title: Identifying music documents in a collection of images

authors: Bainbridge, David

subjects: computer science

abstract: Digital libraries and search engines are now well-equipped to find images of documents based on queries. Many images of music scores are now available, often mixed up with textual documents and images. For example, using the Google “images” search feature, a  search for “Beethoven” will return a number of scores and manuscripts as well as pictures of the composer. In this paper we report on an investigation into methods to mechanically determine if a particular document is indeed a score, so that the user can specify that only musical scores should be returned. The goal is to find a minimal set of features that can be used as a quick test that will be applied to large numbers of documents.
A variety of filters were considered, and two promising ones (run-length ratios and Hough transform) were evaluated. We found that a method based around run-lengths in vertical scans (RL) that out-performs a comparable algorithm using the Hough transform (HT). On a test set of 1030 images, RL achieved recall and precision of 97.8% and 88.4% respectively while HT achieved 97.8% and 73.5%. In terms of processor time, RL was more than five times as fast as HT.

text: Identifying music documents in a collection of images Digital libraries and search engines are now well-equipped to find images of documents based on queries. Many images of music scores are now available, often mixed up with textual documents and images. For example, using the Google “images” search feature, a  search for “Beethoven” will return a number of scores and manuscripts as well as pictures of the composer. In this paper we report on an investigation into methods to mechanically determine if a particular document is indeed a score, so that the user can specify that only musical scores should be returned. The goal is to find a minimal set of features that can be used as a quick test that will be applied to large numbers of documents.
A variety of filters were considered, and two promising ones (run-length ratios and Hough transform) were evaluated. We found that a method based around run-lengths in vertical scans (RL) that out-performs a comparable algorithm using the Hough transform (HT). On a test set of 1030 images, RL achieved recall and precision of 97.8% and 88.4% respectively while HT achieved 97.8% and 73.5%. In terms of processor time, RL was more than five times as fast as HT.

year: 2006

title: The sonically evoked spaces of post-rock in an era of climate reality

authors: Schott, Gareth R.

abstract: While the transmediality of the early Icelandic literature is palpable in contemporary Icelandic art and music, this chapter highlights how the resultant vast, textured landforms of Iceland are mirrored not only within the praxis of Sigur Rós’ post-rock but also in its sonic sentiments of isolation (paired with exterior threats, instability and change) representative of a culture bounded by water. Today, rapid “ocean acidification” due to increases in carbon dioxide in the atmosphere and the ocean as a result of human actions is predicted to have a profound impact on the surrounding marine ecosystem. Sigur Ros’ ambient, haunting and affective compositions exist in the context of a broader artistic construction of “landscape as nation” in postcolonial Iceland. That is, the inclination for Icelandic cultural production to draw on the distinctive and natural features of the landscape – as a “land of fire and ice [ominous volcanos and stunning glaciers], cascading waterfalls, black sand beaches and vast, volcanic plains”.

text: The sonically evoked spaces of post-rock in an era of climate reality While the transmediality of the early Icelandic literature is palpable in contemporary Icelandic art and music, this chapter highlights how the resultant vast, textured landforms of Iceland are mirrored not only within the praxis of Sigur Rós’ post-rock but also in its sonic sentiments of isolation (paired with exterior threats, instability and change) representative of a culture bounded by water. Today, rapid “ocean acidification” due to increases in carbon dioxide in the atmosphere and the ocean as a result of human actions is predicted to have a profound impact on the surrounding marine ecosystem. Sigur Ros’ ambient, haunting and affective compositions exist in the context of a broader artistic construction of “landscape as nation” in postcolonial Iceland. That is, the inclination for Icelandic cultural production to draw on the distinctive and natural features of the landscape – as a “land of fire and ice [ominous volcanos and stunning glaciers], cascading waterfalls, black sand beaches and vast, volcanic plains”.

year: 2022-12-30

title: Mana Wahine Geographies: Spiritual, Spatial and Embodied Understandings of Papatūānuku

authors: Simmonds, Naomi Beth

subjects: Mana wahine

abstract: This thesis is a theoretical and empirical exploration of Māori women's knowledges and understandings of Papatūānuku in contemporary Aotearoa. The primary focus of this research is on the complexities, connections, and contradictions of Māori women's embodied relationships with the spaces of Papatūānuku - spaces that are simultaneously material, discursive, symbolic, and spiritual. In doing so, I displace the boundaries between coloniser/colonised, self/other, rational/irrational and scientific/spiritual. I demonstrate that Māori women's colonised realities produce multiple, complex and hybrid understandings of Papatūānuku. 

