48 research outputs found

    CLARIN

    Get PDF
    The book provides a comprehensive overview of the Common Language Resources and Technology Infrastructure – CLARIN – for the humanities. It covers a broad range of CLARIN language resources and services, its underlying technological infrastructure, the achievements of national consortia, and challenges that CLARIN will tackle in the future. The book is published 10 years after establishing CLARIN as an Europ. Research Infrastructure Consortium

    CLARIN. The infrastructure for language resources

    Get PDF
    CLARIN, the "Common Language Resources and Technology Infrastructure", has established itself as a major player in the field of research infrastructures for the humanities. This volume provides a comprehensive overview of the organization, its members, its goals and its functioning, as well as of the tools and resources hosted by the infrastructure. The many contributors representing various fields, from computer science to law to psychology, analyse a wide range of topics, such as the technology behind the CLARIN infrastructure, the use of CLARIN resources in diverse research projects, the achievements of selected national CLARIN consortia, and the challenges that CLARIN has faced and will face in the future. The book will be published in 2022, 10 years after the establishment of CLARIN as a European Research Infrastructure Consortium by the European Commission (Decision 2012/136/EU)

    Pop/Art: The Birth of Underground Music and the British Art School, 1960–1980

    Full text link
    “Pop/Art: The Birth of Underground Music and the British Art School, 1960-1980” argues that the British art school became a training ground for underground musicians in the 1960s and the 1970s because of changes in art school pedagogy and policy in the post-war period. New educational philosophies propagated during the late 1950s and 1960s, above all Basic Design and Behaviorism, redefined the artist as an intermedial experimenter, collapsed distinctions between fine art and design, and theorized the art object as a dynamic and interactive matrix between the maker and viewer. These initiatives, which evolved from art school reforms that began in the nineteenth century, intended to prepare students for a fast-paced postwar consumer economy in which advertising, communication, information, and new technologies defined creative labor. Postwar British art schools thus generated a new model of the artist: a creator engaged with contemporary culture as much as with art history, who was familiar with a variety of media and able to work across a broad spectrum of creative practices, from fine art to design. For this reason, art students like Pete Townshend, Bryan Ferry, and Brian Eno, who gravitated towards popular music, did not see any distinction between their work as musicians and the new role for art and the artist laid out by these pedagogical reforms. This generation of underground musician-artists—born in the late 1940s and 1950s—came to artistic consciousness amid a booming postwar consumer culture in which teenagers became a particularly vital part of the economy, spending their expendable income on entertainment and fashion. Pop music and its stars were central to the formation of their personal and collective identity, and thus music became a vital medium for their own creative artistic expression. While schools underwent rapid changes in the 1960s, a parallel space of commerce and consumption emerged, which mirrored mass culture but did not follow the logic of capitalist exchange. This underground culture used existing channels of distribution to spread and incite aesthetic activity rather than generate profits. It comprised a network of alternative organizations, including bookshops, newspapers, arts labs, nightclubs, performance venues, and unorthodox educational initiatives. This dissertation argues that this alternative cultural system also served a pedagogical role, providing young self-designated artists like Genesis P-Orridge an extra-institutional and informal education free of the regulations of standardized curricula and assessment. In this milieu, consumption (of music, performance, events) had the potential to be transformative and enlightening, not just extractive. Underground events and happenings thus shared a similar ethos to the most radical educational theories in the UK. Both aimed to shake up existing preconceptions ideas about art and culture and felt that retraining perception was the first step in reforming society. However, the student protests that erupted across Europe in the late 1960s questioned the educational system’s commitment to change and young artists began to seek creative outlets outside the art school. By the mid-1970s, the network of distributors and record shops established in the 1960s formed the backbone of the punk movement, allowing this community of D.I.Y. (“do it yourself”) practitioners, many of whom were art school students (e.g., Green Gartside, Gina Birch), to forge alternative models of artistic and commercial exchange. As this dissertation seeks to demonstrate, there is no singular relationship between art education—defined broadly—and the formation of underground music in the UK. Rather it is a dynamic and complex history in which art schools nurtured the artistic practices of some young musicians while serving as a foil to the development of alternative underground networks of art making and distribution in the 1960s and 1970s

    An architecture for an ATM network continuous media server exploiting temporal locality of access

    Get PDF
    With the continuing drop in the price of memory, Video-on-Demand (VoD) solutions that have so far focused on maximising the throughput of disk units with a minimal use of physical memory may now employ significant amounts of cache memory. The subject of this thesis is the study of a technique to best utilise a memory buffer within such a VoD solution. In particular, knowledge of the streams active on the server is used to allocate cache memory. Stream optimised caching exploits reuse of data among streams that are temporally close to each other within the same clip; the data fetched on behalf of the leading stream may be cached and reused by the following streams. Therefore, only the leading stream requires access to the physical disk and the potential level of service provision allowed by the server may be increased. The use of stream optimised caching may consequently be limited to environments where reuse of data is significant. As such, the technique examined within this thesis focuses on a classroom environment where user progress is generally linear and all users progress at approximately the same rate for such an environment, reuse of data is guaranteed. The analysis of stream optimised caching begins with a detailed theoretical discussion of the technique and suggests possible implementations. Later chapters describe both the design and construction of a prototype server that employs the caching technique, and experiments that use of the prototype to assess the effectiveness of the technique for the chosen environment using `emulated' users. The conclusions of these experiments indicate that stream optimised caching may be applicable to larger scale VoD systems than small scale teaching environments. Future development of stream optimised caching is considered

    Objects in flux: the consumer modification of mass-produced goods

    Get PDF
    This research investigates practices of object modification with specific focus on the consumer modification of mass-produced goods. Such practices present a diverse array of activity, ranging from car customisation to the remaking of domestic appliances. As an amateur leisure-time pursuit, these practices typically operate outside the commercial processes of design and manufacture. As such, they are often positioned as deviant interventions or interruptions to the object’s ‘normal’ operation and may be actively suppressed by manufacturers. Despite this marginalised status practices of object modification represent a large body of productive activity operating within contemporary society. Taking a participatory approach, this research develops a number of ‘hacking’ and ‘modding’ projects that connect with online communities and mirror existing traditions within practices of object modification. What emerges from this engagement is a complex story, or rather a number of overlapping stories that speak of the relationships we form with objects and the affordances given within contemporary society for reshaping these relationships. The stories told here trace the forces that bind consumer practices and the lines of flight by which consumers and objects escape their socially normalised position to become something other. Through this research the homogenous, mass-produced object is revealed as a site of diverse activity, a space for shared experience, and a platform for communal experimentation

    Undergraduate Unit of Study Reference Handbook 2009

    Get PDF
    corecore