Version
: 1
Date
: June 26th, 1997, last update Dec. 20th, 1998
Author : OEAW-WAD
Confidentiality : public
Status :
final
3.2.1 Introduction
3.2.2 Steps in the
Digitization Process
3.2.3 Digitization of Sound
3.2.3.1 Audio File Formats
3.2.3.2 Audio FAQ
3.2.4 Digitization
of Images and Text Conversion
3.2.4.1 Digital
Images from Original Documents -
Text Conversion and SGML-Encoding
3.2.4.2 Digitalisierung
gefährdeten Bibliotheks- oder Archivguts
3.2.4.3 Digitizing
Texts and Images (Abstracts:)
3.2.4.4 Digital Formats
for Content Reproductions
3.2.4.5 The
Library of Congress, National Digital Library Program
3.2.5 Data Compression Methods
3.2.5.1
MPEG: Moving Picture
Expert Group Information
3.2.5.2 JPEG image
compression FAQ
3.2.5.3 GSM: Speech
Compression
3.2.5.4 Digital
Consumer Formats
3.2.6 Storage Devices
3.2.6.1 Storage FAQ
3.2.6.2 Mass Storage
Development
3.2.7 Digital Information
Preservation
3.2.7.1 The Commission
on Preservation and Access and the Research Libraries Group
3.2.7.2 Digital to Microfilm Conversion
3.2.8 Contents, Metadata and
Projects
3.2.8.1 IFLA
- DIGITAL LIBRARIES: Metadata Resources
3.2.8.2 General
SGML Applications
3.2.8.3 McGIll
Faculty of Music | Music Library of the Future -
A Pilot Project
3.2.8.4 Stanford
Digital Library Project - Project List
3.2.8.5 Multi-media
Indexing and Retrieval (MIR)
3.2.8.6 Knowledge
Discovery Mine -- Data Mining and Knowledge
3.2.8.7 University
of Cincinnati Knowledge-Based Software Engineering Lab
3.2.8.8 Metadata Summit:
organized by the Research Libraries Group -
Mountain View, California July 1, 1997; Meeting Report
3.2.8.9 ERCIM: European Research Consortium for Informatics and
Mathematics
3.2.8.10 Terena: Multimedia Expertise and
Project Survey
3.2.9 Annex A:
Bibliographies and Related Information
3.2.9.1 Bibliography
3.2.9.2 A
Structured Glossary of Technical Terms
3.2.9.3 List of Libraries
Abbrevations encountered in the context of EU R&D
Most of the contributions documented in this deliverable apply to Digital Library technology in general. The recording, storage and handling of audio and multi-media data, so-called continuous media, request moreover special build library systems enabling the user to access large binary objects.
This document has been written by using Netscape Composer and is stored in html. It can be accessed via www and downloaded from here
Further information on HARMONICA is available from here
Comments and suggestions are highly appreciated.
Please reply to HARMONICA-List
or to
Acoustics Research Laboratory of the Austrian Academy of
Sciences,
Liebiggasse 5, A-1010 Vienna, Austria;
Tel. +43-1-4277-29500 . Page maintainer: Werner A. Deutsch.
http://lcweb2.loc.gov/ammem/award/docs/stepsdig.html
Note: The following contribution addresses general and organisational issues of the digitization process, applicable on all library media to be transferrred from analog to digital formats. The paper reflects the Library of Congress´ approach; most of the aspects under consideration equally apply for European libraries:
VII. Assist National Digital Library publishing partners when they create added-value products.
Digital audio data is characterized by the following parameters, which correspond to settings of the A/D converter when the data was recorded. Naturally, the same settings must be used to play the data.
- number of bits per sample, e.g. 8 or 16
- sampling rate (in samples per second), e.g. 8000 or
44100
- number of channels (1 for mono, 2 for stereo, etc.)
Number of bits per sample: The number of bits per sample (n) determines the (theoretical) maximum range of the digitized audio-waveform. It is calculated by 20*log 2n. This figure is usually expressed in dB (decibel):
bits/sample
resolution
dynamic range
8
256:1
48 dB
16
65536:1
96 dB
18
262144:1
108 dB
20
1048576:1
120 dB
22
4194304:1
132 dB
24
16777216:1
144 dB
Increasing the number of bits by 1 results in an increase
of the dynamic range of +6 dB (i.e. 20*log 2). Reducing
one bit results in a decrease of -6dB. Although high
performance 20 bit analog to digital and digital to
analog converters are used in recording studios for
mastering with digital audio workstations, consoles and
hard disk recorders, the CD-audio format requests
truncation to 16 bit wordlength.
Popular sampling rates: Some sampling rates are more popular than others, for various reasons. Some recording hardware is restricted to (approximations of) some of these rates, some playback hardware has direct support for some. The popularity of divisors of common rates can be explained by the simplicity of clock frequency dividing circuits :-).
Samples/s Description
5500 One fourth of the Mac sampling rate (rarely seen).
7333 One third of the Mac sampling rate (rarely seen).
8000
Exactly 8000 samples/sec is a telephony standard that
goes together with U-LAW (and also A-LAW) encoding.
Some systems use an slightly different rate; in
particular, the NeXT workstation uses 8012.8210513,
apparently the rate used by Telco CODECs.
10000 speech data (scientific research systems)
11000
Either 11025, a quarter of the CD sampling rate,
or half the Mac sampling rate (perhaps the most
popular rate on the Mac).
16000
Used by, e.g. the G.722 compression standard,
also used in
scientific applications and when
transmitted over PTT lines.
18900 CD-ROM/XA standard.
22000
Either 22050, half the CD sampling rate, or the Mac
rate; the latter is precisely 22254.545454545454 but
usually misquoted as 22000. (Historical note:
22254.5454... was the horizontal scan rate of the
original 128k Mac.)
32000
Standard Long Play DAT (Digital Audio Tape) sampling
rate.
Also used in digital radio, NICAM (Nearly Instantaneous
Compandable Audio Matrix [IBA/BREMA/BBC]) and other
TV work, at least in the UK; also Japanese HDTV.
Also used in scientific research.
37800 CD-ROM/XA standard for higher quality.
44056
This weird rate is used by professional audio
equipment to fit an integral number of samples in a
video frame.
44100
The CD sampling rate. (DAT players recording
digitally from CD also use this rate.)
48000
The DAT (Digital Audio Tape) sampling rate for
semiprofessional and domestic use.
96000 Professional record studio audio equipment sampling rate.
Note: no audible difference between the sampling rates 44100 Hz and 48000 Hz is expected. Both provide a signal range up to 22000 Hz. A sampling rate of 96000 Hz is in use by record companies for high quality master recordings. Some applications in the acoustic research area (e.g. bioacoustics) may request sampling rates higher than 48000 kHz.
Files samples on SoundBlaster hardware have sampling
rates that are divisors of 1000000. While professional
musicians (and audio engineers) disagree, most people do
not have a problem if recorded sound is played at a
slightly different rate, say, 1-2%. On the other hand, if
recorded data is being fed into a playback device in real
time (say, over a network) or stored for archival
purposes, even the smallest difference in sampling rate
has to be strictly avoided...
Audio file formats: Historically, almost every
type of machine used its own file format for audio data,
but some file formats are more generally applicable, and
in general it is possible to define conversions between
almost any pair of file formats -- sometimes losing
information, however.
File formats are a separate issue from device characteristics. There are two types of file formats: self-describing formats, where the device parameters and encoding are made explicit in some form of header, and "raw" formats, where the device parameters and encoding are fixed.
Self-describing file formats generally define a family of data encodings, where a header fields indicates the particular encoding variant used. Headerless formats define a single encoding and usually allows no variation in device parameters (except sometimes sampling rate, which can be a pain to figure out other than by listening to the sample).
