SEPEC conference proceedings: Hypermedia and Information Reconstruction. Aerospace applications and research directions

Papers presented at the conference on hypermedia and information reconstruction are compiled. The following subject areas are covered: real-world hypermedia projects, aerospace applications, and future directions in hypermedia research and development

Automated Organisation and Quality Analysis of User-Generated Audio Content

The abundance and ubiquity of user-generated content has opened horizons when it comes to the organization and analysis of vast and heterogeneous data, especially with the increase of quality of the recording devices witnessed nowadays. Most of the activity experienced in social networks today contains audio excerpts, either by belonging to a certain video file or an actual audio clip, therefore the analysis of the audio features present in such content is of extreme importance in order to better understand it. Such understanding would lead to a better handling of ubiquity data and would ultimately provide a better experience to the end-user. The work discussed in this thesis revolves around using audio features to organize and retrieve meaningful insights from user-generated content crawled from social media websites, more particularly data related to concert clips. From its redundancy and abundance (i.e., for the existence of several recordings of a given event), recordings from musical shows represent a very good use case to derive useful and practical conclusions around the scope of this thesis. Mechanisms that provide a better understanding of such content are presented and already partly implemented, such as audio clustering based on the existence of overlapping audio segments between different audio clips, audio segmentation that synchronizes and relates the different cluster’s clips in time, and techniques to infer audio quality of such clips. All the proposed methods use information retrieved from an audio fingerprinting algorithm, used for the synchronization of the different audio files, with methods for filtering possible false positives of the algorithm being also presented. For the evaluation and validation of the proposed methods, we used one dataset made of several audio recordings regarding different concert clips manually crawled from YouTube

Mood Glove Enhancing mood in film music through haptic sensations for an enriched film experience

PhDThis research explores a new way of enhancing audience experience in film entertainment, presenting the design and implementation of a wearable prototype system that uses haptic sensations to intensify moods in lm music. The aim of this work is to enrich the musical experience of lm audiences and might also have implication on the hearing-impaired, providing them with a new enhanced emotional experience while watching a movie. Although there has been previous work into music displays of a visual and haptic nature, and on the importance of music in film, there is no documented research on musical enhancement experience in film entertainment. This work focuses on the mood conveyed by lm music in order to understand what role it plays in creating the film experience, and also explores the possibility of enhancing those feelings through haptic sensations. Drawing on HCI and interaction design principles, the design of a piece of haptic wearable technology is proposed and used as the tool for user studies. This research contributes to the fields of: HCI, interaction design, user experience design, multimodal interaction, creative technology, wearable technology, haptics, entertainment technology and lm music. This work also provides a set of design suggestions to aid future research and designers of haptic sensations for media enhancement. Proposed guidelines are based on a number of empirical findings that describe and explain aspects of audience emotional response to haptics, providing some first evidence that there is a correlation between vibrotactile stimuli (such as frequency and intensity) and perceived feelings.EPSRC Doctoral Training Centre in Digital Music and Media for the Creative Economy [EP/G03723X/1]

Internet-mediated intercultural English language education in China's higher education institutions

In the information age, the advent of Internet technologies has made it possible to transform language learning and teaching, through online intercultural exploration and exchange. The role of English as an international language in global communication is recognised in China's latest national guidelines for tertiary language curricula, which seek to develop professionals possessing both sound language proficiency and intercultural competence, alongside other goals such as information literacy and learner autonomy. This thesis examines the actual delivery of an intercultural dimension mediated by Internet technologies. To this end, this thesis reports an investigation into the situation of Internet-mediated intercultural English language teaching and learning at China's higher education institutions conducted between 2008 and 2009. Multi-stage and multi-site fieldwork combined a survey approach and a collective case study approach. The researcher being the primary data collection tool, data obtained from questionnaire survey, interview (and informal conversation), observation and document collection instruments have been combined. The survey findings thus not only have breadth, but also provide materials for in-depth studies of sample cases. Four cases, demonstrating a variety of institutional, individual, pedagogical and technological factors, are analysed at greater length to explore whether evidenced Internet-mediated practices might facilitate an intercultural approach to teaching and learning. Comparisons suggest that, despite their differing characteristics and contexts, there are some commonalities in terms of Internet-mediated activities entailing elements of an intercultural approach. These elements are synthesised and mapped out in an original pedagogical framework for Internet-mediated intercultural teaching and learning, with a set of guiding principles. This framework advocates establishing an Internet-mediated intra-class community as the basis for undertaking intercultural language activities, complementing the prevailing telecollaborative model for the development of intercultural communicative competence. This outcome contributes to a fuller understanding of the design of Internet-mediated intercultural language activities

The Digital Content Era

In order to become even more competitive, a partnering with other niche players is essential in achieving a competitive advantage and it enables opportunities for reintermediation. From an intermediate perspective, there are great possibilities for those who become content coordinators to enter the market. By becoming a bundler of services and products, the content coordinators will become the actors that will capture the most profit in the value web. The value creating drivers that have been identified in the business landscape of intermediates concern owning the content or owning the customer relationship. We find the possibilities of an intermediate actor, such as a content coordinator to achieve competitive advantage through strategic fit is subject to the context and the ability of creating more innovative and co-creative distribution systems. Our research shows that to have the potential of achieving competitive advantage in the value web, it is of utmost importance that the intermediate actor creates new value that has not been created yet. Reaching a critical mass is also essential to attain strategic fit and achieve competitive advantages in this business

Selling the beat, visualizing the rhythm : MTV, propaganda films, and convergent media in the 1980s

textIn the early 1980s, American media industries were changing at a rapid pace. New technologies and corporate structures influenced a new crop of media content indicative of an ever-diversifying mediascape. Influenced by this continuing evolution, the Warner-Amex corporation developed a platform to showcase a new kind of content form, music videos, that sought to mix the flow of radio broadcast with filmed popular music entertainment: MTV, music television. MTV stood as the go-to source for music videos in the United States and became a cultural touchstone in itself. The cable, recording, and advertising industries all had a hand in the channel's development and had to overcome the industrial tensions such an initiative would bring. How would profits be earned? Who produces what? And where will the money come from? Despite its successful premiere on August 1 1981, MTV still underwent a number of transformations, both industrially and culturally, to become the media giant it still is today. One result of this platform's rise in prominence was a need to produce content that would fit well on this new-look channel. Seeing this opportunity, a group of filmmakers formed Propaganda Films in 1986 in order to produce music videos and television advertisements for MTV and other broadcast platforms. These filmmakers, including Hollywood auteurs Steve Golin, Nigel Dick, Dominic Sena, and David Fincher, would have a profound influence on music videos and television advertisements, bringing a distinctive style and authorial vision to non-feature film Hollywood productions. My research details the formation of MTV, the founding of Propaganda Films, and the formal components of Propaganda’s music videos and television advertisements as a means to engage the convergent trends of American media industries during this period. Propaganda Films, a prolific and repeatedly well-regarded organization in the entertainment industry, has yet to have a comprehensive scholarly analysis of its involvement in American media history. My aim is to simultaneously detail a previously underrepresented historical case while providing an interdisciplinary means in which to engage various content forms that are an important component of our media-making cultures and traditions.Radio-Television-Fil

The Effectiveness of Instructional Video in the Acquisition of Cognitive, Affective and Psychomotor Skills in Practical Sports Therapy Rehabilitation.

The use of instructional multimedia, particularly video, within education is steadily increasing although the evidence-base regarding its usage typically only indicates that it is equivalent to or as effective as live demonstration or traditional teaching methods. The current study undertook a longitudinal quasi-experimental crossover study, over three consecutive academic years to evaluate the efficacy of instructional video to teach cognitive, affective and psychomotor skills to level 5 undergraduate sports therapy students. Through the use of a crossover design students undertook both the video and control conditions, they were assessed formatively on a weekly basis to provide a consistent measure of performance throughout the eighteen weeks of data collection within each year. The instructional videos used within the study were based upon (as far as possible) the multimedia principles proposed by Mayer to reduce extraneous cognitive load and maximise essential intrinsic and germane cognitive load. The results from the study were analysed with the use of effect size statistics and interpreted though the use of magnitude based inferences, an emerging alternative to the traditional use of null hypothesis testing. The findings of the study indicate that the use of the instructional videos was beneficial to the vast majority of the students, which builds upon the current evidence-base as it demonstrates that they can be used to enhance academic practice rather than be used as an equivalent resource

