Mapping gestures in the creation of intangible artworks

"Mapping gestures in the creation of intangible artworks" considers that what is normally understood as an artwork, such as a painting or music, is in fact a tangible thing experienced via excitation of the physical senses. It is the perceiver's interpretation of this excitation that creates their unique experience of the object, and this interpretation creates the artwork. Rather than a linear, single-trajectory interaction from the art-maker to the art-perceiver, “Mapping gestures ...” hypothesises that this relationship is best understood as having the qualities of a Möbius strip, in that the maker and perceiver are engaged in an interaction in which each are simultaneously creator and perceiver. "Mapping gestures ...” has two parts: the three art-objects, MOTION, SPEECH and VISION, and the accompanying exegesis, which discusses the ideas and processes that informed their development. Its process is to explore the making of these art-objects and the discoveries that that generates. These discoveries in turn influence the process of creating the art-objects, which consequently leads to more discoveries. MOTION, SPEECH, and VISION are designed to engage the perceiver both physically and mentally, and to represent that engagement through simultaneously showing the result of their physical and their mental interactions with it. "Mapping gestures in the creation of intangible artworks" coalesces a bricolage of diverse aspects, including: concepts and theories relating to art making and communication, various art works, and art making concepts and processes, into a set of art-objects that overtly, fundamentally, and in essence rely on the interaction and interpretation of the perceiver in order to become artworks

Sonification as Negotiation - Learning from Translation Studies.

This paper introduces a first comparison between the re-search domains of translation studies and data sonification.This contribution explores the idea of considering the prac-tice of sonification as an hermeneutic motion which entailsthe transfer of information across different media. Sonifi-cation is then envisioned as an adaptation concerned withthe transfer of incoming data into sonic forms. Transla-tion theories are used to reflect on various sonification ap-proaches: three translation perspectives are discussed andcompared to different sonification scenarios. The notionof negotiation is suggested to frame the translation of datainto sound as a process by which the designer mediates be-tween the source data and the target sound

User-Oriented Preference Toward a Recommender System

            في الوقت الحاضر، من الملائم لنا استخدام محرك بحث للحصول على المعلومات المطلوبة. لكن في بعض الأحيان يسيء فهم المعلومات بسبب التقارير الإعلامية المختلفة. نظام التوصية (RS) شائع الاستخدام في كل الأعمال لأنه يمكن أن يوفر معلومات للمستخدمين التي ستجذب المزيد من الإيرادات للشركات. ولكن أيضًا ، في بعض الأحيان ، يوصي النظام المستخدمين بالمعلومات غير الضرورية. لهذا السبب ، قدم هذا البحث بنية لنظام التوصية التي يمكن أن تستند إلى التفضيل الموجه للمستخدم. هذا النظام يسمى UOP-RS. لجعل UOP-RS بشكل كبير، ركزهذا البحث على معلومات السينما وتجميع قاعدة بيانات الأفلام من موقع IMDb الذي يوفر معلومات متعلقة بالأفلام والبرامج التلفزيونية ومقاطع الفيديو المنزلية وألعاب الفيديو والمحتوى المتدفق الذي يجمع أيضًا العديد من التقييمات والمراجعات من المستخدمين. حلل البحث أيضًا بيانات المستخدم الفردي لاستخراج ميزات المستخدم. بناءً على خصائص المستخدم ، وتقييمات / درجات الفيلم ، ونتائج الأفلام ، تم بناء نموذج UOP-RS. في تجربتنا ، تم استخدام 5000 مجموعة بيانات أفلام IMDb و 5 أفلام موصى بها للمستخدمين. تظهر النتائج أن النظام يمكنه إرجاع النتائج في 3.86 ثانية ولديه خطأ 14٪ على السلع الموصى بها عند تدريب البيانات على أنها K = 50. في نهاية هذه الورقة خلص إلى أن النظام يمكن أن يوصي بسرعة مستخدمي السلع التي يحتاجون إليها. سوف يمتد النظام المقترح للاتصال بنظام Chatbot بحيث يمكن للمستخدمين جعل الاستعلامات أسرع وأسهل من هواتفهم في المستقبل.            Nowadays, it is convenient for us to use a search engine to get our needed information. But sometimes it will misunderstand the information because of the different media reports. The Recommender System (RS) is popular to use for every business since it can provide information for users that will attract more revenues for companies. But also, sometimes the system will recommend unneeded information for users. Because of this, this paper provided an architecture of a recommender system that could base on user-oriented preference. This system is called UOP-RS. To make the UOP-RS significantly, this paper focused on movie theatre information and collect the movie database from the IMDb website that provides information related to movies, television programs, home videos, video games, and streaming content that also collects many ratings and reviews from users. This paper also analyzed individual user data to extract the user’s features. Based on user characteristics, movie ratings/scores, and movie results, a UOP-RS model was built. In our experiment, 5000 IMDb movie datasets were used and 5 recommended movies for users. The results show that the system could return results on 3.86 s and has a 14% error on recommended goods when training data as . At the end of this paper concluded that the system could quickly recommend users of the goods which they needed.  The proposed system will extend to connect with the Chatbot system that users can make queries faster and easier from their phones in the future

