Sounds from the empty city : a practice-led case study in the confluence of music, narrative and emotion

The creative practice: the adaptation of picture book The Empty City (Megarrity/Oxlade, Hachette 2007) into an innovative, interdisciplinary performance for children which combines live performance, music, projected animation and performing objects. The researcher, in the combined roles of writer/composer proposes deliberate experiments in music, narrative and emotion in the various drafts of the adaptation, and tests them in process and performance product. A particular method of composing music for live performance is tested in against the emergent needs of a collaborative, intermedial process. The unpredictable site of research means that this project is both looking to address both pre-determined and emerging points of inquiry. This analysis (directed by audience reception) finds that critical incidents of intermediality between music, narrative, action and emotion translate directly into highlights of the performance.

Real-time image streaming over a low-bandwidth wireless camera network

In this paper we describe the recent development of a low-bandwidth wireless camera sensor network. We propose a simple, yet effective, network architecture which allows multiple cameras to be connected to the network and synchronize their communication schedules. Image compression of greater than 90% is performed at each node running on a local DSP coprocessor, resulting in nodes using 1/8th the energy compared to streaming uncompressed images. We briefly introduce the Fleck wireless node and the DSP/camera sensor, and then outline the network architecture and compression algorithm. The system is able to stream color QVGA images over the network to a base station at up to 2 frames per second. © 2007 IEEE.

Music, media and making : humanising digital media in music education

This paper examines three functions of music technology in the study of music. Firstly, as a tool, secondly, as an instrument and, lastly, as a medium for thinking. As our societies become increasingly embroiled in digital media for representation and communication, our philosophies of music education need to adapt to integrate these developments while maintaining the essence of music. The foundation of music technology in the 1990s is the digital representation of sound. It is this fundamental shift to a new medium with which to represent sound that carries with it the challenge to address digital technology and its multiple effects on music creation and presentation. In this paper I suggest that music institutions should take a broad and integrated approach to the place of music technology in their courses, based on the understanding of digital representation of sound and these three functions it can serve. Educators should reconsider digital technologies such as synthesizers and computers as music instruments and cognitive amplifiers, not simply as efficient tools.

Network jamming : distributed performance using generative music

Generative music systems can be performed by manipulating the values of their algorithmic parameters, and their semi-autonomous nature provides an opportunity for coordinated interaction amongst a network of systems, a practice we call Network Jamming. This paper outlines the characteristics of this networked performance practice and discusses the types of mediated musical relationships and ensemble configurations that can arise. We have developed and tested the jam2jam network jamming software over recent years. We describe this system, draw from our experiences with it, and use it to illustrate some characteristics of Network Jamming.

Poster Abstract : A sensor network for compression and streaming of GPS trajectory data

We present the design and deployment results for PosNet - a large-scale, long-duration sensor network that gathers summary position and status information from mobile nodes. The mobile nodes have a fixed-sized memory buffer to which position data is added at a constant rate, and from which data is downloaded at a non-constant rate. We have developed a novel algorithm that performs online summarization of position data within the buffer, where the algorithm naturally accommodates data input and output rate mismatch, and also provides a delay-tolerant approach to data transport. The algorithm has been extensively tested in a large-scale long-duration cattle monitoring and control application.

ERTP : Energy-efficient and reliable transport protocol for data streaming in wireless sensor networks

Emerging data streaming applications in Wireless Sensor Networks require reliable and energy-efficient Transport Protocols. Our recent Wireless Sensor Network deployment in the Burdekin delta, Australia, for water monitoring [T. Le Dinh, W. Hu, P. Sikka, P. Corke, L. Overs, S. Brosnan, Design and deployment of a remote robust sensor network: experiences from an outdoor water quality monitoring network, in: Second IEEE Workshop on Practical Issues in Building Sensor Network Applications (SenseApp 2007), Dublin, Ireland, 2007] is one such example. This application involves streaming sensed data such as pressure, water flow rate, and salinity periodically from many scattered sensors to the sink node which in turn relays them via an IP network to a remote site for archiving, processing, and presentation. While latency is not a primary concern in this class of application (the sampling rate is usually in terms of minutes or hours), energy-efficiency is. Continuous long-term operation and reliable delivery of the sensed data to the sink are also desirable. This paper proposes ERTP, an Energy-efficient and Reliable Transport Protocol for Wireless Sensor Networks. ERTP is designed for data streaming applications, in which sensor readings are transmitted from one or more sensor sources to a base station (or sink). ERTP uses a statistical reliability metric which ensures the number of data packets delivered to the sink exceeds the defined threshold. Our extensive discrete event simulations and experimental evaluations show that ERTP is significantly more energyefficient than current approaches and can reduce energy consumption by more than 45% when compared to current approaches. Consequently, sensor nodes are more energy-efficient and the lifespan of the unattended WSN is increased.

