Simulating musical rotation, contour and notes: perception of (e)motion in nonmusicians

The meaning of music may rely upon perceived motion (Zuckerkandl, 1971). Recently, the framework of embodied music cognition, which draws on the discovery of mirror neurons and the theory of embodied simulation (Gallese, 2007), makes the claim that our understanding of human-made sounds draws upon our experience of making the same or similar movements and sounds, which involves imitation of the source of visual and auditory information (Cox, 2011). This paper investigates perceived motion and embodied music experience in non-musicians across three musical dimensions: melodic contour (ascending, descending and flat), melodic complexity (low, medium, high) and, following from Hanson and Huron (2019), note pattern (binary, ternary, quaternary). As part of an initiative to adhere to a high aesthetic standard, 27 ten-second piano tracks were created in collaboration with a film composer. In the computer task, participants rated stimuli on a Visual Analogue Scale (VAS) ranging from 0 to 100 for perceived Direction, Rotation, Movement, and Emotional and Physical Involvement. Results showed that: 1) Quaternary conditions were perceived as having significantly more Rotation, Movement and being more Physically Involving than Ternary and Binary, 2) High Complexity conditions were perceived as evoking significantly more Movement and being more Emotionally Involving than Low and Medium, and 3) Ascending conditions were perceived as having significantly more Movement, Rotation and being more Emotionally and Physically Involving than Descending and Flat. Results indicate that greater embodiment evoked by musical ascent may be modulated by greater perceived exertion or ‘effort’ to reach higher pitches, in line with the mimetic subvocalization hypothesis (Cox, 2017). Future studies are needed to investigate whether perceived rotation is driven by note pattern (i.e. metre) or note density and pitch., and how musical contour and rotation impact sensorimotor activation in the brain.

Arch play: applications of narrative theory in video game aesthetics

As of 2015, the incumbent international eSports paradigm centers on genre-defining systems and games that were not initially designed for mass spectatorship. As a result, would-be fans are often confronted with a high-friction onboarding process verging on hostility. With global viewership estimated to reach over 238m unique annual viewers by 2017 (Superdata, 2015), leading developers have adapted the designs of new products to prioritize audiences as well as players. The most successful among them have capitalized off of the resulting spectator virality. Lacking is a high-level framework for evaluating games based on aesthetic composition and their resulting viability as a spectator experience. This paper offers critical evaluations of dominant and lesser-known gaming spectator experiences via in-depth analyses of their constituent design affordances relating to a combined, interdisciplinary aesthetic framework centered heavily around narrative-bias. It is asserted throughout that any viewing experience with certain aesthetic factors configured to prioritize a clear and approachable classical narrative design, when evaluated aesthetically, can be considered rich in quality. Conforming to this aesthetic standard also permits games the potential to enjoy mass popularity. This paper is intended to serve as a foundation for an interdisciplinary framework of best practices in video game design.

Arch play: applications of narrative theory in video game aesthetics

As of 2015, the incumbent international eSports paradigm centers on genre-defining systems and games that were not initially designed for mass spectatorship. As a result, would-be fans are often confronted with a high-friction onboarding process verging on hostility. With global viewership estimated to reach over 238m unique annual viewers by 2017 (Superdata, 2015), leading developers have adapted the designs of new products to prioritize audiences as well as players. The most successful among them have capitalized off of the resulting spectator virality. Lacking is a high-level framework for evaluating games based on aesthetic composition and their resulting viability as a spectator experience. This paper offers critical evaluations of dominant and lesser-known gaming spectator experiences via in-depth analyses of their constituent design affordances relating to a combined, interdisciplinary aesthetic framework centered heavily around narrative-bias. It is asserted throughout that any viewing experience with certain aesthetic factors configured to prioritize a clear and approachable classical narrative design, when evaluated aesthetically, can be considered rich in quality. Conforming to this aesthetic standard also permits games the potential to enjoy mass popularity. This paper is intended to serve as a foundation for an interdisciplinary framework of best practices in video game design.

The design of interactive installation for environmental education on climate change in Antarctic based on open-source programming language

With the advancement of modern technology and the growing development of new media technology, the computer technology programming language has been increasingly applied to the world of art. Meanwhile, the scientific technology, design art and the growing aesthetic standard have promoted the development of the art of new media interactive installation. With the accelerated global warming and sea level rise, the coastal areas are confronting a great risk. On a case study of the “The vanishing Antarctic continent”, the paper discussed the creation of interactive installation art design with social significance through the computer programming language, calling for the environmental protection while stimulating the human-computer interaction and resonance.

