Relevant bibliographies by topics / Digital editing; Musical audio analysis / Journal articles
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Journal articles on the topic 'Digital editing; Musical audio analysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

Findlay-Walsh, Iain. "Virtual auditory reality." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (2021): 71–90. http://dx.doi.org/10.7146/se.v10i1.124199.

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This article examines popular music listening in light of recent research in auditory perception and spatial experience, record production, and virtual reality, while considering parallel developments in digital pop music production practice. The discussion begins by considering theories of listening and embodiment by Brandon LaBelle, Eric Clarke, Salomè Voegelin and Linda Salter, examining relations between listening subjects and aural environments, conceptualising listening as a process of environmental ‘inhabiting’, and considering auditory experience as the real-time construction of ‘reali
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Wiflihani, Wiflihani, Pita HD Silitonga, and Herna Hirza. "Digitalization of North Sumatera Malay Ritual Music Using Cubase 5 Software." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (2019): 556–66. http://dx.doi.org/10.33258/birci.v2i4.657.

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The high level of need of dance artists in North Sumatra for digital audio of Malay ritual dance music while the digital material is not publicly available. This triggers researchers to conduct research on the use of this cubase music software as an alternative in the process of packaging the learning material of musical accompaniment of the Gobuk Bedagai Malay ritual dance into digital audio. The method used in this study is an experimental approach to the process of packaging the learning material of musical accompaniment of the Gobuk Bedagai Malay ritual dance into digital audio. The packag
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Ingram, Kelly, Ferenc Bunta, and David Ingram. "Digital Data Collection and Analysis." Language, Speech, and Hearing Services in Schools 35, no. 2 (2004): 112–21. http://dx.doi.org/10.1044/0161-1461(2004/013).

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Technology for digital speech recording and speech analysis is now readily available for all clinicians who use a computer. This article discusses some advantages of moving from analog to digital recordings and outlines basic recording procedures. The purpose of this article is to familiarize speech-language pathologists with computerized audio files and the benefits of working with those sound files as opposed to using analog recordings. This article addresses transcription issues and offers practical examples of various functions, such as playback, editing sound files, using waveform display
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Kovalenko, Oleksandr M. "ОСОБЛИВОСТІ ВИКОРИСТАННЯ ЦИФРОВИХ АУДІО РОБОЧИХ СТАНЦІЙ, ПРИЗНАЧЕНИХ ДЛЯ СТВОРЕННЯ ЕЛЕКТРОННОЇ МУЗИКИ В УМОВАХ НЕФОРМАЛЬНОЇ ОСВІТИ ДОРОСЛИХ". Information Technologies and Learning Tools 53, № 3 (2016): 178. http://dx.doi.org/10.33407/itlt.v53i3.1428.

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In the article it is highlighted the importance of self-education and self-development of adults to perform an effective vital activity in the modern information society. It has been considered possibilities of application of audio workstation for musical self-education and self-development of adults. Analysis of basic characteristics and functional features of digital audio workstations is given. The basic advantages and disadvantages of using digital audio workstations in musical self-education of adults are presented. A comparative analysis of the most widespread in the world of digital aud
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Norowi, N. M., S. Doraisamy, and R. Wirza. "TRADITIONAL MALAYSIAN MUSICAL GENRES CLASSIFICATION BASED ON THE ANALYSIS OF BEAT FEATURE IN AUDIO." Journal of IT in Asia 2, no. 1 (2016): 95–109. http://dx.doi.org/10.33736/jita.57.2007.

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Interest on automated genre classification systems is growing following the increase in the number of musical digital data collections. Many of these systems have been researched and developed to classify Western musical genres such as pop, rock or classical. However, adapting these systems for the classification of Traditional Malay Musical (TMM) genres which includes Gamelan, Inang and Zapin, is difficult due to the differences in musical structures and modes. This study investigates the effects of various factors and audio feature set combinations towards the classification of TMM genres. R
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Boyarov, A. G., and I. S. Siparov. "Forensic Investigation of MP3 Audio Recordings." Theory and Practice of Forensic Science 14, no. 4 (2020): 125–36. http://dx.doi.org/10.30764//1819-2785-2019-14-4-125-136.

