24th International Conference on Information Modelling and Knowledge Bases

In the last three decades information modelling and knowledge bases have become essentially important subjects not only in academic communities related to information systems and computer science but also in the business area where information technology is applied. The series of European – Japanese Conference on Information Modelling and Knowledge Bases (EJC) originally started as a co-operation initiative between Japan and Finland in 1982. The practical operations were then organised by professor Ohsuga in Japan and professors Hannu Kangassalo and Hannu Jaakkola in Finland (Nordic countries). Geographical scope has expanded to cover Europe and also other countries. Workshop characteristic - discussion, enough time for presentations and limited number of participants (50) / papers (30) - is typical for the conference. Suggested topics include, but are not limited to: 1. Conceptual modelling: Modelling and specification languages; Domain-specific conceptual modelling; Concepts, concept theories and ontologies; Conceptual modelling of large and heterogeneous systems; Conceptual modelling of spatial, temporal and biological data; Methods for developing, validating and communicating conceptual models. 2. Knowledge and information modelling and discovery: Knowledge discovery, knowledge representation and knowledge management; Advanced data mining and analysis methods; Conceptions of knowledge and information; Modelling information requirements; Intelligent information systems; Information recognition and information modelling. 3. Linguistic modelling: Models of HCI; Information delivery to users; Intelligent informal querying; Linguistic foundation of information and knowledge; Fuzzy linguistic models; Philosophical and linguistic foundations of conceptual models. 4. Cross-cultural communication and social computing: Cross-cultural support systems; Integration, evolution and migration of systems; Collaborative societies; Multicultural web-based software systems; Intercultural collaboration and support systems; Social computing, behavioral modeling and prediction. 5. Environmental modelling and engineering: Environmental information systems (architecture); Spatial, temporal and observational information systems; Large-scale environmental systems; Collaborative knowledge base systems; Agent concepts and conceptualisation; Hazard prediction, prevention and steering systems. 6. Multimedia data modelling and systems: Modelling multimedia information and knowledge; Contentbased multimedia data management; Content-based multimedia retrieval; Privacy and context enhancing technologies; Semantics and pragmatics of multimedia data; Metadata for multimedia information systems. Overall we received 56 submissions. After careful evaluation, 16 papers have been selected as long paper, 17 papers as short papers, 5 papers as position papers, and 3 papers for presentation of perspective challenges. We thank all colleagues for their support of this issue of the EJC conference, especially the program committee, the organising committee, and the programme coordination team. The long and the short papers presented in the conference are revised after the conference and published in the Series of “Frontiers in Artificial Intelligence” by IOS Press (Amsterdam). The books “Information Modelling and Knowledge Bases” are edited by the Editing Committee of the conference. We believe that the conference will be productive and fruitful in the advance of research and application of information modelling and knowledge bases. Bernhard Thalheim Hannu Jaakkola Yasushi Kiyok

The Cross and the Sword: Political Myth-Making, Hegemony, and Intericonicity in the Christianization of the Iberian Peninsula and Britain

