Collaborative Video Research Articles

A Pilot Study with a Novel Setup for Collaborative Play of the Humanoid Robot KASPAR with Children with Autism

This article describes a pilot study in which a novel experimental setup, involving an autonomous humanoid robot, KASPAR, participating in a collaborative, dyadic video game, was implemented and tested with children with autism, all of whom had impairments in playing socially and communicating with others. The children alternated between playing the collaborative video game with a neurotypical adult and playing the same game with the humanoid robot, being exposed to each condition twice. The equipment and experimental setup were designed to observe whether the children would engage in more collaborative behaviours while playing the video game and interacting with the adult than performing the same activities with the humanoid robot. The article describes the development of the experimental setup and its first evaluation in a small-scale exploratory pilot study. The purpose of the study was to gain experience with the operational limits of the robot as well as the dyadic video game, to determine what changes should be made to the systems, and to gain experience with analyzing the data from this study in order to conduct a more extensive evaluation in the future. Based on our observations of the childrens’ experiences in playing the cooperative game, we determined that while the children enjoyed both playing the game and interacting with the robot, the game should be made simpler to play as well as more explicitly collaborative in its mechanics. Also, the robot should be more explicit in its speech as well as more structured in its interactions.Results show that the children found the activity to be more entertaining, appeared more engaged in playing, and displayed better collaborative behaviours with their partners (For the purposes of this article, ‘partner’ refers to the human/robotic agent which interacts with the children with autism. We are not using the term’s other meanings that refer to specific relationships or emotional involvement between two individuals.) in the second sessions of playing with human adults than during their first sessions. One way of explaining these findings is that the children’s intermediary play session with the humanoid robot impacted their subsequent play session with the human adult. However, another longer and more thorough study would have to be conducted in order to better re-interpret these findings. Furthermore, although the children with autism were more interested in and entertained by the robotic partner, the children showed more examples of collaborative play and cooperation while playing with the human adult.

Storisphere: from TV watching to community story telling

Conventional television services have been increasingly challenged by the more interactive and user-centric video sharing applications. With the growing popularity of social networks and video services, users are becoming the editors and broadcasters of their own stories. User-generated video content, which provides unique perspectives from individuals, is likely to be the new medium to complement professional broadcast TV for story sharing, especially in user communities of specific interest. We have developed Storisphere to provide a web-based collaborative video content workspace for members of a community to compose and share video stories, using desktop or mobile devices. Storisphere is currently being evaluated for video storytelling by various user communities.

Joint energy-distortion aware algorithms for cooperative video streaming over LTE networks

Real-time video streaming over long-term evolution (LTE) networks is investigated in the presence of mobile-to-mobile collaboration. A multi-objective problem for energy and distortion minimization is formulated and an energy-efficient, quality of service (QoS) aware suboptimal approach is presented for collaborative video transmission. In the proposed approach, mobiles are grouped into collaborative clusters using a low-complexity clustering algorithm. In each cluster, collaboration is implemented by having a cluster head send the content to other cluster members using a short-range wireless communications technology. The cluster heads receive the data on the long-range LTE links, either via unicasting or multicasting. LTE scheduling is taken into account on the long range transmissions. Videos with single description coding (SDC), multiple description coding (MDC), and scalable video coding (SVC) are considered. Results show that the proposed approach leads to significant energy savings and enhanced QoS compared to the non-collaborative scenario. Furthermore, MDC is shown to outperform SDC in terms of QoS, at the cost of a slight increase in energy consumption. The same conclusions were reached with respect to SVC compared to single layer coding.

A Collaborative Video Platform for Learning: From Framework to Action

The work presented in this paper outlines issues relating to the development of a collaborative video platform for learning. Student adoption of collaborative and video technology is increasing dramatically, becoming part of their everyday lives. The aim of this paper is to propose a system and framework for the successful integration of these technologies into teaching and learning. At the outset we assess current trends and previous research, using these findings to inform the development of a new platform. System specifications are then presented with specific needs identified for students and educators. Finally our tentative framework for a integrating a collaborative video platform for learning is presented.

Collaborative video reindexing via matrix factorization

Concept-based video indexing generates a matrix of scores predicting the possibilities of concepts occurring in video shots. Based on the idea of collaborative filtering, this article presents unsupervised methods to refine the initial scores generated by concept classifiers by taking into account the concept-to-concept correlation and shot-to-shot similarity embedded within the score matrix. Given a noisy matrix, we refine the inaccurate scores via matrix factorization. This method is further improved by learning multiple local models and incorporating contextual-temporal structures. Experiments on the TRECVID 2006--2008 datasets demonstrate relative performance gains ranging from 13% to 52% without using any user annotations or external knowledge resources.

