Access to recorded interviews: A research agenda

Recorded interviews form a rich basis for scholarly inquiry. Examples include oral histories, community memory projects, and interviews conducted for broadcast media. Emerging technologies offer the potential to radically transform the way in which recorded interviews are made accessible, but this vision will demand substantial investments from a broad range of research communities. This article reviews the present state of practice for making recorded interviews available and the state-of-the-art for key component technologies. A large number of important research issues are identified, and from that set of issues, a coherent research agenda is proposed

Exploring the possibilities of Thomson’s fourth paradigm transformation—The case for a multimodal approach to digital oral history?

This article seeks to reorientate ‘digital oral history’ towards a new research paradigm, Multimodal Digital Oral History (MDOH), and in so doing it seeks to build upon Alistair Thomson’s (Thomson, A., 2007, Four paradigm transformations in oral history. Oral History Review, 34(1): 49–70.) characterization of a ‘dizzying digital revolution’ and paradigmatic transformation in oral history (OH). Calling for a recalibration of the current dominance of the textual transcript, and for active engagement with the oral, aural, and sonic affordances of both retro-digitized and born digital OH (DOH) collections, we call for a re-orientation of the digital from passive to generative and self-reflexive in the human–machine study of spoken word recordings. First, we take stock of the field of DOH as it is currently conceived and the ways in which it has or has not answered calls for a return to the orality of the interview by digital means. Secondly, we address the predominant trend of working with transcriptions in digital analysis of spoken word recordings and the tools being used by oral historians. Thirdly, we ask about the emerging possibilities—tools and experimental methodologies—for sonic analysis of spoken word collections within and beyond OH, looking to intersections with digital humanities, sociolinguistics, and sound studies. Lastly, we consider ethical questions and practicalities concomitant with data-driven methods, analyses and technologies like AI for the study of sonic research artefacts, reflections that dovetail with digital hermeneutics and digital tool criticism and point towards a new MDOH departure, a sub-field that has potential to inform the many fields that seek patterns in audio, audio-visual, and post-textual materials, serially and at scale

Video Augmentation in Education: in-context support for learners through prerequisite graphs

The field of education is experiencing a massive digitisation process that has been ongoing for the past decade. The role played by distance learning and Video-Based Learning, which is even more reinforced by the pandemic crisis, has become an established reality. However, the typical features of video consumption, such as sequential viewing and viewing time proportional to duration, often lead to sub-optimal conditions for the use of video lessons in the process of acquisition, retrieval and consolidation of learning contents. Video augmentation can prove to be an effective support to learners, allowing a more flexible exploration of contents, a better understanding of concepts and relationships between concepts and an optimization of time required for video consumption at different stages of the learning process. This thesis focuses therefore on the study of methods for: 1) enhancing video capabilities through video augmentation features; 2) extracting concept and relationships from video materials; 3) developing intelligent user interfaces based on the knowledge extracted. The main research goal is to understand to what extent video augmentation can improve the learning experience. This research goal inspired the design of EDURELL Framework, within which two applications were developed to enable the testing of augmented methods and their provision. The novelty of this work lies in using the knowledge within the video, without exploiting external materials, to exploit its educational potential. The enhancement of the user interface takes place through various support features among which in particular a map that progressively highlights the prerequisite relationships between the concepts as they are explained, i.e., following the advancement of the video. The proposed approach has been designed following a user-centered iterative approach and the results in terms of effect and impact on video comprehension and learning experience make a contribution to the research in this field

Event Based Retrieval From Digital Libraries Containing Data Streams

The objective of this research is to study the issues involved in building a digital library that contains data streams and allows event-based retrieval. “Digital Libraries are storehouses of information available through the Internet that provide ways to collect, store, and organize data and make it accessible for search, retrieval, and processing” [29]. Data streams are sources of information for applications such as news-on-demand, weather services, and scientific research, to name a few. A data stream is a sequence of data units produced over a period of time. Examples of data streams are video streams, audio stream, and sensor readings. Saving data streams in digital libraries is advantageous because of the services provided by digital libraries such as archiving, preservation, administration, and access control. Events are noteworthy occurrences that happen during data streams. Events are easier to remember than specific time instances at which they occur; hence using them for retrieval is more commensurate with human behavior and can be more efficient via direct accessing instead of scanning. The focus of this research is not only on storing data streams in a digital library and using event-based retrieval, but also on relating streams and playing them back at the same time, possibly in a synchronized manner, to facilitate better understanding in research or other working situations. Our approach for this research starts by considering digital libraries for: stock market, news streams, census bureau statistics, weather, sports games, and the educational environment. For each of these applications, we form categories of possible users and the basic requirements for each of them. As a result, we identify a list of design goals that we take into consideration in developing the architecture of the library. To illustrate and validate our approach we implement a medical digital library containing actual Computed Tomography (CT) scan streams. It also contains sample medical text and audio streams to show the heterogeneity of the library. Streams are displayed in a concise, yet complete, way that makes it unproblematic for users to decide whether or not to playback a stream and to set playback options. The playback interface itself is organized in a way that accommodates synchronous and asynchronous streams and enables users to control the playback of these streams. We study the performance of the specialized search and retrieval processes in comparison to traditional search and retrieval processes. We conclude with a discussion on how to adapt the library to additional stream types in addition to suggesting other future efforts in this area

Electronic Imaging & the Visual Arts. EVA 2012 Florence

The key aim of this Event is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new EC and international arts computing & telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented

Forgotten as data – remembered through information. Social memory institutions in the digital age: the case of the Europeana Initiative

The study of social memory has emerged as a rich field of research closely linked to cultural artefacts, communication media and institutions as carriers of a past that transcends the horizon of the individual’s lifetime. Within this domain of research, the dissertation focuses on memory institutions (libraries, archives, museums) and the shifts they are undergoing as the outcome of digitization and the diffusion of online media. Very little is currently known about the impact that digitality and computation may have on social memory institutions, specifically, and social memory, more generally – an area of study that would benefit from but, so far, has been mostly overlooked by information systems research. The dissertation finds its point of departure in the conceptualization of information as an event that occurs through the interaction between an observer and the observed – an event that cannot be stored as information but merely as data. In this context, memory is conceived as an operation that filters, thus forgets, the singular details of an information event by making it comparable to other events according to abstract classification criteria. Against this backdrop, memory institutions are institutions of forgetting as they select, order and preserve a canon of cultural heritage artefacts. Supported by evidence from a case study on the Europeana initiative (a digitization project of European libraries, archives and museums), the dissertation reveals a fundamental shift in the field of memory institutions. The case study demonstrates the disintegration of 1) the cultural heritage artefact, 2) its standard modes of description and 3) the catalogue as such into a steadily accruing assemblage of data and metadata. Dismembered into bits and bytes, cultural heritage needs to be re-membered through the emulation of recognizable cultural heritage artefacts and momentary renditions of order. In other words, memory institutions forget as binary-based data and remember through computational information

Virtual Heritage: new technologies for edutainment

Cultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available. Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity? Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’, being active actors and players in their own cultural experience. As a result, institutions are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests. In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials. In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues. Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process. Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life. Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database. Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity