Search (25 results, page 2 of 2)

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Abstract

Die Süddeutsche Zeitung (SZ) verfügt seit ihrer Gründung 1945 über ein Pressearchiv, das die Texte der eigenen Redakteure und zahlreicher nationaler und internationaler Publikationen dokumentiert und für Recherchezwecke bereitstellt. Die DIZ-Pressedatenbank (www.medienport.de) ermöglicht die browserbasierte Recherche für Redakteure und externe Kunden im Intra- und Internet und die kundenspezifischen Content Feeds für Verlage, Rundfunkanstalten und Portale. Die DIZ-Pressedatenbank enthält z. Zt. 7,8 Millionen Artikel, die jeweils als HTML oder PDF abrufbar sind. Täglich kommen ca. 3.500 Artikel hinzu, von denen ca. 1.000 durch Dokumentare inhaltlich erschlossen werden. Die Informationserschließung erfolgt im DIZ nicht durch die Vergabe von Schlagwörtern am Dokument, sondern durch die Verlinkung der Artikel mit "virtuellen Mappen", den Dossiers. Insgesamt enthält die DIZ-Pressedatenbank ca. 90.000 Dossiers, die untereinander zum "DIZ-Wissensnetz" verlinkt sind. DIZ definiert das Wissensnetz als Alleinstellungsmerkmal und wendet beträchtliche personelle Ressourcen für die Aktualisierung und Qualitätssicherung der Dossiers auf. Im Zuge der Medienkrise mussten sich DIZ der Herausforderung stellen, bei sinkenden Lektoratskapazitäten die Qualität der Informationserschließung im Input zu erhalten. Auf der Outputseite gilt es, eine anspruchsvolle Zielgruppe - u.a. die Redakteure der Süddeutschen Zeitung - passgenau und zeitnah mit den Informationen zu versorgen, die sie für ihre tägliche Arbeit benötigt. Bezogen auf die Ausgangssituation in der Dokumentation der Süddeutschen Zeitung identifizierte DIZ drei Ansatzpunkte, wie die Aufwände auf der Inputseite (Lektorat) zu optimieren sind und gleichzeitig auf der Outputseite (Recherche) das Wissensnetz besser zu vermarkten ist: - (Teil-)Automatische Klassifizierung von Pressetexten (Vorschlagwesen) - Visualisierung des Wissensnetzes - Neue Retrievalmöglichkeiten (Ähnlichkeitssuche, Clustering) Im Bereich "Visualisierung" setzt DIZ auf den Net-Navigator von intelligent views, eine interaktive Visualisierung allgemeiner Graphen, basierend auf einem physikalischen Modell. In den Bereichen automatische Klassifizierung, Ähnlichkeitssuche und Clustering hat DIZ sich für das Produkt nextBot der Firma Brainbot entschieden.

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Date

22. 7.2006 16:11:05

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Source

Metadata for semantic and social applications : proceedings of the International Conference on Dublin Core and Metadata Applications, Berlin, 22 - 26 September 2008, DC 2008: Berlin, Germany / ed. by Jane Greenberg and Wolfgang Klas

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Footnote

Rez. in: JASIST 56(2005) no.10, S.1126-1128 (P.K. Nayar): "How Images Think is an exercise both in philosophical meditation and critical theorizing about media, images, affects, and cognition. Burnett combines the insights of neuroscience with theories of cognition and the computer sciences. He argues that contemporary metaphors - biological or mechanical - about either cognition, images, or computer intelligence severely limit our understanding of the image. He suggests in his introduction that "image" refers to the "complex set of interactions that constitute everyday life in image-worlds" (p. xviii). For Burnett the fact that increasing amounts of intelligence are being programmed into technologies and devices that use images as their main form of interaction and communication-computers, for instance-suggests that images are interfaces, structuring interaction, people, and the environment they share. New technologies are not simply extensions of human abilities and needs-they literally enlarge cultural and social preconceptions of the relationship between body and mind. The flow of information today is part of a continuum, with exceptional events standing as punctuation marks. This flow connects a variety of sources, some of which are continuous - available 24 hours - or "live" and radically alters issues of memory and history. Television and the Internet, notes Burnett, are not simply a simulated world-they are the world, and the distinctions between "natural" and "non-natural" have disappeared. Increasingly, we immerse ourselves in the image, as if we are there. We rarely become conscious of the fact that we are watching images of events-for all perceptioe, cognitive, and interpretive purposes, the image is the event for us. The proximity and distance of viewer from/with the viewed has altered so significantly that the screen is us. However, this is not to suggest that we are simply passive consumers of images. As Burnett points out, painstakingly, issues of creativity are involved in the process of visualization-viewwes generate what they see in the images. This involves the historical moment of viewing-such as viewing images of the WTC bombings-and the act of re-imagining. As Burnett puts it, "the questions about what is pictured and what is real have to do with vantage points [of the viewer] and not necessarily what is in the image" (p. 26). In his second chapter Burnett moves an to a discussion of "imagescapes." Analyzing the analogue-digital programming of images, Burnett uses the concept of "reverie" to describe the viewing experience. The reverie is a "giving in" to the viewing experience, a "state" in which conscious ("I am sitting down an this sofa to watch TV") and unconscious (pleasure, pain, anxiety) processes interact. Meaning emerges in the not-always easy or "clean" process of hybridization. This "enhances" the thinking process beyond the boundaries of either image or subject. Hybridization is the space of intelligence, exchange, and communication.

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Date

23. 3.2008 19:10:22