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FORM AND INDIVIDUALISM OF MESSAGE AS A SIGNIFICANT ELEMENT OF E-LEARNING EFFECTIVENESS - EXEMPLIFIED BY OPEN HORIZON MULTIMEDIA TEACHING PLATFORM (Polish title below)

100%
Dworak M.
e-mentor
|
2011
|
issue 4 (41)
38-41
EN
(Polish title: Forma i indywidualizacja przekazu jako istotny element skutecznosci e-learningu na przykladzie 'Multimedialnej Platformy Szkoleniowej Open Horizon'). In the article there have been discussed the most fundamental aspects connected with the form of created e-courses, which have the significant meaning in increasing effectiveness of e-learning. There have also been described some solutions applied on OpenHorizon platform that support the creating process, with particular attention to the form of created e-courses and individual message of any contents.
2

VIDEOKLIP: CHARAKTERISTIKA, VÝVOJ, KATAGORIZÁCIA A RECEPCIA

88%
Grich S.
Musicologica Slovaca et Europaea
|
2005
|
vol. 22
125-131
EN
Video clip has its origins in participation of popular music in the rapid development of video technology and in a specific encounter of the needs and possibilities of pop music and TV broadcasting. Its early history reaches as far as the forties of the twentieth century, the development of video clips in mid-sixties was anticipated by films about popular musical groups. Contemporary video clips are mostly shot on 16 mm or 35 mm film stock, modified by digital technology, by which abstract, technical adapted shots are created. Video clip is made more dynamic by the rapid tempo of the montage. Contemporary video clips create a multidimensional system that includes video clips of popular or classical music, of concerts, as well as seminarrative and narrative video clips. Commercial and artistic aspects must be considered in the production of video clips. The goal, from the psychological point of view, is to 'imprint' the images connected with specific music on the viewer's visual imagination. At present, video clips represent a universal TV device, this is not a specific form by which only popular music is presented on TV.
3

MULTIMEDIÁLNE SPRACOVANÝ TEXT A JEHO PREMENY

88%
Piatková K.
Slovenská reč (Slovak Language)
|
2022
|
vol. 87
|
issue 1
14 – 21
EN
In this paper, we focus our attention on the changes in the formal creation of the text in the current conditions of the digital era and especially on how the visual appearance of the text and its graphic processing is changing. Digital technologies, which enable the processing of information and its dissemination, especially in virtual space, play an important role in the expansion of word processing. Visual and graphic means of word processing appear marginally in traditional stylistic works. Therefore, we follow up on this link and try to point out the current possibilities of graphic word processing. In connection with the interactive view of communication, it is necessary to deal with pluralistic tendencies in the creation and reception of the text.
4
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Foto-medium-art

51%
Olek J.
Sztuka i Dokumentacja
|
2012
|
issue 6
149-156
EN
The Foto-Medium-Art Gallery has worked continuously since 1977. For twenty years it was based in Wroclaw and since 2007 in Krakow. During that time, an emphasis was placed on various issues which were reflected by the programme and the way it acted. After the analytical and new media period (in the seventies) there was a time of ‘elementary photography’ (the eighties). However, photography was not the only medium that was exhibited there. Often the expositions, installations and projections were presented according to a programme, such as a series entitled “presence among the stones”. An important initiative was Photoconferences East-West “European exchange” that has taken place since 1989. The largest one happened in 1991. It consisted of an international exhibition “New spaces of photography” and a conference “The ethos of photography”. A dozen or so years ago “Foto-Medium-Art” lost its space and it became a mobile gallery, organising exhibitions and meetings in various friendly places. Finally F-M-A settled in Krakow and at this time important questions arouse: how to find a place for the programme developed over the years in the changing cultural climate especially in times when the most widely used media has changed (digital media replaced analogue)? Is any form of continuation possible, when the former economy of means of the art form of photography has been replaced by developed multimedia and multi-layered image structures? It seems that after the media and elementary periods, F.M.A. has entered an era that is in the process of shaping. In an era, that started after ‘neos’ and ‘posts’, when linear narrations are replaced with mosaic structures of databases, structures consisting of elements that are independent of one another, it is time to reformulate the programme.
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