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Journal articles on the topic 'Digital music files'
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Ismanto, Brizky Ramadhani, Tubagus Maulana Kusuma, and Dina Anggraini. "Indonesian Music Classification on Folk and Dangdut Genre Based on Rolloff Spectral Feature Using Support Vector Machine (SVM) Algorithm." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 15, no. 1 (January 31, 2021): 11. http://dx.doi.org/10.22146/ijccs.54646.
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Music Genre Classification is one of the interesting digital music processing topics. Genre is a category of artistry, in this case, especially music, to characterize and categorize music is now available in various forms and sources. One of the applications is in determining the music genre classification on folk songs and dangdut songs.The main problem in the classification music genre is to find a combination of features and classifiers that can provide the best result in classifying music files into music genres. So we need to develop methods and algorithms that can classify genres appropriately. This problem can be solved by using the Support Vector Machine (SVM). The genre classification process begins by selecting the song file that will be classified by the genre, then the preprocessing process, the collection features by utilizing feature extraction, and the last process is Support Vector Machine (SVM) classification process to produce genre types from selected song files. The final result of this research is to classify Indonesian folk music genre and dangdut music genre along with the 83.3% accuracy values that indicate the level of system relevance to the results of music genre classification and to provide genre labels on music files as to facilitate the management and search of music files.
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Shea, Thomas B., and Ruth Remington. "Spontaneous Neuronal Signaling is Inherently Musical and Mathematical: Insight into the Universal Human Affinity for Music." Open Neurology Journal 12, no. 1 (November 30, 2018): 64–68. http://dx.doi.org/10.2174/1874205x01812010064.
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Objective:Audio files of spontaneous signal streams generated byex vivoneuronal networks cultured on multi-electrode arrays generated an oscillating sine wave with an inherent musical quality. This was not anticipated considering that synaptic signals are “all - or – none”, and therefore digital, events.Methods:These findings may provide insight into why music can be perceived as pleasurable and invoke a calm mood despite that music is ultimately perceived and stored as a series of digital signals; it is speculated that music may reinforce and/or enhance this spontaneous digital stream.Results and Conclusion:These findings also support the relationship between music and mathematics.
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Kushner, D. "Digital decoys [fake MP3 song files to deter music pirating]." IEEE Spectrum 40, no. 5 (May 2003): 27. http://dx.doi.org/10.1109/mspec.2003.1197473.
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Cornford, Stephen. "Digital Economy Action: Composition by Participatory Piracy." Leonardo Music Journal 21 (December 2011): 9–10. http://dx.doi.org/10.1162/lmj_a_00051.
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The author discusses the inspiration and design of an as-yet-unrealized composition in which participants serve in the roles of composer, performer and consumer all at the same time. Provoked by the passage of a law restricting sharing and distribution of music files, he explores the potential for file sharing as a compositional process.
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Sorussa, Kanawat, Anant Choksuriwong, and Montri Karnjanadecha. "Emotion Classification System for Digital Music with a Cascaded Technique." ECTI Transactions on Computer and Information Technology (ECTI-CIT) 14, no. 1 (April 7, 2020): 53–66. http://dx.doi.org/10.37936/ecti-cit.2020141.205317.
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Music selection is difficult without efficient organization based on metadata or tags, and one effective tag scheme is based on the emotion expressed by the music. However, manual annotation is labor intensive and unstable because the perception of music emotion varies from person to person. This paper presents an emotion classification system for digital music with a resolution of eight emotional classes. Russell’s emotion model was adopted as common ground for emotional annotation. The music information retrieval (MIR) toolbox was employed to extract acoustic features from audio files. The classification system utilized a supervised machine learning technique to recognize acoustic features and create predictive models. Four predictive models were proposed and compared. The models were composed by crossmatching two types of neural networks, i.e., Levenberg-Marquardt (LM) and resilient backpropagation (Rprop), with two types of structures: a traditional multiclass model and the cascaded structure of a binary-class model. The performance of each model was evaluated via the MediaEval Database for Emotional Analysis (DEAM) benchmark. The best result was achieved by the model trained with the cascaded Rprop neural network (accuracy of 89.5%). In addition, correlation coefficient analysis showed that timbre features were the most impactful for prediction. Our work offers an opportunity for a competitive advantage in music classification because only a few music providers currently tag music with emotional terms.
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Hunt, Kenneth A., and Andrew Mellicker. "A Case Study Of The Music Industry." Journal of Business Case Studies (JBCS) 4, no. 3 (June 27, 2011): 79. http://dx.doi.org/10.19030/jbcs.v4i3.4770.
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Every industry in the world is affected by technological advancements. As new products and methods are invented, old products and methods become obsolete. Perhaps no industry illustrates this basic principle better than the music industry. From the invention of sheet music to the digital music files known today, the music industry has remade itself time after time. With the development of the latest technology, old products have repeatedly been abandoned. This case will explore the history of the music industry by highlighting the various technologies that changed the industry. In addition, a discussion will be offered to explore possible future directions of the industry.
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Brennan, Matt, and Kyle Devine. "The cost of music." Popular Music 39, no. 1 (February 2020): 43–65. http://dx.doi.org/10.1017/s0261143019000552.
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AbstractWhat is the cost of music in the so-called Anthropocene? We approach this question by focusing on the case of sound-recording formats. We consider the cost of recorded music through two overlapping lenses: economic cost, on the one hand, and environmental cost, on the other. The article begins by discussing how the price of records has changed from the late 19th to the 21st century and across the seven most economically significant playback formats: phonograph cylinder, gramophone disc, vinyl LP, cassette tape, compact disc, digital audio files on hard drive, and streaming from the cloud. Our case study territory is the United States, and we chart the gradual decline in the price of recorded music up to the present. We then examine the environmental and human costs of music by looking at what recordings are made out of, where those materials come from, and what happens to them when they are disposed of. Despite what rhetorics of digital dematerialisation tell us, we show that the labour conditions in the digital electronics and IT industries are as inhumane as ever, while the amount of greenhouse gases released by the US recording industry could actually be higher today than at the height of any previous format. We conclude by asking the obvious (but by no means straightforward) question: what are musicians and fans to do?
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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.
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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
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GÜRFİDAN, Remzi, and Mevlüt Ersoy. "Blockchain-Based Music Wallet for Copyright Protection in Audio Files." Journal of Computer Science and Technology 21, no. 1 (April 17, 2021): e2. http://dx.doi.org/10.24215/16666038.21.e2.