Interrogating statistical models of music perception

We have developed a new experimental method for interrogating statistical theories of music perception by implementing these theories as generative music algorithms. We call this method Generation in Context. This method differs from most experimental techniques in music perception in that it incorporates aesthetic judgments. Generation In Context is designed to measure percepts for which the musical context is suspected to play an important role. In particular the method is suitable for the study of perceptual parameters which are temporally dynamic. We outline a use of this approach to investigate David Temperley’s (2007) probabilistic melody model, and provide some provisional insights as to what is revealed about the model. We suggest that Temperley’s model could be improved by dynamically modulating the probability distributions according to the changing musical context.

Capital music : personal expression with a public display of song choice

Using information and communication technology devices in public urban places can help to create a personalised space. Looking at a mobile phone screen or listening to music on an MP3 player is a common practice avoiding direct contact with others e.g. whilst using public transport. However, such devices can also be utilised to explore how to build new meaningful connections with the urban space and the collocated people within. We present findings of work-in-progress on Capital Music, a mobile application enabling urban dwellers to listen to music songs as usual, but also allowing them to announce song titles and discover songs currently being listened to by other people in the vicinity. We study the ways that this tool can change or even enhance people’s experience of public urban spaces. Our first user study also found changes in choosing different songs. Anonymous social interactions based on users’ music selection are implemented in the first iteration of the prototype that we studied.

Designing ePortfolios for music postgraduate study : a practice-led inquiry

In this research I have examined how ePortfolios can be designed for Music postgraduate study through a practice led research enquiry. This process involved designing two Web 2.0 ePortfolio systems for a group of five post graduate music research students. The design process revolved around the application of an iterative methodology called Software Develop as Research (SoDaR) that seeks to simultaneously develop design and pedagogy. The approach to designing these ePortfolio systems applied four theoretical protocols to examine the use of digitised artefacts in ePortfolio systems to enable a dynamic and inclusive dialogue around representations of the students work. The research and design process involved an analysis of existing software and literature with a focus upon identifying the affordances of available Web 2.0 software and the applications of these ideas within 21st Century life. The five post graduate music students each posed different needs in relation to the management of digitised artefacts and the communication of their work amongst peers, supervisors and public display. An ePortfolio was developed for each of them that was flexible enough to address their needs within the university setting. However in this first SoDaR iteration data gathering phase I identified aspects of the university context that presented a negative case that impacted upon the design and usage of the ePortfolios and prevented uptake. Whilst the portfolio itself functioned effectively, the university policies and technical requirements prevented serious use. The negative case analysis of the case study found revealed that Access and Control and Implementation, Technical and Policy Constraints protocols where limiting user uptake. From the semistructured interviews carried out as part of this study participant feedback revealed that whilst the participants did not use the ePortfolio system I designed, each student was employing Web 2.0 social networking and storage processes in their lives and research. In the subsequent iterations I then designed a more ‘ideal’ system that could be applied outside of the University context that draws upon the employment of these resources. In conclusion I suggest recommendations about ePortfolio design that considers what the applications of the theoretical protocols reveal about creative arts settings. The transferability of these recommendations are of course dependent upon the reapplication of the theoretical protocols in a new context. To address the mobility of ePortfolio design between Institutions and wider settings I have also designed a prototype for a business card sized USB portal for the artists’ ePortfolio. This research project is not a static one; it stands as an evolving design for a Web 2.0 ePortfolio that seeks to refer to users needs, institutional and professional contexts and the development of software that can be incorporated within the design. What it potentially provides to creative artist is an opportunity to have a dialogue about art with artefacts of the artist products and processes in that discussion.