This thesis has three main strands. The first is theoretical. I offer mana wahine (Māori feminist discourses) as another perspective for geography that engages with the complex intersections of colonisation, race and gender. A mana wahine geography framework is a useful lens through which to explore the complexities of Māori women's relationships to space and place. This framework contributes to, and draws together, feminist geographies and Māori and indigenous academic scholarship.

Autobiographical material is woven with joint and individual semi-structured in-depth interviews conducted with nine Māori women in the Waikato region. The second strand, woven into this thesis, is a critical examination of the colonisation of Māori women's spiritual and embodied relationships to Papatūānuku. The invisibility of Māori women's knowledges in dominant conceptualisations of mythology, tikanga and wairua discourses is not a harmless omission rather it contains a political imperative that maintains the hegemony of colonialism and patriarchy. I argue that to understand further Māori women's relationships to space and place an examination of wairua discourses is necessary.

The third strand reconfigures embodied and spatial conceptualisations of Papatūānuku. Māori women's maternal bodies are intimately tied to Papatūānuku in a way that challenges the oppositional distinctions between mind/body and biology/social inscription. Māori women's maternal bodies (and the representation of them in te reo Māori) are constructed by, and in turn, construct Papatūānuku. Furthermore, women's spatial relationship to tūrangawaewae, home space and wider environmental concerns demonstrates the co-constitution of subjectivities, bodies and space/place. 

My hope is that this thesis will add to geographical literature by addressing previously ignored knowledges and that it will contribute to indigenous scholarship by providing a spatial perspective.

text: Mana Wahine Geographies: Spiritual, Spatial and Embodied Understandings of Papatūānuku This thesis is a theoretical and empirical exploration of Māori women's knowledges and understandings of Papatūānuku in contemporary Aotearoa. The primary focus of this research is on the complexities, connections, and contradictions of Māori women's embodied relationships with the spaces of Papatūānuku - spaces that are simultaneously material, discursive, symbolic, and spiritual. In doing so, I displace the boundaries between coloniser/colonised, self/other, rational/irrational and scientific/spiritual. I demonstrate that Māori women's colonised realities produce multiple, complex and hybrid understandings of Papatūānuku. 

This thesis has three main strands. The first is theoretical. I offer mana wahine (Māori feminist discourses) as another perspective for geography that engages with the complex intersections of colonisation, race and gender. A mana wahine geography framework is a useful lens through which to explore the complexities of Māori women's relationships to space and place. This framework contributes to, and draws together, feminist geographies and Māori and indigenous academic scholarship.

Autobiographical material is woven with joint and individual semi-structured in-depth interviews conducted with nine Māori women in the Waikato region. The second strand, woven into this thesis, is a critical examination of the colonisation of Māori women's spiritual and embodied relationships to Papatūānuku. The invisibility of Māori women's knowledges in dominant conceptualisations of mythology, tikanga and wairua discourses is not a harmless omission rather it contains a political imperative that maintains the hegemony of colonialism and patriarchy. I argue that to understand further Māori women's relationships to space and place an examination of wairua discourses is necessary.

The third strand reconfigures embodied and spatial conceptualisations of Papatūānuku. Māori women's maternal bodies are intimately tied to Papatūānuku in a way that challenges the oppositional distinctions between mind/body and biology/social inscription. Māori women's maternal bodies (and the representation of them in te reo Māori) are constructed by, and in turn, construct Papatūānuku. Furthermore, women's spatial relationship to tūrangawaewae, home space and wider environmental concerns demonstrates the co-constitution of subjectivities, bodies and space/place. 

My hope is that this thesis will add to geographical literature by addressing previously ignored knowledges and that it will contribute to indigenous scholarship by providing a spatial perspective.

year: 2009