Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, and every year, many of its top-selling records incorporate elaborately orchestrated arrangements of rural folksongs. What accounts for the continuing demand for traditional music in local and diasporic markets? How is tradition produced (...) in twenty-first century digital recording studios, and is there a "digital aesthetics" to contemporary recordings of traditional music? -/- In Digital Tradition: Arrangement and Labor in Istanbul's Recording Studio Culture, author Eliot Bates answers these questions and more with a case study into the contemporary practices of recording traditional music in Istanbul. Bates provides an ethnography of Turkish recording studios, of arrangers and engineers, studio musicianship and digital audio workstation kinesthetics. Digital Traditions investigates the moments when tradition is arranged, and how arrangement is simultaneously a set of technological capabilities, limitations and choices: a form of musical practice that desocializes the ensemble and generates an extended network of social relations, resulting in aesthetic art objects that come to be associated with a range of affective and symbolic meanings. Rich with visual analysis and drawing on Science & Technology Studies theories and methods, Digital Traditions sets a new standard for the study of recorded music. Scholars and general readers of ethnomusicology, Middle Eastern studies, folklore and science and technology studies are sure to find Digital Traditions an essential addition to their library. (shrink)

In the past two decades digital technologies have fundamentally changed the way we think about, make and use popular music. From the production of multimillion selling pop records to the ubiquitous remix that has become a marker of Web 2.0, the emergence of new music production technologies have had a transformative effect upon 21st Century digital culture. Sonic Technologies examines these issues with a specific focus upon the impact of digitization upon creativity; that is, what musicians, cultural producers (...) and prosumers do. For many, music production has moved out of the professional recording studio and into the home. Using a broad range of examples ranging from experimental electronic music to more mainstream genres, the book examines how contemporary creative practice is shaped by the visual and sonic look and feel of recording technologies such as Digital Audio Workstations. (shrink)

Background Providing understandable information to patients is necessary to achieve the aims of the Informed Consent process: respecting and promoting patients’ autonomy and protecting patients from harm. In recent decades, new, primarily digital technologies have been used to apply and test innovative formats of Informed Consent. We conducted a systematic review to explore the impact of using digital tools for Informed Consent in both clinical research and in clinical practice. Understanding, satisfaction and participation were compared for digital (...) tools versus the non-digital Informed Consent process. Methods We searched for studies on available electronic databases, including Pubmed, EMBASE, and Cochrane. Studies were identified using specific Mesh-terms/keywords. We included studies, published from January 2012 to October 2020, that focused on the use of digital Informed Consent tools for clinical research, or clinical procedures. Digital interventions were defined as interventions that used multimedia or audio–video to provide information to patients. We classified the interventions into 3 different categories: video only, non-interactive multimedia, and interactive multimedia. Results Our search yielded 19,579 publications. After title and abstract screening 100 studies were retained for full-text analysis, of which 73 publications were included. Studies examined interactive multimedia, non-interactive multimedia, and videos, and most studies were conducted on adults. Innovations in consent were tested for clinical/surgical procedures and clinical research. For research IC, 21 outcomes were explored, with a positive effect on at least one of the studied outcomes being observed in 8/12 studies. For clinical/surgical procedures 49 outcomes were explored, and 21/26 studies reported a positive effect on at least one of the studied outcomes. Conclusions Digital technologies for informed consent were not found to negatively affect any of the outcomes, and overall, multimedia tools seem desirable. Multimedia tools indicated a higher impact than videos only. Presence of a researcher may potentially enhance efficacy of different outcomes in research IC processes. Studies were heterogeneous in design, making evaluation of impact challenging. Robust study design including standardization is needed to conclusively assess impact. (shrink)

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some (...) ontological features that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient. (shrink)

Despite a predominantly digital, 21st century music production landscape, analogue hardware professional audio technologies persist. In the discoursal throes of the leading online audio technology message forum Gearslutz, such technologies are routinely objectified, sexualized, fetishized and socialized into gear. Situated in a contemporary critical, interdisciplinary framework of fetish, masculinity and sexuality studies, this research interrogates how audio technologies manufactured and intended for music production contexts become sexy. Applying a mixed-mode methodology, including an intensive discourse, image and (...) material-semiotic analysis of an ‘epic’ sexy gear thread, we collated extensive data about technological fetishization. Sexy gear discourse articulates themes of voyeurism, acquisition, control and animation – linking the fetish value of technological objects and their connoisseurship with the erotic potential of sexualized objects. Such discourses ultimately serve to maintain social order, and become sites for performing the maintenance work of hegemonic masculine formations. This research provides new insights into how hegemonic masculinities depend upon the organization of online and offline sociability around fetishized material objects. Furthermore, our findings align with those of current scholarship focused on representational politics of technoculture. (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made variable (...) and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

The Commens Papers (http://www.commens.org/papers) publishes preprints, reports, and communications that deal with the philosophy, scientific contributions, and life of C. S. Peirce. The Commens Papers are primarily meant for scholarly products that lack other means of publication, but which the author wishes to bring to the attention of the research community. The papers must meet editorial approval, but they are not fully peer reviewed. -/- The Commens Papers accepts a broad variety of intellectual products in various formats, including: Conference papers, (...) Manuscripts made available for comments and criticism before submission for peer review, Reports of original research, such as archival research, Catalogues or other systematic summaries of (parts of) Peirce’s writings, Reports from scientific meetings Lectures, as text, video, or audio, Posters presented at academic conferences . (shrink)

