MIROR-Musical Interaction Relying On Reflexion. Project Final Report

open7siIl progetto è stato valutato dalla Commissione Europea con il massimo del punteggio (15/15) con la seguente valutazione sintetica: Excellent. The proposal successfully addresses all relevant aspects of the criterion in question. Any shortcomings are minor". Ha superato le tre valutazioni annuali con giudizio molto positivo (good) e con brillante giudizio finale. Progetto co-finanziato dalla Comunità Europea, 7° Programma Quadro, ICT-Challenge 4.2, Technology enhanced-learning, Programma Cooperation, no 258338. Il Programma “COOPERATION” è identificato dal DM del 1/7/2011 (Identificazione dei programmi di ricerca di alta qualificazione, finanziati dall'Unione europea o dal Ministero dell'istruzione, dell'universita' e della ricerca di cui all'articolo 29, comma 7, della legge n. 240/2010) come uno dei due programmi di ricerca di alta qualificazione finanziati dall’UE. In dettaglio, dal Coordinatore sono stati ricoperti i seguenti ruoli: • Preparazione della proposta e Coordinameto scientifico del Progetto • Responsabile dei contatti con la Commissione Europea • Supervisione e monitoraggio del lavoro svolto dal Consorzio, attraverso workshops, report tecnici e scientifici e coordinamento dei deliverable • Lieder dei seguenti Work-Packages: • WP1. Project Management • WP5. Psychological Experiments • WP8. Dissemination and Exploitation • Coordinatore dell’ALB • Coordinamento scientifico e organizzativo del gruppo di ricerca dell'Università di Bologna, composto da: o 2 assegni di ricerca post-dottorato o 1 assegno di ricerca o 2 contratti di assistenza alla ricerca o 1 contratto per il sito web o 15 studenti-collaboratori o 3 insegnanti collaboratori • Responsabile delle collaborazioni e convenzioni con l’Istituto Comprensivo di Casalecchio di Reno, la Nuova Scuola di Musica Baroncini di Imola, Il Centro Danza Musikè-Bologna. • Supervisione del Project Management (Dipartimento della Ricerca Europea dell'Università di Bologna - ARIC).The MIROR (Musical Interaction Relying On Reflexion) project is co‐funded by the European Commission under the 7th Framework Programme, Theme ICT‐2009.4.2, Technology‐enhanced learning. MIROR is a three‐years project and started on September 1st, 2010. All information regarding MIROR is available through the MIROR Portal at http://www.mirorproject.eu. The MIROR Project-Final Report deals with the description of the development of an adaptive system for music learning and teaching based on the “reflexive interaction” paradigm. The system is developed in the context of early childhood music education. It acts as an advanced cognitive tutor, designed to promote specific cognitive abilities in the field of music improvisation, both in formal learning contexts (kindergartens, primary schools, music schools) and informal ones (at home, kinder centres, etc.). The reflexive interaction paradigm is based on the idea of letting users manipulate virtual copies of themselves, through specifically designed machine‐learning software referred to as “Interactive Reflexive Musical Systems” (IRMS). By definition IRMS are able to learn and configure themselves according to their understanding of the learner's behaviour. In MIROR the IRMS paradigm is extended with the analysis and synthesis of multisensory expressive gesture to increase its impact on the musical pedagogy of young children, by developing new multimodal interfaces. The project is based on a spiral design approach involving coupled interactions between technical and psychopedagogical partners. MIROR integrates both psychological case‐study experiments, aiming to investigate cognitive hypotheses concerning the mirroring behaviour and the learning efficacy of the platform, and validation studies aiming at developing the software in concrete educational settings. The project contributes to promoting the reflexive interaction paradigm not only in the field of music learning, but more generally as a new paradigm for establishing a synergy between learning and cognition in the context of child/machine interaction.openopenA. R. Addessi ; C. Anagnostopoulou; S. Newman; B. Olsson; F. Pachet; G. Volpe; S. YoungA. R. Addessi ; C. Anagnostopoulou; S. Newman; B. Olsson; F. Pachet; G. Volpe; S. Youn

Folklore in the Digital Age: Collected Essays. Foreword by Andy Ross

Online and digital cultures are among the most personally gripping effects of globalisation in our increasingly networked world. While global multimedia culture may seem to endanger traditional folklore, there is no doubt that it creates new folklore as well. Folklore in the Digital Age vividly illustrates the range of e-folklore studies in updated papers and essays from the author’s 21st-century research. The themes covered include not only the most serious issues of the day, such as the 9/11 attacks and natural disasters, but also cheerier topics, such as online dating and food culture. In these essays Professor Krawczyk-Wasilewska paints a convincing picture of digital folklore as a cultural heritage. She covers a wide range of issues from all levels of society and offers fascinating insights into how online culture affects our postmodern lives

