132 research outputs found

    INSAM Journal of Contemporary Music, Art and Technology 10 (I/2023)

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    Having in mind the foundational idea not only of our Journal but also the INSAM Institute itself, the main theme of this issue is titled “Technological Aspects of Contemporary Artistic and Scientific Research”. This theme was recognized as important, timely, and necessary by a number of authors coming from various disciplines. The (Inter)Views section brings us three diverse pieces; the issue is opened by Aida Adžović’s interview with the legendary Slovene act Laibach regarding their performance of the Wir sing das Volk project at the Sarajevo National Theater on May 9, 2023. Following this, Marija Mitrović prepared an interview with media artist Leon Eckard, concerning this artist’s views on contemporary art and the interaction between technology and human sensitivity. An essay by Alexander Liebermann on the early 20th-century composer Erwin Schulhoff, whose search for a unique personal voice could be encouraging in any given period, closes this rubric. The Main theme section contains seven scientific articles. In the first one, Filipa Magalhães, Inês Filipe, Mariana Silva and Henrique Carvalho explore the process and details of technological and artistic challenges of reviving the music theater work FE...DE...RI...CO... (1987) by Constança Capdeville. The second article, written by Milan Milojković, is dedicated to the analysis of historical composer Vojislav Vučković and his ChatGPT-generated doppelganger and opera. The fictional narrative woven around the actual historical figure served as an example of the current possibilities of AI in the domain of musicological work. In the next paper, Luís Arandas, Miguel Carvalhais and Mick Grierson expand on their work on the film Irreplaceable Biography, which was created via language-guided generative models in audiovisual production. Thomas Moore focuses on the Belgium-based Nadar Ensemble and discusses the ways in which the performers of the ensemble understand the concept of the integrated concert and distinguish themselves from it, specifying the broadening of performers’ competencies and responsibilities. In her paper, Dana Papachristou contributes to the discussion on the politics of connectivity based on the examination of three projects: the online project Xenakis Networked Performance Marathon 2022, 2023Eleusis Mystery 91_Magnetic Dance in Elefsina European Capital of Culture, and Spaces of Reflection offline PirateBox network in the 10th Berlin Biennale. The penultimate article in the section is written by Kenrick Ho and presents us with the author’s composition Flou for solo violin through the prism of the relationship between (historically present) algorithmic processes, the composer, and the performer. Finally, Rijad Kaniža adds to the critical discourse on the reshaping of the musical experience via technology and the understanding of said technology using the example of musique concrète. In the final Review section, Bakir Memišević gives an overview of the 13th International Symposium “Music in Society” that was held in Sarajevo in December 2022

    Deep Learning Techniques for Music Generation -- A Survey

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    This paper is a survey and an analysis of different ways of using deep learning (deep artificial neural networks) to generate musical content. We propose a methodology based on five dimensions for our analysis: Objective - What musical content is to be generated? Examples are: melody, polyphony, accompaniment or counterpoint. - For what destination and for what use? To be performed by a human(s) (in the case of a musical score), or by a machine (in the case of an audio file). Representation - What are the concepts to be manipulated? Examples are: waveform, spectrogram, note, chord, meter and beat. - What format is to be used? Examples are: MIDI, piano roll or text. - How will the representation be encoded? Examples are: scalar, one-hot or many-hot. Architecture - What type(s) of deep neural network is (are) to be used? Examples are: feedforward network, recurrent network, autoencoder or generative adversarial networks. Challenge - What are the limitations and open challenges? Examples are: variability, interactivity and creativity. Strategy - How do we model and control the process of generation? Examples are: single-step feedforward, iterative feedforward, sampling or input manipulation. For each dimension, we conduct a comparative analysis of various models and techniques and we propose some tentative multidimensional typology. This typology is bottom-up, based on the analysis of many existing deep-learning based systems for music generation selected from the relevant literature. These systems are described and are used to exemplify the various choices of objective, representation, architecture, challenge and strategy. The last section includes some discussion and some prospects.Comment: 209 pages. This paper is a simplified version of the book: J.-P. Briot, G. Hadjeres and F.-D. Pachet, Deep Learning Techniques for Music Generation, Computational Synthesis and Creative Systems, Springer, 201