The header of self-describing formats contains the parameters of the sampling device and sometimes other information (e.g. a human-readable description of the sound, or a copyright notice). Most headers begin with a simple "magic word". (Some formats do not simply define a header format, but may contain chunks of data intermingled with chunks of encoding info.) The data encoding defines how the actual samples are stored in the file, e.g. signed or unsigned, as bytes or short integers, in little-endian or big-endian byte order, etc. Strictly spoken, channel interleaving is also part of the encoding, although so far I have seen little variation in this area.
Some file formats apply some kind of compression to the data, e.g. Huffman encoding, or simple silence deletion. Here's an overview of popular file formats.
Self-describing file formats
extension, name origin variable parameters (fixed; comments)
.au or
.snd NeXT,
Sun rate, #channels, encoding, info
string
.aif(f),
AIFF Apple, SGI rate,
#channels, sample width, lots of info
.aif(f),
AIFC Apple, SGI same
(extension of AIFF with compression)
.iff,
IFF/8SVX
Amiga rate,
#channels, instrument info (8 bits)
.voc
Soundblaster rate (8 bits/1 ch; can use
silence
deletion)
.wav,
WAVE
Microsoft rate, #channels, sample
width, lots of info
.sf
IRCAM rate,
#channels, encoding, info
none,
HCOM
Mac
rate (8 bits/1 ch; uses Huffman
compression)
none,
MIME Internet
none, NIST
SPHERE DARPA speech community
.mod or
.nst Amiga
(this list has to be updated)
(Thanks to Bill Houle,
<Bill.Houle@SanDiegoCA.NCR.COM>)
SOX/DOS MAC
Sound
Format
file ext type Mac program to convert to 'snd'
----------------------
-------- ---- -------------------------------
Mac
snd
.snd sfil [n/a]
Amiga
IFF/8SVX
.iff
AmigaSndConverter, BST
Amiga
SoundTracker
.mod STrk ModVoicer
Audio
IFF
.aiff AIFF SoundExtractor,
Sample Editor,
UUTool, BST, M5Mac
DSP
Designer
DSPs SoundHack
IRCAM
.sf IRCM
SoundHack
MacMix
MSND SoundHack
RIFF
WAVE
.wav
SoundExtractor, BST, Balthazar
SoundBlaster
.voc
SoundExtractor, BST
SoundDesigner/AudioMedia
Sd2f SoundHack
Sound[Edit|Cap|Wave]
.hcom FSSD SoundExtractor,
SoundEdit,
Wavicle, BST
Sun uLaw/Next
.snd .au/.snd NxTS
SoundExtractor, SoundHack,
au<->snd, UUTool, BST
This information set on OII standards is maintained by Martin Bryan at The SGML Centre on behalf of CEC's DGXIII/E. The authors would very much welcome comments on its accuracy and completeness. Comments should be sent to:
G. Heine
European Commission DG XIII/E
L-2920 Luxembourg
Phone: +352 4301 33620
Fax: +352 4301 33190
E-mail:
Gerhard.Heine@lux.dg13.cec.be
The NIFF (Notation Interchange File Format)
was completed in the fall of 1995. This is a
standard digital format for the representation of
standard musical notation. The format is
very flexible, allowing for simple
implementations with minimal graphical
information,
or much more elaborate descriptions including all
aspects of page layout, associated midi
data, custom symbols, etc.
Published in Computer Music Journal 18:4
(Winter 94)
ZIPI's Music Parameter Description Language
("MPDL") is a new language for
describing music. It delivers musical parameters
(such as articulation, brightness, etc.) to notes
or groups of notes. It includes parameters that
are well understood and universally implemented,
such as loudness and pitch, and supports
parameters such as brightness and noise amount
that should be more common in the future. A large
number of parameters remain unspecified, thus
assuring expandability and flexibility.
The MPDL is just one of ZIPI's application layers; others will include MIDI, data dumps, and digital audio.
This article does not address any of the low level networking issues associated with ZIPI. We will assume that ZIPI's lower levels deliver arbitrary-sized data packets from any device on the network to any other device on the network; this document describes how to transmit music data via those packets. This application layer could run equally well on some other lower network layer such as Ethernet or FDDI.
ZIPI's Music Parameter Description Language
was designed by Keith A. McMillen, David Wessel,
and Matthew Wright.
Section II - The business
of audio
Q2.1 - How does one get started as a
professional audio engineer?
Q2.2 - Are audio schools worth the
money? Which schools are best?
Q2.3 - What are typical rates for various
professional audio services?
Section III - Audio
Interconnections
Q3.1 - How are professional transmission
lines and levels different from
consumer lines and levels? What is
-10 and +4? What's a balanced or
differential line?
Q3.2 - What is meant by "impedance
matching"? How is it
done? Why is it necessary?
Q3.3 - What is the difference between
dBv, dBu, dBV, dBm, dB SPL, and plain old
dB? Why not just use regular
voltage and power measurements?
Q3.4 - Which is it for XLRs? Pin 2
hot? Or pin 3 hot?
Q3.5 - What is phantom power? What
is T-power?
Q3.6 - How do I interconnect balanced and
unbalanced components?
Q3.7 - What are ground loops and how do I
avoid them?
Q3.8 - What is the "Pin 1
problem" and how do I avoid it?
Section IV - Analog tape recording
Q4.1 - What does it mean to
"align" a tape machine?
Q4.2 - What is bias? What is
overbias?
Q4.3 - What is the difference between
Dolby A, B, C, S, and SR? How do
each of these systems work?
Q4.4 - What is Dolby HX-Pro?
Q4.5 - How does DBX compare to Dolby?
Q4.6 - How much better are external
microphone preamplifiers than those found
in my portable recorder?
Q4.7 - What is an MRL? Where do I
get one?
Section V - Digital recording and
interconnection
Q5.1 - What is sampling? What is a
sampling rate?
Q5.2 - What is oversampling?
Q5.3 - What is the difference between a
"1 bit" and a
"multibit" converter? What is
MASH? What is Delta/Sigma?
Should I really care?
Q5.4 - On an analog recorder, I was
always taught to make sure the signal
averages around 0 VU. But on my new
DAT machine, 0 is all the way at the top
of the scale. What's going on here?
Q5.5 - Why doesn't MiniDisc or Digital
Compact Cassette sound as good as DAT or
CD? After all, they're both
digital.
Q5.6 - What is S/P-DIF? What is
AES/EBU?
Q5.7 - What is clock jitter?
Q5.8 - How long can I run AES/EBU or
S/P-DIF cables? What kind of cable
should I use?
Q5.9 - What is SCMS? How do I
defeat it?
Q5.10 - What is PCM-F1 format?
Q5.11 - How do digital recorders handle
selective synchronization?
Q5.12 - How can a 44.1 kHz sampling rate
be enough?
Q5.13 - Doesn't the 44.1 kHz sampling
rate make it impossible to reproduce
square waves?
Q5.14 - How can a 16-bit word-length be
enough?
Q5.15 - What's all this about 20- and
24-bit digital audio? Aren't CDs
limited to 16 bits?
Section VI - Digital editing and
mastering
Q6.1 - What is a digital audio
workstation?
Q6.2 - How is digital editing different
from analog editing?
Q6.3 - What is mastering?
Q6.4 - What is normalizing?
Q4.5 - I have a fully edited DAT that
sounds just like I want it to sound on
the CD. Is it okay to send it to
the factory?
Q6.6 - What is PCM-1630? What is
PMCD?
Q6.7 - When preparing a tape for CD, how
hot should the levels be?
Q6.8 - Where can I get CDs manufactured?
Q6.9 - How are CD error rates measured,
and what do they mean?
Section VII - Market survey.
What are my options if I want --
Q7.1 - A portable DAT machine
Q7.2 - A rack size DAT machine
Q7.3 - An inexpensive stereo microphone
Q7.4 - An inexpensive pair of microphones
for stereo
Q7.5 - A good microphone for recording
vocals
Q7.6 - A good microphone for recording
[insert instrument here]
Q7.7 - A a small mixer
Q7.8 - A portable cassette machine
Q7.9 - A computer sound card for my IBM
PC or Mac
Q7.10 - An eight-track digital recorder?
