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Object-based audio production dataset "Family" ============================================== This dataset contains an object-based audio scene packaged as a project for the digital audio workstation Reaper http://www.reaper.fm It is available through the DOI 10.17866/rd.salford.9767000 https://doi.org/10.17866/rd.salford.9767000 . To use this dataset, the VISR Production Suite, a set of free and open-source VST3 plugins, must be downloaded and installed from https://s3a-spatialaudio.org/plugins . The content has been created as part of the EPRSC programme grant EP/L000539/1 (EPSRC) "S3A: Future spatial audio for an immersive listening experience at home". When using this work, please cite it as S3A project, “Family - An object-based production dataset", 2019, DOI: 10.17866/rd.salford.9767000 and/or Costantini, G., Franck, A., Pike, C., Francombe, J., Woodcock, J., Hughes, R., Coleman, P., Whitmore, E., and Fazi, F. M., “A Dataset of High-Quality Object-Based Productions,” in AES 147th Convention, New York City, NY, USA, 2019, Engineering Brief. The most current version of the dataset is also available as a public git repository: https://gitlab.eps.surrey.ac.uk/s3a-public/s3a-scene-family . Note: git LFS (Large File Storage) must be installed on the host computer to correctly download the audio content. See https://help.github.com/en/articles/installing-git-large-file-storage for guidance. License ------- This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
Data Types:
  • Video
Touch Crescent Moons is an interactive multimedia artwork with a metaphoric construct to recall broken dreams by touching broken objects. TCM presents centuries old craft with a hidden history and heritage, recontextualised through digital multimedia. Plinths present fragments of Korean ceramics, created using family traditions and broken by their maker as an art of curation. The experiential goal is to immerse visitors in a context to reflect on the labour of creative work, through physical interaction with material craft that is extended by documentary media. Visitors can touch and feel ceramic objects made by centuries-old manual methods. Touching the objects awakens the gallery walls, animating a mélange of images, sound and video of a master craftsman. By prolonged interaction, visitors can explore details of craft process whilst viewing the digital versions of the same physical ceramic objects. The research goal is to generate a gallery experience of interactive discovery. The primary challenge is to create an accessible interaction as an alternative to the traditional art gallery protocol, “do not touch.” To ensure authentic materiality, I conducted fieldwork with a ceramic master during a full production cycle. Primary-source empirical data includes systematic observation, knowledge elicitation, media documentation, and data capture using motion sensors. The elicited data informed my design of gallery audience interactions with digital media, for digital play and exploration around the theme of ceramic materials and making processes. For future analysis of types and levels of interaction, the installation captures anonymous data. Patterns of use may indicate relationship between individual ceramic objects, variations in media content, the number of visitors engaged and the durations, and the level of media discovery. The European Cultural Center—Italy curated TCM for Personal Structures, their Venice Art Biennale Exhibition, 9 May to 23 Nov. 2019. Well over 100,000 visitors are expected.
Data Types:
  • Video
Video documentation of The Ballad of Isosceles performed at the Digital Performance Lab in Media City UK, Salford, as part of an event entitled 'Practices and Processes: a PaR Forum' alongside Dr. Joanne Scott on February 25, 2016.
Data Types:
  • Video
Recording of Concerto for Soprano Cornet
Data Types:
  • Video
Touch Crescent Moons is an interactive multimedia artwork with a metaphoric construct to recall broken dreams by touching broken objects. TCM presents centuries old craft with a hidden history and heritage, recontextualised through digital multimedia. Plinths present fragments of Korean ceramics, created using family traditions and broken by their maker as an art of curation. The experiential goal is to immerse visitors in a context to reflect on the labour of creative work, through physical interaction with material craft that is extended by documentary media. Visitors can touch and feel ceramic objects made by centuries-old manual methods. Touching the objects awakens the gallery walls, animating a mélange of images, sound and video of a master craftsman. By prolonged interaction, visitors can explore details of craft process whilst viewing the digital versions of the same physical ceramic objects. The research goal is to generate a gallery experience of interactive discovery. The primary challenge is to create an accessible interaction as an alternative to the traditional art gallery protocol, “do not touch.” To ensure authentic materiality, I conducted fieldwork with a ceramic master during a full production cycle. Primary-source empirical data includes systematic observation, knowledge elicitation, media documentation, and data capture using motion sensors. The elicited data informed my design of gallery audience interactions with digital media, for digital play and exploration around the theme of ceramic materials and making processes. For future analysis of types and levels of interaction, the installation captures anonymous data. Patterns of use may indicate relationship between individual ceramic objects, variations in media content, the number of visitors engaged and the durations, and the level of media discovery. The European Cultural Center—Italy curated TCM for Personal Structures, their Venice Art Biennale Exhibition, 9 May to 23 Nov. 2019. Well over 100,000 visitors are expected.