CommunyFilm: A social network for collaborative video creation

CommunyFilm: A social network for collaborative video creation

Finding a needle in a haystack: an interactive video archive explorer for professional video searchers

Professional video searchers typically have to search for particular video fragments in a vast video archive that contains many hours of video data. Without having the right video archive exploration tools, this is a difficult and time consuming task that induces hours of video skimming. We propose the video archive explorer, a video exploration tool that provides visual representations of automatically detected concepts to facilitate individual and collaborative video search tasks. This video archive explorer is developed by employing a user-centred methodology, which ensures that the tool is more likely to fit to the end user needs. A qualitative evaluation with professional video searchers shows that the combination of automatic video indexing, interactive visualisations and user-centred design can result in an increased usability, user satisfaction and productivity.

By any Means Necessary

Perhaps one of the most egregious cases of unmitigated injustice in the United States is the prosecution of the Angola 3: Albert Woodfox, Herman Wallace, and Robert. King Wilkerson. Although King was released from the Louisiana State Penitentiary in 2001. his comrades continue to serve life sentences in solitary confinement for the alleged 1972 murder of a prison guard. This conviction is largely recognized as wrongful and designed to silence the three Black Panther activists, who had struggled for prison reform, to end prison rape, and to improve the inhumane conditions that prevail in places like the Louisiana State Penitentiary. Formerly an antebellum slave plantation, today the prison complex is a 180,000-acre work camp, where three quarters of the inmates are African American.' As the largest employer in the region, the Louisiana State Penitentiary pays prisoners anywhere between four and twenty cents per hour for their forced labor. [ILLUSTRATION OMITTED] Brooklyn-born activist artist Jackie Sumell (2) was moved by a lecture given by Robert King in California in 2001 and began a correspondence with Herman Wallace, who has been living in a 6 x 9 foot cell for more than thirty-nine years, a situation Sumell refers to as a psychological mind fuck. (3) Wallace is forced to remain in this cell twenty-three hours per day, seven days per week. In a 2003 letter, Sumell asked Wallace, What kind of house does a man who has lived in a 6 x 9 foot box for over thirty years dream of? Wallace's response became the basis of The House That Herman Built (2003-present), an ongoing collaborative video project between Sumell and Wallace. As part of this extensive collaboration, Sumell produced a video featuring a CAD architectural drawing based on Wallace's written description of his ideal home, as narrated by King. The video opens with an exterior view of the house, surrounded by gardens and flowers. From a two-car garage, the viewer passes a storage space with a pantry for dry goods. In his review of the project, Wallace noticed that among the items represented in the pantry, Sumell had forgotten the Tabasco sauce. The fact that Wallace noticed such a tiny omission shows the extent to which the project allows him to imagine himself in a wholly different place, freed from confinement. Among the many splendid aspects of the house, most striking is Wallace's commitment to revolutionary politics, as evidenced in the dining and conference room with its wall of revolutionary fame displaying framed pictures of prominent abolitionists John Brown, Gabriel Prosser, Harriet Tubman, Nat Turner, and Denmark Vessey. The bottom of the swimming pool in the yard contains the Black Panther Party emblem. Wallace's experiences of militant struggle are reflected in the design of the house, which allows for a quick escape. A fireplace in the second-floor master bedroom leads to an underground bunker thirty-five feet away from the house, equipped with military essentials, foodstuffs, and first aid supplies. Wallace's description vacillates between details concerning construction materials, the size of rooms and their furnishings, and uncanny reminders of life in prison and yearnings for a just society. wonder, Wallace concludes, how psychologists would evaluate me as a person. The House That Herman Built has been exhibited widely in North America and Europe, and with the encouragement and donations of architects, designers, builders, artists, an urbanist, and a documentary filmmaker, plans to build Herman's House are underway. I interviewed Jackie Sumell in person and by email in February and March of 2010 and subsequently corresponded with Herman Wallace. In both cases, I inquired about the relationship between the activist organizing of the present and the revolutionary goals and aims of the Black Panther Party. Before I relate these two interactions, I wish first to provide some analysis of the theoretical and philosophical concerns that brought me to this work. …

