Deliverable D1.1 State of the art and requirements analysis for hypervideo

This deliverable presents a state-of-art and requirements analysis report for hypervideo authored as part of the WP1 of the LinkedTV project. Initially, we present some use-case (viewers) scenarios in the LinkedTV project and through the analysis of the distinctive needs and demands of each scenario we point out the technical requirements from a user-side perspective. Subsequently we study methods for the automatic and semi-automatic decomposition of the audiovisual content in order to effectively support the annotation process. Considering that the multimedia content comprises of different types of information, i.e., visual, textual and audio, we report various methods for the analysis of these three different streams. Finally we present various annotation tools which could integrate the developed analysis results so as to effectively support users (video producers) in the semi-automatic linking of hypervideo content, and based on them we report on the initial progress in building the LinkedTV annotation tool. For each one of the different classes of techniques being discussed in the deliverable we present the evaluation results from the application of one such method of the literature to a dataset well-suited to the needs of the LinkedTV project, and we indicate the future technical requirements that should be addressed in order to achieve higher levels of performance (e.g., in terms of accuracy and time-efficiency), as necessary

Curating Canadianness: public service broadcasting, fusion programming, and hierarchies of difference

“Fusion programming” is an approach to music broadcasting that was employed by the Canadian Broadcasting Corporation (CBC) during the early years of the twenty-first century. It’s understandable as a response to systemic and systematic pressure to be “more multicultural.” It was about the artistry of musicians and entertainment of audiences, but fusion programming also served a didactic purpose for producers and listeners, participating in the production, elaboration, reinforcement, and/or deconstruction of existing cultural systems. Producing fusion programming involved bringing a minimum of two musicians/musical groups from different genres, languages, styles, scenes, and cultures into the same CBC-sponsored venue for the expressed purpose of performing together and discussing the challenges of collaboration. Performances, in many cases, were posited as “multicultural,” “cross cultural,” or “a collision of cultures,” and conversations framing the music often referenced diversity, multiculturalism, and difference, effectively mapping musicians’ positionality within Canadian society and geography. This study uses “ethnographically grounded” content analysis of archival broadcasts (principally via radio) of fusion programming to raise questions about the discursive limitations of multiculturalism imposed by the ways in which policy concepts were operationalized during the first decade of the twenty-first century. Beginning with the principles, rights, and responsibilities defined in the Multiculturalism (1988) and Broadcasting (1991) Acts, I use case studies drawn from centres across Canada and broadcast via multiple CBC platforms and media lines in order to explore the CBC as a system of communication. I then focus on Fuse, the longest running example of fusion programming, examining how approaches to mediation and curation both celebrate and silence particular voices. I suggest that that while cross-cut with contradictions and resistance to totalizing narratives—particularly when the experiences of live audiences are taken into account and regional variants of fusion programming are considered—fusion programming privileged a very limited understanding of “Canadianness.” Instead of promoting an understanding of multiculturalism based on principles of social construction and integration into a shared civic culture based on liberal humanist principles, production contexts and assumptions about what counts as normal functioned to shore up the status quo; the potential for a more equitable sense of belonging embedded in existing legislation remains limited by existing discursive realizations

Dialect Classification for online podcasts fusing Acoustic and Language based Structural and Semantic Information

The variation in speech due to dialect is a factor which significantly impacts speech system performance. In this study, we investigate effective methods of combining acoustic and language information to take advantage of (i) speaker based acoustic traits as well as (ii) content based word selection across the text sequence. For acoustics, a GMM based system is employed and for text based dialect classification, we proposed n-gram language models combined with Latent Semantic Analysis (LSA) based dialect classifiers. The performance of the individual classifiers is established for the three dialect family case (DC rates vary from 69.1%-72.4%). The final combined system achieved a DC accuracy of 79.5% and significantly outperforms the baseline acoustic classifier with a relative improvement of 30%, confirming that an integrated dialect classification system is effective for American, British and Australian dialects

11th International Conference on Business, Technology and Innovation 2022

Welcome to IC – UBT 2022 UBT Annual International Conference is the 11th international interdisciplinary peer reviewed conference which publishes works of the scientists as well as practitioners in the area where UBT is active in Education, Research and Development. The UBT aims to implement an integrated strategy to establish itself as an internationally competitive, research-intensive university, committed to the transfer of knowledge and the provision of a world-class education to the most talented students from all background. The main perspective of the conference is to connect the scientists and practitioners from different disciplines in the same place and make them be aware of the recent advancements in different research fields, and provide them with a unique forum to share their experiences. It is also the place to support the new academic staff for doing research and publish their work in international standard level. This conference consists of sub conferences in different fields like: Security Studies Sport, Health and Society Psychology Political Science Pharmaceutical and Natural Sciences Mechatronics, System Engineering and Robotics Medicine and Nursing Modern Music, Digital Production and Management Management, Business and Economics Language and Culture Law Journalism, Media and Communication Information Systems and Security Integrated Design Energy Efficiency Engineering Education and Development Dental Sciences Computer Science and Communication Engineering Civil Engineering, Infrastructure and Environment Architecture and Spatial Planning Agriculture, Food Science and Technology Art and Digital Media This conference is the major scientific event of the UBT. It is organizing annually and always in cooperation with the partner universities from the region and Europe. We have to thank all Authors, partners, sponsors and also the conference organizing team making this event a real international scientific event. Edmond Hajrizi, President of UBT UBT – Higher Education Institutio

Play Among Books

How does coding change the way we think about architecture? Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books

Archaeology of the Voice: Exploring Oral History, Locative Media, Audio Walks, and Sound Art as Sitespecific Displacement Activities

This thesis develops a notion of an archaeology of the voice that is situated between three principal areas of research and practice: oral history, locative media, and sound art. The research takes place in the context of contested urban space in Holbeck, Leeds one of the most deprived neighbourhoods in the U.K. Through a reiterative and reflexive process of extensive interviewing, soundwalking and field recording the area is deep mapped and material gathered in order to produce a percipient led sitespecific presentation of oral history I term 'phonoscape'. Although the technology exists to connect oral history to place via locative media within a database aesthetic, a practical and conceptual gap is identified between these technologies for those working with audio interview material. In this context a purpose-built app is developed to enable oral history audio archives to be distributed geospatially, becoming navigable aurally on foot. In order to distribute a polyvocal sampling of an archive in time-space, techniques and principles from contemporary sound art are introduced, in particular a form of field composition involving an understanding of constitutive silence, soundscape, and voice editing techniques. Research into contemporary audio walk and memoryscape practice confirms that non-linear, fragmented narrative forms are used the construction of polyvocal understandings of place, and this is taken forward within a conception of the embodied hypertextual affordance of locative technology. The findings are then brought together in a transdisciplinary manoeuvre that introduces Displacement Activities, a translocational form of site-specific participatory performance art, providing a public vehicle that draws attention to phonoscape, its oral history content, and the archive itself. As an open work that is generative and reflexive, Displacement Activities extend the notion of site-specificity, finding global analogues before returning to the original site to begin the work again

Video Vortex reader : responses to Youtube

The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media. After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists? What are the alternatives