This paper describes the design and implementation of a generative model for the creation of soundscapes in real time. The model extends the work of the Acoustic Ecology community, and offers several extensions. In particular, the model is adaptive to individual user contexts and integrates audio techniques for creating immersive sonic environments. The authors outline tools and methods for the creation of annotated media databases that document daily experiences, and describe relevant applications that utilize this work. 2.

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.

Our civilization is currently undergoing major changes. Traditionally, human beings acquired knowledge through experiential interactions with the physical world. That knowledge allowed them to better adapt to their reality and evolve. Today our interactions with almost every element of our lives (health, weather, economic and social policy, communication) involve computation and mediated information. However, we still lack effective ways of connecting our computational approaches with our physical experience. To achieve knowledge of our new world and significantly improve our condition we need unified experiences of the physical and computational forces that are shaping our reality. Experiential media systems refer to new, complementary model of media computing. In the traditional multimedia computing model (e.g. the creation / consumption of a video), capture, analysis and media consumption are not co-located, synchronous or integrated. We are however witnessing a rapid decline in cost of sensing, storage [10], computing and display. Thus sensors (audio, video, pressure, tangible), computing, ambient visual and sound displays and other feedback devices (vibration, light, heat) can now be co-located in the same physical environment, creating a real-time feedback loop. This allows us to develop a rich contextual

Abstract. Using lifelogging tools, personal digital artifacts are collected continuously and passively throughout each day. The wealth of information such an archive contains on our life history provides novel opportunities for the creation of digital life narratives. However, the complexity, volume and multimodal nature of such collections create barriers to achieving this. Nine participants engaged in a card-sorting activity designed to explore practices of content reduction and presentation for narrative composition. We found the visual modalities to be most fluent in communicating experience with other modalities serving to support them and that the users employed the salient themes of the story to organise, arrange and facilitate filtering of the content.