Dublin Institute of Technology, Kevin Street : Calendar 1991/92

Calendar of academic year 1991/92. Contents include. DIT Courses, fee structures, undergrad programmes, short courses, fees, research & development, campus companies, student services, college regulations, Graduates and prizewinners, awards and external examiners, advisory services for prospective students, college structures, college staff and college library. Foreward by F.M. Brennan, President

From diversity to convergence : British computer networks and the Internet, 1970-1995

The Internet's success in the 21st century has encouraged analysts to investigate the origin of this network. Much of this literature adopts a teleological approach. Works often begin by discussing the invention of packet switching, describe the design and development of the ARPANET, and then examine how this network evolved into the Internet. Although the ARPANET was a seminal computer network, these accounts usually only briefly consider the many other diverse networks that existed. In addition, apart from momentary asides to alternative internetworking solutions, such as the Open Systems Interconnection (OSI) seven-layer reference model, this literature concentrates exclusively on the ARPANET, the Internet, and the World Wide Web. While focusing on these subjects is important and therefore justified, it can leave the reader with the impression that the world of networking started with the ARPANET and ended with the Internet. This thesis is an attempt to help correct this misconception. This thesis analyses the evolution of British computer networks and the Internet between the years 1970 and 1995. After an introduction in Chapter 1, the thesis analyses several networks. In Chapters 2 and 3, the focus is on academic networks, especially JANET and SuperJANET. Attention moves to videotex networks in Chapter 4, specifically Prestel, and in Chapter 5, the dissertation examines electronic mail networks such as Telecom Gold and Cable & Wireless Easylink. Chapter 6 considers online services, including CompuServe, American Online, and the Microsoft Network, and the thesis ends with a conclusion in Chapter 7. All of the networks discussed used protocols that were incompatible with each other which limited the utility of the networks for their users. Although it was possible that OSI or another solution could have solved this problem, the Internet's protocols achieved this objective. This thesis shows how the networks converged around TCP/IP

The use of computer-based tutorial packages for user education

The main aim of this thesis was to examine whether computer-based tutorial (CBT) packages, were a viable delivery method for user education in academic libraries, and to identify good design features, The search for innovative approaches for delivery for user education is not new and has taken many different forms, from the early experiments in the 1970s with tape slides and audio-visual materials to the advent of CBT. This thesis sought to establish the theoretical validity of using CBT packages as a delivery method for certain aspects of user education in academic libraries. It did this through a survey questionnaire to all academic libraries and through librarian and student profile forms. To establish the practical viability of CBT packages as a method of delivery a series of workshops took place, where individual packages were evaluated. The aim of the workshops. was to examine the success and viability of CBT packages as a delivery method by evaluating specific individual packages in terms of their structure, content and overall design. This thesis also sought to identify some good design features from an assessment of the prevailing literature and from the individual package evaluations

Childhood in a digital age: creative challenges for educational futures

The early 21st century is characterised by rapid change. Commentators note how permeating digital technologies engage increasing numbers of children, young people and adults as consumers and also producers. In the shifting technological landscape, childhood and youth are changing. Connectivity around the clock, with a parallel existence in virtual space, is seamlessly integrated with actual lives. Young people are skilful collaborators, navigating digital gaming and social networking with ease, capably generating and manipulating content, experimenting virtually with versions of their ‘social face’. They are implicit, inherent and immersed consumers. They are digital possibility thinkers posing ‘what if?’ questions and engaging in ‘as if’ activity. This paper seeks to theorise such possibility thinking in a digital, marketized age, using two competing discourses: young people as vulnerable and at risk; or alternatively as capable and potent. The former perspective imbues anxiety about the digital revolution; the latter embraces it as exciting and enabling. As education providers seek to re-imagine themselves, neither is sufficient. Local and global challenge and change urgently demand our creative potential and wisdom, recognising three further key characteristics of changing childhood and youth: pluralities, playfulness, and participation. Drawing from work with schools, the paper argues for co-creating with students, education futures through dialogue to nurture the 4 p’s: plurality, playfulness, participation and possibilities

EVA London 2022: Electronic Visualisation and the Arts

The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas. The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International. As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2022 proceedings includes long papers and short “poster” papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community. As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference