics, and teachers of the arts. (shrink)

This study used a content analysis of television commercials to analyze the depiction of pre-teens and teens. It uncovered evidence that children are not often depicted in scholastic roles in the commercials. Further, it found that when children are shown in these roles, the portrayal is frequently not favorable. Various implications of the findings and recommendations to advertisers are set forth. Foremost among these is that television commercials do not seem to be assisting in forming positive attitudes toward (...) scholastic activities. More favorable depictions could improve the image of scholarly activity and assist in reducing criticisms of television advertising Advertiser's who seek action prescriptions as to how they might ethically depict children can benefit from applications of the study results to their creative efforts. (shrink)

This collection of new work on the philosophical importance of television starts from a model for reading films proposed by Stanley Cavell, whereby film in its entirety—actors and production included—brings its own intelligence to its realization. In turn, this intelligence educates us as viewers, leading us to recognize and appreciate our individual cinephilic tastes, and to know ourselves and each other better. This reading is even more valid for TV series. Yet, in spite of the progress of film-philosophy, there (...) has been a paucity of concurrent analysis of the ethical stakes, the modes of expressiveness, and the moral education involved in television series. Perhaps most conspicuously, there has been a lack of focus on the experience of the viewer. (shrink)

In July 1997 the European Commission proposed a "Directive on the Legal protection of Service based on, or consisting of Conditional Access" (to various electronic systems).This paper considers the proposed Directive within the context of the European Union's failure to develop and maintain a coherent policy relating to satellite television broadcasts direct to the individual's home (DTH) within the nascent Single European Market (SEM), and the consequences of that policy failure for "ordinary" consumers who are highly unlikely to have (...) a full understanding of the complex technical, legal and economic environment in which they are making their purchase(s). (shrink)

The subject of news media ethics has long been in the forefront of multi-media journalism. Doctored quotes, investigative journalism, plagiarism, etc. are frequently debated in newspaper editorials and have become the subject of docu-dramas. These controversies are also frequent fodder for that segment of television news that is cultivated by scandal and consumed by a voracious public.University professor Maclyn McClary's Issues in Journalism is a unique and dynamic book designed to encourage discussion and debate about news media ethics. Whether (...) the dialogue is among classmates, within focus groups, or between friends, this book guarantees animated and thought-provoking communication. What makes this book unique is the author's approach: He has created three journalists who sit around a table and argue the many and often divisive facets of ethics. At the end of each discussion is a series of questions for students and focus-group participants. It is preordained that the diversity of answers will result in lively and educational debate. (shrink)

Although it is primarily concerned with the value of liberty and the justification of compulsory education, what lies behind much of this paper is the question ‘;Why treat children like children?’ The fact is that we do not regard children as having the same rights, privileges and liberties as adults, and children may not be thought of as deserving the same degree of respect or consideration as their seniors. In the past this has led to some horrific states of (...) affairs, and while matters have undoubtedly improved, it is still the case that most people accept what Graham Haydon describes as ‘;the assumption that one thing can go for children and quite another for adults’. One likely consequence of this, and an important example of the different treatment reserved for children is compulsory education. Illiterate and innumerate adults are not compelled to practise their letters or play with counters or watch prescribed television programmes. Even when, to quote Mill, we have an adult ‘;who shows rashness, obstinacy and self-conceit—who cannot live within moderate means—who cannot restrain himself from hurtful indulgencies—who pursues animal pleasures at the expense of those of feeling and intellect’, we do not subject him to character-building games or uplifting scripture readings, or initiate him into the mysteries of home economics, or read Shakespeare at him. But we compulsorily do all of this and more to children. Moreover, compulsory education, as we have it, is not something from which the young can gain remission. The law that requires ‘;every child of compulsory school age…to receive an efficient full-time education suitable to his age, ability, and aptitude’ effectively defines an approach where what counts is the arbitrariness of chronology, not standards or excellence. (shrink)

