Digital Audiovisual Archives

311 Pages·2011·6.56 MB·English

by  Peter Stockinger (ed.)

Digital Audiovisual Archives
Digital Audiovisual
Archives

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

Digital audiovisual archives / edited by Peter Stockinger.
pages cm
Includes bibliographical references and index.
ISBN 978-1-84821-338-8
1. Audio-visual archives--Case studies. I. Stockinger, Peter.
CD973.2.D54 2011
025.3'47--dc23
2011042576

British Library Cataloguing-in-Publication Data
A CIP record for this book is available from the British Library
ISBN: 978-1-84821-338-8
Printed and bound in Great Britain by CPI Group (UK) Ltd., Croydon, Surrey CR0 4YY
Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
PART1:ANALYSIS,REWRITINGSANDREPUBLICATIONS . . . . . . . . . . . . 1
Chapter1.AnalyzinganAudiovisualCorpus
ofAThousandandOneNights . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
MurielCHEMOUNY
1.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.2.Creatingathematiceducationaldossierbased
onAThousandandOneNights. . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.2.1.Choosinganaudiovisualcorpus . . . . . . . . . . . . . . . . . . . . 6
1.2.2.Textanalysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.3.Perspectives:ASWsandnewformsofdigitalwriting . . . . . . . . . . 18
Chapter2.AnalyzingaCorpusofTraditionalBreadMaking . . . . . . . . 21
ElisabethDEPABLO
2.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.2.Creatingeducationaldossierstoraisepublicawareness . . . . . . . . . 23
2.2.1.Choosingacorpus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
2.2.2.Definingaimsoftheanalysis . . . . . . . . . . . . . . . . . . . . . . 24
2.2.3.Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
2.3.Creatingacommunicationdossier
forimprovingculturalevents . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
2.3.1.Choosingacorpus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
2.3.2.Definingaimsoftheanalysis . . . . . . . . . . . . . . . . . . . . . . 36
2.3.3.Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
vi DigitalAudiovisualArchives
Chapter3.RepublishingAudiovisualResources . . . . . . . . . . . . . . . . 41
PeterSTOCKINGERandElisabethDEPABLO
3.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
3.2.Breakdownofthe(re)publicationprocess
accordingtogenre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
3.3.“Rerecording”audiovisualtexts . . . . . . . . . . . . . . . . . . . . . . . 47
3.4.Interactivevideobooks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
3.5.Thematicfolders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
3.6.Educationalfolders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
3.7.Narrativepath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
PART2:AUDIOVISUALARCHIVES,KNOWLEDGE
MANAGEMENTANDCULTURALHERITAGE . . . . . . . . . . . . . . . . . . . . 61
Chapter4.AnArchiveontheIntangibleCulturalHeritage
ofAndeanPopulationsinPeruandBolivia . . . . . . . . . . . . . . . . . . . 63
ValérieLEGRAND-GALARZA
4.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
4.2.Scientificmethodologyandethical
andparticipativeapproaches . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
4.2.1.Scientificmethodologyforcollecting
andprocessingintangibleculturalheritages. . . . . . . . . . . . . . . . . . 66
4.2.2.Anethicalandparticipativeapproach:recognizing
andinvolvingpeopleandcommunitiesincollecting
theirheritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
4.3.TheAndeanintangibleculturalheritageportal . . . . . . . . . . . . . . 75
4.3.1.WhyhaveaportalforAndeanculturalheritage? . . . . . . . . . . . 75
4.3.2.Structureandthemesoftheportal. . . . . . . . . . . . . . . . . . . . 78
4.3.3.Thethematicdescriptionlibrary . . . . . . . . . . . . . . . . . . . . 83
4.4.Interestsandperspectivesoftheproject . . . . . . . . . . . . . . . . . . 89
4.4.1.Interestsandobjectivesoftheproject . . . . . . . . . . . . . . . . . 89
4.4.2.Usesandperspectives . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.5.Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Chapter5.AnAudiovisualAzerbaijaniCulturalHeritage
PortalforEducationalandAcademicUse . . . . . . . . . . . . . . . . . . . . 105
AygunEYYUBOVA
5.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
5.1.1.Backgroundtothecreation
oftheAACHportal:context . . . . . . . . . . . . . . . . . . . . . . . . . . 106
5.1.2.Researchintoteachingmethodologies
forAzerbaijanicultureandlanguage . . . . . . . . . . . . . . . . . . . . . 106
TableofContents vii
5.2.Disseminatingandtransmittingcultural
heritagesviatheInternet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
5.2.1.Digitalizinganddisseminatingcultural
archivesviatheInternet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
5.2.2.Issuesinsemioticresearchfordisseminating
culturalheritages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
5.3.AimsofcreatinganAzerbaijaniculturalheritage
portal(AACHP)intheASA-SHSproject . . . . . . . . . . . . . . . . . . . 110
5.4.Principalaspectsofculturalheritageapproach
indevelopinganAzerbaijaniculturalheritageportal(AACH) . . . . . . . . 111
