Right on! Going with the text only is asking for trouble. The waveform is still irreplaceable; the words are a guide.

美國這裡很多縣市政府單位主辦的會，提供同步口譯，但他們完全不考慮必須給口譯員提供清晰音質這個必要條件，而是任他們用耳朵從現場擴音器轟隆迴響一團模糊的聲響中，接收講者的內容，再用小蜜蜂口譯給聽眾。

Just a reminder... that all (stereo) audio... is spatial already...

I posted an audio file of this essay read by Siri Simone.

interesting point! some other things in my head:

1) in addition to our increased writing endeavors, we've also been engaging in extensive reading as well, but our reading material has evolved beyond books, encompassing the plethora of content available in the vast expanse of cyberspace

2) and while the quantity of reading has expanded significantly, it is equally intriguing to recognize that the nature of these texts has shifted towards shorter formats—tweets, ig post captions, microblogs, etc

3) AND lastly, the act of reading has swiftly evolved into the realm of listening, with the emergence of podcasts, audiobooks, listenable videos, and similar forms of content consumption

The variety of formats which OER resources are available in (.epub, .pdf, .html, and other formats, including future formats like audio and potentially video (.mp3, .mp4) are a form of accessibility.

OEG Live: Audiobook Versions of OER Textbooks (and AI Implications)

Host: Alan Levine<br /> Panelists: Brian Barrick (LA Harbor College), Delmar Larsen, Brenna, Jonathan, Amanda Grey (KPU), Steel Wagstaff (Pressbooks).

Find out more information and discuss this topic on OEG Connect: https://oeg.pub/439V1Bc

Descript

All-in-one video & podcast editing, easy as a doc.

Alan Levine has been using this to do podcast editing and it allows for snipping out and replacing audio segments.

SoundStorm

We present SoundStorm, a model for efficient, non-autoregressive audio generation. SoundStorm receives as input the semantic tokens of AudioLM, and relies on bidirectional attention and confidence-based parallel decoding to generate the tokens of a neural audio codec. Compared to the autoregressive generation approach of AudioLM, our model produces audio of the same quality and with higher consistency in voice and acoustic conditions, while being two orders of magnitude faster. SoundStorm generates 30 seconds of audio in 0.5 seconds on a TPU-v4. We demonstrate the ability of our model to scale audio generation to longer sequences by synthesizing high-quality, natural dialogue segments, given a transcript annotated with speaker turns and a short prompt with the speakers' voices.

OpenStax American Government Audiobook

discussed in OEG Live: Audiobook Versions of OER Textbooks (and AI Implications)

A few more apps have arrived since this was first published - I thought I would include three I've actually used the most.

• AirScrobble delivers a particularly powerful capability for scrobbling automatically... consecutively... to Last.fm as it identifies tracks playing ambiently. I set it in front of my TV for half of 100 Gecs' recent Boiler Room set and was quite astonished at the result.
• Finale is another Last.fm client which can fundamentally serve as an updated experience from Last.fm's own iOS offering. Its included tools also make pretty collages and can really deliver for those with friends on the service.
• MusicBox is my next favorite of Marcos Tanaka's music apps (behind MusicHarbor.) I've used it in place of the Apple Music API-enabled Siri Shortcuts suite I thought I was going to have to make (and could never figure out.) See Federico Viticci's review for more details.

My (Entirely-Unsolicited) Thoughts on the most Casual Crue™'s 10th:

Ya know, my memory isn't so great anymore, but I remember my then best friend and most respected music authority resting pretty confidently in an argument about this sound, and those who peretuated it: that it was by nature/declaration substanceless, and therefore, those invested in it were either just superficial or.. idek anymore. Ingenuine, maybe?

I don't think I was even placating with him when I mostly went along with it - it did seem important to invest in more abrasive (read: edgy bs) pursuits. I thought I was resisting "nostalgia" and even invested most of my twenties trying to start an online culture/electronic music magazine in direct editorial opposition to regurgitation. Imo, though, any actual exposure to self-described "vaporwave" makes it very plain how utterly useless it is to cry nostalgia because - crucially - whatever form of it that may or may not be an established marker of this voice is completely devoid of the illness that has absolutely pervaded, destructively, throughout all manner of expression and exploitation in the past 10 years.

