Your search

//static.cambridge.org/content/id/urn%3Acambridge.org%3Aid%3Aarticle%3AS0305741023001406/resource/name/firstPage-S0305741023001406a.jpg

The concept of Soundscape was initially proposed to study the relationship between humans and their sonic environment. It has gathered momentum from academia to environmentalists and policymakers throughout the years. The study and characterisation of Soundscapes can be complex as it tries to take a holistic and qualitative approach rather than simply quantifying sound pressure levels. This paper introduces a comprehensive Soundscape study process in an ongoing research project in Macao (China), a small territory (32.9 km2) and one of the most densely populated areas in the world. The paper seeks to show a first version of a technical solution to systematically capture the local soundscape, analyse it, classify it, and ultimately deliver a dataset library and the intangible qualities of the environmental sound. This implementation, including technical documentation, code, and sound library with strong labelling, is presented under an open-source license to encourage future collaborative research. Finally, the paper offers suggestions on further developing the apparatus to reach a systematic and near real-time soundscape analysis with the development of a machine learning system.

The various volumes coordinated by Pierre Nora to pursue a history of the places of memory in France have become a multidisciplinary theoretical reference for those who, like us, seek to reconstruct the memories with which the land of the Potiguara aborigines of Brazil is organized today. In the introduction to the voluminous work that he directed for eight years, Nora explained his epistemic understanding of the notion of “places of memory”, stressing that a “lieu de mémoire” is any significant entity that, material or immaterial in nature, through a human will or the wear and tear of time, has become a symbolic element of a community's memorial heritage. The French historian also added that, since memory is the fundamental structure of this generally lengthy process, it was convenient to understand it as a phenomenon of emotions and magic that only accommodates the facts that feed it. Strictly speaking, memory is always vague, and reminiscent, stirring both general impressions and fine symbolic details. Furthermore, memory is always vulnerable to transference, repressed and imagined memories, censorship, and all kinds of projections. (Nora, 1984). In this article, we try to understand that the places of memory are also almost always what comes to us, stays, and selects the past. The reserve where they live appears as a symbolic locus to which the Potiguara aborigines cling with all their strength to preserve what remains of their past.

This study, focusing on the China's Yao minority community, investigates the feasibility to create a generative computational method to replicate the diversity of the existing Yao traditional wood buildings, addressing the critical issues currently facing computational design methods, in the attempt to adapt genetic-generative algorithms to the study of local ancient architecture. The project develops a computational tool to generate a network of three-dimensional prototypes, or building structures, derived from traditional wood frame village houses. It studies possible housing structures that illustrate some of the key working methods available in digital systems such as ‘generating' and ‘compositing' taking as a starting point computational strategies oriented towards geometry and where a set of local variables play a decisive role: available local technologies, use of raw materials, and the dimensioning of timber components based on data collected from Yao architecture.

Artists are increasingly using blockchain as a tool for trading digital artwork as non-fungible tokens (NFTs); however, some are also beginning to experiment with the blockchain as a medium for generative art, using it as a seed for a generative process or to continuously modify an evolving piece. This paper surveys, reviews, and classifies the state-of-the-art in blockchain-interactive NFTs and presents a liberal-arts critique of the opportunities and threats posed by this technology, whilst addressing existing criticism on the broader topic of art-related NFTs. The paper examines some of the most experimental pieces minted on the Hic et Nunc (HEN) and Teia NFT marketplaces, for which a purpose-built research tool was developed. The survey reveals some reliance on centralised infrastructure, namely blockchain indexers, placing undesired trust on third parties which undermines the potential longevity of the artwork. The paper concludes with recommendations for artists and NFT platform designers for developing more resilient and economically sustainable architectures.

Resumo O fascínio do Ocidente pela dicção poética oriental está atestado em várias latitudes e línguas, e resultou numa profícua produção na área da poesia. Sabe-se que a reinvenção da poesia chinesa da autoria de Pound, em grande medida na origem da sua proposta de revolução do idioma poético, nas primeiras décadas do séc. XX, assentou, na verdade, numa falácia; numa concepção errada da natureza da escrita chinesa (e japonesa) como essencialmente pictográfica e ideogramática, na base de propriedades expressivas reconhecidas na poesia que resultariam numa particular eficácia na apreensão e tradução do real. Pessanha enaltece, em termos similares aos da exaltação poundiana, a escrita da poesia chinesa clássica. Interessa-nos rever alguns inventários dos traços da dicção poética chinesa e japonesa que explicam que ela seja tomada como metonímia e metáfora da poesia, ou como meta e utopia da poesia, para perceber o que terá levado autores muito díspares a tentar a mão nos haikus, processo em que sondaremos algumas formulações poéticas em língua portuguesa. Consideramos também que esse fascínio por uma (sonhada) origem da dicção poética, quando cruzada com o habitar (não metafórico, neste caso) do pequenino enclave de Macau, de autores que nele lançaram raízes, resultou em alguns exercícios poéticos particularmente felizes e singulares. Serão trazidos à colação nesta abordagem poemas de Eugénio de Andrade, Sophia de Mello Breyner Andresen, José Tolentino Mendonça, Yao Feng, Fernanda Dias e Fernando Sales Lopes.

