Sounding Out Stories: A Critical Analysis of The Prince, How To Become A Dictator, The King of Kowloon, Three Narrative Podcasts on Contemporary China

It’s unusual and welcome to see not one, but three, well-produced narrative podcasts made in the West about China. Hosted by female journalists with a Chinese background, all provide strong context on Chinese history and politics but focus essentially on an individual: The King of Kowloon (produced by the Australian Broadcasting Corporation) memorialises an eccentric graffiti artist called Tsang Tsou-choi, his art seen in the context of Hong Kong’s shrinking democracy. Both The Prince (by The Economist) and How To Become A Dictator (by The Telegraph) zero in on Xi JinPing, President of the People’s Republic of China, their release coinciding with the fifth annual Communist Party Congress in October 2022. There are many ways to ruin a narrative podcast. Unlike chatcasts, technical quality matters: intimacy, that cherished currency of podcasting, starts with a close mic. The deployment of voice, actuality, music and archival sound in the service of story makes a big difference to how engaged listeners will be. Underpinning all of this are the script and narrative structure. The host should be relatable, as a human being and in connection to the podcast theme. The script also has to link, foreshadow and clarify the various story elements, while the narrative arc works at both a micro level, providing a satisfying journey within each episode, and a macro, whereby thorny details and bum steers are explored, eliminated or developed, and by the end of the series, finally resolved—or at least exhausted. This article is an in-depth critique of these three narrative podcasts, analysing aspects from production/structure and craft/sound design to editorial/research, hosting, script and storytelling

China's iGeneration

Collection of essays on twenty-first century Chinese cinema and moving image culture. This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche

China's iGeneration

Collection of essays on twenty-first century Chinese cinema and moving image culture. This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche

Utilizing bots in delivering content from Kentico Cloud and Kentico EMS

This thesis explores an interesting and current topic of utilizing chatbots in content delivery. It defines the important terms and concepts for approaching the subject and offers a brief history of chatbots to provide some background on the topic. As the thesis is written for the software company Kentico, it specifically focuses on delivering content from Kentico Cloud and Kentico EMS software. Thus, the main research question the thesis aims to answer is what are the options for utilizing chatbots in delivering content from Kentico software. In order to achieve this goal, the thesis introduces the Kentico software and the available options, and then moves on to analyze their compatibility. As a result of the analysis, the thesis concludes that all of the considered options would be suitable for delivering content from the Kentico software. However, the extent of their suitability depends on what the user is looking for. While some options are better suited for complex implementations, they would also require more effort to develop. On the other hand, some of the options that offer more limited features do not require such wide technical knowledge and are faster to develop and set up

A comparison of mobile search interfaces for isiXhosa speakers

Search interfaces have for a long time been targeted at the resource-rich languages, such as English. There has been little effort to support African (Bantu) languages in search interfaces when compared to languages such as English, particularly the isiXhosa language. However, due to the increase in use of mobile phones in developing countries, these interfaces can now be adapted to languages in these settings to support information access on the Web. This study proposes mobile search interfaces to support isiXhosa speakers to search for information on the Web using isiXhosa as a discovery language. The isiXhosa language is considered a low-resourced African (Bantu) language spoken in resource-constrained environments in South Africa. The language is spoken by over eight million people. Yet, there has been no search interface specifically targeted at supporting isiXhosa speakers. Two mobile search interfaces were developed on an Android application. The interfaces were text based and voice based. The design of the interfaces was based on feedback from 4 native isiXhosa speakers in a design focus group, and guidelines from the literature. Using the developed interfaces, an experiment was conducted with 34 native isiXhosa speaking students at the University of Cape Town, South Africa. This was done to investigate, which interface could better support isiXhosa speakers to search for information on the Web using mobile phones. Quantitative data was collected using application log files. Additionally, user feedback was then obtained using the standard Software Usability Measurement Inventory (SUMI) instrument, and both interfaces were confirmed as usable. In contrast to what was expected, users preferred the text interface in general, and according to most SUMI subscales. This could be because of greater familiarity with text search interfaces or because of the relative scarcity of voice interfaces in African (Bantu) languages. Where users are not literate, the voice interface may be the only option, so the fact that it was deemed usable is an important independent finding. Search in African (Bantu) language collections is still a largely unexplored field, and more work needs to be done on the interfaces as the algorithms and collections are developed in parallel

