Object life cycles & interaction environments for cross media production & distribution

This paper addresses the requirements for a Work/flow Management System that is intended to automate the production and distribution chain for cross-media content which is by nature multi-partner and multi-site. It advocates the requirements for an ontology-based object lifecycle tracking within work/flow integration by identifying various types of interfaces, object life cycles and the work-flow interaction environments within the AXMEDIS Framework.

Workflow data exchange semantics, object discovery & integration architecture for cross media production & distribution

There has been a clear lack of common data exchange semantics for inter-organisational workflow management systems where the research has mainly focused on technical issues rather than language constructs. This paper presents the neutral data exchanges semantics required for the workflow integration within the AXAEDIS framework and presents the mechanism for object discovery from the object repository where little or no knowledge about the object is available. The paper also presents workflow independent integration architecture with the AXAEDIS Framework.

Group stochastic search for object detection and tracking

A technique is presented for locating and tracking objects in cluttered environments. Agents are randomly distributed across the image, and subsequently grouped around targets. Each agent uses a weightless neural network and a histogram intersection technique to score its location. The system has been used to locate and track a head in 320x240 resolution video at up to 15fps.

Example uses of a learning object

A self study course for learning to program using the C programming language has been developed. A Learning Object approach was used in the design of the course. One of the benefits of the Learning Object approach is that the learning material can be reused for different purposes. 'Me course developed is designed so that learners can choose the pedagogical approach most suited to their personal learning requirements. For all learning approaches a set of common Assessment Learning Objects (ALOs or tests) have been created. The design of formative assessments with ALOs can be carried out by the Instructional Designer grouping ALOs to correspond to a specific assessment intention. The course is non-credit earning, so there is no summative assessment, all assessment is formative. In this paper examples of ALOs and their uses is presented together with their uses as decided by the Instructional Designer and learner. Personalisation of the formative assessment of skills can be decided by the Instructional Designer or the learner using a repository of pre-designed ALOs. The process of combining ALOs can be carried out manually or in a semi-automated way using metadata that describes the ALO and the skill it is designed to assess.

Peripersonal space: a multisensory interface for body-object interactions

Research in the last four decades has brought a considerable advance in our understanding of how the brain synthesizes information arising from different sensory modalities. Indeed, many cortical and subcortical areas, beyond those traditionally considered to be ‘associative,’ have been shown to be involved in multisensory interaction and integration (Ghazanfar and Schroeder 2006). Visuo-tactile interaction is of particular interest, because of the prominent role played by vision in guiding our actions and anticipating their tactile consequences in everyday life. In this chapter, we focus on the functional role that visuo-tactile processing may play in driving two types of body-object interactions: avoidance and approach. We will first review some basic features of visuo-tactile interactions, as revealed by electrophysiological studies in monkeys. These will prove to be relevant for interpreting the subsequent evidence arising from human studies. A crucial point that will be stressed is that these visuo-tactile mechanisms have not only sensory, but also motor-related activity that qualifies them as multisensory-motor interfaces. Evidence will then be presented for the existence of functionally homologous processing in the human brain, both from neuropsychological research in brain-damaged patients and in healthy participants. The final part of the chapter will focus on some recent studies in humans showing that the human motor system is provided with a multisensory interface that allows for continuous monitoring of the space near the body (i.e., peripersonal space). We further demonstrate that multisensory processing can be modulated on-line as a consequence of interacting with objects. This indicates that, far from being passive, the monitoring of peripersonal space is an active process subserving actions between our body and objects located in the space around us.

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.