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The works produced within the music industry arepresented to their listeners on a digital platform,taking advantage of technology. The problems of thepast, such as pirated cassettes and CDs, have left theirplace to the problem of copyright protection on digitalplatforms today. Block chain is one of the mostreliable and preferred technologies in recent timesregarding data integrity and data security. In thisstudy, a blockzincir-based music wallet model isproposed for safe and legal listening of audio files.The user's selected audio files are converted intoblock chain structure using different techniques andalgorithms and are kept securely in the user's musicwallet. In the study, performance comparisons aremade with the proposed model application in terms ofthe length of time an ordinary audio player can addnew audio files to the list and the response times ofthe user. The findings suggest that the proposedmodel implementation has acceptable differences inperformance with an ordinary audio player.
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Le Prell, C. G., Q. Yang, and J. G. Harris. "Modification of digital music files for use in human temporary threshold shift studies." Journal of the Acoustical Society of America 130, no. 4 (October 2011): EL142—EL146. http://dx.doi.org/10.1121/1.3630017.
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Hergianasari, Putri, and Atyanta Nika Rumaksari. "The Impact of Global Technology on Music Industry: The End of Copyright Regime." JSW: Jurnal Sosiologi Walisongo 2, no. 1 (May 15, 2018): 29. http://dx.doi.org/10.21580/jsw.2018.2.1.2476.
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<p>On a global scale, the music industry is currently experiencing declining growth after a significant decline in profits. This phenomenon is common in the era of digital transformation. Based on the EU report (European Commission, 2017) that global technology is changing rapidly. This reflects the desire of humans to do more by finding opportunities to meet their needs. The internet is the starting point for why the global world is changing so fast. One example is the global economic sector. By using the internet, people can search for all digital entertainment content easily without filtering it out. Sharing files on the internet has a negative impact on the music industry's sales the old way. They demand the termination of sharing music through the internet such as Youtube. This paper analyzes the advantages and disadvantages of company-based file-sharing businesses in Indonesia. How the government takes advantage of this business and how the Indonesian music industry overcomes the effects of globalization</p>
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Yamamoto, Yutaka, Kaoru Yamamoto, Masaaki Nagahara, and Pramod P. Khargonekar. "Signal processing via sampled-data control theory." Impact 2020, no. 2 (April 15, 2020): 6–8. http://dx.doi.org/10.21820/23987073.2020.2.6.
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Digital sounds and images are used everywhere today, and they are all generated originally by analogue signals. On the other hand, in digital signal processing, the storage or transmission of digital data, such as music, videos or image files, necessitates converting such analogue signals into digital signals via sampling. When these data are sampled, the values from the discrete, sampled points are kept while the information between the sampled points is lost. Various techniques have been developed over the years to recover this lost data, but the results remain incomplete. Professor Yutaka Yamamoto's research is focused on improving how we can recover or reconstruct the original analogue data.
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Qiu, Lvyang, Shuyu Li, and Yunsick Sung. "DBTMPE: Deep Bidirectional Transformers-Based Masked Predictive Encoder Approach for Music Genre Classification." Mathematics 9, no. 5 (March 3, 2021): 530. http://dx.doi.org/10.3390/math9050530.
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Music is a type of time-series data. As the size of the data increases, it is a challenge to build robust music genre classification systems from massive amounts of music data. Robust systems require large amounts of labeled music data, which necessitates time- and labor-intensive data-labeling efforts and expert knowledge. This paper proposes a musical instrument digital interface (MIDI) preprocessing method, Pitch to Vector (Pitch2vec), and a deep bidirectional transformers-based masked predictive encoder (MPE) method for music genre classification. The MIDI files are considered as input. MIDI files are converted to the vector sequence by Pitch2vec before being input into the MPE. By unsupervised learning, the MPE based on deep bidirectional transformers is designed to extract bidirectional representations automatically, which are musicological insight. In contrast to other deep-learning models, such as recurrent neural network (RNN)-based models, the MPE method enables parallelization over time-steps, leading to faster training. To evaluate the performance of the proposed method, experiments were conducted on the Lakh MIDI music dataset. During MPE training, approximately 400,000 MIDI segments were utilized for the MPE, for which the recovery accuracy rate reached 97%. In the music genre classification task, the accuracy rate and other indicators of the proposed method were more than 94%. The experimental results indicate that the proposed method improves classification performance compared with state-of-the-art models.
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Tamatjita, Nurmiyati, and Agus Harjoko. "Klasifikasi Lagu Berdasarkan Genre pada Format WAV." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 10, no. 1 (July 31, 2014): 145. http://dx.doi.org/10.22146/ijccs.6542.
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AbstrakDalam dunia yang berkembang pesat, media audio semakin komplek. Karena itulah diperlukan sebuah mekanisme penentuan jenis lagu (genre) yang tepat secara efektif dan efisien. Pencarian secara manual sudah tidak efektif dan efisien lagi karena banyaknya data yang tersimpan. Zero Crossing Rate (ZCR), Average Energy (E) dan Silent Ratio (SR) adalah 3 Feature Extraction yang digunakan untuk klasifikasi pencarian 12 genre.Tiga dimensi adalah bentuk visualisasi pengukuran tingkat kemiripan sebuah data berdasarkan hasil klasifikasi yang diinput oleh user. Dalam penelitian ini pengujian klasifikasi menggunakan metode 3, 6, 9 dan 12 genre melalui jarak terdekat (Euclidean Distance). Hasil pengujian yaitu menunjukkan bahwa 3 genre yaitu Balada, Blues dan Classic menunjukkan = 96,67%, 6 genre yaitu Balada, Blues, Classic, Harmony, Hip Jop dan Jazz menunjukkan = 70% dan 9 genre yaitu Balada, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin dan Pop menunjukkan = 53,33% serta 12 genre = 33,33% Kata Kunci— Zero Crossing Rate (ZCR), Average Energy (E), Silent Ratio (SR), Euclidean Distance Abstract Music genre is getting complex from time to time. As the size of digital media grows along with amount of data, manual search of digital audio files according to its genre is considered impractical and inefficient; therefore a classification mechanism is needed to improve searching. Zero Crossing Rate (ZCR), Average Energy (E) and Silent Ratio (SR) are a few of features that can be extracted from digital audio files to classify its genre. This research conducted to classify digital audio (songs) into 12 genres: Ballad, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin, Pop, Electronic, Reggae and Rock using above mentioned features, extracted from WAV audio files. Classification is performed several times using selected 3, 6, 9 and 12 genres respectively. The result shows that classification of 3 music genres (Ballad, Blues, Classic) has the highest accuracy (96.67%), followed by 6 genres (Ballad, Blues, Classic, Harmony, Hip Hop, Jazz) with 70%, and 9 genres (Ballad, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin, Pop) with 53.33% accuracy. Classification of all 12 music genres yields the lowest accuracy of 33.33%. Keywords— Zero Crossing Rate (ZCR), Average Energy (E), Silent Ratio (SR), Euclidean Distance
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Tomczyk, Łukasz. "Evaluation of Digital Piracy by Youths." Future Internet 13, no. 1 (January 4, 2021): 11. http://dx.doi.org/10.3390/fi13010011.
