Explainability in Music Recommender Systems

The most common way to listen to recorded music nowadays is via streaming platforms which provide access to tens of millions of tracks. To assist users in effectively browsing these large catalogs, the integration of Music Recommender Systems (MRSs) has become essential. Current real-world MRSs are often quite complex and optimized for recommendation accuracy. They combine several building blocks based on collaborative filtering and content-based recommendation. This complexity can hinder the ability to explain recommendations to end users, which is particularly important for recommendations perceived as unexpected or inappropriate. While pure recommendation performance often correlates with user satisfaction, explainability has a positive impact on other factors such as trust and forgiveness, which are ultimately essential to maintain user loyalty. In this article, we discuss how explainability can be addressed in the context of MRSs. We provide perspectives on how explainability could improve music recommendation algorithms and enhance user experience. First, we review common dimensions and goals of recommenders' explainability and in general of eXplainable Artificial Intelligence (XAI), and elaborate on the extent to which these apply -- or need to be adapted -- to the specific characteristics of music consumption and recommendation. Then, we show how explainability components can be integrated within a MRS and in what form explanations can be provided. Since the evaluation of explanation quality is decoupled from pure accuracy-based evaluation criteria, we also discuss requirements and strategies for evaluating explanations of music recommendations. Finally, we describe the current challenges for introducing explainability within a large-scale industrial music recommender system and provide research perspectives.Comment: To appear in AI Magazine, Special Topic on Recommender Systems 202

New Opportunities for Interest-Driven Arts Learning in a Digital Age

Traditionally in the United States, schools and after-school programs have played a promi-nent part in teaching young people about the arts. Arts education has been waning in K-12 public schools in recent times, however. This is especially true in low-income communities, where public schools have often cut back on arts instruction so they can devote limited public education dollars to subjects such as writing and math that are the focus of high-stakes standardized tests.When we look outside of school, however, we see a strikingly different landscape, one full of promise for engaging young people in artistic activity. What makes this landscape possible is an eagerness to explore that springs from youths' own creative passions -- what we call "interest-driven arts learning" -- combined with the power of digital technology.This report is a step in trying to understand the new territory. It gives a rundown of scholarship in the areas of arts and out-of-school-hours learning; offers a framework for thinking about interest-driven arts learning in a digital age; examines young people's media consumption; provides a survey of youths' creative endeavors online and elsewhere, along with a look at the proliferation of technologies that young people are using in the arts; and concludes with thoughts about challenges and possibilities for the futur

Listen Imagine Compose - Research Report

Listen, Imagine, Compose (LIC) is a project designed to investigate pedagogies of composing in secondary schools. It was funded by the Esmée Fairbairn foundation, and organised by Sound and Music (SAM), Birmingham Contemporary Music Group (BCMG), with Birmingham City University (BCU) as the lead academic partner. It involved composers, an apprentice composer, musicians, schoolteachers, researchers, music education partners, and critical friends. The main body of the project ran between June 2011 – Spring 2013. Background The 2009 Ofsted report Making More of Music (Ofsted, 2009) highlighted a number of issues with composing in secondary school music provision, including: lack of attention to internalising sound as a basis for creative thinking; lack of quality and depth in pupil responses; insufficient understanding of what musical progress involves; composing activities are rarely related to the work of established composers. We know that composing is the area of the music curriculum that is often least accessible for teachers (Berkley, 2001), and that changes to the Key Stage 3 Curriculum in operation during the research period placed increased stress on genuinely creative thinking. The purpose of the LIC project was to address these issues through interaction between pupils and their teachers with professional composers and performers

Listening to Gregory Isaacs

This research project examines the value, nature and workings of musical communication through the life work of the late, great reggae artist Gregory Isaacs. The research priority is the listening experience. An experience that is active, embodied, and in concert with the voice, where meaning is made and musical communication takes place. My methodology draws on listeners from the reggae music industry, academics and cultural commentators, and most importantly those who love Gregory. In-depth qualitative interviews, constructed listening sessions with focus group discussions, and radio programmes are treated as listening environments. The collective and individual experience is gathered and accounted for through his voice and sound which is used as a point of audition. This methodological approach facilitates the unification of hitherto separated dimensions of musical communication such as crystallisation of value, medium of propagation, recollection and reworking, the social, economic and political milieu and immediate experience. They are accommodated in the multi-dimensional, unfolding (Eidsheim 2019) practice of musicking (Small 1998) that unearths and confirms relationships of interiority, exteriority and agency. This emphasis embeds and appreciates the listening community in the process of explicating and analysing what is being heard, the affects and effects of this, what it affords and makes possible for the group and individual. This approach offers insights into the nature of musical communication that are likely to be found in other contexts with other genres of music