Anatomical exhibitions, online atlases and televised dissections have recently attracted much attention and raised questions concerning the status of and the authority over the human body, the purpose of anatomical education within and outside medical schools and the methods of teaching in the digital age. I propose that for understanding the current public views of anatomy, we need to gain insight into their historical development. This article focuses on anatomies accessible to non-medical audiences in the capital of the Habsburg (...) Empire, Vienna, at the time when the city was the seat of a world-leading medical school. Anatomy at the University of Vienna was famous for its research, instruction and the abundant provision with dissectible corpses. Public anatomies were equally rich and ranged from exhibitions at the Präuscher’s Panoptikon und Anatomisches Museum , established in 1871 in the Prater amusement park, lectures on human and comparative anatomy by the university professor Carl Bernhard Brühl (1863–1890), to displays of anatomical objects at the World Exhibition in 1873. I finish by discussing a collection of letters written by the prospective ‘cadaver donors’, offering an insight into the ways in which medical encounters and anatomical knowledge informed the working-class views of their bodies. By looking at the kinds of anatomy in circulation, as well as at the participants in these exchanges, I want to illuminate the relationship between academic and public anatomies, as well as to reveal the purposes to which public anatomy served. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Playing Attention":Contemporary Aesthetics and Performing Arts Audience EducationMonica Prendergast (bio)IntroductionThe spectator is an essential element of the kind of play we call aesthetic.1We all watch television. We all go to the movies. Some of us also attend live performances such as plays, concerts, operas, dance recitals, poetry or prose readings, and so on. What are the differences to be found among these experiences? The audience experience of (...) class='Hi'>television or film is a shared one, although a more fragmented sharing in the case of television, as it is with live arts events. We are aware that we are not alone in viewing a show, that it is a collective event. But we also realize that our presence does not really matter (aside from boosting ratings or adding to box office profits) and that the performance will continue with or without us. We may exit or enter the room or auditorium at will and never offend the actors, because their presence is "mediatized" and we are not sharing the same time or space with them.2 Attending a live performance is otherwise; our presence is a key element of the event and definitely can and does make a significant difference both for ourselves and for the performers. Although the size and qualities of the event and audience may alter this assertion — a huge stadium rock concert is arguably a more mediatized live performance than a small folk club date — it still holds true that presence is one of the most important qualities of audience in live performance.If we can accept that audience presence is central to performance, then it follows that aesthetic education in the performing arts needs to pay some attention to this phenomenon. In a First World culture that is currently over-saturated with mediatized performance, the future health and vitality of live performance is endangered if educators neglect to address the challenges and processes involved in being an audience for the performing arts in arts education curricula. This essay explores how aesthetic/arts education may [End Page 36] assist young people to grow in awareness and understanding of the essential role that is played by audience in attending performance. In examining the work of four contemporary aesthetic philosophers — Hans-Georg Gadamer, Paul Ricoeur, Paul Thom, and James O. Young — I focus on the areas of spectatorship, attention, interpretation, and evaluation/criticism as important qualities of audience-in-performance. I will then offer a possible curriculum framework for audience education in the performing arts that is performative in form and nature; that is, creative, experiential, emergent, and open question-driven.Both classical and contemporary aesthetic philosophy tends to ignore the performing arts in general and audience-in-performance in particular.3 Plato derides performance as anti-reason and Aristotle salvages it by focusing on the audience's experience of catharsis in tragedy, but this fascinating debate gets lost over time as philosophers get caught up in questions around the definition and nature of art. Examinations of audience in aesthetics tend to assume an audience engaged in the more reflective, contemplative, and individual activity of viewing a work of visual art, reading a poem, or appreciating beauty in general. Discussions of performing arts deal with the text of a play or the score of a musical piece as the primary aesthetic object, with performances of these texts or scores considered somehow secondary, less-definable therefore less worthy of serious philosophic consideration.4 Although a number of aesthetic philosophers have taken up performance and audience issues in more recent years, especially regarding issues around "authentic" performance of music on original instruments, the experience of audience-in-performance remains understudied.5 Others, such as Nick Zangwill, try to negate the audience altogether as being a relatively insignificant part of an aesthetic event and argue that the central focus of aesthetics should be on the artist and the creation of artworks.6Fortunately, there have been a few voices in the field that do attend more closely to performing arts in general and audience in particular, or whose work can be effectively applied to this distinct type of aesthetic event. In the next section I will describe... (shrink)

