The rapid growth of the Internet and the advancements of the Web technologies have made it possible for users to have access to large amounts of on-line music data, including music acoustic signals, lyrics, style/mood labels, and user-assigned tags. The progress has made music listening more fun, but has raised an issue of how to organize this data, and more generally, how computer programs can assist users in their music experience. An important subject in computer-aided music listening is music retrieval, i.e., the issue of efficiently helping users in locating the music they are looking for. Traditionally, songs were organized in a hierarchical structure such as genre->artist->album->track, to facilitate the users’ navigation. However, the intentions of the users are often hard to be captured in such a simply organized structure. The users may want to listen to music of a particular mood, style or topic; and/or any songs similar to some given music samples. This motivated us to work on user-centric music retrieval system to improve users’ satisfaction with the system. The traditional music information retrieval research was mainly concerned with classification, clustering, identification, and similarity search of acoustic data of music by way of feature extraction algorithms and machine learning techniques. More recently the music information retrieval research has focused on utilizing other types of data, such as lyrics, user access patterns, and user-defined tags, and on targeting non-genre categories for classification, such as mood labels and styles. This dissertation focused on investigating and developing effective data mining techniques for (1) organizing and annotating music data with styles, moods and user-assigned tags; (2) performing effective analysis of music data with features from diverse information sources; and (3) recommending music songs to the users utilizing both content features and user access patterns.

Uma parada - Antonio Manuel - Entre os artistas contemporâneos no Brasil nos anos 60 e 70, acreditamos que Antonio Manuel foi o que guardou um profundo mistério na sua produção. Mesmo ao ser censurado, trilhou sua trajetória e, aos poucos, ocupou um espaço suficiente para causar uma inversão da representação e encontrar um caminho errático que o fizesse, dinamicamente, atuar. Pela tomada do corpo, como gesto de liberdade, expandiu sua arte. Sua atitude de pensamento se transformou em fotografia. Quando falamos em \"uma parada\", queremos enfatizar a importância da pose pausada no auto-retrato do artista, para justificar a tese de que Antonio Manuel também expandiu a arte contemporânea pela fotografia. Essa ampliação doa to criativo se deu graças à presença constante das imagens fotográficas do corpo nos seus trabalhos, que, inquietos, iniciaram esse percurso, de modo a podermos afirmar que, hoje, a fotografia tem importante significado no conjunto de suas séries. Para corrigir a realidade imposta tão violentamente pela ditadura militar, timidamente, Antonio Manuel abandonou o desenho sobre jornais para se apropriar das fotografias da imprensa, como também transgredir, corajosamente, a gramática dos veículos de comunicação de massa. Interessa-nos apontar para a importância dessa atitude e, para isso, desenvolvemos algumas possibilidades de compreensão. Consideramos as estratégias propostas pelos críticos Mário Pedrosa e Frederico de Morais e, ainda, os diversos teóricos que estudamos para tornar o debate da época, sobre as estratégias da arte contemporânea no Brasil dos anos 60 e 70, plausível. A arte fotográfica de Antonio Manuel, particularmente as imagens fotográficas do corpo, tiveram uma incrível ressonância na crítica de arte nacional e internacional. Porém, não vem sendo exibida como uma das poucas manifestações visuais que soube estar em sintonia com as diferentes tendências da arte fotográfica das últimas duas décadas. Para confirmar sua importância conceitual, delimitamos sua produção entre os anos de 1967 e 1977. A estrutura dos capítulos não segue à risca uma ordem cronológica, mas principalmente, a relação do ato criativo com o conjunto das séries. Destacamos as análises dos auto-retratos e dos retratos, bem como dos filmes do artista, em que a arte da desaparição de Jean Baudrillard sustenta a noção de \"parada\" fotográfica. Uma Parada tem ênfase no retrato, nos objetos inquietantes e nas imagens perturbadoras, que gestaram a relação do artista com o mundo durante um período de crise da arte. Porém, a crise do sujeito em Antonio Manuel é desafiadora, porque subverteu os modelos e desarticulou as referências, por enfrentar o processo de trabalho com luta e criatividade. Da sua liberdade, o espectador-participador se torna cúmplice. / A paused pose - Antonio Manuel - Among the Brazilian contemporary artists of the 60s and 70s we believe that Antonio Manuel has been the one who has kept a profound mystery in his production. Even when he was banned, he managed to make his way and, little by little, take enough place to cause an inversion of representation, finding an erratic path that made him act dynamically. By taking the body as a gesture of freedom, he has expanded art. His way of thinking has turned into photography. When we say a pause, we want to emphasize the importance of the paused pose in the artists self portrait so as to justify the thesis that Antonio Manuel has also expanded contemporary art through photography. This enlargement of the creative act was due to the constant presence of photographic body images in his works, which, in a restless way, started this journey, enabling our statement that, today, photography has a meaning in the complex oh his series. In order to correct the reality so violently imposed by the military dictatorship, Antonio Manuel abandoned drawing over newspapers timidly to appropriated in pointing out the importance of this attitude and, for that purpose, we have developed some possibilities of comprehension. We have considered the strategies suggested by critics Mario Pedrosa and Frederico de Morais, as well as many other theorists we have studied, so as to make plausible the debate on the strategies of Brazilian contemporary art in the 60s and 70s at that time. The photography art of Antonio Manuel, particularly his photographic body images, has had an incredible resonance among the national and international art critic. However, it has not been exhibited as one of the few visual manifestations which knew how to be tuned with the different tendencies of photographic art in the last couple of decades. In order to confirm his conceptual importance, we have delimited his production between the years of 1967 and 1977. The structure of the chapters does not necessarily follow a chronological order, but rather the relationship between the creative act and the complex of series. We have highlighted the analysis oh his self portraits and portraits, as well as the film, where the art of disappearance by Jean Baudrillard supports the concept of photographic pause. A Paused Pose emphasizes the portrait, the disturbing objects and the alarming images which conceived the relationship between the artist and the world during a period of art crisis. However, the crisis of the subject in Antonio Manuel is challenging, for it has subverted the models and disarticulated the references by facing the work process with struggle and creativity. The spectator participant becomes an accomplice of this freedom.