Inequality in digital personas - e-portfolio curricula, cultural repertoires and social media

Digital and electronic learning portfolios (e-portfolios) are playing a growing role in supporting admission to tertiary study and employment by visual creatives. Despite the growing importance of digital portfolios, we know very little about how professionals or students use theirs. This thesis contributes to knowledge by describing how South African high school students curated varied e-portfolio styles while developing disciplinary personas as visual artists. The study documents the technological and material inequalities between these students at two schools in Cape Town. By contrast to many celebratory accounts of contemporary new media literacies, it provides cautionary case studies of how young people’s privileged or marginalized circumstances shape their digital portfolios as well. A four-year longitudinal action research project (2009-2013) enabled the recording and analysis of students’ development as visual artists via e-portfolios at an independent (2009-2012) and a government school (2012-2013). Each school represented one of the two types of secondary schooling recognised by the South African government. All student e-portfolios were analysed along with producers’ dissimilar contexts. Teachers often promoted highbrow cultural norms entrenched by white, English medium schooling. The predominance of such norms could disadvantage socially marginalized youths and those developing repertoires in creative industry, crafts or fan art. Furthermore, major technological inequalities caused further exclusion. Differences in connectivity and infrastructure between the two research sites and individuals’ home environments were apparent. While the project supported the development of new literacies, the intervention nonetheless inadvertently reproduced the symbolic advantages of privileged youths. Important distinctions existed between participants’ use of media technologies. Resourceintensive communications proved gatekeepers to under-resourced students and stopped them fully articulating their abilities in their e-portfolios. Non-connected students had the most limited exposure to developing a digital hexis while remediating artworks, presenting personas and benefiting from online affinity spaces. By contrast, well-connected students created comprehensive showcases curating links to their productions in varied affinity groups. Male teens from affluent homes were better positioned to negotiate their classroom identities, as well as their entrepreneurial and other personas. Cultural capital acquired in their homes, such as media production skills, needed to resonate with the broader ethos of the school in its class and cultural dimensions. By contrast, certain creative industry, fan art and craft productions seemed precluded by assimilationist assumptions. At the same time, young women grappled with the risks and benefits of online visibility. An important side effect of validating media produced outside school is that privileged teens may amplify their symbolic advantages by easily adding distinctive personas. Under-resourced students must contend with the dual challenges of media ecologies as gatekeepers and an exclusionary cultural environment. Black teens from working class homes were faced with many hidden infrastructural and cultural challenges that contributed to their individual achievements falling short of similarly motivated peers. Equitable digital portfolio education must address both infrastructural inequality and decolonisation

Glitch Art Narratives: An investigation of the relation between noise and meaning

This thesis investigates the ontological meta-narratives of glitch art and focuses on it as the transition from images with noise, into a site of meaning. In the first chapter I will discuss glitch art as a failure in communication that stimulates our perception. By relating glitch art to noise art, I will describe the prevalence of a common artistic approach towards errors, while through Fiske’s notion of ‘entropy’ I will examine how unconventional information affects us. These findings, combined with the analysis of distinct glitch art typologies in the second chapter, will highlight the instrumentalization of accidents as a method for processing reality. This method will be investigated through a content analysis of a digital glitch-art work that will be bound with Lyotard’s notion of the ‘aesthetics of post-modernity’ and Virilio’s concept of a ‘vision machine’. This contextualization will introduce glitch art as a metonym for reality and as a mechanism that revolutionizes our perception and reinforces our tolerance against the stress that Virilio ascribes to the unknown source of the Original Accident. The third chapter is investigating hybrid glitch art forms as the result of this meaning making process. Through the examination of an oil painting that imitates the visual manifestation of digital errors, I will demonstrate that there is a semiotic interrelation between glitch art and the Accident, which simultaneously redefines the ontology of the former, as glitch art is becoming the Myth of the Accident. As a result, this thesis will investigate the connections of ontological meta-narratives in contemporary art to mechanisms for acquiring knowledge and processing reality, in an example of the current phenomenon of glitch art

Distances in the field : mapping similarity and familiarity in the production, curation and consumption of Australian art music

This thesis provides a timely intervention in the investigation of cultural fields by employing traditional and new data analytics to expand our understanding of fields as multi-dimensional sites of production, curation and consumption. Through a case study of contemporary Australian art music, the research explores the multiple ways in which the concept of ‘distance’ contributes to how we conceive of and engage with fields of artistic practice. While the concept of distance has often been an implicit or axiomatic concern for cultural sociology, this thesis foregrounds how it can be used to analyse fields from multiple perspectives, at multiple scales of enquiry and using diverse methodologies. In doing so, it distinguishes between notions of distance in the related concepts of similarity and familiarity. In the former, the relative proximities of cultural producers can be mapped to discern and contrast the organising principles which underlie different perspectives of a field. In the latter, the degree of an individual’s familiarity with an item or genre can be included in theorisations of cultural preferences and their social dimensions. This is disrupted in a field such as Australian art music, however, as its emphasis on experimentation and innovation presents barriers to developing familiarity. Distance can be considered a defining characteristic of this field, and motivates its selection as a critical case study from which to investigate how audiences form attachments to distant musical sounds. The investigation of distance from multiple perspectives, using different scales of analysis and across a series of focal points in the lifecycle of artist practice, provides an analysis of Australian art music in terms of the tensions which emerge from these intersecting representations of the field. The singular spatial representation of ‘objective relations’ in a field, and a concern with power and domination – as found in the approach of Bourdieu – is replaced by a multiplicity of sets of relations and a concern with their organising principles and juxtapositions. The thesis argues that the actor constellations which distances produce are intimately linked to our capacity to engage with fields as discrete and knowable domains of cultural practice. Beyond our capacity to know a cultural field, it also argues for the importance of reconsidering how we form attachments to distant musical tastes. As an avant-garde genre which embraces foreign and confounding sounds, audiences require the capacity to draw on a range of consumption strategies and techniques to successfully engage with and value the unfamiliar

Argument as design: a multimodal approach to academic argument in a digital age

Includes bibliographical referencesThis study posits that using a range of modes and genres to construct argument can engender different ways of thinking about argument in the academic context. It investigates the potentials and constraints of adopting a multimodal approach to constructing academic argument. The research is situated within a seminar, in a second year Media course. Within this context, the study identifies the semiotic resources that students draw on and examines how they are employed to construct academic argument in three digital domains, namely video, comics and PowerPoint. Grounded in a theory of multimodal social semiotics, this study posits that argument is a product of design, motivated by the rhetor's interest in communicating a particular message, in a particular environment, and shaped by the available resources in the given environment. It proposes that argument is a cultural text form for bringing about difference (Kress 1989). This view of argument recognises that argument occurs in relation to mode, genre, discourse and medium. The study illustrates how each of these social categories shapes argument through textual analysis. A framework based on Halliday's metafunctional principle is proposed to analyse argument in multimodal texts. The framework combines theories from rhetoric and social semiotics. It offers analysis of ideational content, the ways social relations are established, and how organising principles assist in establishing coherence in argument. The analysis of the data (video, comics and PowerPoint presentations) demonstrates that the framework can be applied across genres and media. The significance of the study is threefold. Theoretically, it contributes towards theorising a theory of argument from a multimodal perspective. Methodologically, it puts forward a framework for analysing multimodal arguments. Pedagogically, it contributes towards developing and interrogating a pedagogy of academic argument that is relevant to contemporary communication practices

Flash@Hebburn Urban Art in the New Century

The publication of Flash@Hebburn, explores the creation of the public art installation Flash@Hebburn featuring light and electricity, by Charles Quick, on the banks of the River Tyne at Hebburn Riverside Park in South Tyneside, which spanned a period of seven and a half years and was inaugurated on March 9th 2009. It extensively documents the testing, making and installing of a public art installation that resembles a technical functional placement, which serves to evoke a largely post-industrial site without resorting to nostalgia, while strongly relating to the community where it is placed. Jonthan Vickery’s essay, Infrastructures: Creating Flash@Hebburn, places the work not only in its context of site and its relation to the audience but also in the development of an art world discourse on new urban arts. This is supported by an interview with the artist by Dr John Wood, Henry Moore Institute which discusses the project as a piece of art work in relationship to other contemporary works the artist and others have carried out