Pure Data (PD)

In the context of networked music performance (NMP), temporal synchronization has seen widespread adoption, notably through protocols such as Ableton Link [1]. However, a significant gap remains in the domain of harmonic synchronization, where no standard protocol exists for distributing tonal context across multiple devices and applications. To address this need, we introduce KeyLink, an open-source, lightweight framework designed to facilitate the sharing of tonal information such as key signatures, root notes, modes, and chord types, within a local area network (LAN) or wide area network (WAN) environment. KeyLink prioritizes real-time interoperability among both human performers and algorithmic musical agents. Its modular and protocol-agnostic design enables each connected node to selectively interpret and respond to harmonic data based on its own contextual requirements. We present a working prototype consisting of Max and Max for Live patches, a JavaScript / Web-based client, a Web-Socket relay server, and developer resources. The protocol features a shared JSON schema and supports both UDP multicast and WebSocket transport mechanisms. We also describe a standardized data model for harmonic information using 12 tone equal temperament, based on community-curated resources. By extending the spirit of collaboration inherent in the Max/Pd ecosystem into the harmonic domain, KeyLink offers a robust foundation for synchronized musical creativity across networked platforms.

In this work, I discuss the use of Pure Data as the main tool for the development of paradigmatic changes in Peruvian musical education, through the implementation of the Laboratorio de Música Electroacústica y Arte Sonoro of the Universidad Nacional de Música in Lima - Perú. This analysis is made taking under consideration the particularities present in the development of the study of technology-based music in the country and the historical shortcoming that have marked that development. This work complements my previous research regarding the relevance of specific social narratives present through the history of the nation in regards to technology and musical innovation. In that sense, it presents a historical that seeks to revert the course of a musical learning history that excludes technology based musical practices associated with Pure Data, from becoming part of the official processes for musical creation in the country.

in this work, I discuss the use of Pure Data as the main tool for the development of paradigmatic changes in Peruvian musical education, through the implementation of the Laboratorio de Música Electroacústica y Arte Sonoro of the Universidad Nacional de Música in Lima - Perú. This analysis is made taking under consideration the particularities present in the development of the study of technologybased music in the country and the historical shortcoming that have marked that development. This work complements my previous research regarding the relevance of specific social narratives present through the history of the nation in regards to technology and musical innovation. In that sense, it presents a historical that seeks to revert the course of a musical learning history that excludes technology based musical practices associated with Pure Data, from becoming part of the official processes for musical creation in the country.

Virtual Ensemble project. This project aims at developing the ability to simulate the response of a human performing ensemble to more-or-less standard conducting gestures. Over the past year we have added several new components to the system. The two areas where primary additions have been made are in tracking/recognition and in sound synthesis. The system now uses a wireless MotionStar tracker, and a distributed communication model. We are also using a hybrid beat detection and classification system incorporating some neural net processing for both beat prediction and classification. The sound synthesis component uses dynamic control of an analysis-based additive synthesis model.

This paper questions whether it is possible to integrate free (or controlled) improvisation with electroacoustic materials with pre-composed soundfiles in a 'live' performance. It contributes to the on-going debate about the role of the performer and the advantages and ...

O Pure Data (Pd) é um linguagem visual de programação em tempo real de código aberto para desenvolvimento multimídia, processamento e geração de som, o que o torna uma excelente ferramenta para compositores e designers de som para a criação de trilha e efeitos sonoros para games por conta das vantagens que apresenta: economia de armazenamento digital por reduzir ou eliminar a necessidade de assets de áudio, geração de efeitos sonoros por síntese sonora, composição musical em tempo real, criação de ambiências randômicas, manipulação de arquivos de áudio, espacialização, gratuidade e comunidade ativa e colaborativa. Com a possibilidade de integração do Pd com o Unity pela biblioteca LibPdIntegration, as vantagens de utilização do Pd se ampliam e se tornam mais acessíveis e funcionais. O presente artigo apresenta uma pesquisa descritiva de revisão da bibliografia apresentada para compreender e descrever quais são as vantagens de utilização do Pd na área de áudio para games.

