We present a multimedia storytelling system that couples a tangible interface with a multiple viewpoint approach to interactive narratives. Over the centuries, stories have moved from the physical environment (around campfires and on the stage), to the printed page, then to movie, television and computer screens. Today, using wireless and tag sensing technologies, storytellers are able to bring digital stories back into our physical environment. The Tangible Viewpoints system explores how physical objects and augmented surfaces can be used as tangible embodiments of different character perspectives in an interactive tale. These graspable surrogates provide a direct mode of navigation to the story world, a means of bridging the gap between cyberspace and our physical environment as we engage with digital stories. The system supports stories told in a range of media, including audio, video, still image and text.

This paper introduces a model for producing common sense metadata during video capture and describes how this technique can have a positive impact on content capture, representation, and presentation. Metatada entered into the system at the moment of capture is used to generate suggestions designed to help the videographer decide what to shoot, how to compose a shot and how to index their video material to best support their communication requirements. An approach and first experiments using a common sense database and reasoning techniques to support a partnership between the camera and videographer during video capture are presented. 1.

This paper describes the design of an expressive tangible interface for cinema editing as a live performance. A short survey of live video practices is provided. The Live Cinema instrument is a cross between a musical instrument and a film editing tool, tailored for improvisational control as well as performance presence. Design specifications for the instrument evolved based on several types of observations including: our own performances in which we used a prototype based on available tools; an analysis of performative aspects of contemporary DJ equipment; and an evaluation of organizational aspects of several generations of film editing tools. Our instrument presents the performer with a large canvas where projected images can be grabbed and moved around with both hands simultaneously; the performer also has access to two video drums featuring haptic display to manipulate the shots and cut between streams. The paper ends with a discussion of issues related to the tensions between narrative structure and hands-on control, live and recorded arts and the scoring of improvised films.

This thesis presents three storytelling systems for interactive point� of�view narratives using tangible interface technology � The focus is the design and development of computational story models and interfaces that enable users to experience new forms of interaction with stories in the digital medium� Specifically � I propose that having multiple tightly related character viewpoints can be used as a means of structuring comprehensive and coherent interactive story experiences � Furthermore � I also claim that by using tangible interfaces that are tightly integrated into the narrative model and story content � users can have rich interactive story experiences in which the interaction/interface does not distract from their engagement in the story�

EN) Multimedia story, when invested with mobile sensing technology, is a powerful medium for enhancing the experience of a place. We introduce a mobile computational story application that mediates and enhances the experience of an audience wandering in an outdoor physical space. The system provides a contextualized, place-based narrative, via media screened on a handheld computer, to an audience who is exploring a remote landscape on foot. We fully prototyped for a 'sample' wild setting, an island off the west Irish coast, in order to understand the issues involved in constructing audience experience, system architecture, and rich content for this scenario. We discuss each of the components of such a system, and the relationship between place, experience, and system design. Our results emerged from this specific prototype setting and scenario. However, we apply them throughout this paper to a generalized discussion of the expressive possibilities and issues of creating a mobile, location-based experience that uses multimedia to tell the story of a culture and place. Keywords: mobile, context aware multimedia, distributed story, audience experience, physical navigation, augmenting place Zusammenfassung (DE) Multimedia-Stories sind ein leistungsfhiges Mittel, um ortsbezogene Erlebnisse zu verbessern, wenn sie mit Sensoren verknpft werden. Wir stellen eine mobile, computergesttzte Story-Anwendung vor, welche das Erlebnis von Nutzern bereichert, die sich im Freien bewegen. Dargestellt auf einem kleinen tragbaren Computer, stellt das System eine kontextualisierte, ortsverbundene Erzhlung Nutzern zur Verfgung, die eine abgeschiedene Landschaft zu Fu erkunden. Um die Konstruktion eines publikumswirksamen Erlebnisses, unsere Systemarchitektur und die Inhalte unseres Szenarios...

Figure 1: Three steps in the edit-by-recommendation functionality In the world of visual storytelling, narrative development relies on a particular temporal ordering of shots and sequences and scenes. Rarely is this ordering cast in stone. Rather, the particular ordering of a story reflects a myriad of interdependent decisions about the interplay of structure, narrative arc and character development. For storytellers, particularly those developing their narratives from large documentary archives, it would be helpful to have a visualization system partnered with them to present suggestions for the most compelling story path. We present Storied Navigation, a video editing system that helps authors compose a sequence of scenes that tell a story, by selecting from a corpus of annotated clips. The clips are annotated in unrestricted natural language. Authors can also type a story in unrestricted English, and the system finds possibilities for clips that best match high-level elements of the story. Beyond simple keyword matching, these elements can include the characters, emotions, themes, and story structure. Authors can also interactively replace existing scenes or predict the next scene to continue a story, based on these characteristics. Storied Navigation gives the author the feel of brainstorming about the story rather than simply editing the media.

Stories take hundreds of different forms and serve many functions. They can be as energetic as an entire life story or as simple as directions to a favorite beach. Technological developments challenge and change storytelling processes. The invention of writing changed the story from an orally recounted form, mediated by the storyteller, to a recorded version which was technologically reproducible. The fleeting experience of a storyteller's woven tale became an immutable object. In cinema stories are told with a sequence of juxtaposed still images moving at a speed fast enough to fool the eye into seeing a continuously changing image instead of one image after another. The invention of the computer with its capacity for storage and manipulation of information let authors design stories and present them to different viewing audiences in different ways. Mobile computing, like the technological developments that came before it, will demand its own storytelling processes and story forms.

M-Views is an experimental video story-making and sharing system designed for distribution to mobile hand-held video capable devices. Video stories are constructed using the M-Views authoring tool, which allows makers to preview how segments will be sequenced based on any possible navigation path of the viewer. Inspired by environmental artworks and multiple perspective films, narratives designed for the MViews system tend to incorporate the opportunity for the story to merge with the architectural surroundings and, in the future, with the activity of the participant. As we explore the mobile story form of the future, the following questions guide our inquiry: What story structures/gaming strategies most actively engage the audience as a participant in locationbased video drama? Given a few prototypes and a network, will a community of makers emerge who want to develop this genre of video art? What special tools does the mobile story-maker/artist need to create engaging location-based cinema? In this paper, we describe the MViews platform and our experience in two experimental story productions.

Video cameras are becoming cheap, small and ubiquitous. With advances in memory, cameras will increasingly be designed to be always ready, always recording. When cameras are always ready, how will videographers -- professional and/or amateur -- decide what to shoot, when to shoot and how to index their video material to best support their communication requirements? In this paper, we describe an approach and early experiments that use a commonsense database and reasoning techniques to support a partnership between the camera and videographer during video capture. We describe a new paradigm for producing commonsense video metadata and describe how it can have a positive impact on video content capture, representation, and presentation.

Cameras with story understanding can help videographers reflect on their process of content capture during documentary construction. This paper describes a set of tools that use common sense knowledge to support documentary videography.