Cultural transmission modes of music sampling traditions remain stable despite delocalization in the digital age

Music sampling is a common practice among hip-hop and electronic producers that has played a critical role in the development of particular subgenres. Artists preferentially sample drum breaks, and previous studies have suggested that these may be culturally transmitted. With the advent of digital sampling technologies and social media the modes of cultural transmission may have shifted, and music communities may have become decoupled from geography. The aim of the current study was to determine whether drum breaks are culturally transmitted through musical collaboration networks, and to identify the factors driving the evolution of these networks. Using network-based diffusion analysis we found strong evidence for the cultural transmission of drum breaks via collaboration between artists, and identified several demographic variables that bias transmission. Additionally, using network evolution methods we found evidence that the structure of the collaboration network is no longer biased by geographic proximity after the year 2000, and that gender disparity has relaxed over the same period. Despite the delocalization of communities by the internet, collaboration remains a key transmission mode of music sampling traditions. The results of this study provide valuable insight into how demographic biases shape cultural transmission in complex networks, and how the evolution of these networks has shifted in the digital age

The Relevance of Information Sources on Adoption of Precision Farming Technologies by Cotton Producers

Replaced with revised version of paper 02/16/11.strategic communication, competitiveness, extension, economics of information, technology diffusion, technology supply, communication methods, knowledge management, Production Economics, Research and Development/Tech Change/Emerging Technologies, Teaching/Communication/Extension/Profession, D22, D80, D82, D83, Q12, Q16,

Passive sampling for emerging compounds: An Irish perspective

A collaborative project investigating the potential of passive sampling technologies and integrative sampling to meet chemical monitoring requirements of the Water Framework Directive (2000/60/EC) in Ireland began in February 2013. Polar (POCIS) and non-­‐polar (silicon rubber) passive sampling, grab samples and biota samples are being collected at ten sites across Ireland over two years. The first five sites (Fig. 1) are taking a catchment approach. All samples will be tested for emerging and priority compounds listed in the Environmental Quality Standard (EQS) Directive (2008/105/EC) and its 2012 amendment

Editorial: Building and delivering real-world, integrated sustainability solutions: Insights, methods and case-study applications

This Research Topic aims to showcase research, development and technology (RDT) work toward devising and delivering integrated solutions that support and enhance the climate smart landscape (CSL)-based approach. This Research Topic comprises 13 articles, including 10 Original Research articles,1 Review, 1 Hypothesis and Theory article, and 1 Technology Report. State-of-the-art modeling approaches and sampling technologies are showcased. Contributed papers present new methodological/technological innovation, findings, and/or insights across four themes: (1) landscape productivity and crop suitability, (2) variable crop requirements for water and nutrients,(3) crop health status, phenology and phenotyping, (4)crop disease assessment and prediction under integrated pest management (IPM) and the CSL approach

Performance recordivity : studio music in a live context

A broad range of positions is articulated in the academic literature around the relationship between recordings and live performance. Auslander (2008) argues that “live performance ceased long ago to be the primary experience of popular music, with the result that most live performances of popular music now seek to replicate the music on the recording”. Elliott (1995) suggests that “hit songs are often conceived and produced as unambiguous and meticulously recorded performances that their originators often duplicate exactly in live performances”. Wurtzler (1992) argues that “as socially and historically produced, the categories of the live and the recorded are defined in a mutually exclusive relationship, in that the notion of the live is premised on the absence of recording and the defining fact of the recorded is the absence of the live”. Yet many artists perform in ways that fundamentally challenge such positions. Whilst it is common practice for musicians across many musical genres to compose and construct their musical works in the studio such that the recording is, in Auslander’s words, the ‘original performance’, the live version is not simply an attempt to replicate the recorded version. Indeed in some cases, such replication is impossible. There are well known historical examples. Queen, for example, never performed the a cappella sections of Bohemian Rhapsody because it they were too complex to perform live. A 1966 recording of the Beach Boys studio creation Good Vibrations shows them struggling through the song prior to its release. This paper argues that as technology develops, the lines between the recording studio and live performance change and become more blurred. New models for performance emerge. In a 2010 live performance given by Grammy Award winning artist Imogen Heap in New York, the artist undertakes a live, improvised construction of a piece as a performative act. She invites the audience to choose the key for the track and proceeds to layer up the various parts in front of the audience as a live performance act. Her recording process is thus revealed on stage in real time and she performs a process that what would have once been confined to the recording studio. So how do artists bring studio production processes into the live context? What aspects of studio production are now performable and what consistent models can be identified amongst the various approaches now seen? This paper will present an overview of approaches to performative realisations of studio produced tracks and will illuminate some emerging relationships between recorded music and performance across a range of contexts

Optimal experiment design in a filtering context with application to sampled network data

We examine the problem of optimal design in the context of filtering multiple random walks. Specifically, we define the steady state E-optimal design criterion and show that the underlying optimization problem leads to a second order cone program. The developed methodology is applied to tracking network flow volumes using sampled data, where the design variable corresponds to controlling the sampling rate. The optimal design is numerically compared to a myopic and a naive strategy. Finally, we relate our work to the general problem of steady state optimal design for state space models.Comment: Published in at http://dx.doi.org/10.1214/09-AOAS283 the Annals of Applied Statistics (http://www.imstat.org/aoas/) by the Institute of Mathematical Statistics (http://www.imstat.org

Following the instruments and users: the mutual shaping of digital sampling technologies

The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, based on appropriation and repetition, have been particularly common within the genres of hip-hop and Electronic Dance Music (EDM). Yet early digital sampling instruments such as the Fairlight Computer Musical Instrument (CMI) were not designed for these purposes. The technologists at Fairlight Instruments in Australia were primarily interested in the use of digital synthesis to imitate the sounds of acoustic instruments; sampling was a secondary concern. In the first half of the thesis, I follow digital sampling instruments like the Fairlight CMI and the E-mu Emulator by drawing on interviews with their designers and users to trace how they were used to sample the sounds of everyday life, loop sequenced patterns of sampled sounds, and sample extracts from pre-existing sound recordings. The second half of the thesis consists of case studies that follow the users of digital sampling technologies across a range of socio-musical worlds to examine the diversity of contemporary sampling practices. Using concepts from the field of Science and Technology Studies (STS), this thesis focuses on the ‘user-technology nexus’ and continues a shift in the writing of histories of technologies from a focus on the designers of technologies towards the contexts of use and ‘the co-construction’ or ‘mutual shaping’ of technologies and their users. As an example of the ‘interpretative flexibility’ of music technologies, digital sampling technologies were used in ways unimagined by their designers and sampling became synonymous with re-appropriation. My argument is that a history of digital sampling technologies needs to be a history of both the designers and the users of digital sampling technologies