    Intelligent Agents and Their Potential for Future Design and Synthesis Environment

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    This document contains the proceedings of the Workshop on Intelligent Agents and Their Potential for Future Design and Synthesis Environment, held at NASA Langley Research Center, Hampton, VA, September 16-17, 1998. The workshop was jointly sponsored by the University of Virginia's Center for Advanced Computational Technology and NASA. Workshop attendees came from NASA, industry and universities. The objectives of the workshop were to assess the status of intelligent agents technology and to identify the potential of software agents for use in future design and synthesis environment. The presentations covered the current status of agent technology and several applications of intelligent software agents. Certain materials and products are identified in this publication in order to specify adequately the materials and products that were investigated in the research effort. In no case does such identification imply recommendation or endorsement of products by NASA, nor does it imply that the materials and products are the only ones or the best ones available for this purpose. In many cases equivalent materials and products are available and would probably produce equivalent results

    Speaking on the record

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    Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (p. 258-273).Reading and writing have become the predominant way of acquiring and expressing intellect in Western culture. Somewhere along the way, the ability to write has become completely identified with intellectual power, creating a graphocentric myopia concerning the very nature and transfer of knowledge. One of the effects of graphocentrism is a conflation of concepts proper to knowledge in general with concepts specific to written expression. The words 'literate' and 'literacy' themselves are a simple case: their connotations sometimes focus on the process of reading text and sometimes on the kinds of knowledge that happen to be associated in our culture with people who read many books. This thesis has a conceptual and an empirical component. On the conceptual side a central task is to disengage certain concepts that have become conflated by defining new terms. Our vocabulary is insufficient to describe alternatives that serve some or all of the functions of writing and reading in a different modality. As a first step, I introduce a new word to provide a counterpart to writing in a spoken modality: speak + write = sprite. Spriting in its general form is the activity of speaking 'on the record' that yields a technologically-supported representation of oral speech with essential properties of writing such as permanence of record, possibilities of editing, indexing, and scanning, but without the difficult transition to a deeply different form of representation such as writing itself. This thesis considers a particular (still primitive compared with might come in the future) version of spriting in the form of two technology-supported representations of speech: (1) the speech ·in audible form, and (2) the speech in visible form.(cont.) The product of spriting is a kind of 'spoken' document, or talkument. As one reads a text, one may likewise aude a talkument. In contrast, I use the word writing for the manual activity of making marks, while text refers to the marks made. Making these distinctions is a small step towards envisioning a deep change in the world that might go beyond graphocentrism and come to appreciate spriting as the first step--but just the first--towards developing ways of manipulating spoken language, exemplified by turning it into a permanent record, permitting editing, indexing, searching and more. The empirical side of the thesis is confined to exploring implications of spriting in educational settings. I study one group of urban adults who are at elementary levels of reading and writing, and two groups of urban elementary school children who are of different ages, cultures and socioeconomic status, and who have appropriated writing as a tool for thought and expression to greater or lesser extents. One effect of graphocentrism in our culture is the very limited and constrained developmental path of literacy and learning. This has not always been the case. And it does not need to be so in the future. This thesis discusses some small ways in which we might re-value modes of expression in education closer to oral language than to writing. This thesis recognizes three ways in which spriting is relevant to education: (1) spriting can serve as a stepping stone to writing skills, (2) it can in some circumstances serve as a substitute for writing, and (3) it provides a window onto cognitive processes that are present but less apparent in the context of producing text.Tara Michelle Rosenberger Shankar.Ph.D

    Proceedings of the 7th Sound and Music Computing Conference

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    Proceedings of the SMC2010 - 7th Sound and Music Computing Conference, July 21st - July 24th 2010

    Measuring Information Security Awareness Efforts in Social Networking Sites – A Proactive Approach