In classrooms, museums, health clinics and beyond, the educational uses of visual media have proliferated over the past fifty years. Film, video, television, and digital media have been integral to the development of new pedagogical theories and practices, globalization processes, and identity and community formation. Yet, Brian Goldfarb argues, the educational roles of visual technologies have not been fully understood or appreciated. He contends that in order to understand the intersections of new media and learning, we need to recognize (...) the sweeping scope of the technologically infused visual pedagogy—both in and outside the classroom. From Samoa to the United States mainland to Africa and Brazil, from museums to city streets, _Visual Pedagogy_ explores the educational applications of visual media in different institutional settings during the past half century. Looking beyond the popular media texts and mainstream classroom technologies that are the objects of most analyses of media and education, Goldfarb encourages readers to see a range of media subcultures as pedagogical tools. The projects he analyzes include media produced by AIDS/HIV advocacy groups and social services agencies for classroom use in the 1990s; documentary and fictional cinemas of West Africa used by the French government and then by those resisting it; museum exhibitions; and TV Anhembi, a municipally sponsored collaboration between the television industry and community-based videographers in São Paolo, Brazil. Combining media studies, pedagogical theory, and art history, and including an appendix of visual media resources and ideas about the most productive ways to utilize visual technologies for educational purposes, _Visual Pedagogy_ will be useful to educators, administrators, and activists. (shrink)

I want to argue that in the modern world national cultures are distinctly different from one another, and although not homogeneous, are homogenizing: that is, each national society has a culture that, while allowing for difference, nonetheless presses in the direction of a single dominant profile. This is to put in more abstract terms the argument of Habits of the Heart that America has a first language, composed of two complementary aspects, utilitarian and expressive individualism, and also second languages, namely (...) biblical and civic Republican languages that have tended to get pushed to the margins.Already in the Introduction to the new paperback edition of Habits, my coauthors and I suggested that the individualism which is America's dominant cultural orientation was not solely derived from 18th century Utilitarianism and 19th century Romanticism, but had roots in both of our second languages as well. In my November, 1997, address to the American Academy of Religion, “Is There a Common American Culture?” I took the argument a step further, reaching almost to the point from which I want to start this paper. There I argued that beyond the homogenizing effect of television, education, and consumerism, and deeper even than utilitarian and expressive individualism, there was a still, small voice, a tiny seed, from which our current cultural orientation derives.Nestled in the very core of utilitarian and expressive individualism is something very deep, very genuine, very old, very American, something we did not quite see or say in Habits, and its core is religious. In Habits we quoted a famous passage in Toqueville's Democracy in America: “I think I can see the whole destiny of America contained in the first Puritan who landed on those shores.” Then we went on to name John Winthrop, following Tocqueville's own predilection, as the likeliest candidate for being that first Puritan. Now I am ready to admit, although regretfully, that we, and Tocqueville, were probably wrong. That first Puritan who contained our whole destiny might have been, as we also half intimated in Habits, Anne Hutchinson, but the stronger candidate, because we know so much more about him, is Roger Williams. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 21-38 MuseSearchJournalsThis JournalContents[Access article in PDF]Attractions to Violence and the Limits of EducationPaul DuncumThe effects of violent media fare upon young people are of great concern for educators and parents alike. Recently, some visual art educators have attempted to deal with the issue under the rubric of visual culture. 1 Adopting a critical position toward media violence, they have developed programs (...) that attempt to encourage in their students a view of citizenship that rejects an easy use of violence as the solution to resolving real life issues. In consideration of these attempts, this article examines media violence—not to comment upon the efforts of other art educators but to point to the exceptionally difficult, perhaps intractable, forces faced by any form of educational intervention.There can be no doubting that violence—defined as involving intentional physical harm—is highly popular in mass media entertainment and is increasingly gory. Tartar refers to Shakespeare's term "violent delights" 2 as an oxymoron, but delight in violence is exactly what many people appear to find. There appears to be no contradiction in Shakespeare's term—Shakespeare being no stranger to the idea—only a succinctly expressed observation of a particular taste that is both long-standing and nowadays evident in an increasingly visceral, violent mass media.This article addresses three questions: First, what is it about displays of violence that is so appealing? Where is the pleasure in watching bodies being blown apart? Where is the delight in watching barbarous torture, slaughter, and death? What is the lure, the attraction? Or, since one of my arguments will be that there are qualitatively different kinds of violence, is it more appropriate to ask what are the attractions of violence? Second, why are violent spectacles becoming more and more intense? Why are representations of violence becoming increasingly visceral? Third, what are we doing to ourselves by exposing ourselves to so much violent mass media? [End Page 21] What is the societal significance, the real world consequences, of being attracted to violent imagery?There are many kinds of violent spectacles. This article deals exclusively with violence in current mediated popular forms of entertainment, principally television, film, video, and computer games. It is not narrowly concerned with intentionally aestheticized images, for example, through the use of slow motion or when the soundtrack to images of mass slaughter switches from the mayhem on screen to the souring beauties of operatic singing. Such images are included here, but the article deals with an inclusive range of representations of violence typically found in some degree to be pleasurable by large sections of the public. Specifically, four kinds of violence are examined: comic, transgressive, retaliatory, and gratuitous.Of course, not everyone is attracted to violence, and most popular entertainment is not violent. 3 The best-selling video games are violent, 4 but violent films and videos are far outweighed by nonviolent fare, especially comedies. 5 Nevertheless, much media fare is violent. Studies conducted in the mid-to-late 1990s concluded that 60 percent of U.S. television programs contained violence, 40 percent of which was offered as humorous. 6 By the age of eighteen a child has seen around 200,000 violent acts on television, including 40,000 murders. 7 This includes 3 to 5 violent acts per hour on prime time and 20 to 25 per hour during Saturday morning cartoons.Sensory AttractionProfessional critics of film and video often talk about the aesthetic qualities of media violence—for example, of "balletic spectacle" and "orgiastic energy." 8 The New York Times film critic's review of Sam Peckinpah's 1969 film The Wild Bunch, a milestone in cinematic violence, wrote of the climatic massacre as a "blood ballet" and that the director "first highlights the horror of the mindless slaughter and then—and this is what really carries horror—makes it beautiful, almost abstract." 9 Virtually the same words were used recently by eminent U.S. film critic Roger Ebert with regard to Tarrantino's exceptionally... (shrink)

