IPTV data reduction strategy to measure real users’ behaviours

Dissertação para obtenção do Grau de Mestre em Engenharia InformáticaThe digital IPTV service has evolved in terms of features, technology and accessibility of their contents. However, the rapid evolution of features and services has brought a more complex offering to customers, which often are not enjoyed or even perceived. Therefore, it is important to measure the real advantage of those features and understand how they are used by customers. In this work, we present a strategy that deals directly with the real IPTV data, which result from the interaction actions with the set-top boxes by customers. But this data has a very low granularity level, which is complex and difficult to interpret. The approach is to transform the clicking actions to a more conceptual and representative level of the running activities. Furthermore, there is a significant reduction in the data cardinality, enhanced in terms of information quality. More than a transformation, this approach aims to be iterative, where at each level, we achieve a more accurate information, in order to characterize a particular behaviour. As experimental results, we present some application areas regarding the main offered features in this digital service. In particular, is made a study about zapping behaviour, and also an evaluation about DVR service usage. It is also discussed the possibility to integrate the strategy devised in a particular carrier, aiming to analyse the consumption rate of their services, in order to adjust them to customer real usage profile, and also to study the feasibility of new services introduction

Video Timeline Modeling For News Story Understanding

In this paper, we present a novel problem, namely video timeline modeling. Our objective is to create a video-associated timeline from a set of videos related to a specific topic, thereby facilitating the content and structure understanding of the story being told. This problem has significant potential in various real-world applications, such as news story summarization. To bootstrap research in this area, we curate a realistic benchmark dataset, YouTube-News-Timeline, consisting of over $12$k timelines and $300$k YouTube news videos. Additionally, we propose a set of quantitative metrics as the protocol to comprehensively evaluate and compare methodologies. With such a testbed, we further develop and benchmark exploratory deep learning approaches to tackle this problem. We anticipate that this exploratory work will pave the way for further research in video timeline modeling. The assets are available via https://github.com/google-research/google-research/tree/master/video_timeline_modeling.Comment: Accepted as a spotlight by NeurIPS 2023, Track on Datasets and Benchmark

Audio-Visual scientific popularisation. Theoretical analysis and critical realisation

La tesi analizza e propone un nuovo modello di divulgazione scientifica attraverso l\u2019utilizzo dell\u2019audiovisivo. Stabilito il quadro di riferimento, entro al quale diverse forme di audiovisivo si sono sviluppate e sono diventate protagoniste della divulgazione scientifica, la seconda dell\u2019elaborato si concentra direttamente sui passaggi necessari per la creazione di un audiovisivo scientifico arrivando alla creazione di un modello originale per la trasmissione scientific

The Gulf War Aesthetic? Certain Tendencies in Image, Sound and the Construction of Space in Green Zone and The Hurt Locker

This thesis argues that the perception of realism and ‘truth’ within narrative feature films set within the Gulf War (1990-1991) and Iraq War (2003-2011) is bound up in other transmedia representations of these conflicts. I identify and define what I describe as the Gulf War Aesthetic, and argue that an understanding of the ‘real life’ of the war film genre through its telling in news reportage, documentary and combatant-originated footage serves as a gateway through which the genre of fictional feature films representing the conflicts and their aftermath is constructed. I argue that the complexity of the Iraq War, coupled with technological shifts in the acquisition and distribution of video and audio through online video-sharing platforms including YouTube, further advanced the Gulf War Aesthetic. I identify The Hurt Locker (Bigelow, 2009) and Green Zone (Greengrass, 2010) as helpful case studies to evidence these changes, and subject both to detailed analysis. I draw an alignment of the creative practice of film practitioners involved in the case studies with a detailed, intrasoundtrack analysis of the scenes they discuss. In The Hurt Locker, I demonstrate that this presents itself in an unusual unification of film sound with image, where sound recording and design, in addition to the deployment of music, operate to communicate the components of a narrative specific to the story of bomb disposal. I contrast this with Green Zone, where I argue that the Gulf War Aesthetic is limited by the deployment of more conventional characteristics of the war film genre. This analysis reveals that transmedia contexts of production are operating and how new aesthetics are being reified and codified in cinema. I evaluate the subsequent impact of this outside the specific genre of the war film, particularly in terms of a shift in the way in which spectacle is presented

