123 research outputs found

    Función resumen perceptual para verificación de integridad en audio forense

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    In this work we propose a function that allows to calculate a summary code from the parameters of a voice signal. This function is based on ordering of spectral coefficients obtained by means of the application of the Fast Fourier Transform (FFT), using a locally generated reference function (Gaussian random noise). The proposed method is oriented to the verification of integrity in forensic voice signals. The proposed methodology has a perceptual approach, which implies that the resulting code is maintained, even when modifications are made, particularly those that do not affect the sensitive content of the signal, such as re-quantization processes.En este artículos se propone una función que permite calcular un código resumen a partir de los parámetros de una señal de voz. Esta función está basada en el ordenamiento de los coeficientes espectrales en un proceso de imitación entre el espectro de la señal de voz y el espectro de una señal de ruido gaussiano generada localmente. El método de función resumen está orientado a la verificación de integridad forense en señales de voz, con un enfoque perceptual, que implica que la función resumen no cambia si la señal sufre modificaciones que no alteran el contenido (como re-cuantización), pero que si cambia ante modificaciones como recorte y adición de ruido. Se realizaron diversas pruebas para verificar el enfoque perceptual del método resumen propuesto y se compararon los resultados frente a modificaciones utilizando métodos tradicionales

    Technology and ontology in electronic music : Mego 1994-present

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    The Vienna based record label Mego is known for establishing an uncompromising, radically experimental electronic music in the 1990s. This thesis considers the work of various different artists on the label, examining in particular their approaches to technology. The artists discussed appear to share an approach that I describe as pragmatic or experimental, which I contrast with idealist or rational approaches. In the latter, music appears to be understood within the framework of a simplistic model of communication, where technology is seen as a medium that should be transparent, allowing the music to pass unaffected. In the pragmatic approach however, I claim that technology is not seen not as a medium for the communication of ideas, but rather as a source of ideas. Implications follow for the ontology of the music. In the simplistic model of communication, physical sound can be considered merely a representation of something more abstract: musical form conceived by the composer. But if music is materially constructed and based on experimentation with the technology at hand, then the sound should not be considered a representation; there is no preconceived idea for it to be a representation of. This concept, which I refer to as 'literalism', is explored in a number of musical examples, and I link it to a definition of noise

    Ballads and Ohms: Vocal traditions, electronics and compositional strategies

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    This commentary presents the research and ideas underlying the submitted portfolio of compositions. The core of the portfolio is the exploration of composition and performance methods for transforming traditional vocal folk music using the tools and aesthetics of contemporary electroacoustic and experimental music. The process also led to a wider compositional enquiry into the connections between language and music, between technology and performance, and between scores, encryption and performance. Additionally, extended voice techniques, audio processing, information theory and encryption form a set of nodes that have expressed themselves in various combinations resulting in a portfolio that includes vocal and instrumental, electroacoustic and acoustic music. The submitted works have been created employing bespoke use of technology, selfimposed restriction on real-time voice performance and applying encryption methodology to music and text. This commentary examines the submitted works from three perspectives: the use of voice, of language and of technology. It also discusses the music in the context of perceptual and cognitive discourses about the nature of voice

    Beyond unwanted sound : noise, affect and aesthetic moralism

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    PhD ThesisThis thesis uses Baruch Spinoza’s notion of affect to critically rethink the correlation between noise, ‘unwantedness’ and ‘badness’. Against subject-oriented definitions, which understand noise to be constituted by a listener; and object-oriented definitions, which define noise as a type of sound; I focus on what it is that noise does. Using the relational philosophy of Michel Serres in combination with Spinoza’s philosophy of affects, I posit noise as a productive, transformative force and a necessary component of material relations. I consider the implications of this affective and relational model for two lineages: what I identify as a ‘conservative’ politics of silence, and a ‘transgressive’ politics of noise. The former is inherent to R. Murray Schafer’s ‘aesthetic moralism’, where noise is construed as ‘bad’ to silence’s ‘good’. Instead, I argue that noise’s ‘badness’ is secondary, relational and contingent. This ethico-affective understanding thus allows for silence that is felt to be destructive and noise that is pleasantly serendipitous. Noise’s positively productive capacity can be readily exemplified by the use of noise within music, whereby noise is used to create new sonic sensations. An ethicoaffective approach also allows for an affirmative (re)conceptualization of noise music, which moves away from rhetoric of failure, taboo and contradiction. In developing a relational, ethico-affective approach to noise, this thesis facilitates a number of key conceptual shifts. Firstly, it serves to de-centre the listening subject. According to this definition, noise does not need to be heard as unwanted in order to exist; indeed, it need not be heard at all. Secondly, this definition no longer constitutes noise according to a series of hierarchical dualisms. Consequently, the structural oppositions of noise/signal, noise/silence and noise/music are disrupted. Finally, noise is understood to be ubiquitous and foundational, rather than secondary and contingent: it is inescapable, unavoidable and necessary

    Making Speech-Matter: Recurring Mediations in Sound Poetics and its Contemporary Practice

