Captions

Abstract. This paper describes accessible collaborative learning using mobile devices with mobile enhancements to Synote, the freely available, award winning, open source, web based application that makes web hosted recordings easier to access, search, manage, and exploit for all learners, teachers and other users. Notes taken live during lectures using Twitter on any mobile device can be automatically uploaded into Synote and synchronised with a recording of the lecture. Syntalk, a mobile speech recognition application enables synchronized live verbal contributions from the class to also be captured on Synote through captions. Synote Mobile has been developed as an accessible cross device and cross browser HTML5 version of Synote. Synote Discussion supports commenting on Synote’s Synmark notes stored as discussions in its own database and published as Linked data so they are available for Synote or other systems to use.

Einleitung: Thema, Fragestellung, Gliederung der Arbeit
Die Untersuchung der Kombinationen von Schrift und Bild eröffnet ein vielschichtiges Themengebiet und ein sehr weitreichendes Forschungsfeld. Trotz der langen Tradition stellt die gemeinsame Erscheinung und wechselseitige Durchdringung von Literatur und bildender Kunst noch heute ein aktuelles Forschungsfeld für Sprachphilosophie, -wissenschaft und Kunst dar.  Eine weitgehende Übereinstimmung ist in der Literatur wahrzunehmen: „Die Literatur gelangt dabei in der visuellen Poesie zum sprachlosen Bild, in Wort-Bild-Texten bezieht sie Fotos und Grafik mit ein, in multi-medialen Aktionen wird sie zum Bestandteil eines optischen und akustischen Environments“[1].  Gegenstand der vorliegenden Arbeit ist vornehmlich die Betrachtung des Phänomens der Ikonisierung von Sprache[2]bzw. der Eingliederung von der bildenden Kunst in schriftliche Werke und insbesondere der Verbildlichung literarisch-typographischer Materialien bei den Parole in libertà [= befreiten Worten/ Wörtern – befreiter Sprache[3] des italienischen Futurismus.

Die Komplexität der futuristischen Bildsprache[4] stellt heutige Leser vor eine doppelte Herausforderung: Einerseits setzen die futuristischen Bildtexte[5] ein geeignetes kulturgeschichtliches Kontextwissen voraus, das die in den einzelnen Werken jeweils vorausgesetzten Wissens- und Verstehenshorizonte eröffnet, andererseits stellen sie eine Verbindung zu späteren bild- und zeichentheoretischen Debatten bis in die Gegenwart her: Dabei sind sie unter medientheoretischen und semiotischen Gesichtspunkten als hybride Gattung zu erschließen, als Medien-Kunst, und zwar als ‚Medien’ für die Vermittlung einer Mitteilung und als ‚Kunst’ auf der (selbstreferentiellen) ästhetisch-semiotischen Ebene.  Hier setze ich mir zum Ziel, herauszuarbeiten, inwieweit visuelle (graphische) und verbale Elemente in der futuristischen Bildsprache ineinander greifen, und inwiefern diese ‚Vernetzung’ von Schrift und Bild als „Antwort der Literatur“ auf das veränderte Wahrnehmungsvermögen des Menschen in der Zeit der Technik und der revolutionierenden wissenschaftlichen Erkenntnisse der Physik und Mathematik – hundert Jahre vor dem "Global Denken“ – sowie auf die zunehmende Komplexität der zwischenmenschlichen Kommunikation angesehen werden darf. Die aus der futuristischen Sprachbefreiung (Manfred Kohrt) entstandene Bildsprache soll dabei auf seine Relevanz für unser Verständnis des Menschen in der „schnellen Zeit der Maschinen“ und seiner Weise, sich literarisch auszudrücken, überprüft werden.

Was die Struktur und Vorgehensweise betrifft,  ist die vorliegende Arbeit in zwei Hauptteile gegliedert. Der erste, aus vier Kapitel bestehende Hauptteil, behandelt die theoretischen Grundlagenfür die Entstehung der italienischen futuristischen Bewegung und insbesondere ihrer künstlerischen Revolution der “Befreiung des Wortes” und der daraus entstandenen Literatur des sogenannten Paroliberismus, der nach Faust „den wichtigsten Beitrag“ darstellt, „den der Futurismus in die Entwicklung der modernen Literatur und insbesondere der Visuellen Poesie einbrachte“.[6] Diesem einführenden Kapitel mit der Präsentation des Vorhabens folgt ein knapper kulturhistorischer Abriss, der das literarische Phänomen in seinen kultur-historischen Kontext setzt. Das 3. Kapitel bietet eine Einführung in die Geschichte und Entwicklung des Konzeptes von Bildsprache an, wobei historische Vorläufer des Paroliberismus sowiedurch ihn – mit Bezug auf die Kombination von Schrift und Bild – beeinflusste spätere literarische und intermediale Phänomene überblickend dargestellt werden. Daran anschließend werden im 4. Kapitel anhand von Manifesten und theoretischen Schriften die programmatischen Elemente der futuristischen Bewegung erläutert bzw. die Kernthesen von Filippo Tommaso Marinetti, die besondere Bedeutung für die Bearbeitung und Gestaltung einer literarischen Sprache haben, kritisch dargestellt.