Section VIII - Sound reinforcement
Q8.1 - We have a fine church choir, but
the congregation can't hear them. How do
we mic the choir?
Q8.2 - How do I 'ring out' a system?
Q8.3 - How much power to I need for
[insert venue here]?
Q8.4 - How good is the Sabine feedback
eliminator?
Section IX - Sound restoration
Q9.1 - How can I play old 78s?
Q9.2 - How can I play Edison cylinders?
Q9.3 - What are "Hill and Dale"
recordings, and how do I play them back?
Q9.4 - What exactly are NoNOISE and
CEDAR? How are they used?
Q9.5 - How do noise suppression systems
like NoNOISE and CEDAR work?
Q9.6 - What is forensic audio?
Section X - Recording technique,
Speakers, Acoustics, Sound
Q10.1 - What are the various stereo
microphone techniques?
Q10.2 - How do I know which technique to
use in a given circumstance?
Q10.3 - How do I soundproof a room?
Q10.4 - What is a near-field monitor?
Q10.5 - What are the differences between
"studio monitors" and home
loudspeakers?
Section XI - Industry information
Q11.1 - Is there a directory of industry
resources?
Q11.2 - What are the industry
periodicals?
Q11.3 - What are the industry trade
organizations?
Q11.4 - Are there any conventions or
trade shows that deal specifically with
professional audio?
Section XII - Miscellaneous
Q12.1 - How do I modify Radio Shack PZMs?
Q12.2 - Can I produce good demos at home?
Q12.3 - How do I remove vocals from a
song?
Section XIII - Bibliography
Q13.1 - Fundamentals of Audio Technology
Q13.2 - Studio recording techniques
Q13.3 - Live recording techniques
Q13.4 - Digital audio theory and practice
Q13.5 - Acoustics
Q13.6 - Practical recording guides
Section XIV
Q14.1 - Who wrote the FAQ
Q14.2 - How do you spell and pronounce
the FAQ maintainer's surname?
http://lcweb2.loc.gov/ammem/prpsal/toca.html
The Library of Congress - Requests
for Proposals
Table of Contents
Section / Subject Pages
"Digital
Image Quality: From Conversion to
Presentation"
Anne R. Kenney, Associate Director,
Department of Preservation and
Conservation, Cornell University.
"Preservation in the Digital
World"
Paul Conway, Head, Preservation
Department, Yale University Library
"Lessons Learned While Digitizing
1,000,000 pages: The JSTOR Project"
Randall Frank, Executive Director of
Information Technology and Director JSTOR
Project, University of Michigan
"Selecting Digital Projects:
Maximizing Value to the Community"
Todd Kelley, Librarian for Information
Technology Initiatives, Milton
S.Eisenhower Library, Johns Hopkins
University.
"Electronic Texts and Images on
the Internet: Standards, Training, Costs,
and Uses"
David M. Seaman, Director, Electronic
Text Center, University of Virginia
Library.
"In the Interest of Access: The
Role of the Commission on Preservation
and Access"
Deanna Marcum, President, Commission on
Preservation and Access and President,
Council on Library Resources
Textual Materials Reproduced as Searchable Text and Images: Searchable transcriptions can be a tremendous aid to a researcher seeking instances of particular words or phrases in a textual work. The cost of providing perfect or near-perfect transcriptions is very high, however, and, for many researchers, proper understanding of a document may depend upon seeing a facsimile (and in some cases, the original). The Library encodes its documents using Standard Generalized Markup Language (SGML). For a more detailed description, see American Memory DTD for Historical Documents.
Searchable text: The Library's transcription requirement for contractors is 99.95 percent accuracy compared to the original (in future contracts, 99.995 will be required for some items). The texts are encoded with SGML, using the American Memory document type definition (DTD), which conforms to the international guidelines for humanities texts, the Text Encoding Initiative (TEI).
Textual Materials Reproduced as Images: The Library has been experimenting with tonal (color and grayscale) reproduction of manuscript and older printed documents, partly after noting shortcomings in some bitonal (black and white) images produced during the American Memory pilot. Multiple versions of an image of a page may also be needed to provide a WWW browser-based means for paging through documents.
Tonal images of manuscript and printed documents, Tonal image types: Reference is the image "fetched" from the page menu. Archive (uncompressed) (or, in the future, lossless-compressed) image free of the artifacts resulting from lossy compression, provided to users for reproduction or held for future reprocessing as compression standards change. May be provided to users as a downloadable file in the future. Archive (compressed), to demonstrate approaches for manuscript digitization is testing the production of a compressed tonal image for archiving (or highest quality display) together with a bitonal image for reference access. A steering committee argued that legibility was the highest goal and that modest compression artifacts could be tolerated for the sake of smaller file sizes. Alternate formats: PDF (Portable Document Format from Adobe Corporation). The Library has not had extensive experience with this format; archives wishing to produce collections that are interoperable with those at the Library of Congress and who plan to use PDF must be capable of helping to guide their implementation. (See also Section II.D on browser-based paging.)
Bitonal images of manuscript and printed documents: The use of the lossless CCITT (FAX) compression for bitonal images may mean that one image may serve both reference and archiving needs. For some items, however, higher resolution may be desired for an archival copy. Projects patterned on the book-reformatting work pioneered at the Cornell University Library may fall into this category.
The special problem of printed
halftone illustrations. Printed
halftones present special problems in
reproduction because of interference
between the spatial frequency of the
halftone dot pattern and the spatial
frequency applied by scanning and/or
output devices. The interference
"waves" caused by the
intersection of the two frequencies
manifest themselves as moir
patterns that degrade the image. Possible
treatments include the following: Descreening
and rescreening, removes the halftone
dots and converts the image to grayscale,
then rescreens it to produce a new
halftone. Capture at high enough
resolution to reproduce the halftone
dots, requires capture resolutions at
one or more multiples of the original
halftone screen. Thus, for books with
high-quality illustrations, the capture
might be at 600 dpi or higher. Grayscale
reproduction, this approach offers a
reasonable onscreen rendering at moderate
resolutions. Randomization of scanner
"dot pattern"
reproduces printed halftones as
bitonal images to which a special diffuse
dithering treatment is applied at scan
time (or in post-processing a grayscale
image).
Recorded Sound: the large files required to reproduce audio have launched the computer multimedia industry on a constant search for new and better compression and playback schemes. For this reason, the digital audio formats suitable for the WWW are less stable than those for text and pictorial images; thus the audio files produced (for the WWW) today will become obsolete more quickly. When materials are remastered, the moderate fidelity of current audio formats will mean that the source material (stored on disks) or an intermediate format, e.g., DAT (digital audio tapes), must be used (again) to create files in the new format.
Audio file types: Downloadable files (online today) the Library plans to replace these files with the downloaded type described below by early 1997. Streaming files (c.f. Real Audio?, planned for early 1997).
Moving-image Materials: The large files required to reproduce motion pictures and video have launched the computer multimedia industry on a constant search for new and better compression and playback schemes. For this reason, the moving-image formats suitable for the WWW are less stable than those for text and pictorial images produced today and will become obsolete more quickly. When materials are remastered, the moderate quality of current moving-image formats will mean that the source material or an intermediate format, e.g., videotape, must be used (again) to create files in the new format.