The myth-making (mythopoeia) of El Cid and King Arthur as hegemonic devices flows through a diachronical shapeshifting process with religious and political functionality linked to the Christianization of Spain and Britain. These myths interlock with the hegemonic rhetoric of Christian Reconquest to shape national identities and their procedural correlates, i.e., the monarchical Castilianization of the Iberian Peninsula (Spain) and the formation of the English monarchy (Britain). Consequently, there occurs a gradual imposition of a monolingual politico-epistemological model over the plurilingual and multi-ethnic cultural mosaic. Mythical heroes and saint-warriors substitute real figures to create fictional iconosystems and redesign collective memory and cultural identity. In this context, El Cid and King Arthur as mythemes/iconemes develop in functional correspondence with the Christianization of Britain and Spain and the establishment of national monarchies. El Cid and King Arthur are myth-synthesis since in them a variety of worldviews and textual-iconographical traditions crystallizes to create new transmedia narratives with symbolico-allegorical character. This functional relationship takes place through complex intericonic and intertextual processes in the social and cultural imaginary of medieval Spain and Britain. Special heed is paid to the impact of Byzantium’s religious, military, and literary paradigms upon the formation of Arthurian and Cidian iconosystems and narratives. Aiming to understand and describe the functionality of El Cid and King Arthur as hegemonic myths, we apply a comparative methodology intertwined with a cross-cultural perspective according to which myths, as complex devices gathered together from iconic and textual discourses, bear a concrete functionality. This functionality appears linked to the human calling to ontological self-interpretation, world-understanding, and socio-political legitimation. Furthermore, there is a continuity of these mythemes linked to contemporary cybercultural multi- and transmedia storytelling. In other words, the mythopoeia of El Cid and King Arthur takes place today via transmedia adaptations within the framework of cyberculture and digital technologies. Special forms in which these mythemes appear today are digital cinema, video games, and online educational resources. This transmedia shape-shifting process shows that traditional myths still hold a significant capacity of impact on individual and collective imaginaries. This continuity also indicates that the mythopoeia of King Arthur and El Cid is still expanding to further stages in new social and technological environments. Additionally, this process occurs in an iconological field largely determined by bio-digital categories of cyberbeing. These two conditions transform the traditional formal, diegetic, and ideothematic fashion of these mythemes according to new transmedia possibilities

Hierarchical event selection for video storyboards with a case study on snooker video visualization

Video storyboard, which is a form of video visualization, summarizes the major events in a video using illustrative visualization. There are three main technical challenges in creating a video storyboard, (a) event classification, (b) event selection and (c) event illustration. Among these challenges, (a) is highly application-dependent and requires a significant amount of application specific semantics to be encoded in a system or manually specified by users. This paper focuses on challenges (b) and (c). In particular, we present a framework for hierarchical event representation, and an importance-based selection algorithm for supporting the creation of a video storyboard from a video. We consider the storyboard to be an event summarization for the whole video, whilst each individual illustration on the board is also an event summarization but for a smaller time window. We utilized a 3D visualization template for depicting and annotating events in illustrations. To demonstrate the concepts and algorithms developed, we use Snooker video visualization as a case study, because it has a concrete and agreeable set of semantic definitions for events and can make use of existing techniques of event detection and 3D reconstruction in a reliable manner. Nevertheless, most of our concepts and algorithms developed for challenges (b) and (c) can be applied to other application areas. © 2010 IEEE

The Emergence of an Acoustical Art Form: An Analysis of the German Experimental Horspiel of the 1960s

The Era of the Traditional Horspiel has passed. Although they have an important and welcome place in the repertory of every German broadcaster, the radio plays of Gunter Eich, the lyrical fantasies of Ingeborg Bachmann, the suspenseful stories of Friedrich Durrenmatt, the interior monologues of Heinrich Boll, Dieter Wellershoff, and Peter Hirche no longer influence the creative energies at work in the genre as they did throughout the 1950s. They are in a sense museum pieces to which the term classic has already been widely applied. What has followed the mature classic period possesses the vigor of youth and the freshness of innovation. Called simply das Neue Horspiel, the successor to the traditional German radio play has pulled the genre out of near stagnation by offering through the radio an aesthetic experience different from that available to readers of literature, viewers of film and television, or friends of the concert hall and theater. After more than a decade of active experimentation, there are now signs that a point of transition has been reached in the development of these new forms, and that consequently it may be possible to speak collectively of the first generation of experimental Horspiele without doing excessive violence to the variety of forces at work. Before still newer forces complicate the task, the opportunity should be taken for a critical look at some of the experimental works themselves, including an examination of their generic characteristics and their principal features of form and content. It is my belief that in this process a fresh perspective will be won for a reevaluation of the classic Horspiel and its important theoretical corpus. The starting point for any attempt to understand the respective natures of the traditional and experimental Horspiel must be the postulate on which the theory of the entire genre has been based. This postulate, as formulated in the wave of generally sound theoretical and practical criticism that emerged in the years 1961 to1964, expressed the belief that there was a necessary relationship between the acoustical medium of radio and the poetic expression of the Horspiel. It became a cliche, echoed uncritically by all the major theorists, that the Horspiel was an exclusively acoustical art form. Armin P. Frank observed Rundfunksendungen im weitesten Sinn, also auch Horspiele, sind ausschliesslich akustische Gestalten. E. Kurt Fischer spoke of the Horspiel as eine rein akustische Darbietungsform, and Heinz Schwitzke of the akustische Wirklichkeit des Horspiels. 1 Not surprisingly, the handbooks of literature seized upon this basic feature as the starting point for their discussion of the genre. Gero von Wilpert\u27s Sachworterbuch der Literatur (4th ed., 1964 and 5th ed., 1969) begins its characterization of the H orspiel accordingly: HORSPIEL als neue dramatische Lit.gattung seit der Erfindung des Rundfunks (erstes H. 6.10.1923 Glasgow) ist gekennzeichnet durch Wegfall alles Optischen (Szene. Mimik. Milieu. Schauplatz. Kulisse. oft durch sog. Gerauschkulisse ersetzt) zugunsten des rein Akustischen.... The present study will argue that this premise, so reasonable on its face, was in fact premature; that it better characterizes the new variety of Horspiel which, ironically, emerged only after the definition of the classic Horspiel as a rein akustische art form. The consequence of this premature characterization has been a corresponding neglect of the role of the visual dimension in the classic Horspiel and an almost total disregard of the phenomenon of the printed text. The perspective gained by an evaluation of the newer and increasingly acoustical form of the Horspiel will demonstrate that the typical work of the classic era operates aesthetically in visual, not acoustical, terms, and that much of the excellent theory published on the exclusively acoustical Horspiel applies with equal validity to the Horspiel as printed text

