Centor : concept d’interface de spatialisation sonore additive

Cette recherche porte un regard critique sur les interfaces de spatialisation sonore et positionne la composition de musique spatiale, un champ d’étude en musique, à l’avant plan d’une recherche en design. Il détaille l’approche de recherche qui est centrée sur le processus de composition de musique spatiale et les modèles mentaux de compositeurs électroacoustiques afin de livrer des recommandations de design pour le développement d’une interface de spatialisation musicale nommée Centor. Cette recherche montre qu’un processus de design mené à l’intersection du design d’interface, du design d’interaction et de la théorie musicale peut mener à une proposition pertinente et innovatrice pour chacun des domaines d’étude. Nous présentons la recherche et le développement du concept de spatialisation additive, une méthode de spatialisation sonore par patrons qui applique le vocabulaire spectromorphologique de Denis Smalley. C’est un concept d’outil de spatialisation pour le studio qui complémente les interfaces de composition actuelles et ouvre un nouveau champ de possibilités pour l’exploration spatiale en musique électroacoustique. La démarche de recherche présentée ici se veut une contribution au domaine du design d’interfaces musicales, spécifiquement les interfaces de spatialisation, mais propose aussi un processus de design pour la création d’interfaces numériques d’expression artistique.

Approche systémique pour la composition d’œuvres acousmatiques, mixtes, vidéomusicales et pluridisciplinaires

Cette thèse est une exploration de mon processus compositionnel. En tentant de comprendre comment s’organise ma pensée créatrice, j’ai dégagé trois observations : l’organicisme du processus et des œuvres, la notion de mouvement et la relation récursive entre la matière et le compositeur. Ces thèmes m’ont amené à établir un lien épistémologique entre la composition musicale et l’étude des systèmes complexes. Dans ce cadre systémique, j’ai établi que les informations qui motivent mes prises de décision artistiques ont entre elles des ramifications opérationnelles et structurelles qui évoquent une arborescence rhizomatique plutôt qu’une hiérarchie linéaire. La transdisciplinarité propre à la systémique m’a également permis d’introduire des notions provenant d’autres champs de recherche. S’articulant d’emblée avec mon processus compositionnel, ces notions m’ont procuré une vision holistique de ma démarche artistique. Conséquemment, je considère l’acte de composer comme une interaction entre ma conscience et tout ce qui peut émaner de la matière sonore, les deux s’informant l’une et l’autre dans une boucle récursive que je nomme action⟳perception. L’œuvre ainsi produite n’est pas exclusivement tributaire de ma propre volition puisque, au fil du processus, mes décisions opératoires et artistiques sont en grande partie guidées par les propriétés invariantes et les propriétés morphogéniques inhérentes au matériau sonore. Cette approche dynamique n’est possible que si l’interaction avec le compositeur se fait en temps réel, ce que permet la lutherie numérique. Les résultats de mes recherches m’ont guidé dans la composition d’œuvres choisies, autant acousmatiques, mixtes, vidéomusicales que pluridisciplinaires.

AN ARTIFICIAL NEURAL NETWORK FOR SONAR TARGET DETECTION

Neural Network has emerged as the topic of the day. The spectrum of its application is as wide as from ECG noise filtering to seismic data analysis and from elementary particle detection to electronic music composition. The focal point of the proposed work is an application of a massively parallel connectionist model network for detection of a sonar target. This task is segmented into: (i) generation of training patterns from sea noise that contains radiated noise of a target, for teaching the network;(ii) selection of suitable network topology and learning algorithm and (iii) training of the network and its subsequent testing where the network detects, in unknown patterns applied to it, the presence of the features it has already learned in. A three-layer perceptron using backpropagation learning is initially subjected to a recursive training with example patterns (derived from sea ambient noise with and without the radiated noise of a target). On every presentation, the error in the output of the network is propagated back and the weights and the bias associated with each neuron in the network are modified in proportion to this error measure. During this iterative process, the network converges and extracts the target features which get encoded into its generalized weights and biases.In every unknown pattern that the converged network subsequently confronts with, it searches for the features already learned and outputs an indication for their presence or absence. This capability for target detection is exhibited by the response of the network to various test patterns presented to it.Three network topologies are tried with two variants of backpropagation learning and a grading of the performance of each combination is subsequently made.

The Audiomomma Music Recommendation System

We design and implement a system that recommends musicians to listeners. The basic idea is to keep track of what artists a user listens to, to find other users with similar tastes, and to recommend other artists that these similar listeners enjoy. The system utilizes a client-server architecture, a web-based interface, and an SQL database to store and process information. We describe Audiomomma-0.3, a proof-of-concept implementation of the above ideas.

