Virtual Audience System as a new form of participation on television: Real-time fusion of different environments and audiovisual interactions into live broadcasts

The IETF has been acting as one of the main actors when discussing standardization of protocols and good practices on the Internet. Collaborating with the IETF community can be complex and distant for many researchers and industry members because of the financial aspect to travel to the meeting. However, it notes the collaboration between industry and academia is actively and progressively developing and refining standards within the IETF. One of the incentives for the increased participation in IETF meetings is because it is being transmitted in real time since 2015, allowing for voice and chat interaction of remote participants. Thus, in this paper, we have as objectives to give a brief vision about how to collaborate with the IETF and to analyze the importance of this new form of participation of the face-to-face meetings that has been growing in recent years.

This article analyses remote proceedings as a new form of participation in the criminal process in the context of EU law, with particular reference to the question of whether remote participation could be considered (and established) as part of the defendant’s right to be present at their trial. The question of how technological developments may be used to strengthen the rights of the accused is also considered. The author explores the EU legal framework promoting the use of video conferencing tools as innovative technologies, while also considering the perspective that sees them as representing a practical risk to the observance of procedural rights. The requirement that a videoconference hearing must meet the standards established by the European Court of Human Rights is identified. Following this, the question of whether a videoconference hearing can become an instrument that balances the protection of the rights of the accused with progressive e-justice digitalisation processes when adequately regulated in EU law is addressed. The article concludes with proposals relating to the measures that need to be implemented to effectively protect the rights of the accused, along with steps that should be taken to amend the relevant legislation.

Configuration of the virtual laboratory for fusion researches in Japan

Stakeholders engaged in value management (VM) practices often encounter the problem that the participants are too dispersed geographically from the workshop venue. Therefore, the introduction of a virtual collaboration method to VM studies is an effective and economical way to solve the problem, especially in the construction industry, where stakeholders may not be in the same country. However, there is currently a lack of knowledge on the implementation of virtual VM studies. This paper proposes a framework of virtual VM workshop to enable participants' remote participation and virtual collaboration. Key issues in addressing virtual settings and virtual teams are considered and involved in the development of the proposed framework. To implement virtual VM workshops, a virtual value management system (VVMS) was developed first on available Internet technologies and in line with the proposed framework. An experimental workshop was then conducted to test the effect of the virtual VM workshop by investigating data from both quantitative and qualitative perspectives generated from the VVMS, and from a questionnaire survey. The workshop outcomes, questionnaire results, and feedback of participants show that the VM study can be delivered virtually to a satisfactory level, using the support of VVMS.

Virtual laboratory for fusion research in Japan

Control, data acquisition, data analysis and remote participation in LHD

With the significant success of transformers in natural language processing, an increasing number of researchers are introducing them into the field of computer vision, particularly for action recognition. As a crucial task in video understanding, action recognition has significant applications in live broadcasting, autonomous driving, and medical diagnostics. The attention mechanisms in transformers mimicking human visual attention allocation, thereby enhancing the processing capabilities and comprehension of long video sequences. However, they often overlook the aggregation of multiscale detail features and the hierarchical representations of early visual information. Additionally, attention networks are computationally intensive and parameter-heavy, complicating model training and extending inference times, rendering them unsuitable for real-time applications. To crack these nuts, we propose a lightweight multiscale action recognition model based on convolutional enhancement block (ConvEB) and multiscale average pooling encoder. The ConvEB aims to establish long-range dependencies among multiscale local features in the early stages of the network, providing effective inductive biases for the attention network to compensate for the loss of detailed information. Moreover, we introduce a parallel pooling mixer to replace the original attention mixer, ensuring model lightweight while maintaining recognition accuracy. Finally, we deploy this model in the construction of a virtual panorama live broadcasting system. Experimental results demonstrate that our action recognition algorithm achieves competitive performance, and the constructed panoramic system basically meets the needs of daily live broadcasting.

Two Ways of Being Italian on Global Television


 
 
 “We have made Italy, now we must make Italians,” in the (probably apocryphal) words of the Prime Minister, sometime after the unification of the nation in 1860. Perhaps in French, if it was said at all. (The quotation is typically attributed to Massimo D’Azeglio, the prime minister of Piedmont and predecessor of the first Italian prime minister Camillo Cavour. Many have suggested that the phrase was misquoted and misunderstood (see Doyle.) D’Azeglio spoke in Italian when he addressed the newly-formed Italian parliament, but my reference to French is meant to indicate the fragility of the national language in early Italy where much of the ruling class spoke French while the majority of the people in the peninsula still spoke regional dialects.) It was television – more than print media or even radio – that would have the biggest impact in terms of ‘making Italians.’ Writing about Italy in the 1950s, a well-known media critic suggested that television, a game show actually, “was able to succeed where The Divine Comedy failed … it gave Italy a national language” (qtd. in Foot). But these are yesterday’s problems. We have Italy and Italians. Moreover, the emergence of global ways of being and belonging are evidence of the ways in which the present transcends forms of belonging rooted in the old practices and older institutions of the nation-state. But, then again, maybe not. “A country that allows you to vote in its elections must be able to provide you with information about those elections” (Magliaro). This was 2002. The country is still Italy, but this time the Italians are anywhere but Italy. The speaker is referring to the extension of the vote to Italian citizens abroad, represented directly by 18 members of parliament, and the right to information guaranteed the newly enfranchised electorate. What, then, is the relationship between citizenship, the state and global television today? What are the modalities of involvement and participation involved in these transformations of the nation-state into a globally-articulated network of institutions? I want to think through these questions in relation to two ways that RAI International, the ‘global’ network of the Italian public broadcaster, has viewed Italians around the world at different moments in its history: mega-events and return information. Mega-Events Eighteen months after its creation in 1995, RAI International was re-launched. This decision was partially due to a change in government (which also meant a change in the executive and staff), but it was also a response to the perceived failure of RAI International to garner an adequate international audience (Morrione, Testimony [1997]). This re-launch involved a re-conceptualisation of the network’s mandate to include both information services for Italians abroad (the traditional ‘public service’ mandate for Italy’s international broadcasting) as well as programming that would increase the profile of Italian media in the global market. The mandate outlined for Roberto Morrione – appointed president as part of the re-launch – read: The necessity of strategic and operative certainties in the international positioning of the company, both with regard to programming for our co-nationals abroad and for other markets…are at the centre of the new role of RAI International. This involves bringing together in the best way the informative function of the public service, which is oriented to our community in the world in order to enrich its cultural patrimony and national identity, with an active presence in evolving markets. (Morrione, Testimony [1998]) The most significant change in the executive of the network was the appointment of Renzo Arbore, a well-known singer and bandleader, to the position of artistic director. At the time of Arbore’s appointment, the responsibilities of the artistic director at the network were ill defined, but he very quickly transformed the position into the ‘face’ of RAI International. In an interview from 1998, Arbore explained his role at the network as follows: “I’m the artistic director, which means I’m in charge of the programs that have any kind of artistic content. Also, I’m the so called “testimonial”, which is to say I do propaganda for the network, I’m the soul of RAI International” (Affatato). The most often discussed aspect of the programming on RAI International during Arbore’s tenure as artistic director was the energy and resources dedicated to events that put the spotlight on the global reach of the service itself and the possibilities that satellite distribution gave for simultaneous exchange between locations around the world. It was these ‘mega-events’ (Garofalo), in spite of constituting only a small portion of the programming schedule, that were often seen as defining RAI’s “new way” of creating international programming (Milana). La Giostra [The Merry Go Round], broadcast live on New Year’s Eve 1996, is often cited as the launch of the network’s new approach to its mission. Lasting 20 hours in total, the program was hosted by Arbore. As Morrione described it recently, The ‘mother of live shows’ was the Giostra of New Year’s ’97 where Arbore was live in the studio for 20 consecutive hours, with many guests and segments from the Pole, Peking, Moscow, Berlin, Jerusalem, San Paolo, Buenos Aires, New York and Los Angeles. It was a memorable enterprise without precedent and never to be duplicated. (Morrione, RAI International) The presentation of television as a global medium in La Giostra draws upon the relationship between live broadcasting, satellite television and conceptions of globality that has developed since the 1960s as part of what Lisa Parks describes as ‘global presence’ (Parks). However, in keeping with the dual mandate of RAI International, the audience that La Giostra is intended to constitute was not entirely homogenous in nature. The lines between the ‘national’ audience, which is to say Italians abroad, and the international audience involving a broader spectrum of viewers are often blurred, but still apparent. This can be seen in the locations to which La Giostra travelled, locations that might be seen as a mirror of the places to which the broadcast might be received. On the one hand, there are segments from a series of location that speak to a global audience, many of which are framed by the symbols of the cold war and the ensuing triumph of global capitalism. The South Pole, Moscow, Beijing and a reunified Berlin can be seen as representing this understanding of the globe. These cities highlighted the scope of the network, reaching cities previously cut off from Italy behind the iron curtain (or, in the case of the Pole, the extreme of geographic isolation.) The presence of Jerusalem contributed to this mapping of the planet with an ecclesiastical, but ecumenical accent to this theme. On the other hand, Sao Paolo, Buenos Aires, and Melbourne (not mentioned by Morrione, but the first international segment in the program) also mapped the world of Italian communities around the world. The map of the globe offered by La Giostra is similar to the description of the prospective audience for RAI International that Morrione gave in November 1996 upon his appointment as director. After having outlined the network’s reception in the Americas and Australia, where there are large communities of Italians who need to be served, he goes on to note the importance of Asia: “China, India, Japan, and Korea, where there aren’t large communities of Italians, but where “made in Italy,” the image of Italy, the culture and art that separate us from others, are highly respected resources” (Morrione, “Gli Italiani”). La Giostra served as a container that held together a vision of the globe that is centered around Italy (particularly Rome, caput mundi) through the presentation on screen of the various geopolitical alliances as well as the economic and migratory connections which link Italy to the world. These two mappings of the globe brought together within the frame of the 20-hour broadcast and statements about the network’s prospective audiences suggest that two different ways of watching RAI International were often overlaid over each other. On the one hand, the segments spanning the planet stood as a sign of RAI International’s ability to produce programs at a global scale. On the other hand, there was an attempt to speak directly to communities of Italians abroad. The first vision of the planet offered by the program suggests a mode of watching more common among disinterested, cosmopolitan viewers belonging to a relatively homogenous global media market. While the second vision of the planet was explicitly rooted in the international family of Italians constituted through the broadcast. La Giostra, like the ‘dual mandate’ of the network, can be seen as an attempt to bring together the national mission of network with its attempts to improve its position in global media markets. It was an attempt to unify what seemed two very different kinds of audiences: Italians abroad and non-Italians, those who spoke some Italian and those who speak no Italian at all. It was also an attempt to unify two very different ways of understanding global broadcasting: public service on the one hand and the profit-oriented goals of building a global brand. Given this orientation in the network’s programming philosophy, it is not surprising that Arbore, speaking of his activities as Artistic director, stated that his goals were to produce shows that would be accessible both to those that spoke very little Italian as well as those that were highly cultured (Arbore). In its attempt to bring these divergent practices and imagined audiences together, La Giostra can be seen as part of vision of globalisation rooted in the euphoria of the early nineties in which distance and cultural differences were re