Scratch Detection in Cars Using Mask Region Convolution Neural Networks

This task depends on quality control in the vehicle business. It centers on the imprint and harms in new cars before producing to the client. This project presents the development of a system of recognition of defects and cosmetic imperfections in cars. This application gives a quick and strong robotized results. It likewise gives framework acknowledgement of scratches. In the as of now existing framework, the way toward distinguishing the scratches in car is finished by our mankind. Using the input frames, sections of the vehicles are entered for training, the last Fully-connected layer is altered so that it only has two exit categories: Sections with scratches and without scratches. This project is mainly developed to minimize manpower and maximize automation on quality department in automobile industry. It is a computer vision project. It includes task such as acquiring, processing, analyzing and understanding digital images and extraction of high dimensional data. An image processing algorithm is used in order to manipulate an image to achieve an aesthetic standard and to provide a translation between the human visual system and digital imaging services.

Identity, Consumption and Ontological Security: Trying to Live on the Edge of the Aesthetic Norm

The body is an important element in identity management, and its transformations can, to a greater or lesser degree, be related to a reflexive project. Such identity projects are closely related to marketing stimuli, either aligning with or resisting its contents and values to keep a stable and secure identity narrative, building what Giddens (1984; 1991) calls ontological security. The aim of this study is to understand how body-related narratives and practices interact with market stimuli to produce a coherent and ontologically secure "self" that is capable of deviating from the dominant aesthetic standard. Discourse analysis of data indicated four instances that describe how such interaction happens: “struggles with self-demands”, “extreme disciplinary routines”, “self-confidence building”, and “partitions of the body”. Markets provide discursive objects that individuals use to mitigate their problems with deviating from the aesthetic norm, forming coherent narratives and ensuring their ontological security.

An Analysis On The Sincization of Apsaras Art In Dunhuang Mogao Grottoes

Buddhist art is an important way to illustrate Buddhist thoughts. Among Buddhist art, Apsaras Art is an extremely significant part of it. Simultaneously, it is the essence of Dunhuang Mogao Grottoes art as well as. As it known to all, Apsaras Art, as an artistic expression of religious thoughts, its artistic style is bound to be influenced by different social consciousness in different times with little doubts. At the same time, this influence will inevitably let creators make performance style of Apsaras increasingly close to the mundane life, which is more and more in line with the aesthetic standard of them as a consequence. To go a step further, it is essential to learn the origin of Apsaras. This paper will analyze the artistic characteristics of Apsaras in Mogao Grottoes from three stages of budding period, exploring period and mature period according to the context of the chronicle to generalize about the sinicization of Apsaras Art.

A arte contemporânea e a falta de interesse

RESUMO: Atualmente a arte está chegando a um determinado ponto que sua complexidade de interpretação, ou confunde completamente ou exclui os observadores simplistas do seu circuito. Geralmente esses espectadores ainda mantêm um padrão estético forte, ligado a narrativa mestra da representação mimética, talvez por conta disso sintam dificuldades em apreciar uma obra de arte conceitual. Se não bastasse a limitação de grande parte do público, a arte contemporânea ainda precisa lidar consigo mesma, com questões financeiras e de mercado além das novas possibilidades de espaços para exposição. Esse texto discutirá sobre os diferentes segmentos da arte que sofreram recentemente pelo desinteresse evidente, o objetivo é desvendar se isso é apenas mais um reflexo de nossa sociedade, ou se acontece propositalmente, indicando um novo caminho para as artes. PALAVRAS-CHAVE: Arte, desinteresse, sociedade. _________________________________ ABSTRACT: Currently the art is coming to a point that the complexity of interpretation, or confused or completely excludes simplistic observers of your circuit. Generally these viewers still maintain a strong aesthetic standard, on the master narrative of mimetic representation, perhaps because of that feel difficult to appreciate a work of conceptual art. Not only that the limitation of much of the public, contemporary art has yet to deal with herself, with financial issues and market as well as new possibilities for exhibition spaces. This paper discusses about the different segments of art that recently suffered by the apparent lack of interest, the goal is to discover if this is just another reflection of our society, or if it happens on purpose, indicating a new path for the arts. KEYWORDS: Art, disinterest, society.