Deepfakes are audio, video, or still-image digital artifacts created by the use of artificial intelligence technology, as opposed to traditional means of recording. Because deepfakes can look and sound much like genuine digital recordings, they have entered the popular imagination as sources of serious epistemic problems for us, as we attempt to navigate the increasingly treacherous digital information environment of the internet. In this paper, I attempt to clarify what epistemic problems deepfakes pose and why they (...) pose these problems, by drawing parallels between recordings and our own senses as sources of evidence. I show that deepfakes threaten to undermine the status of digital recordings as evidence. The existence of deepfakes thus encourages a kind of skepticism about digital recordings that bears important similarities to classic philosophical skepticism concerning the senses. However, the skepticism concerning digital recordings that deepfakes motivate is also importantly different from classical skepticism concerning the senses, and I argue that these differences illuminate some possible strategies for solving the epistemic problems posed by deepfakes. (shrink)

Before COVID-19, dementia singing groups and choirs flourished, providing activity, cognitive stimulation, and social support for thousands of people with dementia in the UK. Interactive music provides one of the most effective psychosocial interventions for people with dementia; it can allay agitation and promote wellbeing. Since COVID-19 has halted the delivery of in-person musical activities, it is important for the welfare of people with dementia and their carers to investigate what alternatives to live music making exist, how these alternatives are (...) delivered and how their accessibility can be expanded. This community case study examines recent practice in online music-making in response to COVID-19 restrictions for people with dementia and their supporters, focusing on a UK context. It documents current opportunities for digital music making, and assesses the barriers and facilitators to their delivery and accessibility. Online searches of video streaming sites and social media documented what music activities were available. Expert practitioners and providers collaborated on this study and supplied input about the sessions they had been delivering, the technological challenges and solutions they had found, and the responses of the participants. Recommendations for best practice were developed and refined in consultation with these collaborators. Over 50 examples of online music activities were identified. In addition to the challenges of digital inclusion and accessibility for some older people, delivering live music online has unique challenges due to audio latency and sound quality. It is necessary to adapt the session to the technology's limitations rather than expect to overcome these challenges. The recommendations highlight the importance of accessibility, digital safety and wellbeing of participants. They also suggest ways to optimize the quality of their musical experience. The pandemic has prompted innovative approaches to deliver activities and interventions in a digital format, and people with dementia and their carers have adapted rapidly. While online music is meeting a clear current need for social connection and cognitive stimulation, it also offers some advantages which remain relevant after COVID-19 restrictions are relaxed. The recommendations of this study are intended to be useful to musicians, dementia care practitioners, and researchers during the pandemic and beyond. (shrink)

In this research we will examine the paradox nature of self-reference. This concept appears in the form of pure feedback loops in language and mathematics and naturally extends towards many different domains such as biology, sociology, art and philosophy. The basic elements of human experience show the manifestations of such loops. Their results are noticeable in internal or external, mental or body processes. Our interest with these loops focuses on the domain of brain processes in observing, thinking and interpreting as (...) it is meticulously analysed in the books Gödel Escher Bach and I Am a Strange Loop. Through the interactive artistic experiments ‘Ouroboros VR Self-Reference Apparatus’ by John Bardakos (2015) and ‘Anima’ by Elhem Younes (2016) we explore applied and theoretical concepts and experiences in logic, dream aesthetics and the human creativity. These experiments were conducted using ‘perception’ as a natural model of aesthetics generator via self-reference. Within this model, the loops were enriched with an artistic metamorphose of data from measurements of the human space to the aesthetic objects in the virtual space. Through the quantifiable perception feedback loop and the digital interaction, the spectator changes his role and becomes an active artist expressing himself or herself to a digital output with the support of data. The now post-conscious artist, with the use of visual and audio-visual tool sets, observes the fusion of art technology and aesthetics being transformed into basic elements that form consciousness. (shrink)

Since the inception of recorded music there has been a need for standards and reliability across sound formats and listening environments. The role of the audio mastering engineer is prestigious and akin to a craft expert combining scientific knowledge, musical learning, manual precision and skill, and an awareness of cultural fashions and creative labour. With the advent of algorithms, big data and machine learning, loosely termed artificial intelligence in this creative sector, there is now the possibility of automating human (...) audio mastering processes and radically disrupting mastering careers. The emergence of dedicated products and services in artificial intelligence-driven audio mastering poses profound questions for the future of the music industry, already having faced significant challenges due to the digitalization of music over the past decades. The research reports on qualitative and ethnographic inquiry with audio mastering engineers on the automation of their expertise and the potential for artificial intelligence to augment or replace aspects of their workflows. Investigating audio mastering engineers' awareness of artificial intelligence, the research probes the importance of criticality in their labour. The research identifies intuitive performance and critical listening as areas where human ingenuity and communication pose problems for simulation. Affective labour disrupts speculation of algorithmic domination by highlighting the pragmatic strategies available for humans to adapt and augment digital technologies. (shrink)

Many areas of contemporary art and culture in the United States and Europe can be shown to have a direct lineage to the rich history of the Western Mystery Traditions, rooted in ancient esoteric and magical philosophies of Greece and Egypt. Video mash-ups and audio sampling have inherited the cut-up methods of Beat poets and artists, who in turn were influenced by the Surrealists and their contemporaries. Early twentieth-century artists such as Austin O. Spare drew upon magickal practices derived (...) directly from renaissance practitioners such as John Dee’s use of The Key of Solomon and Giordano Bruno’s Art of Memory. Methods of employing graphical imagery for the purpose of accessing insight or influence from alternate realms continue to draw upon Gnostic and Hermetic philosophies of ancient Greece and Egyptian antiquity. We can easily see the persistent influence of these ancient beliefs and practices in the contemporary use of logos and symbols of popular culture as well as in contemporary art and music. (shrink)

In 2015 the first mass migration and the first geopolitical and transnational crisis of the digital age began. This brought along the awakening of a new phase in slavery trade and trafficking of human beings (THB) at the European borders. In this article I introduce an ongoing field study I began in January 2016, in collaboration with experts from Spanish and European institutions, that so far has taken me to hotspots and borders, and to the accumulation of a vast (...) multimedia archive. This led to the creation of zonaautonomamilitarizada.eu, an immersive/360°, interactive and reactive audio-visual performative system conceptually rooted in military technologies, second-order cybernetics and mass media developments. (shrink)

This article provides an ethical analysis of the moral conflict over access to premium audio-visual online content, which is currently regulated by geo-blocking in the domain of digital film distri...

