Academic literature on the topic 'Music multimodal archive'

Common Spaces is an interface for real-time media convergence and live performance combining media, applications and devices. A multimodal media ecosystem was designed to respond to the requirement of a specific performance — how to mix multiple applications into a single environment. This collaborative environment provides a flexible interface for performers to negotiate, share, and mix media, applications, and devices. Common Spaces is a framework based on interoperability and data flow, a network of virtual wires connecting applications that “talk” to each other sharing resources through technologies such as OSC or Syphon. With this approach, media designers have the freedom to choose a set of applications and devices that best suit their needs and are not restricted to a unique environment. We have implemented and performed with this ecosystem in live events, demonstrating its feasibility. In our paper we describe the project's concept and methodology. In the proposed performance we will use the Digital Archive of Portuguese Experimental Literature (www.po-ex.net) as a framework, appropriating its database assets, remixing its contents, as well as the techniques and methods they imply, stimulating the understanding of the archive as variable and adaptable. These digital re-readings and re-codings of experimental poems further highlight the importance of the materialities of experimental writing, integrating self-awareness in the modes of exchanges between literature, music, animation, performance, and technology.

This article argues that after the disintegration of Yugoslavia, Yugoslav rock music lost little cultural value and is still a prominent trigger of vernacular memories of the socialist Yugoslav past, as well as a vehicle of socio-political commentary in post-Yugoslav contexts. In this view, music is understood as a galvaniser of affective relationships to that past and to post-Yugoslav presents. In the first part of the article, the author discusses the theoretical and practical implications of digitally mediated music as immersive affective environments, working within the framework of media archaeology and a digital archives approach. It is argued that Yugoslav rock has retained its potency and appeal, where today, in a post-Yugoslavia context, it presents an outlet for the recomposition of musical preferences through nostalgia and opposition to the post-1991 socio-political developments. In the second part of the article, focusing on Facebook and YouTube, the author investigates how Yugoslav rock has been reframed in social media and how fragments of the country’s past are reframed in digital media environments. A qualitative multimodal discourse analysis is employed here to investigate a selection of fan pages of rock musicians and bands.

<em>Introduction</em> We are drowning in data. What kinds of data? - Text. Images. Sound. Numeric. Genome data. Text: Every day vast amounts of textual data are generated. This ranges from private corporate data, personal information, public and private government documents and so on. Much of this data needs to be accessed by many users for many tasks. For example, a corporate call centre needs fast access to documents at a semi-concept level to answer user requests. Another example: large litigations can involve 2 million documents, 200,000 of which are relevant, much fewer significant, and a handful pivotal. Techniques are desperately needer to automate the first few steps of this winnowing. Images: There are video cameras everywhere, trying to protect our safety in car parks, public places, even some lifts. There are huge and ever growing still and video archives of all aspects of our modern world. Access and indexing this data is a huge research enterprise. Much indexing is done manually. Sound: Often in concert with video in multi-media recordings. But what did the Prime Minister say on the 1st of November about the Republic? Did he sound like he meant it? These are currently not easily answered queries except if carried out by an expert human investigator. These kind of queries will need to be commonplace to access sound data in humanly meaningful ways. Numeric: Our industries generate vast amounts of valuable numeric data. In the petroleum industry geologic knowledge must be integrated with data from wells: laboratory core analysis data and on-site well logs, with seismic data generated from controlled explosions and dispersed recording devices. Then there is GIS data collected from satellites and so on. In the service industry, the stock exchange generates large amounts of hard to analyse data vital to the wellbeing of Australian companies. Genome data: The human genome project is almost complete. Researchers are finding genes by a mix of laboratory work and computerised database searches (e.g. as reported in the Weekend Australian 30 October). This is just the first step, the next will be sequencing of a number of individuals, and of course there are currently over 100 whole genome sequencing projects on other species. Fast genome sequencing is just around the corner. We will soon be drowning in this kind of data also. Multimedia data: Includes all of audio, text, graphics, images, video, animation, music. More data! <em>What Is The Real Problem?</em> Manual extraction of information from any large corpus is time con-suming and expensive, requiring specialised experience in the material. Even worse, beyond a certain point it is incredibly boring, and hence error prone. Human intelligence is best suited to dealing with information, as distinct to data! <em>A Solution</em> The development of automated systems for information extraction, and for the synthesis of the extracted information into humanly useful information resources. To avoid drowning in the ever increasing flow of multi-modal electronic information available, automated tools are required to reduce the cognitive load on users. <em>STEPS TOWARDS A SOLUTION</em> The key step towards a solution is the notion of information compression, being the compression of data to yield an information rich(er) resource. This is distinct from data compression which is merely the efficient storage of data. Further, the information compression must work on multi-model complex data, exemplified by multimedia data. Some of the techniques for doing this kind of information compression exist in a scattered way in areas such as fuzzy systems, and image analysis. We have identified a nascent field, which we can coalesce in an intensive short workshop. The first Australia-Japan Joint Workshop on Applications of Soft and Intelligent Computing to Multimodal and Multimedia Information Compression Technologies was held at Murdoch University in Perth, Western Australia from the 29 March to 5 April 2000. This special issue contains selected papers from the workshop.