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    For Social Network Sites to determine the effectiveness of their Information Security Awareness (ISA) techniques, many measurement and evaluation techniques are now in place to ensure controls are working as intended. While these techniques are inexpensive, they are all incident- driven as they are based on the occurrence of incident(s). Additionally, they do not present a true reflection of ISA since cyber-incidents are hardly reported. They are therefore adjudged to be post-mortem and risk permissive, the limitations that are inacceptable in industries where incident tolerance level is low. This paper aims at employing a non-incident statistic approach to measure ISA efforts. Using an object- oriented programming approach, PhP is employed as the coding language with MySQL database engine at the back-end to develop sOcialistOnline – a Social Network Sites (SNS) fully secured with multiple ISA techniques. Rather than evaluating the effectiveness of ISA efforts by success of attacks or occurrence of an event, password scanning is implemented to proactively measure the effects of ISA techniques in sOcialistOnline. Thus, measurement of ISA efforts is shifted from detective and corrective to preventive and anticipatory paradigms which are the best forms of information security approach

    1999-2001 Course Catalog

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    1999-2001 Course Catalo

    Designing Sound for Social Robots: Advancing Professional Practice through Design Principles

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    Sound is one of the core modalities social robots can use to communicate with the humans around them in rich, engaging, and effective ways. While a robot's auditory communication happens predominantly through speech, a growing body of work demonstrates the various ways non-verbal robot sound can affect humans, and researchers have begun to formulate design recommendations that encourage using the medium to its full potential. However, formal strategies for successful robot sound design have so far not emerged, current frameworks and principles are largely untested and no effort has been made to survey creative robot sound design practice. In this dissertation, I combine creative practice, expert interviews, and human-robot interaction studies to advance our understanding of how designers can best ideate, create, and implement robot sound. In a first step, I map out a design space that combines established sound design frameworks with insights from interviews with robot sound design experts. I then systematically traverse this space across three robot sound design explorations, investigating (i) the effect of artificial movement sound on how robots are perceived, (ii) the benefits of applying compositional theory to robot sound design, and (iii) the role and potential of spatially distributed robot sound. Finally, I implement the designs from prior chapters into humanoid robot Diamandini, and deploy it as a case study. Based on a synthesis of the data collection and design practice conducted across the thesis, I argue that the creation of robot sound is best guided by four design perspectives: fiction (sound as a means to convey a narrative), composition (sound as its own separate listening experience), plasticity (sound as something that can vary and adapt over time), and space (spatial distribution of sound as a separate communication channel). The conclusion of the thesis presents these four perspectives and proposes eleven design principles across them which are supported by detailed examples. This work contributes an extensive body of design principles, process models, and techniques providing researchers and designers with new tools to enrich the way robots communicate with humans

    Paralinguistic vocal control of interactive media: how untapped elements of voice might enhance the role of non-speech voice input in the user's experience of multimedia.

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    Much interactive media development, especially commercial development, implies the dominance of the visual modality, with sound as a limited supporting channel. The development of multimedia technologies such as augmented reality and virtual reality has further revealed a distinct partiality to visual media. Sound, however, and particularly voice, have many aspects which have yet to be adequately investigated. Exploration of these aspects may show that sound can, in some respects, be superior to graphics in creating immersive and expressive interactive experiences. With this in mind, this thesis investigates the use of non-speech voice characteristics as a complementary input mechanism in controlling multimedia applications. It presents a number of projects that employ the paralinguistic elements of voice as input to interactive media including both screen-based and physical systems. These projects are used as a means of exploring the factors that seem likely to affect users’ preferences and interaction patterns during non-speech voice control. This exploration forms the basis for an examination of potential roles for paralinguistic voice input. The research includes the conceptual and practical development of the projects and a set of evaluative studies. The work submitted for Ph.D. comprises practical projects (50 percent) and a written dissertation (50 percent). The thesis aims to advance understanding of how voice can be used both on its own and in combination with other input mechanisms in controlling multimedia applications. It offers a step forward in the attempts to integrate the paralinguistic components of voice as a complementary input mode to speech input applications in order to create a synergistic combination that might let the strengths of each mode overcome the weaknesses of the other
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