Digital Forestry: A white paper

Digital Forestry has been proposed as “the science, technology, and art of systematically acquiring, integrating, analyzing, and applying digital information to support sustainable forests.” Although rooted in traditional forestry disciplines, Digital Forestry draws from a host of other fields that, in the past few decades, have become important for implementing the concept of forest ecosystem management and the principle of sustainable forestry. Digital Forestry is a framework that links all facets of forestry information at local, national, and global levels through an organized digital network. It is anticipated that a new set of principles will be established when practicing Digital Forestry concept for the evolution of forestry education, research, and practices as the 21st century unfolds.

Distributed digital post-production

It is now possible to use powerful general purpose computer architectures to support post-production of both video and multimedia projects. By devising a suitable portable software architecture and using high-speed networking in an appropriate manner, a system has been constructed where editors are no longer tied to a specific location. New types of production, such as multi-threaded interactive video, are supported. Editors may also work remotely where very high speed network connection is not currently provided. An object-oriented database is used for the comprehensive cataloging of material and to support automatic audio/video object migration and replication. Copyright © 1997 by the Society of Motion Picture and Television Engineers, Inc.

Managing digital libraries using semantic web technologies

The aim of this work is to improve retrieval and navigation services on bibliographic data held in digital libraries. This paper presents the design and implementation of OntoBib¸ an ontology-based bibliographic database system that adopts ontology-driven search in its retrieval. The presented work exemplifies how a digital library of bibliographic data can be managed using Semantic Web technologies and how utilizing the domain specific knowledge improves both search efficiency and navigation of web information and document retrieval.

Personalised e-learning, semantic web and learning ontologies

Kurzel(2004) points out that researchers in e-learning and educational technologists, in a quest to provide improved Learning Environments (LE) for students are focusing on personalising the experience through a Learning Management System (LMS) that attempts to tailor the LE to the individual (see amongst others Eklund & Brusilovsky, 1998; Kurzel, Slay, & Hagenus, 2003; Martinez,2000; Sampson, Karagiannidis, & Kinshuk, 2002; Voigt & Swatman; 2003). According to Kurzel (2004) this tailoring can have an impact on content and how it’s accessed; the media forms used; method of instruction employed and the learning styles supported. This project is aiming to move personalisation forward to the next generation, by tackling the issue of Personalised e-Learning platforms as pre-requisites for building and generating individualised learning solutions. The proposed development is to create an e-learning platform with personalisation built-in. This personalisation is proposed to be set from different levels of within the system starting from being guided by the information that the user inputs into the system down to the lower level of being set using information inferred by the system’s processing engine. This paper will discuss some of our early work and ideas.

Ghost/Machine: cinema in a digital age

Cinema, with its passive cinematic apparatus and linear narrative is often characterised as a contrast to new media narrative strategies, yet from Vertov’s Man with a Movie Camera to Mike Figgis’ TimeCode and Wong Kar Wei’s 2046 cinema provides narrative strategies and spatial conceptualisations which prefigure or are contiguous with new media environments. Both our perception of what cyberspace constitutes and the technology that actualises those perceptions arise out of and are driven by fantasy and desire. This paper will explore the metaphors used to represent and understand new media aesthetics through cinematic representations of new media environments. Two key themes relevant to new media aesthetics emerge. Irigaray, Haraway, and Grosz are used to explore the de-essentialising haptic and penetrative potential of new technologies and their ability to collapse the boundary between the body and the machine. The second fantasy, of new media as a liminal space that expresses the memorialising function of technology and its relation to mourning, is analysed using Benjamin, Burgin and Rutsky. These altered spaces and perceptions of the body and memory of the post-cinematic subject are illustrated through an analysis of Gondry’s Eternal Sunshine of the Spotless Mind and Jonze’s Being John Malkovich. [From the Author]