Um das theoretische Wissen mit der „Praxis“ (= den konkreten Werken) zu vergleichen und die Merkmale der futuristischen Bildsprache exemplarisch zu veranschaulichen, sollen im zweiten Teil der Arbeit einige um das „künstlerisch hektische“ Jahr 1914 entstandene Arbeiten italienischer Futuristen in Betracht gezogen und deren ästhetische Faktur angesichts der besprochenen Theorien und der bestehenden Schrift-Bild-Relationen verdeutlicht werden. Ziel ist hier zu untersuchen, inwieweit einzelne Bildtexte, deren Sprache auf unterschiedlicher Weise entziffert werden muss, das ästhetische Ideal der futuristischen Bewegung widerspiegeln. Die Auseinandersetzung mit der Besonderheit der jeweiligen Texte soll ermöglichen, die Singularität der in direktem Zusammenhang mit dem Schaffensprozess stehenden Varianten, den Spielraum der jeweiligen Techniken und künstlerischen Intentionen und die Radikalität der Problemstellungen bei den Literaten des italienischen Futurismus nachzuvollziehen. Die Auswahl wurde in Anbetracht der Vielzahl künstlerischer Positionen, Intentionen, Arbeitsmethoden, Konzepte bzw. formaler und inhaltlicher Anliegen exemplarisch getroffen. Das 6. abschließende Kapitel fasst thesenartig eine Reihe von weitergehenden Überlegungen zusammen.

banyak yang hobi menulis Caption atau kata kata bijak terkadang di ammbil dari kutipan orang orang terenal lalu mempostingnya di WA,FB,IG yang teradang tanpa mencantumkan nama penulis aslinya, jika anda pernah melakukan hal yang sama, sebaiknya sekarang tulis kalimat sendiri yang lebih mantul supaya akun anda semakin disayang folower.

Captions can be defined as the text version of speech and other sound in traditional audio visual media such as films, television, DVDs and online videos. Captions are usually provided to enhance audio content and are typically recognised as benefitting two main groups – people with hearing or learning difficulties and those who come from a non-English speaking background (NESB).

Universities worldwide are also beginning to see benefits in captioning in different contexts as they increasingly adopt online modes of delivery, particularly online recorded lectures. The provision of captions on recorded lectures is a relatively new technology at Curtin University (Curtin), only being introduced in 2012. However, in a worldwide context, universities in the US have been encouraged to caption their online lecture content since 2010 following the introduction of the Communications and Video Accessibility Act (CVAA) or risk legal action under the Americans with Disabilities Act 1990 (ADA). While current legislation in Australia is not so demanding, it is perhaps only a matter of time before we follow the more inclusive American model.

There is therefore a need to explore the opportunities captions could represent in the context of online recorded lectures, and how this could benefit all students who are expected to engage with lecture content, not just those within the above two groups. These might include students with disabilities, older students, those with diverse learning styles, and students who experience difficulty accessing online videos for reasons related to issues with their environment (noise) or with technology (connectivity or equipment). Additionally, captioned video has the potential to significantly improve digital archival of files by indexing the full text, thereby facilitating searching and retrieving lecture content for all students.

Recorded lecture technologies currently in use within Australia are already designed to support captions. For example, the lecture recording platform in use at Curtin – Echo360 – has inbuilt software allowing for the addition of broadcast quality captions as well as full transcripts. The lecture recordings can be supplemented by several tools which enable captions to be easily integrated and accessed. There is also flexibility in the method of presentation – depending on viewer preference, captions can be viewed either in a separate window or overlayed on the video screen; toggling between these modes is as simple as clicking a button. Other features of Echo360 designed to assist learners with revision and note taking include downloadable transcripts, bookmarking and searchable content – students are able to search for keywords in both the captions and the lecture slides. It is important to note that none of these elements require additional development from educators as they are already integrated within Echo360’s lecture recording technology. The mainstream adoption of captions and transcripts would therefore be a relatively simple shift.

This report details findings of Curtin’s Teaching Excellence and Development Fund (TEDF) funded project Alternative Approaches to Engaging with Video Content. The project sought to determine the usefulness of captioned recorded lectures as a mainstream learning tool for a range of stakeholders. In addition to reviewing relevant university, national and international literature and policies, the project surveyed 56 students enrolled in three key units in the Internet Communications degree program in which captions had been mainstreamed for the purpose of the project.

