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Consuming Music Together: Social and Collaborative Aspects of Music Consumption Technologies

Kenton O’Hara ; Barry Brown (eds.)

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Institución detectada Año de publicación Navegá Descargá Solicitá
No detectada 2006 SpringerLink

Información

Tipo de recurso:

libros

ISBN impreso

978-1-4020-4031-3

ISBN electrónico

978-1-4020-4097-9

Editor responsable

Springer Nature

País de edición

Reino Unido

Fecha de publicación

Información sobre derechos de publicación

© Springer 2006

Tabla de contenidos

“Sort Drugs Make Mates”: The Use and Meaning of Mobiles in Dance Music Club Culture

Karenza Moore

The biggest challenge for current RFID technology is to provide the necessary benefits while avoiding any threats to the privacy of its users. Although many solutions to this problem have been proposed, almost as soon as they have been introduced, methods have been found to circumvent system security and make the user vulnerable. We are proposing an advanced mutual-authentication protocol between a tag and the back-end database server for a RFID system to ensure system security integrity. The three main areas of security violations in RFID systems are forgery of the tags, unwanted tracking of the tags, and unauthorized access to a tag’s memory. Our proposed system protects against these three areas of security violations. Our protocol provides reader authentication to a tag, exhibits forgery resistance against a simple copy, and prevents the counterfeiting of RFID tags. Our advanced mutual-authentication protocol uses an AES algorithm as its cryptograph primitive. Since our AES algorithm has a relatively low cost, is fast, and only requires simple hardware, our proposed approach is feasible for use in RFID systems. In addition, the relatively low computational cost of our proposed algorithm compared to those currently used to implement similar levels of system security makes our proposed system especially suitable for RFID systems that have a large number of tags.

Part 5 - Music and Dance | Pp. 211-239

hpDJ: An Automated DJ with Floorshow Feedback

Dave Cliff

The hpDJ system described here goes some way towards replacing the tasks performed by human DJs. It has potential use as a component in the user-interface to audio-based consumer digital entertainment systems, converting the audio data stored on such systems from a set of songs into a continuous seamless mix. Such mixes are suitable for play-out over streaming media (e.g., in personalized internet radio), or for writing to an appropriate recording medium (such as CD, the hard disk of an iPod, or a flash ROM card) for subsequent playback, or for playing to crowds of dancers in real nightclubs. Results from the nightclub experiment are promising, and our subsequent development of monitoring technology allows crowd feedback to influence hpDJ’s choices of songs, making it even more human-like. The use of human-inspired heuristics in dynamically selecting customized DSP filters for the cross-fade has the potential to allow hpDJ to perform cross-fades in ways that would be virtually impossible for a human DJ playing live. While there is a growing market for software products that give a “virtual” version of traditional human-DJ hardware, and while provides a pleasant interface to a set of software tools that allow an unskilled human to create professional-quality continuous mixes, hpDJ as described here is as far as we know the first and only system that aims to totally automate the tasks performed by a human nightclub DJ, including dynamically reacting to the responses from the crowd in real-time. Although we have yet to test Version 2 in a real nightclub, it is clear that the prospect of crowd monitoring opens up new possibilities for the computer-assisted composition of music. But, whereas most computer-aided music composition systems assume a single human author working with the machine, the vision in hpDJ is that the author is an entire crowd of participants, collaborating indirectly, giving feedback as they consume the music. That feedback being generated either actively by the members of the crowd hitting the buttons on their voting watches; or passively by them merely dancing and having a good time, while the computer watches them.

Part 5 - Music and Dance | Pp. 241-264

Interaction, Experience and the Future of Music

Atau Tanaka

The biggest challenge for current RFID technology is to provide the necessary benefits while avoiding any threats to the privacy of its users. Although many solutions to this problem have been proposed, almost as soon as they have been introduced, methods have been found to circumvent system security and make the user vulnerable. We are proposing an advanced mutual-authentication protocol between a tag and the back-end database server for a RFID system to ensure system security integrity. The three main areas of security violations in RFID systems are forgery of the tags, unwanted tracking of the tags, and unauthorized access to a tag’s memory. Our proposed system protects against these three areas of security violations. Our protocol provides reader authentication to a tag, exhibits forgery resistance against a simple copy, and prevents the counterfeiting of RFID tags. Our advanced mutual-authentication protocol uses an AES algorithm as its cryptograph primitive. Since our AES algorithm has a relatively low cost, is fast, and only requires simple hardware, our proposed approach is feasible for use in RFID systems. In addition, the relatively low computational cost of our proposed algorithm compared to those currently used to implement similar levels of system security makes our proposed system especially suitable for RFID systems that have a large number of tags.

Part 6 - Consumption as Production | Pp. 267-288

Hail to the Thief: The Appropriation of Music in the Digital Age

Teresa Dillon

The hpDJ system described here goes some way towards replacing the tasks performed by human DJs. It has potential use as a component in the user-interface to audio-based consumer digital entertainment systems, converting the audio data stored on such systems from a set of songs into a continuous seamless mix. Such mixes are suitable for play-out over streaming media (e.g., in personalized internet radio), or for writing to an appropriate recording medium (such as CD, the hard disk of an iPod, or a flash ROM card) for subsequent playback, or for playing to crowds of dancers in real nightclubs. Results from the nightclub experiment are promising, and our subsequent development of monitoring technology allows crowd feedback to influence hpDJ’s choices of songs, making it even more human-like. The use of human-inspired heuristics in dynamically selecting customized DSP filters for the cross-fade has the potential to allow hpDJ to perform cross-fades in ways that would be virtually impossible for a human DJ playing live. While there is a growing market for software products that give a “virtual” version of traditional human-DJ hardware, and while provides a pleasant interface to a set of software tools that allow an unskilled human to create professional-quality continuous mixes, hpDJ as described here is as far as we know the first and only system that aims to totally automate the tasks performed by a human nightclub DJ, including dynamically reacting to the responses from the crowd in real-time. Although we have yet to test Version 2 in a real nightclub, it is clear that the prospect of crowd monitoring opens up new possibilities for the computer-assisted composition of music. But, whereas most computer-aided music composition systems assume a single human author working with the machine, the vision in hpDJ is that the author is an entire crowd of participants, collaborating indirectly, giving feedback as they consume the music. That feedback being generated either actively by the members of the crowd hitting the buttons on their voting watches; or passively by them merely dancing and having a good time, while the computer watches them.

Part 6 - Consumption as Production | Pp. 289-306