Data Types:
  • Video
Live performance of Realms of Asgard
Data Types:
  • Video
Citation: Choi, I. Five Elements of Living Treasure, 44th International Computer Music Conference (ICMC 2018), Opening Ceremony, Daegu Concert House, Daegu, S. Korea, 6 August 2018. Five Elements of Living Treasure is an HCI Composition and Interactive Performance for Immersive Multimedia, presented with multiple large-format screens and surround sound. This research has two focus areas: apply immersive techniques to convey intimacy of performers’ actions in large concert venues; apply emerging digital methods to convey a relationship between processes and materiality of music and ceramics. The interactive content explores the extreme slow art, ceramic making, using a computational lens and performance action to unveil a deep narrative of craft labour and its epic process. An analogy emerges through the intense time-critical performance dynamics between in-situ labour on stage and its subject contents, inviting audiences to reflect through heightened sensorial engagement. This work generated these R&D impacts: 1) benchmarking and reengineering experimental web technology from Google Chrome for a complex dynamic query; 2) benchmarking and engineering maximum retrieval schema for diverse media types - 2D images, video, sounds, and IoT messages. Including IoT messages as a type of media is one of the original and futuristic contributions of this work. 3) deploying an array of audio loudspeakers as IoT devices to pass performance signals to designated speakers for 3D sound imaging; 4) novel interface design and prototype built for real-time multimedia performance that is respectful for human cognitive capacity for a complex task; 5) integrating multimedia information systems with semantic computing strategy for thematically organizing and retrieving diverse media from a database, which is in effect a methodology with a futuristic vision for emerging narrative structure; most importantly 6) heightening digital tangibility through visual and sound processing for representing materiality of ceramic arts through computational and digital signal processing.
Data Types:
  • Video
Voices in Ruins is an interactive installation created by Insook Choi and curated by Leslie Brothers, exhibited at the Krannert Art Museum (spring 2000), University of Illinois at Urbana-Champaign, and the Dorsky Gallery, Manhattan, New York City (summer 2000). This work was a collaboration with the Virtual Environments Group, National Center for Supercomputing Applications, UIUC, the Integrated Systems Laboratory, Beckman Institute for Advanced Sciences and Technology, UIUC, and the Exhibition Working Group organised by Linda Duke and Leslie Brothers, curators at the Krannert Art Museum, UIUC.
Data Types:
  • Video
Example of one of the raw .wav files from the new (December 2018), high-quality audio recording of the HARVARD speech corpus with a female native British English speaker. Harvard list 01.wav - featuring the 10 spoken sentences from the first list of the corpus. Sampling rate: 48 kHz; 32-bit rate; ~12.4 MB in size. For full details of the recording see:* harvard_201218_British_English_recording.txt* harvard.txt...and the .zip folders containing the complete corpus recordings
Data Types:
  • Video
Footage captured from Project Trinity, May 11th, 2018. Adam Hart (Technology) Phil Brissenden (Raph). Project Trinity is a series of audiovisual events organised by Nicole Lane, a Salford University graduate which raises funds for homeless charity, The Booth Centre. Since graduating, Nicole has been selected to have a space at the Launch@SalfordUni incubator, which is supported by Salford Business School, the GC Business Growth Hub and Santander Universities UK.
Data Types:
  • Video