Multi-Sensory Interaction for Blind and Visually Impaired People

This book conveyed the visual elements of artwork to the visually impaired through various sensory elements to open a new perspective for appreciating visual artwork. In addition, the technique of expressing a color code by integrating patterns, temperatures, scents, music, and vibrations was explored, and future research topics were presented. A holistic experience using multi-sensory interaction acquired by people with visual impairment was provided to convey the meaning and contents of the work through rich multi-sensory appreciation. A method that allows people with visual impairments to engage in artwork using a variety of senses, including touch, temperature, tactile pattern, and sound, helps them to appreciate artwork at a deeper level than can be achieved with hearing or touch alone. The development of such art appreciation aids for the visually impaired will ultimately improve their cultural enjoyment and strengthen their access to culture and the arts. The development of this new concept aids ultimately expands opportunities for the non-visually impaired as well as the visually impaired to enjoy works of art and breaks down the boundaries between the disabled and the non-disabled in the field of culture and arts through continuous efforts to enhance accessibility. In addition, the developed multi-sensory expression and delivery tool can be used as an educational tool to increase product and artwork accessibility and usability through multi-modal interaction. Training the multi-sensory experiences introduced in this book may lead to more vivid visual imageries or seeing with the mind’s eye

Third International Conference on Technologies for Music Notation and Representation TENOR 2017

The third International Conference on Technologies for Music Notation and Representation seeks to focus on a set of specific research issues associated with Music Notation that were elaborated at the first two editions of TENOR in Paris and Cambridge. The theme of the conference is vocal music, whereas the pre-conference workshops focus on innovative technological approaches to music notation

KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202

Content-based retrieval of melodies using artificial neural networks

Human listeners are capable of spontaneously organizing and remembering a continuous stream of musical notes. A listener automatically segments a melody into phrases, from which an entire melody may be learnt and later recognized. This ability makes human listeners ideal for the task of retrieving melodies by content. This research introduces two neural networks, known as SONNETMAP and _ReTREEve, which attempt to model this behaviour. SONNET-MAP functions as a melody segmenter, whereas ReTREEve is specialized towards content-based retrieval (CBR). Typically, CBR systems represent melodies as strings of symbols drawn from a finite alphabet, thereby reducing the retrieval process to the task of approximate string matching. SONNET-MAP and ReTREEwe, which are derived from Nigrin’s SONNET architecture, offer a novel approach to these traditional systems, and indeed CBR in general. Based on melodic grouping cues, SONNETMAP segments a melody into phrases. Parallel SONNET modules form independent, sub-symbolic representations of the pitch and rhythm dimensions of each phrase. These representations are then bound using associative maps, forming a two-dimensional representation of each phrase. This organizational scheme enables SONNET-MAP to segment melodies into phrases using both the pitch and rhythm features of each melody. The boundary points formed by these melodic phrase segments are then utilized to populate the iieTREEve network. ReTREEw is organized in the same parallel fashion as SONNET-MAP. However, in addition, melodic phrases are aggregated by an additional layer; thus forming a two-dimensional, hierarchical memory structure of each entire melody. Melody retrieval is accomplished by matching input queries, whether perfect (for example, a fragment from the original melody) or imperfect (for example, a fragment derived from humming), against learned phrases and phrase sequence templates. Using a sample of fifty melodies composed by The Beatles , results show th a t the use of both pitch and rhythm during the retrieval process significantly improves retrieval results over networks that only use either pitch o r rhythm. Additionally, queries that are aligned along phrase boundaries are retrieved using significantly fewer notes than those that are not, thus indicating the importance of a human-based approach to melody segmentation. Moreover, depending on query degradation, different melodic features prove more adept at retrieval than others. The experiments presented in this thesis represent the largest empirical test of SONNET-based networks ever performed. As far as we are aware, the combined SONNET-MAP and -ReTREEue networks constitute the first self-organizing CBR system capable of automatic segmentation and retrieval of melodies using various features of pitch and rhythm

A programmer's environment for music analysis

A model for representing music scores in a form suitable for general processing by a music-analyst-programmer is proposed and implemented. Typical input to the model consists of one or more pieces of music which are encoded in a file-based score representation. File-based representations are in a form unsuited for general processing, as they do not provide a suitable level of abstraction for a programmer-analyst. Instead, a representation is created giving a programmer's view of the score. This frees the analyst-programmer from implementation details, that otherwise would form a substantial barrier to progress. The score representation uses an object-oriented approach to create a natural and robust software environment for the musicologist. The system is used to explore ways in which it could benefit musicologists. Methodologies for analysing music corpora are presented in a series of analytic examples which illustrate some of the potential of this model. Proving hypotheses or performing analysis on corpora involves the construction of algorithms. Some unique aspects of using this score model for corpus-based musicology are: - Algorithms impose a discipline which arises from the necessity for formalism. - Automatic analysis enables musicologists to complete tasks that otherwise would be infeasible because of limitations of their energy, attentiveness, accuracy and time

ECLAP 2012 Conference on Information Technologies for Performing Arts, Media Access and Entertainment

It has been a long history of Information Technology innovations within the Cultural Heritage areas. The Performing arts has also been enforced with a number of new innovations which unveil a range of synergies and possibilities. Most of the technologies and innovations produced for digital libraries, media entertainment and education can be exploited in the field of performing arts, with adaptation and repurposing. Performing arts offer many interesting challenges and opportunities for research and innovations and exploitation of cutting edge research results from interdisciplinary areas. For these reasons, the ECLAP 2012 can be regarded as a continuation of past conferences such as AXMEDIS and WEDELMUSIC (both pressed by IEEE and FUP). ECLAP is an European Commission project to create a social network and media access service for performing arts institutions in Europe, to create the e-library of performing arts, exploiting innovative solutions coming from the ICT

Proceedings of the 18th Irish Conference on Artificial Intelligence and Cognitive Science

These proceedings contain the papers that were accepted for publication at AICS-2007, the 18th Annual Conference on Artificial Intelligence and Cognitive Science, which was held in the Technological University Dublin; Dublin, Ireland; on the 29th to the 31st August 2007. AICS is the annual conference of the Artificial Intelligence Association of Ireland (AIAI)

Online opera: an applied collision of opera and web creativity

This practice-based research explores the collision of opera and web creativity through the development and evaluation of a new 'online opera' called "The Village" (2015). Contrasting existing offerings that position the web as a means of disseminating more familiar representations of opera, "The Village" draws on concepts of participatory culture, digital storytelling and co-creativity to advance a culturally novel apprehension of online opera that treats the web as a unique creative space. This interpretation is intrinsically digital, unable to be realised through conventional forms of theatrical presentation, and transformative in its approach to the core elements of opera. "The Village" in additional serves as a vehicle to investigate how the phenomenon of 'liveness' - that is, a feeling of 'now-ness' experienced in live performance - may be reimagined in the context of an entirely mediated opera. A range of theoretical perspectives are drawn on to establish a set of liveness devices that attempt to evoke in visitors to "The Village" a sense of contemporaneity and shared experience. These include temporal alignment between virtual and real-world events and the facilitation of social interaction through a narrative mechanism called the 'Digital Chorus', amongst others. Evaluative activities critique the effectiveness of such devices, and offer means in which they may be modified to better construct 'the live'