The article explores digital literacy practices in children’s everyday lives at Norwegian preschools and some of the ways in which young children appropriate basic digital literacy skills through guided participation in situated activities. Building on an ethnomethodological perspective, the analyses are based on 70 hours of video recordings documenting the activities in which 45 children, aged 5-6, and eight preschool teachers participated. Through the detailed analysis of two categorization activities – identifying geometrical shapes and identifying feelings/thoughts –the use (...) of digital tools in the social organization of the activities are examined. The article finds that children’s digital literacy activities encompass visual, verbal, audio and embodied competencies that are made relevant, and thus accessible for learning, in interaction between the children and between the adults and children in the form of norms and guidelines for what constitutes correct categorizations (geometrical shapes and green and red feelings) in the situated activities, and that are appropriated and actualized by the children in interaction with their peers. The findings also show how the categorization practices in preschools deal with symbols and labels in ways that create and sustain socially organized ways of knowing, seeing and acting upon the world. Digital media are embedded in routines, procedures and socialites that are part of these categorization practices; they are part of how children are instructed to experience, interpret, understand and act in the world. Moreover, the different technologies created different conditions for the children’s participation. It was found that peer interaction was part of the digital literacy activities that involved such mobile technologies as smartphones and tablets, while when using non-mobile technologies, e.g. smartboards, the activities were structured more as ‘classic’ classroom activities, primarily guided by the teacher and the didactic material presented through the smartboard. (shrink)

The exciting world of HD video is in your hands Your Canon VIXIA HD camcorder delivers crisp video and still images with eye-catching, brilliant colors, enabling you to create amazing video works of art. To help you get all that your camcorder has to offer, this convenient, portable guide shows you how to use the various modes, settings, and features, but that's not all. It also provides an overview of videography fundamentals, then takes you into the field with advice on (...) using sound and light to their best advantage, editing your footage, choosing useful accessories, and more. Master the settings for VIXIA HD camcorder models HF10, HF11, HF100, HG10, HG20, and HG21, as well as HV20, HV30, and HR10. Experiment with exposure settings, white balance, image effects, zoom speed, and audio recording levels Learn more about developing a story, manipulating depth of field, composing shots, and protecting yourself with releases Transfer and edit your footage with iMovie® '09 or Pixela ImageMixer. (shrink)

In 2020, the COVID-19 pandemic forced many nations to shut-down schools and universities, catapulting teachers and students into a new, challenging situation of 100% distance learning. To explore how the shift to full distance learning represented a break with previous teaching, we asked Austrian students (n = 874, 65% female, 34% male) which digital media they used before and during the first Corona lockdown, as well as which tools they wanted to use in the future. Students additionally reported on (...) their attitudes and experiences with online learning. Results showed that students used certain tools, such as video, audio, e-assessments, and web conferencing systems, much more often during lockdown than they had before. Their use of classic digital media, such as e-mail, social communication tools, such as chat or online forums, and other interactive tools, such as wikis or educational games, hardly changed at all. Their attitudes toward multimedia learning were positively related to their media use. In their open responses (n = 137), students identified advantages of online learning (flexibility and self-directed learning), as well as disadvantages (limited social interaction) and challenges (motivation and self-discipline). As a group, they also expressed a clear preference for a balanced combination of online- and offline teaching in the future. However, individual students did prefer fully online or offline learning modes, depending on their personal circumstances and educational goals. We view this as a call to researchers and educators alike to explore ways in which the advantages of online and face-to-face learning can best be combined to meet the changed needs and expectations of organizations, students, and teachers in a future “after Corona.”. (shrink)

Cultura escrita, alfabetização e escolarização assinalam uma longa Modernidade de mais de quatro séculos na História do Mundo Ocidental. A cultura escrita congrega informação, conhecimento, pensamento, acção. A aculturação escrita constituiu condição e factor de conhecimento, cidadania e humanitude. Desde finais da Idade Média com a difusão do papel e a mecanização da tipografia, o mundo da leitura alterou-se, em reflexo da maior divulgação do livro impresso. Na transição do Antigo Regime a leitura e a escrita eram práticas usuais na (...) esfera do Estado e da administração pública e tornavam-se condição de cidadania. No decurso de Oitocentos a progressiva universalização da alfabetização escolar e a constituição da esfera pública beneficiaram de novos avanços técnicos no mundo editorial, na vulgarização do livro, na disseminação de periódicos, na criação de bibliotecas. No decurso do século XX, a cultura de massas através do livro do áudio e do cinema trouxe a omnipresença da leitura. Os índices de leitura cresceram até final do século, mas desde as décadas de oitenta que o digital e os novos modos de ler só em parte vêm suprindo a desvalorização das formas tradicionais de cultura e leitura. Traçarei uma panorâmica destes quatro séculos de aculturação e sociabilidade pela leitura e pela escrita. (shrink)