It is just not a constraining or negative force, here. I would propose, even, that it's been made, here, into the most powerful form of critique there possibly could be.

And the grief!!! and the mania!! In any sort of ... worldly-participatory context, it should not be some gargantuan leap for even the most cynical, repressed, bitter 50-something white music writer army to make the connections, here. Our tears are fucking digital, idiot.

...ANYway, sorry. I don't actually have any business talking about music, but I can express my big, soppy as hell appreciation for the nigh-inconceivable amount of quantitive life force for which this milestone is a handy opportunity to reflect.

Schubert Symphony No 3 II

Schubert Piano Sonata No. 1 in D.137 in E II Andante

J.S. Bach BWV1002 Violin Partita No. 1 Sarabande

Haydn Piano Sonata no 37 (theme)

Binary form exercises - audio 1 (Schubert Acht Ecossiasen No 3 (starts at 1:07)

audio recordings of mbaqanga music

@54:06:

Host: So in a way it's a regulation to drive change, or...

Anderson: Or, regulation to stop change that would upset existing safety standards social expectations, social norms.

This Week in the IndieWeb Audio Edition • April 15th - 21st, 2023 by Marty McGuire

EN QUÊTE D'ÉCOLE : épisode Punition (02/01/2023)

23 Punitions et sanctions : un sujet tabou ?

Exclusions, mots dans le carnet, heures de retenue, lignes à recopier, autant de punitions qui ravivent de douloureux souvenirs chez certains d’entre nous. Si comme l’écrivait Sénèque dans le De Ira « On doit punir, non pour punir, mais pour prévenir », force est de constater qu’il est parfois difficile de faire la distinction.

Dans le domaine de l’éducation, la sanction est la conséquence du manquement à une règle. La punition, vise à priver, ou à contraindre l’élève, et marque l'obéissance à l'autorité, la relation hiérarchique entre l’adulte à l’enfant.

A l’heure des remises en question, où d’anciennes manières d’éduquer et de sanctionner côtoient de nouvelles pratiques, la punition soulève de nombreux débats, tandis que l’école s’interroge sur les moyens d’inculquer aux élèves le sens des responsabilités.

Alors quelle est l’histoire des pratiques de punition dans l’école française, et quelle place prennent elles aujourd’hui dans le système éducatif ?

Pour le savoir, nous avons mené l’enquête.

Audio(music and sounds) within a video presentation is a tool that can help you engage more with your audience, unfortunately it is a double edged sword. There are times when the audio can fail or be delayed, which can throw off the rhythm of your presentation as well as your confidence. Using audio for edited videos gives the user more control as they can edit the audio to their liking.

I suspect this is due to Apple Classical being based to some degree (entirely supposition, btw) on Primephonic, the service Apple acquired in August of 2021. What do I know, though?

https://chat.d-id.com/ DID에서 나온 새로운 서비스 음성으로 채팅을 하고 AI와 얼굴을 보며 대화 20번 무료 사용 가능

annotation meta: may need new tag: - can't effectively monitor

Try also docdrop.

Or Hyperaudio (hyperaud.io, soon-to-be hyper.audio)

If I understand it correctly, with hyperaudio, one can also create transcription to somebody else's video or audio when embedded.

In that case, if you add to hyperaudio the annotation capablity of hypothes.is or docdrop, the vision outlined in the article on Global Knowledge Graph is already a reality.

Audio file needs to be added for both the examples.

@55:39

I would feel a little bit sad, but at the same time, this is a pattern I've seen happen over and over again. And especially with these big ideas about computing and self-expression and things like that [...] people start with these huge, huge ideas, but I think that they are so different--the diff is so much between where society is now and what some of these people are thinking about--that the most that can be absorbed at one time is like one unit--one meme--from that whole big vision. So, we're just gonna take like one small step at a time, and [...] you kind of just have to accept that, you know, that's success.