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This paper sets out to explain how adolescents interpret piracy. Digital piracy is one of the most important risk behaviours mediated by new media to be found among adolescents. It is global, and changes dynamically due to the continued development of the information society. To explore the phenomena related to piracy among adolescent Internet users we need to apply qualitative research methods. The sample contained 1320 Polish respondents. The research used the technique of qualitative research. Data was collected using a form containing an open question. Adolescents will answer in the form how they interpret digital piracy. The categories characterize how piracy is perceived, and includes downloading various files—whether video or music files or even software (also games)—from unauthorized sources (P2P—Peer-to-peer ‘warez’ servers—websites which serve as repositories of illegal files). The qualitative data analysis allowed the identification of the following constructs in the perception of digital piracy by adolescents: ethical (giving value to the phenomenon), economical (showing profits and losses), legal (connected with punitive consequences and criminal liability), praxeological (facilitating daily life), technical (referring to the hardware necessary), social (the scale of the phenomenon and interpersonal relations), and personal benefits. The results fit into the discussion on the standard and hidden factors connected with piracy. The presented seven categories of the perception of piracy help us better understand the phenomenon of the infringement of intellectual property law and will help to develop appropriate preventive measures. Qualitative research makes it possible to understand the phenomenon of piracy from a deeper perspective, which can be translated into the design of effective educational measures. Preventive guidance on minimising risky behaviour is part of the development of one of the key competences, namely digital knowledge and skills. The research allowed us to enrich the theoretical knowledge on risky behaviours in cyberspace among adolescents (theoretical aim), to understand how to interpret risky behaviours in cyberspace (understanding of micro-worlds—cognitive aim), and to gather new knowledge that will be useful for prevention (practical aim).
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MIGLIAVACCA, G. "Digital Revolution and Millennium Temptations for Opera Collectors CD Making, Sound Editing, PC Audio Files, CD-ROMs." Opera Quarterly 16, no. 4 (January 1, 2000): 639–44. http://dx.doi.org/10.1093/oq/16.4.639.
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Kumik, Peter. "Digital Rights Management." Legal Information Management 1, no. 2 (2001): 21–23. http://dx.doi.org/10.1017/s1472669600000402.
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It was only three years ago that I was told that publishing valuable digital content on the Internet would not take off for 10 years. Today it is happening all around us with MP3 music files being swapped by our children and market research reports openly passed between business colleagues. The problem is that the intellectual property owners lose control of distribution through publishing content on the Internet – in its raw essence, an unregulated global arena – and then, more often than not, do not get paid for use of a large percentage of their content, This is perhaps the greatest reason why publishers have been unwilling to place valuable content online. Historically low-value content has taken up the vast majority of what we have been able to access online with companies hoping to recoup costs through advertising revenue. The reason is simple; conventional Internet technologies do not have any facilities for enforcing copyright, but the problem is that advertising revenues are dwindling so publishers need to find other ways of generating revenue. We can now look back with a sense of irony at straplines from major technology companies saying “Information at your finger tips”, “Information where and how you need it” as this is exactly what they are now trying to prevent so that they can keep an element of control.
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Tan, Jin Jack, Jiun Cai Ong, Kin Keong Chan, Kam Hing How, and Jee Hou Ho. "Development of a Portable Automated Piano Player CantaPlayer." Applied Mechanics and Materials 284-287 (January 2013): 2037–43. http://dx.doi.org/10.4028/www.scientific.net/amm.284-287.2037.
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This paper describes the development of a low cost, compact and portable automated piano player CantaPlayer. The system accepts digital MIDI (Musical Instrument Digital Interface) files as input and develops pushing actions against piano keys which in turn produces sounds of notes. CantaPlayer uses Pure Data, an audio processing software to parse MIDI files and serve as user interfaces. The parsed information will be sent to Arduino, an open source microcontroller platform, via serial communication. The Arduino I/O pins will be triggered based on the information from Pure Data of which connected transistors will be activated, acting as a switch to draw in larger power supply to power the solenoids. The solenoids will then push the respective piano keys and produce music. The performance of CantaPlayer is evaluated by examining the synchronousness of the note playing sequence for a source MIDI and the corresponding reproduced MIDI. Three types of MIDI playing sequence (scale, polyphonic and rapid note switching) were tested and the results were satisfactory.
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Caston, Emily. "Conservation and curation." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 160–77. http://dx.doi.org/10.33178/alpha.19.14.
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This article identifies and examines the research methods involved in curating a national collection of British music videos for the British Film Institute and British Library in relation to existing scholarship about the role of the curator, the function of canons in the humanities, and the concept of a hierarchy of screen arts. It outlines the process by which a theoretical definition of “landmarks” guided the selection of works alongside a commitment to include a regionally and socially diverse selection of videos to reflect the variations in film style of different music genres. The article also assesses the existing condition of British music video archives: rushes, masters, as well as documents and digital files, and the issues presenting academics and students wishing to study them. It identifies the fact that music video exists in the gaps between two disciplines and industries (popular music studies / the music industry and film and television studies / the screen industries) as an additional challenge to curators of the cultural form, alongside complex matters of licensing and formats.
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Eck, Douglas. "Identifying Metrical and Temporal Structure With an Autocorrelation Phase Matrix." Music Perception 24, no. 2 (December 1, 2006): 167–76. http://dx.doi.org/10.1525/mp.2006.24.2.167.
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This article introduces a new method for detecting long-timescale structure in music. We describe a way to compute autocorrelation such that the distribution of energy in phase space is preserved in a matrix. The resulting Autocorrelation Phase Matrix (APM) is useful for several tasks involving metrical structure. In this article we describe the details of calculating the APM. We then show how phase-related regularities from music are stored in the APM and present two ways to recover these regularities. The simpler approach uses variance or entropy calculated on the distribution of information in the APM. The more complex approach explicitly searches through the phase and lag space of the APM to predict meter and tempo in parallel. We compare these approaches against standard autocorrelation for the task of tempo prediction on a relatively large database of annotated digital audio files. We demonstrate that better tempo prediction is achieved by exploiting the phase-related information in the APM.We argue that the APM is an effective data structure for tempo prediction and related applications, such as real-time beat induction and music analysis.