Today, the convergence of video-based Internet Communication Technologies is challenging centralized control over cultural topologies. Accordingly, this paper proposes a theoretical prism for the analysis of the sociopolitical impact of online audio-visual communication. More precisely, this study discusses how topological visibility and networked visibility interact in today’s digital landscape. To this aim, four examples divided into two clusters will be discussed. The first cluster will describe the functioning of topological visibility, while the second cluster will illustrate how technology-enhanced (...) mediability may create networked spaces of appearance. The paper concludes by arguing that networked visibility does not neutralize the relational nature of the human gaze but rather forces and expands the culturally-defined boundaries of its legitimate social existence. (shrink)

Audioscan Milano explores the strategies and experiments in the field of sound and noise of Milan’s legendary Studio di Fonologia Musicale. A multimedia installation composed of hundreds of field recordings of the city of Milan, Audioscan Milano provides its audience with a multisensory experience of the urban soundscape and the opportunity to interact with it digitally. The manipulation of noise and its transformation into musical sound via sophisticated electronic equipment emulates the Studio’s audio techniques but also exposes the reasons (...) behind its failure to attract a wider audience. Visitors to Audioscan Milano expect to hear urban noise rather than musical sounds and, despite some enthusiasm around being able to mix sound objects on the map and move them around the room, they fail to appreciate the technical subtleties of the procedures behind the music. Ultimately, Audioscan Milano constitutes an important link to Italy’s musical heritage of the 1950s and 1960s and can learn from its limitations, particularly when it comes to engaging the audience to play a more active role in the auditory experience of the city. (shrink)

Cet article s’inscrit dans la continuité des études sur l’utilisation des corpus oraux comme ressource didactique en français langue étrangère. Il présente les défis sous-jacents à la construction d’un exercice sous format numérique à partir de l’expression polysémique genre à l’oral. L’exercice a été développé dans le cadre du projet de recherche appliquée DiCoi (Digitalisation – Corpus – Interaction), dont le but est de soutenir le développement de la compétence d’interaction orale de jeunes en formation professionnelle de métiers manuels. L’effet (...) des interventions est mesuré à l’aide de feedback, mais aussi de la collecte d’interactions orales libres enregistrées sous format audio. La réception de l’exercice est généralement positive, mais l’analyse du phénomène dans le corpus d’interaction entre allophones révèle la difficulté d’établir un lien clair entre input et output. Néanmoins, une didactisation soigneuse du matériel authentique semble rendre les phénomènes cibles saillants. (shrink)

In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul,Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics,and is often described by studio musicians and (...) engineers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments. Büyük ses, which in basic terms connotes a high density of heterogeneous musical parts,in contrast to parlak has no relation to any known longstanding Anatolian musical performing traditions or timbral aesthetics, and is a recent development in Istanbul-produced record- ings.Parlak and büyük ses became widespread after 2000,accompanying the paradigm shift of Istanbul studios from analog to digital workflows. Parlak and büyük ses are of interest for reasons that transcend music-aesthetics. The successful creation of mixes with parlak and büyük ses necessitates a palpable change in the performance practice of folk music instruments, as well a fundamental reconfiguration of the social structure of music-making, which in turn involves new musical competences and conceptualizations of musical practice. Parlak and büyük ses are not just a result of using a particular set of technologies (i.e., microphones or effects plugins), but instead arise from arduous and detailed arrangement and nonlinear editing work that is made feasible through DAW (digital audio workstation) systems. Although parlak and büyük ses index the transformation of traditional music aesthetics in the context of digital audio recording production, and their production is at the forefront of concerns of the professionals working in the recording studio environment, the terms are never mentioned in published music criticism, and only usually uttered in the studio context at the inception of a project and at the completion of a mix. Considerable preemptive work is done by studio musicians, engineers, and arrangers to avoid the need for the terms to be mentioned at all. (shrink)

A computer-based language system exploring hybrid invention generation has been developed by Bill Seaman working in conjunction with the programmer Gideon May.1 The project was primarily funded by Intel. This work explores 3D visualization with related generative texts and recombinant audio/music, as well as a series of textual descriptions. Computer-based environmental meaning is explored through the inter-authorship and operative experiential examination of a diverse set of media-elements and media-processes, in this case focusing on the virtual construction of hybrid inventions. (...) Differing sets of media elements in the Hybrid Invention Generator convey their own fields of meaning through the juxtaposition of 3D models, texts and digital audio. Varying combinations of these fields of meaning are experienced through direct interaction with the system. The work explores notions surrounding machinic genetics. Nonsense relations can present seemingly off-kilter juxtapositions, providing the participant with an experience akin to surrealism. Lautréamont’s definition of surrealist beauty - ‘beautiful as the unexpected meeting, on a dissection table, of a sewing machine and an umbrella’ (Waldberg 1965) - describes an experience engendered through a unique juxtaposition of elements not unlike relations encountered within this particular techno-poetic environment. Yet the system can also be used to brainstorm actual devices, as well as their potential conceptual/functional construction. (shrink)

Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations like FL Studio and Ableton Live introduced design (...) affordances that encouraged rapid music creation workflows through flashy, "user-friendly" interfaces. Meanwhile, software such as Avid's Pro Tools attempted to protect its status as the "industry standard," "professional" DAW of choice by incorporating design elements from pre-digital music technologies. Other software, like Cycling 74's Max, asserted its alterity to "commercial" DAWs by presenting users with nothing but a blank screen. These are more than just aesthetic design choices. Push examines the social, cultural, and political values designed into music software, and how those values become embodied by musical communities through production and performance. It reveals ties between the maximalist design of FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max, as well as iZotope's innovations in artificial intelligence, with the cultural politics of Silicon Valley's "design thinking." Finally, it thinks through what happens when software becomes hardware, and users externalize their screens through the use of MIDI controllers, mobile media, and video game controllers. Amidst the perpetual upgrade culture of music technology, Push provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives. (shrink)

