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Repurposing digital audiovisual resources

Repurposing digital audiovisual resources

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Repurposing digital audiovisual resources

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  1. PETER STOCKINGER Equipe Sémiotique Cognitive et Nouveaux Médias (ESCoM)Fondation Maison des Sciences de l’Homme (FMSH)Institut National des Langues et Civilisations Orientales (INALCO) Workshop on “Cross-Media and Personalized Learning Applications on top of Digital Libraries” (LADL 2007) 20th of September 2007 Design graphique et multimédia : Elisabeth de PABLO, MSH Repurposing digital audiovisual resources © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

  2. Context and problem: • digital multimedia libraries offering an access to sometimes big quantities of content (i.e., in our case, scholar and scientific content) • at least three central barriers for exploring this remarkable heritage: language barrier; cognitive barrier; cultural barrier • One solution: repurposing (“re-authoring”) of available audiovisual resources (corpuses) • user-centric repurposing (“re-authoring”) of audiovisual resources • whereas “repurposing” or “re-authoring” includes not only presentational changes but also changes, modifications in the content (“content adaptation”) as well as “translation” in a linguistic sense • This conference: on repurposing/re-authoring of audiovisual corpuses Summary Topics of this conference © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  3. 1st topic - Examples of existing online audiovisual libraries - © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  4. Online portals and examples of repurposed audiovisual resources • Archives Audiovisuelles de la Recherche: http://semioweb.msh-paris.fr/AAR • Peoples and Cultures in the World: http://www.patrimoineculturel.eu • Main characteristics: • “normal video libraries” • scholar and scientific content in social sciences and humanities • publication format: streamed video in form of interactive “videobooks” • one source language (mainly French, but also : English, Spanish, …) Summary Showcases and examples © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  5. Figure 1 shows the home page of the web site hosting the AAR audiovisual and multimedia resources. • (figure 1) 1st topic The AAR Programme © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  6. Figure 2 shows one possible access to the online audiovisual and multimedia resources of AAR – the collections or series composing the archives. In our concrete case: the series of interviews (with scholars, researchers, artists, …). • (figure 2) 1st topic The AAR Programme © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  7. Figure 3 shows a selection of video resources belonging to the series of reportages and documentaries. • (figure 3) 1st topic The AAR Programme © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  8. Figure 4 shows the access to the audiovisual and multimedia resources via a thematic catalogue. The chosen example: “World Languages and Literatures” • (figure 4) 1st topic The AAR Programme © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  9. Figure 5 shows the access to the audiovisual resources of the AAR with the help of a search engine and by means of key words. Concrete example: “Chinese literature”. • (figure 5) 1st topic The AAR Programme © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  10. Figure 6 shows the home page of one of the thematic knowledge spaces of the AAR programme dedicated to the cultural heritage of minorities and social groups (“PCI”). • (figure 6) 1st topic The AAR Programme © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  11. 2nd topic - A publishing genre/format: the Interactive hypermedia book (IHB) - © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  12. The interactive hypermedia book (abbreviated: IHB) is a specific publishing genre of a given (closed or open) source corpus composed either exclusively by audiovisual sources or by different media sources. • It is – historically speaking – the principal publishing genre of the audiovisual and multimedia resources belonging to the AAR. • As its name already suggests, it is built in analogy to the “written book organised in chapters” which is a traditional publishing genre with some very well known general stereotypic characteristics such as: • the presence of a cover with recurrent (paratextual) information (title, author, publisher, ...); • the overall organisation in chapters, sections, etc.; • the presence of notes, an index, bibliographical information; • a textually linear ordering of sections, chapters, … but which hasn’t to be followed necessarily by the reader. 2nd topic The « interactive » hypermedia book (IHB) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  13. The actually online interactive hypermedia book is in French with the title “L’univers des indiens huarpe de Guanachache” (English : “The – natural and cultural – world of the huarpe indios living in the Guanacache region”). (figure 10) • The figure 9 above shows the “cover page” of the interactive book as well as the contents of it (cf. region within the red circle). 2nd topic The « interactive » hypermedia book (IHB) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  14. The figure 11 below show the pop up window containing the video section of the interactive book which are, in this case, very simple: • they are ordered following the temporal progress of the series of interviews; • each of them contains the “video text” in three formats as well as (virtually) other information resources completing the video text (figure 11) 2nd topic The « interactive » hypermedia book (IHB) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  15. The huarpe hypermedia book in its actual version : • tends to be above all a faithful report of what Gregorio Manzur has related about the huarpe civilisation: • it hasn’t any other specific objective than the trustful reporting of Mannzur’s discourse. • But other versions of this IHB: • may have other objectives: overtly pedagogical ones, political ones, moralizing ones, etc. • may be elaborated especially with respect to specific user groups, etc. • and will require, for this: • specific contents and specific comments and enrichments of selected video contents; • specific functional parts and specific fitting (organisation) of functional parts • specific interfaces 2nd topic The « interactive » hypermedia book (IHB) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  16. More generally speaking, the source corpus of audiovisual, visual, and other files composing the actual version of the online Huarpe video book could be re-used for other publications, which are sometimes radically different from the video book genre: • virtual (and more or less “relinearized”) documentaries; • video-lexicons, glossaries, encyclopaedias, • pedagogical folders • bi/multilingual versions, • etc. 2nd topic The « interactive » hypermedia book (IHB) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  17. 