Exploring Chinese poetry using Adobe Spark Video

This tutorial offers Chinese learners from lower-intermediate to advanced level a digital approach to exploring Chinese language and culture through poetry, using a free educational tool: Adobe Spark Video. Based on a multimodal (verbal, visual and textual) and transmedia (from abstract text to digital production) approach, it provides learners with a step-by-step guide to synchronising a selected Chinese poem with recorded recitation as well as corresponding images and music. Grounded in the concept of digitally mediated learning, this activity aims to enhance learners’ autonomy, creativity and participation in the process of foreign language acquisition (Hourigan & Murray). In following this process, learners will have the opportunity to improve not only precision in their reading, listening and speaking skills, but also their understanding of the aesthetics of Chinese literature. Such an approach is particularly relevant to the learning of Chinese, given that tone, prosody and melodic movements are considered distinctive and crucial in Chinese speech, notably in literary genres such as poetry, making poetry recitation an important cultural and pedagogical (though not often practised) aspect of studying the language. Furthermore, in producing an audio-visual illustration, learners are engaged in a process of cultural decoding and recoding linguistically and digitally, thus also deepening their understanding of Chinese cultural and historical traditions in which this poetry is embedded. While this tutorial makes its demonstration through a classical Chinese poem, ‘A Quatrain’ by Du Fu (712–770 ce), the digital tool and method can be applied to other types of Chinese literary text or to the learning of other languages and cultures. This tutorial can be used by learners independently for self-study or by teachers to complement other learning activities. It is adaptable for either university courses or non-accredited lifelong learning. The tutorial will explain the detailed technical process step by step and provides a demo video to showcase the product. It is recommended that the activity is further facilitated by input on the language and background of Chinese poetic traditions where appropriate

INSAM Journal of Contemporary Music, Art and Technology 11 (II/2023)

As was the case with the two issues in the previous year, in 2023 the Editorial Board of the INSAM Journal of Contemporary Music, Art and Technology decided to dedicate both issues to the same main theme – “Technological Aspects of Contemporary Artistic and Scientific Research”. Seeing that this subject cannot be so easily exhausted, we are presenting to you another rich and insightful issue

Proceedings of the Ubiquitous Music Symposium - ubimus2022

Following the nice experiences of hybrid and remote events held in Porto Seguro, Bahia, Brazil in 2020 and Porto, Portugal, in 2021, this year our community decided to fully embrace the remote modality. The event was hosted by our partners at the State University of Paraná (Unespar), located in Curitiba, Brazil, under the able coordination of Felipe de Almeida Ribeir

Using Real-Time Data Flux In Art – The Mediation Of A Situation As It Unfolds: RoadMusic – An Experimental Case Study.

The practice driving this research is called RoadMusic. The project uses a small computer based system installed in a car that composes music from the flux of information it captures about the journey as it unfolds. It uses a technique known as sonification that consists of mapping data to sound. In the case of RoadMusic, this data capture is realtime, external to the computer and mobilised with the user. This dissertation investigates ways in which such a sonification can become an artistic form. To interrogate the specificity of an art of real-time it considers philosophical theories of the fundamental nature of time and immediacy and the ways in which the human mind ‘makes sense’ of this flux. After extending this scrutiny via theories of system and environment, it proceeds to extract concepts and principles leading to a possible art of real-time flux. Time, immediacy and the everyday are recurring questions in art and music, this study reviews practices that address these questions, essentially through three landmark composers of the twentieth century: Iannis Xenakis, John Cage and Murray Schafer. To gain precision in regards to the nature of musical listening it then probes theories of audio cognition and reflects on ways in which these can apply to real-time composing. The art of sonifying data extracted from the environment is arguably only as recent as the computer programs it depends on. This study reviews different practices that contribute towards a corpus of sonification-art, paying special attention to those practices where this process takes place in real-time. This is extended by an interrogation of the effect that mobility has on our listening experience. RoadMusic is now a fully functional device generating multi-timbral music from immediate data about its surroundings. This dissertation argues that this process can be an alternative to mainstream media systems; it describes how RoadMusic’s programs function and the ways in which they have evolved to incorporate the ideas developed in this thesis. It shows how RoadMusic is now developing beyond my own personal practice and how it intends to reach a wider audience

Proceedings of EVA London 2024

The Electronic Visualisation and the Arts London 2024 Conference (EVA London 2024) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. As for 2022, the EVA London 2023 Conference is a physical and online “hybrid” conference. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, in full colour. The main conference presentations run during 10–13 July 2023, with workshops and other activities, especially for students, on 14 July 2023

从联机目录到大数据:英语世界中国古典文学数字化传播

英语世界中国古典文学数字化传播体现了信息科技和文学遗产彼此结合的趋势。自20世纪60年代以来,它经历了分别以联机目录与索引、数据库与万维网、三网融合与全媒体为标志的三个发展阶段,其显著特征是数据化、网络化与交互化。它的贡献表现在为英语世界新媒体艺术创作提供新契机、为相关国家文化产业提供新的增长点、为我国文学遗产跨文化传播提供新视野等方面。教育部哲学社会科学研究重大课题攻关项目“英语世界中国文学的译介与研究”(项目编号:12JZD016)子课题的研究成

Dataremix: Aesthetic Experiences of Big Data and Data Abstraction

This PhD by published work expands on the contribution to knowledge in two recent large-scale transdisciplinary artistic research projects: ATLAS in silico and INSTRUMENT | One Antarctic Night and their exhibited and published outputs. The thesis reflects upon this practice-based artistic research that interrogates data abstraction: the digitization, datafication and abstraction of culture and nature, as vast and abstract digital data. The research is situated in digital arts practices that engage a combination of big (scientific) data as artistic material, embodied interaction in virtual environments, and poetic recombination. A transdisciplinary and collaborative artistic practice, x-resonance, provides a framework for the hybrid processes, outcomes, and contributions to knowledge from the research. These are purposefully and productively situated at the objective | subjective interface, have potential to convey multiple meanings simultaneously to a variety of audiences and resist disciplinary definition. In the course of the research, a novel methodology emerges, dataremix, which is employed and iteratively evolved through artistic practice to address the research questions: 1) How can a visceral and poetic experience of data abstraction be created? and 2) How would one go about generating an artistically-informed (scientific) discovery? Several interconnected contributions to knowledge arise through the first research question: creation of representational elements for artistic visualization of big (scientific) data that includes four new forms (genomic calligraphy, algorithmic objects as natural specimens, scalable auditory data signatures, and signal objects); an aesthetic of slowness that contributes an extension to the operative forces in Jevbratt’s inverted sublime of looking down and in to also include looking fast and slow; an extension of Corby’s objective and subjective image consisting of “informational and aesthetic components” to novel virtual environments created from big 3 (scientific) data that extend Davies’ poetic virtual spatiality to poetic objective | subjective generative virtual spaces; and an extension of Seaman’s embodied interactive recombinant poetics through embodied interaction in virtual environments as a recapitulation of scientific (objective) and algorithmic processes through aesthetic (subjective) physical gestures. These contributions holistically combine in the artworks ATLAS in silico and INSTRUMENT | One Antarctic Night to create visceral poetic experiences of big data abstraction. Contributions to knowledge from the first research question develop artworks that are visceral and poetic experiences of data abstraction, and which manifest the objective | subjective through art. Contributions to knowledge from the second research question occur through the process of the artworks functioning as experimental systems in which experiments using analytical tools from the scientific domain are enacted within the process of creation of the artwork. The results are “returned” into the artwork. These contributions are: elucidating differences in DNA helix bending and curvature along regions of gene sequences specified as either introns or exons, revealing nuanced differences in BLAST results in relation to genomics sequence metadata, and cross-correlation of astronomical data to identify putative variable signals from astronomical objects for further scientific evaluation

Proceedings of the 6th International Workshop on Folk Music Analysis, 15-17 June, 2016

The Folk Music Analysis Workshop brings together computational music analysis and ethnomusicology. Both symbolic and audio representations of music are considered, with a broad range of scientific approaches being applied (signal processing, graph theory, deep learning). The workshop features a range of interesting talks from international researchers in areas such as Indian classical music, Iranian singing, Ottoman-Turkish Makam music scores, Flamenco singing, Irish traditional music, Georgian traditional music and Dutch folk songs. Invited guest speakers were Anja Volk, Utrecht University and Peter Browne, Technological University Dublin