A wide variety of media can be used in learning, including distance learning, such as print, lectures, conference sections, tutors, pictures, video, sound, and computers. Any one instance of distance learning will make choices among these media, perhaps using several.

Multimedia in Learning

Digital watermarking is a key ingredient to copyright protection. It provides a solution to illegal copying of digital material and has many other useful applications such as broadcast monitoring and the recording of electronic transactions. Now, for the first time, there is a book that focuses exclusively on this exciting technology. Digital Watermarking covers the crucial research findings in the field: it explains the principles underlying digital watermarking technologies, describes the requirements that have given rise to them, and discusses the diverse ends to which these technologies are being applied. As a result, additional groundwork is laid for future developments in this field, helping the reader understand and anticipate new approaches and applications.

Digital Watermarking

Musical genres are categorical labels created by humans to characterize pieces of music. A musical genre is characterized by the common characteristics shared by its members. These characteristics typically are related to the instrumentation, rhythmic structure, and harmonic content of the music. Genre hierarchies are commonly used to structure the large collections of music available on the Web. Currently musical genre annotation is performed manually. Automatic musical genre classification can assist or replace the human user in this process and would be a valuable addition to music information retrieval systems. In addition, automatic musical genre classification provides a framework for developing and evaluating features for any type of content-based analysis of musical signals. In this paper, the automatic classification of audio signals into an hierarchy of musical genres is explored. More specifically, three feature sets for representing timbral texture, rhythmic content and pitch content are proposed. The performance and relative importance of the proposed features is investigated by training statistical pattern recognition classifiers using real-world audio collections. Both whole file and real-time frame-based classification schemes are described. Using the proposed feature sets, classification of 61% for ten musical genres is achieved. This result is comparable to results reported for human musical genre classification.

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Musical genre classification of audio signals

We develop stochastic variational inference, a scalable algorithm for approximating posterior distributions. We develop this technique for a large class of probabilistic models and we demonstrate it with two probabilistic topic models, latent Dirichlet allocation and the hierarchical Dirichlet process topic model. Using stochastic variational inference, we analyze several large collections of documents: 300K articles from Nature, 1.8M articles from The New York Times, and 3.8M articles from Wikipedia. Stochastic inference can easily handle data sets of this size and outperforms traditional variational inference, which can only handle a smaller subset. (We also show that the Bayesian nonparametric topic model outperforms its parametric counterpart.) Stochastic variational inference lets us apply complex Bayesian models to massive data sets.

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Stochastic variational inference

Let's read! We will often find out this sentence everywhere. When still being a kid, mom used to order us to always read, so did the teacher. Some books are fully read in a week and we need the obligation to support reading. What about now? Do you still love reading? Is reading only for you who have obligation? Absolutely not! We here offer you a new book enPDFd the perception of the visual world to read.

The Perception of the Visual World. By James J. Gibson. U.S.A.: Houghton Mifflin Company, 1950 (George Allen & Unwin, Ltd., London). Price 35s.

Existing audio tools handle the increasing amount of computer audio data inadequately. The typical tape-recorder paradigm for audio interfaces is inflexible and time consuming, especially for large data sets. On the other hand, completely automatic audio analysis and annotation is impossible using current techniques. Alternative solutions are semi-automatic user interfaces that let users interact with sound in flexible ways based on content. This approach offers significant advantages over manual browsing, annotation and retrieval. Furthermore, it can be implemented using existing techniques for audio content analysis in restricted domains. This paper describes MARSYAS, a framework for experimenting, evaluating and integrating such techniques. As a test for the architecture, some recently proposed techniques have been implemented and tested. In addition, a new method for temporal segmentation based on audio texture is described. This method is combined with audio analysis techniques and used for hierarchical browsing, classification and annotation of audio files.

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MARSYAS: a framework for audio analysis

This paper will present observations on the design, artistic, and human factors of creating digital music controllers. Specific projects will be presented, and a set of design principles will be supported from those examples.

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Principles for designing computer music controllers

Virtual environments such as games and animated and "real" movies require realistic sound effects that can be integrated by computer synthesis The book emphasizes physical modeling of sound and focuses on real-world interactive sound effects It is intended for game developers, graphics programmers, developers of virtual reality systems and training simulators, and others who want to learn about computational sound It is written at an introductory level with mathematical foundations provided in appendices Links to code examples and sound files can be found on the Downloads/Updates tab

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Real Sound Synthesis for Interactive Applications

Princeton's scalable display wall project explores building and using a large-format display with commodity components. The prototype system has been operational since March 1998. Our goal is to construct a collaborative space that fully exploits a large-format display system with immersive sound and natural user interfaces. Our prototype system is built with low-cost commodity components: a cluster of PCs, PC graphics accelerators, consumer video and sound equipment, and portable presentation projectors. This approach has the advantages of low cost and of tracking technology well, as high-volume commodity components typically have better price-performance ratios and improve at faster rates than special-purpose hardware. We report our early experiences in building and using the display wall system. In particular, we describe our approach to research challenges in several specific research areas, including seamless tiling, parallel rendering, parallel data visualization, parallel MPEG decoding, layered multiresolution video input, multichannel immersive sound, user interfaces, application tools, and content creation.

Perry R. Cook

Papers

Musical genre classification of audio signals

MARSYAS: a framework for audio analysis

Principles for designing computer music controllers

Real Sound Synthesis for Interactive Applications

Building and using a scalable display wall system