One’s own soundtrack: affective music synthesis

Computer music usually sounds mechanical; hence, if musicality and music expression of virtual actors could be enhanced according to the user’s mood, the quality of experience would be amplified. We present a solution that is based on improvisation using cognitive models, case based reasoning (CBR) and fuzzy values acting on close-to-affect-target musical notes as retrieved from CBR per context. It modifies music pieces according to the interpretation of the user’s emotive state as computed by the emotive input acquisition componential of the CALLAS framework. The CALLAS framework incorporates the Pleasure-Arousal-Dominance (PAD) model that reflects emotive state of the user and represents the criteria for the music affectivisation process. Using combinations of positive and negative states for affective dynamics, the octants of temperament space as specified by this model are stored as base reference emotive states in the case repository, each case including a configurable mapping of affectivisation parameters. Suitable previous cases are selected and retrieved by the CBR subsystem to compute solutions for new cases, affect values from which control the music synthesis process allowing for a level of interactivity that makes way for an interesting environment to experiment and learn about expression in music.

Nostalgia, music and the television past revisited in American dreams

The 1960s-set NBC family drama American Dreams presents not just the recent American past but its musical television as well. This paper examines how the show’s recreation of and interaction with the music show American Bandstand ties together the divergent experiences of a turbulent decade. American Dreams’ reshooting and appropriation of original broadcast footage is intricately interwoven with dramatic action allowing for new layers of commentary and meaning to be read across the music and image relationship. Through intercutting and juxtaposition, its use of music performance goes beyond the regressive recycling of images of nostalgia, as critiqued by Jameson and other theorists of postmodernity, to engage political and social debates through a complex web of reference, reproduction and commentary, presenting a politicised reading of the 1960s that problematises these charges of nostalgia texts as apolitical and ‘historicist’.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Emotional responses to Hindustani raga music: the role of musical structure

In Indian classical music, ragas constitute specific combinations of tonic intervals potentially capable of evoking distinct emotions. A raga composition is typically presented in two modes, namely, alaap and gat. Alaap is the note by note delineation of a raga bound by a slow tempo, but not bound by a rhythmic cycle. Gat on the other hand is rendered at a faster tempo and follows a rhythmic cycle. Our primary objective was to (1) discriminate the emotions experienced across alaap and gat of ragas, (2) investigate the association of tonic intervals, tempo and rhythmic regularity with emotional response. 122 participants rated their experienced emotion across alaap and gat of 12 ragas. Analysis of the emotional responses revealed that (1) ragas elicit distinct emotions across the two presentation modes, and (2) specific tonic intervals are robust predictors of emotional response. Specifically, our results showed that the ‘minor second’ is a direct predictor of negative valence. (3) Tonality determines the emotion experienced for a raga where as rhythmic regularity and tempo modulate levels of arousal. Our findings provide new insights into the emotional response to Indian ragas and the impact of tempo, rhythmic regularity and tonality on it.

An optimized ERP Brain-computer interface based on facial expression changes

OBJECTIVE: Interferences from spatially adjacent non-target stimuli are known to evoke event-related potentials (ERPs) during non-target flashes and, therefore, lead to false positives. This phenomenon was commonly seen in visual attention-based brain-computer interfaces (BCIs) using conspicuous stimuli and is known to adversely affect the performance of BCI systems. Although users try to focus on the target stimulus, they cannot help but be affected by conspicuous changes of the stimuli (such as flashes or presenting images) which were adjacent to the target stimulus. Furthermore, subjects have reported that conspicuous stimuli made them tired and annoyed. In view of this, the aim of this study was to reduce adjacent interference, annoyance and fatigue using a new stimulus presentation pattern based upon facial expression changes. Our goal was not to design a new pattern which could evoke larger ERPs than the face pattern, but to design a new pattern which could reduce adjacent interference, annoyance and fatigue, and evoke ERPs as good as those observed during the face pattern. APPROACH: Positive facial expressions could be changed to negative facial expressions by minor changes to the original facial image. Although the changes are minor, the contrast is big enough to evoke strong ERPs. In this paper, a facial expression change pattern between positive and negative facial expressions was used to attempt to minimize interference effects. This was compared against two different conditions, a shuffled pattern containing the same shapes and colours as the facial expression change pattern, but without the semantic content associated with a change in expression, and a face versus no face pattern. Comparisons were made in terms of classification accuracy and information transfer rate as well as user supplied subjective measures. MAIN RESULTS: The results showed that interferences from adjacent stimuli, annoyance and the fatigue experienced by the subjects could be reduced significantly (p < 0.05) by using the facial expression change patterns in comparison with the face pattern. The offline results show that the classification accuracy of the facial expression change pattern was significantly better than that of the shuffled pattern (p < 0.05) and the face pattern (p < 0.05). SIGNIFICANCE: The facial expression change pattern presented in this paper reduced interference from adjacent stimuli and decreased the fatigue and annoyance experienced by BCI users significantly (p < 0.05) compared to the face pattern.