3rd topic - The AAR audiovisual and multimedia resources: challenges and actually ongoing activities - © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  18. List of principal challenges that the audiovisual and multimedia resources of the AAR are facing: • transform this material in a useful tool for formal (secondary, higher) education • transform this material in a useful tool for informallearning (life long learning, u-learning, …) • open this material to a multilingual and multicultural knowledge market • use this material for other objective bounded purposes: political communication, social communication, … • re-use this material in order to contribute to the dialogue “culture, science and citizen” • prepare this material as a knowledge heritage of the actual generation left for future generations • prepare this material for its critical use in the construction of new knowledge. 3rd topic Challenges and ongoing activities © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  19. This means especially : • the re-authoring or again the repurposing of a given source corpus • with respect to given communication objectives, user groups and exploitation contexts • as well as with respect to chosen genres, publishing genres that are more or less well attuned to the just quoted constraints. 3rd topic Challenges and ongoing activities © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  20. Actually ongoing R&D as well as teaching and learning activities for handling these challenges: • several French and European R&D projects (SAPHIR, LOGOS, DIVAS) dealing with the elaboration and implementation of methodologies and tools for re-authoring audiovisual corpuses as well as for annotating them for different destines or publics; • work with students on specific audiovisual corpuses in order to republish them as bilingual montages; hyper-documentations, thematic folders, video-lexica, etc. • Methodology: semiotic of digital audiovisual document • Tool: Interview – the semiotic workshop for re-authoring or repurposing multimedia source corpuses • First results: • Bilingual versions of audiovisual resources belonging to the AAR; • Hypermedia online encyclopaedia dedicated to the knowledge domain of cultures and peoples in the world. 3rd topic Challenges and ongoing activities © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  21. 4th topic - Examples of re-authored, re-purposed versions of online audiovisual resources - © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  22. Bilingual versions of monolingual videos. Example: translation and adaptation for a Russian community of a conference given in English by Faleh Jabar (Iraq) on the question of suicid bombers. • (figure 16) 4th topic Bi/Multi-lingual versions © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  23. The homepage of the bilingual version produced by Olga Anissimova from the Tartu University in Estonia (figure 17). • (figure 17) 4th topic Bi/Multi-lingual versions © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  24. The list of newly identified and processed segments for the Russian public (figure 18). • (figure 18) 4th topic Bi/Multi-lingual versions © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  25. The interface for reading and appropriating the content of a chosen segment in Russian and for Russian people (figure 19) • (figure 19) 4th topic Bi/Multi-lingual versions © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  26. An online hypermedia encyclopaedia on peoples and cultures in the world: • http://www.patrimoineculturel.eu 4th topic Bi/Multi-lingual versions © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  27. 5th topic - The audiovisual resource re-authoring or repurposing - © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  28. General picture of the re-authoring process 1st topic The AAR Programme © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  29. Central aspects in the understanding of a re-authoring or re-purposing process Summary Showcases and examples © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  30. The semiotic vision of a (audiovisual, visual, textual, …) document/ resource: Summary Showcases and examples © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  31. Phases/task of re-authoring/repurposing of digital audiovisual corpuses • the constitution of “working corpora”, • the production or reuse of thematic maps (“ontologies”) for describing and classifying digital objects or parts of them; • the segmentation of specific parts of digital objects which are of specific relevancy for a given purpose, • the thematic or topic description of identified and extracted segments and the key-wording of extracted segments; • the commenting (analysing, interpreting, evaluating, …) of identified and extracted segments; • the enrichment of segments via hypermedia links to other resources; • the (broadly speaking) translation of identified and extracted segments, • the publishing and delivery of repurposed digital objects with respect to specific publishing genres. Summary Showcases and examples © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  32. The Interview tool interface – the segmentation of video corpuses (figure 14). • (figure 14) 3rd topic Challenges and ongoing activities © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  33. Figure 17 show the 7 principal steps that have to be passed through in order to produce re-authored versions of a source corpus (figure 15). • (figure 15) 3rd topic Challenges and ongoing activities © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  34. The 7 principal steps are: • 1/ Textual description (Step 1): • each segment will receive a title and a very short summary in the target language • 2/ Translation &Versioning(Step 2): • each segment has to be “translated” in the target language – translation can take the form of sub-titles, key word translation (“telegraphic style”), a word-to-word translation, a free version, etc. • 3/ Thematic description(Step 3): • a segment can be described, in the target language, with respect to the principal topics developed in it 3rd topic Challenges and ongoing activities © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)

  35. The 7 principal steps are: • 4/ Keyword description(Step 4): • keywords referring to people, places, times, monuments, natural environment, symbolic environment, etc. can be provided for each segment in the target language • 5/ Peritextual description(Step 5): • each segment can be enriched, enhanced for people composing the target culture by means of links to other online resources or useful comments • 6/ Paratextual description(Step 6): • the whole description has to be presented as an MMS realisation in a chosen target language and for a chosen target user (general title of the realisation, authors, …). 3rd topic Challenges and ongoing activities © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris Peter Stockinger: Digital Re-authoring (Budapest, 2007)