Towards smart style : combining RDF semantics with XML document transformations

The 'Document Web' has established itself through the creation of an impressive family of XML and related languages. In addition to this, the 'Semantic Web' is developing its own family of languages based primarily on RDF. Although these families were both developed specifically for 'the Web', each language family has been developed from different premises with specific goals in mind. The result is that combining both families in a single application is surprisingly difficult. This is unfortunate, since the combination of semantic processing with document processing provides advantages in both directions --- namely using semantic inferencing for more intelligent document processing and using document processing tools for presenting semantic representations to an end-user. In this paper, we investigate this integration problem, focusing on the role of (RDF) semantics in selecting, structuring and styling (XML) content. We analyze the approaches taken by two example architectures and use our analysis to derive a more integrated alternative

Video on the semantic web : experiences with media streams

In this paper, we report our experiences with the use of SemanticWeb technology for annotating digital video material.Web technology is used to transform a large, existing video ontology embedded in an annotation tool into a commonly accessible format. The recombination of existing video material is then used as an example application, in which the video metadata enables the retrieval of video footage based on both content descriptions and cinematographic concepts, such as establishing and reaction shots. The paper focuses on the practical issues of porting ontological information to the Semantic Web, the multimedia-specific issues of video annotation, and requirements for Semantic Web query and access patterns. It thereby explicitly aims at providing input to the two new W3C Semantic Web Working Groups (Best Practices and Deployment; Data Access)

Measurement of the B+B^+ Total Cross Section and B+B^+ Differential Cross Section dσ/dpTd\sigma/dp_T in ppˉp \bar p Collisions at s=1.8\sqrt{s}=1.8 TeV

We present measurements of the B+ meson total cross section and differential cross section $d\sigma/ dp_T$. The measurements use a $98\pm 4$ pb^{-1} sample of $p \bar p$ collisions at $\sqrt{s}=1.8$ TeV collected by the CDF detector. Charged $B$ meson candidates are reconstructed through the decay $B^{\pm} \to J/\psi K^{\pm}$ with $J/\psi\to \mu^+ \mu^-$. The total cross section, measured in the central rapidity region $|y|6.0$ GeV/$c$, is $3.6 \pm 0.6 ({\rm stat} \oplus {\rm syst)} \mu$b. The measured differential cross section is substantially larger than typical QCD predictions calculated to next-to-leading order

Canonical processes of media production

Creating compelling multimedia presentations is a complex task. It involves the capture of media assets, then editing and authoring these into one or more final presentations. Tools tend to concentrate on a single aspect of media production to reduce the complexity of the interface and to tailor support to a specific task. While these tools are suited to the task they are designed for, very often there is no consideration for input requirements for the next tool down the line. Each tool in the multimedia production chain has the potential for adding semantic annotations to the media asset at hand, describing relevant aspects of the asset and why it is being used for a particular purpose. These annotations need to be included in the information handed over to the next tool in the production chain. We specify inputs and outputs to a number of canonical processes we identify in multimedia production. We do not specify the intricate workings of the processes, but concentrate on the information flow between them. Our claim is that by specifying explicitly the input and output required for processes that occur in widely differing uses of media we can provide the tool-building community with a small set of building blocks that can be supported for semantically aware media production tool

Towards a syntax for multimedia semantics

This article describes the current state of the art on representing the fouressential conceptual facets of a multimedia unit, namely the form and substance of content and the form and substance of its expression, and points to the still un solved problems regarding the syntax for media semantics. We first provide a brief overview of the general features of the MPEG-7 standard and its different parts. This serves as a description of the state of the art in content description for audio-visual media. We then analyse the ability of one of these parts for its capability to define structures for describing media semantics. We describe the problems of two currently conflicting MPEG-7 representations of expression-based media semantic, which should be equivalent. We then discuss high-level aspects of media semantics, namely the general problems of an ontology for media semantics. Finally, we talk about the problems of applying the theoretical conceptsto real applications

Denotative and connotative semantics in hypermedia: Proposal for a semiotic-aware architecture

In this article we claim that the linguistic-centred view within hypermedia systems needs refinement through a semioticbased approach before real interoperation between media can be achieved. We discuss the problems of visual signification for images and video in dynamic systems, in which users can access visual material in a non-linear fashion

Towards a Syntax for Multimedia Semantics

This article describes the current state of the art on representing the four essential conceptual facets of a multimedia unit, namely the form and substance of content and the form and substance of its expression, and points to the still unsolved problems regarding the syntax for media semantics. We irst provide a brief overview of the general features of the MPEG-7 standard and its different parts. This serves as a description of the state of the art in content description for audio-visual media. We then analyse the ability of one of these parts for its capability to define structures for describing media semantics