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Introduction to Audiovisual Archives

Introduction to

Audiovisual Archives

Edited by

Peter Stockinger

First published 2012 in Great Britain and the United States by ISTE Ltd and John Wiley & Sons, Inc.

Apart from any fair dealing for the purposes of research or private study, or criticism or review, as

permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced,

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© ISTE Ltd 2012

The rights of Peter Stockinger to be identified as the author of this work have been asserted by him in

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____________________________________________________________________________________

Library of Congress Cataloging-in-Publication Data

Introduction to audiovisual archives / edited by Peter Stockinger.

pages cm

Includes bibliographical references and index.

ISBN 978-1-84821-337-1

1. Audio-visual archives. 2. Audio-visual materials--Classification. 3. Research--Methodology. I.

Stockinger, Peter.

CD973.2.I68 2011

025.3'47--dc23

2011042380

British Library Cataloguing-in-Publication Data

A CIP record for this book is available from the British Library

ISBN: 978-1-84821-337-1

Printed and bound in Great Britain by CPI Group (UK) Ltd., Croydon, Surrey CR0 4YY

Table of Contents

Introduction ....................................... xi

Peter STOCKINGER

Chapter 1. Context and Issues ............................ 1

Peter STOCKINGER, Elisabeth DE PABLO and Francis LEMAITRE

1.1. The ARA program – a brief historical overview ............. 1

1.2. The scientific and cultural heritage of the ARA program . . . . . . . . 4

1.3. The working process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

1.4. Knowledge engineering in the service of the ARA program . . . . . . 14

1.4.1. Some questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

1.4.2. Recourse to the semiotics of the audiovisual text . . . . . . . . . . 15

1.4.3. Metalanguage of description, models and scenarios . . . . . . . . . 16

1.4.4. Models and scenarios of collection/prodution

of audiovisual corpora . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

1.4.5. Models and scenarios for publishing/republishing . . . . . . . . . . 19

1.5. The digital environment and the working process . . . . . . . . . . . . . 21

1.6. Analyzing an audiovisual corpus using ASW Studio . . . . . . . . . . . 26

PART 1: THE SEGMENTATION AND DESCRIPTION WORKSHOPS

FOR AUDIOVISUAL CORPORA ............................. 31

Chapter 2. The Segmentation Workshop for Audiovisual Resources . . . . 33

Elisabeth DE PABLO

2.1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

2.2. Segmentation of audiovisual corpora – a general presentation . . . . . 34

2.2.1. Example of segmentation of a scientific interview . . . . . . . . . . 36

2.2.2. Example of the segmentation of a conference . . . . . . . . . . . . 38

2.2.3. Exemplication of the segmentation of an amateur video . . . . . . 39

vi Introduction to Audiovisual Archives

2.2.4. Example of the segmentation of an

audiovisual report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

2.2.5. Other possible segmentations . . . . . . . . . . . . . . . . . . . . . . 41

2.3. Appropriation of the segmentation workshop . . . . . . . . . . . . . . . 42

2.4. Some additional thoughts about segmentation . . . . . . . . . . . . . . . 46

2.5. Perspectives relating to the segmentation workshop . . . . . . . . . . . 46

Chapter 3. Description Workshop for Audiovisual Corpora . . . . . . . . . 49

Muriel CHEMOUNY

3.1. A general overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

3.2. The “metadescription” part of an audiovisual

analysis in ASW Studio: the mark of the editor’s choice . . . . . . . . . . . 51

3.2.1. General overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

3.2.2. Focus on the “general” sub-section

of metadescription . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

3.3. The “identifying information of an audiovisual resource”

part in the ASW description workshop . . . . . . . . . . . . . . . . . . . . . . 62

Chapter 4. Analysis of Audiovisual Expression ................. 67

Elisabeth DE PABLO and Jirasri DESLIS

4.1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

4.2. Analysis of the visual shot . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

4.2.1. General overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

4.2.2. General description of the visual shot

and analysis procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

4.2.3. Examples of describing the visual shot

of an audiovisual text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

4.2.4. Some specific uses of the analyzed visual shots . . . . . . . . . . . 77

4.3. Analysis of the sound shot . . . . . . . . . . . . . . . . . . . . . . . . . . 77

4.3.1. General description of the sound shot

and analysis procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

4.3.2. Example of analysis of a video described

using the sound shot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

4.3.3. Some uses for sound clips . . . . . . . . . . . . . . . . . . . . . . . . 83

Chapter 5. Analysis of the Audiovisual Content ................. 87

Peter STOCKINGER

5.1. Thematic analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

5.2. A concrete example of the description of a topic . . . . . . . . . . . . . 90

5.3. The model of thematic description . . . . . . . . . . . . . . . . . . . . . 98

5.4. The objects of thematic analysis . . . . . . . . . . . . . . . . . . . . . . . 102

5.5. Procedures of analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Table of Contents vii

5.6. The different components of a model

of thematic description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

5.7. Libraries of models for the description of subjects . . . . . . . . . . . . 121

Chapter 6. Uses of an Audiovisual Resource . . . . . . . . . . . . . . . . . . . 127

Muriel CHEMOUNY and Primsuda SAKUNTHABAI

6.1. The “Uses” part of the ASW description workshop . . . . . . . . . . . . 127

6.1.1. The “genres” of uses of an audiovisual text . . . . . . . . . . . . . . 128

6.1.2. The target audience of an audiovisual text . . . . . . . . . . . . . . . 134

6.2. Producing a linguistic adaptation of an audiovisual resource . . . . . . 135

Chapter 7. Model of an Audiovisual Publication

in the form of a Web Portal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Jirasri DESLIS

7.1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

7.2. The ArkWork homepage . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

7.3. Thematic access to audiovisual resources . . . . . . . . . . . . . . . . . 146

7.4. Direct accesses to the audiovisual resources . . . . . . . . . . . . . . . . 151

7.5. Access to the audiovisual resources by thesaurus . . . . . . . . . . . . . 156

7.6. Contextualization of the video . . . . . . . . . . . . . . . . . . . . . . . . 158

PART 2: TECHNOLOGICAL ENVIRONMENT, DEVELOPMENT

AND NEW PERSPECTIVES ................................ 169

Chapter 8. The ASW Digital Environment . . . . . . . . . . . . . . . . . . . 171

Francis LEMAITRE

8.1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

8.2. General presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

8.2.1. Management of roles and rights . . . . . . . . . . . . . . . . . . . . . 175

8.2.2. The technologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

8.2.3. The working process in the ASW environment . . . . . . . . . . . . 179

8.3. SemioscapeLibrary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

8.3.1. The abstraction layers . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

8.3.2. The objects layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

8.3.3. The data access layer . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

8.3.4. The data processing layer . . . . . . . . . . . . . . . . . . . . . . . . 192

8.4. Semioscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

8.4.1. The database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

8.4.2. The Web services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

8.5. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

viii Introduction to Audiovisual Archives

Chapter 9. The ASW Studio ............................. 203

Francis LEMAITRE

9.1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

9.2. The common libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

9.2.1. SemioscapeResources . . . . . . . . . . . . . . . . . . . . . . . . . . 204

9.2.2. SemioscapeUserControls . . . . . . . . . . . . . . . . . . . . . . . . . 204

9.3. SemioscapeData . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

9.3.1. Ontology of work configuration . . . . . . . . . . . . . . . . . . . . . 207

9.3.2. Static ontology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

9.3.3. Metalexicon of conceptual terms. . . . . . . . . . . . . . . . . . . . . 208

9.3.4. Domain ontologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

9.3.5. Listings of the ontologies . . . . . . . . . . . . . . . . . . . . . . . . 209

9.4. ESCoM Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

9.5. ESCoM ffCoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

9.6. ESCoM OntoEditor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

9.7. ESCoM-INA Interview . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

9.8. ESCoM SemioscapeAdmin . . . . . . . . . . . . . . . . . . . . . . . . . . 214

9.9. The ESCoM suite 2011 installer . . . . . . . . . . . . . . . . . . . . . . . 214

9.10. Semiosphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

9.10.1. SemiosphereLibrary . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

9.10.2. Customization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

9.10.3. Multilingualism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

9.10.4. Site maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

9.11. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Chapter 10. The Technical Development of the “Web Portal”

Publishing Model .................................... 225

Richard GUÉRINET

10.1. The notion of “publishing module” . . . . . . . . . . . . . . . . . . . . . 225

10.2. RIAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

10.3. The “Menu” publishing module . . . . . . . . . . . . . . . . . . . . . . 233

10.4. The “Video player” publishing module . . . . . . . . . . . . . . . . . . 235

10.5. The “contextualization of a video” publishing module . . . . . . . . . 236

10.6. The “temporal location” publishing module . . . . . . . . . . . . . . . . 238

10.7. The “geographical location” publishing module . . . . . . . . . . . . . 239

10.7.1. The geographical location . . . . . . . . . . . . . . . . . . . . . . . 240

10.8. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Table of Contents ix

Glossary of Specialized Terms ............................ 243

Peter STOCKINGER

Glossary of Acronyms and Names ......................... 263

Peter STOCKINGER

Bibliography ....................................... 281

List of Authors ...................................... 285

Index ............................................ 287

Introduction

This collective work deals with the analysis of audiovisual numerical texts or

corpora, which may e.g. form part of an audiovisual library or archive.