The ARIA project aims to create an engaging visitor experience for archives of music Cultural Heritage that targets the wider public. The challenge is to conceptualize an experience design where the intangible seamlessly meets the tangible, bridging the gap between obscure archival material and the direct and emotional experience of listening to music. The project will apply innovative technologies, such as eXtended Reality (XR) and collaborative digital storytelling, to augment the reception of the musical experience through establishing an affective connection of the visitor with the music composer. In this work we present the results of a user study with 198 participants, designed to assess user expectations and identify concrete needs to inform a multimodal experience design about the composer N. Skalkottas, The results of this study guided the design of an experience which combines a single user immersive VR application to promote reflection on the music piece, with a group participatory digital storytelling mobile app to establish affective connection with the composer. We conclude the paper with our insights on the effectiveness of the approach as well as how the experience design could contribute to further studying and understanding in a holistic way the factors that play a role in feeling moved by or connected with a composer and his work.

On behalf of the Editorial team, welcome to the inaugural issue of Intonations, a journal of interdisciplinary arts. Previously affiliated solely with the Department of Music, in 2019 Intonations expanded to include the Departments of Art and Design, and Drama. It was at that time that three new Editors-in-Chief, one from each department, were appointed. The first year was a time for redefinition as we came together from across academic silos to forge a new identity for the journal. Our mandate is to promote multidisciplinary/transdisciplinary collaboration and to encourage dialogue between different modes of scholarly, artistic, disciplinary, and professional engagement. Intonations focuses on the convergences of theory and artistic practice in various domains of the fine arts, as well as intersections with the humanities, sciences, and beyond. Our goal is to support the work of current scholars and creative practitioners by generating dialogue and innovative thinking, both locally and internationally. Our first Call for Papers was released in early-January 2020, and now just over a year later, we are very excited to share our first full issue which includes three articles in response to our call, “We Other Fairies”, “Saskatoon Berries”, and “Having Walked Alongside”, which have been bundled with two previously published articles submitted prior to the merge: “Blipvert Method” and “Sinfonia de Babel”. With this evolutionary process in mind, we are now proud to share this body of work. Written by graduate students and practicing artists, the articles in this issue are wide ranging in scope and style while still tethered through several points of intersection. 2020 was not an easy year. However, the difficulties of living through a global pandemic have also led to new and exciting forms of research and reassessment. Authors Xavia Publius in “We Other Fairies” and Tyler Stewart and Miguelzinta Solís in “Having Walked Alongside” both address the global pandemic by drawing attention to the challenges of not being able to gather together. In Publius’s case, this has necessitated a turn to diary-writing and greater self-reflection. For Stewart and Solís, social distancing from close friends gave way to scholarly collaboration and an experimental audio project that engaged with distance communication, landscape, and decolonial theories. For many, greater engagement with space and place has been a necessary outcome of the pandemic. In both the audio project of Stewart and Solís and the writing of Kufre Usanga “Saskatoon Berries”, we follow the footsteps of the authors as they traverse their lived experience through land. Between two valleys and spanning two Alberta rivers, the North Saskatchewan and the Oldman, these articles perform “place-thinking” (Usanga) through the intersection of embodied knowledge, Indigenous teachings, and personal reflection. Similarly, in “We Other Fairies”, Publius seeks to decentre patriarchal and heteronormative spaces through her exploration of theatre and film as a site for the proliferation and celebration of queer voices: the “Others” that have so frequently been elided from theatre and other forms of cultural production. For Publius, theatre represents a space for the carnivalesque – where norms and mores are suspended, and queer characters are free to assert themselves, for however temporary a time, “oscillating between liminal and liminoid spaces” (Publius). An important aspect of this issue is the inclusion of extra-textual and multimedia elements. Stewart and Solís’s