Drawing upon my expertise as an artist and clinical acupuncturist with training in biomedicine, my artistic research adapts Chinese medicine practice into a strategic tool to investigate new synergies between art, medicine, technology, East, West, modernity and pre-modernity. In my performances, I use Chinese pulse diagnosis and acupuncture point location as transdisciplinary artistic technologies (qi / ) that are capable of measuring and responding to quantum entanglements between individuals and their social, natural and cosmic milieus ‐ or what can be (...) referred to as dao (). This is achieved by combining the principles of CM with digital (audio software and physical computing) and 'moist' media (the body). (shrink)

La mondialisation a pour effet de rendre indispensable non seulement le recours à la traduction, mais souvent aussi à l’adaptation. C’est en particulier le cas pour les ressources audiovisuelles numériques et leur republication, dont l’importance ne fait que croître. Le texte audio-visuel est en réalité à considérer comme un objet sémiotique pouvant avoir une extrême complexité, en raison des différentes strates dont il se compose. En particulier, chacun des plans que l’on peut y distinguer peut être l’objet d’une traduction (...) culturelle spécifique, car autrement les informations véhiculées risqueraient d’être mal interprétées par les récepteurs. Pour aborder cette problématique, l’article s’appuie notamment sur les travaux effectués dans le cadre du projet de recherche « Atelier sémiotique audiovisuel » financé par l’Agence nationale de la recherche .One effect of globalisation has been to make not only translation essential, but also adaptation. This is particularly true in the case of digital audiovisual resources and their re-publication, which are greatly increasing in importance. Audiovisual text should in fact be considered as a many-layered semiotic object whose complexity can be extreme. Each of these layers may require a specific cultural translation, failing which the information conveyed can be wrongly interpreted by those receiving it. In addressing this problem, this paper draws in particular on the work carried out under the “Audiovisual Semiotics Workshop” research project financed by the French National Research Agency. (shrink)

Background: Audio-visual teleconsultation is expected to help home-based palliative patients, hospital-based palliative care professionals, and family physicians to jointly design better, pro-active care. Consensual knowledge of the possibilities and limitations of teleconsultation in transmural palliative care is, however, largely lacking.This paper aims at describing elements of both the physical workplace and the cultural-social context of the palliative care practice, which are imperative for the use of teleconsultation technologies. Methods: A semi-structured expert meeting and qualitative, open interviews were deployed to (...) explore professionals’ assumptions and wishes, which are considered to contain latent presumptions about the practice’s physical workplace and latent elements of the cultural-social context, regarding (1) the mediating potential of audio-visual teleconsultation, (2) how the audio-visual teleconsultations will affect medical practice, and (3) the design and usage of the teleconsultation technology. We used a qualitative analysis to investigate how palliative care professionals interpret the teleconsultation package in preparation. The analysis entailed open and axial coding techniques developed in a grounded theory approach. Results: Respondents assume: 1. teleconsultation will hinder physical proximity, thereby compromising anamnesis and diagnosis of new or acutely ill patients as well as “real contact” with the person behind the patient; 2. teleconsultation will help patients becoming more of a pivotal figure in their own care trajectory; 3. they can use teleconsultation to keep a finger on the pulse; 4. teleconsultations have a healing effect of their own due to offered time and digital attention; 5. teleconsultation to open up an additional “gray” network outside the hierarchical structures of the established chain of transmural palliative care. This network could cause bypassing of caregivers and uncertainty about responsibilities; 6. teleconsultations lead to an extended flow of information which helps palliative care professionals to check the stories of patients and medical specialists. Conclusions: Professionals assume teleconsultation co-defines a new patient–professional relationship by extending hospital-based caregivers’ perceptions of as well as attention for their patients. At the cost, however, of clinical and personal connectedness. Secondly, a hermeneutics is needed to carefully interpret teleconsultation images. Thirdly, teleconsultations transform caregiving cultures as formerly separated care domains collide, demanding a redefinition of roles and responsibilities. (shrink)

Is the ubiquity of contemporary popular music akin to a deliberate aggression to the hearing, making the listening experience devoid of any sense? If so, is there any strategy to morph this supposed confusion into meaningful stimuli? Relying on epistemology, we attempt at promoting the act of listening as a proper way of world-making and refer to Mark Reybrouck, Bruno Nettl, Steven Brown and Joseph Jordania—among others—to gather appropriate heuristic tools. In the last part of the essay, we advance the (...) concept of timbral quotation as an additional means to grasp meaningful cues in the timbrical richness of contemporary popular compositions. We shall sustain the particular fitness of this tool especially with regard to nowadays’ Western popular music, more and more timbre-centered rather than harmony-centered. (shrink)

This article focuses on the pendulum-like change in the way people read and use text, which was triggered by the introduction of new reading and writing technologies in human history. The paper argues that textual features, which characterized the ancient pre-print writing culture, disappeared with the establishment of the modern-day print culture and has been “revived” in the digital post-modern era. This claim is based on the analysis of four cases which demonstrate this textual-pendulum swing: (1) The swing from (...) concrete iconic-graphic representation of letters and words in the ancient alphabet to abstract phonetic representation of text in modern eras, and from written abstract computer commands “back” to the concrete iconic representation in graphic user interfaces of the digital era; (2) The swing from scroll reading in the pre-print era to page or book reading in the print era and “back” to scroll reading in the digital era; (3) The swing from a low level of authorship in the pre-print era to a strong authorship perception in the print era, and “back” to a low degree of authorship in the digital era; (4) The swing from synchronic representation of text in both visual and audio formats during the pre-print era to a visual representation only in print, and “back” to a synchronic representation in many environments of the digital era. We suggest that the print culture, which is usually considered the natural and preferred textual environment, should be regarded as the exception. (shrink)

