Image annotation with Photocopain

Photo annotation is a resource-intensive task, yet is increasingly essential as image archives and personal photo collections grow in size. There is an inherent conflict in the process of describing and archiving personal experiences, because casual users are generally unwilling to expend large amounts of effort on creating the annotations which are required to organise their collections so that they can make best use of them. This paper describes the Photocopain system, a semi-automatic image annotation system which combines information about the context in which a photograph was captured with information from other readily available sources in order to generate outline annotations for that photograph that the user may further extend or amend

Co-authorship in the age of cyberculture: Open Educational Resources at the Open University of the United Kingdom

Locating Open Educational Resources (OER) as a phenomenon of cyberculture, this paper presents a reflection on the possibilities of co-authorship that are entailed in OER initiatives of different natures and settings within a large organisation. A selection of OER-related projects and activities carried out at the Open University of United Kingdom (UKOU) are examined from the perspective of a comparative framework proposed by Okada (2010). The framework identifies key features and differences between ‘Closed’ and ‘Open’ Education, that is, respectively, formal education, which takes place within the constraints of institutional Virtual Learning Environments, and informal education, which is gradually taking place more widely in cyberspace. The paper is introduced with a succinct discussion of the connection between cyberculture and the emergence of OER, followed by a presentation of the comparative framework adopted. The UKOU´s structure and methods are then presented, and various projects are discussed. The article concludes by proposing a brief commentary on the creative potential that is being unleashed at the very boundaries between formal and informal educational spaces that cyberculture is challenging

Methodologies for Housing Justice Resource Guide

This Resource Guide is the outcome of a Summer Institute on Methodologies for Housing Justice convened by the Institute on Inequality and Democracy at UCLA Luskin as part of the Housing Justice in Unequal Cities Network, which is supported by the National Science Foundation (BCS 1758774). Held in Los Angeles in August 2019, the Summer Institute brought together participants from cities around the world. As is the case with the overall scope and purpose of the Housing Justice in Unequal Cities Network, it created a shared terrain of scholarship for movement-based and university-based scholars. Dissatisfied with the canonical methods that are in use in housing studies and guided by housing justice movements that are active research communities, the Summer Institute was premised on the assertion that methodology is political. Methodology is rooted in arguments about the world and involves relations of power and knowledge. The method itself – be it countermapping or people’s diaries – does not ensure an ethics of solidarity and a purpose of justice. Such goals require methodologies for liberation. Thus, as is evident in this Resource Guide, our endeavor foregrounds innovative methods that are being used by researchers across academia and activism and explicitly situates such methods in an orientation towards housing justice

1001stories+: An effective and affordable multi-media, multi-format communication framework for cultural heritage institutions

Over the last decade, there has been an increasing number of technologies and devices (including smartphones, tablets and alike) able to provide new perspectives for the use of multimedia applications in the field of Cultural Heritage. This work arises from the interest in providing better authoring/delivery possibilities to cultural heritage institutions (small and medium sized in particular). Indeed, often medium and small sized museums do not have the necessary resources to create high quality multimedia productions. Not only have they faced short time and low budget, but a shortage of dedicated staff. Based on an interdisciplinary approach, this thesis focuses on the development of an effective and affordable multi-media, multi-format communication framework. The framework provides institutions with guidelines and methodologies and it is based on an innovative authoring tools (not developed in this thesis, but available). Specific concerns of the framework are: developing multimedia content within a short time span, developing multimedia content with a limited, low-budget, adapting multimedia content to different technologies and to different user experiences, making possible to “reuse multimedia content” (e.g. from websites, to audio guides, to multimedia guides, to YouTube or to paper brochures) This research has been conducted throughout parallel and intertwined processes, requiring a take of perspective. One the one hand, a general investigation (about multimedia formats, technologies and methodologies for production) has been conducted. On the other hand, an empirical work on real-life multimedia productions has been undergone. Indeed, the merging of theoretical knowledge and real fieldwork remains the main characteristic of this study’s methodological approach and of its strength. Its overall result is a fully developed framework (named 1001stories +), providing: multi-media, content information is presented throughout different media, including images, text, audio, and video; effective, the content can have the desired impact on the audience; affordable, content can be created in a short time, within low budget, and can be reused; multi-technology, content is available on different channels (web, smart phones, tablets, You tube, etc…); multi-format, content can be reorganized into various solutions, generating different formats for different user experiences. A more conceptual contribution of this thesis is about consideration of what communication in the Cultural Heritage domain is about, what its purposes are, and what the most appropriate means to reach the potential audience may be