5.4.1.Ethnicalaspectofculturalheritageapproach . . . . . . . . . . . . . 112
5.4.2.Communicativeandinformativeaspects
ofculturalheritageapproach . . . . . . . . . . . . . . . . . . . . . . . . . . 112
5.4.3.Multi-sourceaspectofculturalheritageapproach . . . . . . . . . 114
5.4.4.Legalaspectsofculturalheritageapproach . . . . . . . . . . . . . . 114
5.4.5.Collaborativeaspectofculturalheritageapproach . . . . . . . . . . 115
5.4.6.Valorizingaspectofculturalheritageapproach . . . . . . . . . . . 116
5.4.7.Capitalizingonexperienceinculturalheritage
approach:adevelopmentLogBookfortheAACH
andAICHportals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
5.5.AnalyzingaudiovisualcorporaforAACHinASA . . . . . . . . . . . . 118
5.5.1.IdentifyingareasofknowledgefortheAACHP . . . . . . . . . . . 118
5.5.2.LibraryofthematicanalysisschemesinAACH . . . . . . . . . . . 122
5.5.3.TheAACHthesaurus . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
5.5.4.Pragmaticanalysisofsemioticdescriptions
oftheAACHaudiovisualcorpus . . . . . . . . . . . . . . . . . . . . . . . 127
5.6.ApplicationsfortheAACHportal
andtheASWenvironment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
5.7.Conclusion:advantages,benefitsandperspectives . . . . . . . . . . . . 137
PART3:SOCIALNETWORKS,WEB2.0
ANDMOBILECOMMUNICATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Chapter6.AcademicCommunication
viaFacebookandTwitter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
JirasriDESLIS
6.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
6.2.TheArkWorkportal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
6.2.1.Natureoftheresource . . . . . . . . . . . . . . . . . . . . . . . . . . 142
6.2.2.Exampleofvideoanalysisandadaptation . . . . . . . . . . . . . . 143
6.3.Facebookforsharingvarioustypesofinformation . . . . . . . . . . . . 145
viii DigitalAudiovisualArchives
6.3.1.ValorizingtheArkWorkresources:sequences
andimagestakenfromthevideosource . . . . . . . . . . . . . . . . . . . 146
6.3.2.Typeofinformationtobecommunicated
viaprofile“Walls” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
6.3.3.Fromprofilepagestoprofessional(Fan)pages:
personalizingandaddingotherapplications . . . . . . . . . . . . . . . . . 152
6.4.Twitterasameansofpublicizingshortinformation . . . . . . . . . . . 157
6.4.1.Twitterandsequentialcommunication . . . . . . . . . . . . . . . . 158
6.4.2.Twitterandvideoextractsspreadthrough
ArkWorkvideo sharingplatforms . . . . . . . . . . . . . . . . . . . . . . . 164
6.4.3.Twitterandpaper.li,anautomaticpublicationplatform . . . . . . . 165
6.4.4.CommunicationbetweenTwitterandFacebook . . . . . . . . . . 167
Chapter7.UsesforDigitalContentSharingPlatforms . . . . . . . . . . . . 169
JirasriDESLIS
7.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
7.2.Flickr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
7.3.Twitpic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
7.4.ArkWorkonYouTube . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
7.4.1.Multilingualaccessibility . . . . . . . . . . . . . . . . . . . . . . . . 173
7.4.2.Geographicallycontextualizingvideocontent . . . . . . . . . . . . 176
7.4.3.Aninteractivevideowithannotation . . . . . . . . . . . . . . . . . . 177
7.4.4.YouTubeandApturevideos . . . . . . . . . . . . . . . . . . . . . . 179
7.5.ArkWorkonDailymotion . . . . . . . . . . . . . . . . . . . . . . . . . . 181
7.6.ArkWorkonVimeo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
7.7.Nomadicapproaches:mobilecommunication
forsharingacademiccontent . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Chapter8.UsesforContentAggregators
andCommunityNetworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
JirasriDESLIS
8.1.Netvibes,acontentaggregator . . . . . . . . . . . . . . . . . . . . . . . . 189
8.2.Pearltrees,acontentcurationplatform . . . . . . . . . . . . . . . . . . . 196
8.3.Sharinginformationoncommunityportals:
theLouvreCommunityportal(communauté.louvre.fr) . . . . . . . . . . . . 199
8.3.1.Buildingaprofile:usingourresources
incooperationwiththeMuseum’scollection . . . . . . . . . . . . . . . . 199
8.3.2.MarkingourresourcesinrelationtoMuseumevents . . . . . . . 201
8.3.3.Creatingdiscussiongroups . . . . . . . . . . . . . . . . . . . . . . . 203
8.4.Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
TableofContents ix
Chapter9.TracingVideoUsage:ThePotentialofVDI . . . . . . . . . . . . 209
FrancisLEMAITREandValérieLEGRAND-GALARZA
9.1.Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
9.2.Presentationofthescenario . . . . . . . . . . . . . . . . . . . . . . . . . 211
9.2.1.Principlesandobjectives . . . . . . . . . . . . . . . . . . . . . . . . . 211
9.2.2.Roles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
9.2.3.Users . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
9.2.4.Thetechnicalenvironment . . . . . . . . . . . . . . . . . . . . . . . . 215
9.3.Walkthrough . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
9.3.1.Userregistrationandauthentication . . . . . . . . . . . . . . . . . . 228
9.3.2.Creatingandpublishingvideos . . . . . . . . . . . . . . . . . . . . 229