Música caótica é um gênero de música eletrônica composta com o auxílio de modelos computacionais de comportamento imprevisível, como os conhecidos mapas logísticos. Utilizando um modelo dinâmico programado em Pure Data (Pd), o presente artigo apresenta o uso desta equação polinomial não linear para a composição musical computacional de música caótica com vistas à sua utilização em games com temática de ficção científica ou com trilha sonora experimental. Os resultados são apresentados, explicados e discutidos em termos de possíveis desenvolvimentos futuros.

The Digital Baton is a new electronic instrument which has been designed and built for the performance of computer music. The principle motivation for its design was to create a gestural controller which replicated as closely as possible the feel of a traditional conducting baton while retaining the maximum number of intuitive control parameters for the user. The Digital Baton contains several sensor systems which capture many of the modalities of hand motion and gesture for their application toward both discrete controls and continuous, expressive gestures. Current software for the Digital Baton makes use of its sensing functions in real-time music performance systems.

The Digital Baton is a new electronic instrument which has been designed and built for the performance of computer music. The principle motivation for its design was to create a gestural controller which replicated as closely as possible the feel of a traditional conducting baton while retaining the maximum number of intuitive control parameters for the user. The Digital Baton contains several sensor systems which capture many of the modalities of hand motion and gesture for their application toward both discrete controls and continuous, expressive gestures. Current software for the Digital Baton makes use of its sensing functions in real-time music performance systems.

Natural User Interface [NUI] is the medium of interaction between a user and a machine through natural entity (Air) in the form of user's gesture, recognized by the machine using gesture recognition. Gesture Recognition is the detection of human's bodily motion and behavior. Encroachments have been made using advanced cameras, hardware devices like Kinect. Kinect is a motion-sensing device developed by Microsoft for gaming purpose, which now used in the paper to virtualize the input. The paper talks in detail about controlling Domestic Electrical appliances by simple human gestures using Microsoft Kinect. There are systems available to sense human motions for controlling electrical appliances but none of them provide user defined commands and gesture recognition techniques. This system is unique in finding and understanding human gestures.

The article summarizes and systematizes knowledge concerning natural user interfaces. The most important facts related to this problem have been supplemented with examples of possible practical use of such type of human-computer communication. Moreover, the article contains descriptions of three most popular controllers: Microsoft Kinect, Nintendo Wii and Sony Move.

A large variety of musical instruments, either acoustical or digital, are based on a keyboard scheme. Keyboard instruments can produce sounds through acoustic means but they are increasingly used to control digital sound synthesis processes with nowadays music. Interestingly, with all the different possibilities of sonic outcomes, the input remains a musical gesture. In this paper we present the conceptualization of a Natural User Interface (NUI), named the Intangible Musical Instrument (IMI), aiming to support both learning of expert musical gestures and performing music as a unified user experience. The IMI is designed to recognize metaphors of pianistic gestures, focusing on subtle uses of fingers and upper-body. Based on a typology of musical gestures, a gesture vocabulary has been created, hierarchized from basic to complex. These piano-like gestures are finally recognized and transformed into sounds.

Early studies have shown that the localization of a sound source in the vertical plane can be accomplished with only a single ear, thus assumed the localization mechanism to be based on monaural cues. Such cues are induced by the pinna and consist of notches and peaks in the perceived spectrum which vary systematically with the elevation of sound sources. These processes pose several problems to the auditory system like identifying and extracting spectral cues on a neural level, as well as, distinguishing pinna induced peaks and notches from features already present in the source spectrum. Interestingly, at the stage of elevation estimate binaural information from both ears is already available and it seems plausible that the auditory system takes advantage of this information. Especially, since such a binaural integration can improve the localization performance dramatically as we demonstrate in the current study. For that, we first introduce a computational model architecture that takes advantage of binaural signal integration to localize sound sources in the median plane. Model performance is tested under different conditions which reveal that localization of monaural, as well as binaural inputs is best when the model is trained with binaural inputs. Furthermore, modeling results lead to the hypothesis that sound type specific prior information is taken into account to further improve localization quality. This deduced hypothesis about vertical sound source localization is confirmed in a behavioral experiment. Based on these results, we propose that elevation estimation of sound sources is facilitated by an early binaural signal integration and can incorporate sound type specific prior information for higher accuracy.

While brass pedagogy has traditionally focussed on sound output, the importance of bodily posture to both short-term performance and longer-term injury prevention is now widely recognized. Postrum II is a Linux-based system for trumpet players that performs real-time analysis of posture and uses a combination of visual and haptic feedback to try to correct any posture issues that are found. Issues underpinning the design of the system are discussed, the transition from Mac OS X to Ubuntu detailed, and some possibilities for future work suggested.

With the development of deep neural networks, automatic music composition has made great progress. Although emotional music can evoke listeners' different auditory perceptions, only few research studies have focused on generating emotional music. This paper presents EmotionBox -a music-element-driven emotional music generator based on music psychology that is capable of composing music given a specific emotion, while this model does not require a music dataset labeled with emotions as previous methods. In this work, pitch histogram and note density are extracted as features that represent mode and tempo, respectively, to control music emotions. The specific emotions are mapped from these features through Russell's psychology model. The subjective listening tests show that the Emotionbox has a competitive performance in generating different emotional music and significantly better performance in generating music with low arousal emotions, especially peaceful emotion, compared...

Resumen: Esta investigación trata de demostrar que es con la aparición del VRCinema cuando comienza una etapa propiamente inmersiva en el ámbito cinematográfico. Para demostrarlo se emplea una metodología-fundamentalmente cualitativa-basada en un análisis de contenido de las fuentes más relevantes que versan sobre los elementos configuradores del triángulo inmersivo: la pantalla, el formato y la audiencia, lo que nos ha conducido a una aproximación a la definición del VRCinema.

The Interaural Time Difference is one of the primary localization cues for 3D sound. However, due to differences in head and ear anthropometry across the population, ITDs related to a sound source at a given location around the head will differ from subject to subject. Furthermore, most individuals do not possess symmetrical traits between the left and right pinnae. This fact may cause an angle-dependent ITD asymmetry between locations mirrored across the left and right hemispheres. This paper describes an exploratory analysis performed on publicly available databases of individually measured HRIRs. The analysis was first performed separately for each dataset in order to explore the impact of different formats and measurement techniques, and then on pooled sets of repositories, in order to obtain statistical information closer to the population values. Asymmetry in ITDs was found to be consistently more prominent in the rear-lateral angles (approximately between 90°and 130°azimuth) across all databases investigated, suggesting the presence of a sensitive region. A significant difference between the peak asymmetry values and the average asymmetry across all angles was found on three out of four examined datasets. These results were further explored by pooling the datasets together, which revealed an asymmetry peak at 110°t hat also showed significance. Moreover, it was found that within the region of sensitivity the difference between specular ITDs exceeds the just noticeable difference values for perceptual discrimination at all frequency bands. These findings validate the statistical presence of ITD asymmetry in public datasets of individual HRIRs and identify a significant, perceptually-relevant, region of increased asymmetry. Details of these results are of interest for HRIR modeling and personalization techniques, which should consider implementing compensation for asymmetric ITDs when aiming for perceptually accurate binaural displays. This work is part of a larger study aimed at binaural-audio personalization and user-characterization through non-invasive techniques.

The qwerty keyboard and a mouse are still the main input devices used today. The last upgraded mouse was introduced by Apple in 2009; the Magic Mouse. The Magic Mouse is a multi touch mouse and can be used to recognize simple gestures. Computer games and visualization environments are typically played out in a 3D world projected on a 2D screen, or a 3D environment. A 2D mouse is not very useful in a 3D environment. On July 2013 Leap Motion released a device which can be used as a 3 dimensional mouse. This paper presents the usability experiments and first results.

