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Information-09-00183.Pdf
information Review AI to Bypass Creativity. Will Robots Replace Journalists? (The Answer Is “Yes”) Andrey Miroshnichenko ID York & Ryerson Joint Graduate Program in Communication & Culture, York University, Toronto, ON M3J 1P3, Canada; [email protected] Received: 1 July 2018; Accepted: 21 July 2018; Published: 23 July 2018 Abstract: This paper explores a practical application of a weak, or narrow, artificial intelligence (AI) in the news media. Journalism is a creative human practice. This, according to widespread opinion, makes it harder for robots to replicate. However, writing algorithms are already widely used in the news media to produce articles and thereby replace human journalists. In 2016, Wordsmith, one of the two most powerful news-writing algorithms, wrote and published 1.5 billion news stories. This number is comparable to or may even exceed work written and published by human journalists. Robo-journalists’ skills and competencies are constantly growing. Research has shown that readers sometimes cannot differentiate between news written by robots or by humans; more importantly, readers often make little of such distinctions. Considering this, these forms of AI can be seen as having already passed a kind of Turing test as applied to journalism. The paper provides a review of the current state of robo-journalism; analyses popular arguments about “robots’ incapability” to prevail over humans in creative practices; and offers a foresight of the possible further development of robo-journalism and its collision with organic forms of journalism. Keywords: artificial intelligence (AI); automated journalism; robo-journalism; writing algorithms; future of news; media ecology; Turing test 1. Introduction Artificial intelligence (AI) is usually defined in two ways that, in a sense, are contradictory. -
Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
MEIEA 2010.Indd
Journal of the Music & Entertainment Industry Educators Association Volume 10, Number 1 (2010) Bruce Ronkin, Editor Northeastern University Published with Support from Reviews Monica A. Coates. The Beginner’s Guide to the Gospel Music Indus- try: A Handbook for Aspiring Artists and Industry Executives. Franklin, Tenn.: Paul Marchell Publishing, 2009. www.moni- cacoates.com. As a veteran of the Gospel music industry—including stints at EMI Gospel and Verity, and experience in artist management, publicity, radio promotions, and A&R—Monica Coates is well positioned to enlighten the reader about the workings of the Gospel music industry, as well as comment on the mindset and motivation within the Gospel music genre. Through her explanations and examples, any student of the music industry will recognize that many business practices of the genre are common to other genres. For those who have had little exposure to the Gospel mu- sic industry, Coates supplies insight to its unique aspects such as viewing one’s job more as a calling, or encouraging artists to defi ne not only their sound, but their ministry. Those readers more steeped in the genre will appreciate the real-world examples using contemporary Gospel artists, as well as the application of scripture. Throughout the 216 pages of the book, her tone is inspirational and the content accessible, applicable, and infor- mative. The book is divided into four parts: Part I: The Basics; Part II: For the Aspiring Artist; Part III: For the Aspiring Industry Executive; and Part IV: Changing Times. To begin her book, Coates’ preface succinctly introduces and defi nes key terms and concepts encountered throughout the work. -
Wavelength (November 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• • -
Harry Bassler
the club joining the Western GA to make Over $50,000 a year in sales from 1941 caddie scholarships available and the an- to 1945 inclusive, this income derived each nual Caddies vs. Members softball game. year approximately as follows: Chicago and suburban newspapers were Club sales $30,000 kept supplied with information on the cam- Ball sales 10,000 paign and they gave it a good play. Accessory sales 5,000 Caddie Cart rentals 6,000 HARRY BASSLER Total $51,000 (Continued jrom page 34) Since 1945 when Bassler could start tak- ing time out to give lessons he has aver- dirt and papers, why Bassler grabs the aged over $5000 per year from this source, broom and takes care of the job then. giving as many as 15 lessons