As cable television channel bloomed and grew in Taiwan, more and more teenagers watched a wide variety of foreign TV programmers through hundreds of channels. The impact of this media trend among Taiwanese youth stresses the importance of research to assess whether local college students learn from foreign television programming. In this research, which supports the theoretical discussion in this paper, the nature of these learnings was analyzed as well. In general, this study aims to explore the relevant (...) literature and examine whether college students engage in critical thinking when viewing foreign television programs. This research used a popular Korean series shown in Taiwan to examine various perspectives and views related to the issue. Based from the gathered findings, college students appear to pay more critical attention to the program script, character, rhythm, plot and cultural differences. In relation to aesthetic, ideology and cultural identity issues, less response on the educational impact of the program was obtained from the participants. This confirms the claim that Taiwanese youth view television as an entertainment medium rather than an educational one. For this reason, the role of media education, specifically the integration of visual literacy and critical thinking, is highly significant to generate less passive television viewers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by subscribing to (...) Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)

This research aims to analyze the influencing factors of migrant children’s education integration based on the convolutional neural network algorithm. The attention mechanism, LSTM, and GRU are introduced based on the CNN algorithm, to establish an ALGCNN model for text classification. Film and television review data set, Stanford sentiment data set, and news opinion data set are used to analyze the classification accuracy, loss value, Hamming loss, precision, recall, and micro-F1 of the ALGCNN model. Then, on the big (...) data platform, data in the Comprehensive Management System of Floating Population and Rental Housing, Student Status Information Management System, and Student Information Management System of Beijing city are taken as samples. The ALGCNN model is used to classify and compare related data. It is found that in the MR, STT, and MPQA data sets, the classification accuracy and loss value of the ALGCNN model are better than other algorithms. HL is the lowest, the Pre is second only to the BERT algorithm, and the Re and F1 are both higher than other algorithms. From 2015 to 2019, the number of migrant children in different grades of elementary school shows a gradual increase. Among migrant children, the number of migrant children from other counties in this province is evidently higher than the number of migrant children from other provinces. Among children of migrant workers, the number of immigrants from other counties in this province is also notably higher than the number of immigrants from other provinces. With the gradual increase in the years, the proportion of township-level expenses shows a gradual decrease, whereas the proportion of district and county-level expenses shows a gradual increase. Moreover, the accuracy of the ALGCNN model in migrant children and local children data classification is 98.6 and 98.9%, respectively. The proportion of migrant children in the first and second grades of a primary school in Beijing city is obviously higher than that of local children. The average final score of local children was greatly higher than that of migrant children, whereas the scores of migrant children’s listening methods, learning skills, and learning environment adaptability are lower, which shows that an effective text classification model is established based on the CNN algorithm. In short, the children’s education costs, listening methods, learning skills, and learning environment adaptability are the main factors affecting migrant children’s educational integration, and this work provides a reference for the analysis of migrant children’s educational integration. (shrink)

In 1991, Ukrainian independence opened an important theoretical channel for debating the status of its women. The people's collective memory of an ancient matriarchy generated a neo-matriarchal mythology which has been transformed into a delusional ideology that legitimizes female subordination, in the name of her alleged empowerment. Fieldwork in Ukraine – annual visits, including travel from one end of the country to another in official capacities, and many extended stays in Ukraine, as a scholar, researcher, educator and participant in key (...) events, provided opportunities for exchanging views with countless people from many walks of life throughout the country. Participation in a host of programs – television ‘specials’ on gender, seminars, retreats, workshops and conferences, designed to raise the consciousness of women and men alike – provided an array of opportunities to observe at first hand the way that today's women construct individual identity. Extensive research in the press (many runs of daily newspapers, including Den’, in Kyiv, and Vysoky Zamok in Lviv, and women's journals such as the widely read Zhinka, among others) added further insights. Television viewing, popular publications collected habitually during my numerous visits to Ukraine, copies of documents contributed by my Ukrainian friends and colleagues, outdoor advertising, posters and intimate gatherings at the homes of likeminded women, all played a part in the formation of my impressions of Ukrainian women's inferior status. In this paper I use my findings to explore the conflicting discourses on women's alleged empowerment, and the essentialist constraints on their self-realization, together with measures adopted to date on changing gender stereotypes and promoting equal rights and opportunities. (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)

"Jacob Bronowski truly educated an enormous number of members of that diffuse population usually referred to, with a hint of condescension, as "educated laymen" through his widely shared television series on the concepts of science and through such... books as The Identity of Man and The Ascent of Man. This volume extends the process to a further level of insight, and it may be more than suggestive that its final essay is entitled "The Fulfillment of Man." Bronowski... felt that (...) if human beings are taken seriously, they can be led to respond to serious and difficult subjects that relate to the deepest aspects of nature, both beyond and within themselves. A Sense of the Future... is a collection of essays that can be read independently as self-contained, delimited presentations;... the book is more than the sum of these individual essays--it is a unified whole in which Bronowski's most abiding concerns are interrelated, juxtaposed, and tested for consistency in various intellectual contexts. The major unifying theme of the work is the intensely creative and human nature of the scientific enterprise--its kinship, at the highest levels of individual achievement, with comparable manifestations of the artistic imagination, and its ethical imperatives, evolved within the community of scientists over the centuries, which both embody and forge the values of civilized life at large. Still, the book's diversity of topics is as striking as the unity of its aim. Among the subjects within the realm of Bronowski's mind that are presented here are the limitations of formal logic and experimental methods, the epistemology of science, the distinctive nature of human language and the human mind, and the bases of biological and cultural evolution. Bronowski also contrasts the findings of science as the "here and now" of man's understanding with the ongoing activity of science as the open-ended search for truth, and he undertakes to demonstrate that the factual, individual 'is' and the ethical, societal 'ought' can be derived each from the other"--From jacket. (shrink)