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    This thesis produces a critical and creative space for new forms of sound poetics. Through a reflective process combining theoretical research and poetic practice – performances, text-scores and installations – the thesis tests the contemporary terms of intermedial poetics and sound poetry, establishing a conceptual terminology for speech-matter. Beginning with a study of 1960s sound poet Henri Chopin and his relation to the tape machine, I argue that this technological mediation was based on a poetics of analogue sound hinged on bodily engagement. Social and physical properties of the tape machine contribute to a mode of practice that negotiates the body, machine, and effort. Exploring Michel Serres’s concept of parasitic noise and the relation of interference to lyric appeal, via the work of Denise Riley and Hannah Weiner, I understand sound poetics as a product of lyrically active noise. Through an analysis of radio address, a conceptual link is drawn between lyric poetry and technological mediation, which posits the radiophonic as a material effect of transmission and also a mode of hailing. This is tested through sound poems that are investigative of distortion and echo. Addressing the conceptual limits of Intermedia, a new critical model is established for a poetics of sound operating in present-day media technologies. This alternative model, based on a concept of milieu, is a means of negotiating a poem’s materiality and context, in order to posit a work’s multiple connections and transmissions. This model is tested through the text and installation work of Caroline Bergvall, and subsequently realised in my own gallery installation that investigates links between sound, milieu and archive. Through this research into mediated speech, new platforms for intermedial sound poetics are produced. This project offers a model for practice-based research that produces knowledge of speech-matter by way of the ‘black box’ of poetic practice

    The Material Poetics of Digital Voice: A Creative-Critical Inquiry

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    This dissertation theorizes the aesthetic and ethical potential of digital voice as a material for composing and (re)inventing texts in multimedia platforms. Traditionally, the field of composition and rhetoric has imagined voice as either a silent textual metaphor or an embodied instrument of live oratory. However, as we turn to embrace digital writing, voice reemerges in a new form, no longer reducible to language nor tied to the time and place of the live speaking body. Building on recent discussions of orality and aurality, I argue that we must also attend to a related but distinct concept of vocality—as a newly accessible compositional material, which raises complex questions about the relationship between language, bodies, and technologies in digital composing contexts. Providing a survey of the ways that voice has been employed in composition and rhetoric over the past half-century, I argue that the inventive potential of voice is constrained by linguistic and representational values that we continue to ascribe to recorded voices in the age of digital reproducibility. Next, I draw on interdisciplinary theories of voice from philosophy, physiology, film, and digital aesthetics in order to rearticulate voice’s relationship to language, bodies, and technologies, and to propose a more flexible, material theory of digital vocality. Finally, I put this theory to work through a pair of critically informed media projects, which experiment with voice’s affective, performative, malleable potential across media platforms. In a video series, Coerced Confessions, I employ a technique of reverse remix to digitally “coerce” reenactments of real-life confessions from the bodies of unwitting actors, reflecting on the materiality of language and the boundaries of performance and agency in digital editing. In an experiment in posthumous poetics, I take up recorded voices of deceased individuals from oral history archives and reimagine them as “actors” or “performers” in a fictional audio drama, considering possibilities for collaboration with archival voices of the dead. Ultimately, by taking seriously the possibility that we might write not only with words, but with voices, my dissertation contributes a more expansive sense of the methods, materials, and ethics available to contemporary composition practice

    Content Control: The Motion Picture Association of America's Patrolling of Internet Piracy in America, 1996-2008

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    This historical and political economic investigation aims to illustrate the ways in which the Motion Picture Association of America radically revised their methods of patrolling and fighting film piracy from 1996-2008. Overall, entertainment companies discovered the World Wide Web to be a powerful distribution outlet for cultural works, but were suspicious that the Internet was a Wild West frontier requiring regulation. The entertainment industry's guiding belief in regulation and strong protection were prompted by convictions that once the copyright industries lose control, companies quickly submerge like floundering ships. Guided by fears regarding film piracy, the MPAA instituted a sophisticated and seemingly impenetrable "trusted system" to secure its cultural products online by crafting relationships and interlinking the technological, legal, institutional, and rhetorical in order to carefully direct consumer activity according to particular agendas. The system created a scenario in which legislators and courts of law consented to play a supportive role with privately organized arrangements professing to serve the public interest, but the arrangements were not designed for those ends. Additionally, as cultural products became digitized consumers experienced a paradigm shift that challenged the concept of property altogether. In the digital world the Internet gives a consumer access to, rather than ownership of, cultural products in cyberspace. The technology granting consumers, on impulse, access to enormous amounts of music and films has been called, among many things, the "celestial jukebox." Regardless of what the technology is called, behind the eloquent veneer is the case in point of a systematic corrosion of consumer rights that, in the end, results in an unfair exchange between the content producers and consumers. What is the relationship of the MPAA to current piracy practices in America? How will Hollywood's enormous economic investment in content control affect future film distribution, exhibition, and consumer reception? Through historical analysis regarding the MPAA's campaign against film piracy along with interviews from key media industry personnel and the pirate underground, this contemporary illustration depicts how the MPAA secures its content for Internet distribution, and defines and criticizes the legal and technological controls that collide with consumer freedoms
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