Taking a schizoanalytic approach to audio-visual images, this article explores some of the radical potentia for deterritorialisation found within David Fincher's Fight Club (1999). The film's potential for deterritorialisation is initially located in an exploration of the film's form and content, which appear designed to interrogate and transcend a series of false binaries between mind and body, inside and outside, male and female. Paying attention to the construction of photorealistic digital spaces and composited images, we examine the actual (...) (and possible) ways viewers relate to the film, both during and after screenings. Recognising the film as an affective force performing within our world, we also investigate some of the real-world effects the film catalysed. Finally, we propose that schizoanalysis, when applied to a Hollywood film, suggests that Deleuze underestimated the deterritorialising potential of contemporary, special effects-driven cinema. If schizoanalysis has thus been reterritorialised by mainstream products, we argue that new, ‘post-Deleuzian’ lines of flight are required to disrupt this ‘de-re-territorialisation’. (shrink)

Every project in digital and computational history of science starts with the collection of data. Depending on the research project, the subject of study, and other factors, data can comprise a variety of different types, including full texts, images, audio, video, and bibliographic metadata. Publications and project reports generally describe their results and the methods and algorithms employed, but few discuss the challenges of the initial data collection process or how it fits into the overall research data life (...) cycle. This essay discusses a concrete research data life cycle and takes a look at the difficulties it involves. It also explores the strategies and challenges of data collection and the question of the comparability of datasets. (shrink)

Deepfake technology presents significant ethical challenges. The ability to produce realistic looking and sounding video or audio files of people doing or saying things they did not do or say brings with it unprecedented opportunities for deception. The literature that addresses the ethical implications of deepfakes raises concerns about their potential use for blackmail, intimidation, and sabotage, ideological influencing, and incitement to violence as well as broader implications for trust and accountability. While this literature importantly identifies and signals the (...) potentially far-reaching consequences, less attention is paid to the moral dimensions of deepfake technology and deepfakes themselves. This article will help fill this gap by analysing whether deepfake technology and deepfakes are intrinsically morally wrong, and if so, why. The main argument is that deepfake technology and deepfakes are morally suspect, but not inherently morally wrong. Three factors are central to determining whether a deepfake is morally problematic: whether the deepfaked person would object to the way in which they are represented; whether the deepfake deceives viewers; and the intent with which the deepfake was created. The most distinctive aspect that renders deepfakes morally wrong is when they use digital data representing the image and/or voice of persons to portray them in ways in which they would be unwilling to be portrayed. Since our image and voice are closely linked to our identity, protection against the manipulation of hyper-realistic digital representations of our image and voice should be considered a fundamental moral right in the age of deepfakes. (shrink)

Deepfakes are algorithmically modified video and audio recordings that project one person’s appearance on to that of another, creating an apparent recording of an event that never took place. Many scholars and journalists have begun attending to the political risks of deepfake deception. Here we investigate other ways in which deepfakes have the potential to cause deeper harms than have been appreciated. First, we consider a form of objectification that occurs in deepfaked ‘frankenporn’ that digitally fuses the parts of (...) different women to create pliable characters incapable of giving consent to their depiction. Next, we develop the idea of ‘illocutionary wronging’, in which an individual is forced to engage in speech acts they would prefer to avoid in order to deny or correct the misleading evidence of a publicized deepfake. Finally, we consider the risk that deepfakes may facilitate campaigns of ‘panoptic gaslighting’, where many systematically altered recordings of a single person's life undermine their memory, eroding their sense of self and ability to engage with others. Taken together, these harms illustrate the roles that social epistemology and technological vulnerabilities play in human ethical life. (shrink)

The processes of constructing meaning in digital database environments entail a paradigm shift from previous models of audio-visual communication. Media emerging from the Electro-mechanical era (film/TV/video) present fixed spatio-temporal linearity and material conditions which objectify and render passive viewer and process. The problematic aspects of cinematic communication were addressed by Latin American filmmakers of the “Third Cinema” movement. Their concerns and approach presaged and assisted an understanding of the radical redefinition of audio-visual communication possible with digital (...) databases. The conceptual and aesthetic aspirations of “Third Cinema” artists such as Julio Garcia Espinosa and Fernando Solanas were ultimately contradictory to linear media and find their fitting medium in digital modular construction. The materiality of database expression lacks an intrinsic temporal or spatial state and permits a more dynamic and multidirectional set of power relationships between author/s, piece, viewer/s. Other important referents for contextualising database art are modern art practitioners that rejected linear representational space and fractured the centrality of authorship. The author's own work, “...two, three, many Guevaras,” an exploratory database environment, embraces the redefinition of process as artistic expression, the empowerment of interacting generative forces, and serves to illustrate the revolutionary potential of the new media. (shrink)

"Essays examine philosophical aspects of the iPod portable audio player, focusing on its status as a cultural icon and object with many meanings"--Provided by ...