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Special aspects of MP3-recordings technical investigation are addressed. The following features of formation and research of MP3 phonograms are explained: traces of MP3 coding in time and spectral domain, special aspects of MP3-files structure analysis, detection methods of re-coding of MP3-recordings, methods of group identification of MP3-recorders and MP3-codecs.MP3 coding leaves certain traces of its usage. Due to the psychoacoustic model inaudible spectral components are deleted from the signal spectrum. Traces of psychoacoustic codecs usage are also clearly seen via dynamic spectrogram a
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Bacciaglia, Antonio, Alessandro Ceruti, and Alfredo Liverani. "A design of experiment approach to 3D-printed mouthpieces sound analysis." Progress in Additive Manufacturing 6, no. 3 (2021): 571–87. http://dx.doi.org/10.1007/s40964-021-00183-5.

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AbstractNowadays additive manufacturing is affected by a rapid expansion of possible applications. It is defined as a set of technologies that allow the production of components from 3D digital models in a short time by adding material layer by layer. It shows enormous potential to support wind musical instruments manufacturing because the design of complex shapes could produce unexplored and unconventional sounds, together with external customization capabilities. The change in the production process, material and shape could affect the resulting sound. This work aims to compare the music per
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Decker, Todd. "The Filmmaker as DJ." Journal of Musicology 34, no. 2 (2017): 281–317. http://dx.doi.org/10.1525/jm.2017.34.02.281.

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Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours. This article offers a close analysis of Scorsese acting as composer—crafting Casino’s compiled score in the manner of a DJ—and, in reciprocal fashion, editing film images and narrative to recorded music. Casino demonstrates highly v
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Kulaha, Tetiana. "Methodical guidelines for the use of ICT in teaching contemporary vocals in children schools of art." Ukrainian Journal of Educational Studies and Information Technology 6, no. 4 (2018): 19–36. http://dx.doi.org/10.32919/uesit.2018.04.02.

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The article states that the reform of contemporary vocal education based on the principles of civilization integration of different, sometimes quite distant from each other, musical cultures, traditions and practices on the one hand, and the necessity for free access to the world vocal-performing and vocal-pedagogical experience on the other. In this regard, information and communication technologies (ICT) are becoming one of the most effective components of the educational process in primary specialized artistic educational institutions in the context of non-classical contemporary vocal. In t
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Düvel, Nina, Reinhard Kopiez, Anna Wolf, and Peter Weihe. "Confusingly Similar: Discerning between Hardware Guitar Amplifier Sounds and Simulations with the Kemper Profiling Amp." Music & Science 3 (January 1, 2020): 205920432090195. http://dx.doi.org/10.1177/2059204320901952.

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Over the last decades, the simulation of musical instruments by digital means has become an important part of modern music production and live performance. Since the first release of the Kemper Profiling Amplifier (KPA) in 2011, guitarists have been able to create and store a nearly unlimited number of “digital fingerprints” of amplifier and cabinet setups for live performances and studio productions. However, whether listeners can discriminate between the sounds of the KPA and the original amplifier remains unclear. Thus, we constructed a listening test based on musical examples from both sou
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Anthony, Brendan, Paul Thompson, and Tuomas Auvinen. "Learning the ‘tracker’ process: A case study into popular music pedagogy." Journal of Popular Music Education 4, no. 2 (2020): 211–35. http://dx.doi.org/10.1386/jpme_00026_1.

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The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where
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Gaydecki, Patrick. "The Foundations of Digital Signal Processing Using Signal Wizard Systems®." International Journal of Electrical Engineering & Education 49, no. 3 (2012): 310–20. http://dx.doi.org/10.7227/ijeee.49.3.10.

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Signal Wizard Systems® is a digital signal processing (DSP) research venture within the School of EEE at the University of Manchester, UK. It specialises in the development and supply of real-time DSP products for audio signal analysis and processing. The unique and underpinning philosophy of these products is their ease of use. The systems require minimal knowledge of DSP theory on the part of the user and none of the mathematics associated with digital filter design. Filters and other algorithms can be designed in seconds, downloaded and executed in real time with just a few mouse clicks. Si
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Klein, Alison. "The opinion podcast: A visceral form of persuasion." Prompt: A Journal of Academic Writing Assignments 4, no. 1 (2020): 29–40. http://dx.doi.org/10.31719/pjaw.v4i1.55.

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In this assignment, students create a podcast episode in which they make an argument on a topic in current events. Through this process, students develop traditional rhetorical skills such as awareness of audience, formulation of a thesis, and inclusion of compelling evidence, in a new context that allows them room for creativity and for approaching these techniques from a different angle. Accustomed to composing analysis essays and research papers on a computer screen, students who create an argument in the aural medium must consider the best way to grab and hold the listener's attention so t
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Kim, Charles, Alexandria Guo, Gautam Salhotra, Sara Sprinkhuizen, Keerthi Shetty, and David Sun Kong. "Sonifying Data from the Human Microbiota: Biota Beats." Computer Music Journal 44, no. 1 (2020): 51–70. http://dx.doi.org/10.1162/comj_a_00552.

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Abstract This article presents a musical interface that enables the sonification of data from the human microbiota, the trillions of microorganisms that inhabit the human body, into sound and music. The project is concerned with public engagement in science, particularly the life sciences, and developing cultivation technologies that take advantage of the ubiquitous and accessible nature of the human microbiota. In this article we examine the collaboration between team members proficient in musical composition and those with expertise in biology, sonification, and data visualization, producing
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Gintere, Ieva. "Signal and Video Processing: Developing the Noise Music Trend in Digital Edugaming." International Journal of Circuits, Systems and Signal Processing 14 (January 18, 2021): 1176–80. http://dx.doi.org/10.46300/9106.2020.14.145.

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In digital educational gaming, there are presently no games devoted to the trends of contemporary music. Also, there are no studies of noise-related sound in contemporary gaming discourse, yet noise is presently one of the most current trends in the arthouse world. The author of this study is carrying out a post-doctoral research into contemporary audio-visual art and digital game theory. Next to the other trends of modern gaming, the study incorporates analysis of noise-related artefacts that are of particular interest to the author taking into account her musicological education. The author
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Gilbert, Aster. "Sissy Remixed." TSQ: Transgender Studies Quarterly 7, no. 2 (2020): 222–36. http://dx.doi.org/10.1215/23289252-8143379.

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Abstract Available scholarship on trans* pornography has favored mainstream studio and alternative/queer productions. Relatively little work has examined the phenomenon of trans* micropornography: user-made remixes of copywritten source material that are shared online within networks of pornographic fandoms. Trans* identities hold a significant purchase on microporn networks, evidenced by the ubiquity of trans* bodies and the work of trans* microporn video makers, who while hidden behind screen names and avatars, largely identify as trans* women and cis male “sissies.” Drawing on textual analy
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Kim, Sarah, Jeong Mi Park, Seungyeon Rhyu, Juhan Nam, and Kyogu Lee. "Quantitative analysis of piano performance proficiency focusing on difference between hands." PLOS ONE 16, no. 5 (2021): e0250299. http://dx.doi.org/10.1371/journal.pone.0250299.

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Quantitative evaluation of piano performance is of interests in many fields, including music education and computational performance rendering. Previous studies utilized features extracted from audio or musical instrument digital interface (MIDI) files but did not address the difference between hands (DBH), which might be an important aspect of high-quality performance. Therefore, we investigated DBH as an important factor determining performance proficiency. To this end, 34 experts and 34 amateurs were recruited to play two excerpts on a Yamaha Disklavier. Each performance was recorded in MID
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Figol, N., та E. Chykaliuk. "ЗАСТОСУВАННЯ МУЛЬТИМЕДІЙНИХ ТЕХНОЛОГІЙ ДЛЯ СТВОРЕННЯ ЕЛЕКТРОННОГО НАВЧАЛЬНОГО ВИДАННЯ". State and Regions. Series: Social Communications, № 2(42) (18 березня 2020): 109. http://dx.doi.org/10.32840/cpu2219-8741/2020.2(42).16.

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<p><em>One of the main ways to reorganize the educational process in the field of education and science is to make changes related to rapid technological progress. A priority for teachers is the need to keep the student's attention on new material and meet his / her needs for constantly updated, up-to-date information. The leading tool in achieving these goals is the digitization of the educational process: it involves the translation of content in all its forms - text, graphics, audio - in a digital format, which makes it easy to transport the material of offline publications by a
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Юнусова, Виолетта Николаевна, and Александр Витальевич Харуто. "Computer Ethnomusicology: Tasks, Methods, Results." Музыкальная академия, no. 3(771) (September 30, 2020): 162–77. http://dx.doi.org/10.34690/93.

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В статье рассматриваются проблемы использования компьютерных методов анализа звука в этномузыко-логических исследованиях. Применение технических средств в этой области началось в XIX веке. Сначала это были аппараты для записи звука, затем аппараты для звуковысотной расшифровки. В настоящее время они вытеснены цифровыми звукозаписывающими устройствами и компьютерными программами, которые вычисляют точную линию мелодии исследуемого исполнения, могут представить результаты анализа графически, позволяют оценивать акустические характеристики голоса и инструмента, ритм и темп исполнения. Для анализа
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Логутов, Андрей Владимирович. "A SOUNDSCAPE OF KNOWLEDGE: LISTENING TO WIKIPEDIA." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(24) (July 27, 2020): 12–24. http://dx.doi.org/10.23951/2312-7899-2020-2-12-24.

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В статье предпринимается попытка анализа сонификации как способа представления информации на примере проекта «Listen to Wikipedia». В вводных параграфах дается краткая характеристика сонификации и звуковых интерфейсов, вводится понятие «сонификат», а также кратко обрисовывается состояние научной рефлексии вокруг практик сонификации. Затем мы перечисляем свойства слуха как первичного медиума, которые важны для понимания ограничений и особенностей функционирования звуковых интерфейсов. Среди этих свойств упомянуты панорамность, то есть целостность звуковой картины; высокая скорость обработки зву
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Chapman, Owen. "The Affect of Selection in Digital Sound Art." M/C Journal 8, no. 3 (2005). http://dx.doi.org/10.5204/mcj.2357.

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 A variety of digital technologies exist that can transform sound waves into binary code. Any sound can be ‘sampled’ in this way: drum beats, field recordings, even full-length instrumental or vocal tracks. Copies are then ready to be duplicated, cut, spliced, pitch-shifted, equalised, turned backwards, and/or passed through a myriad of different effects processors before being sequenced and layered into a final stereo mix. 
 
 Once obtained, this mix is itself eminently copy-able without loss in audio quality. Moreover, affordable digital reproduction media aboun
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Collins, Steve. "Amen to That." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2638.

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 In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Mus
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Cover, Rob. "Reading the Remix: Methods for Researching and Analysing the Interactive Textuality of Remix." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.686.

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IntroductionWith the proliferation of remixed (audio-visual) texts such as fan music videos, slash video, mash-ups and digital stories utilising existing and new visual and audio material on sites such as YouTube, questions are opened as to the efficacy of current forms of media textual analysis. Remixed texts have been positioned as a new and transformative form of art that, despite industry copyright concerns, do not compete with existing texts but makes use of them as ‘found material’ in order to produce an ostensibly intertextual experience (Lessig). Intertexts include pastiche, parody and
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Li, Pan, and Yan Li. "Feasibility analysis of letting multi-channel surround sound system into college singing class." International Journal of Electrical Engineering & Education, January 14, 2021, 002072092098608. http://dx.doi.org/10.1177/0020720920986081.

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The multi-channel surround system used for multimedia teaching can bring more powerful auditory effects to the audience, and can fully mobilize students’ interest and enthusiasm in learning. Such as music arrangement, Yunnan musical instruments, the sound characteristics of national music and national musical instruments, and the sound processing knowledge of music processing. You can quickly master basic music arrangement, the sound characteristics of musical instruments, and the knowledge of mixing and processing music. Achieve better teaching results. Most multimedia devices on the market,
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Teriaieva, Larisa. "MOTIVATION OF STUDENTS 'TRAINING WITH THE USE OF MODERN COMPUTER TECHNOLOGIES IN THE DISCIPLINE STUDY "CHORUS DIRGIZATION"." Educological discourse, no. 1-2 (2019). http://dx.doi.org/10.28925/2312-5829.2019.1-2.272285.

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The article focuses on the necessity of introducing innovative approaches, methods, forms and means of training using informational and musical computer technologies into the educational process. The analysis of the main researches and publications on the given problem was made and the positive influence of training motivation on the quality of the professional training of future teachers of musical art is highlighted. It is shown that the use of modern computer technologies, synthesizer, multimedia and special musical software contribute to activation of future music teachers in the study of
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Dalmazzo, David, George Waddell, and Rafael Ramírez. "Applying Deep Learning Techniques to Estimate Patterns of Musical Gesture." Frontiers in Psychology 11 (January 5, 2021). http://dx.doi.org/10.3389/fpsyg.2020.575971.

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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
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Ellis, Jack. "Material History: Record Collecting in the Digital Age." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1289.

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IntroductionThe rekindling popularity of the vinyl record and record collecting provide a counternarrative to the ideals of technological progress and supersession, signalling the paradoxical return of a physical music format in the digital realm where “the fetish of newness is at its most aggressive” (Tischleder and Wasserman 7). In this way, the vinyl record provides a disruptive lens through which to question media history as “a history of obsolescence, where new media displace and redefine older media” and explore how “obsolescence resists becoming obsolete” (Tischleder and Wasserman 2). M
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Jones, Steve. "Seeing Sound, Hearing Image." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1763.

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“As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels: The Stage of Literacy Technologies Popular music is firmly rooted within realist practice, or what has been called the "culture of authenticity" associated with modernism. As Lawrence Grossberg notes, the accelleration of the rate of change in modern life caused, in post-war youth culture, an identity crisis or "lived contradiction" that gave rock (particularly) and popular music (generally) a peculiar position in regard to notio
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Ensor, Jason, and Carolyn Hughes. "Mix." M/C Journal 4, no. 2 (2001). http://dx.doi.org/10.5204/mcj.1898.

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It would be fair to say that in our day to day negotiation between the personal and the public, we encounter and process cultural, material and symbolic products in all strata and sections of society. In our homes and in our workplaces, we appear to manage multiple senses of timekeeping and contrasting time-frames with fluid unconscious dexterity. In our forms of entertainment and relaxation, from print to television to cinema or from html to Mp3s to DivX, we juxtapose like and unlike metaphors/images/products/ text in a post-Frankensteinian assemblage of innovated cultural meaning – for examp
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Ellis, Katie M., Mike Kent, and Gwyneth Peaty. "Caption." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1267.

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When Malcolm Fraser opened The Australian Captioning Centre in 1982, he emphasised the importance of changing technology in improving the provision of captions:there is always going to be new technology coming forward, there will always be better ways of doing it if you wait a while. This has been delayed a long while already and I don't believe that there is any excuse for further delay by the ABC or by commercial stations on the grounds of technology.New captioning technologies are coming forward at a rapid pace. In the time we have been preparing this issue, Facebook announced it would offe
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Hill, Wes. "Harmony Korine’s Trash Humpers: From Alternative to Hipster." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1192.

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IntroductionThe 2009 American film Trash Humpers, directed by Harmony Korine, was released at a time when the hipster had become a ubiquitous concept, entering into the common vernacular of numerous cultures throughout the world, and gaining significant press, social media and academic attention (see Žižek; Arsel and Thompson; Greif et al.; Stahl; Ouellette; Reeve; Schiermer; Maly and Varis). Trash Humpers emerged soon after the 2008 Global Financial Crisis triggered Occupy movements in numerous cities, aided by social media platforms, reported on by blogs such as Gawker, and stylized by multi
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Campanioni, Chris, and Giancarlo Lombardi. "A Site of Unsettlement." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1692.