File Headers, the Library
plans to add data to the file headers for
all of its reproductions over time. For
now, a preliminary implementation exists
for the four types listed below. Header
content will almost certainly be a part
of, or interplay with, the administrative
and structural metadata associated with
the repository described in Digital
Historical Collections: Types, Elements,
and Construction. The development and
implementation of headers will keep pace
with the Library's overall design process
for metadata. TIFF image files, the
most fully developed image header scheme
applies to the archival version of
pictorial image files (as distinct from
text pages). The Library has been using
TIFF version 5.0 but expects to begin
using version 6.0 very soon. SGML text
files, The
American Memory DTD for historical
texts includes a simplified Text Encoding
Initiative (TEI) header. The header is an
integral part of the SGML-encoded
document. Since the Library accompanies
its marked-up texts with bibliographic
records or finding aids, the header
contains only a handful of MARC field
equivalents: title statement and
statement of responsiblity (MARC field
245), copyright registration number (MARC
field 017), and the Library of Congress
catalog card number (LCCN), when one
exists. WAVE audio files, the
Library plans to use the following
Resource Interchange File Format (RIFF)
INFO list chunk data with its WAVE
files: RealAudio files, the
Library plans to use the RealAudio
header.
Selected Topics from NDLP Internal Documentation: The discussions and descriptions listed below have been selected from internal documents used within the National Digital Library Program (NDLP), the group within the Library of Congress that is responsible for digitizing historical materials and building the American Memory collections. The documents were originally developed for other purposes, but may be of interest to applicants for the LC/Ameritech competition.
Identifiers for Digital Resources: This paper discusses the current approach used within American Memory for identifying digital reproductions and provides a general discussion of Uniform Resource Locators (URLs) and Uniform Resource Names (URNs). Handle Server: The Library has been experimenting with using "handles," one form of URN. Planning and Workflow: Steps in the Digitization Process (January 1996). Quality Review: This set of instructions is for staff involved in checking images of text received from contractors. The section "Imaging Guidelines for the National Digital Library Program" describes quality problems that have been encountered in practice at the Library of Congress. See also: Background Papers and Technical Information.
Go to: Further
Technical Background for LC/Ameritech
National Digital Library Competition; National
Digital Library Competition Home Page; American
Memory Home Page; Library of
Congress Home Page
True code regenerating compression methods (lossless coding e.g. Huffman coding) unfortunately provide considerable less compression ratios.
http://www.vol.it/MPEG/ - this is an collection of information about the MPEG compression standard. This site is no longer updated. MPEG Information, Questions, Answers and Companies Listing.
to probe further:
1. What is MPEG ? 2. Is MPEG
patented ? 3. Does it have anything
to do with JPEG or MHEG? 4. How do
MPEG and H.261 differ ? 5. Is H.261
the de facto teleconferencing standard
? 6.What is the reasoning behind MPEG
syntax symbols ? 7. How would you
explain MPEG to the data compression expert
? 8. What are the implementation
requirements ? 9. How do I join MPEG
? 10. What is the evolution of
standard documents ? 11. How do I get the
documents ? 12. What are the important
themes of MPEG ? 13. How do you tell a
MPEG-1 bitstream from a MPEG-2 bistream
? 14. What is the precision of MPEG
samples ? 15. What is the best
compression ratio for MPEG ? 16. What
about MPEG artifacts ? 17. Are there any
real time MPEG encoders ? 18. What
about MPEG-1 decoder chips ? 19. What
about audio chips ? 20. Will there be
an MPEG video tape format ? 21. Is
so-and-so really MPEG compliant ? 22.
What are some journals or books on related MPEG
topics ? 23. Which performances
should I expect from MPEG boards ?
24. Are there any MPEG FTP or WWW sites ?
Applications | Components
| Instruments | Technology |
MPEG audio software decoder for Windows
95 | How to build a MPEG
Audio-on-demand site |
The MPEGPLAYER application is a real time decoder for MPEG audio files. This small Windows 95 application offers the following functionality:
A survey on: MACE. IMA/ADPCM.
MPEG. uLaw. AIFF, AIFC, Windows
Wave, MIDI music files, MOD files (and
derivatives), MPEG Audio, uLaw (aka Sun
Audio, au, NeXT), SoundBlaster
".VOC"
http://drogo.cselt.stet.it/mpeg/mpeg_7.htm
To probe further on MPEG-7:
Author: Ed Hartley, Rob Koenen
Title: Report on MPEG-7 Seminar in
Bristol
http://drogo.cselt.stet.it/mpeg/bristol/mpeg-7_seminar.htm
INTERNATIONAL ORGANISATION FOR
STANDARDISATION
ORGANISATION INTERNATIONALE DE
NORMALISATION
Source:
Requirements
Status: approved
Title: MPEG-7: Context and Objectives (v.3)
More and more audiovisual information
is available in digital form, in various
places around the world. Along with the
information, people appear that want to
use it. Before one can use any
information, however, it will have to be
located first. At the same time, the
increasing availability of potentially
interesting material makes this search
harder. Currently, solutions exist that
allow searching for textual information.
Many text-based search engines are
available on the World Wide Web, and they
are among the most visited sites -
indicating they foresee a real demand.
Searching information is, however, not
possible for audiovisual content, as no
generally recognized description of this
material exists. In general, is not
possible to efficiently search the web
for, say, a picture of 'the Motorbike
from Terminator II'. In specific cases,
solutions do exist. Multimedia databases
on the market today allow
searching for pictures using
characteristics like color, texture and
information about the shape of objects in
the picture.
MPEG started a new work item to provide a solution to the problem described above. The new member of the MPEG family, called "Multimedia Content Description Interface" (in short 'MPEG7'), will extend the limited search capabilities of today to include more information types. In other words: MPEG-7 will specify a standardized description of various types of multimedia information. This description shall be associated with the content itself, to allow fast and efficient searching for material that of a user's interest.
This 'material' includes: still pictures, graphics, audio, moving video, and information about how these elements are combined in a multimedia presentation ('scenarios', composition information). Special cases of these general formats include: facial expression, personal characteristics.
The description can be attached to any kind of multimedia material, no matter what the format of the representation is. Stored material, that has this information attached to it, can be indexed and search for. Even though the MPEG-7 description does not depend on the (coded) representation of the material, the standard in a way builds on the MPEG-4 standard, that provides the means to encode audiovisual material as a objects having certain relations in time (synchronization) and space (on the screen).
The standardized description of the
different types of information can exist
at a number of semantic levels. To take
the example of visual material: a lower
abstraction level could be a description
of e.g. shape, size, texture, color, and
composition ('where in the scene can the
object be found?). The highest level
gives semantic information: 'This is a
scene with a brown dog on the left and a
blue ball that falls down on the right' -
coded in an efficient form. Intermediate
levels of representation may also exist.
The same content could carry different
kinds of descriptions, tuned to the area
of application.
[1] What is covered in this FAQ? [2] How do I retrieve these programs? [3] X Windows [4] Unix (without X) [5] MS-DOS [6] Microsoft Windows [7] OS/2 [8] Macintosh [9] Amiga [10] Atari ST [11] Acorn Archimedes [12] NeXT [13] Tcl/Tk [14] Other systems [15] Freely available source code for JPEG [16] Which programs support progressive JPEG? [17] Where are FAQ lists archived?
NTT's "InterSpace" Virtual
Environment
Java GSM 6.10 Audio Client Framework
Vosaic streaming audio applet
GSM DLL for OS/2
Internet Audio Publisher / Direct Audio
Player
GSM to WAV, the second
GSM for the amiga
Gir: A realtime player for Amiga OS
Still in the works: XAnim
SoftFone
WebZound
IVS
V-Fone
The Internet Party Line
CyberPhone
Speak Freely
PCS 1.0 (?)
xztalk, ztalk
Microsoft NT and Windows 95 (beta)
SoundApp for Macs
WebbWatch for Windows
VidCall from M R A Associates, Inc.
Internet Global Phone
The Internet Multicasting Service
vat - LBNL Audio Conferencing Tool
NVAT - Network Video Audio Tool
Nevot 3.34 (December 22nd, 1995)
NetPhone, DigiPhone, Digifone, e-Phone.
