The huge number of images shared on the Web makes effective cataloguing methods for efficient storage and retrieval procedures specifically tailored on the end-user needs a very demanding and crucial issue. In this paper, we investigate the applicability of Automatic Image Annotation (AIA) for image tagging with a focus on the needs of database expansion for a news broadcasting company. First, we determine the feasibility of using AIA in such a context with the aim of minimizing an extensive retraining whenever a new tag needs to be incorporated in the tag set population. Then, an image annotation tool integrating a Convolutional Neural Network model (AlexNet) for feature extraction and a K-Nearest-Neighbours classifier for tag assignment to images is introduced and tested. The obtained performances are very promising addressing the proposed approach as valuable to tackle the problem of image tagging in the framework of a broadcasting company, whilst not yet optimal for integration in the business process.
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This paper presents a method for generating player-driven narratives from visual inputs by exploring the visual analysis capabilities of multimodal large language models. By employing Bartle’s taxonomy of player types—Achievers, Explorers, Socializers, and Killers—our method creates stories that are tailored to different player characteristics. We conducted a fourfold experiment using a set of images extracted from a well-known game, generating distinct narratives for each player type that are aligned with the visual elements of the input images and specific player motivations. By adjusting narrative elements to emphasize achievement for Achievers, exploration for Explorers, social connections for Socializers, and competition for Killers, our system produced stories that adhere to established narratology principles while resonating with the characteristics of each player type. This approach can serve as a helping tool for game designers, offering new insights into how players might engage with game worlds through personalized image-driven narratives.
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Some Native Peoples didn 't want to be photographed because they believed that with every copy of their image, a part of their souls would disappear.By making a copy of an aspect of my existence - a photo, a film, a sound recording, or even a text - my existence goes beyond the immediate here and now. The copy will lead a life of its own. In addition there are young people who process a photo of themselves by smart algorithms in an image-processing app and take this to the plastic surgeon with a request to be operated on this image. Thus we are either lived by producing soulless images, or we strive to become an image of an image. All those soulless images ruin your here and now. Only now I understand that those Native Peoples were right!
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Weblogs en wiki's zijn lichtgewicht applicaties en kunnen los van elkaar ingezet worden, maar ze gaan ook heel goed samen. Er is sprake van een duidelijke samenhang tussen de functionaliteiten van weblogs en wiki's. Weblogs zijn namelijk uitermate geschikt voor het communiceren van actuele dynamische content (nieuws), een wiki kan daarbij fungeren als aanvullende documentatie- of naslagruimte (achtergronden). En dan is er, niet te vergeten, nog het rss-protocol. Dit werkt als bindmiddel voor de content van beide systemen, het is de centrale schakel tussen zenders en ontvangers van informatie. Wiki's worden door de enorme hype rondom weblogs enigszins overschaduwd, maar zeker in bedrijfsomgevingen zijn wiki's uitermate geschikt voor collectieve taken.
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The days where memes were plain image macros (an image that consists out of an imagecombined with text) are long behind us. New meme formats, some more obscure than others,are popping up like weeds. Memetic logics are also moving beyond the image into ‘the realworld’ (whatever that may be), but that’s a story for another time.In January 2022, when I was a participant in the Digital Methods Winter School of theUniversity of Amsterdam, my teammates and I came to an interesting conclusion. Inspired bythe forthcoming paper by Richard Rogers and Giulia Giorgi, called ‘What is a Meme TechnicallySpeaking’, we analyzed various meme collections taken from different software environments.1After a close reading of the dominant types of images, their ontology and epistemology, one ofthe most interesting findings, at least for me, was that our meme datasets were full of tweetscreenshots – which felt rather counterintuitive at first. However, once I started thinking aboutit, I realized that I have been noticing meme admins posting tweet screenshots on their pagesfor months now. One of my meme muses even told me that she did not know what her memepage has become, seeing all the tweets and other content she has been sharing lately. It hadme wondering. When leaving the technical and data driven context aside for a minute, has thetweet in its screenshot form become a viral image? Has the tweet become an actualmeme?
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In 1960 Kevin Lynch analysed the ‘city-image’ in The Image of the City; seven years later American artist Robert Smithson surveyed the suburb of Passaic in ‘A Tour of the Monuments of Passaic, New Jersey’. Both approaches use narrativity as an instrument to connect urban space with the lived experience of its users. Where Kevin Lynch analyzes the visual perception and mental representation (‘imageability’) of the postwar American metropolis, Robert Smithson explores the temporality of its peripheral terrain vague. Where Kevin Lynch frames his inquiry within then-current conventions of perception and cognition, Robert Smithson rejects these conventions precisely because they do no justice to his experience of the suburb and offer him no method to analyze or describe it. In his analysis, there is no coherent map of the territory, no mental representation to consult. How does Smithson’s practice relate to the paradigm of ‘imageability’? What is being narrated, and how does narrativity operate? By juxtaposing the two approaches this text reflects on some ideas and issues that surround a narrative analysis of urban landscape.
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Today, Intellectual Capital plays a principal role in the delivery of corporate performance. This importance is reflected in the fact that companies, without the force of any regulations, start to produce intellectual capital statements to communicate their performance; accounting guidelines are being developed and standards are being questioned and reviewed; software companies such as SAP, Hyperion, Oracle, or Peoplesoft are developing applications to address this, and even governments are beginning to measure the intellectual capital of cities, regions, and countries. Accenture writes that today's economy depends on the ability of companies to create, capture, and leverage intellectual capital faster than the competition. Cap Gemini Ernst & Young believes that intangibles are the key drivers for competitive advantage. KPMG states that most general business risks derive from intangibles and organizations therefore need to manage their intangibles very carefully. PricewaterhouseCoopers writes that in a globalized world, the intellectual capital in any organization becomes essential and its correct distribution at all organizational levels requires the best strategy integrated solutions, processes and technology. Even though the leading management consulting firms recognize the importance of intellectual capital – they seem to suffer from the same predicament as the field as a whole. Intellectual capital is defined differently and the concept is often fuzzy. In this special issue of the leading journal in the field we would like to bring together the definitions, approaches, and tools offered by the leading management consulting firms. It will be a unique opportunity to disseminate your understanding of this critical area of management and allow you to illustrate your approaches and tools.
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De Digitale Universiteit (DU) performed a quickscan to determine the usability of the IMS Question and Test Interoperability (QTI) specification as a format to store questions and tests developed for and by the consortium. The original report is available in Dutch from the website of De Digitale Universiteit. This is an unofficial translation in English of that report.
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In media audience research we tend to assume that media are engaged with when they are used, however ‘light’ such engagement might be. Once ‘passive media use’ was banned as a reference to media use, being a media audience member became synonymous with being a meaning producer. In audience research however I find that media are not always the object of meaning making in daily life and that media texts can be hardly meaningful. Thinking about media and engagement, there is a threefold challenge in relation to audience research. The coming into being of platform media and hence of new forms of media production on a micro level that come out of and are woven into practices of media use, suggests that we need to redraft the repertoire of terms used in audience research (and maybe start calling it something else). Material and immaterial media production, the unpaid labour on the part of otherwise audience members should for instance be taken into account. Then, secondly, there is the continuing challenge to further develop heuristically strong ways of linking media use and meaning making, and most of all to do justice, thirdly, to those moments and ways in which audiences truly engage with media texts without identifying them with those texts.
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