Visual Diary as Prosthetic Practice in Bobby Baker's Diary Drawings

Biography ◽  
2012 ◽  
Vol 35 (1) ◽  
pp. 21-44 ◽  
Author(s):  
Julia Watson
Keyword(s):  
Visual Diary

scholarly journals Constructing a SenseCam visual diary as a media process

2008 ◽  
Vol 14 (6) ◽  
pp. 341-349 ◽  
Author(s):  
Hyowon Lee ◽  
Alan F. Smeaton ◽  
Noel E. O’Connor ◽  
Gareth Jones ◽  
Michael Blighe ◽  
...  
Keyword(s):  
Visual Diary

Virtual labyrinths: Nancy K. Miller’s and Susan Gubar’s narratives of cancer

2020 ◽  
Vol 6 (2) ◽  
pp. 231-258
Author(s):  
Rosalía Baena
Keyword(s):  
New Media ◽  
Public Discourse ◽  
Good Patient ◽  
Private Lives ◽  
Identity Narratives ◽  
Writing Genres ◽  
Online Forms ◽  
Visual Diary ◽  
Cancer Experience

Abstract In the midst of the age of memoir, where the demarcation between public discourse and private lives has been eroded, a number of life-writing genres figure prominently as identity narratives. Specifically, illness narratives proliferate in both digital and non-digital forms, thus becoming powerful social and cultural forms to understand illness today. This article aims to analyze how online forms are bringing relevant changes both to the genre and to the actual communication of cancer experience. Nancy K. Miller and Susan Gubar choose different forms (visual diary and blog, respectively) to help readers “acknowledge the place of cancer in the world”. Having lived in cancerland for a while, both reject widespread stereotypes about illness, such as being a cancer survivor, the role of the good patient or the need to reject negative emotions such as anger, fear or sadness. Specifically, I will use the concept of automediality in order to explore how subjectivity is constructed in their use of images and new media. This concept may help us further explore the ways in which online forms offer new ways of self-representation and mediation between technology and subjectivities.

Using Video Diaries in Social Science Research

2022 ◽  
pp. 442-460
Author(s):  
Amanda Vettini ◽  
Ruth Bartlett
Keyword(s):  
Social Science ◽  
Older People ◽  
Social Research ◽  
Social Science Research ◽  
Science Research ◽  
Digital Ethics ◽  
Diary Method ◽  
Visual Diary ◽  
Situated Ethics ◽  
Video Diary

The focus of this chapter is the use of video-diaries in social research. The aim is to examine and reflect upon the particular ethical terrain and situated ethics of using visual diary method in social science research with different participant groups who arguably present specific ethical concerns, including children and older people, people with disabilities (either physical, cognitive, or psychiatric), and older people. The authors present a discussion of the specific ethical considerations arising from the use of this method due to the particular type of data it generates, namely audio and moving visual data. As such, the process of creating a video diary and the procedures involved in collecting and analysing video diary data are fundamentally different from a paper-based (non-digital) diary. For these reasons, it is important to step back and reflect on the situated ethics, including the digital ethics encountered when using this method.

Organising a daily visual diary using multifeature clustering

2007 ◽  
Author(s):  
Ciarán Ó Conaire ◽  
Noel E. O'Connor ◽  
Alan F. Smeaton ◽  
Gareth J. F. Jones
Keyword(s):  
Visual Diary

scholarly journals A Survey for Long-Term Multi-Person Tracking for Surveillance Video

2020 ◽  
Author(s):  
Jacob Selvage ◽  
Carlos Humphries ◽  
Floyd Mcclanahan ◽  
Anthony Rhodarmer ◽  
Arthur Gosman
Keyword(s):  
Video Summarization ◽  
Critical Role ◽  
Surveillance Video ◽  
Automatic Summarization ◽  
Data Set ◽  
Person Tracking ◽  
Multi Person Tracking ◽  
Visual Diary ◽  
Camera Surveillance

Multi-person tracking plays a critical role in the analysis of surveillance video. However, most existing work focus on shorterterm (e.g. minute-long or hour-long) video sequences. Therefore, we propose a multi-person tracking algorithm for very long-term (e.g. month-long) multi-camera surveillance scenarios. Long-term tracking is challenging because 1) the apparel/appearance of the same person will vary greatly over multiple days and 2) a person will leave and re-enter the scene numerous times. To tackle these challenges, we leverage face recognition information, which is robust to apparel change, to automatically reinitialize our tracker over multiple days of recordings. Unfortunately, recognized faces are unavailable oftentimes. Therefore, our tracker propagates identity information to frames without recognized faces by uncovering the appearance and spatial manifold formed by person detections. We tested our algorithm on a 23-day 15-camera data set (4,935 hours total), and we were able to localize a person 53.2% of the time with 69.8% precision. Wefurther performed video summarization experiments based on our tracking output. Results on 116.25 hours of video showed that wewere able to generate a reasonable visual diary (i.e. a summary of what a person did) for different people, thus potentially opening thedoor to automatic summarization of the vast amount of surveillance video generated every day

Archive Photography That Forms a Personal and Collective Memory

2021 ◽  
Vol 12 (3) ◽  
pp. 50-67
Author(s):  
Eva Strazdina
Keyword(s):  
Collective Memory ◽  
Historical Perspective ◽  
Second World War ◽  
World War ◽  
Historical Events ◽  
Historical Authenticity ◽  
Visual Diary ◽  
The Individual ◽  
Second World ◽  
The Way

Personal and family albums created by Latvians in the period from 1939 until the 1950s are placed in a wider social and historical perspective by analyzing its content, as well as the individual intent to create it. This work explores photography album as a tool to organize memories and how historical, personal photography albums serve and interact as evidence of private as well as a public past. The research tries to prove the historical authenticity in two personal albums created by Latvians during the Second World War and the following years – a visual diary illustrating the imprisonment in the Soviet working camp in Siberia and a family album memorializing the way and life of the Latvian refugees in the Alt Garge camp, Germany. Two personal albums (currently stored at the archive of the Museum of Occupation of Latvia) have become objects of historical value and are an informative source for learning, analyzing and educating about historical events.

Chasing the sun: Qu Leilei's serial images in early post-Mao China

2019 ◽  
Vol 6 (2) ◽  
pp. 225-241
Author(s):  
Jennifer Dorothy Lee
Keyword(s):  
Cultural Practices ◽  
Chinese Art ◽  
The Sun ◽  
Revolutionary Era ◽  
Line Drawings ◽  
The Social ◽  
Social Landscape ◽  
Visual Diary ◽  
Historical Moment ◽  
Serial Images

Abstract 'You always treat the sun as though it were yours.' Lining the frame of a pen-and-ink sketch, these words reflect conditions of possibility particular to the contemporaneity of early post-Mao China. Included in his Visual Diary series from the early 1980s, Qu Leilei's image-text turns inward the heavily socialized forms of visual and political expression from the revolutionary era. As instances of the artist's emerging private practice, such works, including etchings, line drawings, and fragments of prose poetry, are seldom addressed in existing scholarship on contemporary Chinese art. This article takes up a selective examination of Qu's diaristic ephemera from this historical moment following the Cultural Revolution (1966‐76) to explore how Qu's entries both maintain and transform aspects of revolutionary-era media and visuality. The article further considers the following questions: In what ways does Qu's Visual Diary reconfigure the serial images of revolutionary state-driven practices in the social landscape of still-Maoist Beijing? How do Qu's transfigured image-texts complicate the rejection of Maoist visual vanguardism in cultural practices after the revolution?

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