Music - Media - History

Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge)

State of digital news preservation

Research Team: Edward McCain (Principal Investigator, Digital Curator of Journalism, University of Missouri Libraries, Donald W. Reynolds Journalism Institute), Neil Mara (Reynolds Journalism Institute Fellow, Neil Mara News-Tech Consulting; former McClatchy News Systems Director and Journalist), Kara Van Malssen (Partner and Senior Consultant, AVP Consulting), Dorothy Carner (Head, Journalism Libraries/Adjunct Journalism Professor, University of Missouri Libraries/Missouri School of Journalism), Bernard Reilly (President Emeritus and Senior Advisor, Center for Research Libraries), Kerri Willette (Senior Consultant, AVP Consulting), Sandy Schiefer (Journalism Research and Digital Asset Librarian, University of Missouri Libraries), Joe Askins (Head, Instructional Services, Library Research and Information Services, University of Missouri Libraries), Sarah Buchanan (Assistant Professor, School of Information Science and Learning Technologies)"Are you concerned about the longevity of your news organization's content? Have you lost any content or critical metadata through the constant churn of shifting digital technologies? Can you pull up the original, full-resolution videos and photographs your newsrooms produced for that major breaking news story last year? Can you prove definitively that you own the copyright to the story that went with it? And are you wondering whether you can locate and access the evergreen content you need for that proposed new digital product you're considering on food or travel or sports? If any of these questions worry you, or you wonder about the future of the public record of our communities in the age of massive expansion of digital news channels and sources, there are problems that need to be understood and solved, and steps newsrooms can take to ensure availability, access and control of digital news content and assets. That's the purpose of this report, to provide the results of research into what's happening in today's news media when it comes to preserving irreplaceable digital news content. And to share the best ideas and practices news organizations can adopt to address the common problems that can so easily threaten the digital news content we are creating every day. In an effort to address these questions, a research group from the University of Missouri Libraries and the Donald W. Reynolds Journalism Institute launched an 18-month-long project to assess the status of preservation of born-digital news content across the news industry. Supported by a generous grant from The Andrew W. Mellon Foundation, this report provides the results of that research, conducted through onsite and video conference interviews, including a wealth of information and analysis on a little-known, largely hidden problem that's been developing in the shadow of the news industry's financial crisis and the shift to digital production and publishing. This report includes a User's Guide to finding and understanding what's in each section, followed by a concise Background on how the switch to digital publishing, and the collapse of old business models helped fuel the upheavals that developed into today's preservation problems. A summary of the Methodology used in this research comes next, followed by the report's Findings, Recommendations, Conclusion and Appendices. ..."--Executive Summary."A report on a research project led by faculty and experts at Donald W. Reynolds Journalism Institute and the University of Missouri Libraries. This project was supported by a grant from The Andrew W. Mellon Foundation."--Cover.Includes bibliographical references (pages 123-125)