Engineering the Brand: Automotive attribute management based on the cognitive categorisation of the branded product

This thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel UniversityIn mature product markets competitive advantage is increasingly realised by the careful design and engineering of product attributes that emphasise a brand’s values. In the high-luxury automotive segment, user satisfaction appears to be particularly influenced by products that are perceived to be typical to the brand’s lineage. This research aims to explore the links between product specifications and the categorisation of the product as belonging to the brand, by studying the effect with the Bentley brand’s interiors. The research uses cognitive categorisation theory and related methodologies as a basis for understanding the cognitive processes that operate between the input of specific multisensory stimuli and assessments of typicality and therefore satisfaction. These processes are interpreted through Semantic Differentiation techniques in a number of studies of Bentley products and competitor vehicles. The results suggest that by identifying and defining a number of product properties, of varying importance, and measuring subject’s responses to them, brand-based categorisation effects can be visualised and quantified. The research investigates if these effects have been stable over time and finds that some patterns exist that might be used to predict how future products might be categorised. The benefits of the resulting assessment and measurement tool to the product development process appear to be at least two-fold; firstly, by informing the process, product specifications may be set and designs developed, that are considered more accurate, good and right for the brand, resulting in controlled development time and costs and increased consumer satisfaction. Secondly, by enabling the process, property strengths, weakness and competitive threats may be understood that facilitate experimental and actual design modifications to optimise brand distinctiveness

Advances in Human-Robot Interaction

Rapid advances in the field of robotics have made it possible to use robots not just in industrial automation but also in entertainment, rehabilitation, and home service. Since robots will likely affect many aspects of human existence, fundamental questions of human-robot interaction must be formulated and, if at all possible, resolved. Some of these questions are addressed in this collection of papers by leading HRI researchers

INSAM Journal of Contemporary Music, Art and Technology 2

The subject of machine learning and creativity, as well as its appropriation in arts is the focus of this issue with our Main theme of – Artificial Intelligence in Music, Arts, and Theory. In our invitation to collaborators, we discussed our standing preoccupation with the exploration of technology in contemporary theory and artistic practice. The invitation also noted that this time we are encouraged and inspired by Catherine Malabou’s new observations regarding brain plasticity and the metamorphosis of (natural and artificial) intelligence. Revising her previous stance that the difference between brain plasticity and computational architecture is not authentic and grounded, Malabou admits in her new book, Métamorphoses de l'intelligence: Que faire de leur cerveau bleu? (2017), that plasticity – the potential of neuron architecture to be shaped by environment, habits, and education – can also be a feature of artificial intelligence. “The future of artificial intelligence,” she writes, “is biological.” We wanted to provoke a debate about what machines can learn and what we can learn from them, especially regarding contemporary art practices. On this note, I am happy to see that our proposition has provoked intriguing and unique responses from various different disciplines including: theory of art, aesthetics of music, musicology, and media studies. The pieces in the (Inter)view section deal with machine and computational creativity, as well as the some of the principles of contemporary art. Reviews give us an insight into a couple of relevant reading points for this discussion and a retrospective of one engaging festival that also fits this theme

Towards an understanding of human behaviour for design action

It can be shown that exceeding both utilitarian and hedonic needs of consumers leads towards greater satisfaction, delight and enduring consumer loyalty. If designers are to meet the progressively diverse needs of consumers, then access to consumer values, aspirations and the underlying logic of their social practice become increasingly important. If we accept that what people say, do and think are often different things, gaining access to these requirements is clearly a challenge. The challenge is not only concerned with how these requirements are accessed at source, through widely adopted ethnographically inspired techniques, but more towards how these requirements are communicated to the designer. There is a clear disconnect between the collection of consumer requirements and how these requirements are arranged and communicated as implications for design. This thesis details a governance framework for the output of ethnographically inspired research methods to provide an understanding of the arrangement and attributes a communication tool for ethnographic work should possess, particularly towards the more technical area of new product development. The framework bridges a gap between consumer research and design action, which may be used as an approach to facilitate innovation, targeted problem solving and offer creative direction for new product development. Following an exploratory review of the literature and a series of way-finding interviews with domestic appliance and consumer goods manufacturers, a pilot study was conducted to identify the philosophical and practical barriers faced by designers, when designing for consumer requirements beyond the functional. A detailed second level literature review explored the emergent themes and led towards a desktop review of over 30 different creative thinking design tools from the design & emotion movement, 24 different communication approaches for ethnographic work in design and a two year case study on communication within the design process

On the synthesis and processing of high quality audio signals by parallel computers

This work concerns the application of new computer architectures to the creation and manipulation of high-quality audio bandwidth signals. The configuration of both the hardware and software in such systems falls under consideration in the three major sections which present increasing levels of algorithmic concurrency. In the first section, the programs which are described are distributed in identical copies across an array of processing elements; these programs run autonomously, generating data independently, but with control parameters peculiar to each copy: this type of concurrency is referred to as isonomic}The central section presents a structure which distributes tasks across an arbitrary network of processors; the flow of control in such a program is quasi- indeterminate, and controlled on a demand basis by the rate of completion of the slave tasks and their irregular interaction with the master. Whilst that interaction is, in principle, deterministic, it is also data-dependent; the dynamic nature of task allocation demands that no a priori knowledge of the rate of task completion be required. This type of concurrency is called dianomic? Finally, an architecture is described which will support a very high level of algorithmic concurrency. The programs which make efficient use of such a machine are designed not by considering flow of control, but by considering flow of data. Each atomic algorithmic unit is made as simple as possible, which results in the extensive distribution of a program over very many processing elements. Programs designed by considering only the optimum data exchange routes are said to exhibit systolic^ concurrency. Often neglected in the study of system design are those provisions necessary for practical implementations. It was intended to provide users with useful application programs in fulfilment of this study; the target group is electroacoustic composers, who use digital signal processing techniques in the context of musical composition. Some of the algorithms in use in this field are highly complex, often requiring a quantity of processing for each sample which exceeds that currently available even from very powerful computers. Consequently, applications tend to operate not in 'real-time' (where the output of a system responds to its input apparently instantaneously), but by the manipulation of sounds recorded digitally on a mass storage device. The first two sections adopt existing, public-domain software, and seek to increase its speed of execution significantly by parallel techniques, with the minimum compromise of functionality and ease of use. Those chosen are the general- purpose direct synthesis program CSOUND, from M.I.T., and a stand-alone phase vocoder system from the C.D.P..(^4) In each case, the desired aim is achieved: to increase speed of execution by two orders of magnitude over the systems currently in use by composers. This requires substantial restructuring of the programs, and careful consideration of the best computer architectures on which they are to run concurrently. The third section examines the rationale behind the use of computers in music, and begins with the implementation of a sophisticated electronic musical instrument capable of a degree of expression at least equal to its acoustic counterparts. It seems that the flexible control of such an instrument demands a greater computing resource than the sound synthesis part. A machine has been constructed with the intention of enabling the 'gestural capture' of performance information in real-time; the structure of this computer, which has one hundred and sixty high-performance microprocessors running in parallel, is expounded; and the systolic programming techniques required to take advantage of such an array are illustrated in the Occam programming language