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http://www.computer.org 4 0 0 2 E N U J – L I R P A April–June 2004 Vol. 11, No. 2 Published by theIEEEComputer Society in cooperation with theIEEE Communications Society and IEEE Signal Processing Society Digital Multimedia on Demand 14 Guest Editors’ Introduction Nikolaos Bourbakis and George Bebis 16 Client Architecture for MPEG-4 Streaming Haifeng Xu, Joe Diamand, and Ajay Luthra The authors discuss their Multilevel Buffer Architecture, a buffering mechanism for MPEG-4 decoder players. 24 Resource Requirements of Closed-Loop Video Delivery Services Wei Shu and Min-You Wu This article presents a capacity analysis, and a new method based on scheduled video delivery. 38 Soft-Decision Tracing in Fingerprinted Multimedia Content Feature Articles Marcel Fernandez and Miguel Soriano To protect intellectual property and distribution rights against dishonest customers in the multimedia content 58 An MPEG-4 Tool for Composing Scenes market, the authors present a traitor-tracing algorithm Petros Daras, Ioannis Kompatsiaris, Theodoros Raptis, and that takes advantage of soft-decision decoding techniques. Michael G.Strintzis MPEG-4’s complicated format makes developing scenes 48 RMI System: from scratch all but impossible for novice users. By Internet Meets the Future Home Theater converting MPEG-4’s text-based description into Roger Zimmerman, Chris Kyriakakis, Cyrus Shahabi, Christos graphical form, the authors’ proposed tool exploits all Papadopoulos, Alexander A.Sawchuk, and Ulrich Neumann of MPEG-4’s 3D functionalities while easing the This article discusses RMI, a system that blends multiple authoring burden. media technologies into its digital media delivery platform. http://www.computer.org/multimedia Editorial: Unless otherwise stated, bylined articles and departments, as well as descriptions of products and services, reflect the author’s or firm’s opinion; in- clusion in this publication does not necessarily constitute endorsement by the IEEE or the Computer Society. Copyright and reprint permission: Abstracting is permitted with credit to the source. Libraries are permitted to photocopy beyond the limits of US copyright law for private use of patrons those articles that carry a code at the bottom of the first page, provided the per-copy fee indicated in the code is paid through the Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 01923. Instructors are permitted to photocopy isolated articles for noncommercial classroom use without fee. For other copying, reprint, or republication permission, write to Copyrights and Permissions Department, IEEE Publications Administration, 445 Hoes Lane, P.O. Box 1331, Piscataway, NJ 08855-1331. All rights reserved. Copyright © 2004 by the Institute of Electrical and Electronics Engineers, Inc. Circulation:IEEE MultiMedia(ISSN 1070-986X) is published quarterly by the IEEE Computer Society. IEEE Headquarters: Three Park Ave., 17th Floor., New York, NY 10016-5997. IEEE Computer Society Publications Office: 10662 Los Vaqueros Circle, PO Box 3014, Los Alamitos, CA 90720-1264; +1 714 821 8380. 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Departments 1 EIC’s Message Multimedia Information Lifecycle Management 4 Artful Media Enhancing Engagement in Multimodality Environments by Sound Movements in a Virtual Space 10 Media Impact The Future in Digital Media Computing Is Meta 72 Multimedia at Work MobiDENK—Mobile Multimedia in Monument Conservation 78 Media Reviews Demystifying Multimedia 80 Standards Multimedia Retrieval Benchmarks 85 New Products C3 Readers’ Remarks Computer Society Information, p. 9 Advertising/Product Index, p. 47 Cover Image: Elizabeth Merritt IEEE Signal Processinging Society ISSN 1070-986X Editor in Chief Lead Editor Tammi Titsworth Forouzan Golshani Wright State U. Group Managing Editor Robin Baldwin Staff Editor Kristine Kelly Associate Editors in Chief Magazine Assistant II Alkenia Winston Nevenka Dimitrova Philips Research Art Direction Joseph Daigle Frank Nack CWI, The Netherlands Editorial Board Nikolaos Bourbakis Wright State U. Executive Director David Hennage Tiziana Catarci U. Rome, Italy Publisher Angela Burgess Chang Wen Chen Florida Institute of Technology Assistant Publisher Dick Price Marc Davis U. California, Berekeley Business Development Manager Sandy Brown William Grosky U. Michigan Advertising Coordinator Marian Anderson Ramesh Jain Georgia Inst. of Technology Member/Circ. Promos Manager Georgann Carter Pan-Koo Kim Chosan U., Korea Sethuraman Panchanathan Arizona State U. Dorée Duncan Seligmann Avaya Labs Magazine Operations Committee Amit Sheth U. Georgia Bill Schilit (chair), Jean Bacon, Pradip Bose, Doris L. Carver, John Smith IBM George Cybenko, John C. Dill, Frank E. Ferrante, Heather Yu Panasonic Robert E. Filman, Forouzan Golshani, David Alan Grier, Hong Jiang Zhang