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Anomaly: something different, abnormal, peculiar, not easily classified or classifiable; a deviation; a detour. Something out of time and out of place. No longer can we read the anomaly without considering the larger global crisis of COVID-19. Where were we if not out of time during the temporal disjunction – time out of joint, after Shakespeare – of worldwide lockdowns, which coincided with the time of proposal and submission, the time of reading and editing this issue? Where were we, as scholars in North America, if not out of place when we set out to curate a collection of essays in a journ
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Stamm, Emma. "Anomalous Forms in Computer Music." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1682.

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IntroductionFor Gilles Deleuze, computational processes cannot yield the anomalous, or that which is unprecedented in form and content. He suggests that because computing functions are mechanically standardised, they always share the same ontic character. M. Beatrice Fazi claims that the premises of his critique are flawed. Her monograph Contingent Computation: Abstraction, Experience, and Indeterminacy in Computational Aesthetics presents an integrative reading of thinkers including Henri Bergson, Alfred North Whitehead, Kurt Gödel, Alan Turing, and Georg Cantor. From this eclectic basis, Faz
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Ruggill, Judd, and Ken McAllister. "The Wicked Problem of Collaboration." M/C Journal 9, no. 2 (2006). http://dx.doi.org/10.5204/mcj.2606.

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In “Dilemmas in a General Theory of Planning,” urban planners Horst Rittel and Melvin Webber outline what they term “wicked problems.” According to Rittel and Webber, wicked problems are unavoidably “ill-defined,” that is, unlike “problems in the natural sciences, which are definable and separable and may have solutions that are findable…[wicked problems] are never solved. At best they are only re-solved—over and over again” (160). Rittel and Webber were thinking specifically of the challenges involved in making decisions within immensely complex social circumstances—building highways through
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Rayman, Jennifer. "The Politics and Practice of Voice: Representing American Sign Language on the Screen in Two Recent Television Crime Dramas." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.273.

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Introduction In this paper, I examine the practices of representing Deaf ‘voices’’ to hearing audiences in two recent US television crime dramas. More literally I look at how American Sign Language is framed and made visible on the screen through various production decisions. Drawing examples from an episode of CSI: New York that aired in December 2006 and an episode of Law and Order: Criminal Intent that aired in April 2007, I examine how the practices of filming Deaf people and the use of American Sign Language intersect with the production of a Deaf ‘voice’ on the screen. The problem of rep
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Burwell, Catherine. "New(s) Readers: Multimodal Meaning-Making in AJ+ Captioned Video." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1241.

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IntroductionIn 2013, Facebook introduced autoplay video into its newsfeed. In order not to produce sound disruptive to hearing users, videos were muted until a user clicked on them to enable audio. This move, recognised as a competitive response to the popularity of video-sharing sites like YouTube, has generated significant changes to the aesthetics, form, and modalities of online video. Many video producers have incorporated captions into their videos as a means of attracting and maintaining user attention. Of course, captions are not simply a replacement or translation of sound, but have in
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Meikle, Graham. "Indymedia and The New Net News." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2153.

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Scores of farm workers on hunger strike in the US. A campaigner for affordable housing abducted in Cape Town. Tens of thousands of anti-war demonstrators marching in Istanbul. None of those stories made my daily paper — instead, I read them all this morning on the global Indymedia network. Developments in communication technologies have often enabled new approaches to the production, distribution and reception of news. In this article, using Carey’s analysis of the impacts of the telegraph (1989) and Burnett and Marshall’s discussion of “informational news” (2003) as starting points, I want to
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Cook, Jackie. "Lovesong Dedications." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2005.

