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Searching for mothers and fathers
Lucy Bland

help in the form of two organisations set up in the 1980s: War Babes, founded by white GI baby Shirley McGlade, and TRACE, set up by Pamela Winfield, a GI bride who returned to Britain as a widow (Winfield and her organisation helped Sandi H find her mother).19 TRACE is now online and renamed GI trace.20 In trying to obtain information about her father in the 1980s, McGlade came up against enormous barriers, as did all the GI babies. This was before the arrival of email and of digital data accessible via the internet; there was no easy way of searching. But the

in Britain’s ‘brown babies’
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Simon James Morgan

equivalents, all of which have generated insights of the greatest relevance to this study. 3 Drawing on this rich body of work and a wealth of original research, including the use of digital data sets such as the British Library Newspapers and the Old Bailey Online, Celebrities, Heroes and Champions seeks to further extend our knowledge of nineteenth-century political culture through the investigation of five key themes. The first is the connection between personality politics and the development of new forms of political communication and organisation in the period

in Celebrities, heroes and champions
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Marcos P. Dias

need to make one day in relation to the fragmented assemblage of digital data that acts as the virtual reflection of ourselves. The participant to my right (one of the theatre practitioners) expresses her disappointment with the sudden deletion of Luka’s digital legacy, but also states that the narrative was very good and that she enjoyed the performance. The way in which the narrative is structured into scenes (or acts) is reminiscent of traditional theatre, and Terry’s interpellations (comparing the characters in the narrative to participants), weren’t blatant or

in The machinic city
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Saskia Huc-Hepher

Bourdieusian conception of ethnography, using multiple sources, from audio-recorded interview and focus group narratives to autobiographies written by members of the French community, the original pilot questionnaire, official documentation transmitted to me by the French consulate, observational fieldnotes, photographic evidence of the London-French habitat and digital data collected from the internet, which is, by definition, inherently multimodal (including moving/still images, text and other semiotically meaningful affordances). In addition to my one-to-one interviews

in French London
A multimodal reading of archived London-French blogs
Saskia Huc-Hepher

(e.g. Basu and Coleman, 2008 ; Miller, 2010 , 2012 ; Pahl and Rowsell, 2010 ; Ankerson, 2011 ; Rowsell, 2011 ; Wang, 2016 ; Asenbaum, 2019 ) and social spheres (e.g. community-led ‘libraries of things’). As if in a desire to cling on to a fading past, where people once felt secure in the grounded reality of their physical world, immersed in a nauseating sea of limitless digital data (Kitchin, 2014 ), the solidity of the everyday is attractive (Ankerson, 2019 ). While the twenty-first-century look towards the material provides a counternarrative to

in French London
Gob Squad, a funny robot and dancing scientists
Simon Parry

things really work, any more than it was an attempt to deceive the audience by theatrical illusion. Hild interrupted any attempt to overmine Myon by presenting it, however theatrically, as divine. Patten interrupted Hild’s equally theatrical attempts to undermine Myon through science communication. We were caught in an epistemological stalemate and it felt funny. In media production, the technology for turning human bodily motion into digital data is known as motion capture. Typically, in film, TV or Laughing at science in the theatre 51 video game production

in Science in performance
Andy Lawrence

Manchester Sound recording technology The aspect of filmmaking that has changed the least and continues to be undervalued most is sound recording. The quality and sensitivity of audio recordings define the way an audience experiences a film, so sound must not be a secondary consideration. In documentary work audio data is commonly picked up by a variety of omni- and uni-directional microphones and recorded via a mixer to a camera or solid-state recorder, and then saved onto secure digital data cards. Fiction filmmakers think as much about what occurs off screen as

in Filmmaking for fieldwork