The DiTME Project: interdisciplinary research in music technology

This paper profiles the emergence of a significant body of research in audio engineering within the Faculties of Engineering and Applied Arts at Dublin Institute of Technology. Over a period of five years the group has had significant success in completing a Strand 3 research project entitled Digital Tools for Music Education (DiTME)

Factors Influencing Olfactory Perception of Selected Off-flavourcausing Compounds in Red Wine - A Review

Extensive work on the chemical aspects of off-flavour in wine has been carried out by international researchers, but not as many studies focus on the organoleptic effects. This literature review therefore has a focus on the status of the sensory aspects of compounds associated with specific off-flavours in red wine, viz. three volatile phenols, as well as 2-isobutyl-3-methoxypyrazine and 2,4,6-trichloranisole. The review discusses sources and effects of the selected compounds in red wine, and what previous workers have found pertaining to the mechanisms of the odour perception of aroma compounds, odour detection thresholds, and issues relating to the effects of the matrix. It also considers the factors that have been found to cause differences in olfactory perceptions between panellists/judges, and covers some of the work that has beencarried out in characterising perceptual interactions between compounds in wine. Gaps that exist in the current literature are highlighted

Modeling spatial and temporal textures

Thesis (Ph. D.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1997.Includes bibliographical references (leaves 155-161).by Fang Liu.Ph.D

New perspectives in gaze sensitivity research.

Attending to where others are looking is thought to be of great adaptive benefit for animals when avoiding predators and interacting with group members. Many animals have been reported to respond to the gaze of others, by co-orienting their gaze with group members (gaze following) and/or responding fearfully to the gaze of predators or competitors (i.e., gaze aversion). Much of the literature has focused on the cognitive underpinnings of gaze sensitivity, namely whether animals have an understanding of the attention and visual perspectives in others. Yet there remain several unanswered questions regarding how animals learn to follow or avoid gaze and how experience may influence their behavioral responses. Many studies on the ontogeny of gaze sensitivity have shed light on how and when gaze abilities emerge and change across development, indicating the necessity to explore gaze sensitivity when animals are exposed to additional information from their environment as adults. Gaze aversion may be dependent upon experience and proximity to different predator types, other cues of predation risk, and the salience of gaze cues. Gaze following in the context of information transfer within social groups may also be dependent upon experience with group-members; therefore we propose novel means to explore the degree to which animals respond to gaze in a flexible manner, namely by inhibiting or enhancing gaze following responses. We hope this review will stimulate gaze sensitivity research to expand beyond the narrow scope of investigating underlying cognitive mechanisms, and to explore how gaze cues may function to communicate information other than attention.This is the final version of the article. It was first available from Springer via http://dx.doi.org/10.3758/s13420-015-0204-

Change blindness: eradication of gestalt strategies

Arrays of eight, texture-defined rectangles were used as stimuli in a one-shot change blindness (CB) task where there was a 50% chance that one rectangle would change orientation between two successive presentations separated by an interval. CB was eliminated by cueing the target rectangle in the first stimulus, reduced by cueing in the interval and unaffected by cueing in the second presentation. This supports the idea that a representation was formed that persisted through the interval before being 'overwritten' by the second presentation (Landman et al, 2003 Vision Research 43149–164]. Another possibility is that participants used some kind of grouping or Gestalt strategy. To test this we changed the spatial position of the rectangles in the second presentation by shifting them along imaginary spokes (by ±1 degree) emanating from the central fixation point. There was no significant difference seen in performance between this and the standard task [F(1,4)=2.565, p=0.185]. This may suggest two things: (i) Gestalt grouping is not used as a strategy in these tasks, and (ii) it gives further weight to the argument that objects may be stored and retrieved from a pre-attentional store during this task

Sonic Phantoms Compositional explorations of perceptual phantom patterns

I use the term ‘Sonic Phantoms’ to refer as a whole to a cohesive collection of sound compositions that I have developed over the past five years (2009-2014; fifty pieces, structured in four separate collections / series), dealing at a fundamental level with perceptual auditory illusions. For the creation of this compositional body of work, I have developed a syncretic approach that encompasses and coalesces all kinds of sources, materials, techniques and compositional tools: voices (real and synthetic), field recordings (involving wilderness expeditions worldwide), instrument manipulation (including novel ways of ‘preparation’), object amplification, improvisation and recording studio techniques. This manifests a sonic-based and perceptive-based understanding of the compositional work, as an implicitly proposed paradigm for any equivalent work in terms of its trans-technological, phenomena-based nature. By means of the collection of pieces created and the research and contextualisation presented, my work with ‘Sonic Phantoms’ aims at bringing into focus, shaping and defining a specific and dedicated compositional realm that considers auditory illusions as essential components of the work and not simply mere side effects. I play with sonic materials that are either naturally ambiguous or have been composed to attain this quality, in order to exploit the potential for apophenia to manifest, bringing with it the ‘phantasmatic’ presence. Both my compositions and research work integrate and synergise a considerable number of disparate musical traditions (Western and non-Western), techno-historical moments (from ancient / archaic to electronic / computer-age techniques), cultural frameworks (from ‘serious’ to ‘popular’), and fields of interest / expertise (from the psychological to the musical), into a personal and cohesive compositional whole. All these diverse elements are not simply mentioned or referenced, but have rather defined, structured and formed the resulting compositional work