9.3.3.Subscribingtovideos . . . . . . . . . . . . . . . . . . . . . . . . . . 231
9.3.4.Removingvideos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
9.3.5.Downloadingvideos . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
9.3.6.Creatingandpublishinganalyses . . . . . . . . . . . . . . . . . . . . 235
9.3.7.Subscribingtoanalyses . . . . . . . . . . . . . . . . . . . . . . . . . 237
9.3.8.Removinganalyses . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
9.3.9.Creatingachannel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
9.3.10.Postingananalysisontoachannel. . . . . . . . . . . . . . . . . . . 240
9.3.11.Subscribingtopostedanalyses . . . . . . . . . . . . . . . . . . . . 242
9.3.12.Removingposts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
9.3.13.Viewinganalysespostedonchannels . . . . . . . . . . . . . . . . 243
9.4.Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
GlossaryofSpecializedTerms . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
PeterSTOCKINGER
GlossaryoftheAcronymsandNames . . . . . . . . . . . . . . . . . . . . . . . 271
PeterSTOCKINGER
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
ListofAuthors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Introduction
We discussed the issue of analyzing digital audiovisual corpora in
[STO 11a] using a variety of concrete examples. We also examined in
this book a working environment which enables us to analyze these
corpora that are specifically adapted to their users’ professional or
personalneeds.
Analyzing audiovisual corpora involves identifying the stages in
work processes which define every digitizing project of knowledge
heritages (i.e. scientific, cultural, etc.). This follows the (audiovisual)
data collection stage which documents a “research terrain” and
precedes the publication and dissemination of (analyzed, i.e.
described, classified, annotated, interpreted etc.) data. Along with the
technical processing (“cleaning”, improving visual creation, etc.) and
auctorial (i.e. mounting) stages of data collection and creation of field
corpora,thisisanunavoidablemovementfromtransformingthestatus
of virtually relevant digital data into a potential resource that is a
potential “advantage” for the audience and its expectations, needs,
and curiosities for various contexts of usage. In [STO 11a], various
approaches are discussed which might define a concrete analysis and
approachessuchas:
–stricto sensu textual analysis, which consists of locating
(identifying) only those passages in an audiovisual text that are
genuinely relevant for an analysis project, presuming that for a given
IntroductionwrittenbyPeterSTOCKINGER.
xii DigitalAudiovisualArchives
analysis not the whole audiovisual text (no matter if it is
a documentary or a simply “raw” recording of a cultural or scientific
manifestation) is necessarily relevant. Once the passage(s) is/are
identified, the analyst (a role given to an individual or group
undertaking an analysis project) segments the audiovisual text, that is
(virtually) extracts the identified passage(s), provides them with a
provisory title, and records thetemporal values corresponding to their
beginning and end of the audiovisual text’s linear progression. The
analyst can always return to this analysis to modify, for example, the
beginning and end of the segmented passage, to suppress segmented
passages,orredefineidentifiedpassages,andsoon;
–meta-description of which the object is not so much the
audiovisual text or the analyzed passage of an audiovisual text. The
aim of meta-description, rather, is to explain the aim of the analysis
itself: its authors, aims, the area of expertise (i.e. the area of
knowledge concerned) or even the genre that it represents (basic
versus detailed analysis, an excerpt versus the whole audiovisual text,
overall content versus visual and acoustic patterns, analysis as
linguistic adaptation of the audiovisual text or part of it). Meta-
description also defines its authors rights as well as the rights for its
use and exploitation by aninterested public (in a new analysis project,
forexample);
–paratextual description initially aims to specify the formal
identity of the audiovisual text and/or each identified and virtually
extracted excerpt. This involves identifying indicative information
related to the author(s), directors, producers, and so on, of the
audiovisual text (or an excerpt of it). This description enables us to
identify thegenre(s) which the audiovisual text represents and also
identify the important times and places in the “life” of the text in
question, forexample thetimeand date of production, publicationand
dissemination,latestupdate,andsoon.Anotherimportantpointofthe
paratextual description is that of the explicit rights that govern
ownership of the audiovisual text (or a particular passage) and of its
varioususesbytheinterestedpublic;
–audiovisual description specifically focuses on analyzing the
audiovisual patterns which are composed of the text (or a specific
passage which was identified and virtually extracted). The focus of