Common Spaces: Multi-Modal-Media Ecosystem for Live Performances

Common Spaces is an interface for real-time media convergence and live performance combining media, applications and devices. A multimodal media ecosystem was designed to respond to the requirement of a specific performance — how to mix multiple applications into a single environment. This collaborative environment provides a flexible interface for performers to negotiate, share, and mix media, applications, and devices. Common Spaces is a framework based on interoperability and data flow, a network of virtual wires connecting applications that “talk” to each other sharing resources through technologies such as OSC or Syphon. With this approach, media designers have the freedom to choose a set of applications and devices that best suit their needs and are not restricted to a unique environment. We have implemented and performed with this ecosystem in live events, demonstrating its feasibility. In our paper we describe the project's concept and methodology. In the proposed performance we will use the Digital Archive of Portuguese Experimental Literature (www.po-ex.net) as a framework, appropriating its database assets, remixing its contents, as well as the techniques and methods they imply, stimulating the understanding of the archive as variable and adaptable. These digital re-readings and re-codings of experimental poems further highlight the importance of the materialities of experimental writing, integrating self-awareness in the modes of exchanges between literature, music, animation, performance, and technology.info:eu-repo/semantics/publishedVersio

Common Spaces: Multi-Modal-Media Ecosystem for Live Performances

Common Spaces is an interface for real-time media convergence and live performance combining media, applications and devices. A multimodal media ecosystem was designed to respond to the requirement of a specific performance — how to mix multiple applications into a single environment. This collaborative environment provides a flexible interface for performers to negotiate, share, and mix media, applications, and devices. Common Spaces is a framework based on interoperability and data flow, a network of virtual wires connecting applications that “talk” to each other sharing resources through technologies such as OSC or Syphon. With this approach, media designers have the freedom to choose a set of applications and devices that best suit their needs and are not restricted to a unique environment. We have implemented and performed with this ecosystem in live events, demonstrating its feasibility. In our paper we describe the project's concept and methodology. In the proposed performance we will use the Digital Archive of Portuguese Experimental Literature (www.po-ex.net) as a framework, appropriating its database assets, remixing its contents, as well as the techniques and methods they imply, stimulating the understanding of the archive as variable and adaptable. These digital re-readings and re-codings of experimental poems further highlight the importance of the materialities of experimental writing, integrating self-awareness in the modes of exchanges between literature, music, animation, performance, and technology.info:eu-repo/semantics/publishedVersio

