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Repurposing digital audiovisual resources PETER STOCKINGER Equipe Sémiotique Cognitive et Nouveaux Médias (ESCo. M) Repurposing digital audiovisual resources PETER STOCKINGER Equipe Sémiotique Cognitive et Nouveaux Médias (ESCo. M) 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) 20 th of September 2007 Design graphique et multimédia : Elisabeth de PABLO, MSH © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

Summary Topics of this conference q Context and problem: ü digital multimedia libraries offering Summary Topics of this conference q Context and problem: ü digital multimedia libraries offering an access to sometimes big quantities of content (i. e. , in our case, scholar and scientific content) ü at least three central barriers for exploring this remarkable heritage: language barrier; cognitive barrier; cultural barrier üOne solution: repurposing (“re-authoring”) of available audiovisual resources (corpuses) ü user-centric repurposing (“re-authoring”) of audiovisual resources ü 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 q This conference: on repurposing/re-authoring of audiovisual corpuses Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

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

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

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

1 st topic The AAR Programme q Figure 2 shows one possible access to 1 st topic The AAR Programme q 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) Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

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

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

1 st topic The AAR Programme q Figure 5 shows the access to the 1 st topic The AAR Programme q 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) Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

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

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

2 nd topic The « interactive » hypermedia book (IHB) q The interactive hypermedia 2 nd topic The « interactive » hypermedia book (IHB) q 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. q It is – historically speaking – the principal publishing genre of the audiovisual and multimedia resources belonging to the AAR. q 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: ü the presence of a cover with recurrent (paratextual) information (title, author, publisher, . . . ); ü the overall organisation in chapters, sections, etc. ; ü the presence of notes, an index, bibliographical information; ü a textually linear ordering of sections, chapters, … but which hasn’t to be followed necessarily by the reader. Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

2 nd topic The « interactive » hypermedia book (IHB) q The actually online 2 nd topic The « interactive » hypermedia book (IHB) q 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) q 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). Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

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

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

2 nd topic The « interactive » hypermedia book (IHB) q More generally speaking, 2 nd topic The « interactive » hypermedia book (IHB) q More generally speaking, the source corpus of audiovisual, 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: ü virtual (and more or less “relinearized”) documentaries; ü video-lexicons, glossaries, encyclopaedias, ü pedagogical folders ü bi/multilingual versions, ü etc. Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

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

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

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

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

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

4 th topic Bi/Multilingual versions q Bilingual versions of monolingual videos. Example: translation and 4 th topic Bi/Multilingual versions q 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) Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

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

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

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

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

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

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

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

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

Summary Showcases and examples q Phases/task of re-authoring/repurposing of digital audiovisual corpuses 1. the Summary Showcases and examples q Phases/task of re-authoring/repurposing of digital audiovisual corpuses 1. the constitution of “working corpora”, 2. the production or reuse of thematic maps (“ontologies”) for describing and classifying digital objects or parts of them; 3. the segmentation of specific parts of digital objects which are of specific relevancy for a given purpose, 4. thematic or topic description of identified and extracted segments and the key-wording of extracted segments; 5. the commenting (analysing, interpreting, evaluating, …) of identified and extracted segments; 6. the enrichment of segments via hypermedia links to other resources; 7. the (broadly speaking) translation of identified and extracted segments, 8. the publishing and delivery of repurposed digital objects with respect to specific publishing genres. Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

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

3 rd topic q Figure 17 show the 7 principal steps that have to 3 rd topic q 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). Challenges and ongoing activities (figure 15) Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

3 rd topic Challenges and ongoing activities q The 7 principal steps are: 1/ 3 rd topic Challenges and ongoing activities q The 7 principal steps are: 1/ Textual description (Step 1): ü each segment will receive a title and a very short summary in the target language 2/ Translation &Versioning (Step 2): ü 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): ü a segment can be described, in the target language, with respect to the principal topics developed in it Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris

q The 7 principal steps are: 3 rd topic Challenges and ongoing activities 4/ q The 7 principal steps are: 3 rd topic Challenges and ongoing activities 4/ Keyword description (Step 4): ü 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): ü 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): ü 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, …). Peter Stockinger: Digital Re-authoring (Budapest, 2007) © Equipe Sémiotique Cognitive et Nouveaux Médias (Escom) – Paris