1,720,958 research outputs found
Rogue Two. Reflections on the Creative and Technological Development of the Audiovisual Duo—The Rebel Scum
No full textThis paper examines the development of the audiovisual duo Obi-Wan Codenobi and The Wookie (authors Shawn Lawson and Ryan Ross Smith respectively). The authors trace a now four-year trajectory of technological and artistic development, while highlighting the impact that a more recent physical displacement has had on the creative and collaborative aspects of the project. We seek to reflect upon the creative and technological journey through our collaboration, including Lawson’s development of The Force, an OpenGL shader-based live-coding environment for generative visuals, while illuminating our experiences with, and takeaways from, live coding in practice and performance, EDM in general and algorave culture specifically
Paperless: Tracking Contemporary Animated Scoring Practices in the 21st Century
No full text<div><b>A digital exhibition presented by Monash University Library<br></b></div><div><b>Curated by Dr Ryan Ross Smith, Sir Zelman Cowen School of Music</b></div><div><b>July - August 2019</b></div><div><b>Sir Louis Matheson Library</b></div><div><br></div><div>Animated Notation is a necessarily-dynamic form of music notation that relies primarily on perceptible contact and intersection between two or more objects, virtual or otherwise. The concept of a moving or animated music notation can be traced back at least as early as the mid-to-late 19th century through experimental devices for music pedagogy, Key Indicators, and other mechanical methods for transmitting musical ideas. In the 20th century, this concept spread into new arenas, from movie theatres (Max Fleischer’s Famous Bouncing Ball), to bars (Karaoke), and of course, gaming (Guitar Hero). The animation of notation is most recently being used in conjunction with hardware closely-associated with the production of electronic music, including the finger-drumming educational platform Melodics, and LUMI by ROLI, amongst others. </div><div><div><br></div><div>Yet, a parallel history of animated notation development paints a different, more experimental picture. Percy Grainger’s Free Music and the associated Kangaroo Pouch Tone Tool represents one of the earliest examples of a notational approach that is necessarily dynamic. Earle Brown’s Calder Piece requires the activation and subsequent interpretation of Alexander Calder’s sculpture Chef D’Orchestre to fully represent the expectations of the performers. Robert Moran’s Divertissement Number 1 and Ramon Sender’s Tropical Fish Opera use the popping of popcorn and the location of fish within an aquarium, respectively, to indicate actions for performers. These works, amongst others, form a foundation of practice that has truly come to fruition in the 21st century, thanks in large part to the affordability and speed of personal computers. These contemporary animated scores represent a wide range of notational approaches using a variety of technologies, developed by composers and researchers from around the globe.</div></div><div><br></div>
Paperless: Tracking Contemporary Animated Scoring Practices in the 21st Century
No full textA digital exhibition presented by Monash University LibraryCurated by Dr Ryan Ross Smith, Sir Zelman Cowen School of MusicJuly - August 2019Sir Louis Matheson LibraryAnimated Notation is a necessarily-dynamic form of music notation that relies primarily on perceptible contact and intersection between two or more objects, virtual or otherwise. The concept of a moving or animated music notation can be traced back at least as early as the mid-to-late 19th century through experimental devices for music pedagogy, Key Indicators, and other mechanical methods for transmitting musical ideas. In the 20th century, this concept spread into new arenas, from movie theatres (Max Fleischer’s Famous Bouncing Ball), to bars (Karaoke), and of course, gaming (Guitar Hero). The animation of notation is most recently being used in conjunction with hardware closely-associated with the production of electronic music, including the finger-drumming educational platform Melodics, and LUMI by ROLI, amongst others. Yet, a parallel history of animated notation development paints a different, more experimental picture. Percy Grainger’s Free Music and the associated Kangaroo Pouch Tone Tool represents one of the earliest examples of a notational approach that is necessarily dynamic. Earle Brown’s Calder Piece requires the activation and subsequent interpretation of Alexander Calder’s sculpture Chef D’Orchestre to fully represent the expectations of the performers. Robert Moran’s Divertissement Number 1 and Ramon Sender’s Tropical Fish Opera use the popping of popcorn and the location of fish within an aquarium, respectively, to indicate actions for performers. These works, amongst others, form a foundation of practice that has truly come to fruition in the 21st century, thanks in large part to the affordability and speed of personal computers. These contemporary animated scores represent a wide range of notational approaches using a variety of technologies, developed by composers and researchers from around the globe.</div
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
An Atomic Approach to Animated Music Notation
No full textSince the turn of the century, and in particular the last 5 years, the discourse surrounding dynamic scoring techniques and practices has increased dramatically, while leading to an increasingly disparate terminological melee. With an awareness of what implications exist in the premature analysis and theorization of an emerging field of practice, the author argues that in order to further develop a taxonomy of dynamic scoring techniques and practices, it may be useful to take a reductionist approach toward defining the various low-level elements of dynamic scoring, in the case of this paper those elements that features prominently in Animated Music Notation [AMN]. By suggesting a set of low-level elements, and isolating the actualized indicators of contact and intersection as the primary functional components of AMN, the author will propose a working definition of AMN supported by examples drawn from the author's work and others. This definition is not intended to satisfy the broad range of dynamic scoring techniques that implement AMN, but to highlight prevalent methodologies, and to point toward the extension of existing taxonomies, specifically regard-ing their respective global functionalities
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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