MAT = Musical Applications of Technology
Page from the McGill University Music Tech program. Looks like their page hasn’t been updated for some time.
MAT = Musical Applications of Technology
Page from the McGill University Music Tech program. Looks like their page hasn’t been updated for some time.
This BBC documentary is quite a nice introduction to Prof. Richard Taylor’s fractal analysis of Jackson Pollock paintings.
It would be fun to host Björk as a guest speaker in my 映像メディア機器 lecture.
Way back in 2005, when Momus (aka Nick Currie, a former zemi guest), was at the peak of his blogging form, he posted an entry titled Fashion Goth that began:
I’m not into this thing, fashion goth.
It’s probably because I’m not into rock and roll, Romanticism, or Christianity.
I’m not into Asia Argento or Vincent Gallo.
I think their way of thinking is inherently right wing.
I mean, Gallo votes Republican. Fucking fashion goth!
The Fashion Goth Rant was a brilliantly scathing and simultaneously brilliantly funny indictment of the modes of late twentieth century American popular culture and music. Wondering how the rant would sound spoken aloud, I ran the (slightly tweaked) text through a speech synthesis program with the most British sounding voice I could easily find. I happened to be listening to an ambient track at the same time, as was my habit while working, in my ATR days, and noticed a good fit. Here’s how the mix sounded:
I vaguely recall Nick saying he was tempted to include the mix on the ‘Friendly’ album he was planning at the time, but that his FG rant wasn’t friendly enough.
My all time favourite quote from the Fashion Goth Rant, and perhaps all time fave from Momus’ Click Opera blog is the line:
The Marquis de Sade was mounting a critique of the Enlightenment.
What’s wrong with the Enlightenment, girls?
Near perfect deadpan rendition of this by the robotic British voice! And I really love the quasi-mathematical:
When I say “I like X much better”, it’s usually because X has a keen sense of the absurd.
And also because I can’t immediately pigeonhole X’s style.
which serves nicely as a definition of what was great about the anti-rock, post-punk aesthetic of the late seventies and early eighties, Nick’s formative years as an artist.
Click on the link to go the entire text (with images) of Momus’ Fashion Goth Rant.
Artist Dan Graham also considers connections between rock and religion in American culture in the collection of his writings published by MIT Press, Rock My Religion, but from a standpoint that is not anti-rockist. Here’s some related documentary video art with the same title:
Rock My Religion from Diogo Tirado on Vimeo.
I recently noticed that the number of citations to my published work had reached 1999. Profs in Canadian universities typically have several hundred to several thousand citations. It seems to be less common for profs in private Japanese universities to have a substantial citation rate. Japanese profs with some well-cited publications are more usually located mainly in the (former) National universities or National research institutes. There are some outstanding researchers to be found in places like Todai.
Researchers care about citation rate because it is a measure of the impact their work is having on the research community. Influential work tends to be cited more often. If you want a quick estimate of the impact a prof has made on knowledge, you can easily check to see if any of the work they have published has been frequently cited. The most commonly used index, for several years now, is Google Scholar. The reach of g.s. is global and it is not restricted to publications written in English, but indexes works in the languages of contemporary scholarly activity (Japanese included). Currently, researchers interested in contributing to world knowledge write some (or all) of their articles in English.
Citation rate has been used for many years in most universities and research institutions to make decisions about hiring and promotions. This is somewhat true in Japan too, more commonly in the research-intensive (former) National universities. Research impact, as measured using citation rate has also been used to rank universities and research institutions. Try searching Google Scholar for Harvard University, M.I.T., or Caltech. Now try Ritsumeikan. Interesting (or maybe not)? You can (roughly) estimate the knowledge output of entire cities this way: try out London, Paris, Tokyo, or Kyoto.
Google Scholar can provide insight into a given researcher’s most influential work. In my case, so far our work on face and facial expression classification has had the largest impact. As it turns out, we were the first to study the use of wavelets, a special kind of mathematical function, for processing facial expressions. This subsequently became a popular approach to analyzing facial expression images. I heard from a researcher inside one of the largest global media and electronics companies that ‘smile shutter’ technology was influenced by this research. Indeed, the work was demonstrated to that company (which I won’t name, but you can probably guess) and the other major consumer electronics companies in the mid-nineties. That said, I don’t think automatic smile detection was a particularly interesting application of the work. I am much more interested in the fundamental scientific aspects of the research.
So, how to do work which will be frequently cited? Simple – do cutting edge original work in an interesting field and publish it in a leading peer-reviewed journal or conference. The skill is in knowing where to cut the edge. That was Peter Medawar‘s idea about the art of doing science.
Another way to have frequently cited papers is to frequently cite them yourself. There’s no rule against it, but excessive self-citation is something like masturbating in public because it’s trivially easy to spot this behaviour on the various citation indices. It would be easy enough to link to a few examples of colleagues who don’t seem to be shy about having a lot of self-stimulated citations.
Citation rate may be important but it is not everything: my favourite works, on musical interfaces, and visual perception of art, are less highly cited than the face classification work, though, when published, some of these works did attract attention by the popular mass media. However, the single most influential thing I have done in my research career – organize a workshop held in Seattle in April, 2001 – barely hits the radar on Google Scholar.
For most people, the best ways to do influential work is to collaborate with others who have shared interests and complementary skills. I rarely work alone and that applies to all the work I’ve mentioned above. It’s much more interesting and productive to work with another person or a small group.
Prof. Sid Fels (UBC) and I will be presenting our course on Advances in New Interfaces for Musical Expression at the upcoming SIGGRAPH Asia conference to be held at the Singapore Expo in November 2012. Looking forward to spending more time in Singapore.
The SIGGRAPH Asia web site is using our photos as the main banner for the courses page, and these are also visible on the preview slideshow playing on the main conference page.
Some excerpts from performances at the Institut français du Japon and nearby Yoshida-jinja as part of this year’s Nuit Blanche event.
This work from friend and colleague Ivan Poupyrev (Disney Research) may be the most interesting application of 3D printing I have seen yet. This simple but brillant idea opens up a huge range of possible experiments.
The above image is not a computer graphic. The Biosphère, designed by Buckminister Fuller and Cambridge Seven Associates and built for Expo 67 in acrylic and steel, burst into flames while it was being renovated in 1976. The fire was triggered during welding work on the frame and the acrylic shell was consumed by flames in about thirty minutes. No one was killed in the accident, though there may have been some injuries. Not surprisingly, the fire has reportedly [1] made it easier to climb the structure, though I have not verified this myself.
Here’s a presentation by Cambridge Seven Associates. A cool feature of the pavilion was that the Expo monorail train route passed through the sphere. I recall feeling excited by the building but being disappointed by the somewhat vague exhibition inside. For example, you couldn’t walk on the simulated lunar landscape – pretty frustrating for a five year old.
[1] http://spacingmontreal.ca/2009/01/31/photo-du-jour-biosphere-burning/ (see comments)