Presented of the 6th International Conference on Auditory Display (ICAD), Atlanta, GA, April 2-5, 2000This paper discusses development issues for a software-based, real-time virtual audio rendering system, Sound Lab (SLAB), designed to work in the personal computer environment using a standard signal-processing library. The system, which is being developed as a tool for the study of spatial hearing, takes advantage of the low-cost PC platform while providing a flexible, maintainable, and extensible architecture to enable the quick development of experiments. The current capabilities and dynamic behavior of the SLAB system are described

We present an online environment for the design of musical scores, also allowing for the embedding of signal processors and hence the publication of electronic works. This environment is part of the INScore project. Its latest version has been transcribed to WebAssembly/Javascript to provide in a web browser the same features as in its native counterpart: the diversity of music representations supported by INScore, the interaction capabilities and all the dynamic aspects of the score. After some historical elements about distributed musical scores, we will provide some reminders about the INScore project and its associated description language. We will then describe the architecture of the system and the choices made for its portability to the Web. Then, we will present the extensions specific to the Javascript version and in particular the support of signal processing objects. Finally, we will show how INScore's communication system has been extended to allow online musical score control from a native version of INScore, paving the way for real-time performance on the web.

INSCORE is an environment for the design of interactive music scores that includes an original event-based interaction system and a scripting language for associating arbitrary messages to these events. We extended the previous version by supporting scripting languages offering a great flexibility in the description of scores and in the interactions with scores. The textual format is directly derived from the OSC message format that was defined in the original INSCORE version. This article presents the scripting language and illustrates its ability to describe interactions based on events, while remaining in the temporal space. It also introduces the IRCAM gesture follower and how it is embedded into INSCORE to provide gestural interaction capabilities.

Exformation Trilogy is a mixed music triptych that the Swedish composer Jesper Nordin plans to complete by 2017 using his Gestrument application. Sculpting the Air-the first piece of this cycle-is conceived as a concerto for conductor with live electronics. The composer's work addresses the issue of the frequent lack of relationship between musicians and real-time electronic processing. In this piece, he employs two motion sensors, allowing the conductor to trigger sound files or to process instrumental sounds gesturally. We attended almost every work session during the production of the piece at Institute for Research and Communication in Acoustics/Music, and therefore collected a substantial amount of ethnographic data, in order to focus both on the creative process of the piece and the musical practice of the conductor in such a technological environment. This paper deals with the evolution of the setup and the composer's writing strategies-including the notation of musical gestures, the compromises between technological and human constraints, and the conductor's learning and performance of the piece.

In Two Experiments, We Assessed the Experiential and cognitive consequences of seven minutes exposure to music (Experiment 1) and speech (Experiment 2). In Experiment 1, participants listened to music for seven minutes and reported their emotional experiences based on ratings of valence (pleasant-unpleasant) and two types of arousal: energy (energetic-boring) and tension (tense-calm). They were then assessed on two cognitive skills: speed of processing and creativity. Music varied in pitch height (high or low pitched), rate (fast or slow), and intensity (loud or soft). Experiment 2 replicated Experiment 1 using male and female speech. Experiential and cognitive consequences of stimulus manipulations were overlapping in the two experiments, suggesting that music and speech draw on a common emotional code. There were also divergent effects, however, implicating domain-specific influences on emotion induction. We discuss the results in view of a psychological framework for understandin...

The Modality Project explores the idea of highly modal performance instruments i.e., setups where a small set of controllers can be used to play a wide variety of sound processes by changing control constellations on the fly. The Modality Toolkit is a SuperCollider library which simplifies the creation of such instruments. To this end, a common code interface, MKtl, is used to connect controllers from various sources and protocols. Currently, HID and MIDI are supported; GUI-based interfaces can be created on the fly from interface descriptions. Detailed use cases demonstrate the concepts of working with modality practically in code. This paper gives an overview on the concept of modality as seen by a group of sound artists and researchers, and describes one interdisciplinary approach to creating a toolkit written for and by electronic musicians.

