Gait recognition

The fact that an individual's identity is expressed not only by the way he/she looks or sounds, but also by the manner of walking is a relatively new discovery of in biometrics.

Unlike the more fully developed biometric technologies whose scrutiny is directed at stationary parts of the body, gait recognition has the added difficulty of having to sample and identify movement. Scientists at the University of Southampton, UK (http://www.isis.ecs.soton.ac.uk/research/gait/) have developed a model which likens the movement of legs to those of a pendulum and uses hip inclination as a variable.

Another model considers the shape and length of legs as well as the velocity of joint movements. The objective is to combine both models into one, which would make gait recognition a fully applicable biometric technology.

Given that gait recognition is applied to "moving preambulatory subjects" it is a particularly interesting technology for surveillance. People can no longer hide their identity by covering themselves or moving. Female shop lifters who pretend pregnancy will be detected because they walk differently than those who are really pregnant. Potential wrongdoers might resort walking techniques as developed in Monty Pythons legendary "Ministry of Silly Walks" (http://www.stone-dead.asn.au/sketches/sillwalk.htm)

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Advertising and the Media System

Media systems (especially broadcasting) can be classified in two different types:

Public Media Systems: Government control over broadcasting through ownership, regulation, and partial funding of public broadcasting services.

Private Media System: Ownership and control lies in the hands of private companies and shareholders.

Both systems can exist in various forms, according to the degree of control by governments and private companies, with mixed systems (public and private) as the third main kind.

Whereas public media systems are usually at least partially funded by governments, private broadcasting solely relies on advertising revenue. Still also public media systems cannot exclude advertising as a source of revenue. Therefore both types are to a certain degree dependent on money coming in by advertisers.

And this implies consequences on the content provided by the media. As the attraction of advertisers becomes critically important, interests of the advertising industry frequently play a dominant role concerning the structure of content and the creation of environments favorable for advertising goods and services within the media becomes more and more common.

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Movies as a Propaganda- and Disinformation-Tool in World War I and II

Movies produced in Hollywood in 1918/19 were mainly anti-German. They had some influence but the bigger effect was reached in World War II-movies.
The first propaganda movie of World War II was British.
At that time all films had to pass censoring. Most beloved were entertaining movies with propaganda messages. The enemy was shown as a beast, an animal-like creature, a brutal person without soul and as an idiot. Whereas the own people were the heroes. That was the new form of atrocity.
Leni Riefenstahl was a genius in this respect. Her movies still have an incredible power, while the majority of the other movies of that time look ridiculous today. The combination of light and shadow, the dramatic music and the mass-scenes that resembled ballet, had its effect and political consequences. Some of the German movies of that period still are on the index.

U.S.-President Theodore Roosevelt considered movies the best propaganda-instrument, as they are more subtle than other tools.

In the late twenties, movies got more and more important, in the USSR, too, like Sergei Eisenstein demonstrated with his movies. Historic events were changed into symbolism, exactly the way propaganda should function. It was disinformation - but in its most artistic form, especially in comparison to most U.S.- and European movies of that time.

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The Rocky Horror Picture Show

The story of Frank-N-furter, Brad and Janet ... Don't dream it, be it!

http://www.rockyhorrorpictureshow.com/

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Sergei Eisenstein

Though Sergei Eisenstein (1898-1948) made only seven films in his entire career, he was the USSR's most important movie-conductor in the 1920s and 1930s. His typical style, putting mountains of metaphors and symbols into his films, is called the "intellectual montage" and was not always understood or even liked by the audience. Still, he succeeded in mixing ideological and abstract ideas with real stories. His most famous work was The Battleship Potemkin (1923).

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