The research attempted to answer the following questions:

Do students as a diverse population benefit from personalised learning approaches, and accommodations designed to assist students with disabilities? Do these approaches benefit the entire student cohort, and how do all students utilise captioned lectures as part of a personalised approach to learning?

This report has three parts. Part 1 reports on a comprehensive literature review of the use of captioning in higher education conducted as part of this study. Material was sourced through library and web searches using combinations of the search terms caption, transcript, lecture and education. Reference lists from relevant publications were also reviewed for additional sources. The literature review identified two key areas of prior research – the benefits of captioned online lectures for ‘at risk’ students (such as students with disabilities, including hearing, cognitive and learning disabilities, NESB students and mature aged students) and the benefits to the entire student cohort (particularly with regards to acknowledging diverse learning styles and enhancing access to technology).

Part 2 presents an analysis of policies regarding online and recorded lectures and the provision of captioning services and covers Federal legislation, internal Curtin policies regarding disability access, and policies offered by external partners. In Australia, while lectures are not subject to the entertainment-related captioning requirements of the Broadcasting Services Act 1992 (BSA), universities are bound by the accessibility requirements of the Disability Discrimination Act (DDA) 1992 and the Disability Standards for Education 2005. However, following changing international cultural sentiment around the mandated provision of captions for online on demand videos services in the entertainment arena (see Ellis, Kent, Locke and Merchant, 2016 regarding Netflix’s appeal against the push to caption its catalogue), activists have also initiated disability discrimination complaints against American institutions Harvard and the Massachusetts Institute of Technology (MIT) who do not currently caption their video lectures (Lewin, 2015). Universities are therefore becoming the next target in the ongoing debate as to whether the internet – and specifically online lectures – constitutes a place of public accommodation. Curtin acknowledges this by offering captions on all of their Massive Open Online Course (MOOCs) in line with US legislation, yet to date they have not followed suit with regards to their more ‘traditional’ online lectures.

Part 3 of the report is concerned with the findings of and offers discussion on the results of the survey and interview stages of this research with the 56 students who participated in the project. These students were enrolled in three units which trialled mainstreaming captions in 2015 and 2016. Insights were gained into both how students actually used the captions and how they anticipated using them in the future should Curtin embrace them as a mainstream approach. The survey data were triangulated with five follow-up interviews with students, teaching staff and support staff such as disability support officers. In summarising the findings, in addition to the ‘expected’ benefits to disabled and NESB students, there were three further benefits noted:

• Lecture captions are also beneficial to students without disabilities, assisting them to absorb and review educational materials.

• A very high level of engagement with the Echo360 lecture system was reported – over 90% of students accessed online lectures and the majority (over 70%) viewed them once or more per week.

• Captions assist all students make use of the recorded materials, for example the additional features of Echo360 such as the search function and downloadable transcripts.

If made available, students will utilise captions as part of a personalised approach to learning. Captions assist students undertake revision of course content, either via keyword searches or complete transcripts. Students who utilise captions as part of revision frequently re-engage with course content. However, the approach taken to the provision of captions in the Australian higher education sector continues to be located as a disability issue whereby specific students must request their availability as part of an access plan via dedicated disability offices. We therefore recommend the Australian university sector expand the use of captions from a purely assistive technology for people with disabilities to a mainstream instructional technology.

Tutorial kali ini akan membahas mengenai daftar table dan daftar gambar secara otomatis, sama seperti daftar isi yang sebelumnya juga otomatis, tetapi saat ini tidak menggunakan table of content, tetapi mengguankan featured captions, featured ini juga ada di dalam enu reference.

Seminar accepted for the 2016 European Society for Study of English Conference. Galway (Ireland), Monday 22nd – Friday 26th August 2016. General submission policies may be seen at http://www.esse2016.org/ .  To submit a proposal to the Seminar Organisers please read attached CFP of Seminar.

Deadline of submission of paper proposals: February 28, 2016. Presenters will be notified that their papers have been accepted (or not) by March 31, 2016. 

Please note: Conference website being currently updated with list of panels and seminars accepted. Further details for both Conference and Seminar to follow soon. Meanwhile, RSVP if interested to both fsaggini@unitus.it and esoccio@unich.it.

Captions in TV programs are important clues for video content analysis, indexing, and retrieval. However, it is difficult to extract due to complex background, unknown caption color, etc. Nevertheless, caption detection and localization on its own is a hard task, let alone real time realization. In this paper, we propose a novel algorithm to extract caption from TV channel videos. Our proposed algorithm is composed of three steps: canny edge detection and binarization, simple stroke width transform, and histogram projection analysis. The experimental results show that the proposed method mentioned above is effective in real time TV caption detection and localization.

