Digital storytelling at QUT

Digital Storytelling is a powerful means for enabling communication and social participation. Ordinary people work with expert creative practitioners to create first person narratives for a wide and growing range of purposes, including community building, cultural engagement, brand identification and public communication. A digital story usually combines 15-30 still images and a recorded script of 100-250 words to create an original personal digital story in the form of a 2-3 minute digital video. This form of co-creative media takes advantage of newly accessible technologies but is based in the ancient and universal tradition of storytelling. Digital storytelling is being adopted internationally in a variety of institutional contexts. It was introduced at QUT by Distinguished Professor John Hartley in 2004 when he brought well known UK based digital storytelling expert Daniel Meadows to the Creative Industries Faculty to trainer researchers and Faculty in the technique. Since 2005 Creative Industries Faculty researchers have adapted digital storytelling for use in a variety of research contexts including heritage, youth welfare, health, and international development, in collaboration with a range of external partner organisations. More than 300 digital stories have been produced by QUT researchers, staff and students. These have been presented on the World Wide Web, broadcast on community media, released on DVD and exhibited in various forms. In addition CIF researchers have produced numerous journal articles, conference papers and books reporting the outcomes of research projects utilising digital storytelling in research. As a result of research activity the Creative Industries Faculty is now well positioned as a leading site for teaching and learning in digital storytelling. Faculty research activity in digital storytelling has generated interest in adapting the form for use in undergraduate and postgraduate Creative Industries curriculum and in service teaching, including short courses for external clients.

Photography & Fictions: Locating Dynamics of Practice

What happens to photographic truth when it is thwarted, subverted, stretched and even outwitted? The photography presented in this book provides a range of responses and practices- from the blatant to the exquisitely subtle- and all in the name of fiction. With full-colour images, Photography & Fiction: locating dynamics of practice illustrates and explains the latest issues and ingenious creativity involved in making pictures. The book is the consequence of a significant gathering of photographers, curators, and academics during the 5th Queensland Festival of Photography. Its themes include Fiction-as-Truth, deceptive photography, technology’s fictive potential, as well as the highly personal and inner worlds of human experience.

Corner detection in images under different noise levels

Corner detection has shown its great importance in many computer vision tasks. However, in real-world applications, noise in the image strongly affects the performance of corner detectors. Few corner detectors have been designed to be robust to heavy noise by now, partly because the noise could be reduced by a denoising procedure. In this paper, we present a corner detector that could find discriminative corners in images contaminated by noise of different levels, without any denoising procedure. Candidate corners (i.e., features) are firstly detected by a modified SUSAN approach, and then false corners in noise are rejected based on their local characteristics. Features in flat regions are removed based on their intensity centroid, and features on edge structures are removed using the Harris response. The detector is self-adaptive to noise since the image signal-to-noise ratio (SNR) is automatically estimated to choose an appropriate threshold for refining features. Experimental results show that our detector has better performance at locating discriminative corners in images with strong noise than other widely used corner or keypoint detectors.

User perceived video quality modelling on mobile devices for Vp9 and H265 encoders

This study constructs performance prediction models to estimate the end-user perceived video quality on mobile devices for the latest video encoding techniques –VP9 and H.265. Both subjective and objective video quality assessments were carried out for collecting data and selecting the most desirable predictors. Using statistical regression, two models were generated to achieve 94.5% and 91.5% of prediction accuracies respectively, depending on whether the predictor derived from the objective assessment is involved. These proposed models can be directly used by media industries for video quality estimation, and will ultimately help them to ensure a positive end-user quality of experience on future mobile devices after the adaptation of the latest video encoding technologies.

All about that base : differing player experiences in video game genres and the unique case of MOBA games

Video games provide unique interactive player experiences (PX) often categorised into different genres. Prior research has looked at different game genres, but rarely through a PX lens. Especially, PX in the emerging area of massive online battle arena (MOBA) games is not well understood by researchers in the field. We address this knowledge gap by presenting a PX study of different game genres, which we followed up with a second semi-structured interview study about PX in MOBA games. Among the results of our analyses are that games that are likely played with other players, such as MOBA games, stimulate less immersion and presence for players. Additionally, while challenge and frustration are significantly higher in this genre, players get a sense of satisfaction from teamwork, competition and mastery of complex gameplay interactions. Our study is the first to contribute a comprehensive insight into key motivators of MOBA players and how PX in this genre is different from other genres.

