• A vocabulary to describe the interactions between persons and groups occurring in multimedia. @en
  • The ontology aims at modelling the data on cultural institutes or sites such as data regarding the agents that play a specific role on cultural institutes or sites, the sites themselves, the contact points, all multimedia files which describe the cultural institute or site and any other information useful to the public in order to access the institute or site. Moreover, the ontology represents events that can take place in specific cultural institutes or sites. @en
  • The Advene project aims at providing a model and various formats to share annotations about digital video documents (movies, courses, conferences...), as well as tools to edit and visualize the hypervideos generated from both the annotations and the audiovisual documents. Teachers, moviegoers, etc. can use them to exchange multimedia comments and analyses about video documents. The Cinelab model allows not only to represent video annotations, but also an elicitation of their structure (through notions of schema and annotation type), as well as their presentations with views (templates applied on data to produce hypervideos) and queries. This model has been developed by the partners of the Cinelab project (2007-2008, funded by the french national research agency), and used afterwards in a number of projects and applications, including Advene (LIRIS) and Ligne de temps (IRI). @en
  • The Copyright Ontology is a contribution geared towards the development of copyright-aware Digital Rights Management (DRM) systems. @en
  • Creative Workshop Management Ontology (CWMO) - an ontology designed to describe the creative workshop domain, to permit reasoning on creative method and to describe resources gathered inside Creative Support System. The primary goal of the ontology is to cover all knowledge about creative workshop and creative method necessary for Creative support system. The second goal is to provide interoperability between distributed Creative Support System. @en
  • Combined with the EBU Class Conceptual Data Model (CCDM) of simple business objects, EBUCore provides the appropriate framework for descriptive and technical metadata for use in Service Oriented Architectures and also in audiovisual ontologies for semantic web and linked data developments. @en
  • The ECLAP vocabulary provide classes and properties for the description of multimedia content related with performing arts. @en
  • Vocabulary for describing common webpages provided by an organisation @en
  • An RDF vocabulary to describe and facilitate the usage of a Multidimensional Interface. @en
  • In order to enable and encourage the sharing, distribution, syndication, and aggregation of media content, the authors propose the Media RDF vocabulary, an open standard for distributed media metadata. @en
  • The Media Value Chain Ontology (MVCO) is an ontology for formalizing the representation of the Media Value Chain. It couples naturally with the MPEG-21 multimedia framework, and its standardization as Part 19 of this ISO/IEC standard is underway (at the editing time of this document). @en
  • OntoMedia (Ontology for Media) has been designed to describe the interactions occurring in multimedia. @en
  • This ontology aims at providing a simple vocabulary for describing programmes. It covers brands, series (seasons), episodes, broadcast events, broadcast services, etc. @en
  • OntoMedia (Ontology for Media) has been designed to describe the traits of entities. @en
  • This ontology, called VIR, is an extension of CIDOC-CRM created to sustain propositions on the nature of visual elements and permit these descriptions to be published on the Web. With the term visual element, we refer to those signs identified in the visual space as distinct and documentable units, and subject to an analytical interpretation. The scope of this ontology is to s to provide a framework to support the identification, annotation and interconnections between diverse visual elements and presents and assist their documentation and retrieval. Specifically, the model aims to clarify the identity and the relation of these visual signs, providing the necessary classes to characterise their constituent elements, reference, symbolic content and source of interpretation. VIR expands on key entities and properties from CIDOC-CRM, introducing new classes and relationships responding to the visual and art historical community, specifically building up on the iconographical tradition. The result is a model which differentiates between interpretation and element identified, providing a clear distinction between denotation and signification of an element. As a consequence of such distinction, the ontology allows for the definition of diverse denotative criteria for the same representation, which could change based on traditions and perspective. Visual objects can be, in fact, polysemic and ambiguous, and it is not so easy to pin down a denotative or connotative meaning because they are very much context-dependent. @en