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Multi-step flood forecasting in urban drainage systems using time-series data mining techniques
Full text linkWhile early warning systems are recognised as the most cost-effective solution in urban flood risk management, highly accurate flood forecasting is limited to short-term timesteps, usually less than a few hours especially for prediction of overflowing in urban drainage systems. This study aims to provide a framework for more accurate overflow predictions for longer lead times by using data mining models applied to time series data for multi-step flood forecasting. The framework including event identification, feature analysis and developing models is demonstrated by its application to a pilot study in London. All numerical rainfall data and water levels in urban drainage systems are first turned to the categorical events on which 6 common weak learner models are developed. Then, three new time-series models, including overflowing-based, non-overflowing-based, and accuracy-based, are developed based on these models to predict overflow states among all identified events. Three weak learner models, i.e. discriminant analysis, naive Bayes, and decision tree are considered as the best models based on accuracy, total overflowing detection and total non-overflowing detection. Furthermore, while the accuracy of these models is changed between 95 to 85% from 1 to 12-step ahead of prediction, these models can detect the non-overflow conditions better than overflow detection. To cover this gap, new time series developed models could significantly reduce the overestimation and underestimation of water levels, including correct predicting of 50% of the total events after 12-step ahead by overflow-based model. This result shows the potential of using time-series data-demanding models for effective and highly accurate predictions of overflow events
Les ombres du Fântome: Improvisation, recording, production and the collective imagination in artistic research
No full textThis session presents and discusses aspects of a set of 14 organ improvisations (Robert Sholl) recorded in Coventry Cathedral recorded in July 2021 (subsequently co-created with Justin Paterson) that will be released on disc in April 2024. These improvisations form a meta-narrative of Gaston Leroux’s novel Le Phantôm de l’Opéra (1910) entitled Les ombres du Phantôm, implying shadows of ideas/themes/characters in the book. They were recorded by Justin Paterson and Mike Exarchos (aka ‘Stereo Mike’) using the organs of Coventry and Arundel Cathedrals in May and July 2021. They use an invented musical language, and explore the acoustics of those buildings, the gesture, and the materiality of the instruments in physical, spiritual, and sonic space that is enhanced and extended through recording technology and electronic augmentations.
The improvisations or shadows of the novella are not programmatic but evocative. The organ, played by the character in both the book and the 1925 silent film (staring Lon Chaney), is a medium for the transference of the majesty, the boiling rage and menace, the desire and obsession, the hubris, and the internal pain and external cruelty of the character. Christine is represented figuratively by the soprano on the recording (Anna McCready) – her desires, fears and non-fulfilment are connected to the Phantom. The saxophone and bass-clarinet (played by Andy Visser) register the underworld – alive and breathing, intersecting with the world of the organ and with the living.
The project was animated by various questions concerning the search for a new language, the properties and acoustic behaviours of the organ, and the engagement between the instrument and its ecclesiastical space. Intrinsic to the project was the relationship between this ecosystem and electronic augmentation that expands natural perspectives and possibilities, which creates a meta-modernist extension of the organ’s abilities to realise the mystical and gnostic. This post-production augmentation conjures the idea of the idea of ‘the double’, and the layering of the textures enables the possibilities of redoublings – and of future sonic outcomes from the materials.
In this presentation Robert Sholl and Justin Paterson will speak for around 15 minutes bookending presentations from Anna McCready and Andy Visser who will speak for around 10 minutes each. These presentations will detail what each participant imagined and what insights came from this practice in the space at this time, how they thought sound might be used, and what they understood from the end product for future practice. After the presentations a set of short examples will be employed in which all participants will make brief comments and the audience is invited to ask questions. The four presentations will be:
• Professor Robert Sholl (organ) will first introduce how these improvisations relate to and move beyond Leroux’s story, and he will detail a psychoanalytical perspective on the work (Hogle 2002; Žižek 2007 and 2016), and how this was imagined and crafted through the cathedral organ. He will discuss the musical language, the creation of the improvisations, the adaptation of spectralism, and the ways in which previous musical literature are absorbed into the resulting music.
• Dr Anna McCready (soprano) will explain her approach to the psychology of the situation and experience, and her use of extreme vocal techniques in this collaboration (Anhalt, 1984).
•Andy Visser (saxophones and bass clarinet) will discuss his choice of timbres, textures and extended performance techniques used in the improvisations.
• Finally, Professor Justin Paterson will describe how the production aesthetic was conceived and then realised by digital-audio-manipulation tools and advanced techniques incorporating extended Gouldian acoustic orchestration and computer automation, added convolution reverberation, time-stretching, and creative editing
World-building through world synthesis: The synthesised score of Blade Runner
No full textDifferent film scores can produce alterations in a film’s narrative and its interpretations, and in particular, the use of different instrumentations can produce different results. This research focuses on Composition and Songwriting, more specifically, on the use of Commercial Electronic Music Instruments (CEMI’s) in music composition for film. The films ‘Chariots of Fire’ (1981), ‘Thief’ (1981), and ‘Blade Runner’ (1982) mark the first few scores with synthesisers as the main featured instruments, but they do so in different ways. One useful way to better understand how CEMI’s such as these can be used in film music, is to adapt Allan Moore’s concept of Authenticity to this context, which is the second stage of this research. After a brief overview of these films and their scores, I will explain how Authenticity and Authentication can be useful tools to analyse and compose film music, and focus on Ridley Scott’s ‘Blade Runner Final Cut’ (1982/2007). By looking more deeply into a particular example from this film, I aim to understand how the soundtrack of ‘Blade Runner’ authenticates the film’s narrative and worldbuilding, with particular contrast with the other two films. More specifically, I look into how Vangelis’ score employs synthesised instrumentation in different contexts, how it combines it with occasional use of acoustic instrumentation, and how this practice influences (and sometimes even changes) the film’s narrative. Additionally, through practical demonstration, I propose new approaches to composition in these contexts. Ultimately, the goal of this research is to start a conversation surrounding the different uses of CEMI’s in film music composition, how these can authenticate (or not) different elements, and how composers can harness this to produce different narrative results
Using Photovoice methodology for community growth: A Workshop for Al- Manaar- The Muslim-Cultural Heritage Centre
Full text linkThis is a train the trainer workshop on photovoice methodology. The workshop incorporates an introduction and practice of photo literacy, photo dialogues, picture captioning, picture uploading to online software platforms and implications for training others