Digitizing arquetypal human expereience through physiological signals

Tesi en modalitat de cotutela: Universitat Politècnica de Catalunya i Eindhoven University of Technology This dissertation was produced under Erasmus Mundus Joint Doctorate Program in Interactive and Cognitive Environments. The research was conducted towards a joint double PhD degree between the following partner universities: TU/e & UPCThe problem of capturing human experience is relevant in many application domains. In fact, the process of describing and sharing individual experience lies at the heart of human culture. This advancement came at a price of losing some of the multidimensional aspects of primary, bodily experience during its projection into the symbolic formThroughout the courses of our lives we learn a great deal of information about the world from other people's experience. Besides the ability to share utilitarian experience such as whether a particular plant is poisonous, humans have developed a sophisticated competency of social signaling that enables us to express and decode emotional experience. The natural way of sharing emotional experiences requires those who share to be co-present during this event. However, people have overcome the limitation of physical presence by creating a symbolic system of representations.Recent research in the field of affective computing has addressed the question of digitization and transmission of emotional experience through monitoring and interpretation of physiological signals. Although the outcomes of this research represent a great step forward in developing a technology that supports sharing of emotional experiences, they do not seem to help in preserving the original phenomenological experience during the aforementioned projection. This circumstance is explained by the fact that in affective computing the focus of investigation has been aimed at emotional experiences which can be consciously evaluated and described by individuals themselves. Therefore, generally speaking, applying an affective computing technique for capturing emotions of an individual is not a deeper or more precise way to project her experience into the symbolic form than asking this person to write down a description of her emotions on a piece of paper. One can say that so far the research in affective computing has aimed at delivering technology that could automate the projection but it has not considered the problem of improving the projection in order to preserve more of the multidimensional aspects of human experience.This dissertation examines whether human experience, which individuals are not able to consciously transpose into the symbolic representation, can still be captured using the techniques of affective computing.First, a theoretical framework for description of human experience which is not accessible for conscious awareness was formulated. This framework was based on the work of Carl Jung who introduced a model of a psyche that includes three levels: consciousness, the personal unconscious and the collective unconscious. Consciousness is the external layer of the psyche that consists of those thoughts and emotions which are available for one¿s conscious recollection. The personal unconscious represents a repository for all of an individual¿s feelings, memories, knowledge and thoughts that are not conscious at a given moment of time.The collective unconscious is a repository of universal modes and behaviors that are similar in all individuals. According to Jung, the collective unconscious is populated with archetypes. Archetypes are prototypical categories of objects, people and situations that existed across evolutionary time and in different cultures.Esta tesis doctoral examina si la experiencia humana, que los individuos no pueden transponer conscientemente a la representación simbólica, aún puede capturarse utilizando las técnicas de computación afectiva. Primero, se formula un marco teórico para la descripción de la experiencia humana que no es accesible para la conciencia consciente. Este marco se basó en el trabajo de Carl Jung, quien introdujo un modelo de psique que incluye tres niveles: la conciencia, el inconsciente personal y el inconsciente colectivo. Habiendo definido nuestro marco teórico, realizamos un experimento en el que se mostraron a los sujetos estímulos visuales y auditivos de bases de datos estandarizadas para la obtención de emociones conscientes. Aparte de los estímulos para las emociones conscientes, los sujetos fueron expuestos a estímulos que representaban el arquetipo del yo. Durante la presentación de los estímulos cardiovasculares se registraron las señales de los sujetos. Los resultados experimentales indicaron que las respuestas de la frecuencia cardíaca de los participantes fueron únicas para cada categoría de estímulos, incluido el arquetípico. Estos hallazgos dieron impulso a realizar otro estudio en el que se examinó un espectro más amplio de experiencias arquetípicas. En nuestro segundo estudio, hicimos un cambio de estímulos visuales y auditivos a estímulos audiovisuales porque se esperaba que los videos fueran más eficientes en la obtención de emociones conscientes y experiencias arquetípicas que las imágenes fijas o los sonidos. La cantidad de arquetipos aumentó y los sujetos en general fueron estimulados a sentir ocho experiencias arquetípicas diferentes. También preparamos estímulos para emociones conscientes. En este experimento, las señales fisiológicas incluyeron actividades cardiovasculares, electrodérmicas, respiratorias y temperatura de la piel. El análisis estadístico sugirió que las experiencias arquetípicas podrían diferenciarse en función de las activaciones fisiológicas. Además, se construyeron varios modelos de predicción basados en los datos fisiológicos recopilados. Estos modelos demostraron la capacidad de clasificar los arquetipos con una precisión que era considerablemente más alta que el nivel de probabilidad. Como los resultados del segundo estudio sugirieron una relación positiva entre las experiencias arquetípicas y las activaciones de señales fisiológicas, parecía razonable realizar otro estudio para confirmar la generalización de nuestros hallazgos. Sin embargo, antes de comenzar un nuevo experimento, se decidió construir una herramienta que pudiera facilitar la recopilación de datos fisiológicos y el reconocimiento de experiencias arquetípicas, así como de emociones conscientes. Tal herramienta nos ayudaría a nosotros y a otros investigadores a realizar experimentos sobre la experiencia humana. Nuestra herramienta funciona en "tablets" y admite la recopilación y el análisis de datos de sensores fisiológicos. El último estudio se realizó utilizando una metodología similar al segundo experimento con varias modificaciones que tenían como objetivo obtener resultados más sólidos. El esfuerzo de realizar este estudio se redujo considerablemente al usar la herramienta desarrollada. Durante el experimento, sólo medimos las actividades cardiovasculares y electrodérmicas de los sujetos porque nuestros experimentos anteriores mostraron que estas dos señales contribuyeron significativamente a la clasificación de las emociones conscientes y las experiencias arquetípicas. El análisis estadístico indicó una relación significativa entre los arquetipos retratados en los videos y las respuestas fisiológicas de los sujetos. Además, utilizando métodos de minería de datos, creamos modelos de predicción que fueron capaces de reconocer las experiencias arquetípicas con una precisión menor que en el segundo estudio, pero todavía considerablemente...Postprint (published version