contribution takes the form of an hour-long recorded dialogue, mediated by an engaging walk through the weirs, gullies, and coulees of Lethbridge’s Old Man River Valley. Using both textual and multimedia platforms, William Northlich and Nicolas Arnáez each lead the reader through multiple levels of unity and/or integration between musical, sonic, visual, and textual elements. Their textual components are accompanied by audio and visual elements which enrich the reading experience and, in fact, are necessary for understanding the text. Arnáez’s “La Sinfonia de Babel” demonstrates how musical citation and an imaginary sound archive add parameters to the experience of a sonic library based on a creative approach toward citation from musical and literary perspectives. Northlich’s “Blipvert Method” provides a structural and performative analysis of his electronic music composition through which the virtual sound, improvisatory character, and body movements sit in a musical collage. At the same time that Western and Settler hegemony are being questioned within the pages of this issue, so too is the attendant dominance of the visual. These articles open space for oral, aural, tactile, imaginative, and emotional forms of knowledge and experience. Shared amongst the disciplines of the Fine Arts is this emphasis on praxis and embodied experiences which are qualities that cannot be universalised, and which must be specified and expressed at a personal level. Therefore, whether through the form of diary, personal essay, artist’s statement, multimodal analysis/description, or mediated dialogue, the articles that make up Volume 1, Issue 1 of Intonations are profoundly reflective and meditative. They invite us to slow down, engage with ourselves, our communities, and the natural world around us. In a year that has become increasingly difficult as time goes on, the authors, researchers, and practitioners published here offer not only new perspectives on the world, but alternative ways of being and existing in the world.

IntroductionThe walking tour is an enduring feature of cities. Fuelled by a desire to learn more about the hidden and unknown spaces of the city, the walking tour has moved beyond its historical role as tourist attraction to play a key role in the transformation of urban space through gentrification. Conversely, the walking tour has a counter-history as part of a critical urban praxis. This article reflects on historical examples, as well as our own experience of conducting Field Trip, a critical geographical walking tour through an industrial precinct in Marrickville, a suburb of Sydney that is set to undergo rapid change as a result of high-rise residential apartment construction (Gibson et al.). This precinct, known as Carrington Road, is located on the unceded land of the Cadigal and Wangal people of the Eora nation who call the area Bulanaming.Drawing on a long history of philosophical walking, many contemporary writers (Solnit; Gros; Bendiner-Viani) have described walking as a practice that can open different ways of thinking, observing and being in the world. Some have focused on the value of walking to the study of place (Hall; Philips; Heddon), and have underscored its relationship to established research methods, such as sensory ethnography (Springgay and Truman). The work of Michel de Certeau pays particular attention to the relationship between walking and the city. In particular, the concepts of tactics and strategy have been applied in a variety of ways across cultural studies, cultural geography, and urban studies (Morris). In line with de Certeau’s thinking, we view walking as an example of a tactic – a routine and often unconscious practice that can become a form of creative resistance.In this sense, walking can be a way to engage in and design the city by opposing its structures, or strategies. For example, walking in a city such as Sydney that is designed for cars requires choosing alternative paths, redirecting flows of people and traffic, and creating custom shortcuts. Choosing pedestrianism in Sydney can certainly feel like a form of resistance, and we make the argument that Field Trip – and walking tours more generally – can be a way of doing this collectively, firstly by moving in opposite directions, and secondly, at incongruent speeds to those for whom the scale and style of strategic urban development is inevitable. How such tactical walking relates to the design of cities, however, is less clear. Walking is a generally described in the literature as an individual act, while the design of cities is, at its best participatory, and always involving multiple stakeholders. This reveals a tension between the practice of walking as a détournement or appropriation of urban space, and its relationship to existing built form. Field Trip, as an example of collective walking, is one such appropriation of urban space – one designed to lead to more democratic decision making around the planning and design of cities. Given the anti-democratic, “post-political” nature of contemporary “consultation” processes, this is a seemingly huge task (Legacy et al.; Ruming). We make the argument that Field Trip – and walking tours more generally – can be a form of collective resistance to top-down urban planning.By using an open-source wiki in combination with the Internet Archive, Field Trip also seeks to collectively document and make public the local knowledge generated by walking at the frontier of gentrification. We discuss these digital choices as oppositional practice, and consider the idea of tactical media (Lovink and Garcia; Raley) in order to connect knowledge sharing with the practice of walking.This article is structured in four parts. Firstly, we provide a historical introduction to the relationship between walking tours and gentrification of global cities. Secondly, we examine the significance of walking tours in Sydney and then specifically within Marrickville. Thirdly, we discuss the Field Trip project as a citizen-led walking tour and, finally, elaborate on its role as tactical media project and offer some conclusions.The Walking Tour and Gentrification From the outset, people have been walking the city in their own ways and creating their own systems of navigation, often in spite of the plans of officialdom. The rapid expansion of cities following the Industrial Revolution led to the emergence of “imaginative geographies”, where mediated representations of different urban conditions became a stand-in for lived experience (Steinbrink 219). The urban walking tour as mediated political tactic was utilised as far back as Victorian England, for reasons including the celebration of public works like the sewer system (Garrett), and the “othering” of the working class through upper- and middle-class “slum tourism” in London’s East End (Steinbrink 220). The influence of the Situationist theory of dérive has been immense upon those interested in walking the city, and we borrow from the dérive a desire to report on the under-reported spaces of the city, and to articulate alternative voices within the city in this project. It should be noted, however, that as Field Trip was developed for general public participation, and was organised with institutional support, some aspects of the dérive – particularly its disregard for formal structure – were unable to be incorporated into the project. Our responsibility to the participants of Field Trip, moreover, required the imposition of structure and timetable upon the walk. However, our individual and collective preparation for Field Trip, as well as our collective understanding of the area to be examined, has been heavily informed by psychogeographic methods that focus on quotidian and informal urban practices (Crosby and Searle; Iveson et al).In post-war American cities, walking tours were utilised in the service of gentrification. Many tours were organised by real estate agents with the express purpose of selling devalorised inner-city real estate to urban “pioneers” for renovation, including in Boston’s South End (Tissot) and Brooklyn’s Park Slope, among others (Lees et al 25). These tours focused on a symbolic revalorisation of “slum neighbourhoods” through a focus on “high culture”, with architectural and design heritage featuring prominently. At the same time, urban socio-economic and cultural issues – poverty, homelessness, income disparity, displacement – were downplayed or overlooked. These tours contributed to a climate in which property speculation and displacement through gentrification practices were normalised. To this day, “ghetto tours” operate in minority neighbourhoods in Brooklyn, serving as a beachhead for gentrification.Elsewhere in the world, walking tours are often voyeuristic, featuring “locals” guiding well-meaning tourists through the neighbourhoods of some of the world’s most impoverished communities. Examples include the long runningKlong Toei Private Tour, through “Bangkok’s oldest and largest slum”, or the now-ceased Jakarta Hidden Tours, which took tourists to the riverbanks of Jakarta to see the city’s poorest before they were displaced by gentrification.More recently, all over the world activists have engaged in walking tours to provide their own perspective on urban change, attempting to direct the gentrifier’s gaze inward. Whilst the most confrontational of these might be the Yuppie Gazing Tour of Vancouver’s historically marginalised Downtown Eastside, other tours have highlighted the deleterious effects of gentrification in Williamsburg, San Francisco, Oakland, and Surabaya, among others. In smaller towns, walking tours have been utilised to highlight the erasure of marginalised scenes and subcultures, including underground creative spaces, migrant enclaves, alternative and queer spaces. Walking Sydney, Walking Marrickville In many cities, there are now both walking tours that intend to scaffold urban renewal, and those that resist gentrification with alternative narratives. There are also some that unwittingly do both simultaneously. Marrickville is a historically working-class and migrant suburb with sizeable populations of Greek and Vietnamese migrants (Graham and Connell), as well as a strong history of manufacturing (Castles et al.), which has been undergoing gentrification for some time, with the arts playing an often contradictory role in its transformation (Gibson and Homan). More recently, as the suburb experiences rampant, financialised property development driven by global flows of capital, property developers have organised their own self-guided walking tours, deployed to facilitate the familiarisation of potential purchasers of dwellings with local amenities and ‘character’ in precincts where redevelopment is set to occur. Mirvac, Marrickville’s most active developer, has designed its own self-guided walking tour Hit the Marrickville Pavement to “explore what’s on offer” and “chat to locals”: just 7km from the CBD, Marrickville is fast becoming one of Sydney’s most iconic suburbs – a melting pot of cuisines, creative arts and characters founded on a rich multicultural heritage.The perfect introduction, this self-guided walking tour explores Marrickville’s historical architecture at a leisurely pace, finishing up at the pub.So, strap on your walking shoes; you're in for a treat.Other walking tours in the area seek to highlight political, ecological, and architectural dimension of Marrickville. For example, Marrickville Maps: Tropical Imaginaries of Abundance provides a series of plant-led walks in the suburb; The Warren Walk is a tour organised by local Australian Labor Party MP Anthony Albanese highlighting “the influence of early settlers such as the Schwebel family on the area’s history” whilst presenting a “political snapshot” of ALP history in the area. The Australian Ugliness, in contrast, was a walking tour organised by Thomas Lee in 2016 that offered an insight into the relationships between the visual amenity of the streetscape, aesthetic judgments of an ambiguous nature, and the discursive and archival potentialities afforded by camera-equipped smartphones and photo-sharing services like Instagram. Figure 1: Thomas Lee points out canals under the street of Marrickville during The Australian Ugliness, 2016.Sydney is a city adept at erasing its past through poorly designed mega-projects like freeways and office towers, and memorialisation of lost landscapes has tended towards the literary (Berry; Mudie). Resistance to redevelopment, however, has often taken the form of spectacular public intervention, in which public knowledge sharing was a key goal. The Green Bans of the 1970s were partially spurred by redevelopment plans for places like the Rocks and Woolloomooloo (Cook; Iveson), while the remaking of Sydney around the 2000 Olympics led to anti-gentrification actions such as SquatSpace and the Tour of Beauty, an “aesthetic activist” tour of sites in the suburbs of Redfern and Waterloo threatened with “revitalisation.” Figure 2: "Tour of Beauty", Redfern-Waterloo 2016. What marks the Tour of Beauty as significant in this context is the participatory nature of knowledge production: participants in the tours were addressed by representatives of the local community – the Aboriginal Housing Company, the local Indigenous Women’s Centre, REDWatch activist group, architects, designers and more. Each speaker presented their perspective on the rapidly gentrifying suburb, demonstrating how urban space is made an remade through processes of contestation. This differentiation is particularly relevant when considering the basis for Sydney-centric walking tours. Mirvac’s self-guided tour focuses on the easy-to-see historical “high culture” of Marrickville, and encourages participants to “chat to locals” at the pub. It is a highly filtered approach that does not consider broader relations of class, race and gender that constitute Marrickville. A more intense exploration of the social fabric of the city – providing a glimpse of the hidden or unknown spaces – uncovers the layers of social, cultural, and economic history that produce urban space, and fosters a deeper engagement with questions of urban socio-spatial justice.Solnit argues that walking can allow us to encounter “new thoughts and possibilities.” To walk, she writes, is to take a “subversive detour… the scenic route through a half-abandoned landscape of ideas and experiences” (13). In this way, tactical activist walking tours aim to make visible what cannot be seen, in a way that considers the polysemic nature of place, and in doing so, they make visible the hidden relations of power that produce the contemporary city. In contrast, developer-led walking tours are singularly