3:09
Digital Object Identifier
Digital Object Identifier...
published: 09 Mar 2011
Author: MiraCostaLibrary
Digital Object Identifier
Digital Object Identifier
7:49
Using a Digital Object Identifier
Brian Hornbuckle...
published: 03 Mar 2010
Author: iowastateu
Using a Digital Object Identifier
Brian Hornbuckle
1:04
Introduction to DOIs (Digital Object Identifiers)
sites.google.com by UC Berkeley Library...
published: 12 Dec 2011
Author: jeffloo10
Introduction to DOIs (Digital Object Identifiers)
sites.google.com by UC Berkeley Library
1:07
Add record using a Digital Object Identifier
This I, Librarian tutorial shows you how to record a publication data from the Internet us...
published: 23 Jun 2012
Author: Martin Kucej
Add record using a Digital Object Identifier
This I, Librarian tutorial shows you how to record a publication data from the Internet using a Digital Object Identifier (DOI).
3:04
How to Find DOIs in APA PsycINFO
This tutorial defines digital object identifiers (DOIs) and explains how to find them in A...
published: 23 Nov 2009
Author: PsycINFO
How to Find DOIs in APA PsycINFO
This tutorial defines digital object identifiers (DOIs) and explains how to find them in APA's PsycINFO database on a variety of platforms: APA PsycNET, EBSCOhost, OCLC FirstSearch, OvidSP, and CSA Illumina. For more PsycINFO training videos, see our channel at www.youtube.com
1:41
Where's The DOI?
In this video, you will learn how to locate the DOI in various journal databases. The DOI ...
published: 06 Oct 2010
Author: GuelphHumberLibrary
Where's The DOI?
In this video, you will learn how to locate the DOI in various journal databases. The DOI is required when using APA format.
2:45
Learning Object and DOI registration at Eleonet
This demo shows how E-learning producer can register a Learning Object and assign a Digita...
published: 06 Sep 2007
Author: eleonet
Learning Object and DOI registration at Eleonet
This demo shows how E-learning producer can register a Learning Object and assign a Digital Object Identifier at Eleonet portal (www.eleonet.org) using TIB registration facilities. (webbase.l3s.uni-hannover.de
13:06
CrossCheck 01
OI Seminário anual CrossRef, aconteceu na Biblioteca Central da Universidade Federa...
published: 08 Jul 2011
Author: BIBLIOTECASUFSC
CrossCheck 01
OI Seminário anual CrossRef, aconteceu na Biblioteca Central da Universidade Federal de Santa Catarina teve como objetivo discutir a implantação do DOI® (The Digital Object Identifier).
3:31
Automatically importing publications to BibDesk based on DOI and anystyle-parser
This is a quick demo of using a crossref API to get bibtex entries for DOI references. I c...
published: 21 Feb 2012
Author: houshuang
Automatically importing publications to BibDesk based on DOI and anystyle-parser
This is a quick demo of using a crossref API to get bibtex entries for DOI references. I combined this with a script using anystyle-parser to intelligently convert a text citation to a bibtex entry, using Keyboard Maestro to import it into BibDesk.
14:11
CrossCheck 02
OI Seminário anual CrossRef que aconteceu na Biblioteca Central da Universidade Fed...
published: 08 Jul 2011
Author: BIBLIOTECASUFSC
CrossCheck 02
OI Seminário anual CrossRef que aconteceu na Biblioteca Central da Universidade Federal de Santa Catarina, teve como objetivo discutir a implantação do DOI® (The Digital Object Identifier).
9:19
APA References
In this presentation, we will be discussing APA references, specifically focusing on examp...
published: 08 Feb 2012
Author: UCCSWritingCenter
APA References
In this presentation, we will be discussing APA references, specifically focusing on examples from journal entries, with and without DOIs, books and web documents.
10:24
Apresentação CrossMark 01
OI Seminário anual CrossRef, aconteceu na Biblioteca Central da Universidade Federa...
published: 08 Jul 2011
Author: BIBLIOTECASUFSC
Apresentação CrossMark 01
OI Seminário anual CrossRef, aconteceu na Biblioteca Central da Universidade Federal de Santa Catarina teve como objetivo discutir a implantação do DOI® (The Digital Object Identifier).