Deep filter banks for texture recognition, description, and segmentation

Visual textures have played a key role in image understanding because they convey important semantics of images, and because texture representations that pool local image descriptors in an orderless manner have had a tremendous impact in diverse applications. In this paper we make several contributions to texture understanding. First, instead of focusing on texture instance and material category recognition, we propose a human-interpretable vocabulary of texture attributes to describe common texture patterns, complemented by a new describable texture dataset for benchmarking. Second, we look at the problem of recognizing materials and texture attributes in realistic imaging conditions, including when textures appear in clutter, developing corresponding benchmarks on top of the recently proposed OpenSurfaces dataset. Third, we revisit classic texture representations, including bag-of-visual-words and the Fisher vectors, in the context of deep learning and show that these have excellent efficiency and generalization properties if the convolutional layers of a deep model are used as filter banks. We obtain in this manner state-of-the-art performance in numerous datasets well beyond textures, an efficient method to apply deep features to image regions, as well as benefit in transferring features from one domain to another.Comment: 29 pages; 13 figures; 8 table

Digital audio watermarking for broadcast monitoring and content identification

Copyright legislation was prompted exactly 300 years ago by a desire to protect authors against exploitation of their work by others. With regard to modern content owners, Digital Rights Management (DRM) issues have become very important since the advent of the Internet. Piracy, or illegal copying, costs content owners billions of dollars every year. DRM is just one tool that can assist content owners in exercising their rights. Two categories of DRM technologies have evolved in digital signal processing recently, namely digital fingerprinting and digital watermarking. One area of Copyright that is consistently overlooked in DRM developments is 'Public Performance'. The research described in this thesis analysed the administration of public performance rights within the music industry in general, with specific focus on the collective rights and broadcasting sectors in Ireland. Limitations in the administration of artists' rights were identified. The impact of these limitations on the careers of developing artists was evaluated. A digital audio watermarking scheme is proposed that would meet the requirements of both the broadcast and collective rights sectors. The goal of the scheme is to embed a standard identifier within an audio signal via modification of its spectral properties in such a way that it would be robust and perceptually transparent. Modification of the audio signal spectrum was attempted in a variety of ways. A method based on a super-resolution frequency identification technique was found to be most effective. The watermarking scheme was evaluated for robustness and found to be extremely effective in recovering embedded watermarks in music signals using a semi-blind decoding process. The final digital audio watermarking algorithm proposed facilitates the development of other applications in the domain of broadcast monitoring for the purposes of equitable royalty distribution along with additional applications and extension to other domains

PREFERENCE OF CONSUMERS TOWARD NON-DISTORTED GRAPHICS ON FULL-BODY SHRINK SLEEVE LABELS

Past research has indicated that shrink sleeves can lead to higher product trial rates, better long-term sales, and greater likelihood of brand loyalty. A pilot study and a primary experiment were conducted to investigate the significance of distortion and the ability of the Human Visual System (HVS) to recognize it in packaging design. Distortion works primarily in shrink film on which an image is printed, so these studies dealt only with reductive distortion. The pilot study aimed to identify the absolute threshold, or Just-Noticeable-Difference (JND) for a change from no stimulus, for simple polygons. The primary experiment focused on graphic distortion in full body shrink sleeves (FBSS). Treatments presented each of the stimulus levels, along with a control for comparison, using a 2-AFC (Alternative Forced-Choice) Method. This study used a mixed 2 (labels) x 3 (bottles) x 5 (distortion increments) model, effectively 30 treatments in a Randomized Complete Block Design (RCBD). Label was a between-subject variable while Bottle Shape and Distortion Percentage were within-subject variables. Data indicated that distortion has a significant effect at 100%, but that there is not a threshold at which consumers are guaranteed to perceive graphic distortion on FBSS. Men detected distortion better than women. Participants who said distortion would prevent a purchase decision had the same tolerance as those who reported that it would not. Bottle shape may only impact consumer acceptance of distortion with some percentages of distortion. Familiarity with a brand name label may increase consumer tolerance and acceptance of distortion, and may do so more on some bottle shapes