Notice bibliographique
Résumé
The Ars Electronica Festival for Art, Technology, and Society took place 3–7 September 2025 in Linz, Austria. In the category of Digital Musics and Sound Art, the Golden Nica went to Navid Navab and Garnet Willis for Organism, a performance platform, installation, and live performance work employing a multi-jointed structure with electronics to drive and gather data from its swinging motions, mapped to a reconstructed pipe organ that has had turbulence-mitigating measures removed. Awards of distinction went to Jonathan Chaim Reus for BLA BLAVATAR vs JAAP BLONK, a performance for voice and neural network that begins with providing vocal sounds for a training dataset and evolves into an improvisational duo, and Ioana Vreme Moser for Mineral Amnesia, an installation that plays sound from outmoded chips for erasable programmable read-only memory (EPROM) as the memory is slowly eroded with ultraviolet light.Web: ars.electronica.art/prix/en/winners/#digitalmusicssoundartThe Canadian Electroacoustic Community has announced the 26th Jeu de temps / Times Play awards for recent works by emerging electroacoustic artists from or living in Canada. Emanuel Brie and Antonin Gougeon-Moisan won first prize, the Martin Gotfrit and Martin Bartlett Award for live electroacoustic practices, and the Yves Gigon Award for the most outrageous electroacoustic work for a performative installation exploring the sounds and gestures of various types of workers, titled Quand on donne aux choses un sens, rien ne sert de chercher la direction.Cordell Collett won the jef chippewa Award for indigenous cultural background for Nøkken, playing on sounds from nature; Graeme Dyck won the Barry Truax Award for environmental or ecological audio practices for Frost Worlds: Micro-Geographies of the Anthropocene, using contact microphone recordings from ice and snow; and Gabriel Geneau won the Jean Piché Award for videomusic, new media, or creative coding for Ecdysis, an audiovisual work portraying the process of emotional struggle and transformation. Vivian Li won second prize for Sonic Memories of Fleeting Times, and third prize was shared by James Player, who also won the Hildegard Westerkamp Award for soundscapes and sound installations, and by Michele Selvaggi, who also won the Micheline Coulombe Saint-Marcoux Award for self-identified female or non-binary electroacoustic artists.Web: jttp.ca/2025The Association for Computational Creativity held the 16th International Conference on Computational Creativity at the University of Campinas (Unicamp) in Campinas, Brazil, 23–27 June 2025. Composer Jônatas Manzolli gave the keynote address on interactive spaces for creative work, and Unicamp students presented a workshop on improvisation with sound and movement using Manzolli's MoveGuitar application. Among the interdisciplinary paper sessions organized around the topics of co-creativity, ideation, large language models, graph-based systems, narrative, language, narrative, humor, design, new frontiers, and evaluation, Daniel Manz and Mick Grierson presented an embedded musical instrument exploring neural network bending.Web: computationalcreativity.net/iccc25/The Computer Music Interest Group of the Brazilian Computing Society held the Brazilian Symposium on Music Computing at the University of Campinas, 15–17 September 2025, in Campinas, Brazil. Paper sessions were organized around the topics of artificial intelligence, music information retrieval, software development, musical cognition, real-time systems for improvisation and telematic performance, machine listening, and signal processing and synthesis. The conference included three evening concerts as well as roundtable discussions on topics in artificial intelligence, ecology, and computational musicology.Web: sbcm2025.nics.unicamp.br
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,005 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,008 | 0,004 |
| Science ouverte | 0,002 | 0,003 |
| Intégrité de la recherche | 0,004 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,700 | 0,584 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».