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, scientific etc.).

Analyzing audiovisual recordings, shoots, sound recordings, film or complex

multimodal documents etc. obviously constitutes an essential step for any

classification of the (digital) collection of an archive or library.

Above all, however, it is the most important activity by which an actor (an

individual, group of individuals, institution, etc.) obtains and exploits numerical

audiovisual data to transform them – depending on their own skills, expectations and

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” or simply relevant, i.e. which have a value for them.

Ten years ago now, along with a small nucleus of permanent collaborators from

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

Sciences Foundation) in Paris, we set up the ARA (Audiovisual Research Archives)

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

Introduction written by Peter STOCKINGER.

xii Introduction to Audiovisual Archives

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

and development projects aimed at:

a) collecting and producing audiovisual documentation (of field-work, for example);

b) compiling analysis corpora and effectively analyzing these corpora;

c) creating publishable corpora and publishing them;

d) defining and setting up (metalinguistic) models and essential procedures to

successfully carry out the aforementioned three “tasks”.

In this book, and another collective work complementing this one (see [STO 12a]),

we will present and discuss the results of our research and development relating to the

analysis, description and indexing of audiovisual corpora. The question of analysis has

been addressed from the start with regard to the following three issues:

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

the semiotics of the audiovisual text or discourse;

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. models of description representing the area of expertise covered

by a corpus to be analyzed;

3) of course, no analysis can take place without an appropriate working environment.

Thanks to a series of French and European R&D projects1 and to the support of

the FMSH, between 2001 and 2009, we were able to make tangible progress towards

addressing the three issues mentioned. However, in particular it was the ASW-HSS2

project, financed by the French National Research Agency (Agence Nationale de la

Recherche – ANR), that gave us the time and means needed to develop:

– a metalanguage for analyzing audiovisual corpora documenting a wide variety

of areas of knowledge/expertise. This metalanguage is a generic ontology (called

“ASW3 ontology”) which has helped us to define, use and validate a whole series of

1 For more information, see Chapter 1 of this book; see also the glossary of acronyms and

project names at the end of this book.

2 See official Website of the ASW-HSS (Audiovisual Semiotic Workshop – Human and

Social Sciences) project: http://www.asa-shs.fr/.

3 The acronym ASW means “Audiovisual Semiotic Workshop” and refers, of course, to the

ASW-HSS project financed by the French National Research Agency (ANR).

Introduction xiii

domain ontologies4 and models of description adapted to thematically limited areas

of knowledge/expertise. This book will present it through a wide variety of concrete

examples. [STO 12b] gives a more theoretical and more detailed account of this

metalanguage;5

– a working environment for segmenting and describing audiovisual corpora entirely

based upon the ASW metalanguage of description. The name of this environment is

ASW Studio; it is made up of several specialized workshops: the Segmentation

Workshop, for (virtually) segmenting an audiovisual object; the Description Workshop,

for describing an audiovisual object; the Publication Workshop, for publishing an

audiovisual object; the Modeling Workshop, to model the metalinguistic resources

needed to undertake an analysis/description of an audiovisual object. In this book we will

present the two following workshops in particular: the Segmentation Workshop and the

Description Workshop; the presentation of the Modeling Workshop will be the subject of

[STO 12b]; as the Publication Workshop is still partially under development, it will be

the object of a new publication in late 2012;

– an as-yet relatively simple metalanguage for defining models for

publishing/republishing audiovisual corpora in the form, e.g. of themed folders,

bilingual folders, theme-limited video-glossaries, themed Websites, etc. These

models are indeed used for publishing/republishing audiovisual corpora but the

metalanguage enabling us to define them has not yet been made explicit. Clarifying

the organization of this metalanguage and incorporating it into the ASW generic

ontology will, conditions beyond the authors’ control permitting, constitute the main

object of the ESCoM’s research activities during the next few years.

This book is divided into two main parts. In part 1, following an introductory

chapter contextualizing our R&D activities since 2001, the different approaches to

analyzing of an audiovisual corpus using ASW Studio will be presented:

– strictly textual analysis, consisting of the identifying passages which are relevant

to an analysis and to the (virtual) segmentation of an audiovisual object (Chapter 2);

– metadescription, which clarifies the content and objectives of the analysis itself

as well as the authors of the analysis, the rights associated with using the results, etc.

(Chapter 3);

4 As part of the ASW-HSS projects, several experimental workshops dealing with the

formation, analysis and publication of audiovisual corpora within limited areas of

knowledge/expertise: literary heritage, archeology, cultural diversity, etc. have been defined.

5 The research diary or blog http://asashs.hypotheses.org/ is entirely dedicated to issues

relating to the ASW metalanguage of description, its evolution, its reuse and its

instrumentation within the ASW Studio framework.