Strategic questions in the development of interactive television programs

The aim of this research was to identify questions that a person developing interactive television programs could ask himself. The topic was chosen because it is currently an emerging issue in many of the countries launching digital television. The previous research in this field was reviewed including academic research, field trials in Finland, selected field trials abroad, consumer attitude surveys and expert panels. As it turned out, not much academic work had been done in the subject. The most promising work had been done in the fields of distance education and interactive narration. Five other fields were surveyed as potential sources for suitable ITV development strategies. These fields were linear drama, infomercials and homeshopping, multimedia production, www-production and virtual communities. A group of potential strategies were identified from these fields. Several methodological choices were considered. Among them were predicative methods, scenario analysis, case study method, action research, knowledge brokering and Zetterberg’s method. Finally a combination of knowledge brokering and the Zetterberg’s method was found most suitable for this research. The initial strategies were picked by the researcher from the above mentioned fields. They were then tested with a survey form that was presented to persons involved with the ITV industry. The respondents were identified from various sources and also the snowball method was applied to gather more respondents. Altogether 103 responses were received from persons in significant posts in key companies and institutions of the field. The research can be considered valid and reliable. The main conclusion of this study is that it pays in ITV-development to use the questions that have been found useful in developing film and TV scripts, www-applications, multimedia productions, virtual communities or home-shopping advertisements. Different sets of questions are useful for different ITV-genres. A useful set of questions could be identified for six different ITV genres. These genres were ITV advertising, computer game type of ITV applications, News on Demand applications, Electronic Program Guide (EPG), distance learning applications and background information for TV programs. Other results were also discovered. The following three questions were found important for all genres: 1) How can we make the program aesthetically appealing as possible? 2) How can we make the program visually compelling? 3) What type of an interface should the program have? Another result was that the following two questions that are central in film industry were not considered important for any of the ITV genres: 1) How can we have a three act structure in the program? 2) How can we arrange a happy ending for the program? The identified sets of questions will provide a good starting point for a person developing a program in the respective genre

Making Waves: Intra-actions with Educational Media at the National Film Board of Canada from 1960-2016

This dissertation aims to excavate the narrative of educational programming at the National Film Board of Canada (NFB) from 1960 to 2016. The producers and creative staff of Studio G the epicentre of educational programming at the NFB for over thirty years produced extraordinarily diverse and innovative multimedia for the classroom. Multimedia is here understood as any media form that was not film, including filmstrips, slides, overhead projecturals, laserdiscs and CDs. To date, there have been no attempts to document the history of educational programming at the NFB generally, nor to situate the history of Studio G within that tradition. Over the course of five years, I have interviewed thirty-four NFB technicians, administrators, producers and directors in the service of creating a unique collective narrative tracing the development of educational media and programming at the NFB over the past fifty-six years and began to piece together an archive of work that has largely been forgotten. Throughout this dissertation, I argue that the forms of media engagement pioneered by Studio G and its descendants fostered a desire for, and eventually an expectation for specific media affordances, namely the ability to sequence or navigate media content, to pace ones progress through media, to access media on demand and to modify media content. As new waves of mediated practices emerge throughout the time-period here covered, the complex interconnections between media innovation and pedagogical practice are revealed to be deeply interwoven within the political, social and economic pressures of particular historical moments. The first of these waves focuses on the media produced by Studio G primarily during the tumultuous 1960s to the mid-1980s. The second wave (early-1980s to mid-1990s) marks the shifts in practices and social expectations with the rise of the PC computer. The third wave (mid-1990s to 2004) recognizes yet another shift as Internet technologies and the privileging of consumer expectation eclipsed what were by then seen as dated practices. In the fourth wave (2004 to 2016), the NFBs focus on interactivity is co-opted as a strategy of audience engagement in an ever-more competitive media landscape. The four affordances are realized to a greater and lesser degree in each of these waves. The narrative of the NFBs production of educational multimedia provides an ideal lens through which to identify and more deeply understand the nuanced and complex intra-action between technology, practice and society in which the interface is revealed to be far from neutral

ECLAP 2012 Conference on Information Technologies for Performing Arts, Media Access and Entertainment

It has been a long history of Information Technology innovations within the Cultural Heritage areas. The Performing arts has also been enforced with a number of new innovations which unveil a range of synergies and possibilities. Most of the technologies and innovations produced for digital libraries, media entertainment and education can be exploited in the field of performing arts, with adaptation and repurposing. Performing arts offer many interesting challenges and opportunities for research and innovations and exploitation of cutting edge research results from interdisciplinary areas. For these reasons, the ECLAP 2012 can be regarded as a continuation of past conferences such as AXMEDIS and WEDELMUSIC (both pressed by IEEE and FUP). ECLAP is an European Commission project to create a social network and media access service for performing arts institutions in Europe, to create the e-library of performing arts, exploiting innovative solutions coming from the ICT

D1.3 List of available solutions

This report has been submitted by Tempesta Media SL as deliverable D1.3 within the framework of H2020 project "SO-CLOSE: Enhancing Social Cohesion through Sharing the Cultural Heritage of Forced Migrations" Grant No. 870939.This report aims to conduct research on the specific topics and needs of the SO-CLOSE project, addressing the available solutions through a state-of-the-art digital tools analysis, applied in the cultural heritage and migration fields. More specifically the report's scope is:To define proper tools and proceedings for the interview needs -performing, recording, transcription, translation. To analyse potential content gathering tools for the co-creation workshops. To conduct a state-of-the-art sharing tools analysis, applied in the cultural heritage and migration fields, and propose a critically adjusted and innovative digital approach

2002-2004 Course Catalog

2002-2004 Course Catalo