Dynamic auditory scene analysis (DASA) requires decisions on a cognitive level, for example, when assigning meaning to scene elements and/or interpreting scenes to induce appropriate actions. To this end, feedback from the cognitive level to the auditory-signal processing level has to be considered. In our talk, a software system is described to be used to develop and test actions of robots in search-and-rescue (SAR) scenarios. In these scenarios a victim in a (moderately) complex environment has to be identified and localized. The actions are predominantly based on binaural cues, derived from the ear signals of a head-and-torso simulator (dummy head) that can actively move about in the scene to be explored. Data that cannot yet be acquired from the auralized scenario at the current state of development of our system, are emulated to enable demonstration of system functionality. Further, visual cues may be employed for assistance if necessary, since the virtual dummy head is equipped with a stereo camera. In summary, our software system, which has been set up in the context of the European-Union FET project TWO!EARS (ICT-618075, twoears.eu), provides a virtual environment for testing the routines necessary to accomplish the tasks mentioned above.

We propose in the following to use the cover label Communication Acoustics for those branches of acoustics which are closely related to the information technologies and computer sciences. After a short review of the relevant research fields of the Institute of Communication Acoustics at Bochum, Germany, two areas are dealt with in more detail, namely, instrumental analysis and instrumental synthesis of auditory scenes. In both areas it shows up that cognitive and multi-modal phenomena have to be taken into account. Thus, future communication-acoustical systems shall most probably increasingly contain knowledge-based and multi-modal components-and, further, future communication-acoustical system will be embedded as subsystems into more complex systems. This technological development trend will coin the future of Communication Acoustics in the context of the information technologies.

The Modality Project explores the idea of highly modal performance instruments i.e., setups where a small set of controllers can be used to play a wide variety of sound processes by changing control constellations on the fly. The Modality Toolkit is a SuperCollider library which simplifies the creation of such instruments. To this end, a common code interface, MKtl, is used to connect controllers from various sources and protocols. Currently, HID and MIDI are supported; GUI-based interfaces can be created on the fly from interface descriptions. Detailed use cases demonstrate the concepts of working with modality practically in code. This paper gives an overview on the concept of modality as seen by a group of sound artists and researchers, and describes one interdisciplinary approach to creating a toolkit written for and by electronic musicians.

This review analyses the different gesture recognition systems through a timeline, showing the different types of technology, and specifying which are the most important features and their achieved recognition rates. At the end of the review, Leap Motion sensor possibilities are described in detail, in order to consider its application on the field of sign language. This device has many positive characteristics that make it a good option for sign language. One of the most important conclusions is the ability of the Leap Motion sensor to provide 3D information from the hands for due identification.

The role of computing within the National Curriculum framework has changed dramatically in recent times. Traditionally, the computing curriculum in schools focussed on software competency and proficiency in common but basic tasks such as word processing, delivered through the subject of Information Communication Technology (ICT). In other words, students became perfunctory but perhaps uninspired end users, closely tied to ubiquitous commercial packages such as Microsoft Office. However, in September 2014, then Education Secretary Michael Gove made significant changes to the National Curriculum that affected both primary and secondary education in the UK. This has consisted in essence of an enforced shift from the prior ICT model to one that, at least in theory, embraces coding as a fundamental tenet of computing (i.e. active creation rather than end use, closely related to Rushkoff’s notion of “programmed or be programmed” [7]) and promotes computational thinking more broadly [1]. F...

Many composers of electroacoustic music create stereo works which are intended to be relayed (or diffused) in a concert venue through loudspeakers strategically placed around the audience. The process of diffusion can provide added meaning to the experience in terms ...

This paper investigates alternative methods for multichannel sound diffusion which are based on the mapping of physical gestures to spatial location. The approach addresses issues surrounding the inappropriateness of mixing consoles as an effective interface for sound diffusion in multi-channel loudspeaker environments and instead proposes a system that allows the user to traverse all possible trajectories in a multi-loudspeaker environment.