We describe a prototype of the virtual reality remote classroom participation system called UniVResity. UniVResity mirrors in virtual reality the ongoing face-to-face classroom activities, taking into account potentially low bandwidth data connection and lack of VR equipment in class. Our system attempts to combine the benefits of online education and face-to-face education, and makes face-to-face learning more accessible.

After decades of digital tide washing the world, even one of the most sacred existences in human life, art, has to go through evolution and make some adaptions. The materials used in artists' creations, the artworks' presence in time and space as objects, and the economic properties of art have all been changed drastically as a response to the rapidly growing cybernetic world. An increasing number of digital artworks show up on the internet every day, whether they are the documentation of physical artworks in the real world or completely digital pieces that only live in the cybernetic world. Accordingly, the relationship between the online audience and digital works has completely changed their interactions. Museum professionals, public audiences, educators, and so many other roles in the art-viewing activity are having mixed opinions about dealing with art in virtual spaces. They need a more accurate understanding of the meaning and value of the artworks they are viewing. Therefore, how to apply digital media technology to facilitate a better creative experience between viewers and digital physical artworks will be a very important and challenging issue. This paper firstly explains the definition and development history of digital museum exhibition; secondly analyzes the current research status of digital museum exhibition technology and its application areas at home and abroad; then discusses the factors affecting the audience's viewing behavior from the user's perspective, namely: human psychological factors (including cognitive factors, emotional factors, motivation), environmental factors (including social and cultural factors, natural environmental factors); finally The construction method of the virtual exhibition system based on the concept of interaction design is discussed in combination with the above two aspects, and the model can effectively improve the audience's visiting experience through examples.

After decades of digital tide washing the world, even one of the most sacred existences in human life, art, has to go through evolution and make some adaptions. The materials used in artists' creations, the artworks' presence in time and space as objects, and the economic properties of art have all been changed drastically as a response to the rapidly growing cybernetic world. An increasing number of digital artworks show up on the internet every day, whether they are the documentation of physical artworks in the real world or completely digital pieces that only live in the cybernetic world. Accordingly, the relationship between the online audience and digital works has completely changed their interactions. Museum professionals, public audiences, educators, and so many other roles in the art-viewing activity are having mixed opinions about dealing with art in virtual spaces. They need a more accurate understanding of the meaning and value of the artworks they are viewing. Therefore, how to apply digital media technology to facilitate a better creative experience between viewers and digital physical artworks will be a very important and challenging issue. This paper firstly explains the definition and development history of digital museum exhibition; secondly analyzes the current research status of digital museum exhibition technology and its application areas at home and abroad; then discusses the factors affecting the audience's viewing behavior from the user's perspective, namely: human psychological factors (including cognitive factors, emotional factors, motivation), environmental factors (including social and cultural factors, natural environmental factors); finally The construction method of the virtual exhibition system based on the concept of interaction design is discussed in combination with the above two aspects, and the model can effectively improve the audience's visiting experience through examples.

This paper describes a conference which linked several remote location sites via a virtual environment so that the virtual audience could follow the presentations and interact with real presenters. The aim was to assess the feasibility of linking distributed virtual audiences to an ongoing conference event. The conference consisted of an annual gathering of researchers and developers of a global information technology consultancy firm based in India. This firm developed a virtual environment specifically for distributed collaboration across sites. During the conference, researchers gathered various types of data, including participant observations, interviews, capture of the virtual environment and a survey of the audience. These data are analysed in the paper. The main finding is that a number of `low tech' improvements could be made to the operation of the system that could greatly enhance this type of virtual conferencing. A related finding is that the visual fidelity of the environment and of the avatars plays a lesser role than other factors such as audio quality. Given the paucity of research on how virtual conferencing can substitute for travel, plus the urgency of this topic for environmental reasons, a number of suggestions are made for the implementation of remote virtual conference participation.

This paper describes a conference which linked several remote sites via a virtual environment so that the virtual audience could follow the presentations and interact with real presenters. The aim was to assess the feasibility of linking distributed virtual audiences to an ongoing conference event. Various types of data about the conference were gathered, such as participant observations, interviews and a survey of the audience, and analyzed. The main finding is that a number of `low tech' improvements could be made that could greatly enhance this type of virtual conferencing. A related finding is that the visual fidelity of the environment and of the avatars plays a lesser role than other factors such as audio quality. Given the paucity of research on how virtual conferencing can substitute for travel, plus the urgency of this topic for environmental reasons, a number of suggestions are made for the implementation of remote virtual conference participation.

In the transition to entirely online learning for Covid-19, the learning management system (LMS) plays a critical role in higher educational institutions around the world. The Nvivo plus 12 system and the Vosviewer program were utilized in the qualitative research. The goal of this research paper is to look into the e-learning process among students who are familiar with the internet. The development of an online education model (Zoom, WA, LMS), platform, and comprehensive online e-Learning would have a big impact. Full e-learning is a term used to describe fully online learning that occurs between traditional campus education and online learning (e-learning) that occurs outside of the campus facing covid-19. The use of a virtual learning management system (LMS) allowed for the promotion of online learning (e-learning). The new research on virtual Learning management systems has the potential to transform essential components of classrooms by utilizing forms that can have a substantial impact on teaching and learning. According to the findings, technology affects librarians' perspectives of their jobs, students' needs, and faculties that might help them develop. In order to produce a selection and motivate pupils to think about it, full e-learning must collaborate with them. Despite the fact that comprehensive e-learning is becoming a viable strategy for various institutions in the country, some universities, particularly in developing countries, are opposing the transition.