14:39
IBICT 01
OI Seminário anual CrossRef que aconteceu na Biblioteca Central da Universidade Fed...
published: 08 Jul 2011
Author: BIBLIOTECASUFSC
IBICT 01
OI Seminário anual CrossRef que aconteceu na Biblioteca Central da Universidade Federal de Santa Catarina, teve como objetivo discutir a implantação do DOI® (The Digital Object Identifier).
14:50
SCIELO 01
OI Seminário anual CrossRef que aconteceu na Biblioteca Central da Universidade Fed...
published: 08 Jul 2011
Author: BIBLIOTECASUFSC
SCIELO 01
OI Seminário anual CrossRef que aconteceu na Biblioteca Central da Universidade Federal de Santa Catarina, teve como objetivo discutir a implantação do DOI® (The Digital Object Identifier).
Vimeo results:
1:18
First Person Shooter
http://www.datenform.de/fpseng.html
The term first-person shooter refers to an independen...
published: 30 Jun 2008
Author: aram bartholl
First Person Shooter
http://www.datenform.de/fpseng.html
The term first-person shooter refers to an independent computer game genre whose main characteristic is that it is played in the first-person perspective, with shooting as the main action of the game. The player moves his or her character in a three-dimensional world and perceives the digital environment through the eyes of this virtual character. A typical element within this genre is the virtual arm of the player, which remains in front at all times, and which represents the arm of the player reaching into virtual reality as a digital extension of his or her body. This virtual arm is attached to the character’s head movements, which are controlled by computer mouse. No matter where the player looks, the arm holding the weapon stays at the lower right corner pointing toward the center of the screen. It is, in fact, impossible to lower the arm.
In the project First Person Shooter, the arm holding the weapon of the video game Counter-Strike (Valve 1999) is transferred into physical space. The project consists of a postcard that is also a do-it-yourself kit. Players who cut and glue all of the parts of the card together receive a pair of glasses bearing the arm with the weapon. These graphic objects, adapted from the game Counter-Strike, are visible both from within and from outside the glasses. When a player wears the glasses, the arm holding a weapon always remains in the front, regardless of the direction in which the player moves his or her head. Attached to the eyes, the glasses reflect the strongly visual character of the game. The private space between the eyes and the gun is contrasted by public space in which the user of the glasses is identified from the outside as a first-person shooter. The First Person Shooter glasses are, of course, a provocation and a comment on violence in video games. By transferring the typical first-person view to the real world, the player is confronted with his or her actions in the game. At the same time, the project shows how separate everyday life in the physical world is from virtual gaming space, with its own rules.
Aram Bartholl 2006
www.datenform.de
50:51
In Conversation, Yohji Yamamoto
To coincide with the retrospective exhibition of Yohji Yamamoto’s work at the V&A;, SHOWstu...
published: 11 Mar 2011
Author: Victoria and Albert Museum
In Conversation, Yohji Yamamoto
To coincide with the retrospective exhibition of Yohji Yamamoto’s work at the V&A;, SHOWstudio.com showcases a unique discussion between three collaborators who helped shape the visual identity of Yamamoto in the 1980s. In this 50-minute film shot in the V&A;'s Norfolk House Music room, art director Marc Ascoli, fashion photographer Nick Knight and graphic designer and art director Peter Saville are in conversation with London College of Fashion curator Magdalene Keaney.
Transcript:
Nick Knight: I think that to see the work that we did in context, you have to look at the fashion magazines of 1986 and see what was going on in those fashion magazines. It was about a million miles away from what we did.
Peter Saville: Unfortunately, it is the beginning of where it all goes horribly wrong. I mean the coherence and the cohesion between what Yohji was doing on the other side of the world and then Marc's position in Paris and then the part of the UK culture that Nick came from and then the part that I came from is beginning of what you would call convergence, what we do now call convergence. But it was, in a way, a quite positive and utopian convergence at that time.
Marc Ascoli: That's true.
PS: Nick introduced me into the system, that bit came next ... you do that bit ... Nick, just finish that bit.
NK: So I'll do my version of the history. I completed a hundred portraits through a woman who ran a model agency, a very good model agency, called Z Models. She used to find all the most interesting models - not the mainstream models ... all the best models. She also looked around for different talent. Marc knew her, he asked her who was interesting in London at the moment and she introduced my work to Marc. Then Marc and I got on and he liked my work and I went across to Paris and Marc said OK, so do the photographs, I'll art direct them, but who can create the - who can do the graphic design?
PS: Who said that? You said that?