Efficient delivery of scalable media streaming over lossy networks

Recent years have witnessed a rapid growth in the demand for streaming video over the Internet, exposing challenges in coping with heterogeneous device capabilities and varying network throughput. When we couple this rise in streaming with the growing number of portable devices (smart phones, tablets, laptops) we see an ever-increasing demand for high-definition videos online while on the move. Wireless networks are inherently characterised by restricted shared bandwidth and relatively high error loss rates, thus presenting a challenge for the efficient delivery of high quality video. Additionally, mobile devices can support/demand a range of video resolutions and qualities. This demand for mobile streaming highlights the need for adaptive video streaming schemes that can adjust to available bandwidth and heterogeneity, and can provide us with graceful changes in video quality, all while respecting our viewing satisfaction. In this context the use of well-known scalable media streaming techniques, commonly known as scalable coding, is an attractive solution and the focus of this thesis. In this thesis we investigate the transmission of existing scalable video models over a lossy network and determine how the variation in viewable quality is affected by packet loss. This work focuses on leveraging the benefits of scalable media, while reducing the effects of data loss on achievable video quality. The overall approach is focused on the strategic packetisation of the underlying scalable video and how to best utilise error resiliency to maximise viewable quality. In particular, we examine the manner in which scalable video is packetised for transmission over lossy networks and propose new techniques that reduce the impact of packet loss on scalable video by selectively choosing how to packetise the data and which data to transmit. We also exploit redundancy techniques, such as error resiliency, to enhance the stream quality by ensuring a smooth play-out with fewer changes in achievable video quality. The contributions of this thesis are in the creation of new segmentation and encapsulation techniques which increase the viewable quality of existing scalable models by fragmenting and re-allocating the video sub-streams based on user requirements, available bandwidth and variations in loss rates. We offer new packetisation techniques which reduce the effects of packet loss on viewable quality by leveraging the increase in the number of frames per group of pictures (GOP) and by providing equality of data in every packet transmitted per GOP. These provide novel mechanisms for packetizing and error resiliency, as well as providing new applications for existing techniques such as Interleaving and Priority Encoded Transmission. We also introduce three new scalable coding models, which offer a balance between transmission cost and the consistency of viewable quality