Vaticinios en torno a la transición del archivo digital sonoro al multimedios

The following reflection is the result of recent research, through which the transition from the sound archive to the digital multimedia archive is observed as a contemporary phenomenon that is placed in the digital ecosystem. The article is introduced with the etymological origin and evolution of the notion of archive. The evolution of this term as a result of the technological evolution of the last century is presented and its relationship with the emergence and evolution of sound archives is presented. The conceptual differences between the notions of library and digital archive are then established. It analyses the changes to which the sound archive has been subjected in recent decades and how they have impacted on the notion of the document and the transition from digital sound archiving to multimedi

Vaticinios en torno a la transición del archivo digital sonoro al multimedios

The following reflection is the result of recent research, through which the transition from the sound archive to the digital multimedia archive is observed as a contemporary phenomenon that is placed in the digital ecosystem. The article is introduced with the etymological origin and evolution of the notion of archive. The evolution of this term as a result of the technological evolution of the last century is presented and its relationship with the emergence and evolution of sound archives is presented. The conceptual differences between the notions of library and digital archive are then established. It analyses the changes to which the sound archive has been subjected in recent decades and how they have impacted on the notion of the document and the transition from digital sound archiving to multimedi

The multimedia brain

The Open University is producing an interactive multimedia tutorial on the brain and nervous system on CD-ROM, for use in its Biology: Brain and Behaviour course. Such a tutor could have a wider use in higher education as the subject matter is known to be difficult for students to master. A prototype version has been produced. Consultation is now taking place before work starts on a fully functional version that can be evaluated for educational effectiveness

Heterogeneous component interactions: Sensors integration into multimedia applications

Resource-constrained embedded and mobile devices are becoming increasingly common. Since few years, some mobile and ubiquitous devices such as wireless sensor, able to be aware of their physical environment, appeared. Such devices enable proposing applications which adapt to user's need according the context evolution. It implies the collaboration of sensors and software components which differ on their nature and their communication mechanisms. This paper proposes a unified component model in order to easily design applications based on software components and sensors without taking care of their nature. Then it presents a state of the art of communication problems linked to heterogeneous components and proposes an interaction mechanism which ensures information exchanges between wireless sensors and software components

Symbiosis between the TRECVid benchmark and video libraries at the Netherlands Institute for Sound and Vision

Audiovisual archives are investing in large-scale digitisation efforts of their analogue holdings and, in parallel, ingesting an ever-increasing amount of born- digital files in their digital storage facilities. Digitisation opens up new access paradigms and boosted re-use of audiovisual content. Query-log analyses show the shortcomings of manual annotation, therefore archives are complementing these annotations by developing novel search engines that automatically extract information from both audio and the visual tracks. Over the past few years, the TRECVid benchmark has developed a novel relationship with the Netherlands Institute of Sound and Vision (NISV) which goes beyond the NISV just providing data and use cases to TRECVid. Prototype and demonstrator systems developed as part of TRECVid are set to become a key driver in improving the quality of search engines at the NISV and will ultimately help other audiovisual archives to offer more efficient and more fine-grained access to their collections. This paper reports the experiences of NISV in leveraging the activities of the TRECVid benchmark

Portfolio of compositions

This text contains a short general description of my experience at the University of Birmingham. This is an attempt to communicate how my perception in composing music has changed and evolved. The focus is to introduce briefly my experience before I arrived at the University of Birmingham, then go through all the compositions I have worked on during my PhD programme. This attempt is to explain the main processes I have used for composing, giving a wider view of the issues that I was interested in developing. Furthermore, I will consider some technical aspects with reference to facilities that the University of Birmingham offers to students. This appears to be the right opportunity for them to explore technology almost without any restrictions. I also give some information about other nonmusical issues, which I was interested in developing in order to look into personal aesthetic directions. My main reason for being at the University of Birmingham was to explore compositional processes different from my previous experiences, in order to enlarge my abilities and perspectives in music composition

Reviews

Successful Instructional Diagrams by Ric Lowe, London, Kogan Page, 1993. ISBN: 0–7494–0711–5

New communication practices on the radio and in the audiosphere

For the past decade or so, internet radio, podcasts, mobile sound apps, and digital libraries of audio content have enjoyed increasing popularity among researchers and receivers of culture. Radio, similarly to other traditional media, often experiments with the opportunities offered by the new media technologies enabling the emergence of new communicational practices. As a starting point, I consider the contemporary audiosphere, which constitutes the auditory part of the audio-visual culture, and the influence of technological changes on radio communications, artists, and receivers. I attempt to answer the question, what happens at genre fringes? What are the characteristic features of the emerging forms? How, when one is faced with new technology, the multimedia world, and virtual reality, can one reach a reflection on the fiction and non-fiction genres on the radio? The expansive character of new technologies is often the source of inspiration for that which is traditional, thus renewing the object of its study. The inclusion of new phenomena within the widely understood auditoriness has a rescuing nature for traditional forms, and, at the same time, offers new opportunities for creators, and thus an area of research for literary scientists, media scientists and literary critics

Preserving today for tomorrow: A case study of an archive of Interactive Music Installations

This work presents the problems addressed and the first results obtained by a project aimed at the preservation of Interactive Music Installations (IMI). Preservation requires that besides all the necessary components for the (re)production of a performance, also the knowledge about these components is kept, so that the original process can be repeated at any given time. This work proposes a multilevel approach for the preservation of IMI. As case studies, the Pinocchio Square (installed in EXPO 2002) and the Il Caos delle Sfere are considered