The Emergence of an Acoustical Art Form: An Analysis of the German Experimental Horspiel of the 1960s

The Era of the Traditional Horspiel has passed. Although they have an important and welcome place in the repertory of every German broadcaster, the radio plays of Gunter Eich, the lyrical fantasies of Ingeborg Bachmann, the suspenseful stories of Friedrich Durrenmatt, the interior monologues of Heinrich Boll, Dieter Wellershoff, and Peter Hirche no longer influence the creative energies at work in the genre as they did throughout the 1950s. They are in a sense museum pieces to which the term classic has already been widely applied. What has followed the mature classic period possesses the vigor of youth and the freshness of innovation. Called simply das Neue Horspiel, the successor to the traditional German radio play has pulled the genre out of near stagnation by offering through the radio an aesthetic experience different from that available to readers of literature, viewers of film and television, or friends of the concert hall and theater. After more than a decade of active experimentation, there are now signs that a point of transition has been reached in the development of these new forms, and that consequently it may be possible to speak collectively of the first generation of experimental Horspiele without doing excessive violence to the variety of forces at work. Before still newer forces complicate the task, the opportunity should be taken for a critical look at some of the experimental works themselves, including an examination of their generic characteristics and their principal features of form and content. It is my belief that in this process a fresh perspective will be won for a reevaluation of the classic Horspiel and its important theoretical corpus. The starting point for any attempt to understand the respective natures of the traditional and experimental Horspiel must be the postulate on which the theory of the entire genre has been based. This postulate, as formulated in the wave of generally sound theoretical and practical criticism that emerged in the years 1961 to1964, expressed the belief that there was a necessary relationship between the acoustical medium of radio and the poetic expression of the Horspiel. It became a cliche, echoed uncritically by all the major theorists, that the Horspiel was an exclusively acoustical art form. Armin P. Frank observed Rundfunksendungen im weitesten Sinn, also auch Horspiele, sind ausschliesslich akustische Gestalten. E. Kurt Fischer spoke of the Horspiel as eine rein akustische Darbietungsform, and Heinz Schwitzke of the akustische Wirklichkeit des Horspiels. 1 Not surprisingly, the handbooks of literature seized upon this basic feature as the starting point for their discussion of the genre. Gero von Wilpert\u27s Sachworterbuch der Literatur (4th ed., 1964 and 5th ed., 1969) begins its characterization of the H orspiel accordingly: HORSPIEL als neue dramatische Lit.gattung seit der Erfindung des Rundfunks (erstes H. 6.10.1923 Glasgow) ist gekennzeichnet durch Wegfall alles Optischen (Szene. Mimik. Milieu. Schauplatz. Kulisse. oft durch sog. Gerauschkulisse ersetzt) zugunsten des rein Akustischen.... The present study will argue that this premise, so reasonable on its face, was in fact premature; that it better characterizes the new variety of Horspiel which, ironically, emerged only after the definition of the classic Horspiel as a rein akustische art form. The consequence of this premature characterization has been a corresponding neglect of the role of the visual dimension in the classic Horspiel and an almost total disregard of the phenomenon of the printed text. The perspective gained by an evaluation of the newer and increasingly acoustical form of the Horspiel will demonstrate that the typical work of the classic era operates aesthetically in visual, not acoustical, terms, and that much of the excellent theory published on the exclusively acoustical Horspiel applies with equal validity to the Horspiel as printed text

