Abstract
The supercontinum generation has been achieved mainly by two different approaches, namely, with femtosecond intense pulses or using a continuous wave laser or larger pulses centered on the anomalous dispersion region. In order to improve temporal coherence, it has been suggested the introduction of a pulse seed or the propagation of both a large pulse pump and a small weaker continuous wave to control the soliton fission. Here we propose supercontinuum generation using a hybrid input, we pump with a continuous laser and copropagate a picosecond signal. We compare the bandwidth of the supercontinuum using only the continuous pump or the hybrid setup. Simulations of the generalized Schrodinger equation, using an adequate input-noise model to reproduce the spectrum of the continuous signal, are performed in order to investigate the supercontinuum generation in the optical communication window under different dispersion regimes.

Abstract
In this paper we will maintain that cultural institutions are increasingly facing the inevitability of a profound revision in their traditional parameters of unidirectional communication. Given the increasing availability of tools for audiovisual production as well as the diversity of networked communication contexts, the roles of the user and the audience have come to assume a participatory potential in the content they consume and attend; this will dictate their repositioning in relation to the universe of institutions' work. In order to communicate new messages, media narratives, views or perspectives on the same reality are constantly constructed, deconstructed and reconstructed. In this age of 'Consumer- Generated Media', identities and representations are constantly changing. The idea and the concept of a brand now extends far beyond its own limits, taking on important emotional values, and people enjoy being a part of that brand's mythology. The Serralves Foundation, along with its Museum of Contemporary Art, in Porto, Portugal, was the subject of a first study of an empirical nature: a series of audio-visual objects were developed, in order to generate material for analysis and proposition. In this subsequent stage, we aim at the identification of new procedures and practices that may be effectively implemented within the institutional universe. We intend to establish more efficient communication contexts, including the maximizing of a set of relationships between institutions and audiences regarding dimensions that are traditionally outside the institutional radar: identity, narrative and affection. By referring to key examples, we will posit that in order to achieve more success in their missions, cultural institutions should focus on participatory education and communication processes regarding contemporary issues. By doing this, they will strengthen their engagement with their audiences and bring them into the institutions' projects. This project is currently undertaking a wide inventory and taxonomy of the various institutional paradigms in regards to communication practices. We aim at producing a map of vocations and positions within the institutional world in regards to the aforementioned issues that require participatory communication. © Berg 2012 Printed In The UK.

Abstract

Abstract
In this paper we will maintain that cultural institutions are increasingly facing the inevitability of a profound revision in their traditional parameters of unidirectional communication. Given the increasing availability of tools for audiovisual production as well as the diversity of networked communication contexts, the roles of the user and the audience have come to assume a participatory potential in the content they consume and attend; this will dictate their repositioning in relation to the universe of institutions' work. In order to communicate new messages, media narratives, views or perspectives on the same reality are constantly constructed, deconstructed and reconstructed. In this age of 'Consumer-Generated Media', identities and representations are constantly changing. The idea and the concept of a brand now extends far beyond its own limits, taking on important emotional values, and people enjoy being a part of that brand's mythology. The Serralves Foundation, along with its Museum of Contemporary Art, in Porto, Portugal, was the subject of a first study of an empirical nature: a series of audio-visual objects were developed, in order to generate material for analysis and proposition. In this subsequent stage, we aim at the identification of new procedures and practices that may be effectively implemented within the institutional universe. We intend to establish more efficient communication contexts, including the maximizing of a set of relationships between institutions and audiences regarding dimensions that are traditionally outside the institutional radar: identity, narrative and affection. By referring to key examples, we will posit that in order to achieve more success in their missions, cultural institutions should focus on participatory education and communication processes regarding contemporary issues. By doing this, they will strengthen their engagement with their audiences and bring them into the institutions' projects. This project is currently undertaking a wide inventory and taxonomy of the various institutional paradigms in regards to communication practices. We aim at producing a map of vocations and positions within the institutional world in regards to the aforementioned issues that require participatory communication.

Abstract
Hardcore, jungle, and drum and bass (HJDB) are fast-paced electronic dance music genres that often employ resequenced breakbeats or drum samples from jazz and funk percussionist solos. We present a style-specific method for downbeat detection specifically designed for HJDB. The presented method combines three forms of metrical information in the prediction of downbeats: low-level onset event information; periodicity information from beat tracking; and high-level information from a regression model trained with classic breakbeats. In an evaluation using 206 HJDB pieces, we demonstrate superior accuracy of our style specific method over four general downbeat detection algorithms. We present this result to motivate the need for style-specific knowledge and techniques for improved downbeat detection. © 2012 International Society for Music Information Retrieval.

Abstract
In this paper we establish a threshold for perceptually acceptable beat tracking based on the mutual agreement of a committee of beat trackers. In the first step we use an existing annotated dataset to show that mutual agreement can be used to select one committee member as the most reliable beat tracker for a song. Then we conduct a listening test using a subset of the Million Song Dataset to establish a threshold which results in acceptable quality of the chosen beat output. For both datasets, we obtain a percentage of trackable music of about 73%, and we investigate which data tags are related to acceptable and problematic beat tracking. The results indicate that current datasets are biased towards genres which tend to be easy for beat tracking. The proposed methods provide a means to automatically obtain a confidence value for beat tracking in non-annotated data and to choose between a number of beat tracker outputs. © 2012 International Society for Music Information Retrieval.