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Aroukatos, Nikolaos Georgios, Kostas Manes, Stelios Zimeras, and Fotis Georgiakodis. "Techniques in Image Steganography using Famous Number Sequences." INTERNATIONAL JOURNAL OF COMPUTERS & TECHNOLOGY 11, no. 3 (October 15, 2013): 2321–29. http://dx.doi.org/10.24297/ijct.v11i3.1167.
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In In the last decades, Steganography techniques have been applied in a variety of data files. The need of copyrightprotection in Music, in Photography e.t.c pushed the software companies to develop many steganographic systemswhich they use, in various areas, e.g., in digital assets (DRM). In this paper, we propose a number of methods forimage steganography using Catalan numbers and Lucas numbers and we show that they produce better resultsthan the technique using Fibonacci numbers. We are able to use Catalan and Lucas numbers since we haveproved that these sets of numbers satisfy similar conditions to those of the Theorem of Zeckendorf.
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George, Phillip. "Mnemonic Notations: A Decade of Art Practice within a Digital Environment." Leonardo 35, no. 2 (April 2002): 121–27. http://dx.doi.org/10.1162/00240940252940450.
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The author's work Mnemonic Notations represents the evolution of one computer graphic file, first generated in 1990. The author has modified the file for over a decade in response to exposure to many ideas and influences. The Mnemonic Notations file has been output and visually represented as paintings and prints. Mnemonic Notations files were also used as the basis of the Mnemonic Notations CD-ROMs and interactive installations, as well as digital photographic works dealing with fictional documentations.
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Carrión Candel, Elena, Mercedes Pérez Agustín, and Elena Giménez De Ory. "ICT and gamification experiences with CLIL methodology as innovative resources for the development of competencies in compulsory secondary education." Digital Education Review, no. 39 (June 30, 2021): 238–56. http://dx.doi.org/10.1344/der.2021.39.238-256.
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Due to the lack of research in the field of music through CLIL and ICT in Secondary Education in Spain, we propose to merge this subject with an innovative methodology. The general objective is to present a different approach to students in order to increase their motivation for the subject. The specific objectives are to teach music in English by integrating content, cognition and vocabulary through communication and the use of new technologies. This approach makes the design and implementation didactic, audiovisual and multimedia. Cuadernia: digital notebook composed of flash files, videos and audios, and gamification strategies. Quizziz: multiplayer questionnaire of class contents, based on teaching music through a cooperative methodology and gamification, are applied as options with a great educational projection, with information and innovative pedagogical experiences and potential to work together in the classroom with different levels of the subject. The results that follow the Likert scale reflect high student satisfaction with regard to teaching methodology, content acquisition, teacher training, ICT and resources. As a conclusion, of the coincident results between the professor and the students, we would like to implement it in the coming years.
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Drucker, Johanna. "Digital Ontologies: The Ideality of Form in/and Code Storage—or— Can Graphesis Challenge Mathesis?" Leonardo 34, no. 2 (April 2001): 141–45. http://dx.doi.org/10.1162/002409401750184708.
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Digital media gain their cultural authority in part because of the perception that they function on mathematical principles. The relationship between digital images and their encoded files, and in other cases, between digital images and the algorithms that generate them as display, lends itself to a conviction that the image and the file are mutually interchangeable. This relationship posits a connection of identicality between the file and the image according to which the mathematical basis and the image seem to share similar claims to truth. Since the history of images within Western culture is fraught with charges of deception and illusion, the question arises whether the ontological condition of the digital image, its very existence and identity, challenges this tradition. Or, by contrast, does the material instantiation of images, in their display or output, challenge the truth claims of the mathematically based digital file?
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Freitas, Joana. "Kill the Orchestra." Journal of Sound and Music in Games 2, no. 2 (2021): 22–41. http://dx.doi.org/10.1525/jsmg.2021.2.2.22.
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In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.
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Korycki, Rafał. "Detection of Montage in Lossy Compressed Digital Audio Recordings." Archives of Acoustics 39, no. 1 (March 1, 2015): 65–72. http://dx.doi.org/10.2478/aoa-2014-0007.
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Abstract This paper addresses the problem of tampering detection and discusses methods used for authenticity analysis of digital audio recordings. Presented approach is based on frame offset measurement in audio files compressed and decoded by using perceptual audio coding algorithms which employ modified discrete cosine transform. The minimum values of total number of active MDCT coefficients occur for frame shifts equal to multiplications of applied window length. Any modification of audio file, including cutting off or pasting a part of audio recording causes a disturbance within this regularity. In this study the algorithm based on checking frame offset previously described in the literature is expanded by using each of four types of analysis windows commonly applied in the majority of MDCT based encoders. To enhance the robustness of the method additional histogram analysis is performed by detecting the presence of small value spectral components. Moreover, computation of maximum values of nonzero spectral coefficients is employed, which creates a gating function for the results obtained based on previous algorithm. This solution radically minimizes a number of false detections of forgeries. The influence of compression algorithms' parameters on detection of forgeries is presented by applying AAC and Ogg Vorbis encoders as examples. The effectiveness of tampering detection algorithms proposed in this paper is tested on a predefined music database and compared graphically using ROC-like curves.
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Mróz, Bogdan. "Online piracy: an emergent segment of the shadow economy. Empirical insight from Poland." Journal of Financial Crime 23, no. 3 (July 4, 2016): 637–54. http://dx.doi.org/10.1108/jfc-04-2015-0022.
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Purpose The purpose of this paper is to investigate the underlying causes, scale and scope as well as the effects of piracy as a form of the shadow economy throughout Poland, drawing on the findings of secondary studies and author’s questionnaire survey conducted in summer 2013. Design/methodology/approach An online questionnaire survey was accomplished using the computer-assisted Web interview method and real-time sampling technique, in June 2013. The survey involved 1,000 persons aged 15 years and older. Findings Polish consumers use pirated content, products and services primarily for financial reasons: 73 per cent of respondents point out to high prices of original products, while more than half (56 per cent) points at low incomes of Polish consumers. A significant percentage of respondents (over one-third) indicates the easiness of access to pirated goods and services. The most common activity among Polish internet users is to copy pirated music files (almost 40 per cent of internet users admit to that) and films (including watching the series in the network to which approximately 35 per cent of respondents confess to). These two kinds of files are also copied the most often – about 20 per cent of the respondents copy them once a month or more often. One-fourth of the respondents admit to copying pirated computer programs. The findings from the survey reveal that young Polish internet users demonstrate a rather permissive attitude towards online piracy that involves downloading music files or video and sharing them with other network users. Research limitations/implications The questionnaire survey did not cover all aspects of online purchasing behaviour of Polish internet users. The findings of the survey should be approached with some caution, given the intricate and sensitive nature of the research problématique. Practical implications Regulations regarding online purchases of goods and services are not attuned to the digital reality, which is exploited by online intermediaries. The research findings highlighted the motivational and behavioural aspects of Poles’ online consumer behaviour, thus providing useful tips to curb online piracy. Social implications The implementation of relevant regulations to ensure respect and protection for intellectual property rights on the internet in Polish as well as EU legislation has acquired a rare immediacy and may reduce the scope of online piracy and other manifestations of shadow economy in the cyberspace. Originality/value An empirical insight into the online piracy among Polish internet users providing first-hand knowledge regarding their motivation and behavioural patterns.
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Cichocki, Piotr. "Sound production as a cultural practice." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 9, no. 1 (January 22, 2020): 60–80. http://dx.doi.org/10.7146/se.v9i1.118246.
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Referring to a notion of cultural practice understood as a constitution of social identity and meaningful everyday performance, this paper questions the practice of music production outside the technological centers of the global North. The author traces relations between the global standards of studio work and the case of “record culture” in Mzuzu, Malawi. On a tangible level, the production of sound and music in Mzuzu is bricolage, a creative combination of varied devices and means within an economy of scarcity.However, sound production in its intangible dimension reveals itself as a practice of mediation between material and immaterial spheres. Spatially, it combines local aesthetics with globally unified technologies. This mediation gathers different temporalities (old, “tribal” rhythms and digital sounds) with cosmologies (i.e. invocation to holy ghosts with gospel music, in contrast to local possession cults). Moreover, people embody many of these practices as opposed to expressing them discursively. As an embodied practice, the production contains social, non-discursive memory while, at the same time, it has a potential for construction of social worlds. Hence, sound production constitutes a sense-making practice that establishes relations between musicians, listeners, and other social actors.
NB: The article contains sound examples. In order to listen to embedded audio files, you must first download the pdf file and then open it with Adobe Acrobat.
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Luther, Jason W., and Patrick Williams. "Noise over signal." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 9, no. 1 (January 22, 2020): 20–37. http://dx.doi.org/10.7146/se.v9i1.116688.
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While participatory culture has been of special interest to scholars for nearly three decades, much of the focus has centered on digitally networked contexts. The digital age has indeed transformed our approaches to listening to music and how we operate as fans of music; these approaches can weave together the new and the old, and are enacted among a variety of spaces, objects, and relationships. We explore how the re-emergence of one such object in the digital age — the LP — has produced social arrangements that perhaps excavate older listening practices but do so in ways that have been affected by the mediascape more generally. We offer the concept of phonography culture: a term that emphasizes the social practices of those who not only curate and collect vinyl records but communicate through them in participatory activities including listening parties, vinyl nights at local bars, Facebook groups, and sites of e-commerce. We share the case study of Record Nite, a semi-regular gathering of phonography culture participants, who take turns playing one side of an LP on a given theme, revealing in their fandom and reveling in and encouraging that of others. Over the course of an evening, ten to twenty friends connect over their own “noise” — their experiences, histories, and knowledge of artists, albums, and genres—while simultaneously listening to LPs together. These phonographic, cultural interactions are revelatory because they draw our attention away from individualized and digital listening, which isolate signal, and make space for social and aural noise. That noise is infused with fandom and participation, as well as elements of memory, meaning making, and nostalgia.
NB: The article contains sound examples. In order to listen to embedded audio files, you must first download the pdf file and then open it with Adobe Acrobat.
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Korycki, Rafał. "Identification of MP3 encoders and recording equipment based on examination subjected to lossy date compression." Issues of Forensic Science 287 (2015): 84–94. http://dx.doi.org/10.34836/pk.2015.287.3.
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The paper outlines the problem of identification of MP3 encoders and recording devices based on the analysis of audio recordings subjected to lossy date compression. The proposed method can be used as a support for other solutions used to detect double compression and discontinuities. The approach is based on the statistical analysis of the variables obtained directly from the MP3 data stream and constitute an inherent element of compression performance. Designated vectors consisting of 46 features were used as training sequences of linear discriminant analysis (LDA), one of the most popular supervised machine learning algorithms. The effectiveness of this algorithms for the identification of MP3 encoders and recording equipment was tested on a music database consisting of nearly one million MP3 files, specially prepared for this purpose. The results of the research were discussed in the context of the influence of compression parameters on the ability to detect falsification in digital audio recordings.
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Thieberger, Nick. "Technology in Support of Languages of The Pacific: Neo-Colonial or Post-Colonial?" ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 5 (June 30, 2020): 17–24. http://dx.doi.org/10.30819/aemr.5-3.
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The Pacific and Regional Archive for Digital Sources in Endangered Cultures (PARADISEC) has been digitising recordings of traditional cultural expression, oral tradition, and music (TCE) for 17 years. A major motivation for this work is the return of these recordings to where they were made. On the one hand there is social justice in preserving records of languages that are under-represented in the internet and cultural institutions, and making them accessible in what can be characterised as a postcolonial restitution of these records. On the other hand, if it is first world academics doing this work, it risks being yet another colonial appropriation of Indigenous knowledge. In this paper I explore some of these issues to help set directions both for our own work, and for future similar projects. “From ancient times to the present, disquieting use has been made of archival records to establish, document, and perpetuate the influence of power elites.” (Jimerson, 2007: 254). A quarter of the world’s languages are found in the Pacific. In communities sustained over many hundreds of years by local economies, the globalised world impinges through urbanisation and encroaching metropolitan languages, particularly in media, accelerating language change and language shift. Technology, in the form of computers, digital files, and ways of working with them, is a first world product, access to it is costly, and the interface to it is never in a local language but always in a major metropolitan language. Training and experience in using technology is not easily obtained, leading to a divide between those who are able to use it and those who are consumers of it, typically via expensive internet connections. How can a new kind of archival enterprise “establish, document, and perpetuate” the languages and their speakers, in order to counter what Jimerson calls the influence of power elites.
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Oravec, Jo Ann. "Depraved, Distracted, Disabled, or Just “Pack Rats”? Workplace Hoarding Personas in Physical and Virtual Realms." Persona Studies 1, no. 2 (October 23, 2015): 75–87. http://dx.doi.org/10.21153/ps2015vol1no2art472.
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This article provides some potential directions in exploring the construction of the persona of the “hoarder” and addresses how such a persona can move to the foreground of an individual’s set of workplace-related personas. Hoarding throws into relief some critical concerns about the social standings of individuals in workplaces and the extent to which they have autonomous expression. The article frames hoarding in terms of its capacity to externalize particular social issues (such as environmental problems) and generate public discourse, and examines both physical hoardings (books and papers in academic and office settings, for example) and hoardings of virtual goods (such as digital music, video files, and pornographic images). Virtual hoardings have been constructed as problematic as they create barriers to the free flow of information in the workplace and can challenge organizational interests related to intellectual property concerns. Hoarding as a whole is becoming more tightly circumscribed as a workplace and community condition, in part because the ability to manage physical and virtual items in confined settings is considered central to many forms of competent societal functioning.An assortment of human resource management initiatives to mitigate hoarding concerns has developed, including the consideration of hoarding as a disability. However, hoarding behavior is increasing creating problems for those who are searching for simple definitions or straightforward diagnostic criteria. This article also provides some structures for analysis of the class-related and economic dimensions of workplace hoarding personas, and explores potential implications of lifelogging initiatives and hoarding acceptance approaches.
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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 (May 19, 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 MIDI, and handcrafted features were extracted separately for the right hand (RH) and left hand (LH). These were conventional MIDI features representing temporal and dynamic attributes of each note and computed as absolute values (e. g., MIDI velocity) or ratios between performance and corresponding scores (e. g., ratio of duration or inter-onset interval (IOI)). These note-based features were rearranged into additional features representing DBH by simple subtraction between features of both hands. Statistical analyses showed that DBH was more significant in experts than in amateurs across features. Regarding temporal features, experts pressed keys longer and faster with the RH than did amateurs. Regarding dynamic features, RH exhibited both greater values and a smoother change along melodic intonations in experts that in amateurs. Further experiments using principal component analysis (PCA) and support vector machine (SVM) verified that hand-difference features can successfully differentiate experts from amateurs according to performance proficiency. Moreover, existing note-based raw feature values (Basic features) and DBH features were tested repeatedly via 10-fold cross-validation, suggesting that adding DBH features to Basic features improved F1 scores to 93.6% (by 3.5%) over Basic features. Our results suggest that differently controlling both hands simultaneously is an important skill for pianists; therefore, DBH features should be considered in the quantitative evaluation of piano performance.
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Febrian, Arsya, Hestiasari Rante, Sritrusta Sukaridhoto, and Akhmad Alimudin. "Music Scoring for Film Using Fruity Loops Studio." E3S Web of Conferences 188 (2020): 00004. http://dx.doi.org/10.1051/e3sconf/202018800004.
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Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.
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Blake, Jonathan, and Shahram Latifi. "Digital Watermarking Security." Defence Science Journal 61, no. 5 (September 2, 2011): 408. http://dx.doi.org/10.14429/dsj.61.1176.
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<p>As creative works (e.g. books, films, music, photographs) become increasingly available in digital formats in a highly connected world, it also becomes increasingly difficult to secure intellectual property rights. Digital watermarking is one potential technology to aid intellectual property owners in controlling and tracking the use of their works. Surveys the state of digital watermarking research and examines the attacks that the technology faces and how it fares against them. Digital watermarking is an inherently difficult design problem subject to many constraints. The technology currently faces an uphill battle to be secure against relatively simple attacks.</p><p><strong>Defence Science Journal, 2011, 61(5), pp.408-414</strong><strong><strong>, DOI:http://dx.doi.org/10.14429/dsj.61.1176</strong></strong></p>
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Kallioniemi, Kari. "Toposkartta, kliseekokoelma ja moderni panoraama." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 2 (July 1, 2019): 27–39. http://dx.doi.org/10.23994/lk.83448.
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Artikkelissa tarkastellaan suomalaisista musiikkitähdistä viime vuosina tehtyjä elämäkertaelokuvia ja niiden luonnetta mediahistorian kontekstissa. Millainen yhteys 1800-luvun mediakulttuurin todellisuudella ja sen topoksilla on musiikkitähdistä kertoviin melodramaattisiin elämäkertaelokuviin? Historiallisen ja vertailevan musiikkielokuvien lähiluvun kautta artikkeli pohtii kysymystä siitä, millä tavoin nämä elokuvat ovat kuvanneet musiikkitähtien elämää ja taidetta valkokankaalla. Käsittelemissäni suomalaiselokuvissa topokset, kliseet ja muut banaalin kansallisuuden merkit ovat osa digitaalisen kulttuurin kierrätystä, niiden avulla voidaan rakentaa emotionaalinen silta digitaalisen maailman ulkopuolella olevaan kansalliseen materiaaliseen todellisuuteen.Varhaisen eurooppalaisen kulttuuriperinnön topokset löysivät paikkansa 1800-luvun media- ja massakulttuurin panoraamoissa ja varhaisessa elokuvassa. Erityisesti Timo Koivusalon kansallisista musiikkitähdistä kertovat elokuvat ovat tietynlainen reaktionäärinen osa digitaalisen aikakauden mediakulttuurista murrosta. Elokuvien edustamat kliseet, topokset ja panoraamakerrontaan viittaava rakenne eivät niinkään pyri olemaan osa elokuvataidetta, vaan viittaavat elokuvan muodon avulla enemmän nykypäivän kulttuuriseen nationalismiin, joka hakee elinvoimansa kansallisista myyteistä, suurmiehistä, kansallisen historian käännekohdista, traditioista ja rituaaleista, maisemista, esineistä ja musiikkiesityksistä.Topos map, cliché collection, and modern panorama: The national music star biopic in media culture continuumThe article examines recent Finnish music star biopics and their characteristics in the context of media history. I apply historical and comparative close reading in analyzing the ways in which earlier films have represented the lives and art of great music stars. Melodramatic biographical films were in many ways successors to 19th century media culture as carriers of European cultural heritage in depicting the lives and art of musical heroes. The Finnish films discussed in this article use topoi and clichés which represent banal nationalism.The 21st century Finnish national musical hero biopics, and especially the films by Timo Koivusalo, can be seen as a kind of reactionary response to the digital disruption of media culture. The films’ clichés, topoi, and panoramic style of narration are not used to create film art as such. Instead, film form is applied to flag today’s cultural nationalism, which uses national myths, great men, national historical turning points, traditions and rituals, landscapes, artifacts, and music to gain vitality. The films construct an emotional bridge to a nationalistic, materialistic past which exists outside the digital world.
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Korycki, Rafał. "Authenticity investigation of digital audio recorded as MP3 files." Issues of Forensic Science 283 (2014): 54–67. http://dx.doi.org/10.34836/pk.2014.283.1.
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In the work, the problem of detecting discontinuities in lossily compressed audio recordings was outlined and new methods that can be used to examine the authenticity of digital audio records were presented. The described solutions are based on statistical analysis of the data, calculated on the basis of the value of MDCT coefficients. Designated vectors, consisting of 228 features, were used as the training sequences of two machinę learning algorithms under the supervision of the linear discriminant analysis (LDA) and the support vector machinę (SVM). Detection of multiple compression was both used to detect modification of the recording as well as to reveal traces of montage in digital audio recordings. The effectiveness of the algorithms for the detection of discontinuities was tested on the database of recorded musie consisting of nearly one million MP3 files, specially prepared forthis purpose. The results of the research were discussed in the context of the influence of parameters of the compression on the abiiity to detect interference in digital audio recordings.
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Zhao, Bo, Liming Fang, Hanyi Zhang, Chunpeng Ge, Weizhi Meng, Liang Liu, and Chunhua Su. "Y-DWMS: A Digital Watermark Management System Based on Smart Contracts." Sensors 19, no. 14 (July 12, 2019): 3091. http://dx.doi.org/10.3390/s19143091.
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With the development of information technology, films, music, and other publications are inclined to be distributed in digitalized form. However, the low cost of data replication and dissemination leads to digital rights problems and brings huge economic losses. Up to now, existing digital rights management (DRM) schemes have been powerless to deter attempts of infringing digital rights and recover losses of copyright holders. This paper presents a YODA-based digital watermark management system (Y-DWMS), adopting non-repudiation of smart contract and blockchain, to implement a DRM mechanism to infinitely amplify the cost of infringement and recover losses copyright holders suffered once the infringement is reported. We adopt game analysis to prove that in Y-DWMS, the decision of non-infringement always dominates rational users, so as to fundamentally eradicate the infringement of digital rights, which current mainstream DRM schemes cannot reach.
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Zhang, Qi Liang, Xiao Bo Wang, Jun Wei Xie, Wen Kai Lu, and Hong Xing Zou. "A New Target Detection Method Based on Multiple Jamming Cancellation Algorithm." Applied Mechanics and Materials 687-691 (November 2014): 3880–83. http://dx.doi.org/10.4028/www.scientific.net/amm.687-691.3880.
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This paper proposed a target detection method in the presence of multiple jamming, which may come from mainlobe or sidelobe of the array antenna. The jamming direction-of-arrival (DOA) is estimated using MUSIC algorithm, and a multiple jamming cancellation beamformer is suggested, which is based on a FIR filer in space domain, the beamformer is followed by a pulse compression filter in frequency domain which can improve the resolution in time domain. We take a simulation experiment for our method, considering a digital array radar with pulse compression technique, the experiment indicate that the target detection method have a good performance and can be used in digital array radar system.
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Pawłowicz, Weronika. "Silesian Library in Katowice and Its Collection." Читалиште 16, no. 31 (December 22, 2017): 33. http://dx.doi.org/10.19090/cit.2017.31.33-37.
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The Silesian Library in Katowice is a public library with a scientific profile which also performs the functions of a regional library. It was founded in 1922 as the Library of the Silesian Parliament and in 1936 became an independent institution named Józef Piłsudski Silesian Public Library. In 1952, the Library received the name Silesian Library and was proclaimed a scientific library. Today the collection of the Silesian Library counts more than 2.5 million items: books, periodicals, social life documents as well as special collections: manuscripts, old prints, cartographic materials, graphics, leaflets, music, records and films. Among them are many very valuable and a few unique ones, like Exercitia spiritualiaby Saint Ignatius of Loyola (Amacusa 1596) and Jakob en zijn Heer by Diderot (Hague 1793). A lot of items from the collection of the Silesian Library can be seen in their digital version via the Silesian Digital Library.
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Revenko, N. S. "New Contours of Digitalization Abroad and in Russia: the Economy of Collaborative Consumption." Economics, taxes & law 11, no. 2 (November 6, 2018): 103–10. http://dx.doi.org/10.26794/1999-849x-2018-11-2-103-110.
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The subject of the research is the collaborative consumption economy (CCE) as one of the trends in the digital economy. The purpose of the research was to identify the scope of the CCE and its main directions. Based on the critical analysis of existing viewpoints, it is concluded that the CCE refers to the relationships between end-users, namely individuals and legal entities, during a limited chronological period with respect to the use of temporarily free goods or services without transfer of ownership. It was revealed that the most interesting CCE projects were related to the lease of housing and vehicles. Other areas of the CCE applications are leasing various things and other property, shooting films, creating music and computer programs involving a significant number of people or attracting the money of listeners and spectators as well as sharing digital content. Examples of the most successful digital platforms for the CCE operation are given. The viewpoint of experts who classify certain types of commercial activities as the collaborative consumption is criticized. Changes that are constantly taking place in this sector are explained.
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Ismail, Lizah. "Films on Demand Master Academic Video Collection." Charleston Advisor 21, no. 4 (April 1, 2020): 27–30. http://dx.doi.org/10.5260/chara.21.4.27.
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Streaming media has reached a ubiquitous threshold, easily accessible in a variety of platforms for the general consumer in pursuit of entertainment. Streaming media in the educational context is not far behind. Films on Demand Master Academic Collection (FODMAC), an Infobase product (<<ext-link ext-link-type="uri" xlink:href="https://www.infobase.com/">https://www.infobase.com/</ext-link>>), is a popular option for many academic institutions. FODMAC’s content partners include many highly acclaimed and award- winning content producers such as PBS, BBC, TED, Bill Moyers, ABC, NBC, the Canadian Broadcasting Corporation, National Geographic, HBO Documentary Films, and Films for the Humanities and Sciences and features over 1,000 subject categories from 25 core academic subject areas that range from Anthropology to Engineering, Health and Medicine to Music and Dance, and Business and Economics to World Languages. Ease of access and convenient features such as sharing, customizable playlists and embedment in course management systems and other digital platforms make FODMAC a competitive resource as demand in educational streaming media grows.
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Kaare, Birgit Hertzberg. "The Self and the Institution." Nordicom Review 33, no. 2 (December 1, 2012): 17–26. http://dx.doi.org/10.2478/nor-2013-0011.