WebPhone
CU-SeeMe
InPerson
UnReal Audio
PowWow
MBONE protocols for Windows
Voxware
RealAudio
Internet Phone
Internet Wave
Half-rate GSM and EFR
Enhanced Full-Rate GSM
DVD | Digital Video/Versatile Disc |
ATSC | Advanced Television Systems Committee |
DVB | Digital Video Broadcast |
DAB | Digital Audio Broadcast |
DBS | Direct Broadcast Satellite |
DSS | Digital Satellite System |
DVC | Digital Video Cassette |
Video CD | |
CD-DA | CD Digital Audio |
AC-3 | Dolby Digital Surround |
DTS | Digital Theater System |
SDDS | Sony Dynamic Digital Sound |
Photo CD | |
APS | Advanced Photo System |
Datacasting |
Simon Gibbs (Simon.Gibbs@gmd.de)
Local disks attached to workstations provide real time streams of large binary objects (e.g. audio) but are limited to storage capacities of few gigabytes only. Today server-client installations in LANs range from 32 Gigabytes to 2 Terabytes storage capacity using RAID technology or equivalent. Depending on the overall network load and network bandwidth (100-155 Mbit/s), audio streams can be accessed in uncompressed formats as convenient as on local disk drives. Today backup-archive storage systems frequently use magnetic tape (cassette) technology with robot control (autochangers). The storage capacity ranges in standard configurations from few Terabytes to 30 Terabytes, large size systems provide storage capacities in the Petabyte range. Access-, backup- and archive (retrieve) queries are served in non real time only and can last up to several minutes. Usually both modes, Batch Mode and Interactive Mode, can be started from an archive client command session.
Table of Contents
Editor's Note
Disclaimer
Original
Editor's notes
Truly
Frequently Asked Questions
Tape
Cartridge vs Cassette
Longitudinal
Serpentine
Helical Scan
Tape Media Lifetimes (Longevity)
{Brief}
9-track {brief}
3480/3490/3490E {brief}
New IBM Tape (NTP) 3590
Magstar Coyote (IBM 3570) {Brief,
New}
QIC {brief}
Travan
TapeStor {brief,new}
4mm {brief}
8mm {brief}
Mammoth (EXB-8900) {Brief}
Sony SDV-300 {New}
DLT {full}
DLT7000 {Brief}
DLT4000
DLT2700 (from DEC)
DLT2000 (from DEC (now Quantum))
MountainGate (was Metrum) VHS
{brief}
VCR VHS
19MM (D1 and D2) {Brief}
ID-1
DATATAPE
Sony
D-2
StorageTek Helical {Brief}
Optical
D-6 {brief}
D-3 {brief}
Sony DTF {Brief}
DATATAPE DTR-48 {Brief,New}
Disk
CAV, ZCAV and CLV
Optical {Brief}
CD-ROM
DVD (Digital Versatile Disk)
(Next-Generation CD) {New}
WORM {brief}
Sony {brief}
Erasable
Magneto-Optical Physics
Sony MiniDisc {Brief,New}
Magneto-optical, 5.25-inch
Magneto-optical ZCAV, 5.25-inch
HP Corsair {Brief}
Maxoptix T4-1300
Pinnacle Micro {New}
Asaca HSMO {Brief}
Other Multi-beam MO {None}
3.5-inch MO {Brief}
Sony {Brief}
Nikon 12-inch MO {Brief}
Sony 12-inch MO {Brief}
NEC 12-inch MO {Brief}
Electron-Trapping {None}
Dual Function {Brief}
Panasonic/Toray {Brief}
IBM {None}
Magnetic
5.25-inch
Seagate
3.5-inch
IBM
Hard Disk Manufacturers {Brief}
Bernouli {None}
Floptical {Brief}
PC Removables {Brief}
SyQuest EZ135 {Brief}
Iomega Zip {Brief}
Iomega Jaz {Brief}
SyQuest Removable Cartridge hard
Drives
Kalok removable cartridge hard
drives
Mainframe {Brief}
Other
RAID {Full}
RAID Levels
RAID-6
John O'Brien and RAID-7
RAID Papers
R-Squared {Brief}
Sun {Brief}
Clariion {Brief}
BayDel {Brief, New}
the RAIDbook {Brief}
Software Striping {Brief}
RAID Vendors
Solid State
Disk (SSD) Frequently Asked
Questions (FAQ)
Other Devices
Holographic Storage Products
{Brief,New}
TeraStor {Brief, New}
RAIT
(Redundant Arrays of Inexpensive
Tape)
DataVast (was VastNSS)
RAOT
(Redundant Arrays of Other Things
:-)
email me at rdv@isi.edu
Copyright 1996 Rod Van Meter
http://alumni.caltech.edu/~rdv/comp-arch-storage/FAQ-2.html
Table of Contents
Standards
ANSI X3B5 {None}
IEEE Mass Storage System Ref
Model (OSSI) {Brief, 6/1/95}
ECMA - European Computer
Manufacturers Association {None}
System Independent Data Format
(SIDF)
I/O Related
Email Lists
Hierarchical
Storage Management
Unitree {Brief}
Epoch vs Unitree
National Storage Lab {Brief}
HIARC {New}
Epoch (also known as StorageTek's
NearNet) {Brief}
Zetaco/NETstor {Brief}
R-Squared Infinity IFS 2 {Brief}
AMASS
Tracer XFS {None}
Metior
NAStore {Brief}
DMF {Brief}
FileServ {Brief}
Cray Research's Open Storage
Manager {Brief}
T-mass {None}
HP OmniStorage
Platinum NetArchive-HSM {Brief,
New}
Large Storage Configurations
{Brief,New}
Unix HSM Vendor List
Mainframe
PC & PC Server Oriented
Packages
HP Optical Jukebox Storage
Solution
Chili Pepper Software
Cheyenne ARCserve
DATMAN {Brief}
Windows NT
Other Non-Unix HSM
Tapes as Disks {Brief, New}
Backup
Software
PC-Oriented Backup Packages
Unix Packages
Spectra Logic Alexandria
ADSTAR Distributed Storage
Manager
NetWorker
BudTool {Brief}
Workstation Solutions {Brief}
Amanda {Brief, New}
Remote Backup or Mirroring
{Brief, New}
Tape and
Autochanger Management Software
REELlibrarian
ANT Medium Changer
Tapes 3000 {Brief}
Others
Robotics
(Autochangers, Jukeboxes,
Stackers, Libraries)
8mm {Brief}
Exabyte {Brief}
EXB-10h
EXB-210
EXB-220
EXB-440/480
EXB-10
EXB-10i
EXB-10e
EXB-120
ADIC {Brief, New}
Storage Tek (was Lago) DataWheel
{Brief}
ACL {None}
Cambridge On-Line Storage {Brief}
Spectra Logic {Brief}
Qualstar {Brief}
3480
StorageTek {Brief}
EMASS (was GRAU) {Brief}
3590 (Magstar,NTP) {Brief}
4mm {Brief}
Cambridge On-Line storage {Brief}
Spectra Logic {Brief}
HP 4mm {Brief}
Storage Tek Datawheel {Brief}
Diverse Logistics Libra {Brief,
New}
Qualstar {Brief, New}
ADIC {Brief, New}
VHS {Brief}
MountainGate (was Metrum)
Digital Linear Tape (DLT)
(Quantum) {Brief}
TZ877 {Brief}
TL820 {Brief}
MountainGate
Breece Hill {Brief}
Odetics {Brief}
MediaLogic ADL
ADIC {Brief, New}
D-2
Ampex
Odetics
ID-1
Sony DMS, PetaSite {Brief}
Optical Disk (MO,WORM) Libraries
Hitachi 448 GB optical library
HP MO Autochangers
Maxoptix MO Autochangers
MountainGate {Brief}
DISC DocuStore {Brief}
Kodak {Brief}
Sony {Brief}
CD-ROM Jukeboxes
Pioneer
CyberTower {Brief, New}
NSMJukebox {Brief, New}
Nakamichi {Brief, New}
CDI Juke Box Library {Brief,New}
K & S M-200 {Brief, New}
DISC {Brief, New}
File Systems
NFS {Brief}
NFS V3
AFS {Brief}
DFS {Brief}
Log based file systems
Mainframe File Systems
Parallel System File Systems
Microsoft Windows NT {Brief}
Large Unix File Systems
Non-Unix Large File Systems
(Device)
Interfaces
SCSI {Full}
Single ended vs differential
Asynchronous vs Synchronous
Transfers
SCSI-I vs SCSI-II vs SCSI-III
Fast-Wide SCSI
Shared Busses / Performance
{Brief}
Cabling/Hot Plugging {Brief}
Third Party Transfers/Separation
of Control & Data Paths
{Brief}
IDE {Brief}
IPI {None}
HIPPI {Brief}
HIPPI-6400 {Brief}
Ultranet {Brief}
Ethernet {Brief}
FDDI {None}
Fibre Channel Standard (FCS)
ESCONN/SBCON {Brief}
