By Peter Stockinger
This day, audiovisual information and libraries became highly regarded particularly within the box of accumulating, holding and transmitting cultural history. in spite of the fact that, the knowledge from those records or libraries – movies, pictures, sound tracks, and so forth. – represent as such basically capability cognitive assets for a given public (or “target community”). they need to suffer roughly major qualitative adjustments with a purpose to develop into consumer- or community-relevant highbrow goods.
those qualitative adjustments are played via a chain of concrete operations comparable to: audiovisual textual content segmentation, content material description and indexing, pragmatic profiling, translation, and so forth. those and different operations represent what we name the semiotic flip in facing electronic (audiovisual) texts, corpora of texts or perhaps complete (audiovisual) information and libraries. They exhibit virtually and theoretically the well known “from information to meta-data” or “from (simple) info to (relevant) wisdom” challenge – an issue that evidently without delay impacts the potent use, the social impression and relevancy and for that reason additionally the way forward for electronic wisdom archives.
It constitutes, certainly, the guts of a range of significant R&D courses and initiatives everywhere in the world.Content:
Chapter 1 Context and matters (pages 1–30): Peter Stockinger, Elisabeth De Pablo and Francis Lemaitre
Chapter 2 The Segmentation Workshop for Audiovisual assets (pages 33–48): Elisabeth de Pablo
Chapter three Description Workshop for Audiovisual Corpora (pages 49–66): Muriel Chemouny
Chapter four research of Audiovisual Expression (pages 67–86): Elisabeth de Pablo and Jirasri Deslis
Chapter five research of the Audiovisual content material (pages 87–126): Peter Stockinger
Chapter 6 makes use of of an Audiovisual source (pages 127–142): Muriel Chemouny and Primsuda Sakunthabai
Chapter 7 version of an Audiovisual ebook within the kind of an internet Portal (pages 143–168): Jirasri Deslis
Chapter eight The ASW electronic setting (pages 171–202): Francis Lemaitre
Chapter nine The ASW Studio (pages 203–224): Francis Lemaitre
Chapter 10 The Technical improvement of the “Web Portal” Publishing version (pages 225–242): Richard Guerinet
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Extra info for Introduction to Audiovisual Archives
Example text
The publication formats will be useful to authors for uploading audiovisual corpora which have been described and indexed in advance according to their preferences. This work is carried out using the ASW Publication Workshop, which relies on an application developed by ESCoM called Semiosphere. 3. ). The aim here is not only to be able to export information to external platforms, but also to be able to publish indexed videos using other tools, particularly those developed by ESCoM’s partners in the ARA program.
3. Appropriation of the segmentation workshop The interface of the “Segmentation Workshop” opens on the screen as soon as the Interview software is launched. Any analysis of audiovisual corpora carried out using ASW Studio must necessarily start with this. The Segmentation Workshop for Audiovisual Resources 43 As with all software, there is a File menu which offers the possibility of loading and opening a video in this first window in order to “segment” it. 8) appear. 7. 8. Segmentation Workshop, video loaded, segmentation functions appear 44 Introduction to Audiovisual Archives As we have seen, “describing a video”, in the context of the ASW-HSS research project means either describing it as a linear whole (without breaking it up), or as its constituent parts (or sequences) or even describing it in a more-or-less partial way, focusing the analytical attention only on such-and-such a moment, such-and-such passage.
It should also be noted that the conceptual analysis and modeling of an area of knowledge/expertise are not synonymous with choosing between this-or-that scheme of metadata, and/or this-or-that standard. 18 Introduction to Audiovisual Archives the models and scenarios of analysis). Let us take a brief look at the other classes of models and scenarios identified below: 1. models and scenarios of collection and production which serve either for the constitution of a new audiovisual collection documenting an area of expertise, or for the “reasoned” enrichment of an existing audiovisual collection.