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Abstract Media researchers have not been much preoccupied with a genre named Digital Storytelling. Since its origin in the early 90s, it has spread from California to the rest of the United States and has been evolving for several years now as a media practice around the globe. I therefore want to draw more attention to digital storytelling, here understood as a specific genre developed at the Center for Digital Storytelling (CDS) in California and defined as a short, first-person video narrative that combines voice recordings, still and moving images, and music or other sounds (www.storycenter.org). Such storytelling is regarded as both a movement and a method; and it is in its idea a short personal story, about the self. In the subtitle of his book Digital Storytelling, the leader of the center, Joe Lambert, highlights that this type of narratives are Creating Community through Capturing Lives of individuals (Lambert 2009). This genre is embedded in a democratic and empowering ideology. Along these lines, the main concern of this article is to discuss whether a change can be observed in the digital storytelling genre from an individualistic perspective to a more collective perspective - a shift from narrating selves to narrating communities. In examining this question, this work draws upon 45 films produced by bachelor students at the University of Oslo in 2010 and 2011.
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Joselit, David. "Seeing Oneself Seeing: A Conversation with Lucy Raven." October 162 (December 2017): 19–30. http://dx.doi.org/10.1162/octo_a_00307.
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Artist Lucy Raven speaks with David Joselit about her multidisciplinary practice and contemporary notions of image-making and viewing. Reflecting on the production and circulation of both analog and digital images—how they function, where they come from, and how they get distributed—Raven's animated films aim to denaturalize the process of viewing and draw attention to the ways in which films are inextricably bound up in complex systems of global commerce and finance.
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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 varied, multivalent relationships between musical form and film form. Indeed, musical form proves a constituent element of Casino’s construction at multiple levels of magnification. The large-scale form of the score as a whole articulates the larger arc of Casino’s dual narrative. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. Casino’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.
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Rosi, Eleonora. "L’utilizzo dei media digitali in un campione di bambini e adolescenti attraverso il questionario Media Activity Form." Medico e Bambino pagine elettroniche 24, no. 2 (February 25, 2021): 31–38. http://dx.doi.org/10.53126/mebxxiv031.
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Background - Several studies have investigated the use of digital media in developmental age, mainly focusing on Internet or video games addiction in adolescence. However, few studies have investigated the time spent by children and young people on different types of digital media and their impact on adaptive behaviour. Objectives - On the base of parent and child reports the current study aimed to investigate the use of different digital media in Italian children and adolescents, aged six to eighteen, and their impact on adaptive behaviour as well, and to assess its association with socio-demographic factors. Material and methods - 901 parents and 574 children were recruited in ten schools in Northern Italy. The parents filled in a socio-demographic form and the “Media Activity Form” (MAF-G), while adolescents filled in a youth version of the “Media Activity Form” (MAF-R). Results - Overall, the activities carried out by children (6-11 years old) are mainly focused on viewing films/TV series and using video games, while those of adolescents are mainly related to listening to music and messaging. Parents estimated a lower amount of time spent on digital media by their children compared to that reported by their children. Finally, significant differences emerged in relation to male gender, preadolescence, low socio-economic level, low maternal education and divorced/separated parents, showing that participants belonging to such categories spent longer time on different digital media. Conclusions - The results contributed to improve the knowledge on the use of digital media in children and adolescents, with useful clinical implications for interventions.
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Kumar, Akshaya. "The libidinal economy of vernacularisation: modernity, sexuality and Bhojpuri media." Media, Culture & Society 43, no. 4 (February 20, 2021): 776–84. http://dx.doi.org/10.1177/0163443721994543.
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The last two decades have witnessed a notable proliferation of media industries producing low-budget digital films and music videos. These media industries routinely stage a confrontation between modernity and a fantasy of pure cultural traditions. The bulk of their content deploys the male star as an extraordinary crossover figure – the only one capable of bringing modernity and its vernacular outsides on the negotiating table. Drawing upon the trajectory of Bhojpuri media industry – referring to the language spoken in parts of eastern Uttar Pradesh and western Bihar – this paper discusses, via Bruno Latour, the fundamental discord at the heart of modernity. I argue that the libidinal economy has emerged as a narrative simplification of the purifying imperative of modernity, haunted as it is by the concurrent hybridizing force-field.
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Justice, Deborah. "When Church and Cinema Combine: Blurring Boundaries through Media-savvy Evangelicalism." Journal of Religion, Media and Digital Culture 3, no. 1 (December 6, 2014): 84–119. http://dx.doi.org/10.1163/21659214-90000042.
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The use of social media presents new religious groups with opportunities to assert themselves in contrast to established religious institutions. Intersections of church and cinema form a central part of this phenomenon. On one hand, many churches embrace digital media, from Hollywood clips in sermons to sermons delivered entirely via video feed. Similarly and overlapping with this use of media, churches in cinemas have emerged around the world as a new form of Sunday morning worship. This paper investigates intersections of church and cinema through case studies of two representative congregations. CityChurch, in Würzburg, Germany, is a free evangelical faith community that meets in a downtown Cineplex for Sunday worship. LCBC (Lives Changed by Christ) is one of the largest multi-sited megachurches on the American East Coast. While LCBC’s main campus offers live preaching, sermons are digitally streamed to the rest. Both CityChurch and LCBC exemplify growing numbers of faith communities that rely on popular musical and social media to 1) redefine local and global religious relationships and 2) claim identity as both culturally alternative and spiritually authentic. By engaging with international flows of worship music, films, and viral internet sensations, new media-centered faith communities like CityChurch and LCBC reconfigure established sacred soundscapes. CityChurch’s use of music and media strategically differentiates the congregation from neighboring traditional forms of German Christianity while strengthening connections to the imagined global evangelical community. LCBC creates what cultural geographer Justin Wilford dubs a “postsuburban sacrality” that carves out meaning from the banality of strip-mall-studded suburban existence. Analyzing the dynamics of music and media in these new worship spaces assumes growing importance as transnational music and media choices play an increasingly a central role in locally differentiating emergent worship communities from historically hegemonic religious neighbors.
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Bizri, Hisham M. "City of Brass: The Art of Masking Reality in Digital Film." Leonardo 36, no. 1 (February 2003): 7–11. http://dx.doi.org/10.1162/002409403321152211.
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The author's interest in film lies in its ability to expand consciousness and perception in ways unique to the medium. His films challenge the language of filmmaking, be it montage, color, sound, lighting, mise-enscène or acting. The author employs a wide palette of film vocabulary to mask reality and filter it through a personal vision. With the introduction of computers, new ways of seeing the world through film, and thus of acting in the world, may be accomplished.
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Apel, Simon. "Bridgeport Music, Inc. v. Dimension Films (USA), Metall auf Metall (Germany) and Digital Sound Sampling – »Bright Line Rules«?" Zeitschrift für geistiges Eigentum 2, no. 3 (2010): 331. http://dx.doi.org/10.1628/186723710793206774.
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