The double dance of agency: a socio-theoretic account of how machines and humans interact

The nature of the relationship between information technology (IT) and organizations has been a long-standing debate in the Information Systems literature. Does IT shape organizations, or do people in organisations control how IT is used? To formulate the question a little differently: does agency (the capacity to make a difference) lie predominantly with machines (computer systems) or humans (organisational actors)? Many proposals for a middle way between the extremes of technological and social determinism have been put advanced; in recent years researchers oriented towards social theories have focused on structuration theory and (lately) actor network theory. These two theories, however, adopt different and incompatible views of agency. Thus, structuration theory sees agency as exclusively a property of humans, whereas the principle of general symmetry in actor network theory implies that machines may also be agents. Drawing on critiques of both structuration theory and actor network theory, this paper develops a theoretical account of the interaction between human and machine agency: the double dance of agency. The account seeks to contribute to theorisation of the relationship between technology and organisation by recognizing both the different character of human and machine agency, and the emergent properties of their interplay.

Concrete column recognition in images and videos

The automated detection of structural elements (e.g., columns and beams) from visual data can be used to facilitate many construction and maintenance applications. The research in this area is under initial investigation. The existing methods solely rely on color and texture information, which makes them unable to identify each structural element if these elements connect each other and are made of the same material. The paper presents a novel method of automated concrete column detection from visual data. The method overcomes the limitation by combining columns’ boundary information with their color and texture cues. It starts from recognizing long vertical lines in an image/video frame through edge detection and Hough transform. The bounding rectangle for each pair of lines is then constructed. When the rectangle resembles the shape of a column and the color and texture contained in the pair of lines are matched with one of the concrete samples in knowledge base, a concrete column surface is assumed to be located. This way, one concrete column in images/videos is detected. The method was tested using real images/videos. The results are compared with the manual detection ones to indicate the method’s validity.

Synchronization of user-generated videos through trajectory correspondence and a refinement procedure

Temporal synchronization of multiple video recordings of the same dynamic event is a critical task in many computer vision applications e.g. novel view synthesis and 3D reconstruction. Typically this information is implied through the time-stamp information embedded in the video streams. User-generated videos shot using consumer grade equipment do not contain this information; hence, there is a need to temporally synchronize signals using the visual information itself. Previous work in this area has either assumed good quality data with relatively simple dynamic content or the availability of precise camera geometry. Our first contribution is a synchronization technique which tries to establish correspondence between feature trajectories across views in a novel way, and specifically targets the kind of complex content found in consumer generated sports recordings, without assuming precise knowledge of fundamental matrices or homographies. We evaluate performance using a number of real video recordings and show that our method is able to synchronize to within 1 sec, which is significantly better than previous approaches. Our second contribution is a robust and unsupervised view-invariant activity recognition descriptor that exploits recurrence plot theory on spatial tiles. The descriptor is individually shown to better characterize the activities from different views under occlusions than state-of-the-art approaches. We combine this descriptor with our proposed synchronization method and show that it can further refine the synchronization index. © 2013 ACM.

from Webern to dance to Burton.

Commissioned by the Concorde Ensemble. Paul Roe gave the premiere performance at the RHA Gallery, Dublin, 23rd February 2014. The piece is informed by the choreography of Jiri Kylian, in particular two three minute sections of his work No More Play initially choreographed to a score by Webern (his Five Movements for String Quartet) hence the title.

Dance of the waves

An Impressionistic piece. Dance of the Waves uses and expansive structure (A, A2, B, A2, Solos, D, C2, D). The piece is an atmospheric soundscape which evokes imagery of the ocean.

Full moon dance

A Jazz Celtic World Music Fusion Jig. A jig time melody placed in a setting where the rhythm section plays in 4/4 and 6/4 time simultaneously over contemporary modal jazz voicings

Dance Based Music on Piano

According to the Merriam-Webster dictionary, the definition of dance is “to move your body in a way that goes with the rhythm and style of music that is being played.” As you can see in that definition, these two important ways of expressing human feelings, music and dance, are very closely related. Countless pieces of music have been composed for dance, and are still being composed. It is impossible and useless to count how many kinds of dances exist in the world. Different kinds of dances have been developed according to their purposes, cultures, rhythm and tempo. For this reason, the field of dance-related music necessarily expanded significantly. A great deal of dance music has been written for orchestras, small ensembles, or vocals. Along with them, keyboard music also has a huge repertoire of dance pieces. For example, one of the most famous form in Baroque period was suites. Suites usually include 5 or more dance movements in the same key, such as Minuet, Allemende, Courant, Sarabande, Gigue, Bourree, Gavotte, Passepied, and so on. Nationalistic dances like waltz, polonaise, mazurka, and tarantella, were wonderful sources for composers like Chopin, Brahms, and Tchaikovsky. Dance-based movements were used for Mozart and Beethoven’s piano sonatas, chamber works and concertos. Composers have routinely traveled around the world to collect folk and dance tunes from places they visit. For example, Bartok and Balakirev's pieces that are based on folk dances from where they had traveled became famous and are still thought to be valuable for studying and performing today. For these reasons, it is clear that dance-related music is a very important part of keyboard music. In three dissertation recitals, to expand my performing repertoire and to understand dance-related music deeper, I tried to explore many different styles of dances, and compare interpretations between composers. This program note contains information about each pieces’ composers, related dances, and backgrounds. I hope this will be helpful for a future performer who’s seeking an effective dance based keyboard piece.

Typical reggaeton in Morocco: forms of female political affirmation throught dance

Through an ethnographic account, this text analyses how social dance may become a discourse involving the cultural affirmation of a subordinate group. It describes how a group of girls faced with a complex of outlooks that construed them as Moroccan, Muslim or unattractive —or as objects of education and intervention— responded by affirming their own culture with an unanticipated corporal discourse. The way in which looking construes bodies is explored through metaphors: a hand that touches, a chisel that sculpts, a whip that lashes and a cobweb that controls and traps bodies. Owing to this political dimension of dance, workshops can also be an oppressive and silencing tool; to prevent this, the article concludes with a series of recommendations to implement dance in social intervention processes.

Dance in Handel's London Operas

In considering Handel's imaginative response to a range of contemporary theatrical dance styles and practices, this study demonstrates that dance was far from peripheral to the genre of opera seria. The importance of London as a leading centre for dance innovation, and the interaction between various theatrical genres regarding the use of dance, is also established.

Comparison of Image Transform-Based Features for Visual Speech Recognition in Clean and Corrupted Videos

We present results of a study into the performance of a variety of different image transform-based feature types for speaker-independent visual speech recognition of isolated digits. This includes the first reported use of features extracted using a discrete curvelet transform. The study will show a comparison of some methods for selecting features of each feature type and show the relative benefits of both static and dynamic visual features. The performance of the features will be tested on both clean video data and also video data corrupted in a variety of ways to assess each feature type's robustness to potential real-world conditions. One of the test conditions involves a novel form of video corruption we call jitter which simulates camera and/or head movement during recording.