in a day. And Strange as it seems, Bassler says, after the remember: the above sales were made with assistants see you sweeping and cleaning a staff of 3 to 4 girls during the war years up, you will never have to ask them to as no young men were available. do it. Finally, Bassler is top money-winning But, best of all it gives you another pro in California area tournaments, add- chance to "shift around" your stock— ing in this manner an additional $1813 last which gives the appearance that you had year in money prizes he copped in 15 ac- to do so because you "sold out," or nearly credited tournaments. He is top money sold out, the items previously displayed winning pro in this area again so far this at certain spots. -
UNDERSTANDING PORTRAYALS of LAW ENFORCEMENT OFFICERS in HIP-HOP LYRICS SINCE 2009 By
ON THE BEAT: UNDERSTANDING PORTRAYALS OF LAW ENFORCEMENT OFFICERS IN HIP-HOP LYRICS SINCE 2009 by Francesca A. Keesee A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degrees of Master of Science Conflict Analysis and Resolution Master of Arts Conflict Resolution and Mediterranean Security Committee: ___________________________________________ Chair of Committee ___________________________________________ ___________________________________________ ___________________________________________ Graduate Program Director ___________________________________________ Dean, School for Conflict Analysis and Resolution Date: _____________________________________ Fall Semester 2017 George Mason University Fairfax, VA University of Malta Valletta, Malta On the Beat: Understanding Portrayals of Law Enforcement Officers in Hip-hop Lyrics Since 2009 A Thesis submitted in partial fulfillment of the requirements for the degrees of Master of Science at George Mason University and Master of Arts at the University of Malta by Francesca A. Keesee Bachelor of Arts University of Virginia, 2015 Director: Juliette Shedd, Professor School for Conflict Analysis and Resolution Fall Semester 2017 George Mason University Fairfax, Virginia University of Malta Valletta, Malta Copyright 2016 Francesca A. Keesee All Rights Reserved ii DEDICATION This is dedicated to all victims of police brutality. iii ACKNOWLEDGEMENTS I am forever grateful to my best friend, partner in crime, and husband, Patrick. -
Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date. -
Rmmla Convention Program
ROCKY MOUNTAIN MODERN LANGUAGE ASSOCIATION SEVENTY-FOURTH ANNUAL CONVENTION OCTOBER 14-16, 2021 STAYING CONNECTED THROUGH RMMLA: 2021 ONLINE CONFERENCE INSTITUTIONAL HOST: University of Wyoming RMMLA CONVENTION PROGRAM www.rmmla.org Rocky Mountain Modern Language Association Directorate at the University of Wyoming Hoyt Hall 104, 1000 East University Avenue, Box 3603 University of Wyoming, Laramie, WY 82072 Email: [email protected] Web: www.rmmla.org Phone: 307-766-4852 RMMLA is a member of the Council of Editors of Learned Journals Copyright © 2021 Rocky Mountain Modern Language Association Printed in the USA. All rights reserved. 2 Table of Contents CONTENTS Welcome ...................................................................................................................3 RMMLA Governance & Administration Service on the RMMLA Executive Board ................................................4 RMMLA Constitution ..................................................................................5 Convention Information History of the RMMLA Convention .........................................................8 Online Convention Guidelines and Procedures .......................................9 Access Guidelines .......................................................................................19 Program Zoom Room Access ..................................................................20 Program Summary by Day ........................................................................22 Program Summary by Session Type .........................................................31 -
By David Kunian, 2013 All Rights Reserved Table of Contents