Microsoft Research, Asia Rajesh Gupta, Warren Harrison, Mahadev Satyanarayanan, Nigel Shadbolt, Francis Sullivan Submissions:Send to http://cs-ieee.manuscriptcentral.com/ Publications Board (Manuscript Central). Please check to see if you have an ac- Michael R. Williams (chair), Jean Bacon, Laxmi Bhuyan, count by using the “Check for Existing Account” button. If Mark Christensen, Thomas Keefe, Deependra Moitra, you don’t have an account, please sign up. Submit proposals Steven L. Tanimoto, Anand Tripathi for special issues to Forouzan Golshani, [email protected]. All submissions are subject to editing for style, clarity, and length. EIC’s Message Forouzan Golshani Wright State University Multimedia Information Lifecycle Management Idecided to write about this issue not because for some time, the choice for storage—usually deter- multimedia information management is close mined by a price/performance ratio—will have to to my area of research, but because I believe it’s match the regulatory use of the information. no longer just a luxury—it’s a boardroom issue. Another attribute necessary for optimizing a As the role of information continues to increase multimedia repository is flexibility, which we in corporate decision making, more and more must consider from the production/acquisition multimedia information augments the tradition- stage, through compression, analysis and index- al alphanumeric data in the process. ing, and all the way to eventually discarding. The value of information varies significantly (Knowing when and how to discard information from one enterprise to another, and as such the is just as important as retaining and securing it). issue of lifecycle management may have different Many aspects of a multimedia information life- implications. Consider, for example, the health- cycle are affected by regulatory compliance. Not care domain and medical records. To parents, the only are the authenticity and integrity of informa- records represent a vital component of a child’s tion significant, other pragmatic issues—such as growth. Ultrasounds were once considered a pure- selecting the right storage for the right content— ly medical procedure, but now companies spe- are important to the equation. CIOs must bear in cializing in keepsakes provide expectant parents mind that in the new world of “all digital” infor- with pictures produced and stored on a CD or a mation, lifecycle management strategies for multi- VHS tape. media information are critical in handling To medical researchers, the records are the inevitable growth. This is true for governmental, backbone of any future resesearch and develop- public, private, and nonprofit organizations. ment activity. Healthcare networks, however, As always, I invite your views on this issue. view the records as a way to gain insight on Please write to me at [email protected] trends in several areas related to medical and with your ideas. pharmaceutical fields. To state and federal gov- On to our editorial board, which now has a ernment agencies, this same informatin repre- new member: Marc Davis. Davis directs the work sents regulatory obligations for years to come. at Berkeley’s Garage Cinema Research. He’s a So what’s common among these groups? respected innovator who is committed to mak- Fixed content must be retained for active refer- ing multimedia available and more useful to ence over a long period of time. Examples everyday people. Marc: welcome aboard. MM abound of objects that must be maintained for a very long time—including seismic data, CT scans, check images, audio legal depositions, bio- Marc Davisis at the University of metric data, digital evidence, and CAD data. California at Berkeley’s School of Information lifecycle management clearly begins Information Management and Sys- with acquisition (creation) of multimedia informa- tems. He’s a graduate of the Massa- tion, and includes several important steps. MPEG-7 chusetts Institute of Technology and MPEG-21 have been catalysts for making sig- Media Laboratory and has been nificant inroads here. Areas still exist, though, that active in digital video research for require further consideration of the long-term use many years. He now directs Garage Cinema Research of and accessibility to information. The complicat- (http://garage.sims.berkeley.edu), where he and his students ing factor is regulatory compliance. For example, are working on media metadata, automatic video capture whereas the tiered storage system has been in use and editing, and mobile media applications. 1070-986X/04/$20.00 © 2004 IEEE Published by the IEEE Computer Society 1 Artful Media Doree Duncan Seligmann Avaya Labs Enhancing Engagement in Multimodality Environments by Sound Movements in a Virtual Space Amalia de Götzen Since 1959, when electronic music was estab- show how engagement can be enhanced acousti- Università di lished as a new way of music composition, the cally in multimodality environments—for exam- Verona rules of traditional music performance and enjoy- ple, through the motion of sound through ment have changed to include space, motion, virtual spaces. Whereas sound positioning and and gesture as musical parameters. For example, movement have seldom been used in concert set- musicians are often located somewhere other tings, the ear has great detection capabilities con- than the stage—sometimes even in the audi- nected to its primary role (a signaling device for ence—and where the music will be performed invisible or unseen cues); music is now trying to often influences compositional thinking. Loud- put these capabilities to creative use. speakers move sound through the space at vary- ing speeds (based on other musical parameters). Space as a musical parameter In addition, the development of live electronics— Composers have long considered space in that is, computers applied to real-time processing music; however, aside from some work by Gio- of instrumental sounds—has allowed space as a vanni and Andrea Gabrieli (the antiphonal choirs musical instrumental practice to flourish. in Venice’s churches) and Wolfgang Amadeus Electro-acoustic technologies let composers Mozart (the three orchestras playing simultane- explore new listening dimensions and consider ously in Don Giovanni), current trends in con- the sounds coming from loudspeakers as pos- temporary music are developing space as a sessing different logical meanings from the full-blown musical parameter. For example, Karl- sounds produced by traditional instruments. heinz Stockhausen’s Gruppen (1955–1957) fea- Medea, Adriano Guarnieri’s “video opera,” is tures three orchestras scattered throughout the an innovative work stemming from research in audience: “All the processes of this music have multimedia that demonstrates the importance been determined by the spatial disposition of the and amount of research dedicated to sound sound, by its direction and its movement.”1 movement in space. Medeais part of the Multi- New electro-acoustic technology widely uses sensory Expressive Gesture Application project the spatial movement of sound. A number of (http://www.megaproject.org). MEGA aims to works may have contributed to the ideas behind develop mediated experiences and supporting Medea. For example, Pierre Boulez wrote Répons technologies through cross-fertilization of expres- (1984) for ensemble and live electronics. The sive communication theories and expressive and audience surrounds the stage, and six soloists sur- emotional content by modeling nonverbal inter- round the audience. The soloists are amplified, action with multisensory interfaces in shared causing the live-electronics setup to perform dif- interactive mixed-reality environments. As this ferent kinds of sound movement. article shows, real-world artwork and perfor- Another work, Luciano Berio’sOfanim(1988), mance enhance the research’s scientific aspects. uses sound movement in space to build unusual Among Medea’s intentions, derived from artis- orchestral and counterpoint functions. The tic and musical suggestions and needs, is a desire instrumentation is peculiar (two 10-element to establish an explicit connection between woodwind–brass ensembles, two percussions sound movement and expressiveness and to groups, two 20-element childrens choirs, and one 4 1070-986X/04/$20.00 © 2004 IEEE Published by the IEEE Computer Society Figure 1. Connection Expressive Expressive Gesture Spatial between physical and Movement content spatialization analysis movement description model spatial movements. singer), so the spatialization helps avoid sound- about the expressive matching of instrumental masking phenomena in the dense passages and and sound movement gestures, each reinforcing clarify the counterpoint among parts. the other to produce a rich and powerful mes- As a last example, Adriano Guarnieri’s Passione sage. In scoring Medea, the composer explicitly secondo Matteo (2000) features the composer’s describes the expressive mapping between per- concept of sound movement. Rather than using former and sound movement gestures. physical gesture, live-electronic processing Gesturegenerally refers to dance movements enhances and clarifies the gesture in this piece and sometimes to specific body expressions. How- (for instance, the trumpets’ amplitude envelope ever, gesture can also be considered a structure controls some space location parameters to with definite semantics defined into an abstract enhance the musical meanings of crescendo and space, as it is here. For example, a musical phrase diminuendo). is a gesture that expresses an emotion using only Sound motion through space is an established musical parameters, where music is the abstract tradition in much of contemporary music, much space. In dance, the connection between music of which exploits multimodality to enhance per- and body movement is explicit. Choreography formance. Music—specifically sound motion in can better express a given musical work in a bal- space—conveys expressive content related to per- let and vice versa: the music carries emotional formance gestures. Although composers have states that the body movement expresses. investigated the connection between music and Many psychological studies about music and emotion for traditional parameters, such as emotion maintain that music can represent the intensity, timbre, and pitch, spatialization is still dynamic properties of emotions, such as speed, a new research path. The use of space as a musi- strength, and intensity variations. In particular, cal parameter in an expressive dimension music can express these emotions by associating requires new paradigms for interaction, mapping affinities between musical characteristics and strategies, and multimedia interfaces based on body movements.2Imberty states that the body real-time analysis and synthesis of expressive and the emotions share some kinetic tension and content in music and gesture. release schemes, so movements and emotional Researchers have developed and applied mod- states form a coherent set and gesture becomes a els and algorithms for extracting high-level, qual- communication channel.3Sound movement in itative information about expressive content to space may be a link through which to explore real-time music and multimedia applications. this connection between gestures and emotions. Analysis of expressive gestures has sought to extract expressive information from human Psychoacoustic test model movements and gestures and to control the gen- As a researcher with the MEGA project, I per- eration of audio content depending on the analy- formed a psychoacoustic test to evaluate sound sis. Figure 1 diagrams the link between physical movement as a musical parameter and determine and spatial movement. Medeaoffers real-world whether it has potential expressive content for examples of such multimodal extensions. the listener. The test sought to establish a per- ceptive paradigm with which to construct a Medea: Exploring sound-movement model for use in a musical context. This prelimi- parameters nary study focused on three parameters that are Medeais a large musical work for soli, orches- considered sound movement’s basic compo- A tra, choir, and live electronics that Guarnieri nents: speed, articulation, and path. I designed p r describes as a video opera. Video opera refers to the parameters to have only two semantically il– J the full scope of the underlying musical vision, opposed values in each example: u n which consists of metaphorical references to e video devices such as zooming and edited ❚ Speed—two opposed time values represent the 20 0 sequences. Medeafeatures Guarnieri’s intuition sound persistence on each loudspeaker 4 5 Artful Media AROUSAL that the subject is materially influenced by feel- Alarmed Aroused Excited ings that possess a valence: they’re centrally con- Astonished cerned with positive or negative evaluations of Afraid Delighted people, things, or events. Furthermore, emotion- Tense al states involve a disposition to react in certain Angry Glad ways. I rated arousal states simply in terms of the Distressed Annoyed Happy subject’s disposition to take some action rather Pleased Frustrated than no action at all.4 Figure 2 shows the valence-arousal space with VALENCE the adjectives composing the Russel circumplex Satisfied Content model used to evaluate emotions.5Using the col- Miserable lected data and its statistical analysis,6I draw sev- Depressed eral conclusions: Serene Sad Calm Gloomy At Ease ❚ The values obtained for each timbre indicate Bored Relaxed Droopy that the same movements occupy a similar Tired Sleepy space location in the valence/arousal space, revealing that listeners identify different expressive intentions with coherence. How- Figure 2. The Russel ❚ Path—continuous circular/discontinuous ever, the valence component often also circumplex model in random depended on the sound’s pleasantness. the valence/arousal space. ❚ Articulation—the degree of crossed overlap ❚ Articulation and speed are stronger parameters between the loudspeakers’ amplitude than path, even though the Russel model fea- envelopes performs a staccato or legato sound tures a specific emotion related to path. Eight of the audio stimuli produced featured ❚ Speed is strongly related to the arousal axis, white noise while another eight examples fea- and it’s the most coherent parameter in sub- tured a harmonic continuous sound (a looped jective appreciation involving examples with trombone sample). I intended to use these stim- both timbres. uli to evaluate the influence of timbre on the per- ception of movement. To collect data, I asked ❚ Path type appears to be a weak parameter, listeners (both musicians and nonmusicians) to with different path types (circular or random) use a dimensional approach. A dimensional evoking the same emotion in many listeners. approach uses representations of emotional states Speed and legato/staccato, on the other hand, drawn from the psychological tradition, which is appear to be strong parameters, directly an alternative to the categorical tradition, in related to emotions.7 which listeners choose from a list of adjectives describing emotional states. A relationship between movements and per- I organized the bidimensional spaces to estab- ceived emotions is evident. Table 1 shows the lish two dimensions: valence and arousal. The design of a model to use this data in musical clearest common element of emotional states is applications. Table 1. Emotions from the Russel circumplex model Artistic performance associated with each movement. Medea’s scorecites sound spatialization as a fundamental feature of the opera. The musicians Emotion Speed Articulation Path in the hall should be considered a sonic body liv- a Frustrated, distressed Slow Staccato Discontinuous ing among the audience to create a sort of gravi- di Depressed, unhappy Slow Staccato Continuous tational center for the trumpets located on either e M Tired, sleepy Slow Legato side of the audience. The presence of trombones ulti Serene, relaxed Fast Staccato Continuous with their gestural posture becomes a central M Happy, glad Fast Legato Continuous expressive feature. E Excited, delighted Fast Legato Discontinuous Medea’s score begins with articulated instruc- E IE tions related to space. These instructions encom- 6 pass four sound-reinforcement modes: Medea: A Video Opera ❚ Transparent reinforcement, in which delays are In Adriano Guarnieri’s Medea(2002), the public is completely enveloped used to keep a natural perspective of sound by a multitude of independent sound sources. Some are generated by actu- positioning; al players (trumpets, bass flute, and trombones), while others come from the live-electronic processing of the orchestra, choir, and singers project- ❚ Celluloid, which is composed by random ed over a 16-loudspeaker system that is distributed around and above the movement among the four stereo front speak- audience. Sound motion in space isn’t narrative in this music (that is, space ers and the front central cluster; doesn’t represent “where the sound comes from”) but it’s intended rather in terms of musical trajectories and paths. ❚ Rain, whichis created by fast random move- ment on specific speakers above the public; and ❚ Olophonic, in which controlling volume through low-pass filtering produces movement simulation. The live-electronics performersexecuted all movements and transformations following the conductor and the score (each instrument has its own spatialization modes, and the score marks each transformation and movement precisely), with all sound movements except for those com- ing from the trombones having been predeter- mined. A real-time application developed on the EyesWeb (http://www.eyesweb.org) platform processed the sound movements. Camurri et al. developed the application by interconnecting several software modules for real-time expressive gesture analysis and synthesis.8Guarnieri defined 11 modalities for the trombone movements. An erations are subtle and subliminal as is most of the Figure 3. Trombone EyesWeb patch controlled the trombones’ ran- experience of listening to contemporary music. during the premiere dom space movements, a Webcam captured performance of Adriano movements derived from trombone players’ ges- Conclusion Guarnieri’s Medea. tures, and the EyesWeb program digitally As this experience shows, instrumental ges- processed them to provide each movement’s tures can be translated into spatial movements speed parameter using a gesture-speed mapping. even though the translation is fairly complicat- This method’s functionality derives from a trans- ed in its conception, from both technological lation of the image bitmap in terms of speed: and musical viewpoints. This type of indirect intense instrumental gestural activity (rocking mapping of sound and gestural movement can off) leads to a large bitmap variation and there- more powerfully engage the public, who might fore to high speed, while reduced gestural activi- be able to distinguish between different kinds of ty corresponds to a moderate movement speed. movements performing different kinds of expres- Figure 3 shows one of the four trombone play- sive intentions. ers during Medea’spremiere performance. In the Medea is simply one prominent example of context of Medea as a video opera, the expressive how contemporary music can use multimedia A matching between physical movement (by the technologies to convey languages and experi- p r instrumentalist) and sound movement through ences that continue to grow in complexity and il– J space clearly plays the metaphorical role of a scope. To attract the public, concert events must u n “camera car,” where the public enters the physi- sharply differentiate themselves from sophisti- e 2 cal movement through the movement of sound cated home theatre experiences. In this context, 0 0 itself. It should be noted that all of these consid- all multimodal matching between senses will play 4 7 Artful Media a stronger role in future musical works, and play- Proc. XIV Colloquium on Musical Informatics (XIV ing with the public’s senses will indeed become CIM 2003), Centro Tempo Reale, 2003, pp. 64-68. an integral part of musical composition. MM 7. S. Gabrielsson and E. Lindstrom, The Influence of Musical Structure on Emotional Expression, Music, References and Emotion—Theory and Research, Oxford Univ., 1. K. Stockhausen, Musik in Raum, Dumont-Verlag, 2001. 1958. 8. A. Camurri, B. Mazzarino, and G. Volpe, “Analysis 2. M. Budd, Music and the Emotions: The Philosophical of Expressive Gesture: The EyesWeb Expressive Ges- Theories, Routledge, 1992. ture Processing Library, Gesture-Based Comm. in 3. M. Imberty, “Entendre la musique,” Semantique Human-Computer Interaction, A. Camurri and G. Psychologique de la Musique, Dunod, 1979. Volpe, eds., LNAI 2915, Springer-Verlag, 2004. 4. R. Cowie et al., “Emotion Recognition in Human- Computer Interaction,” IEEE Signal Processing, vol. Amalia de Götzenis a PhD student in the Department 18, no. 1, Jan. 2001, pp, 32-80. of Informatics at the Univerità di Verona. Contact her at 5. P. Juslin and J. Sloboda, Psychological Perspectives [email protected]. on Music and Emotion,Music and Emotion—Theory and Research, Oxford Univ. Press, 2001. Contact Artful Media editor Doree Duncan Seligmann at 6. A. de Götzen, “Expressiveness Analysis of Virtual Avaya Labs, 666 Fifth Ave., 11th floor, New York, NY Sound Movements and Its Musical Applications,” 10103; [email protected]. IEEE AND APPLICATIONS http://computer.org January/February: Emerging Technologies* This issue covers the Siggraph 2003 Emerging Technologies exhibit, 2004 LR where the graphics community demonstrates innovative approaches to interactivity in robotics, graphics, music, audio, displays, haptics, A A sensors, gaming, the Web, artificial intelligence, visualization, collaborative environments, and entertainment. *Bonus CD-ROM of September/October: Visual Analytics I interactive demos included with this issue. Visual analytics is the formation of abstract visual metaphors that D R March/April: Haptic Rendering provide the basis for human interaction and discourse about complex This special issue will examine some of the latest advances on hap- multidimensional data. Effective use of visual analytics can potentially N alleviate the ongoing information overload problems. This issue pre- O tic rendering and applications, while looking forward to exciting future sents articles that describe innovative results in this area. Particular research in this area. Articles will present novel research results and attention is paid to technology transfers and applications in various dis- E innovative applications of that take advantage of the haptic interaction T ciplines and communities. sensory modality. L November/December: I May/June: Computer Graphics Innovations This issue covers an array of computer graphics innovations. It pre- Smart Graphics— Touch-Enabled Interfaces DA People use tactile and force feedback to identify objects and to explore sents new developments in virtual reality, novel approaches in visual- the environment around them. This sensory cue is also used in manipu- ization, and innovative computer graphics applications. The range of EC atopics highlights the usefulness of computer graphics for everyone. lating objects. Therefore, an ideal man–machine interface for under- di standing virtual environments and visualizing complex information should eJuly/August: Point-Based Graphics enable the user to feel and orient objects and to manipulate data using M Point primitives can be efficiently rendered and displayed in high touch-enabled interfaces. This issue examines the senses of touch as a com- ultiquality, and novel algorithms for advanced shape modeling and digital munication medium, in addition to graphical display. Specifically, it pre- Mgeometry processing are entirely based on point samples. These efforts sents different approaches to designing touch-enabled interfaces for E have spawned a new field called point-based computer graphics. This various applications including scientific visualization, model design and Eissue presents novel research results in point-based computer graphics. editing, virtual prototyping, 3D painting, and medical training. 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