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Song dedications are among commercial radio’s most enduring formats. Yet those very few studies which address music radio rarely consider its role within a consumer economy. As John Patrick noted when analysing ABC broadcaster Christopher Lawrence’s popular (and commercially exploited) Swoon genre as a form of nostalgic Utopianism, many music analysts view music listening as constructing a cultural space of other times and places, when romantic love held sway, when the certainties of religion vanquished doubt, and when authentic folk culture gave a sense of belonging to traditional ways of thi
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Hassler-Forest, Dan. "“Two Birds with One Stone”: Transmedia Serialisation in Twin Peaks." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1364.

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It happened 27 years ago, in the autumn of 1990, but I remember it as if it were yesterday. Having set apart some of the cash I’d been given for my seventeenth birthday, I caught a train into the city with only one thing in mind: buying a copy of the newly-released book The Secret Diary of Laura Palmer. Having breathlessly devoured the eight-episode first season of Twin Peaks as it was broadcast on BBC2 from 23 October until 11 December 1990 (BBC), acquiring a copy of the “actual” diary that potentially held vital clues to the series’ central mystery—who killed Laura Palmer?—offered a temptati
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Chapman, Owen. "Mixing with Records." M/C Journal 4, no. 2 (2001). http://dx.doi.org/10.5204/mcj.1900.

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Introduction "Doesn't that wreck your records?" This is one of the first things I generally get asked when someone watches me at work in my home or while spinning at a party. It reminds me of a different but related question I once asked someone who worked at Rotate This!, a particularly popular Toronto DJ refuge, a few days after I had bought my first turntable: DJO: "How do you stop that popping and crackling sound your record gets when you scratch back and forth on the same spot for a while?" CLERK: "You buy two copies of everything, one you keep at home all wrapped-up nice and never use, a
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Brabazon, Tara, and Stephen Mallinder. "Off World Sounds: Building a Collaborative Soundscape." M/C Journal 9, no. 2 (2006). http://dx.doi.org/10.5204/mcj.2617.

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There are many ways to construct, shape and frame a history of popular music. From a focus on performers to a stress on cities, from theories of modernity to reveling in ‘the post,’ innovative music has been matched by evocative writing about it. One arc of analysis in popular music studies focuses on the record label. Much has been written about Sun, Motown, Factory and Apple, but there are many labels that have not reached this level of notoriety and fame but offer much to our contemporary understanding of music, identity and capitalism. The aim of this article is to capture an underwritten
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Hermida, Alfred. "From TV to Twitter: How Ambient News Became Ambient Journalism." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.220.

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In a TED talk in June 2009, media scholar Clay Shirky cited the devastating earthquake that struck the Sichuan province of China in May 2008 as an example of how media flows are changing. He explained how the first reports of the quake came not from traditional news media, but from local residents who sent messages on QQ, China’s largest social network, and on Twitter, the world’s most popular micro-blogging service. "As the quake was happening, the news was reported," said Shirky. This was neither a unique nor isolated incident. It has become commonplace for the people caught up in the news t
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Collins, Steve. "Recovering Fair Use." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.105.

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IntroductionThe Internet (especially in the so-called Web 2.0 phase), digital media and file-sharing networks have thrust copyright law under public scrutiny, provoking discourses questioning what is fair in the digital age. Accessible hardware and software has led to prosumerism – creativity blending media consumption with media production to create new works that are freely disseminated online via popular video-sharing Web sites such as YouTube or genre specific music sites like GYBO (“Get Your Bootleg On”) amongst many others. The term “prosumer” is older than the Web, and the conceptual co
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Edmundson, Anna. "Curating in the Postdigital Age." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1016.

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It seems nowadays that any aspect of collecting and displaying tangible or intangible material culture is labeled as curating: shopkeepers curate their wares; DJs curate their musical selections; magazine editors curate media stories; and hipsters curate their coffee tables. Given the increasing ubiquity and complexity of 21st-century notions of curatorship, the current issue of MC Journal, ‘curate’, provides an excellent opportunity to consider some of the changes that have occurred in professional practice since the emergence of the ‘digital turn’. There is no doubt that the internet and int
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