BackgroundIn this article, we address questions regarding how people consider what they do or do not consent to and the reasons why. This article presents the findings of a citizen forum study conducted by the University of Geneva in partnership with the Geneva University Hospitals to explore the opinions and concerns of members of the public regarding predictive oncology, genetic sequencing, and cancer. MethodsThis paper presents the results of a citizen forum that included 73 participants. A research tool titled "the (...) mechanics of consent" was designed for this study. This tool is a table encouraging participants to reflect on social and research actors, types of data, and desired levels of control while sharing different types of data with different actors. Participants’ discussion that led to the completion of each table were audio-recorded, transcribed, and analyzed using thematic analysis.ResultsThe results are a compilation of responses from the mechanics of consent tool divided into two sections; the first presents quantitative results of collective responses regarding attitudes to consent to donate their data. The second section present qualitative findings emerged from the discussion amongst participants.DiscussionChoice and control of personal data is crucial for the public to be able to decide who and how to trust. Key information to be disclosed to potential research participants shall include information about potential risks and benefits; who will be accessing and using their data; as well as assurances that their choice will be respected. Furthermore, researchers ought to make sure they are trustworthy, by acting in a competent, reliable, and honest manner. Governance systems ought to be better equipped to address ethical issues raise by the growing presence of non-traditional research actors, consent of exchanges of data via digital devices and online activity such as social media and fairness of data trading. Finally, informed consent is one of the various elements that contribute to conducting ethical research. More needs to be done to strengthen governance and ensure adequate protection of research participants, particularly to address issues related to predictive health analytics. (shrink)

Excerpt from Poetarum Philosophorum Fragmenta Plagulis correctis indicibusque non sine taedio confectis dum respiro et laetiore animo quid praefandum sit meditor, ecce nuntius longe tris tissimus afi'ertur, georgium kaibelium nobis litterisque acerba morte ereptum esse, qui non solum studiorum societate inde a beatissimo oon tu'oernio - Bonnensi mihi erat coniunctissimus, sed in hoc quoque communi amicorum opere velut auspex et signifer, cuius auctoritatem me aequi et decebat et iuvabat. Nam singularis graecae artis cognitio, quae in illo fuit, in nullo genere (...) litterarum magis enituit quam in Comicis, unde splendidum ante biennium factum est huius Corporis initium. Iam adu lescentem prima tirocinia in Aristophane ponere memini eundemque audio supremam fuisse moribundi curam ac querelem. Inter bos vitae laboriosae et fructuosae terminos omnem graecitatem peragravit et undique messem uberrimam rettulit; at nusquam libentius et intentius versabatur quam in atticae comoediae reliquiis. Dorienses enim, quos edidit, propter illos cpinor tetigerat.' quodsi verum est cum primi illins voluminis perfectione vix unam alteramve aequalium editionem recte posse eom parari, quid prasstaturum eum fuisse credimus, si fatum concessisset, ut ipsam 'atticam comoediam nobis ex fragmentis instauraret, in qua totus habitabat et spirabat! Aut nemo mortalium aut, si quisquam, ille et natus erat et paratus ad Menandri et aequalium umbras ex inferis citandas et in vitae lucem revocandas. Adeo in intimam eorum consuetudinem inde fesso labore atque fortasse magis etiam sensus quadam cognatione se insinuaverat. Nam tota eius indoles ad atticum istum saporem facta erat. Ut scripture eius elegantia apicum prae ceteris nitebat, ut suavissima sermocinatio mirum quantum amicos tenebat, priusquam morbi ingra veseentie tormentis animi serenitas obscurari coepta est, ita tota eius ars versus graecos et exblicandi et pangendi Praxiteleo quodam perfusa erat nitore. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This article brings a phenomenological perspective to the question of how bodily and inter-bodily experience is involved in interacting via audio-visual media like videoconferencing platforms. Contemporary discussions in interaction studies point to a certain suspension of bodily involvement in these mediated interactions, which leads to a visible loss of function in the case of gestures. Such observations have led phenomenologists to voice concern as to whether phenomenology is indeed still suited to account for the “digital world” in general. (...) The following article addresses these concerns by first making the case for a phenomenological understanding of gestures, which develops Merleau-Ponty’s notion of intercorporeality by drawing from an intersubjective reading of Husserl’s threefold analysis of the body (aesthesiological, kinaesthetic and orientational). Subsequently, these reflections are used to describe the modifications, which occur when interacting “through” the screen in videoconferences, by showing that they are not just privative in nature. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

This article investigates the concept of sound, in relation to the new means and sciences from different perspectives, ultimately providing an analysis of the newborn artistic movement of bioart. It is divided into two parts. The first part of the study is based upon reference, investigating the interconnection between art and science. This mechanism is characterized by transformation processes in the interdisciplinary practices that are applied mainly by various artists and movements of the post-Second World War period. The expressive element (...) seeks an unworldly explanation through audio and visual conjunctions. This nature is obvious in Paul Klee’s reflections of musical elements in his paintings, and Rimmington’s attempts to marry audio-visual influences in his ‘colour organs’. The experimentations of composers such as Xenakis and Stockhausen at various locations with light and colour illustrate the continuous quest to render sound by the use of new means. Technology is a vital component of transformation as it enhances syncretic creativity for various art domains such as those that Fluxus deployed. Nam Jun Paik and Dick Higgins introduce radical techniques in their performances as they detach their selves from the parameters that define composition, and use the mind and power of sentiment in order to identify reality aurally and optically. Towards the end of the twentieth century, we witnessed the appearance of new art forms such as bioart. The human body, host of material and immaterial functions, comes to the forefront of art prac¬tice. Its relation to elements such as oscillations and vibrations that express the energy flow is analysed through the model of spiritualism that came from eastern thought. The notion of digital embodiment is presented as a reminder, highlight¬ing the importance of technology in biotechnology and genetics. The second part of the article involves an experiment. This describes how the concept of biomusic is applied with the use of electrocardiography (ECG) data from the MIT PhysioNet database. As sound penetrates the entire human body, it can be analysed in all of its phasma. Using this information, we attempt to translate/transform these biological sound phenomena into music. The sound produced by the elaboration of data that result from biological functions can be described as biomusic. It can be transformed into frequencies related to time and can be expressed in musical themes. Sonification plays an important role in this research as it constitutes a rapid and precise rendering of polymorphic information (in this case the ECG) in musical notes. This modelling and musical attribution leads to two distinguishable results, each concerning different clinical cases (all data belong to a normal heart function and a pathological one). The invention of this novel system is suggested for scientific as well as musical disciplines. It has the ability to be implemented in an experimental form and obtain an educational character. The transformation process avoids compensation throughout the matching process between ECG functions and music, while focusing on the aesthetic factor at the same time. Sound meets art in the world of biomusic as it takes shape through technology, constituting a new medium to further evolve the model of ‘biology into art’ transformation. (shrink)