একটি ছবি সহস্র শব্দের সমপর্যায়ের গুরত্ব বহন করে। শব্দের সীমাবদ্ধতাকে ছাড়িয়ে যাওয়ার অভিপ্রায়ে ভিজ্যুয়াল আর্টের শুরুর সময় থেকেই মানুষ ছবির আশ্রয় নিয়েছে। আদিম গুহাচিত্রের যেসকল ছাঁপচিত্র আমরা দেখতে পাই, ভাষার অনুপস্থিতি থাকার পরও তখনকার অচেনা মানুষদের বার্তা আমাদের কাছে পৌঁছে দিয়েছে। তারপর ধাপে ধাপে পেইন্টিং ফরম্যাটের বৈপ্লবিক সময় পার করে ফটোগ্রাফের ফরম্যাট জায়গা নিয়েছে ডকুমেন্টেশনের। সাদাকালো ফিল্মের পর এখনকার ডিজিটাল ফটোগ্রাফী বিস্তার লাভ করেছে ব্যপকভাবে। বিষয়ভিত্তিক ফটোগ্রাফির চর্চার সুবাদে সংবাদপত্র কিংবা সংবাদমাধ্যমের জন্য পৃথক ফটোগ্রাফি-শাখা প্রতিষ্ঠিত হয়েছে। ফটোজার্ণালিজম বা ফটোসাংবাদিকতা।
ফটোজার্নালিজমের ক্ষেত্রে শুধু ছবিকেই যথেষ্ট মনে করা হয় না। প্রয়োজন হয় ছবির সংক্ষিপ্ত এবং কার্যকর একটি পরিচিতির। এই পরিচিতিকেই ক্যাপশন নামে ডাকা হয়। যদিও ক্যাপশন সব শাখার সব ধরণের ছবিরই হতে পারে। কিন্তু, ফটোসাংবাতিকতার ক্ষেত্রে অনেকাংশেই ছবির অবিচ্ছেদ্য অংশ বলা হয় ক্যাপশনকে।
একটি ভালো ক্যাপশন ছবির গুরুত্ব বাড়িয়ে দিতে পারে কয়েকগুণ। একইভাবে দুর্বল ক্যাপশন ম্রিয়মাণ করে ফেলতে পারে ছবির শক্তিশালী ভাষাকে। সংবাদের পাঠক জানতে চায় প্রকাশিত ছবির নির্ধারিত মেসেজ টি। যে মেসেজটি লেখক/সাংবাদিক দিতে চেয়েছেন। এমনকি সাংবাদিকের আবেগীয় অবস্থাও পাঠকের আগ্রহের বিষয় হয়ে থাকে।
খুব কম ছবিই আছে, যেগুলো ক্যাপশন ছাড়া সত্যিকারের কাঙিক্ষত অর্থ দিতে সক্ষম। যেহেতু সব ধরণের ছবিই একধরণের আইকনিক কিংবা চিহ্নভিত্তিক বার্তা বহন করে, সেহেতু সুনির্ধারিত মেসেজ দেয়ার প্রয়োজনে ছবিকে ভালো ক্যাপশনের সাহায্য নিতেই হয়।

This paper shows the implementation of image caption generation using deep learning algorithm. The project is one of the primary example of computer vision. The main aim of computer vision is scene undertanding. The algorithms used in this model are CNN and LSTM. This model is an extension of the model based on CNN-RNN Model which suffers from the drawback of vanishing gradient. Xception model is used for image feature extraction and is a CNN model that is trained using ImageNet dataset. Extracted features from the Xception model is fed as the input to the LSTM model which in turn generates the caption for the image. The dataset used for training and testing is Flickr_8k dataset.

Call for Papers for the Conference “Visual    design:    the    periodical    page    as    a    designed    surface” to be held at Philipps-University Marburg on 23-25 November 2017. The conference is concerned with the visual design (layout, typography, illustration) of the periodical. The call is open till January 15th.

Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences is a comprehensive guide to the theory and practice of captioning and subtitling, a discipline that has evolved quickly in recent years. This guide is of a practical nature and contains examples and exercises at the end of each chapter. Some of the tasks stimulate reflection on the practice and reception, while others focus on particular captioning and SDH areas, such as paralinguistic features, music and sound effects. The requirements of d/Deaf and hard of hearing audiences are analysed in detail and are accompanied by linguistic and technical considerations. These considerations, though shared with generic subtitling parameters, are discussed specifically with d/Deaf and hard of hearing audiences in mind. The reader will become familiar with the characteristics of d/Deaf and hard of hearing audiences, and the diversity – including cultural and linguistic differences – within this group of people. Based on first-ha...