Redefining the anthology : forms and affordances in digital culture

Alors que le modèle économique de la télévision américaine, longtemps dominant, a été mis au défi de diverses manières par les changements industriels et technologiques de ces dernières années, des formes narratives de plus en plus hétérogènes sont apparues, qui se sont ajoutées aux structures sérielles originaires. La diversité des formes télévisuelles est devenue particulièrement évidente depuis que les paysages télévisuels nationaux et locaux ont commencé à s’ouvrir aux marchés étrangers situés en dehors des États-Unis, pour finalement adopter une perspective transnationale et globale. La transition vers la télévision distribuée sur Internet a joué un rôle central dans cette fragmentation formelle et la nouvelle dynamique de la diffusion en ligne a ouvert une different perspective pour comprendre le flux mondial de contenus télévisuels, qui reflète aujourd'hui un environnement multimédia et numérique hautement interconnecté et mis en réseau. En effet, la multiplication des services de vidéo à la demande oblige la sérialité à s’adapter au paysage médiatique contemporain, donnant naissance à des produits audiovisuels pouvant être transférés en ligne et présentant des spécificités de production, de distribution et de réception. L’un des résultats de tels changements dans les séries télévisées américaines à l’aube du XXIe siècle est la série anthologique divisée en différentes saisons avec des histoires distinctes, et pourtant liées par le ton et le style. Ma recherche se situe dans un tel contexte technologique, industriel et culturel, où le contenu télévisuel est de plus en plus fragmenté. Compte tenu de cette fragmentation des contenus, cette thèse examine la manière dont les contenus télévisuels contemporains sont distribués, dans l'interaction entre les processus de recommandation basés sur des algorithmes et les pratiques éditoriales plus traditionnelles. L’objectif de ce projet est donc d’étudier la manière dont certaines structures narratives typiques de la forme de l’anthologie apparaissent dans le contexte de la sérialité de la télévision nord-américaine, à partir de conditions spécifiques de production, de distribution et de consommation dans l’industrie des médias. En se concentrant sur l'évolution (dimension temporelle et historique) et sur la circulation numérique (dimension spatiale, géographique) des séries d'anthologies américaines, et en observant les particularités de leur production et de leur style, ainsi que leurs réseaux de distribution et les modes de consommation qu'elles favorisent, cette thèse s’inscrit finalement dans une conversation plus vaste sur les études culturelles et numériques. L’objectif final est d’étudier la relation entre les formes anthologiques, les plateformes de distribution et les modèles de consommation, en proposant une approche comparative de l’anthologie qui soit à la fois cross-culturelle, crosshistorique, cross-genre et qui prenne en consideration les pratiques pre- et post-numériques pour l’organisation de contenus culturels.As the longtime dominant U.S. television business model has been challenged in various ways by industrial and technological changes in recent years, more heterogeneous narrative forms have emerged in addition to original serial structures. The diversity of televisual forms became particularly evident since national, local television landscapes started opening up to foreign markets outside of the U.S., finally embracing a transnational, global perspective and tracing alternative value-chains. The transition to internet-distributed television played a pivotal role in this formal fragmentation and new dynamics of online streaming opened up another path for understanding the flow of television content, which today reflects a highly interconnected, networked media and digital environment. Indeed, the proliferation of video-on-demand services is forcing seriality to adapt to the contemporary mediascape, giving rise to audiovisual products that can be transferred online and present specificities in production, distribution and reception. One of the outcomes of such changes in U.S. television series at the dawn of the twenty-first century is the anthology series divided in different seasons with separate stories, yet linked by tone and style. My research positions itself in such a technological, industrial and cultural context, where television content is increasingly fragmented. Given such a fragmentation, this thesis considers the ways contemporary television content is distributed in the interaction between algorithmic-driven recommendation processes and more traditional editorial practices. The aim of the project is to investigate the way certain narrative structures typical of the anthology form emerge in the context of U.S. television seriality, starting from specific conditions of production, distribution and consumption in the media industry. By focusing on the evolution (temporal, historical dimension) and on the digital circulation (spatial, geographic dimension) of U.S. anthology series, and observing the peculiarities in their production and style, as well as their distributional networks and the consumption patterns they foster, this thesis ultimately insert itself into a larger conversation on digital-cultural studies. The final purpose is to examine the relation between anthological forms, distribution platforms and consumption models, by proposing a comparative approach to the anthology that is at the same time cross-cultural, cross-historical, cross-genre and accounting for both pre- and post-digital practices for cultural content organization