NK: Marc said that. So I said well, there's somebody who I've worked with over the past couple of years on and off, and I introduced Marc to Peter.
PS: So there was a convergence of mood between the three of us. All three on exactly the same wave length and it comes out in those first two catalogues.
NK: I knew a small amount about Yohji Yamamoto. He represented the beginnings of something very exciting but slightly away on the horizon. The world of fashion that I knew at the time - I was interested in the world of people like Lee Barry, Taboo, Michael Clark - very extreme. You're talking about people who were taking almost performance art into fashion. So that was the sort of world that I was looking at and was attracted by. When Yohji Yamamoto first came along it really was a distant star, something exciting and appealing on the horizon. So in 1985 when Marc first came to see me, it was really a long way off, it hadn't really quite got to London. It wasn't really part of the fashion vernacular, it wasn't what was going on, it wasn't part of mainstream fashion. The reason I fell in love with it and the reason I ended up believing in it so firmly is it represented a very interesting vision of women. Previously in fashion women had been represented overtly sexually, especially in fashion imagery. You have got to think about what went on in the 1970s, with people like Wangenheim, Bourdin ... It was an overtly sexual way of behaving and that was represented in photographers who chose fashion photography to talk about their sexual orientation or their sexual desires. And that was the mainstream. And I always felt really uncomfortable with that. When Yohji arrived, here was somebody proposing fashion which wasn't about women articulating their sexuality as a primary way of behaving and that was what attracted me to it. I thought this is actually to do with seeing women as intellectual beings and not seeing them as sexual beings. It was enormously different to what was going on at the time and I thought it was enormously interesting.
Magdalene Keaney: So kind of starting to really hone in on the production of the catalogues and your work together. Again, we've talked around this a little bit. Can you describe the tension, if there was one or alternatively the joy of the kind of functionality of what a look book or a fashion seasonal catalogue is as a document.
NK: I have to stop you there, Magda. There's a big difference between a look book ...
MK: OK, the functionality of the catalogue, so either the tension or the joy, the other end of it between the kind of function ...
PS: No joy - do you remember any joy?
MK: Between the functionality of the catalogue as a document or a commercial product, which it is in some way ... or it operates in a commercial way.
PS: I mean it's a work, a collective work of it's own ... this is a new way, not really done before. They were innovations in themselves.
NK: As I understood it, there was something that Yohji Yamamoto had created with Marc to se
7:03
Identified Moving Objects
Identified Moving Objects – a film by Zweiart
Clay animation movie. Zweiart has actualize...
published: 27 Feb 2010
Author: Maria Korporal
Identified Moving Objects
Identified Moving Objects – a film by Zweiart
Clay animation movie. Zweiart has actualized this old stop-motion technique with digital editing, adding paint and sound effects. The result is a surprising and entertaining endless game.
Zweiart is the collaboration of two North European artists: Marina Buening from Germany, Maria Korporal from the Netherlands, have been working and living in Italy for several years now.
See their website: http://www.zweiart.eu
0:22
New Horizons Mission: Kuiper Belt Fly-Through
Fly with the New Horizons spacecraft as it cruises by dozens of newly-discovered Kuiper Be...
published: 17 Jul 2012
Author: Alex Parker
New Horizons Mission: Kuiper Belt Fly-Through
Fly with the New Horizons spacecraft as it cruises by dozens of newly-discovered Kuiper Belt Objects (KBOs) near its trajectory. These objects were found by our survey team (gray points) as well as by members of the public through Ice Hunters (purple points) during a search - still under way - to find a KBO for New Horizons to approach close enough to take detailed images and measurements of its surface. See below for details.
Animation concept and rendering by Alex Harrison Parker, Harvard-Smithsonian Center for Astrophysics.
=== Mission to Pluto and Beyond: The search for a Kuiper Belt target ===
On July 14, 2015, NASA's New Horizons spacecraft will become the first mission to visit the distant dwarf planet Pluto (2400 kilometers across) and its retinue of five moons, flying by at speeds over 50 times faster than a jet airliner.
With its onboard reserve of fuel, New Horizons is capable of performing a small course correction after this Pluto encounter, with the aim of visiting another much smaller, frozen world deep in the Kuiper Belt. At present, however, there are no known Kuiper Belt objects which New Horizons can reach with its remaining fuel - so a search to find these targets must be performed.
