Interactive sonification exploring emergent behavior applying models for biological information and listening

Sonification is an open-ended design task to construct sound informing a listener of data. Understanding application context is critical for shaping design requirements for data translation into sound. Sonification requires methodology to maintain reproducibility when data sources exhibit non-linear properties of self-organization and emergent behavior. This research formalizes interactive sonification in an extensible model to support reproducibility when data exhibits emergent behavior. In the absence of sonification theory, extensibility demonstrates relevant methods across case studies. The interactive sonification framework foregrounds three factors: reproducible system implementation for generating sonification; interactive mechanisms enhancing a listener's multisensory observations; and reproducible data from models that characterize emergent behavior. Supramodal attention research suggests interactive exploration with auditory feedback can generate context for recognizing irregular patterns and transient dynamics. The sonification framework provides circular causality as a signal pathway for modeling a listener interacting with emergent behavior. The extensible sonification model adopts a data acquisition pathway to formalize functional symmetry across three subsystems: Experimental Data Source, Sound Generation, and Guided Exploration. To differentiate time criticality and dimensionality of emerging dynamics, are applied between subsystems to maintain scale and symmetry of concurrent processes and temporal dynamics. Tuning functions accommodate sonification design strategies that yield order parameter values to render emerging patterns discoverable as well as , to reproduce desired instances for clinical listeners. Case studies are implemented with two computational models, Chua's circuit and Swarm Chemistry social agent simulation, generating data in real-time that exhibits emergent behavior. is introduced as an informal model of a listener's clinical attention to data sonification through multisensory interaction in a context of structured inquiry. Three methods are introduced to assess the proposed sonification framework: Listening Scenario classification, data flow Attunement, and Sonification Design Patterns to classify sound control. Case study implementations are assessed against these methods comparing levels of abstraction between experimental data and sound generation. Outcomes demonstrate the framework performance as a reference model for representing experimental implementations, also for identifying common sonification structures having different experimental implementations, identifying common functions implemented in different subsystems, and comparing impact of affordances across multiple implementations of listening scenarios

The Nexus between Artificial Intelligence and Economics

This book is organized as follows. Section 2 introduces the notion of the Singularity, a stage in development in which technological progress and economic growth increase at a near-infinite rate. Section 3 describes what artificial intelligence is and how it has been applied. Section 4 considers artificial happiness and the likelihood that artificial intelligence might increase human happiness. Section 5 discusses some prominent related concepts and issues. Section 6 describes the use of artificial agents in economic modeling, and section 7 considers some ways in which economic analysis can offer some hints about what the advent of artificial intelligence might bring. Chapter 8 presents some thoughts about the current state of AI and its future prospects.

Resonance & Resemblance: Sound Perspectives of a Pluralistic World

As we mature into the 21st century the world is experiencing increasing instability in environmental, geopolitical, economic and social realms. To support a more equitable and sustainable politics, feminist new materialist theorists have proposed constructs that reframe our engagement of nature, agency, political and social realms. They work to challenge nature/cultural and subject/object binaries to emphasize a distributed, pluralistic, impactful and interconnected world. However, they have an epistemic blind spot in that their theorizing lacks a diversity of the embedded and creative animation they advocate for. The following dissertation Resonance & Resemblance: Sound Perspectives of a Pluralistic World attends to this need. Through an interdisciplinary methodology this dissertation discusses my proposition that the phenomenon of resonance can be, and has been, engaged to theorize a diverse field of material agency and interconnectedness. It addresses my approach to a component of my research, which was conducted through artistic research practice with the composition Resonance & Resemblance (2017) commissioned by the Russel Wright Historical Foundation. This dissertation also presents work from interlocutors Maryanne Amacher (1943 -2010), Pauline Oliveros (1932 - 2016), and Jacqueline Kiyomi Gordon (b. 1982). Each of these electronic music composers have adopted resonance as a mode of creative engagement to know the materials they work with and their surrounding environment. I analyze the composite of my research through a critical framework that intersects feminist materialisms with agent-environment cognition theory. This intersection of theory progresses an intertextual reading that allows me to locate resonance as a cross-modal mode of interpersonal and intermaterial negotiations to render what I call resonant materialism, an embedded, sensual praxis that reframes issues of difference, material effect and accessibility without separation

Music and Digital Media

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of anextra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory. Praise for Music and Digital Media ‘Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of—and advancement of—theories of mediation.’ Jonathan Sterne, Communication Studies and Art History, McGill University 'Music and Digital Media is a nuanced exploration of the burgeoning digital music scene across both the global North and the global South. Ethnographically rich and theoretically sophisticated, this collection will become the new standard for this field.' Anna Tsing, Anthropology, University of California at Santa Cruz 'The global drama of music's digitisation elicits extreme responses – from catastrophe to piratical opportunism – but between them lie more nuanced perspectives. This timely, absolutely necessary collection applies anthropological understanding to a deliriously immersive field, bringing welcome clarity to complex processes whose impact is felt far beyond what we call music.' David Toop, London College of Communication, musician and writer ‘Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.’ Eric Drott, Music, University of Texas, Austin ‘This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.’ David Hesmondhalgh, Media and Communication, University of Leeds ‘This exciting volume forges new ground in the study of local conditions, institutions, and sounds of digital music in the Global South and North. The book’s planetary scope and its commitment to the “messiness” of ethnographic sites and concepts amplifies emergent configurations and meanings of music, the digital, and the aesthetic.’ Marina Peterson, Anthropology, University of Texas, Austi

Music and Digital Media: A planetary anthropology

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of an extra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory

GPT Semantic Networking: A Dream of the Semantic Web – The Time is Now

The book presents research and practical implementations related to natural language processing (NLP) technologies based on the concept of artificial intelligence, generative AI, and the concept of Complex Networks aimed at creating Semantic Networks. The main principles of NLP, training models on large volumes of text data, new universal and multi-purpose language processing systems are presented. It is shown how the combination of NLP and Semantic Networks technologies opens up new horizons for text analysis, context understanding, the formation of domain models, causal networks, etc. This book presents methods for creating Semantic Networks based on prompt engineering. Practices are presented that will help build semantic networks capable of solving complex problems and making revolutionary changes in the analytical activity. The publication is intended for those who are going to use large language models for the construction and analysis of semantic networks in order to solve applied problems, in particular, in the field of decision making.У книзі представлені дослідження та практичні реалізації технологій обробки природної мови (НЛП), заснованих на концепції штучного інтелект, генеративний ШІ та концепція складних мереж, спрямована на створення семантичних мереж. Представлено основні принципи НЛП, моделі навчання на великих обсягах текстових даних, нові універсальні та багатоцільові системи обробки мови. Показано, як поєднання технологій NLP і семантичних мереж відкриває нові горизонти для аналізу тексту, розуміння контексту, формування моделей домену, причинно-наслідкових мереж тощо. У цій книзі представлені методи створення семантичних мереж на основі оперативного проектування. Представлені практики, які допоможуть побудувати семантичні мережі, здатні вирішувати складні проблеми та вносити революційні зміни в аналітичну діяльність. Видання розраховане на тих, хто збирається використовувати велику мову моделі побудови та аналізу семантичних мереж з метою вирішення прикладних задач, зокрема, у сфері прийняття рішень

Music and Digital Media

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of anextra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory. Praise for Music and Digital Media ‘Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of—and advancement of—theories of mediation.’ Jonathan Sterne, Communication Studies and Art History, McGill University 'Music and Digital Media is a nuanced exploration of the burgeoning digital music scene across both the global North and the global South. Ethnographically rich and theoretically sophisticated, this collection will become the new standard for this field.' Anna Tsing, Anthropology, University of California at Santa Cruz 'The global drama of music's digitisation elicits extreme responses – from catastrophe to piratical opportunism – but between them lie more nuanced perspectives. This timely, absolutely necessary collection applies anthropological understanding to a deliriously immersive field, bringing welcome clarity to complex processes whose impact is felt far beyond what we call music.' David Toop, London College of Communication, musician and writer ‘Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.’ Eric Drott, Music, University of Texas, Austin ‘This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.’ David Hesmondhalgh, Media and Communication, University of Leeds ‘This exciting volume forges new ground in the study of local conditions, institutions, and sounds of digital music in the Global South and North. The book’s planetary scope and its commitment to the “messiness” of ethnographic sites and concepts amplifies emergent configurations and meanings of music, the digital, and the aesthetic.’ Marina Peterson, Anthropology, University of Texas, Austi

Come together right now over me: The bush doof - an aesthetic experiment in human being and being together

This thesis goes inside the spectacular and problematic world of the bush doof, giving particular focus to the aesthetic experience it imparts. It exposes a tension latent within an individualistic ideology that over-values individual parts at the expense of the wider social whole, and reveals how the doof is both an expression of and challenge to this ideology and its problematics

Therianthropes in a Cartesian and an Animistic Cosmology: Beyond-the-Pale Monsters versus Being-in-the World Others

The nature of human-animal hybrid beings (or therianthropes) is examined in an Animistic (traditional San Bushman) and a Cartesian (Early Modern Western) cosmology. In each ontological ambiguity is imagined and conceptualized in different terms. One of them is through monstrosity, which, in the Western schema, is equated with human-animal hybridity. This equivalence threatens the boundaries and categories that buttress western cosmology, through a being – the human-animal hybrid – deemed a conceptual and epistemological abomination. It elicits a category crisis that is as much cerebral as it is visceral as the were-beings it conceives are feared and demonized. No such valences attach to therianthropes in the cosmology described in this paper. It is an “entangled” cosmology shot through with ambiguity and fluidity in which human-animal hybridity is neither abominable nor feared. Instead, as a pervasive and salient theme of San world view and lifeways, especially its expressive and ritual spheres, along with hunting, ontological mutability becomes an integral component of people’s thoughts and lives and thereby normalized and naturalized. Beings partaking of this state are deemed another species of being with whom humans engage as other-than-humans, on shared social terms. Monsters are beings who negate or transgress the moral foundation of the social order. San monstrosity, conceptually and phenomenologically, becomes thereby a matter of deviation from social (moral) pre/proscriptions rather than from classificatory (ontological) ones. This basic conceptual difference notwithstanding, we also find a fundamental commonality: the inversion, through monsters and monstrosity, of each cosmology’s underlying epistemic matrices, of structure and ambiguity, respectively