The Interaural Time Difference is one of the primary localization cues for 3D sound. However, due to differences in head and ear anthropometry across the population, ITDs related to a sound source at a given location around the head will differ from subject to subject. Furthermore, most individuals do not possess symmetrical traits between the left and right pinnae. This fact may cause an angle-dependent ITD asymmetry between locations mirrored across the left and right hemispheres. This paper describes an exploratory analysis performed on publicly available databases of individually measured HRIRs. The analysis was first performed separately for each dataset in order to explore the impact of different formats and measurement techniques, and then on pooled sets of repositories, in order to obtain statistical information closer to the population values. Asymmetry in ITDs was found to be consistently more prominent in the rear-lateral angles (approximately between 90°and 130°azimuth) across all databases investigated, suggesting the presence of a sensitive region. A significant difference between the peak asymmetry values and the average asymmetry across all angles was found on three out of four examined datasets. These results were further explored by pooling the datasets together, which revealed an asymmetry peak at 110°t hat also showed significance. Moreover, it was found that within the region of sensitivity the difference between specular ITDs exceeds the just noticeable difference values for perceptual discrimination at all frequency bands. These findings validate the statistical presence of ITD asymmetry in public datasets of individual HRIRs and identify a significant, perceptually-relevant, region of increased asymmetry. Details of these results are of interest for HRIR modeling and personalization techniques, which should consider implementing compensation for asymmetric ITDs when aiming for perceptually accurate binaural displays. This work is part of a larger study aimed at binaural-audio personalization and user-characterization through non-invasive techniques.

We present an innovative sound spatialization and shaping interface, called SoundMorpheus, which allows the placement of sounds in space, as well as the altering of sound characteristics, via arm movements that resemble those of a conductor. The interface displays sounds (or their attributes) to the user, who reaches for them with one or both hands, grabs them, and gently or forcefully sends them around in space, in a 360° circle. The system combines MIDI and traditional instruments with one or more myoelectric sensors. These components may be physically collocated or distributed in various locales connected via the Internet. This system also supports the performance of acousmatic and electronic music, enabling performances where the traditionally central mixing board, need not be touched at all (or minimally touched for calibration). Finally, the system may facilitate the recording of a visual score of a performance, which can be stored for later playback and additional manipulatio...

This tutorial provides an introduction to Head-Related Transfer Functions (HRTF's) and their role in the synthesis of spatial sound over headphones. We define HRTF’s and discuss how they provide spectral cues which reduce the ambiguity with which the classical duplex theory decodes a free-field sound’s spatial location. We describe how HRTF’s are measured and how they are typically used to synthesize spatialized sound. By comparing and contrasting representations of HRTF’s in the time, frequency, and spatial domains, we highlight different analytic and signal processing techniques that have been used to investigate the structure of HRTF’s.

This review analyses the different gesture recognition systems through a timeline, showing the different types of technology, and specifying which are the most important features and their achieved recognition rates. At the end of the review, Leap Motion sensor possibilities are described in detail, in order to consider its application on the field of sign language. This device has many positive characteristics that make it a good option for sign language. One of the most important conclusions is the ability of the Leap Motion sensor to provide 3D information from the hands for due identification.

This paper describes an exploratory study of the potential for musical interaction of Soli, a new radar-based sensing technology developed by Google’s Advanced Technology and Projects Group (ATAP). We report on our hands-on experience and outcomes within the Soli Alpha Developers program. We present early experiments demonstrating the use of Soli for creativity in musical contexts. We discuss the tools, workflow, the affordances of the prototypes for music making, and the potential for design of future NIME projects that may integrate Soli.

Some purveyors of traditional music may see the introduction of electronics and electronic instruments as stains on the grand tapestry of music; yet there are many composers and performers who have embraced the possibilities that can emanate from technology and deftly woven those threads into this aural tapestry. Beyond the realm of the elite lies the concept that humans possess an "inherent musicality"-that we have the potential to be musically creative. If everyone is inherently musical, what if they don't possess the means and tools to realize that musicality? What could be a solution? I believe technology is one way that people from all walks of life can compose and perform music. This thesis seeks to explore ways in which technology has and is influencing the composition and performance of music in the early twentyfirst century by exploring the use of technology in extending cognitive ability, the use of technology with gesture and extending physical ability, and the evaluation and assessment of technologically-composed and-performed music. viii

This paper describes a new HRTF collection, measured at the Music and Audio Research Laboratory (MARL), at NYU. This collection of 40 datasets, consists of repeated HRTF measurements on 4 subjects (10 HRTF sets per subject). Analysis of the data offers an understanding of the expected degree of variation in HRTF sets, which, when supported by subjective evaluation, can provide deeper insight for perceptually detected differences between binaural filters. Such knowledge has applications in various research fields and related signal processing tasks, such as: binaural auditory displays, HRTF modeling, and HRTF interpolation.

