The Internet of Musical Things Ontology

The Internet of Musical Things (IoMusT) is an emerging research area consisting of the extension of the Internet of Things paradigm to the music domain. Interoperability represents a central issue within this domain, where heterogeneous objects dedicated to the production and/or reception of musical content (Musical Things) are envisioned to communicate between each other. This paper proposes an ontology for the representation of the knowledge related to IoMusT ecosystems to facilitate interoperability between Musical Things. There was no previous comprehensive data model for the IoMusT domain, however the new ontology relates to existing ontologies, including the SOSA Ontology for the representation of sensors and actuators and the Music Ontology focusing on the production and consumption of music. This paper documents the design of the ontology and its evaluation with respect to specific requirements gathered from an extensive literature review, which was based on scenarios involving IoMusT stakeholders, such as performers and audience members. The IoMusT Ontology can be accessed at: https://w3id.org/iomust#

Towards a Semantic Architecture for the Internet of Musical Things

The Internet of Musical Things is an emerging research area that relates to the network of Musical Things, which are computing devices embedded in physical objects dedicated to the production and/or reception of musical content. In this paper we propose a semantically-enriched Internet of Musical Things architecture which relies on a semantic audio server and edge computing techniques. Specifically, a SPARQL Event Processing Architecture is employed as an interoperability enabler allowing multiple heterogeneous Musical Things to cooperate, relying on a music-related ontology. We technically validate our architecture by implementing an ecosystem around it, where five Musical Thing prototypes communicate between each other

Introduction: Legal Form and Cultural Symbol – Music, Copyright and Information Studies

Writers in information and communication studies often assume the stability of objects under investigation: network nodes, databases, information. Legal writers in the intellectual property tradition often assume that cultural artefacts exist as objects prior to being governed by copyright law. Both assumptions are fallacious. This introduction conceptualises the relationship of legal form and cultural symbol. Starting from an understanding of copyright law as part of systems of production (in the sense of Peterson 1976), it is argued that copyright law constructs the artefacts it seeks to regulate as objects that can be bought and sold. In doing so, the legal and aesthetic logic of cultural symbols may clash, as in the case of digital music (the central focus of this special issue)

Fact, Fiction and Virtual Worlds

This paper considers the medium of videogames from a goodmanian standpoint. After some preliminary clarifications and definitions, I examine the ontological status of videogames. Against several existing accounts, I hold that what grounds their identity qua work types is code. The rest of the paper is dedicated to the epistemology of videogaming. Drawing on Nelson Goodman and Catherine Elgin's works, I suggest that the best model to defend videogame cognitivism appeals to the notion of understanding

Engineering affect: emotion regulation, the internet, and the techno-social niche

Philosophical work exploring the relation between cognition and the Internet is now an active area of research. Some adopt an externalist framework, arguing that the Internet should be seen as environmental scaffolding that drives and shapes cognition. However, despite growing interest in this topic, little attention has been paid to how the Internet influences our affective life — our moods, emotions, and our ability to regulate these and other feeling states. We argue that the Internet scaffolds not only cognition but also affect. Using various case studies, we consider some ways that we are increasingly dependent on our Internet-enabled “techno-social niches” to regulate the contours of our own affective life and participate in the affective lives of others. We argue further that, unlike many of the other environmental resources we use to regulate affect, the Internet has distinct properties that introduce new dimensions of complexity to these regulative processes. First, it is radically social in a way many of these other resources are not. Second, it is a radically distributed and decentralized resource; no one individual or agent is responsible for the Internet’s content or its affective impact on users. Accordingly, while the Internet can profoundly augment and enrich our affective life and deepen our connection with others, there is also a distinctive kind of affective precarity built into our online endeavors as well

C Minor: a Semantic Publish/Subscribe Broker for the Internet of Musical Things

Semantic Web technologies are increasingly used in the Internet of Things due to their intrinsic propensity to foster interoperability among heterogenous devices and services. However, some of the IoT application domains have strict requirements in terms of timeliness of the exchanged messages, latency and support for constrained devices. An example of these domains is represented by the emerging area of the Internet of MusicalThings.InthispaperweproposeCMinor,aCoAP-based semantic publish/subscribe broker speci\ufb01cally designed to meet the requirements of Internet of Musical Things applications, but relevant for any IoT scenario. We assess its validity through a practical use case

CHORUS Deliverable 2.2: Second report - identification of multi-disciplinary key issues for gap analysis toward EU multimedia search engines roadmap

After addressing the state-of-the-art during the first year of Chorus and establishing the existing landscape in multimedia search engines, we have identified and analyzed gaps within European research effort during our second year. In this period we focused on three directions, notably technological issues, user-centred issues and use-cases and socio- economic and legal aspects. These were assessed by two central studies: firstly, a concerted vision of functional breakdown of generic multimedia search engine, and secondly, a representative use-cases descriptions with the related discussion on requirement for technological challenges. Both studies have been carried out in cooperation and consultation with the community at large through EC concertation meetings (multimedia search engines cluster), several meetings with our Think-Tank, presentations in international conferences, and surveys addressed to EU projects coordinators as well as National initiatives coordinators. Based on the obtained feedback we identified two types of gaps, namely core technological gaps that involve research challenges, and “enablers”, which are not necessarily technical research challenges, but have impact on innovation progress. New socio-economic trends are presented as well as emerging legal challenges