Inpainting of long audio segments with similarity graphs

We present a novel method for the compensation of long duration data loss in audio signals, in particular music. The concealment of such signal defects is based on a graph that encodes signal structure in terms of time-persistent spectral similarity. A suitable candidate segment for the substitution of the lost content is proposed by an intuitive optimization scheme and smoothly inserted into the gap, i.e. the lost or distorted signal region. Extensive listening tests show that the proposed algorithm provides highly promising results when applied to a variety of real-world music signals

What does not happen: quantifying embodied engagement using NIMI and self-adaptors

Previous research into the quantification of embodied intellectual and emotional engagement using non-verbal movement parameters has not yielded consistent results across different studies. Our research introduces NIMI (Non-Instrumental Movement Inhibition) as an alternative parameter. We propose that the absence of certain types of possible movements can be a more holistic proxy for cognitive engagement with media (in seated persons) than searching for the presence of other movements. Rather than analyzing total movement as an indicator of engagement, our research team distinguishes between instrumental movements (i.e. physical movement serving a direct purpose in the given situation) and non-instrumental movements, and investigates them in the context of the narrative rhythm of the stimulus. We demonstrate that NIMI occurs by showing viewers’ movement levels entrained (i.e. synchronised) to the repeating narrative rhythm of a timed computer-presented quiz. Finally, we discuss the role of objective metrics of engagement in future context-aware analysis of human behaviour in audience research, interactive media and responsive system and interface design

Basic gestures as spatiotemporal reference frames for repetitive dance/music patterns in samba and charleston

THE GOAL OF THE PRESENT STUDY IS TO GAIN BETTER insight into how dancers establish, through dancing, a spatiotemporal reference frame in synchrony with musical cues. With the aim of achieving this, repetitive dance patterns of samba and Charleston were recorded using a three-dimensional motion capture system. Geometric patterns then were extracted from each joint of the dancer's body. The method uses a body-centered reference frame and decomposes the movement into non-orthogonal periodicities that match periods of the musical meter. Musical cues (such as meter and loudness) as well as action-based cues (such as velocity) can be projected onto the patterns, thus providing spatiotemporal reference frames, or 'basic gestures,' for action-perception couplings. Conceptually speaking, the spatiotemporal reference frames control minimum effort points in action-perception couplings. They reside as memory patterns in the mental and/or motor domains, ready to be dynamically transformed in dance movements. The present study raises a number of hypotheses related to spatial cognition that may serve as guiding principles for future dance/music studies

The Faculty Notebook, December 1998

The Faculty Notebook is published periodically by the Office of the Provost at Gettysburg College to bring to the attention of the campus community accomplishments and activities of academic interest. Faculty are encouraged to submit materials for consideration for publication to the Associate Provost for Faculty Development. Copies of this publication are available at the Office of the Provost

Comparison of input devices in an ISEE direct timbre manipulation task

The representation and manipulation of sound within multimedia systems is an important and currently under-researched area. The paper gives an overview of the authors' work on the direct manipulation of audio information, and describes a solution based upon the navigation of four-dimensional scaled timbre spaces. Three hardware input devices were experimentally evaluated for use in a timbre space navigation task: the Apple Standard Mouse, Gravis Advanced Mousestick II joystick (absolute and relative) and the Nintendo Power Glove. Results show that the usability of these devices significantly affected the efficacy of the system, and that conventional low-cost, low-dimensional devices provided better performance than the low-cost, multidimensional dataglove

A Vocational Upper House?: Lessons from Ireland

The government has expressed a commitment to maintain an independent element in the reformed second chamber, and not to hand overall control to any one party. This raises the question of how independent members are selected for the house. Appointment is one solution, but others include ex-officio seats for defined vocational groups, or election from these groups. Ireland is the only country in the world where such a system is used for the bulk of second chamber members - through elections using vocational categories, with nominations from voluntary and professional organisations. This briefing looks at the Irish system and lessons to be learnt for the reformed House of Lords

Moving in time: simulating how neural circuits enable rhythmic enactment of planned sequences

Many complex actions are mentally pre-composed as plans that specify orderings of simpler actions. To be executed accurately, planned orderings must become active in working memory, and then enacted one-by-one until the sequence is complete. Examples include writing, typing, and speaking. In cases where the planned complex action is musical in nature (e.g. a choreographed dance or a piano melody), it appears to be possible to deploy two learned sequences at the same time, one composed from actions and a second composed from the time intervals between actions. Despite this added complexity, humans readily learn and perform rhythm-based action sequences. Notably, people can learn action sequences and rhythmic sequences separately, and then combine them with little trouble (Ullén & Bengtsson 2003). Related functional MRI data suggest that there are distinct neural regions responsible for the two different sequence types (Bengtsson et al. 2004). Although research on musical rhythm is extensive, few computational models exist to extend and inform our understanding of its neural bases. To that end, this article introduces the TAMSIN (Timing And Motor System Integration Network) model, a systems-level neural network model capable of performing arbitrary item sequences in accord with any rhythmic pattern that can be represented as a sequence of integer multiples of a base interval. In TAMSIN, two Competitive Queuing (CQ) modules operate in parallel. One represents and controls item order (the ORD module) and the second represents and controls the sequence of inter-onset-intervals (IOIs) that define a rhythmic pattern (RHY module). Further circuitry helps these modules coordinate their signal processing to enable performative output consistent with a desired beat and tempo.Accepted manuscrip

The Faculty Notebook, October 2009

The Faculty Notebook is published periodically by the Office of the Provost at Gettysburg College to bring to the attention of the campus community accomplishments and activities of academic interest. Faculty are encouraged to submit materials for consideration for publication to the Associate Provost for Faculty Development. Copies of this publication are available at the Office of the Provost

The Faculty Notebook, December 2004

The Faculty Notebook is published periodically by the Office of the Provost at Gettysburg College to bring to the attention of the campus community accomplishments and activities of academic interest. Faculty are encouraged to submit materials for consideration for publication to the Associate Provost for Faculty Development. Copies of this publication are available at the Office of the Provost