DIGIT - DIGItal sTeps

Apesar da grande evolução tecnológica sentida nas últimas décadas no domínio dos média no sentido da automatização dos processos de pós-produção áudio este não se fez sentir na realização de foley de som, que continua a ser um processo manual que assenta nas capacidades técnico-interpretativas de um artista de foley. À imagem em movimento, este último, oferece significado sónico através de uma manipulação expressiva de objetos, fazendo coincidir a sua performance com a imagem em movimento. De reconhecido impacto expressivo, o sound foley é um processo moroso e que exige muitos recursos materiais, e assim sendo foram desenvolvidas recentemente propostas digitais para a concretização destes sons, e mais concretamente para a produção do som de passos. No entanto estas soluções apresentam limitações em (1) exaustão das propostas no caso de recurso a bibliotecas de som, (2) limitação do controlo MIDI no caso do recurso a plugins para a produção do som de passos e (3) alguma falta de realismo no caso do recurso ao áudio procedimental.Nesta dissertação, de forma a dar resposta às limitações levantadas anteriormente apresento o DIGItal sTeps (DIGIT), um sistema digital interativo para a concretização do som de passos num contexto de foley de som. DIGIT baseia-se no conceito de perfil acústico de um gesto produzido pelo impacto da mão numa superfície captado por um microfone de contacto. Através da descrição do perfil acústico destes gestos e do seu mapeamento para parâmetros de controlo de síntese concatenativa, pretende-se a realização de uma pesquisa automática numa bases de dados composta por sons de passos pré-gravados, e a posterior escolha do segmento mais adequado à descrição acústica do gesto. DIGIT potencia a expressividade e exploração do gesto como forma de recriação do som de passos em ambiente de pós-produção áudio de um filme ou jogo, dando um seguimento à prática tradicional do foley de som, que através da exploração táctil de objetos físicos, e reconhecimento das suas qualidades acústicas, os adapta às necessidades temáticas e narrativas da imagem em movimento.DIGIT apresenta vantagens em relação às soluções anteriores na medida em que utiliza a descrição do perfil acústico do gesto (nas suas múltiplas dimensões) como controlo do sistema visando desta forma contornar as limitações impostas pelo protocolo de comunicação MIDI. DIGIT dispõe ainda de um motor de reprodução áudio granular que permite uma alteração das características originais de um som de forma a criar mais possibilidades a partir de um pequeno número de amostras. Esta funcionalidade contribui para uma diminuição do tamanho da base de dados de som de passos pré-gravados que compõe o sistema ao contrário das soluções como bibliotecas de som ou plugins.Uma particularidade do sistema DIGIT em relação a soluções já existentes é o facto de se poder trabalhar por camadas dando a possibilidade ao utilizador numa mesma instância do software poder compor som de passos mais complexos.Despite the great technological evolution felt in recent decades in the media field towards the automation of audio post-production processes that did not occur in the practise of sound foley, which remains a manual process that is based on the technical and interpretive skills of a foley artist. In the moving image, the latter offers sonic meaning through an expressive manipulation of objects by matching its performance with the moving image.With recognized significant impact, foley sound is a lengthy process and requires a great deal of material resources, and therefore have been recently developed digital proposals to achieve these kind of sounds, and more specifically for the production of footstep sounds. However these solutions have limitations in (1) rapid exhaustion of proposals in the case of the use of sound libraries, (2) MIDI control limitation in the case of the use of plugins to produce footstep sounds and (3) a lack of realism in the case of recourse to techniques of procedural audio.In this dissertation, and in order to respond to those previously raised limitations I present DIGItal sTeps (DIGIT), an interactive digital system to achieve footstep sounds in a sound foley context. DIGIT is based on the concept of the acoustic profile of a gesture produced by the impact of the hand on a surface and captured by a contact microphone. Through the description of the acoustic profile of these movements and their mapping to concatenative synthesis control parameters, it is intended that DIGIT performs an automatic search in a database comprising pre recorded sounds of footsteps, and subsequent choice of the most suitable segment according to the acoustic description of the gesture. DIGIT enhances the expressiveness and operation through the use of gesture as a way of recreating the footstep sounds in an audio post-production environment of a movie or game, giving a follow-up to the traditional practice of sound foley, which through tactile exploration of physical objects, and recognition of its acoustic qualities, adjusts them to the thematic narrative of the moving image.DIGIT has advantages over previous solutions in that it uses the description of the acoustic gesture profile (in its multiple dimensions) as the main system control in a way to circumvent the limitations of the MIDI communication protocol. DIGIT also has a granular audio playback engine that enables a change of the unique features of a sound in order to create more possibilities from a small number of samples. This feature contributes to a decrease in the size of the sound database of prerecorded footstep sounds that comprise the system unlike the solutions presented by sound libraries or plugins.Also a feature of DIGIT system in relation to existing solutions is that it can work by layers in a same instance of the software giving the user the possibility to create a more complex sound

Computational Analysis of Microtiming in Maracatu De Baque Solto

UIDB/00472/2020 UIDP/00472/2020"Maracatu de baque solto" is a Carnival performance combining music, poetry, and dance, occurring in the Zona da Mata Norte region of Pernambuco (Northeast Brazil). Maracatu percussive music is strongly repetitive, and is played as loud and as fast as possible. Both from an MIR and ethnomusicological perspective this makes a complex musical scene to analyse and interpret. In this paper we focus on the extraction of microtiming profiles towards the longer term goal of understanding how rhythmic performance in Maracatu is used to promote health and well-being. To conduct this analysis we use a set of recordings acquired with contact microphones which minimise the interference between performers. Our analysis reveals that the microtiming profiles differ substantially from those observed in more widely studied South American music. In particular, we highlight the presence of dynamic microtiming profiles as well as the importance of the choice of time-keeper instrument, which dictates how the performances can be understood. Throughout this work, we emphasize the importance of a multidisciplinary approach in which MIR, audio engineering, and ethnomusicology must interact to provide meaningful insight about this music.publishersversionpublishe

Por uma Conclusão: Um Itinerário de Questões Polêmicas

The paper explains so succinctly trends revealed in the analysis of the development of PA's and PDS's in four regions of the State of São Paulo. Prioritizes as analytical axes analysis of the effectiveness of public policies, the profile of production systems, evaluation of the forms of technical assistance and the advances of federal programs aimed at marketing.Keywords: Syntheses of the State of São Paulo; Rural settlements, Publicpolicy.O artigo expõe de maneira suscinta as tendências reveladas na análise do desenvolvimento de PA's e PDS's em quatro regiões do Estado de São Paulo. Prioriza, como eixos analíticos, a análise da eficácia das políticas públicas, o perfil dos sistemas produtivos, a avaliação das formas da assistência técnica e os avanços dos programas públicos federais voltados à comercialização