Using augmented video to test in-car user experiences of context analog HUDs

Automotive interactive technologies represent an exemplar challenge for user experience (UX) designers, as the concerns for aesthetics, functionality and usability add up to the compelling issues of safety and cognitive demand. This extended abstract presents a methodology for the user-centred creation and evaluation of novel in-car applications, involving real users in realistic use settings. As a case study, we present the methodologies of an ideation workshop in a simulated environment and the evaluation of six design idea prototypes for in-vehicle head up display (HUD) applications using a semi-naturalistic drive. Both methods rely on video recordings of real traffic situations that the users are familiar with and/or experienced themselves. The extended abstract presents experiences and results from the evaluation and reflection on our methods.

Using viewer’s facial expression and heart rate for sports video highlights detection

Viewer interests, evoked by video content, can potentially identify the highlights of the video. This paper explores the use of facial expressions (FE) and heart rate (HR) of viewers captured using camera and non-strapped sensor for identifying interesting video segments. The data from ten subjects with three videos showed that these signals are viewer dependent and not synchronized with the video contents. To address this issue, new algorithms are proposed to effectively combine FE and HR signals for identifying the time when viewer interest is potentially high. The results show that, compared with subjective annotation and match report highlights, ‘non-neutral’ FE and ‘relatively higher and faster’ HR is able to capture 60%-80% of goal, foul, and shot-on-goal soccer video events. FE is found to be more indicative than HR of viewer’s interests, but the fusion of these two modalities outperforms each of them.

When sex doesn't sell: Using sexualized images of women reduces support for ethical campaigns

Images of scantily clad women are used by advertisers to make products more attractive to men. This ‘‘sex sells’’ approach is increasingly employed to promote ethical causes, most prominently by the animal-rights organization PETA. Yet sexualized images can dehumanize women, leaving an unresolved paradox – is it effective to advertise an ethical cause using unethical means? In Study 1, a sample of Australian male undergraduates (N = 82) viewed PETA advertisements containing either sexualized or non-sexualized images of women. Intentions to support the ethical organization were reduced for those exposed to the sexualized advertising, and this was explained by their dehumanization of the sexualized women, and not by increased arousal. Study 2 used a mixed-gender community sample from the United States (N = 280), replicating this finding and extending it by showing that behaviors helpful to the ethical cause diminished after viewing the sexualized advertisements, which was again mediated by the dehumanization of the women depicted. Alternative explanations relating to the reduced credibility of the sexualized women and their objectification were not supported. When promoting ethical causes, organizations may benefit from using advertising strategies that do not dehumanize women.

'I wonder what you know...': Teachers designing requests for factual information

The early years are significant in optimising children’s educational, emotional and social outcomes and have become a major international policy priority. Within Australia, policy levers have prioritised early childhood education, with a focus on program quality, as it is associated with lifelong success. Longitudinal studies have found that high quality teacher-child interactions are an essential element of high quality programs, and teacher questioning is one aspect of teacher-child interactions that has been attributed to affecting the quality of education, linking open ended questioning to higher cognitive achievement. Teachers, however, overwhelmingly ask more closed than open questions. In the classroom, like everyday interaction, questions in interaction require answers. They are used to request, offer, repair, challenge, seek agreement (Curl & Drew, 2008; Enfield, Stivers, & Levinson, 2010; Hayano, 2013; Schegloff, 2007). Teachers use questions to set agendas and manage lessons (McHoul, 1978; Mehan, 1979; Sacks, 1995), and to gauge students’ knowledge and understanding (Lerner, 1995; McHoul, 1978; Mehan, 1979). Drawing on data from the Australian Research Council project Interacting with Knowledge: Interacting with people: Web searching in early childhood, this paper focuses on an extended sequence of talk between a teacher with two students aged between 3.5 and 5 years in a preschool classroom. The episode, drawn from a corpus of over 200 hours of video recorded data, captures how the teacher and children undertake an online search for images of lady beetles and hairy caterpillars on the Web. Ethnomethodological and conversation analysis approaches examine how the teacher asks questions, which call on the children to display their factual knowledge about the search topic. The fine grained analysis shows how teachers design their interactions to prompt children’s displays of factual knowledge, and how the design of factual questions affect a student’s response in terms of what and how they respond. In focussing on how the teacher designs factual questions and how children respond to these questions it shows that question design can close down a student’s reply; or elicit a range of answers, from one word to extended more detailed responses. Understanding how the design of teachers’ questions can influence students’ responses has pedagogic implications and may support educators to make intentional decisions regarding their own questioning techniques.