The paper analyzes a handful of works for children and youth that are based on mythology and deal with depression, a topic that is becoming more frequent in contemporary children’s and young adults’ culture, mainly because of the need to break the mental he­alth taboo. These are the newest edition of Laura Orvieto’s Storie di bambini molto antichi, Rachel Smythe’s digital comics Lore Olympus, Patricia Satjawatcha­raphong’s short animation Reflection, and the webcomic series Therapy created by Anastasia Gorshkova. They provide (...) examples from literary and audio-visual culture for very young re­aders and more adult teenagers and youth, raising the issue of deep sadness utilizing storytelling and not in a didactic way. Some of the protagonists struggling with the problem are far from lively chara­cters in conventional interpretations of the myths, so the texts play upon stereotypes entrenched in the culture. It appears that children’s works inspired by classical antiquity have significant interpretative potential and educational value – as well as the ability to surprise the audience. (shrink)

Motion pictures, from their emergence in the late nineteenth century, have been used in ways that have held in tension a number of competing or seemingly contradictory impulses. Movies can document and reveal physical and social realities, extend perception through time and space, and create audio-visual approximations of subjective perspective and mental states; they can mimic or transform reality, or create new verisimilar or fantastical screen worlds that, in part, resemble, or abstract our own. Over the past 120 years, (...) many thinkers have attempted to define the aesthetic nature of the medium in, at times, prescriptive or overly conditional ways that centre on some technologies (notably the camera), techniques, or types of motion picture making while excluding others (notably animation), and that bracket or narrowly circumscribe the question of viewer experience. However, in the past thirty years or so, we have seen an expanded interest in forms previously more marginalized in film studies, such as documentary, docudrama, and animation. This is due in part to the digital turn in both screen media production and distribution, which has led to the proliferation and pervasiveness of both. We have also seen much deeper consideration of how viewers understand, experience, and think with screen media with the rise of phenomenological and cognitive approaches to the screen-viewer relationship. Carl Plantinga has become a key and productive figure during these years, generating persuasive understandings of the emotional, schematic, and moral dimensions of our experience of screen media, and the ways in which films and TV are designed for such purposes. A cognitivist, he is interested in the possibilities of the screen to allow us to better imagine and empathize with the experiences of others, to persuade us of a state of affairs, and to provoke our capacity for moral reasoning. (shrink)

This paper proposes a theory of text on-screen as “unvoiceover.” It addresses both the case for captioning as social good and the affordances (aesthetic, affective) of writing in or over the moving image. Advancing an argument informed by perspectives from d/deaf Studies, Critical Disability Studies and Digital Interface Studies, and applying modes of analysis from literary criticism alongside those proper to the study of moving image and sound, it examines the idiosyncrasies of text-in-motion as non-sonorous, fugitive counterpart to the (...) traditional, troublesome “voiceover.” To develop a poetics of the unsounding voice on-screen, the paper focalizes its argument through multimedia artist Liza Sylvestre’s Captioned series: a body of moving image work that is itself, paradoxically, uncaptioned. Framing Sylvestre’s lyrical “unvoiceover” as a reimagining of the lost roles of film explainers and literary intertitles, I argue that the artist’s takeover of the caption track intervenes critically in contemporary debates about the ethics of audio-visual translation, situated description and access as public ethos rather than private concern. Posing the artist’s personal-and-political writing as suggestive of a lower-case analogue to Deaf Gain, I show how Sylvestre’s “unvoiceover” educates its “receivers” in the purpose and functioning of captions. By reading Sylvestre’s writing on-screen more closely than its fugitive form seems to invite, I show how the unvoiceover encultures its own demands on its readers and elicits its own habits of reading. By scrutinizing how Sylvestre’s series makes the case for captioning, this paper makes the case for a new appraisal of the aesthetic, affective and political affordances of the unvoiceover as writing on the run. (shrink)

Repetitive practice is one of the most important factors in improving the performance of motor skills. This paper focuses on the analysis and classification of forearm gestures in the context of violin playing. We recorded five experts and three students performing eight traditional classical violin bow-strokes: martelé, staccato, detaché, ricochet, legato, trémolo, collé, and col legno. To record inertial motion information, we utilized the Myo sensor, which reports a multidimensional time-series signal. We synchronized inertial motion recordings with audio data (...) to extract the spatiotemporal dynamics of each gesture. Applying state-of-the-art deep neural networks, we implemented and compared different architectures where convolutional neural networks models demonstrated recognition rates of 97.147%, 3DMultiHeaded_CNN models showed rates of 98.553%, and rates of 99.234% were demonstrated by CNN_LSTM models. The collected data contained sufficient information to distinguish the bowing techniques studied, and deep learning methods were capable of learning the movement patterns that distinguish these techniques. Each of the learning algorithms investigated produced high classification accuracies which supported the feasibility of training classifiers. The resulting classifiers may provide the foundation of a digital assistant to enhance musicians' time spent practicing alone, providing real-time feedback on the accuracy and consistency of their musical gestures in performance. (shrink)