focussed, seeking to attract inflows of capital to neighbourhoods undergoing “renewal.” These tours encourage participants to adopt the position of urban voyeur, whilst activist-led walking tours encourage collaboration and participation in urban struggles to protect and preserve the contested spaces of the city. It is in this context that we sought to devise our own walking tour – Field Trip – to encourage active participation in issues of urban renewal.In organising this walking tour, however, we acknowledge our own entanglements within processes of gentrification. As designers, musicians, writers, academics, researchers, venue managers, artists, and activists, in organising Field Trip, we could easily be identified as “creatives”, implicated in Marrickville’s ongoing transformation. All of us have ongoing and deep-rooted connections to various Sydney subcultures – the same subcultures so routinely splashed across developer advertising material. This project was borne out of Frontyard – a community not-just-art space, and has been supported by the local Inner West Council. As such, Field Trip cannot be divorced from the highly contentious processes of redevelopment and gentrification that are always simmering in the background of discussions about Marrickville. We hope, however, that in this project we have started to highlight alternative voices in those redevelopment processes – and that this may contribute towards a “method of equality” for an ongoing democratisation of those processes (Davidson and Iveson).Field Trip: Urban Geographical Enquiry as Activism Given this context, Field Trip was designed as a public knowledge project that would connect local residents, workers, researchers, and decision-makers to share their experiences living and working in various parts of Sydney that are undergoing rapid change. The site of our project – Carrington Road, Marrickville in Sydney’s inner-west – has been earmarked for major redevelopment in coming years and is quickly becoming a flashpoint for the debates that permeate throughout the whole of Sydney: housing affordability, employment accessibility, gentrification and displacement. To date, public engagement and consultation regarding proposed development at Carrington Road has been limited. A major landholder in the area has engaged a consultancy firm to establish a community reference group (CRG) the help guide the project. The CRG arose after public outcry at an original $1.3 billion proposal to build 2,616 units in twenty towers of up to 105m in height (up to thirty-five storeys) in a predominantly low-rise residential suburb. Save Marrickville, a community group created in response to the proposal, has representatives on this reference group, and has endeavoured to make this process public. Ruming (181) has described these forms of consultation as “post-political,” stating thatin a universe of consensual decision-making among diverse interests, spaces for democratic contest and antagonistic politics are downplayed and technocratic policy development is deployed to support market and development outcomes.Given the notable deficit of spaces for democratic contest, Field Trip was devised as a way to reframe the debate outside of State- and developer-led consultation regimes that guide participants towards accepting the supposed inevitability of redevelopment. We invited a number of people affected by the proposed plans to speak during the walking tour at a location of their choosing, to discuss the work they do, the effect that redevelopment would have on their work, and their hopes and plans for the future. The walking tour was advertised publicly and the talks were recorded, edited and released as freely available podcasts. The proposed redevelopment of Carrington Road provided us with a unique opportunity to develop and operate our own walking tour. The linear street created an obvious “circuit” to the tour – up one side of the road, and down the other. We selected speakers based on pre-existing relationships, some formed during prior rounds of research (Gibson et al.). Speakers included a local Aboriginal elder, a representative from the Marrickville Historical Society, two workers (who also gave tours of their workplaces), the Lead Heritage Adviser at Sydney Water, who gave us a tour of the Carrington Road pumping station, and a representative from the Save Marrickville residents’ group. Whilst this provided a number of perspectives on the day, regrettably some groups were unrepresented, most notably the perspective of migrant groups who have a long-standing association with industrial precincts in Marrickville. It is hoped that further community input and collaboration in future iterations of Field Trip will address these issues of representation in community-led walking tours.A number of new understandings became apparent during the walking tour. For instance, the heritage-listed Carrington