O Antarctica artes com a Folha foi uma exposição de arte contemporânea realizada no Pavilhão Manoel da Nóbrega, em São Paulo, em 1996. Ao reunir 62 artistas naturais de onze estados brasileiros e com até 32 anos de idade, a coletiva construiu um enunciado forte e bastante disseminado do que seria, dentro da perspectiva de sua equipe, a \"geração 90\" do país. O objetivo desta tese é realizar um estudo de caso da mostra, atentando para o seu vínculo com práticas sociais de valoração do \"capital juventude\" (DEBORD, 1997, p.108) e, por conseguinte, para o seu papel na definição de critérios e discursos, sempre relativos, de uma arte \"jovem\" e \"brasileira\" em 1996. Isso envolve, em primeira instância, organizar uma narrativa histórica que articule as perspectivas dos diferentes agentes que fizeram o projeto, a partir de documentos de época, uma vasta cobertura jornalística e entrevistas concedidas por artistas, curadores, organizadores, jornalistas, críticos, arquitetos e galeristas. Em segunda instância, mas de forma intercalada ao exercício narrativo, coube examinar as categorias dos discursos do Antarctica para entender por que e como priorizaram a temporalidade do evento, com edição única, e nele produziram ideias de geração e região. / Antarctica artes com a Folha (Antarctica arts with Folha [de São Paulo newspaper]) was a contemporary art exhibition held at the Pavilhão Manoel da Nóbrega (Manoel da Nóbrega Pavillion) in São Paulo in 1996. By bringing together 62 artists up to 32 years of age from 11 Brazilian states, the exhibition team formulated a powerful and widely disseminated exhibition statement of what, from their specific standpoint, would become the country\'s \'90s Generation. The aim of this thesis is to carry out a case study of the group show, emphasizing its link to social practices of valorisation of the \"capital of youth\" (Debord, 1997: 108), thus noting its role in establishing the always relative criteria and discourses of a \"young\" and \"Brazilian\" art in 1996. This involves firstly organizing a historical narrative that articulates the perspectives of the different agents who organized and produced the project, based on documents from that time, on wide media coverage and interviews granted by artists, curators, organizers, journalists, art critics, architects, and gallerists. And secondly, proceeding to examine the categories of discourses of the Antarctica, though in a way that is interspersed with the narrative exercise, in order to understand why and how the event\'s temporality was prioritized, namely as a one-time event, wherein ideas about generation and region were produced.

Irony and satire in two of James Joyce's works.

The main objective of this thesis is to formulate a practical aesthetic framework from Giorgio Agamben’s writings, and to use his concepts as an interpretative tool in relation to certain aspects of poetry in contemporary art. The specific category of printed poetry by artists is studied from a meta perspective, looking primarily at the gesture performed by writing poetry as an artist. A selective history of poetry in art looks at Marcel Broodthaers and the Bernadette Corporation, including the ways in which they can clarify the aesthetics of Agamben, followed by a shorter interpretations of three contemporary artist-poets – Karl Larsson, Karl Holmqvist and Hanne Lippard. These works can be defined as a hybrid third with Agamben, not art, but making the absence of art present. Works that are neither poetry nor art but with the availability and potential for both. An aesthetic terminology from Agamben is an aesthetics of privation and potential, of absence and inoperability, as well as an aesthetics of negation and resistance. A framework for looking at the tension between activity and passivity, and the resistance present there. The concept of potentiality also proves to be a fruitful opening for the interpretation of art leaning toward negation or withdrawal. / Populärvetenskaplig sammanfattning Uppsatsen undersöker en samling filosofiska begrepp kopplade till konst, hämtade från några av den italienska filosofen Giorgio Agambens böcker. Dessa kan läsas som en estetisk modell, och användas för att tolka konst som tangerar aspekter av inaktivitet och frånvaro, eller befinner sig mellan konst och andra uttrycksformer. Poesi skriven av konstnärer läses här ur ett metaperspektiv, med hjälp av Agambens filosofiska ramverk. Poesins kvalitet eller effekt är inte det huvudsakliga intresset, utan den gest som skrivandet av poesin förkroppsligar. En historisk kontext presenteras genom konstnären Marcel Broodthaers och konstnärsgruppen Bernadette Corporation. De filosofiska begreppen prövas sedan på tre samtida artist-poets, konstnärer som skriver poesi. Agamben ger verktyg för tolkning av konst som dra sig undan definition och representation. Uppsatsen påvisar hur poesi, när den produceras av konstnärer, kan tolkas som ett motstånd mot konstmarknaden.

Hàm Nghi (1871-1944), empereur patriote selon l’historiographie vietnamienne, victime ou acteur de la résistance anticoloniale selon les historiens français, fut exilé à Alger dans l’espoir de mettre fin au mouvement Cần Vương. Déporté à l’âge de dix-huit ans, pion sur l’échiquier politique de l’Indochine, il était considéré par une partie des autorités françaises comme un homme politique influent. Il fut surveillé toute sa vie et ne fut jamais autorisé à entrer en contact avec l’Indochine. Cependant, celui qui était désormais appelé « prince d’Annam », noua des amitiés avec des élèves vietnamiens au lycée d’Alger, des officiers et des missionnaires français, qui circulaient entre l’Indochine, l’Algérie et la métropole. Ces intermédiaires lui permirent de conserver un lien avec l’Indochine. Hàm Nghi consacra sa vie à l’art. Il devint peintre et sculpteur. Il fut l’élève du peintre orientaliste Marius Reynaud, du sculpteur Auguste Rodin, et fréquenta de nombreux artistes de son époque. Les archives nationales, vietnamiennes et françaises, nous apprennent les aspects administratifs de son exil : seul le point de vue du gouvernement français est alors connu. Les archives privées du fonds Hàm Nghi, récemment découvertes, apportent le regard intime de l’empereur exilé sur sa vie, par l’intermédiaire de sa correspondance. Ces documents permettent d’écrire une biographie et d’établir un catalogue raisonné de son œuvre. / Hàm Nghi (1871-1944), patriotic emperor according to Vietnamese historiography, victim or actor of the resistance against colonisation according to French historians, was sent into exile in Algiers in order to end the movement called Cần Vương. Deported when he was eighteen years old, pawn on the political chessboard of Indochina, he was considered by some French authorities to be an influential political figure. He was kept under surveillance his entire life and was never allowed contact with Indochina. Hàm Nghi, who was henceforth called “prince of Annam”, nevertheless established friendships with Vietnamese students of the Algiers highschool, and with officiers and missionnaries who travelled between Indochina, Algeria and France. These intermediaries helped him to maintain a connection with Indochina. Hàm Nghi dedicated his life to art. He became a painter and a sculptor. He was the student of the orientalist painter Marius Reynaud and of the sculptor Auguste Rodin, and he associated with many artists of his day. Previously the Vietnamese and French national archives informed us of the administrative aspects of the emperor’s exile, revealing only the point of view of the French government. Today the private archives of Hàm Nghi’s collection bring us the personal view of the emperor on his life. These documents enable us to write a biography and a catalogueraisonné.