Network Coding of Rateless Video in Streaming Overlays

We present a system for collaborative video streaming in wired overlay networks. We propose a scheme that builds on both rateless codes and network coding in order to improve the system throughput and the video quality at clients. Our hybrid coding algorithm permits to efficiently exploit the available source and path diversity without the need for expensive routing nor scheduling algorithms. We consider specifically an architecture where multiple streaming servers simultaneously deliver video information to a set of clients. The servers apply Raptor coding on the video packets for error resiliency, and the overlay nodes selectively combine the Raptor coded video packets in order to increase the packet diversity in the system. We analyze the performance of selective network coding and describe its application to practical video streaming systems. We further compute an effective source and channel rate allocation in our collaborative streaming system. We estimate the expected symbol diversity at clients with respect to the coding choices. Then we cast a minmax quality optimization problem that is solved by a low-cost bisection based method. The experimental evaluation demonstrates that our system typically outperforms Raptor video streaming systems that do not use network coding as well as systems that perform decoding and encoding in the network nodes. Finally, our solution has a low complexity and only requires small buffers in the network coding nodes, which are certainly two important advantages toward deployment in practical streaming systems.

Sketch Based Video Annotation and Organization System in Distributed Teaching Environment

As the use of instructional video is becoming a key component of e-learning, there is an increasing need for a distributed system which supports collaborative video annotation and organization. In this paper, the authors construct a distributed environment on the top of NaradaBrokering to support collaborative operations on video material when users are located in different places. The concept of video annotation is enriched, making it a powerful media to improve the instructional video organizing and viewing. With panorama based and interpolation based methods, all related users can annotate or organize videos simultaneously. With these annotations, a video organization structure is consequently built through linking them with other video clips or annotations. Finally, an informal user study was conducted and result shows that this system improves the efficiency of video organizing and viewing and enhances user’s participating into the design process with good user experience.

The Metamorphosis of Cine Indigen(ist)a: Memoria viva and the Technological Artist in Multicultural Colombia

Since the 1960s, Colombian documentary film-maker Marta Rodríguez has seen a number of interrelated transformations in the spheres of politics, technology and film-making methodology that have affected the ways in which she makes anthropological and political documentaries with indigenous and other minority groups. Centered on a reading of her collaborative documentary video Memoria viva (1992–1993), made with a Nasa indigenous community in Colombia's Cauca department along with the Bolivian filmmaker Iván Sanjinés, this article looks at the ways in which official neo-liberal multiculturalism, technological change and the altering dynamics between indigenous and non-indigenous intellectuals and cultural producers have informed her own attempts to render her political films more democratic and less hierarchical. Rather than denouncing them as contradicting her oppositional political stance, Marta Rodríguez's later attempts to work with the multicultural Colombian state are viewed in terms of Arlindo Machado's notion of ‘technological artist’ as someone who both legitimates and sabotages state interests.

Video Production and Youth-Educator Collaboration: Openings and dilemmas

This study explores a collaborative project between high school youth and adult educators (graduate students in education) to create public service announcements. How do young people and educators talk about media, politics, power, and social change? Based on my observations of participant interaction, I argue that power is not dichotomous, with adults necessarily exerting power over youth. The very act of creating a collaborative video can provide a meaningful pedagogical tool to mobilize the individuals involved to engage in conversations about the meaning of social justice and strategies for achieving greater social justice.

タグクラウド共有に基づく協調的映像アノテーション

タグクラウド共有に基づく協調的映像アノテーション

The impact of collaborative video analysis by practitioners and researchers upon pedagogical thinking and practice: a follow‐up study

The ‘T‐MEDIA’ project analysed and documented how teachers exploit the use of projection technologies – data projectors and interactive whiteboards (IWBs) – to support learning in secondary‐school subject lessons. The research involved collaboration between university researchers and four pairs of UK teachers (of English, mathematics, science and history) in an intensive process of systematically analysing video recordings of classroom activity and other data in depth. Our goals were to assist teachers in articulating the pedagogical rationale underlying their practice, and uniquely, to engage them in theory building about strategic technology use. This paper reports on a follow‐up study carried out one year after the collaborative analyses in order to assess the subsequent impacts of the process of critical reflection. The eight teachers were questioned using a semi‐structured interview technique that allowed us to elicit structured and personalised accounts of impact on pedagogical thinking and practice and the supporting or constraining factors. The findings suggest that for at least some, the sociocultural theory introduced and reformulated during the analyses provided a powerful analytical lens upon emerging practices, including those not incorporating technology. All of the participants reported lasting effects upon their own thinking and, except where external constraints operated, on teaching practices. The approaches developed during T‐MEDIA had additionally been disseminated to and adapted by other subject colleagues. The study illustrates how collaborative analysis of lesson videos can be used to engage teachers in deep reflection, critique and debate. This approach supports the development of an analytical scrutiny of classroom teaching and offers a significant professional development opportunity. In particular, under conditions of sensitive support, teachers will readily accommodate theoretical constructs into specific areas of professional thinking and practice.

From the Ground, Looking Up: Report on the Video nas Aldeias Tour

ABSTRACT This report compares two recent media events centered on the iconography of Amazonian indigenous peoples to highlight the cultural activism of the collaborative video project, Video nas Aldeias. [Keywords: Amazonia, Video nas Aldeias, indigenous media, cultural activism]

Co-located collaborative learning video game with single display groupware

Role Game is a co-located CSCL video game played by three students sitting at one machine sharing a single screen, each with their own input device. Inspired by video console games, Role Game enables students to learn by doing, acquiring social abilities and mastering subject matter in a context of co-located collaboration. After describing the system's ludic and gaming structure, we present an experiment conducted in a kindergarten situation, whose results are subjected to a usability analysis. We conclude that a console video game for learning applications such as Role Game can easily be operated by 6-year-old students who are yet to learn to read or operate a computer. Console multiplayer games designed for learning are shown to be a powerful device for collaborative work in the classroom while maintaining its attractiveness to the gamer. They are consistent with the need to align learning software with the school curriculum, creating a socio-technical environment that can support meta-design and social creativity in an educational setting. Our findings thus confirm McFarlane´s view that they “provide a forum in which learning arises as a result of tasks stimulated by the content of the games, knowledge is developed through the content of the game and skills are developed as a result of playing the game”.

Video Collaboratories for Research and Education: An Analysis of Collaboration Design Patterns

Web-based video collaboration environments have transformative potential for video-enhanced education and for video-based research studies. We first describe DIVER, a platform designed to solve a set of core challenges we have identified in supporting video collaboratories. We then characterize five collaboration design patterns (CDPs) that emerged from numerous collaborative groups who appropriated DIVER for their video-based practices. Collaboration design patterns (CDPs) are ways of characterizing interaction patterns in the uses of collaboration technology. Finally we propose a three-dimensional design matrix for incorporating these observed patterns. This representation can serve heuristically in making design suggestions for supporting a broader constellation of user groups than those spanned by our observed CDPs.

Cognitive technologies for establishing, sharing and comparing perspectives on video over computer networks

The rapidly increasing presence of digital video recordings and new communication capacities on the Internet has created new possibilities for collaboration in behavioral science research. Unfortunately, digital video has so far proven to be an unnatural medium for collaborative activity due to a lack of adequate tools that support joint analysis of a shared video record. We describe seven socio-technical design challenges that face what we term computer-supported collaborative video analysis. We also describe a software environment that we have created called DIVER that was designed to address these challenges and provide a platform for the fluid exchange of video data as well as the insights that the data elicit. The affordances of DIVER for supporting collaboration around video are grounded in the descriptions of two academic contexts in which the software played a central role in the group's video-based activities. The potential of DIVER to serve as a `cognitive technology' is discussed.

Teachers Talking about Effective Practice: Understanding the Knowledge and Practice of Teachers

The idea of active learning was first introduced to kindergarten teachers in Hong Kong in 1981 when they received their in-service teacher education. In a two-year, school-based project, 60 teachers in five schools were asked to create collaborative videos about models of good practices after sharing “effective” teaching episodes with peer teachers who were experimenting with “desirable” learning activities in their classrooms. This study reports on the planning, implementation, classroom ethos and adult support displayed in the project deliverables (videos) so as to portray the kinds of emergent innovations that were being adopted. The findings of the study suggest that there was some significance to the use of collaborative reflection to activate teachers' creativity and sensitivity in giving children's learning first priority in their pedagogy. As well, it points toward using collaborative reflection as an element of teacher education.

Sonic Hybridity and Visual Dualism in the Work of Sussan Deyhim and Shirin Neshat

Two collaborative video installations made by the Iranian exiles Shirin Neshat and Sussan Deyhim are considered. The case is made that while the visual component of the installations might seem to support critical apprehensions that the works are binary, opposing the Orient and the West and presenting the Other for Western viewers as either exotic or nostalgic, the sound strategies adopted consciously strive for hybridity and connection. The examples are audio-visual installations rather than single-screen projected film, and medium specificity is only taken into account to the extent that it has a bearing on the cross-cultural potential of image and sound.I engage with recent developments in the study of the role of sound in audio-visual dynamics and meaning production, with the aim of revealing questions which refuse the limitations of cultural location.The conclusion of the article is that the intellectual productivity of such a perspective is not especially to decentre the dominance of the visual as a...