A team of scientists from across the world are making a concerted effort to identify one or more Kuiper Belt encounter targets within reach of New Horizons with its expected fuel supply in 2015. Using some of Earth's largest telescopes, we are searching the area of sky where such an encounter target would be today. This area of sky is extremely difficult to search for faint Kuiper Belt objects, owing to the fact that this region lies in the direction of the core of our Galaxy where the number of background stars is extremely high. Our team has developed a suite of advanced digital image processing algorithms for searching this data, however, and using these we have discovered a host of new Kuiper Belt objects which will fly near the spacecraft - though none yet fit within the available encounter fuel budget.
=== Animation Details ===
This animation shows the flight of the New Horizons spacecraft from 2010 to 2023 through this cloud of newly discovered Kuiper Belt Objects revealed by our search. Each KBO's position and motion has been computed from its best known orbit solution. For many objects these orbit solutions remain relatively uncertain, so the exact flyby geometry may change as we acquire new and better data.
The yellow triangle indicates the position of the New Horizons spacecraft. The large cyan circle marks Pluto's position. The small gray points are the new Kuiper Belt Objects we discovered in the 2011-2012 observing seasons, while the purple points are new Kuiper Belt Objects discovered in 2004-2005 observing season data by members of the public through the "IceHunters" citizen science effort.
The left panels show a top-down (i.e., from above the plane of the Earth's orbit) and side-on view of the spacecraft trajectory and the Kuiper Belt Objects discovered in our survey so far. Distance scales from the Sun are illustrated with gray lines, and the pericentric (closest point to the Sun) and apocentric (farthest point from the Sun) distances of Uranus and Neptune are marked with dashed white lines.
The right panel shows the Kuiper Belt objects from the perspective of the New Horizons spacecraft on its actual trajectory, with the view rendered as facing directly outward from the Sun. The illustrated size of each KBO scales with distance from the spacecraft, but the sizes are not to scale (almost all of the Kuiper Belt objects so far detected will be unresolved by the instruments onboard the spacecraft). For any Kuiper Belt object which passes within 2 AU of the spacecraft, the range in AU is shown.
In the animation, a "flyby" sound is generated by the distance and flyby geometry of each object. Since there is no sound in space, this sound is there purely to enhance the impression of motion through the Kuiper Belt.
Two long-range flybys with Kuiper Belt Objects occur before the Pluto encounter, one late 2013 and one in early 2015. It may be possible for New Horizons to make distant observations of these two objects, though neither is large enough to be resolved.
The "cluster" of distant flybys that begins in June of 2018 is due to the passage of New Horizons into the "cold classical Kuiper Belt," a region of space densely populated by Kuiper Belt Objects.
The hunt for ideal New Horizons encounter targets continues, and future versions of this animation will be updated as new Kuiper Belt objects are discovered.
=== Links ===
More information on the New Horizons mission:
http://pluto.jhuapl.edu/
http://en.wikipedia.org/wiki/New_Horizons
Follow New Horizons on Twitter:
https://twitter.com/NewHorizons2015
Follow Alex Parker on Twitter:
https://twitter.com/Alex_Parker
=== Video Credits ===
Alex Harrison Parker - New Horizons Outer Solar System Science Fellow, Harvard-Smithsonian Cen
Youtube results:
10:16
Apresentação CrossMark 02
OI Seminário anual CrossRef, aconteceu na Biblioteca Central da Universidade Federa...
published: 08 Jul 2011
Author: BIBLIOTECASUFSC
Apresentação CrossMark 02
OI Seminário anual CrossRef, aconteceu na Biblioteca Central da Universidade Federal de Santa Catarina teve como objetivo discutir a implantação do DOI® (The Digital Object Identifier).
4:30
declaratie de dragoste-doar noi doi
pt puishorul meu..............
published: 09 May 2009
Author: alicika28
declaratie de dragoste-doar noi doi
pt puishorul meu...........
14:54
Editora Cubo
OI Seminário anual CrossRef que aconteceu na Biblioteca Central da Universidade Fed...
published: 11 Jul 2011
Author: BIBLIOTECASUFSC
Editora Cubo
OI Seminário anual CrossRef que aconteceu na Biblioteca Central da Universidade Federal de Santa Catarina teve como objetivo discutir a implantação do DOI® (The Digital Object Identifier).
3:40
Concert Baia Mare Alex Velea-Minim Doi
MINIM DOI...
published: 23 Jul 2012
Author: Vlad Florin
Concert Baia Mare Alex Velea-Minim Doi
MINIM DOI