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

The Relationship Between the Avant-garde as the Mode and Its Reception as the Modality, Exemplified on "Phonation" by Serbian Composer Ana Gnjatović

My thesis in this paper is that the mode is always at the same time the modality, even if understood ‘rigidly’, in the sense of a specific way in which we work at something. The mode is the phenomenon brought about by the resignification of a certain modality to a dominant principle. Therefore, the mode represents a modality which has the status of a norm, in its longer or shorter duration.This complex, circular relationship between the mode and the modality seems to be especially thought-provoking in the field of the musical avant-garde. This holds in particular when it is seen from the angle of its rationality, normativity, esotericism, ultimately from its distinctively radical sort of modernist creativity that promotes a poetical and aesthetic link between musical and theoretical invention. Viewed from that aspect, the avant-garde might be roughly qualified as the ‘legislation’, ‘regulation’, ‘operation mode’, and a creative compositional reception of the avant-garde, even if only in individual pieces, as the phenomenon of modality.The described issue is here exemplified on the work Phonation for the voice and electronics (2016), by a distinguished Serbian author of the younger generation, Ana Gnjatović

Iterchanging Discrete Event Simulationprocess Interaction Modelsusing The Web Ontology Language - Owl

Discrete event simulation development requires significant investments in time and resources. Descriptions of discrete event simulation models are associated with world views, including the process interaction orientation. Historically, these models have been encoded using high-level programming languages or special purpose, typically vendor-specific, simulation languages. These approaches complicate simulation model reuse and interchange. The current document-centric World Wide Web is evolving into a Semantic Web that communicates information using ontologies. The Web Ontology Language OWL, was used to encode a Process Interaction Modeling Ontology for Discrete Event Simulations (PIMODES). The PIMODES ontology was developed using ontology engineering processes. Software was developed to demonstrate the feasibility of interchanging models from commercial simulation packages using PIMODES as an intermediate representation. The purpose of PIMODES is to provide a vendor-neutral open representation to support model interchange. Model interchange enables reuse and provides an opportunity to improve simulation quality, reduce development costs, and reduce development times

Human Factors Considerations in System Design

Human factors considerations in systems design was examined. Human factors in automated command and control, in the efficiency of the human computer interface and system effectiveness are outlined. The following topics are discussed: human factors aspects of control room design; design of interactive systems; human computer dialogue, interaction tasks and techniques; guidelines on ergonomic aspects of control rooms and highly automated environments; system engineering for control by humans; conceptual models of information processing; information display and interaction in real time environments

Grotesque Representations of Former President Jair Bolsonaro: Semiodiscoursive Issues

This article investigates the aesthetics of the grotesque used in images of former President Jair Bolsonaro published in Facebook groups from the semiodiscursive tensive approach demonstrating the pertinence of these points of view for the expansion of comprehension of this aesthetic as a semi-social and semi-discursive practice From the generative course of meaning and the tensive mode style of the text we demonstrate that the grotesque can be considered a genre style modalized and stylized in narrative structures and a tensive rhetoric The texts analyzed are generated by phoric thymic thematic and figurative paths typical of the genre mythologically related to the fundamental semantic values life death and nature culture being articulated in tensive syntactic modes and styles and used not only as social criticism but the establishment of a semantic program which attempts to disrupt the current on