One of the main spatial audio topics, nowadays, involves working towards an efficient individualization method of Head Related Transfer Functions. A major limitation in this area of research is the lack of a large and uniform database that will incorporate as many individualized properties as possible. This paper presents the MARL-NYU file format for storing HRTF datasets, and investigates the necessary normalization steps that assure a uniform and standardized HRTF repository, by compiling selected datasets from four HRTF databases.

Mutation-based greybox fuzzingÐunquestionably the most widelyused fuzzing techniqueÐrelies on a set of non-crashing seed inputs (a corpus) to bootstrap the bug-finding process. When evaluating a fuzzer, common approaches for constructing this corpus include: (i) using an empty file; (ii) using a single seed representative of the target's input format; or (iii) collecting a large number of seeds (e.g., by crawling the Internet). Little thought is given to how this seed choice affects the fuzzing process, and there is no consensus on which approach is best (or even if a best approach exists). To address this gap in knowledge, we systematically investigate and evaluate how seed selection affects a fuzzer's ability to find bugs in real-world software. This includes a systematic review of seed selection practices used in both evaluation and deployment contexts, and a large-scale empirical evaluation (over 33 CPU-years) of six seed selection approaches. These six seed selection approaches include three corpus minimization techniques (which select the smallest subset of seeds that trigger the same range of instrumentation data points as a full corpus). Our results demonstrate that fuzzing outcomes vary significantly depending on the initial seeds used to bootstrap the fuzzer, with minimized corpora outperforming singleton, empty, and large (in the order of thousands of files) seed sets. Consequently, we encourage seed selection to be foremost in mind when evaluating/deploying fuzzers, and recommend that (a) seed choice be carefully considered and explicitly documented, and (b) never to evaluate fuzzers with only a single seed. CCS CONCEPTS • Software and its engineering → Software testing and debugging; • Security and privacy → Software and application security.

This review analyses the different gesture recognition systems through a timeline, showing the different types of technology, and specifying which are the most important features and their achieved recognition rates. At the end of the review, Leap Motion sensor possibilities are described in detail, in order to consider its application on the field of sign language. This device has many positive characteristics that make it a good option for sign language. One of the most important conclusions is the ability of the Leap Motion sensor to provide 3D information from the hands for due identification.

The article summarizes and systematizes knowledge concerning natural user interfaces. The most important facts related to this problem have been supplemented with examples of possible practical use of such type of human-computer communication. Moreover, the article contains descriptions of three most popular controllers: Microsoft Kinect, Nintendo Wii and Sony Move.

New music is made with computers taking advantage of its graphics displays, rather than its audio algorithms. Pure Data can be used to compose them. This essay will show a case study that uses Pure Data, in connection with INScore, for making a new type of score that uses animated notation or dynamic musicography for making music with performers. This sample was made by the author of the text, and it will show a number of notation possibilities that can be done using the combination of software. This will be accompanied by a simple prediction of what a musician could perform with it.

Binaural synthesis uses Head Related Transfert Function (HRTF) to render 3D audio scene via headphones. Highfidelity Virtual Auditory Space (VAS) requires individualized HRTF for a large number of directions. One solution to decrease the number of measurements is based on interpolation methods, which allow to derive individualized HRTF from a few measured HRTF. This paper investigates the performances of non-linear interpolation of HRTF by neural networks. A neural network has been trained to learn the non-linear and high-level relationships between HRTF. The results show that a neural network succeeds well in reproducing spectral cues, which are of primary importance for HRTF individualization and elevation localization. A new way of acquiring individualized HRTF is proposed with the advantage of measuring only a few locations.

El arte instalación a través de una representación de cuatro artistas que se distinguen por su uso narrativo y espacial, y por la utilización del concepto del tiempo y la realidad como unas de las características de su lenguaje visual y estético. Los casos de estudio se centran en obras determinadas de Darren Almond, Douglas Gordon, Mike Nelson y Santiago Sierra.