Smart subtitles for vocabulary learning

Language learners often use subtitled videos to help them learn. However, standard subtitles are geared more towards comprehension than vocabulary learning, as translations are nonliteral and are provided only for phrases, not vocabulary. This paper presents Smart Subtitles, which are interactive subtitles tailored towards vocabulary learning. Smart Subtitles can be automatically generated from common video sources such as subtitled DVDs. They provide features such as vocabulary definitions on hover, and dialog-based video navigation. In our pilot study with intermediate learners studying Chinese, participants correctly defined over twice as many new words in a post-viewing vocabulary test when they used Smart Subtitles, compared to dual Chinese-English subtitles. Learners spent the same amount of time watching clips with each tool, and enjoyed viewing videos with Smart Subtitles as much as with dual subtitles. Learners understood videos equally well using either tool, as indicated by self-assessments and independent evaluations of their summaries

Yeah, Right, Uh-Huh: A Deep Learning Backchannel Predictor

Using supporting backchannel (BC) cues can make human-computer interaction more social. BCs provide a feedback from the listener to the speaker indicating to the speaker that he is still listened to. BCs can be expressed in different ways, depending on the modality of the interaction, for example as gestures or acoustic cues. In this work, we only considered acoustic cues. We are proposing an approach towards detecting BC opportunities based on acoustic input features like power and pitch. While other works in the field rely on the use of a hand-written rule set or specialized features, we made use of artificial neural networks. They are capable of deriving higher order features from input features themselves. In our setup, we first used a fully connected feed-forward network to establish an updated baseline in comparison to our previously proposed setup. We also extended this setup by the use of Long Short-Term Memory (LSTM) networks which have shown to outperform feed-forward based setups on various tasks. Our best system achieved an F1-Score of 0.37 using power and pitch features. Adding linguistic information using word2vec, the score increased to 0.39

A Survey on Evaluation Metrics for Backchannel Prediction Models

In this paper we give an overview of the evaluation metrics used to measure the performance of backchannel prediction models. Both objective and subjective evaluation metrics are discussed. The survey shows that almost every backchannel prediction model is evaluated with a different evaluation metric. This makes comparison between developed models unreliable, even beside the other variables in play, such as different corpora, language, conversational setting, amount of data and/or definition of the term backchannel

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment