Introduction to Audiovisual Archives

295 Pages·2011·8.851 MB·English

by  Peter Stockinger (ed.)

Introduction to Audiovisual Archives
Introduction to
Audiovisual Archives
Edited by
Peter Stockinger
Firstpublished2012inGreatBritainandtheUnitedStatesbyISTELtdandJohnWiley&Sons,Inc.
Apart from any fair dealing for the purposes of research or private study, or criticism or review, as
permittedundertheCopyright,DesignsandPatentsAct1988,thispublicationmayonlybereproduced,
storedortransmitted,inanyformorbyanymeans,withthepriorpermissioninwritingofthepublishers,
or in the case of reprographic reproduction in accordance with the terms and licenses issued by the
CLA. Enquiries concerning reproduction outside these terms should be sent to the publishers at the
undermentionedaddress:
ISTELtd JohnWiley&Sons,Inc.
27-37StGeorge’sRoad 111RiverStreet
LondonSW194EU Hoboken,NJ07030
UK USA
www.iste.co.uk www.wiley.com
©ISTELtd2012
TherightsofPeterStockingertobeidentifiedastheauthorofthisworkhavebeenassertedbyhimin
accordancewiththeCopyright,DesignsandPatentsAct1988.
____________________________________________________________________________________
LibraryofCongressCataloging-in-PublicationData
Introductiontoaudiovisualarchives/editedbyPeterStockinger.
pagescm
Includesbibliographicalreferencesandindex.
ISBN978-1-84821-337-1
1. Audio-visualarchives.2. Audio-visualmaterials--Classification.3. Research--Methodology. I.
Stockinger,Peter.
CD973.2.I682011
025.3'47--dc23
2011042380
BritishLibraryCataloguing-in-PublicationData
ACIPrecordforthisbookisavailablefromtheBritishLibrary
ISBN:978-1-84821-337-1
PrintedandboundinGreatBritainbyCPIGroup(UK)Ltd.,Croydon,SurreyCR04YY
Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
PeterSTOCKINGER
Chapter1.ContextandIssues . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
PeterSTOCKINGER,ElisabethDEPABLOandFrancisLEMAITRE
1.1.TheARAprogram–abriefhistoricaloverview . . . . . . . . . . . . . 1
1.2.ThescientificandculturalheritageoftheARAprogram . . . . . . . . 4
1.3.Theworkingprocess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.4.KnowledgeengineeringintheserviceoftheARAprogram . . . . . . 14
1.4.1.Somequestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.4.2.Recoursetothesemioticsoftheaudiovisualtext . . . . . . . . . . 15
1.4.3.Metalanguageofdescription,modelsandscenarios . . . . . . . . . 16
1.4.4.Modelsandscenariosofcollection/prodution
ofaudiovisualcorpora . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
1.4.5.Modelsandscenariosforpublishing/republishing . . . . . . . . . . 19
1.5.Thedigitalenvironmentandtheworkingprocess . . . . . . . . . . . . . 21
1.6.AnalyzinganaudiovisualcorpususingASWStudio . . . . . . . . . . . 26
PART1:THESEGMENTATIONANDDESCRIPTIONWORKSHOPS
FORAUDIOVISUALCORPORA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Chapter2.TheSegmentationWorkshopforAudiovisualResources . . . . 33
ElisabethDEPABLO
2.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2.2.Segmentationofaudiovisualcorpora–ageneralpresentation . . . . . 34
2.2.1.Exampleofsegmentationofascientificinterview . . . . . . . . . . 36
2.2.2.Exampleofthesegmentationofaconference . . . . . . . . . . . . 38
2.2.3.Exemplicationofthesegmentationofanamateurvideo . . . . . . 39
vi IntroductiontoAudiovisualArchives
2.2.4.Exampleofthesegmentationofan
audiovisualreport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
2.2.5.Otherpossiblesegmentations . . . . . . . . . . . . . . . . . . . . . . 41
2.3.Appropriationofthesegmentationworkshop . . . . . . . . . . . . . . . 42
2.4.Someadditionalthoughtsaboutsegmentation . . . . . . . . . . . . . . . 46
2.5.Perspectivesrelatingtothesegmentationworkshop . . . . . . . . . . . 46
Chapter3.DescriptionWorkshopforAudiovisualCorpora . . . . . . . . . 49
MurielCHEMOUNY
3.1.Ageneraloverview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
3.2.The“metadescription”partofanaudiovisual
analysisinASWStudio:themarkoftheeditor’schoice . . . . . . . . . . . 51
3.2.1.Generaloverview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
3.2.2.Focusonthe“general”sub-section
ofmetadescription . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
3.3.The“identifyinginformationofanaudiovisualresource”
partintheASWdescriptionworkshop . . . . . . . . . . . . . . . . . . . . . . 62
Chapter4.AnalysisofAudiovisualExpression . . . . . . . . . . . . . . . . . 67
ElisabethDEPABLOandJirasriDESLIS
4.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
4.2.Analysisofthevisualshot. . . . . . . . . . . . . . . . . . . . . . . . . . . 68
4.2.1.Generaloverview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
4.2.2.Generaldescriptionofthevisualshot
andanalysisprocedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
4.2.3.Examplesofdescribingthevisualshot
ofanaudiovisualtext . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
4.2.4.Somespecificusesoftheanalyzedvisualshots . . . . . . . . . . . 77
4.3.Analysisofthesoundshot . . . . . . . . . . . . . . . . . . . . . . . . . . 77
4.3.1.Generaldescriptionofthesoundshot
andanalysisprocedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
4.3.2.Exampleofanalysisofavideodescribed
usingthesoundshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
4.3.3.Someusesforsoundclips . . . . . . . . . . . . . . . . . . . . . . . . 83
Chapter5.AnalysisoftheAudiovisualContent . . . . . . . . . . . . . . . . . 87
PeterSTOCKINGER
5.1.Thematicanalysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
5.2.Aconcreteexampleofthedescriptionofatopic . . . . . . . . . . . . . 90
5.3.Themodelofthematicdescription . . . . . . . . . . . . . . . . . . . . . 98
5.4.Theobjectsofthematicanalysis . . . . . . . . . . . . . . . . . . . . . . . 102
5.5.Proceduresofanalysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
TableofContents vii
5.6.Thedifferentcomponentsofamodel
ofthematicdescription . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
5.7.Librariesofmodelsforthedescriptionofsubjects . . . . . . . . . . . . 121
Chapter6.UsesofanAudiovisualResource . . . . . . . . . . . . . . . . . . . 127
MurielCHEMOUNYandPrimsudaSAKUNTHABAI
6.1.The“Uses”partoftheASWdescriptionworkshop . . . . . . . . . . . . 127
6.1.1.The“genres”ofusesofanaudiovisualtext . . . . . . . . . . . . . . 128
6.1.2.Thetargetaudienceofanaudiovisualtext . . . . . . . . . . . . . . . 134
6.2.Producingalinguisticadaptationofanaudiovisualresource . . . . . . 135
Chapter7.ModelofanAudiovisualPublication
intheformofaWebPortal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
JirasriDESLIS
7.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
7.2.TheArkWorkhomepage . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
7.3.Thematicaccesstoaudiovisualresources . . . . . . . . . . . . . . . . . 146
7.4.Directaccessestotheaudiovisualresources . . . . . . . . . . . . . . . . 151
7.5.Accesstotheaudiovisualresourcesbythesaurus . . . . . . . . . . . . . 156
7.6.Contextualizationofthevideo . . . . . . . . . . . . . . . . . . . . . . . . 158
PART2:TECHNOLOGICALENVIRONMENT,DEVELOPMENT
ANDNEWPERSPECTIVES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Chapter8.TheASWDigitalEnvironment . . . . . . . . . . . . . . . . . . . 171
FrancisLEMAITRE
8.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
8.2.Generalpresentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
8.2.1.Managementofrolesandrights . . . . . . . . . . . . . . . . . . . . . 175
8.2.2.Thetechnologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
8.2.3.TheworkingprocessintheASWenvironment . . . . . . . . . . . . 179
8.3.SemioscapeLibrary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
8.3.1.Theabstractionlayers . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
8.3.2.Theobjectslayer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
8.3.3.Thedataaccesslayer . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
8.3.4.Thedataprocessinglayer . . . . . . . . . . . . . . . . . . . . . . . . 192
8.4.Semioscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
8.4.1.Thedatabase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
8.4.2.TheWebservices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
8.5.Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
viii IntroductiontoAudiovisualArchives
Chapter9.TheASWStudio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
FrancisLEMAITRE
9.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
9.2.Thecommonlibraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
9.2.1.SemioscapeResources . . . . . . . . . . . . . . . . . . . . . . . . . . 204
9.2.2.SemioscapeUserControls . . . . . . . . . . . . . . . . . . . . . . . . . 204
9.3.SemioscapeData. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
9.3.1.Ontologyofworkconfiguration . . . . . . . . . . . . . . . . . . . . . 207
9.3.2.Staticontology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
9.3.3.Metalexiconofconceptualterms. . . . . . . . . . . . . . . . . . . . . 208
9.3.4.Domainontologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
9.3.5.Listingsoftheontologies . . . . . . . . . . . . . . . . . . . . . . . . 209
9.4.ESCoMUpdate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
9.5.ESCoMffCoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
9.6.ESCoMOntoEditor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
9.7.ESCoM-INAInterview . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
9.8.ESCoMSemioscapeAdmin . . . . . . . . . . . . . . . . . . . . . . . . . . 214
9.9.TheESCoMsuite2011installer . . . . . . . . . . . . . . . . . . . . . . . 214
9.10.Semiosphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
9.10.1.SemiosphereLibrary . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
9.10.2.Customization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
9.10.3.Multilingualism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
9.10.4.Sitemaps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
9.11.Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Chapter10.TheTechnicalDevelopmentofthe“WebPortal”
PublishingModel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
RichardGUÉRINET
10.1.Thenotionof“publishingmodule”. . . . . . . . . . . . . . . . . . . . . 225
10.2.RIAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
10.3.The“Menu”publishingmodule . . . . . . . . . . . . . . . . . . . . . . 233
10.4.The“Videoplayer”publishingmodule . . . . . . . . . . . . . . . . . . 235
10.5.The“contextualizationofavideo”publishingmodule . . . . . . . . . 236
10.6.The“temporallocation”publishingmodule. . . . . . . . . . . . . . . . 238
10.7.The“geographicallocation”publishingmodule . . . . . . . . . . . . . 239
10.7.1.Thegeographicallocation . . . . . . . . . . . . . . . . . . . . . . . 240
10.8.Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
TableofContents ix
GlossaryofSpecializedTerms . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
PeterSTOCKINGER
GlossaryofAcronymsandNames . . . . . . . . . . . . . . . . . . . . . . . . . 263
PeterSTOCKINGER
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
ListofAuthors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Introduction
This collective work deals with the analysis of audiovisual numerical texts or
corpora,whichmaye.g.formpartofanaudiovisuallibraryorarchive.
The development of methods, tools and conceptual frameworks (or models) for
the concrete analysis of audiovisual texts or corpora is one of the most important
issues for multimedia (audiovisual) digital libraries, archives, collections, etc. and
also for any project or program to compile and disseminate knowledge heritage
(e.g.cultural,scientificetc.).
Analyzing audiovisual recordings, shoots, sound recordings, film or complex
multimodal documents etc. obviously constitutes an essential step for any
classificationofthe(digital)collectionofanarchiveorlibrary.
Above all, however, it is the most important activity by which an actor (an
individual, group of individuals, institution, etc.) obtains and exploits numerical
audiovisualdatatotransformthem–dependingontheirownskills,expectationsand
requirements, but also within the limitations imposed by the tools, methods and
models available – into genuine cognitive resources which they regard as “useful”,
“pleasant”,“interesting”orsimplyrelevant,i.e.whichhaveavalueforthem.
Ten years ago now, along with a small nucleusofpermanentcollaboratorsfrom
the ESCoM (Semiotics Cognitive and New Media Team), the research center at the
Fondation Maison des Sciences de l’Homme (FMSH – House of the Human
SciencesFoundation)inParis,wesetuptheARA(AudiovisualResearchArchives)
program. One of the objectives of this program, which will be described in more
detail in the Chapter 1 of this book, is to compile and distribute scientific and
IntroductionwrittenbyPeterSTOCKINGER.
xii IntroductiontoAudiovisualArchives
cultural heritage, notably through scientific events and field-work carried out in
human and social sciences. Another objective of this program is to set up research
anddevelopmentprojectsaimedat:
a)collectingandproducingaudiovisualdocumentation(offield-work,forexample);
b)compilinganalysiscorporaandeffectivelyanalyzingthesecorpora;
c)creatingpublishablecorporaandpublishingthem;
d)defining and setting up (metalinguistic) models and essential procedures to
successfullycarryouttheaforementionedthree“tasks”.
Inthisbook,andanothercollectiveworkcomplementingthisone(see[STO12a]),
wewillpresentanddiscusstheresultsofourresearchanddevelopmentrelatingtothe
analysis,descriptionandindexingofaudiovisualcorpora.Thequestionofanalysishas
beenaddressedfromthestartwithregardtothefollowingthreeissues:
1)a good understanding of the activity of analysis must take account of the
internal structural organization of the audiovisual text and must have recourse to
thesemioticsoftheaudiovisualtextordiscourse;
2)a true analysis (going beyond, e.g. simply producing unstructured lists
of keywords) of audiovisual corpora cannot be carried out without a metalanguage
(an“ontology”),i.e.modelsofdescriptionrepresentingtheareaofexpertisecovered
byacorpustobeanalyzed;
3)ofcourse,noanalysiscantakeplacewithoutanappropriateworkingenvironment.
Thanksto aseries of Frenchand European R&Dprojects1 and to the supportof
theFMSH,between2001and2009,wewereabletomaketangibleprogresstowards
addressingthethreeissuesmentioned.However,inparticularitwastheASW-HSS2
project, financed by the French National Research Agency(Agence Nationale de la
Recherche–ANR),thatgaveusthetimeandmeansneededtodevelop:
–a metalanguage for analyzing audiovisualcorpora documenting a wide variety
of areas of knowledge/expertise. This metalanguage is a generic ontology (called
“ASW3ontology”)whichhashelpedustodefine,useandvalidateawholeseriesof
1 For more information, see Chapter 1 of this book; see also the glossary of acronyms and
projectnamesattheendofthisbook.
2 See official Website of the ASW-HSS(Audiovisual Semiotic Workshop – Human and
SocialSciences)project:http://www.asa-shs.fr/.
3 TheacronymASW means “Audiovisual Semiotic Workshop”and refers, ofcourse, tothe
ASW-HSSprojectfinancedbytheFrenchNationalResearchAgency(ANR).