Road sewage pumping station, which is of “historic and aesthetic significance”, is unable to cope with the proposed level of residential development. According to Philip Bennett, Lead Heritage Adviser at Sydney Water, the best way to maintain this piece of heritage infrastructure is to keep it running. While this issue had been discussed in private meetings between Sydney Water and the developer, there is no formal mechanism to make this expert knowledge public or accessible. Similarly, through the Acknowledgement of Country for Field Trip, undertaken by Donna Ingram, Cultural Representative and a member of the Metropolitan Local Aboriginal Land Council, it became clear that the local Indigenous community had not been consulted in the development proposals for Carrington Road. This information, while not necessary secret, had also not been made public. Finally, the inclusion of knowledgeable local workers whose businesses are located on Carrington Road provided an insight into the “everyday.” They talked of community and collaboration, of site-specificity, the importance of clustering within their niche industries, and their fears for of displacement should redevelopment proceed.Via a community-led, participatory walking tour like Field Trip, threads of knowledge and new information are uncovered. These help create new spatial stories and readings of the landscape, broadening the scope of possibility for democratic participation in cities. Figure 3: Donna Ingram at Field Trip 2018.Tactical Walking, Tactical Media Stories connected to walking provide an opportunity for people to read the landscape differently (Mitchell). One of the goals of Field Trip was to begin a public knowledge exchange about Carrington Road so that spatial stories could be shared, and new readings of urban development could spread beyond the confines of the self-contained tour. Once shared, this knowledge becomes a story, and once remixed into existing stories and integrated into the way we understand the neighbourhood, a collective spatial practice is generated. “Every story is a travel story – a spatial practice”, says de Certeau in “Spatial Stories”. “In reality, they organise walks” (72). As well as taking a tactical approach to walking, we took a tactical approach to the mediation of the knowledge, by recording and broadcasting the voices on the walk and feeding information to a publicly accessible wiki. The term “tactical media” is an extension of de Certeau’s concept of tactics. David Garcia and Geert Lovink applied de Certeau’s concept of tactics to the field of media activism in their manifesto of tactical media, identifying a class of producers who amplify temporary reversals in the flow of power by exploiting the spaces, channels and platforms necessary for their practices. Tactical media has been used since the late nineties to help explain a range of open-source practices that appropriate technological tools for political purposes. While pointing out the many material distinctions between different types of tactical media projects within the arts, Rita Raley describes them as “forms of critical intervention, dissent and resistance” (6). The term has also been adopted by media activists engaged in a range of practices all over the world, including the Tactical Technology Collective. For Field Trip, tactical media is a way of creating representations that help navigate neighbourhoods as well as alternative political processes that shape them. In this sense, tactical representations do not “offer the omniscient point of view we associate with Cartesian cartographic practice” (Raley 2). Rather these representations are politically subjective systems of navigation that make visible hidden information and connect people to the decisions affecting their lives. Conclusion We have shown that the walking tour can be a tourist attraction, a catalyst to the transformation of urban space through gentrification, and an activist intervention into processes of urban renewal that exclude people and alternative ways of being in the city. This article presents practice-led research through the design of Field Trip. By walking collectively, we have focused on tactical ways of opening up participation in the future of neighbourhoods, and more broadly in designing the city. 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This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the “interpretation” – the action that the performer wishes to achieve. Second, the Thesis describes further works aiming at the democratization of music production tools via automatic resynthesis: 1) it elaborates software and file formats for historical music archiving and multimodal machine-learning datasets; 2) it explores and extends MIP technologies; 3) it presents the mathematical foundations of the MIA framework and shows preliminary evaluations to demonstrate the effectiveness of the approach