Unmute This: Circulation, Sociality, and Sound in Viral Media

Cats at keyboards. Dancing hamsters. Giggling babies and dancing flashmobs. A bi-colored dress. Psy’s “Gangnam Style” music video. Over the final decade of the twentieth century and the first decades of the twenty-first, these and countless other examples of digital audiovisual phenomena have been collectively adjectivally described through a biological metaphor that suggests the speed and ubiquity of their circulation—“viral.” This circulation has been facilitated by the internet, and has often been understood as a product of the web’s celebrated capacities for democratic amateur creation, its facilitation of unmediated connection and sharing practices. In this dissertation, I suggest that participation in such phenomena—the production, watching, listening to, circulation, or “sharing” of such objects—has constituted a significant site of twenty-first-century musical practice. Borrowing and adapting Christopher Small’s influential 1998 coinage, I theorize these strands of practice as viral musicking. While scholarship on viral media has tended to center on visual parameters, rendering such phenomena silent, the term “viral musicking” seeks to draw media theory metaphors of voice and listening into dialogue with musicology, precisely at the intersection of audiovisual objects which are played, heard, listened to. The project’s methodology comprises a sonically attuned media archeology, grounded in close readings of internet artifacts and practices; this sonic attunement is afforded through musicological methods, including analyses of genre, aesthetics, and style, discourse analysis, and twenty-first-century reception (micro)histories across a dynamic media assemblage. By analyzing particular ecosystems of platforms, behavior, and devices across the first decades of the twenty-first century, I chart a trajectory in which unpredictable virtual landscapes were tamed into entrenched channels and pathways, enabling a capacious “virality” comprising disparate phenomena from simple looping animations to the surprise release of Beyoncé’s 2013 album. Alongside this narrative, I challenge utopian claims of Web 2.0’s digital democratization by explicating the iterative processes through which material, work, and labor were co-opted from amateur content creators and leveraged for the profit of established media and corporate entities. “Unmute This” articulates two main arguments. First, that virality reified as a concept and set of dynamic-but-predictable processes over the course of the first decades of the twenty-first century; this dissertation charts a cartography of chaos to control, a heterogeneous digital landscape funneled into predictable channels and pathways etched ever more firmly and deeply across the 2010s. Second, that analyzing the musicality of viral objects, attending to the musical and sonic parameters of virally-circulating phenomena, and thinking of viral participation as an extension of musical behavior provide a productive framework for understanding the affective, generic, and social aspects of twenty-first-century virality. The five chapters of the dissertation present analyses of a series of viral objects, arranged roughly chronologically from the turn of the twenty-first century to the middle of the 2010s. The first chapter examines the loops of animated phenomena from The Dancing Baby to Hampster Dance and the Badgers animation; the second moves from loops to musicalization, considering remixing approaches to the so-called “Bus Uncle” and “Bed Intruder” videos. The third chapter also deals with viral remixing, centering around Rebecca Black’s “Friday” video, while the fourth chapter analyzes “unmute this” video posts in the context of the mid-2010s social media platform assemblage. The final chapter presents the 2013 surprise release of Beyoncé’s self-titled visual album as an apotheosis to the viral narratives that precede it—a claim that is briefly interrogated in the dissertation’s epilogue

GREC: Multi-domain Speech Recognition for the Greek Language

Μία από τις κορυφαίες προκλήσεις στην Αυτόματη Αναγνώριση Ομιλίας είναι η ανάπτυξη ικανών συστημάτων που μπορούν να έχουν ισχυρή απόδοση μέσα από διαφορετικές συνθήκες ηχογράφησης. Στο παρόν έργο κατασκευάζουμε και αναλύουμε το GREC, μία μεγάλη πολυτομεακή συλλογή δεδομένων για αυτόματη αναγνώριση ομιλίας στην ελληνική γλώσσα. Το GREC αποτελείται από τρεις βάσεις δεδομένων στους θεματικούς τομείς των «εκπομπών ειδήσεων», «ομιλίας από δωρισμένες εγγραφές φωνής», «ηχητικών βιβλίων» και μιας νέας συλλογής δεδομένων στον τομέα των «πολιτικών ομιλιών». Για τη δημιουργία του τελευταίου, συγκεντρώνουμε δεδομένα ομιλίας από ηχογραφήσεις των επίσημων συνεδριάσεων της Βουλής των Ελλήνων, αποδίδοντας ένα σύνολο δεδομένων που αποτελείται από 120 ώρες ομιλίας πολιτικού περιεχομένου. Περιγράφουμε με λεπτομέρεια την καινούρια συλλογή δεδομένων, την προεπεξεργασία και την ευθυγράμμιση ομιλίας, τα οποία βασίζονται στο εργαλείο ανοιχτού λογισμικού Kaldi. Επιπλέον, αξιολογούμε την απόδοση των μοντέλων Gaussian Mixture (GMM) - Hidden Markov (HMM) και Deep Neural Network (DNN) - HMM όταν εφαρμόζονται σε δεδομένα από διαφορετικούς τομείς. Τέλος, προσθέτουμε τη δυνατότητα αυτόματης δεικτοδότησης ομιλητών στο Kaldi-gRPC-Server, ενός εργαλείου γραμμένο σε Python που βασίζεται στο PyKaldi και στο gRPC για βελτιωμένη ανάπτυξη μοντέλων αυτόματης αναγνώρισης ομιλίας.One of the leading challenges in Automatic Speech Recognition (ASR) is the development of robust systems that can perform well under multiple settings. In this work we construct and analyze GREC, a large, multi-domain corpus for automatic speech recognition for the Greek language. GREC is a collection of three available subcorpora over the domains of “news casts”, “crowd-sourced speech”, “audiobooks”, and a new corpus in the domain of “public speeches”. For the creation of the latter, HParl, we collect speech data from recordings of the official proceedings of the Hellenic Parliament, yielding, a dataset which consists of 120 hours of political speech segments. We describe our data collection, pre-processing and alignment setup, which are based on Kaldi toolkit. Furthermore, we perform extensive ablations on the recognition performance of Gaussian Mixture (GMM) - Hidden Markov (HMM) models and Deep Neural Network (DNN) - HMM models over the different domains. Finally, we integrate speaker diarization features to Kaldi-gRPC-Server, a modern, pythonic tool based on PyKaldi and gRPC for streamlined deployment of Kaldi based speech recognition