Representing places never visited: Landscape and the diasporic imagination

While landscape photography’s complicity with the colonial possession of new territory has been substantially discussed and well understood, this paper considers the role of the European landscape as the focus of diasporic desire. The interdisciplinary project, S2Q/Good Blood began as a social history map of Scandinavian and Nordic migration to Queensland in the nineteenth century, incorporating archival material from local collections with visual field trip data gathered in Denmark, Sweden, Norway and Finland. In 2011, some of this material found its way into the installation work, 'my mother is water, my father is wood'. What emerged from this experiment was an imaginary landscape, melding its loci through original photography and video footage in tandem with stock imagery and historical material. This juxtaposition reinforced the represented landscape as a narrative landscape and evidence of the performativity of belonging. This practitioner reflection utilizes Lynette Russell’s research into landscape archaeology to consider the significance of relationships with landscapes that are “not always empirically demonstrable.”

Enhancing the teaching and learning of mathematical visual images

The literacy demands of mathematics are very different to those in other subjects (Gough, 2007; O'Halloran, 2005; Quinnell, 2011; Rubenstein, 2007) and much has been written on the challenges that literacy in mathematics poses to learners (Abedi and Lord, 2001; Lowrie and Diezmann, 2007, 2009; Rubenstein, 2007). In particular, a diverse selection of visuals typifies the field of mathematics (Carter, Hipwell and Quinnell, 2012), placing unique literacy demands on learners. Such visuals include varied tables, graphs, diagrams and other representations, all of which are used to communicate information.

Towards robust automatic affective classification of images using facial expressions for practical applications

Affect is an important feature of multimedia content and conveys valuable information for multimedia indexing and retrieval. Most existing studies for affective content analysis are limited to low-level features or mid-level representations, and are generally criticized for their incapacity to address the gap between low-level features and high-level human affective perception. The facial expressions of subjects in images carry important semantic information that can substantially influence human affective perception, but have been seldom investigated for affective classification of facial images towards practical applications. This paper presents an automatic image emotion detector (IED) for affective classification of practical (or non-laboratory) data using facial expressions, where a lot of “real-world” challenges are present, including pose, illumination, and size variations etc. The proposed method is novel, with its framework designed specifically to overcome these challenges using multi-view versions of face and fiducial point detectors, and a combination of point-based texture and geometry. Performance comparisons of several key parameters of relevant algorithms are conducted to explore the optimum parameters for high accuracy and fast computation speed. A comprehensive set of experiments with existing and new datasets, shows that the method is effective despite pose variations, fast, and appropriate for large-scale data, and as accurate as the method with state-of-the-art performance on laboratory-based data. The proposed method was also applied to affective classification of images from the British Broadcast Corporation (BBC) in a task typical for a practical application providing some valuable insights.

Bayesian computational methods for spatial analysis of images

This thesis introduces a new way of using prior information in a spatial model and develops scalable algorithms for fitting this model to large imaging datasets. These methods are employed for image-guided radiation therapy and satellite based classification of land use and water quality. This study has utilized a pre-computation step to achieve a hundredfold improvement in the elapsed runtime for model fitting. This makes it much more feasible to apply these models to real-world problems, and enables full Bayesian inference for images with a million or more pixels.