This thesis rediscovers the Swedish painter Märta Rudbeck (1882–1933). During her lifetime she was an esteemed composer of flower still lifes and portraits. Her forgotten heritage follows those of other female artists, whose legacies are long forgotten. By retracing her life through archives and newspaper articles, a picture of her upbringing, education, career and network affiliations emerges. By using the French sociologist Pierre Bourdieus field theory, the aim of the thesis is to analyse the social, educational, cultural and economic aspects that affected Märta Rudbeck’s life, and how this was manifested in her art. The strategies Märta Rudbeck encompassed, are highlighted in the analysis. She chose to exhibit her work with a variety of associations and also took commissions for portraits and copies of older works of art. The analysis also reveals how she followed in her mother’s footsteps and embraced female networks to further her career. Furthermore, the thesis uncovers how her heritage, social class and upbringing most likely influenced her choice of genre, which in turn has prevented her from staying relevant since her untimely death in the early 1930’s. The thesis finally discloses how Märta Rudbeck’s artistry is once again made relevant, through a major museum acquisition as well as an exhibition at one of the greater art institutions in Sweden.

As second-year graduate students from LMU’s Art Therapy program, we are excited to introduce the focus of our Master’s research project, a concept we coined as exhibition as intervention. Our goal is to create a space that brings awareness to the possibilities of exhibition to amplify the voice and increase empathy between artist and viewer. Originally, our vision was to hold the exhibition at Cedars-Sinai to supplement the 2020 Art Therapy Research Symposium. With COVID-19 placing restrictions on public gatherings, the exhibition had to transform from a physical experience to a virtual one. The catalog which began as our secondary focus to the exhibition, shifted to become the primary source of communicating our intentions. Informed by the literature of our research, we felt a catalog best collected and organized the data, which in this case was the artwork submitted. It is our great privilege to present this catalog with the works of artists engaging in the creative process to make meaning of their experiences with cancer.

In this essay, two voices are heared, from two women: a certain artist Xena, who talks about her life and its dramas, interwoven with her own experiences from her diaries; and the voice of Maria, who analyzes Xena's life story and her art, diffracted through the prim of the history of 21stC art.  Art the outset, "President of Crimea. Constitution", announces its author as Xena-Maria; but it is not yet clear whether the author is one person or two, nor who they are. Is it Maria who writes here, or Xena, or both? Or are they one and the same person? But at the end of the story, which is told rather in a form of certain legends and fairy tales, Maria and Xena turn into one whole, and meaningfully put an ellipsis after the words "to be continued". This reception was specially intended by the artist Maria Kulikovska, author of this essay, in order to protect both herself and the reader from possible persecutions by migration services and goverment officials of various countries, especially Russia. Also, for her it is an opportunity to step aside and analyze her own life and art form a third person, about which, perhaps, a fictional character from her childhood talks - a sensible step for Maria Kulikovska. The step that her creative language conceptually continues is to replicate casts of her own body and establish them in different spaces and contexts. So she fairly confuses the viewer as to where is the truth, and where is fiction; where is herself, and where is her clone - only now, here, she has applied the same trick in her text. This essay tells a very personal story of the life of a human body, a migrant woman in forced relocation, displacements, alienation and persecutions for her views on life and the conduct of society, and for her moral values expressed throught architecture, sculpture, drawings, performances, actions and public statements. Through the prism of geopolitical upheavals, it tells the artist's own story: How her analysis of own body position and boundaries helped her overcome stigma regarding the body of a woman from Eastern Europe, and how art can save and redeem in an unending inner drama.

De temporum fine comoedia (Das Spiel vom Ende der Zeiten) ist der Titel eines Künstlerbuches, ...