IEEE P1394 (Serial Bus)
Serial Storage Architecture (SSA)
S2I: IEEE P1285 Scalable Storage
Interface
Multibus, Unibus, Mainframe
Channels, and other history
{None}
Other
Video vs Datagrade tapes {brief,
5/94}
Compression
Benchmarking
Mass Storage
Conferences
THIC Tape Head Interface
Committee {Brief, New}
MTBF (Mean
Time Between Flareups, er,
Failures)
Mass Storage
Reports
Network-Attached Peripherals
{Brief}
Other
References
Print
Web
Newsgroups
Research Papers
ORIGINAL CALL
FOR VOTES
Original
Author's Disclaimer and
Affiliation:
Copyright
Notice
Additional
Topics to be added
email me at rdv@isi.edu
Copyright 1996 Rod Van Meter
Introduction
In order to meet the needs of Teraflop computing initiatives, the Storage Systems Group is continuously involved in evaluating new hardware, incorporating standards, working with standards groups, (e.g. The DMIG working group), and developing software and systems that make use of new hardware and standards intelligently. (See the Virtual Volume Manager page for a discussion of how to use new tape technology without harming user access rates.) Some of our projects are done here at Ames, while others are cooperative efforts and grants to outside agencies and universities. Past efforts include early hardware RAID prototypes, beta evaluations of new tape technolgies and constructive input into the IEEE Mass Storage Refence Model. Some of our current work is listed below.
Another area of emphasis is scaling down our systems, thereby making relatively inexpensive production quality mass storage available to industry. To address this mission, the storage group is currently engaged in porting our NAStore software package to workstations running NetBSD. Since NetBSD is a multi-platform version of the BSD 4.4 OS, porting NAStore to these platforms allows the user to choose from a wide range of machine architectures. This will increase the chance that the appropriate level of price/performance is available to the end user. Users can choose run NAStore on anything from a well equipped PC, to a high end DEC alpha, HP, SGI, etc...
WebWork: Harry Waddell
NASA Official: John Lekashman
Note: Digital to Microfilm Conversion is a
report of a Demonstration Project (1994-1996)
presented by Anne R. Kenney, Principal
Investigator, Cornell University Library
Department of Preservation and Conservation,
Ithaca, NY 14853:
URL: http://www.library.cornell.edu/preservation/com/comfin.html
URL: http://www.library.cornell.edu/preservation/pub.htm
The report provides the results of an extensive study on time and costs to be allocated for digital-to-microfilm versus microfilm-to-digital conversion processes. A comparison of quality issues of different conversion approaches is included.
From the content of the report:
FINDINGS
AND RECOMMENDATIONS: COST
Cost Finding No. 1: Microfilm and Digital
Imaging
Table 1: Cornell Digital to Microfilm
Conversion Processes: Time and Costs
Table 2: Cornell Annual Equipment Costs
Table 3: Producing Digital Images from
Paper vs. Microfilm
Table 4: Comparing Cornells Digital
to COM Project to Yales Project
Open Book
Table 5: Costs Associated with the Hybrid
Approach: Scan First vs Film First
Cost Finding No. 2: In-House vs.
Outsourcing
Recommendation: COM vs. digital archiving
program
Table 6: Comparison of COM costs to
digital archiving estimates
FINDINGS AND RECOMMENDATIONS: PROCESS
Process Finding No. 1: Film First vs.
Scan First:
Film First Approach
Scan First Approach
Table 7: Conversion Differences in Two
Hybrid Approaches
Process Finding No. 2: Need to
Investigate Grayscale and Color Scanning
Process Finding No. 3: Reasonableness
Standard for Copyright Searching
Recommendation: Summit Conference
Appendices:
COM Preparation and Quality Control
Reel Programming
Image Graphics and the Electron Beam
Recorder
Proposed Reasonableness Standard for
Determining Copyright Status
3.2.8 Contents, Metadata and Projects
Further information regarding
IFLA activities can be obtained
by contacting IFLA Headquarters
at: ifla.hq@ifla.nl Copyright ©
1995-1997 International
Federation of Library
Associations and Institutions
to probe further ..
HyTime: ISO 10744 Hypermedia/Time-based Structuring Language, SMDL - Standard Music Description Language, ISO/IEC DIS 10743:1995, SGML Initiative in Health Care (HL7 Health Level-7 and SGML), Metafile for Interactive Documents (MID), Standard Hypermedia/Multimedia Scripting Language (SMSL), Digital Libraries (Initiative) and SGML, SGML and Metadata, Hyper-G Text Format (HTF), Association of American Publishers (AAP), ISO 12083 DTDs, IBMIDDoc: IBM Information Development document type, IEEE Standards Department, Davenport Group: DocBook DTD, ICADD: International Committee on Accessible Document Design, CAPS (Communication and Access to Information for Persons with Special Needs) and HARMONY (Horizontal Action for the Harmonisation of Accessible Structured Documents), ELVIS - Elektronisches Literaturverzeichnis - Informatik für Sehgeschädigte, NITF (News Industry Text Format) [Formerly UTF - Universal Text Format] - SGML for the News Distribution Industry, Canadian Strategic Software Consortium (CSSC): SGML and SQL, Electronic PROTEIN SCIENCE, MIME-SGML (Multipurpose Internet Mail Extensions), EWS-MAJOUR, OCLC SGML Projects, SGML and Chemistry: The OCLC CORE Project (Chemistry Online Retrieval Experiment) and other Initiatives, Chemical Markup Language (CML), SGML and Chemistry - Other Links, SGML and Physics: The American Physical Society, American Astronomical Society, and The American Institute of Physics, GMD-IPSI SGML Projects, Multiagency Electronic [Pharmaceutical] Regulatory Submission (MERS) Project, The Data Documentation Initiative, Joint Electronic Document Interchange (JEDI), Earth Interactions: An Electronic Journal in SGML, Topic Navigation Maps, Information Mapping and SGML, Channel Definition Format, CDF (Based on XML), Open Financial Exchange (Based on XML/SGML), Meta Content Framework (MCF) - An XML Application, The Corpus Legis Project, Centre de recherche en droit public (CRDP), Royal Melbourne Institute of Technology (RMIT) - SIM SGML Database Technology, EUROMATH Project, Mathematical Markup Language (XML), SSML: A Speech Synthesis Markup Language, EuropeMMM, OpenTag Initiative, SELA Journals Project (Scholars Press - Emory Library Linked Academy), Common Desktop Environment (CDE) Help System.
This document http://www.sil.org/sgml/gen-apps.html
is part of the SGML Web Page.
Support for development and
maintenance of the SGML
Web Page is provided in part
by SoftQuad,
Inc. and by the
Summer Institute of Linguistics,
to whom gratitude is
acknowledged.
Copyright (c) Robin Cover
1994-97. Last modified June 28,
1997.