Um Retrato das Regiões da Pesquisa

This paper offers an approach to contextualization of the INCRA/UNIARA research regions, prioritizing the establishment of settlements; the struggle for land and public policy to deal with the social movement issues; and, the social background and life trajectory of the settled families. The analysis of selected axis was used as a tool for the characterization described in this dossier, which constitutes this volume of the Retratos de Assentamentos.Keywords: Research regions; The struggle for land; Family history and familylife trajectories.O artigo cumpre a função de contextualizar as regiões da pesquisa INCRA/UNIARA, priorizando a constituição dos assentamentos, a luta pela terra e a direção política dos movimentos sociais nela envolvidos, a origem social e a trajetória das famílias assentadas. Tal caracterização fundamenta as análises dos eixos selecionados e apresentados nos artigos temáticos que compõe este dossiê do Retratos de Assentamentos

Síntese das Regiões: Retomando Questões do Presente/Futuro dos Assentamentos

This article describes a systematization of the main barriers that were identified across the investigated regions and highlights strategies to overcome these barriers. Particular emphasis is placed on the analysis of barriers and bottlenecks that hamper growth and development and consequently the effectiveness of government programs aimed at improving settlements. On the other hand, this study proves the dynamic effects identified in recent programs, as well as emphasizes the changing roles of settled women and the dilemmas settled young people face.Keywords: Rural settlements; Regional development; Public policy.O artigo tem o caráter de sistematização dos principais bloqueios e perspectivas detectados nas regiões investigadas. Prioriza, nas suas considerações, referencia aos gargalos das políticas públicas e da infraestrutura nos assentamentos. Por outro lado, evidencia os efeitos dinamizadores constatados pelos programas recentes, além de ressaltar os papéis em transformação das mulheres assentadas e os dilemas vivenciados pela juventude assentada

Global investments in pandemic preparedness and COVID-19: development assistance and domestic spending on health between 1990 and 2026

Background The COVID-19 pandemic highlighted gaps in health surveillance systems, disease prevention, and treatment globally. Among the many factors that might have led to these gaps is the issue of the financing of national health systems, especially in low-income and middle-income countries (LMICs), as well as a robust global system for pandemic preparedness. We aimed to provide a comparative assessment of global health spending at the onset of the pandemic; characterise the amount of development assistance for pandemic preparedness and response disbursed in the first 2 years of the COVID-19 pandemic; and examine expectations for future health spending and put into context the expected need for investment in pandemic preparedness. Methods In this analysis of global health spending between 1990 and 2021, and prediction from 2021 to 2026, we estimated four sources of health spending: development assistance for health (DAH), government spending, out-of-pocket spending, and prepaid private spending across 204 countries and territories. We used the Organisation for Economic Co-operation and Development (OECD)'s Creditor Reporting System (CRS) and the WHO Global Health Expenditure Database (GHED) to estimate spending. We estimated development assistance for general health, COVID-19 response, and pandemic preparedness and response using a keyword search. Health spending estimates were combined with estimates of resources needed for pandemic prevention and preparedness to analyse future health spending patterns, relative to need. Findings In 2019, at the onset of the COVID-19 pandemic, US$9·2 trillion (95$7·3 trillion (95% UI 7·2–7·4) in 2019; 293·7 times the $24·8 billion (95$43·1 billion in development assistance was provided to maintain or improve health. The pandemic led to an unprecedented increase in development assistance targeted towards health; in 2020 and 2021, $1·8 billion in DAH contributions was provided towards pandemic preparedness in LMICs, and$37·8 billion was provided for the health-related COVID-19 response. Although the support for pandemic preparedness is 12·2% of the recommended target by the High-Level Independent Panel (HLIP), the support provided for the health-related COVID-19 response is 252·2% of the recommended target. Additionally, projected spending estimates suggest that between 2022 and 2026, governments in 17 (95% UI 11–21) of the 137 LMICs will observe an increase in national government health spending equivalent to an addition of 1% of GDP, as recommended by the HLIP. Interpretation There was an unprecedented scale-up in DAH in 2020 and 2021. We have a unique opportunity at this time to sustain funding for crucial global health functions, including pandemic preparedness. However, historical patterns of underfunding of pandemic preparedness suggest that deliberate effort must be made to ensure funding is maintained

Appropriating biosensors as embodied control structures in interactive music systems

We present a scoping review of biosensors appropriation as control structures in interactive music systems (IMSs). Technical and artistic dimensions promoted by transdisciplinary approaches, ranging from biomedicine to musical performance and interaction design fields, support a taxonomy for biosensor-driven IMSs. A broad catalog of 70 biosensor-driven IMSs, ranging in publication dates from 1965 to 2019, was compiled and categorized according to the proposed taxonomy. From the catalog data, we extrapolated representative historical trends, notably to critically verify our working hypothesis that biosensing technologies are expanding the array of control structures within IMSs. Observed data show that our hypothesis is consistent with the historical evolution of the biosensor-driven IMSs. From our findings, we advance future challenges for novel means of control across humans and machines that should ultimately transform the agents involved in interactive music creation to form new corporalities in extended performative settings.peerReviewe