AutoTopography: what can physical mementos tell us about digital memories?

Current technology makes it possible to capture huge amounts of information related to everyday experiences. Despite this, we know little about the processes by which people identify and manage mementos - objects which are directly meaningful to their memories. Among the millions of objects people encounter in a lifetime, few become such reminders of people, places or events. We report fieldwork where participants gave us a tour of their homes describing how and why particular objects become mementos. Our findings extend the existing digital memory literature; first our participants didn't view their activities as experiential 'capture', nor were mementos limited to pictorial representations of people and events; instead they included everyday objects. Furthermore, mementos were not only displayed and shared, but also integrated into everyday activities. Finally there were complex relations between house location and memento type. We discuss the theoretical and technical implications of our work

Critical Performances

Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made between critical and performative interpretation, but its source lies in a difference between the authority of critical and performative interpretations

Using Principal Paths to Walk Through Music and Visual Art Style Spaces Induced by Convolutional Neural Networks

AbstractComputational intelligence, particularly deep learning, offers powerful tools for discriminating and generating samples such as images. Deep learning methods have been used in different artistic contexts for neural style transfer, artistic style recognition, and musical genre recognition. Using a constrained manifold analysis protocol, we discuss to what extent spaces induced by deep-learning convolutional neural networks can capture historical/stylistic progressions in music and visual art. We use a path-finding algorithm, called principal path, to move from one point to another. We apply it to the vector space induced by convolutional neural networks. We perform experiments with visual artworks and songs, considering a subset of classes. Within this simplified scenario, we recover a reasonable historical/stylistic progression in several cases. We use the principal path algorithm to conduct an evolutionary analysis of vector spaces induced by convolutional neural networks. We perform several experiments in the visual art and music spaces. The principal path algorithm finds reasonable connections between visual artworks and songs from different styles/genres with respect to the historical evolution when a subset of classes is considered. This approach could be used in many areas to extract evolutionary information from an arbitrary high-dimensional space and deliver interesting cognitive insights

Generative theatre of totality

Generative art can be used for creating complex multisensory and multimedia experiences within predetermined aesthetic parameters, characteristic of the performing arts and remarkably suitable to address Moholy-Nagy's Theatre of Totality vision. In generative artworks the artist will usually take on the role of an experience framework designer, and the system evolves freely within that framework and its defined aesthetic boundaries. Most generative art impacts visual arts, music and literature, but there does not seem to be any relevant work exploring the cross-medium potential, and one could confidently state that most generative art outcomes are abstract and visual, or audio. It is the goal of this article to propose a model for the creation of generative performances within the Theatre of Totality's scope, derived from stochastic Lindenmayer systems, where mapping techniques are proposed to address the seven variables addressed by Moholy-Nagy: light, space, plane, form, motion, sound and man ("man" is replaced in this article with "human", except where quoting from the author), with all the inherent complexities

How the United States funds the arts, third edition

This report looks at the infrastructure for arts and cultural support in the United States which is complex and adaptive. Citizens who enjoy the arts can choose from a wide array of drama, visual and media arts, dance, music, and literature available in formal and informal settings—theaters, museums, and concert halls, but also libraries, schools, places of worship, open-air venues, restaurants or nightclubs, and, via technology, at home or on the move. In the last two decades, the number of arts and cultural organizations has grown, even as revenues from sales and attendance have risen to all-time high levels. These trends coincided with growth in publishing, broadcasting, and other media industries, and the arrival of new technology platforms for arts creation