Workshops

TVX19 workshops provide an informal setting where participants have the opportunity to discuss familiar and novel topics in an atmosphere that fosters active engagement and exchange of ideas. Workshops will be held on the first day of the conference (June 5th 2019) in the Lowry and are a half day in length. This year we have four stimulating workshops in the programme, which cover a diversity of TVX topics. You can read a summary of each workshop below, and visit their organisers’ webpages to find out even more details.

Workshops are free of charge for all registered attendees of the TVX 2019 conference. All workshops have an open attendance policy. This means that even if you haven’t had a position paper or other form of submission accepted you will still be able to attend (depending on capacity, see below). So that we can best allocate room for workshops and give the organisers a clear idea of attendee numbers for their planning, please indicate whether you intend to participate in any of the workshops when registering for the conference. In the very unlikely case where more participants sign up to a workshop than there are spaces in the allocated room, we will give priority to those who have had submissions accepted at that workshop. If we are not able to accommodate you in your first choice workshop, we will let you know in advance of the conference and endeavour to give you a choice of alternative.

Organisers

Rik Bauwens – VRT innovation, Brussels, Belgium
Hendrik Lievens –  Expertise centre for Digital Media, Hasselt University, Hasselt, Belgium
Dr Maarten Wijnants – Expertise centre for Digital Media, Hasselt University, Hasselt, Belgium
Mr Chris Pike – BBC, Manchester, United Kingdom
Iris Jennes – imec SMIT, Brussels, Belgium
Werner Bailer – JOANNEUM RESEARCH, Graz, Austria

Description

Nowadays radio shows are much more than a linear broadcast feed — they’re all about user engagement. At the same time, many users are no longer only connected to a radio station brand through the linear broadcast channel, but also through digital platforms, and interaction through social media is becoming ever more important. Digital services enable broadcasters and users to customise the radio experience. Radio is today a medium embedded in a context of social media, interaction and personalisation. This workshop thus aims to bring together researchers and practitioners working on tools, services and applications enabling interactive radio experiences.

Organisers

Dr Robyn Taylor – Newcastle University, Newcastle upon Tyne , United Kingdom
Dr Julie Williamson – School of Computing Science, University of Glasgow, Glasgow, United Kingdom
Dr Jocelyn Spence – Mixed Reality Lab, University of Nottingham, Nottingham, Nottinghamshire, United Kingdom
Matthew Wood – Open Lab, Newcastle University, Newcastle upon Tyne, United Kingdom
Jonathan Hook – Digital Creativity Labs, Dept. of Theatre, Film and Television, University of York, York, United Kingdom
Ko-Le Chen – Open Lab, Newcastle University, Newcastle Upon Tyne, United Kingdom
Peter Wright – Open Lab, Newcastle University, Newcastle upon Tyne, United Kingdom

Description

Performance can be combined with interactive, online and immersive video as a way of conducting research in the wild. This comes with opportunities to the HCI researcher, with the potential to create surprisingly intimate, aesthetic content which can reconfigure the research context. There are, however, challenges to this mode of working, particularly in how this work may be evaluated, practical challenges and ethical quandaries. ‘Research in the Wild via Performance’ will explore tactics of combining live performance with interactive video as a tool for the HCI researcher, exploring challenges and quandaries through crafting and deploying live performances.

Organisers

Jeremy Foss – Birmingham City University, UK
Lyndon Nixon – MODUL Technology GmbH, Austria
Ben Shirley – University of Salford, UK
Basil Philipp – Genistat AG, Switzerland
Benedita Malheiro – Porto Polytechnic. Portugal
Vasileios Mezaris – CERTH-ITI, Greece
Sara Kepplinger – TBC
Alexandre Ulisses – MOG

Description

Synopsis: 

The aim of the DataTV 2019 workshop will be to address the increasing importance and relevance of richly granular and semantically expressive data about TV content in the media value chain. Such data needs extraction, modelling and management before it can be meaningfully reused in new, innovative services for TV content such as:
– Content Summarization (e.g. to provide highlights of a program according to a specific user, theme or channel)
– Recommendation and Scheduling across Publication Channels (Broadcast, Streaming, Social Networks)
– In Stream Personalisation of Content (both spatial and temporal modification of text, audio, video)

The workshop will solicit latest research and development in all areas of data creation and management for TV content and aims to support the growth of a community of researchers and practicioners interested in data value for personalised TV.

Topics for the workshop include:

– Extraction and modelling of data about TV content (program description, decomposition, semantic representation, categorization, emotion/mood, ratings, public discussion about it etc.)
– Curation of this data throughout the media value chain, e.g. use of the MPEG Value Chain Ontology
– Matching of TV content data with user profiles for recommendation or personalisation (respecting data privacy and security)
– Tools and services for the composition of personalised TV, including object based media, making use of TV content data (e.g. creation of video summaries or alternative content versions, recommendation of auxiliary assets for delivery alongside TV content, dynamic insertion or modification of media in streams)

USING DESIGN FICTION TO EXPLORE THE ETHICS OF VR ‘IN THE WILD’

Organisers

David Philip Green – Department of Film and Journalism, University of the West of England, Bristol, United Kingdom
Guy Peter Schofield – Department of Theatre Film and Television, University of York, York, North Yorkshire, United Kingdom
James Hodge – Open Lab, Newcastle University, Newcastle upon Tyne, United Kingdom
Mandy Rose – University of the West of England, Bristol, United Kingdom
Kirsten Cater – Centre for Innovation, University of Bristol, Bristol, United Kingdom
Chris Bevan – University of Bristol, Bristol, United Kingdom
Stuart Iain Gray – Centre for Innovation, University of Bristol, Bristol, United Kingdom

Description

Abstract:

In this half-day workshop, we will explore the ethics of Virtual Reality (VR) through conversations framed around design fictions. Affordable head-mounted displays (HMDs) and accessible VR content are now within reach of large audiences, yet many of VR’s most urgent challenges remain underexplored. In addition to the many known unknowns (e.g. how do we manage sensory conflicts and spatial limitations in VR?), there are many more unknown unknowns (e.g. what kinds of psychological, social and cultural impact will VR provoke?). By bringing together diverse scenarios and design fictions created specifically to explore VR ethics, we will facilitate a rich discussion that will inform the development of three high-fidelity design fictions that will be used to explore the ethics of VR in future workshops, including one in Bristol (Nov 2019: part of the Virtual Realities Immersive Documentary Encounters project).

Synopsis:

Virtual Reality is characterised as an ‘immersive’ medium [23]. Users of head-mounted displays such as Oculus Go and HTC Vive may experience an illusion of ‘presence’ (a feeling of ‘being there’), a sense of ‘embodiment’ (identification with a virtual body) and/or interact with virtual environments via headtracking, point-and-click interactions, voice commands, and more. The technical literature exploring VR’s potential is somewhat ocularcentric, focusing on two dominant visual techniques: computer generated imagery (e.g. 3D environments) and 360° videography (a.k.a. “cinematic VR”). Yet VR also affords virtual soundscapes via ambisonic (3D) audio and multisensory experiences – haptics (touch), gustation (taste) and olfaction (smell). New challenges (and new versions of familiar challenges, such as accessibility) are manifold. The social affordances of VR are being tested through simple multiplayer games (e.g. Rec Room), chatrooms (e.g. VRChat) and installations (e.g. Carne y Arena). Yet relatively little research has been carried out ‘in the wild’; that is to say: most of what we know about the future of VR comes from marketing materials and lab-based studies. In this workshop, we will ask, what ethical issues should we expect to encounter as VR heads out of the lab and ‘into the wild’?