AGS Enser, Frank Jannock, Jon Elliott, Clive Bingley, Griff Hughes and Ken Jones
I SUPPOSE some of us who, professionally, have been subject to the whims of authority, have wished that, for once, we could have changed places with our lords and masters; that…
Abstract
I SUPPOSE some of us who, professionally, have been subject to the whims of authority, have wished that, for once, we could have changed places with our lords and masters; that, instead of attending a committee or council meeting, merely as an officer, we could have sat as a Member.
Donald Davinson, AGS Enser, Wilfred Ashworth, Nick Moore, Norman Tomlinson, Alan Duckworth and John Smith
FOR TOO LONG there has been a tendency to adjure librarians to take note of the ‘new media’. There have been large numbers of courses designed to point out to librarians that…
Abstract
FOR TOO LONG there has been a tendency to adjure librarians to take note of the ‘new media’. There have been large numbers of courses designed to point out to librarians that there are more than books in a library, when for many years this must have been blindingly obvious even to the meanest of intelligences. Present concerns must instead be to accept that we have the media, and to spend more time thinking of how we use them, what we do with them, and who for.
BRIAN GRIFFIN, BOB USHERWOOD, LL ARDERN, ROSEMARY JACKSON, ALAN DAY, CATHERINE ROTHWELL, ROBERT BALAY, JFW BYRON, JON ELLIOTT, AGS ENSER and MEGAN THOMAS
ALTHOUGH you are reading a professional journal, you may be interested in the impressions of a semi‐outsider, one who has teetered on the edge of the maelstrom of modern…
Abstract
ALTHOUGH you are reading a professional journal, you may be interested in the impressions of a semi‐outsider, one who has teetered on the edge of the maelstrom of modern librarianship without actually having fallen in—yet. The experience may even be salutary; who knows?
Kathrin Knautz and Wolfgang G. Stock
The object of this empirical research study is emotion, as depicted and aroused in videos. This paper seeks to answer the questions: Are users able to index such emotions…
Abstract
Purpose
The object of this empirical research study is emotion, as depicted and aroused in videos. This paper seeks to answer the questions: Are users able to index such emotions consistently? Are the users' votes usable for emotional video retrieval?
Design/methodology/approach
The authors worked with a controlled vocabulary for nine basic emotions (love, happiness, fun, surprise, desire, sadness, anger, disgust and fear), a slide control for adjusting the emotions' intensity, and the approach of broad folksonomies. Different users tagged the same videos. The test persons had the task of indexing the emotions of 20 videos (reprocessed clips from YouTube). The authors distinguished between emotions which were depicted in the video and those that were evoked in the user. Data were received from 776 participants and a total of 279,360 slide control values were analyzed.
Findings
The consistency of the users' votes is very high; the tag distributions for the particular videos' emotions are stable. The final shape of the distributions will be reached by the tagging activities of only very few users (less than 100). By applying the approach of power tags it is possible to separate the pivotal emotions of every document – if indeed there is any feeling at all.
Originality/value
This paper is one of the first steps in the new research area of emotional information retrieval (EmIR). To the authors' knowledge, it is the first research project into the collective indexing of emotions in videos.
Details
Keywords
Elena Villaespesa and Seth Crider
Based on the highlights of The Metropolitan Museum of Art's collection, the purpose of this paper is to examine the similarities and differences between the subject keywords tags…
Abstract
Purpose
Based on the highlights of The Metropolitan Museum of Art's collection, the purpose of this paper is to examine the similarities and differences between the subject keywords tags assigned by the museum and those produced by three computer vision systems.
Design/methodology/approach
This paper uses computer vision tools to generate the data and the Getty Research Institute's Art and Architecture Thesaurus (AAT) to compare the subject keyword tags.
Findings
This paper finds that there are clear opportunities to use computer vision technologies to automatically generate tags that expand the terms used by the museum. This brings a new perspective to the collection that is different from the traditional art historical one. However, the study also surfaces challenges about the accuracy and lack of context within the computer vision results.
Practical implications
This finding has important implications on how these machine-generated tags complement the current taxonomies and vocabularies inputted in the collection database. In consequence, the museum needs to consider the selection process for choosing which computer vision system to apply to their collection. Furthermore, they also need to think critically about the kind of tags they wish to use, such as colors, materials or objects.
Originality/value
The study results add to the rapidly evolving field of computer vision within the art information context and provide recommendations of aspects to consider before selecting and implementing these technologies.