In a context of a new transnational division of labour, temporary international labour mobility is on the rise in Europe. In particular, recent decades have seen considerably more women seeking work experience abroad. Observers have been concerned with how such mobility is related to individualization, and in particular how it may challenge collective institutions, communities and families. The aim of this study is to explore such issues among women and men with international work experience. Using data from European Social Survey, the paper investigates previously mobile workers in terms of their current working and living conditions. Across genders, we consider different forms of individualization that may be associated with transnational labour mobility. While both women and men with transnational work experience generally feature strong strategic individualization, this is most pronounced among men. Hence, men's mobility is among other things associated with increased autonomy in working life, while – in contrast to women – it does not seem to hamper their integration in the sphere of social reproduction.

The land of the potiguara indians of Brazil: a social and political construction The space in which the potiguaras of Brazil live is, today as in the past, the result of a longterm process, many negotiations and well-managed refuges. Paradoxically, despite their recurrent discourse invoking the ancestry of their lands of origin, the Potiguara fight and continue to fight politically for the return to the spaces where their colonial refuge took place.

As an emergent tourism sector, driving tourism connects car use and touristic activities intimately. Following the notion of the ‘inhabited car’, this article explores how and why Chinese tourists inhabit a travelling car for drivers/passengers in the leisure automobility and driving tourism context. Through three different road trips and ‘mobile methods’, it was found that Chinese tourists inhabit the car in four ways: driving, gazing, listening, and communicating. Through this embodied habitation, the car is turned into a ‘touristic inhabitation’ space for protecting the tourists generating touristic emotions、social interactions, and tourism meanings. The study contributes to automobility and tourism literature and provides implications for driving tourism development in China.

In Macau, the effectiveness of traditional classroom learning is questioned as the problem is discovered by the changes in technology advances, social media, and the varieties of learning methods. Learning experiences, interests, discoveries, and creativity development are considered essential to ac...

In Macau, the effectiveness of traditional classroom learning is questioned as the problem is discovered by the changes in technology advances, social media, and the varieties of learning methods. Learning experiences, interests, discoveries, and creativity development are considered essential to ac...

Various materials, objects, and sensors have been explored earlier for creating tangible user interfaces (TUIs). However, there is little work on 3D-printed TUIs based on visual markers for smartphone-based extended reality (XR) experiences. The combination of visual markers and smartphones results in cheap, accessible XR systems within reach of many people. Combined with 3D printing, it could foster do-it-yourself (DIY) projects for XR experiences, which may further expand and open-up possibilities for accessible and tangible interaction. This work explores the design space of modular 3D-printed tangibles for smartphone-based XR. The authors report the design exploration process, provide several interactive 3D-printed markers, and reflect on the resulting possibilities.

The manifestation of generating digital visuals through an algorithm is gaining worldwide attention in the graphic design industry. It is a new form of computing that visualizes data input by the designer or collected in the physical environment and turns them into artwork. The generative design of...

Creativity and collaboration are crucial to learning development in today's fast-paced educational environment. New technology can bridge humans and their natural needs through immersion in digital environments with physical objects. As knowledge and information evolve, digital interactive experienc...

Macao inhabit a population of 683,100. The birth rate has been dropping while the death rate has risen compared to two years ago. Cemeteries are becoming crowded, and burial spots are demanding. In this case, video calls and social media can be the solution. How about our beloved ancestors? Can we video call them on their memorial days? This paper presents a VR experience of immersing oneself in the 3D VR of the Chapel of St. Michael of Macao to create a peaceful atmosphere for grave mourning. The chapel is also a personal space where we can be truly isolated in serenity. It is a retreat to pray, disconnect, and reconnect to the beloved deaths that may not be buried in an easily accessible location. The authors propose a possible future of mourning our loved ones through virtual reality and telepresence: an immersive experience connected with Macao's extraordinary and cultural unicity.

This essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disponible and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centered in the usability of electronic garbage and technical obsolescent technologies in the arts.