Copyright by David Kunian, 2013 All Rights Reserved Table of Contents Chapter INTRODUCTION ....................................................................................... 1 1. JAZZ AND JAZZ IN NEW ORLEANS: A BACKGROUND ................ 3 2. ECONOMICS AND POPULARITY OF MODERN JAZZ IN NEW ORLEANS 8 3. MODERN JAZZ RECORDINGS IN NEW ORLEANS …..................... 22 4. ALL FOR ONE RECORDS AND HAROLD BATTISTE: A CASE STUDY …................................................................................................................. 38 CONCLUSION …........................................................................................ 48 BIBLIOGRAPHY ….................................................................................... 50 i 1 Introduction Modern jazz has always been artistically alive and creative in New Orleans, even if it is not as well known or commercially successful as traditional jazz. Both outsiders coming to New Orleans such as Ornette Coleman and Cannonball Adderley and locally born musicians such as Alvin Battiste, Ellis Marsalis, and James Black have contributed to this music. These musicians have influenced later players like Steve Masakowski, Shannon Powell, and Johnny Vidacovich up to more current musicians like Terence Blanchard, Donald Harrison, and Christian Scott. There are multiple reasons why New Orleans modern jazz has not had a greater profile. Some of these reasons relate to the economic considerations of modern jazz. It is difficult for anyone involved in modern jazz, whether musicians, record -
Session Abstracts (Final)
2010 ARSC Conference [FINAL] A&R: JAZZ Thursday 11:15a-12:30p Session 1 Session Abstracts for Thursday Hidden Gems: Preserving the Benny Carter and Benny Goodman Collections Ed- ward Berger, Vincent Pelote, and Seth Winner, Institute of Jazz Studies, Rutgers University, THE SOUNDS OF NEW ORLEANS Newark, NJ Thursday 8:45a-10:45a Plenary Session In 2009 the Institute of Jazz Studies received a major grant from the Andrew W. Mellon Foundation to digitize two of its most significant bodies of sound recordings: the Benny WELCOME David Seubert, President, ARSC Carter and Benny Goodman Collections. The Carter Collection comprises the multi- The opening session introduces us to the music of New Orleans and the rich history of instrumentalist/arranger/composer’s personal archive and contains many unique perform- recording in the city. ances, interviews, and documentation of events in Carter’s professional life. Many of these tapes and discs were donated by Carter himself, and the remainder by his wife, Hilma, shortly after Carter’s death in 2003. The Goodman Collection consists of reel-to- RECORD MAKERS AND BREAKERS: NEW ORLEANS AND SOUTH LOUISIANA, 1940S- reel tapes compiled by Goodman biographer/discographer D. Russell Connor over four 1960S: RESEARCHING A REGION'S MUSIC John Broven, East Setauket, NY decades and donated by him in 2006. It represents the most complete collection of This presentation will be based on Broven’s three books: Walking to New Orleans: The Goodman recordings anywhere. As friend and confidant to Goodman, Connor had access Story of New Orleans R&B (1974, republished as Rhythm & Blues in New Orleans in to the clarinetist’s personal archive, as well as those of many Goodman researchers and 1978), South to Louisiana: The Music of the Cajun Bayous (1983), and Record Makers collectors worldwide. -
John Bailey Randy Brecker Paquito D'rivera Lezlie Harrison
192496_HH_June_0 5/25/18 10:36 AM Page 1 E Festival & Outdoor THE LATIN SIDE 42 Concert Guide OF HOT HOUSE P42 pages 30-41 June 2018 www.hothousejazz.com Smoke Jazz & Supper Club Page 17 Blue Note Page 19 Lezlie Harrison Paquito D'Rivera Randy Brecker John Bailey Jazz Forum Page 10 Smalls Jazz Club Page 10 Where To Go & Who To See Since 1982 192496_HH_June_0 5/25/18 10:36 AM Page 2 2 192496_HH_June_0 5/25/18 10:37 AM Page 3 3 192496_HH_June_0 5/25/18 10:37 AM Page 4 4 192496_HH_June_0 5/25/18 10:37 AM Page 5 5 192496_HH_June_0 5/25/18 10:37 AM Page 6 6 192496_HH_June_0 5/25/18 10:37 AM Page 7 7 192496_HH_June_0 5/25/18 10:37 AM Page 8 8 192496_HH_June_0 5/25/18 11:45 AM Page 9 9 192496_HH_June_0 5/25/18 10:37 AM Page 10 WINNING SPINS By George Kanzler RUMPET PLAYERS ARE BASI- outing on soprano sax. cally extroverts, confident and proud Live 1988, Randy Brecker Quintet withT a sound and tone to match. That's (MVDvisual, DVD & CD), features the true of the two trumpeters whose albums reissue of a long out-of-print album as a comprise this Winning Spins: John Bailey CD, accompanying a previously unreleased and Randy Brecker. Both are veterans of DVD of the live date, at Greenwich the jazz scene, but with very different Village's Sweet Basil, one of New York's career arcs. John has toiled as a first-call most prominent jazz clubs in the 1980s trumpeter for big bands and recording ses- and 1990s.