Standards: The project has acquired a large in-house library of standards and specifications documentation. The MLF research group is committed to the development of new presentation and browsing tools but realizes that all such tools must comply with current and projected standards for internet communications. Of particular interest to us is HyTime, a time-based derivative of SGML.
Music/Audio Player Software: An new audio player is being developed. This player looks like the Apple Audio CD Player in that the CD player design has been retained. However, it differs significantly from other players in that i) it will play any form of audio ii) it will be General MIDI Files - a form of Standard MIDI File which is known to many commercial synthesizers iii) it will play MPEG (QuickTime) movies iv) it includes a piano keyboard for playing downloaded musical instrument samples. Most important, a common representation for "markers" has been included. Points of interest (segments) can addressed with simple text descriptors. Initially these are provided by the server along with the audio/music data files then they can be altered by the end-user to customize playback access.
Using the "hot maps" feature of Mosaic, x-y positions on the musical score (or graphic score representation) will include links to the audio/midi markers such that "clicking" on a linked spot such as the start of a movement or phrase will automatically play the corresponding audio or midi segment.
InfoMus: To show the
richness and variety of musical
information the project begun
collecting the following
materials:
scans of final
scores
scans of work
sketches
scans of
associated materials (paintings,
cover photos, etc)
graphic
analyses of musical materials
audio
recordings
recorded
interview (audio)
video segments
of performances and rehearsals
biographical
texts
Contents: The Industrial Affiliates Program, Courses and Workshops, Personal Home Pages, Software, The Catgut Musical Acoustics Research Library, collection of resources in musical acoustics research CCARH, The Center for Computer Assisted Research in the Humanities, development of data resources for applications in music research and allied areas of humanities study, Electronic Music neighbors on the Web, useful links to other web servers in the computer and electroacoustic music field.
CCRMA, Department of Music, Stanford University, Stanford, CA 94305-8180 United States Phone: 1-(415)723-4971 FAX: 1-(415)723-8468 Email: info@ccrma.stanford.edu Comments? Suggestions? send email to webmaster@ccrma.stanford.edu ©1996/1997 CCRMA, Stanford University. All Rights Reserved. Created and mantained by Fernando Lopez-Lezcano, nando@ccrma.stanford.edu
Maintained by Gregory Piatetsky-Shapiro and Michael Beddows. Disclaimer: all opinions expressed here are those of their writers but not necessarily of their employers or of KD Nuggets. Discovery Resources at www.kdnuggets.com Please email relevant additions, changes, and comments to gps@kdnuggets.com
Projects: [VSPEC ][ REBOUND ][ Gravity ][ lsl2html ] [ LSLParser ]Publications, KBSE-Related, Calls for Papers, KBSE Related Links; John Penix (jpenix@ececs.uc.edu)
The projects' focus is to dramatically advance the means to collect, store, and organize information in digital forms, and make it available for searching, retrieval, and processing via communication networks -- all in user-friendly ways.
A common strategy in all of these projects is to emphasize research partnerships. We view building partnerships between researchers, applications developers and users as essential to achieving success in generating new knowledge, promoting innovative thinking, and accelerating the technology transfer process.
The initiative will both capitalize on advancements made to date as well as promote research to further develop the tools and technologies needed to make vast amounts of useful information available to large numbers of people with diverse information needs.
The National Synchronization Page for the Digital Libraries Initiative.
Note: the first conference of the European Series of Conferences on Digital Libraries (ECDL) has been held in Pisa, 1-3 September 1997.
ECDL '98 will be held in Heraklion, Crete, Greece, 19-23 September 1998.
ERCIM Working Groups
Computer Graphics Working Group
Constraints
Control and Systems Theory
Database Research Group: http://www.cclrc.ac.uk/EDRG/index.html
Digital Library
Initiative: http://www.area.pi.cnr.it/ErcimDL/
The purpose of an ERCIM working group
is to build and maintain a network of
ERCIM researchers in a particular
scientific field. The working groups are
open to anybody affiliated with an ERCIM
institute. Their main activities are the
organization of workshops and the
preparation of common project proposals.
The workshops organized by the working
groups are open to any researcher in the
specific scientific field. The working
groups are also the focus of internal
mobility within ERCIM.
Technical Report by Ransford Johnson October 1996
This is a TERENA (Trans-European Research and Education Network Association) Technical Report (TTR) of a survey carried out to establish sources of Multimedia Expertise and Multimedia Projects.
The aim of this survey is to provide information in recent developments in two key areas of Distributed Multimedia Research:
1.Multimedia Expertise
This aspect relates to organisations offering skills in the fields of multimedia publishing and/or distributed multimedia. The information in this report is classified under the following headings:
Multimedia collaborative applications
Multimedia distribution
Multimedia creation
Multimedia system development
Multimedia networking development
2.Multimedia Research Projects
This subsection of the survey concentrated on large collaborative projects relating to networked multimedia applications. This report presents the projects in terms of different countries.
1.2. Scope
The questionnaire for this report was formulated with restrictions on expected responses. This was to reduce the document to a manageable size.
In general, since this document is an update on existing document, it was expected that the list of publications would only contain those published after June 1993. In particular, the Multimedia Research Projects section requested projects whose budget are larger than 100,000 ECU. It does not cover 'multimedia networking infrastructure' projects which lack a substancial applications component. Projects had to be either underway already, or must have finished after June 1993.
1.3. Data Acquisition
A questionnaire was prepared and distributed widely on the Internet, to various newsgroups and mailing lists. The response was most encouraging, with over 100 responses.
The questionnaires with instructions on how to complete the request for information are included in the appendices of this report.
1.4. Request for Comments
This report, commissioned by TERENA and produced by Ransford Johnson, will be widely publicised and would be updated on receipt of comments, suggestions and further contributions. All such information should be sent to
Dr Ransford Johnson <r.b.johnson@bristol.ac.uk>
1 Economic Issues
(Last update: 4/11/97)
2 Electronic Books and Texts
2.1 Case Studies and
History (Last update: 3/19/97)
2.2 General Works
(Last update: 4/11/97)
2.3 Library Issues
(Last update: 12/17/96)
2.4 Related Electronic
Resources (Last update: 4/11/97)
3 Electronic Serials
3.1 Case Studies and
History (Last update: 5/16/97)
3.2 Critiques (Last
update: 4/11/97)
3.3 Electronic
Distribution of Printed Journals (Last
update: 4/11/97)
3.4 General Works
(Last update: 5/16/97)
3.5 Library Issues
(Last update: 2/19/97)
3.6 Related Electronic
Resources (Last update: 2/19/97)
3.7 Research (Last
update: 3/19/97)
4 General Works (Last update: 5/16/97)
4.1 Related Electronic
Resources (Last update: 5/16/97)
5 Legal Issues
5.1 Intellectual
Property Rights (Last update: 5/16/97)
5.2 Other Legal Issues
(Last update: 5/16/97)
5.3 Related Electronic
Resources (Last update: 5/16/97)
6 Library Issues
6.1 Cataloging,
Classification, and Metadata (Last
update: 2/19/97)
6.2 Digital Libraries
(Last update: 5/16/97)
6.3 General Works
(Last update: 10/25/96)
6.4 Information
Conversion, Integrity, and Preservation
(Last update: 4/11/97)
6.5 Related Electronic
Resources (Last update: 5/16/97)
7 New Publishing Models (Last update:
5/16/97)
8 Publisher Issues (Last update: 4/11/97)
8.1 Electronic
Commerce/Copyright Systems (Last update:
5/16/97)
8.2 Related Electronic
Resources (Last update: 11/15/96)
Appendix A. Related Bibliographies by the
Same Author
Appendix B. About the Author
[Table of Contents]
------------------- -------------------
|
|
|
|
|
|
THE
THE
THE
ORIGINAL DOCUMENT SELECTION
PROCESS PRESERVED COPY
|
|
|
|
1.1
Medium
3.1 Preservation Technology
1.2
Format
3.2 Capture Technology
1.3
Periodicity
3.3 Storage Technology
1.4
Properties
3.4 Access Technology
1.5
Condition
3.5 Distribution Technology
1.6
Content
3.6 Presentation Technology
Committee Preface
Acknowledgements
Foreword
Introduction
The Impact of Digital Technologies
Scope of the Glossary
Structure of the Glossary
1. The Original Document
1.1. Document Medium
1.1.1. Paper
1.1.2. Microform
1.1.3. Video
1.1.4. Film
1.1.5. Audio
1.1.6. Digital Electronic
1.1.6.1 Magnetic Disk
1.1.6.2 Magnetic Tape
1.1.6.3 Optical Disk
1.1.6.4 Optical Tape
1.1.6.5 Magneto-Optical Disk
1.1.7. Multi-Media
1.2. Document Format
1.2.1. Manuscript
1.2.2. Book
1.2.3. Pamphlet
1.2.4. Newspaper
1.2.5. Printed Sheet
1.2.6. Periodical
1.2.7. Cartographic Materials
1.2.8. Music
1.2.9. Graphic Materials
1.2 9.1 Art Original
1.2 9.2 Filmstrip
1.2 9.3 Photograph
1.2 9.4 Picture
1.2 9.5 Technical Drawing
1.2.9.6 Miscellaneous
1.2.10 Data File
1.2.10.1 Table
1.3. Document Periodicity
1.3.1. Monograph
1.3.2. Serial
1.4. Document Properties
1.4.1. Tone
1.4.1.1 Monotone
1.4.1.1.1 Two-Tone
1.4.1.1.2 Greyscale
1.4.1.2 Highlight Color
1.4.1.3 Two color
1.4.1.4 Full Color
1.4.2. Object Type
1.4.2.1 Text Objects
1.4.2.2 Data Objects
1.4.2.2.3 Table
1.4.2.3 Graphic Objects
1.4.2.3.1 Line Art
1.4.2.3.1.1 Graphs
1.4.2.3.2 Halftone
1.4.2.3.3 Discrete Tone
1.4.2.3.4 Continuous Tone
1.5. Document Condition
1.5.1. Archival
1.5.2. Non-Archival
1.5.3. Acidic
1.5.4. Brittle
1.5.5. Other
1.6. Document Content
1.6.1. Intellectual Content
1.6.2. Copyright
1.6.3. Structure
1.6.3.1 Abstract (see 3.4.1.2)
1.6.3.2 Title Page
1.6.3.3 Table of Contents (see 3.4.4.1.3)
1.6.3.4 List of Figures, Tables, Maps or
Other Illustrations
1.6.3.5 Preface (see 3.4.1.5)
1.6.3.6 Introduction (see 3.4.1.6)
1.6.3.7 Body
1.6.3.8 Index (see 3.4.1.7)
1.6.3.9 Other
2.The Selection Process
2.1. By Title
2.2. By Category
2.3 By Bibliography
2.4. By Use
2.5. By Condition
2.6. By Scholarly Advisory Committee
2.7. By Conspectus
3. The Preserved Copy
3.1. Preservation and Media Conversion
Technologies
3.1.1. Conservation Treatment
3.1.2. Paper Deacidification and
Strengthening
3.1.3. Photocopying
3.1.4. Microform Recording
3.1.5. Electronic Digitization
3.1.5.1 Image Document
3.1.5.2 Text Document
3.1.5.2.1 Unformatted Text
3.1.5.2.2 Formatted Text
3.1.5.3 Compound Document
3.1.6. Rekeying of Text
3.1.6.1 Unformatted Text
3.1.6 2 Formatted Text
3.1.7. Reprinting or Republication
3.2. Capture Technology
3.2.1. Photocopier
3.2.2. Microform Recorder
3.2.3. Digital Image Scanner
3.2.4. Optical Character Recognition
Scanner
3.2.5. Internal Character Recognition
3.2.6. Intelligent Character Recognition
3.2.7. Page Recognition
3.2.8. Rekeying of Text
3.2.9. Enhancement
3.3. Storage Technology
3.3.1. Storage Medium
3.3.1.1 Paper (see 1.1.1)
3.3.1.2 Microform (see 1.1.2)
3.3.1.3 Video (see 1.1.3)
3.3.1.4 Film (see 1.1.4)
3.3.1.5 Audio (see 1.1.5)
3.3.1.6 Digital Electronic
3.3.1.6.1 Magnetic Disk
3.3.1.6.2 Magnetic Tape
3.3.1.6.3 Optical Disk
3.3.1.6.4 Optical Tape
3.3.1.6.5 Magneto-Optical Disk
3.3.2. Compression
3.3.2.1 Uncompressed
3.3 2.2 Reversibly Compressed
3 3.2.2.1 CCITT Group Compression
3.3.2.2.2 Reversible Textual Compression
3.3.2.2.3 Page Description Language
Compression (PDL)
3.3.2.2.4 Other Compression Standards or
Algorithms
3.3.2.3 Irreversibly Compressed
3.3.2.3.1 Irreversible Textual
Compression
3.3.3. Storage Format
3.3.4. Encoding Method
3.3.4.1 No Encoding
3.3.4.2 Textual Encoding
3.3.4.3 Markup Language Encoding
3.3 4.4 Page Description Language
Encoding
3.3.5. Useful Life
3.4. Access Methodology or Technology
3.4.1. Indexed Access
3.4.1.1 Via Catalog
3.4.1.2 Via Abstract
3.4.1.3 Via Table of Contents
3.4.1.4 Via List of Figures, Tables, Maps
or Other Illustrations
3.4.1.1 Via Preface
3.4.1.6 Via Introduction
3.4.1.7 Via Index
3.4.1.8 Via Citation
3.4.2. Full (or Partial) Document Access
3.4.2.1 Via Inverted Text File Index
3.4.3. Compound Document Access
3.5. Distribution Technology
3.5.1. Distribution Medium
3.5.1.1 Paper (see 1.1.1)
3.5.1.2 Microform (see 1.1.2)
3.5.1.3 Video (see 1.1.3)
3.5.1.4 Film (see 1.1.4)
3.5.1.5 Audio (see 1.1.5)
3.5.1.6 Digital Electronic (see 1.1.6)
3.5.2. Messenger Services
3.5.3. FAX
3.5.4. Print-on-Demand
3.5.5. Data Networks
3.5.5.1 Local Area Network
3.5.5.2 Wide Area Network.
3.5.5.3 National Network
3.5.6. Voice Networks
3.5.7. Cable Networks
3.6. Presentation Technology
3.6.1. Presentation Medium
3.6.1.1 Paper (see 1.1.1)
3.6.1.2 Microform (see 1.1.2)
3.6.1.3 Video (see 1.1.3)
3.6.1.4 Film (see 1.1.4)
3.6.1.5 Audio (see 1.1.5)
3.6.1.6 Digital Electronic (see 1.1.6)
3.6.2. Presentation or Viewing Device
3.6.2.1 Paper Document
3.6.2.2 Microform Reader
3.6.2.3 Video Projector (Television Set)
3.6.2.4 Film, Slide, or Other Projectors
3.6.2.5 Audio Devices
3.6.2.6 Computer Workstation
3.6.2.6.1 Display Monitor
3.6.2.6.2 Local Printer
3.6.2.6.3 Remote Printer
3.6.2.6.4 Other Local Media Output Device
3.6.2.7 Multi-Media Workstation
4. Sources of Information
Notes
Published by
The Commission on Preservation and Access
1400 16th Street, NW, Suite 740
Washington, DC 20036-2217
August, 1990
Note: this frequently updated list of abbrevations provides more than 1000 entries with links to EU R&D projects.
http://www2.echo.lu/libraries/en/acronym.html
The list is maintained
by DG
XIII-E-4 Telematics for Libraries - Ian
M. Pigott