title: Software agents in music and sound art research/creative work: Current state and a possible direction

authors: Whalley, Ian

subjects: music

abstract: Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed.

text: Software agents in music and sound art research/creative work: Current state and a possible direction Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed.

year: 2009

title: Towards a Theory of 'Appropriate Fandom'

authors: Stewart, Mark

subjects: fan policing

abstract: As fandom and fan practices become more broadly recognized within popular culture, tensions and conflicts arise between different understandings of the 'appropriate' way to perform fandom. Different groups have different unspoken understandings of what constitutes the 'right' and the 'wrong' way to be a fan, to behave as a fan. These understandings may differ within a fandom, between different fandoms, between fans and the media industries, and between fans and the broader public.

This article sketches a framework for how we might understand differing conceptions of 'appropriate' and 'inappropriate' fandom, explores the drivers behind these understandings, and highlights how different participants and stakeholders work to bring fans within their own conceptions of 'appropriate' fandom. The article outlines four modes or directions of 'appropriate' fandom and provides a detailed analysis of how top-down 'appropriate' fandom is evidenced within the television industry, using a case study of the US competition reality television series Survivor.

text: Towards a Theory of 'Appropriate Fandom' As fandom and fan practices become more broadly recognized within popular culture, tensions and conflicts arise between different understandings of the 'appropriate' way to perform fandom. Different groups have different unspoken understandings of what constitutes the 'right' and the 'wrong' way to be a fan, to behave as a fan. These understandings may differ within a fandom, between different fandoms, between fans and the media industries, and between fans and the broader public.

This article sketches a framework for how we might understand differing conceptions of 'appropriate' and 'inappropriate' fandom, explores the drivers behind these understandings, and highlights how different participants and stakeholders work to bring fans within their own conceptions of 'appropriate' fandom. The article outlines four modes or directions of 'appropriate' fandom and provides a detailed analysis of how top-down 'appropriate' fandom is evidenced within the television industry, using a case study of the US competition reality television series Survivor.

year: 2023-03

title: New Zealand history is Maori history: Tikanga as the ethical foundation of historical scholarship In Aotearoa New Zealand

authors: Mahuika, Nepia

subjects: Arts & Humanities

abstract: IT SHOULD COME AS NO SURPRISE TO FIND that New Zealand history is Māori history. In 1987 when Tipene O’Regan stated that the ‘the past belongs to all New Zealanders, but first it is ours’, he was drawing attention to New Zealand history’s foundation in Māori history.1 Thinking about New Zealand history as Māori history does not mean denying the histories of European, Asian and Pasifika immigrants, but draws attention to the notion that ‘settler’ aspirations to claim ‘Aotearoa’ as home occur within a much broader narrative of indigenous occupation and struggle.2 Indeed, how can New Zealand history be the story of ‘here’ when it has ‘othered’ indigenous narratives that speak to the heart of what it is to belong in the land of the long white cloud? Yes, New Zealand history is Māori history – and that presents a problem for tangata whenua self-determination. Likewise, for Pākehā, it is an issue because until New Zealand history recognizes and enables the centrality of Māori history it will always fail to articulate the collective ‘us’ that is so often assumed in the discourse of ‘full and final settlement’.3 In its current form it will never be able to ethically or adequately account for the shaping of a New Zealand identity that finds ‘composure’ in the story of how Pākehā became ‘native’ New Zealanders.4 For Māori, these issues are keenly felt, because while New Zealand history has always been about us, it has predominantly been articulated on the colonizers’ terms. In the ‘discursive constructions’ that are New Zealand histories, the indigenous have regularly been culturally appropriated, dislocated and misrepresented.5 Even when Māori have turned their back on the writing of New Zealand history it has been, and will still be, a history of being or becoming ‘native’. Yes, New Zealand history is Māori history – so why does it feel like the story of Pākehā settlers?

text: New Zealand history is Maori history: Tikanga as the ethical foundation of historical scholarship In Aotearoa New Zealand IT SHOULD COME AS NO SURPRISE TO FIND that New Zealand history is Māori history. In 1987 when Tipene O’Regan stated that the ‘the past belongs to all New Zealanders, but first it is ours’, he was drawing attention to New Zealand history’s foundation in Māori history.1 Thinking about New Zealand history as Māori history does not mean denying the histories of European, Asian and Pasifika immigrants, but draws attention to the notion that ‘settler’ aspirations to claim ‘Aotearoa’ as home occur within a much broader narrative of indigenous occupation and struggle.2 Indeed, how can New Zealand history be the story of ‘here’ when it has ‘othered’ indigenous narratives that speak to the heart of what it is to belong in the land of the long white cloud? Yes, New Zealand history is Māori history – and that presents a problem for tangata whenua self-determination. Likewise, for Pākehā, it is an issue because until New Zealand history recognizes and enables the centrality of Māori history it will always fail to articulate the collective ‘us’ that is so often assumed in the discourse of ‘full and final settlement’.3 In its current form it will never be able to ethically or adequately account for the shaping of a New Zealand identity that finds ‘composure’ in the story of how Pākehā became ‘native’ New Zealanders.4 For Māori, these issues are keenly felt, because while New Zealand history has always been about us, it has predominantly been articulated on the colonizers’ terms. In the ‘discursive constructions’ that are New Zealand histories, the indigenous have regularly been culturally appropriated, dislocated and misrepresented.5 Even when Māori have turned their back on the writing of New Zealand history it has been, and will still be, a history of being or becoming ‘native’. Yes, New Zealand history is Māori history – so why does it feel like the story of Pākehā settlers?

year: 2015