No.

I'm two years shy of 30 and I've been listening to "podcasts" - that is, audio programs distributed over RSS - nearly every day since Middle School. In all of that time, the word - not the medium, I'd argue - podcast has been so unnecessarily stretched to oblivion. Before making statements like this... can we please just... try out a few different words to describe what we're talking about here?

I listen to content because I be Doin Something dog. Cannot and will not look, and the extra production time required to just make a video version has continued to cause friction with the sort of content I actually want to hear.

I find it hilariously telling that Spotify's official, very-credentialed own Web API will not retrieve more than 50 fucking tracks from a playlist lmao.

(I lied to you just then. I find it makes me want to commit systematic acts of violence on myself.) - WTF

The historian in me always wants to look back at how this sort of media control has played out historically, so thinking about examples like William Randolph Hearst, Henry Luce, David Sarnoff, Axel Springer, Kerry Packer, or Rupert Murdoch across newspapers, radio, television, etc. might be interesting. See also: https://en.wikipedia.org/wiki/Media_proprietor

Tim Wu's The Master Switch is pretty accessible in this area.

On the intercultural front, the language (very careful public relations and "corporate speak") used in this leaked audio file of the most recent Twitter All Hands phone call might be fascinating and an interesting primary source for some of the questions you might be looking at on such an assignment. https://peertube.dk/w/2q8cdKR1mTCW7RyMQhcBEx

Who are the multiple audiences (acknowledged and unacknowledged) being addressed? (esp. as they address leaks of information in the call.)

https://peertube.dk/w/2q8cdKR1mTCW7RyMQhcBEx

Despite concerted efforts, there is a minimal amount of A/V material in Europeana and DPLA. This report details a pilot project to use a variety of machine-generated-metadata mechanisms to augment the human description efforts. Although this paragraph mentions rights determination, it isn't clear from the problem statement whether the machine-generated description includes anything that will help with rights. I would expect that unclear rights—especially for moving image content—would be a significant barrier to the open publication of A/V material.

Audio recording can be found here

Rubin, E. J., Baden, L. R., Mello, M. M., & Morrissey, S. (2021). Audio Interview: The Legal Basis for Covid-19 Restrictions and Mandates. New England Journal of Medicine, 385(21), e88. https://doi.org/10.1056/NEJMe2118197

I agree with everything in this post; I want to listen to more academic work in audio formats but find the process quite unsatisfying.

Either I find my attention drifting, or I’m switching between apps to try and capture the essence of something I’d like to come back to later.

I’m hoping that things like Momento help get us closer to the ability to capture information from audio sources, but this would need to be built into ebook readers or the operating system itself, in order to be more broadly useful.

It’d also need to be more reliable with respect to the quality of the machine learning transcription. At the moment it’s just useable, and requires a bit of interpretation.

How to record and edit audio in Ableton Live

Learning Ableton Live 11

I downloaded and installed Ableton Live 11. The 90-day free trial has expired. The install recognized that I had already tried out version 10.

Adaptive music: Responds to events in game. Calm to tense when you enter a battle. Drops back down to calm.

Nintendo is really good at this. In mario, soundtrack remains the same but the instruments used change (signifying a change in environment/place).

In some games, audio speeds up as you accelerate.

Voice recorder as a note taking device, particularly within the realm of music. A music commonplace.

Some interesting resources for music, audio, and video from the Library of Congress mentioned at IAnno21.

So this means you're going to use simple, open standards and tooling so that not only Anchor and Spotify will benefit? Or are you going to build closed systems that require the use of proprietary software and thus force subscriptions? Are you going to Balkanize the audio space to force consumers into your product and only your product? Or will producers be able to have a broad selection of platforms to which they could distribute their content?

Condorcet est pour l'éducation en famille et l'instruction à l'école

High quality audio makes you sound smarter: