AudioVisual Collage: A computational Framework For Audiovisual Composition and Computational Art

This thesis proposes a novel system for audiovisual composition called AudioVisual Collage. It consists of a screen-based interactive system, which contains a series of algorithms responsible for automating the tasks of image segmentation, inpainting, virtual camera motion, 3D lighting, visual transitions and visual motion generated from data extracted from audio files. With the merging of theory and practice, this research project investigates new possibilities, new approaches, and alternative examples of what can be explored in the field of computational art so as to offer a computational framework embodying a set of conceptual principles for digital fine arts practice. The set of algorithms that constitute the AudioVisual Collage framework embody a collection of digital design techniques and artistic concepts created through an iterative, collaborative process with other artists, in which I acted as the sole computational practitioner. The two collaborative projects presented in this thesis, Surround Sounds and Interactive Art Gallery, are part of an on-going creation of case studies, which have allowed me to better understand a series of approaches and methods, leading to the design of a framework to successfully communicate and apply specific creative ideas. AudioVisual Collage is a framework that allows other artists and designers to create their own audiovisual aesthetic experiences, generating rich media outcomes constructed by software in real time. That is, the system incorporates approaches from traditional media, such as sound recording and cinema, in order to generate new computational media based on a set of clear design principles. It also proposes an art vocabulary for audiovisual composition in the digital domain, which aims to deliver something unique in terms of the inherent potential of digital work that is not possessed by other media. AudioVisual Collage demonstrates an approach for manipulating the temporal structure and spatial organisation of visual elements so as to reflect their content, and also, a method for combining visual artworks and sound in the creation of algorithmic screen based aesthetic experiences. Equally important, it is in itself a statement of what could be possibly developed in terms of algorithms for audiovisual composition in the filed of computational art

Multilingual sentiment analysis in social media.

252 p.This thesis addresses the task of analysing sentiment in messages coming from social media. The ultimate goal was to develop a Sentiment Analysis system for Basque. However, because of the socio-linguistic reality of the Basque language a tool providing only analysis for Basque would not be enough for a real world application. Thus, we set out to develop a multilingual system, including Basque, English, French and Spanish.The thesis addresses the following challenges to build such a system:- Analysing methods for creating Sentiment lexicons, suitable for less resourced languages.- Analysis of social media (specifically Twitter): Tweets pose several challenges in order to understand and extract opinions from such messages. Language identification and microtext normalization are addressed.- Research the state of the art in polarity classification, and develop a supervised classifier that is tested against well known social media benchmarks.- Develop a social media monitor capable of analysing sentiment with respect to specific events, products or organizations

Multilingual sentiment analysis in social media.

252 p.This thesis addresses the task of analysing sentiment in messages coming from social media. The ultimate goal was to develop a Sentiment Analysis system for Basque. However, because of the socio-linguistic reality of the Basque language a tool providing only analysis for Basque would not be enough for a real world application. Thus, we set out to develop a multilingual system, including Basque, English, French and Spanish.The thesis addresses the following challenges to build such a system:- Analysing methods for creating Sentiment lexicons, suitable for less resourced languages.- Analysis of social media (specifically Twitter): Tweets pose several challenges in order to understand and extract opinions from such messages. Language identification and microtext normalization are addressed.- Research the state of the art in polarity classification, and develop a supervised classifier that is tested against well known social media benchmarks.- Develop a social media monitor capable of analysing sentiment with respect to specific events, products or organizations

The sound effect: a study in radical sound design

This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects. The design follows an iterative cycle of research and creative practice that integrates theory, practice and empirical approaches. The research makes an initial contribution to the field of sound studies by re-appraising the work of pioneers in the field—Pierre Schaeffer and R. Murray Schafer—in light of the concept of the sonic effect. This concept is developed as an effective tool for both sound studies and sound design. This theoretical work attempts to critically and creatively examine the ontology or mode of existence of sonic phenomena and is informed by the post-structural theory of the effect. The theory of the sonic effect is empirically investigated by examining verbal accounts of listening experience elicited by semi-structured interview. Finally, having deconstructed sonic phenomena in terms of their potential to be actualised in diverse contexts, sonic effects are interrogated as a creative strategy in the field of sound design for performance and installed sonic art. Two projects are documented. One is a hybrid live performance installation utilising a novel software design for sound composition and projection. The other is a sound installation work demonstrating a novel loudspeaker design for the creation of very dense sound fields. In this context, design occurs as an effect at the intersection of new technologies of sound production and the production of audible sense. This approach enacts a radical pragmatism that underlies the radical sound design strategy outlined in the thesis

Embodied gestures

This is a book about musical gestures: multiple ways to design instruments, compose musical performances, analyze sound objects and represent sonic ideas through the central notion of ‘gesture’. The writers share knowledge on major research projects, musical compositions and methodological tools developed among different disciplines, such as sound art, embodied music cognition, human-computer interaction, performative studies and artificial intelligence. They visualize how similar and compatible are the notions of embodied music cognition and the artistic discourses proposed by musicians working with ‘gesture’ as their compositional material. The authors and editors hope to contribute to the ongoing discussion around creative technologies and music, expressive musical interface design, the debate around the use of AI technology in music practice, as well as presenting a new way of thinking about musical instruments, composing and performing with them

Embodied gestures

This is a book about musical gestures: multiple ways to design instruments, compose musical performances, analyze sound objects and represent sonic ideas through the central notion of ‘gesture’. The writers share knowledge on major research projects, musical compositions and methodological tools developed among different disciplines, such as sound art, embodied music cognition, human-computer interaction, performative studies and artificial intelligence. They visualize how similar and compatible are the notions of embodied music cognition and the artistic discourses proposed by musicians working with ‘gesture’ as their compositional material. The authors and editors hope to contribute to the ongoing discussion around creative technologies and music, expressive musical interface design, the debate around the use of AI technology in music practice, as well as presenting a new way of thinking about musical instruments, composing and performing with them