Performance evaluation on electronic control systemsfor field sprayers using programmable logic controllers

The aim of this study was to develop a laboratory method for time response evaluation on electronically controlled spray equipment using Programmable Logic Controllers (PLCs). For that purpose, a PLC controlled digital drive inverter was set up to drive an asynchronous electric motor linked to a centrifugal pump on a experimental sprayer equipped with electronic flow control. The PLC was operated via RS232 serial communication from a PC computer. A user program was written to control de motor by adjusting the following system variables, all related to the motor speed: time stopped; ramp up and ramp down times, time running at a given constant speed and ramp down time to stop the motor. This set up was used in conjunction with a data acquisition system to perform laboratory tests with an electronically controlled sprayer. Time response for pressure stabilization was measured while changing the pump speed by +/-20%. The results showed that for a 0.2 s ramp time increasing the motor speed, as an example, an AgLogix Flow Control system (Midwest Technologies Inc.) took 22 s in average to readjust the pressure. When decreasing the motor speed, this time response was down to 8 s. General results also showed that this kind of methodology could make easier the definition of standards for tests on electronically controlled application equipment.

Programmable PFC based hybrid multipulse power rectifier for utility interface of power electronic converters

In this paper it is proposed a novel hybrid three-phase rectifier capable to achieve high input power factor (PF), and low total harmonic distortion in the input currents (THDI). The proposed hybrid high power rectifier is composed by a standard three-phase 6-pulses diode rectifier (Graetz bridge) with a parallel connection of single-phase Boost rectifiers in each three-phase rectifier leg. Such topology results in a structure capable of programming the input current waveform and providing conditions for obtaining high input power factor and low harmonic current distortion. In order to validate the proposed hybrid rectifier, this paper describes its principles of operation, with detailed experimental results and discussions on power rating of the required Boost converters as related to the desired total harmonic current distortion. It is demonstrated that only a fraction of the output power is processed through the Boost converters, making the proposed solution economically viable for very high power installations, with fast pay back of the investment. Moreover, retrofitting to existing installations is also feasible since the parallel path can be easily controlled by integration with the existing de-link. A prototype rated at 6 kW has been implemented in laboratory and fully demonstrated its operation, performance and feasibility to high power applications. © 2005 IEEE.

FTMOntology: An ontology to fill the semantic gap between music, mood, personality, and human physiology

This paper presents a domain ontology, the FeelingTheMusic Ontology - FTMOntology. FTMOntology is designed to represent the complex domain of music and how it relates to other domains like mood, personality and physiology. This includes representing the main concepts and relations of music domain with each of the above-mentioned domains. The concepts and relations between music, mood, personality and physiology. The main contribution of this work is to model and relate these different domains in a consistent ontology. © 2011 Springer-Verlag.

Interface formation of nanostructured heterojunction SnO 2:Eu/GaAs and electronic transport properties

Thin films of tin dioxide (SnO2) are deposited by the sol-gel-dip-coating technique, along with GaAs layers, deposited by the resistive evaporation technique. The as-built heterojunction has potential application in optoelectronic devices, combining the emission from the rare-earth doped transparent oxide (Eu3+-doped SnO2 presents very efficient red emission) with a high mobility semiconductor. The advantage of this structure is the possibility of separation of the rare-earth emission centers from the electron scattering, leading to a strongly indicated combination for electroluminescence. Electrical characterization of the heterojunction SnO2:Eu/GaAs shows a significant conductivity increase when compared to the conductivity of the individual films, and the monochromatic light irradiation (266 nm) at low temperature of the heterojunction GaAs/SnO2:Eu leads to intense conductivity increase. Scanning electron microscopy (SEM) of the heterojunction cross section shows high adherence and good morphological quality of the interfaces substrate/SnO2 and SnO2/GaAs, even though the atomic force microscopy (AFM) image of the GaAs surface shows disordered particles, which increases with sample thickness. On the other hand, the good morphology of the SnO2:Eu surface, shown by AFM, assures the good electrical performance of the heterojunction. The observed improvement on the electrical transport properties is probably related to the formation of short conduction channels at the semiconductors interface, which may exhibit two-dimensional electron gas (2DEG) behavior. © 2012 Elsevier B.V. All rights reserved.

Expressando-se: uma interface do ensino de artes visuais com a musicalidade

Pós-graduação em Artes - IA

Bandas militares no Brasil: difusão e organização entre 1808-1889

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)