Wow. The Jabberwocky festival, organised by the people who did many amazing All Tomorrow's Parties festivals, collapsed three days before it was due to happen, this weekend. The 405 has a great article about the whole sorry mess.
We've been to loads of ATPs and I was thinking about going to Jabberwocky. Really tempted by the great lineup and handily in London (where I live). But the venue? The Excel Centre? A convention-centre box? I couldn't picture it being fun. The promoters tried to insist that it was a great idea for a venue, but it seems I was probably like a lot of people thinking "nah". (Look at the reasons they give, crap reasons. No-one ever complained at ATP about the bar queues or the wifi coverage. The only thing I complained about was that the go-karting track was shut!) I've seen a lot of those bands before, too, it's classic ATP roster, so if the place isn't a place I want to go to then there's just not enough draw.
That 405 article mentions an early "leak" of plans that they were aiming to hold it in the Olympic Park. Now that would have been a place to hold it. Apparently the Olympic Park claimed ignorance, saying they never received a booking, but that sounds like PR-speak pinpointing that they were in initial discussions but didn't take it further. I would imagine that the Olympic Park demanded a much higher price than Excel since they have quite a lot of prestige and political muscle - or maybe it was just an issue of technical requirements or the like. But the Jabberwocky organisers clearly decided that they'd got the other things in place (lineup etc) so they'd press ahead with London in some other mega-venue, and hoped that the magic they once weaved on Pontins or Butlins would happen in the Excel.
This weekend there will be lots of great Jabberwocky fall-out gigs across London. That's totally weird. And I'm sorry I won't be in London to catch any of them! But it's very very weird because it's going to be about 75% of the festival, but converted from a monolithic one into one of those urban multi-venue festivals. The sickening thing about that is that even though the organisers clearly cocked some stuff up royally, I still feel terrible for them having to go bust and get no benefit from the neat little urban fallout festival they've accidentally organised. Now if ATP had decided to run it that way, I would very likely have signed up for it, and dragged my mates down to London!
I'm going to try and avoid ranting about Israel and Palestine because there's much more heat than light right now. But I want to recommend some background reading that seems useful, and it's historical/background stuff rather than partisan:
I also want to point to a more "one-sided" piece (in the sense that it criticises one "side" specifically - I've no idea about the author's actual motivations): Five Israeli Talking Points on Gaza - Debunked. I recommend it because it raises some interesting points about international law and the like, and we in the UK don't seem to hear these issues filled out on the radio.
Also this interview with Ex-Israeli Security Chief Diskin. Again I don't know Diskin's backstory - clearly he's opposed to the current Israeli Prime Minister (Netanyahu), but the interview has some detail.
As usual, please don't assume anyone is purely pro-Palestine or pro-Israel, and don't confuse criticism of Israel/Hamas with criticism of Judaism/Islam. The topic is hard to talk about (especially on the internet) without the conversation spiralling into extremes.
There's a poster produced by the UK government recently that says:
1 in 3 rape victims have been drinking. Know your limits.
I can imagine there are people in a design agency somewhere trying to think up stark messages to make the nation collectively put down its can of Tennents for at least a moment, and it's good to dissuade people from problem drinking. But this is probably the most blatant example I've ever seen of what people have been calling "victim blaming".
If your friend came to you and said they'd been raped, would you say "You shouldn't have been drinking"? I hope not. And not just because it'd be rude! But because even when someone is a bit tipsy, it's not their fault they were raped, it's the rapist's fault.
It sounds so pathetically obvious when you write it down like that. But clearly it still needs to be said, because there are people putting together posters that totally miss the point. They should also bear in mind that a lot of people like to have a drink on a night out, or on a night in. (More than half of women in the UK drink one or two times a week, according to the 2010 General Lifestyle Survey table 2.5c) So it's actually no surprise AT ALL that 1/3 of rape victims have been drinking. What proportion of rape victims have been smoking? Dancing? Texting?
(By the way there's currently a petition against the advert.)
On the other hand, maybe it's worth thinking about the other side of the coin. People who end up as convicted rapists - some of them after a fuzzy night out or whatever - how many of them have been drinking? Does that matter? Yes, it matters more, because rape is an act of commission, and it seems likely that in some proportion of rapes a person went beyond reasonable bounds as a result of their drinking.
So how about this for a poster slogan:
1 in 3 rapists have been drinking. Know your limits.
(I can't find an exact statistic to pin down the number precisely - here I found an ONS graph which tells us in around 40% of violent crimes, the offender appears to have been drinking. So for rape specifically I don't know, but 1 in 3 is probably not wide of the mark.)
So now here's a question: why didn't they end up with that as a slogan? Is it because they were specifically tasked with cutting down women's drinking for some reason, and just came up with a bad idea? Or is it because victim-blaming for rape just sits there at a low level in our culture, in the backs of our minds, in the way we frame these issues?
In mainland Britain, you are never more than 34 miles from a pub.
I've been awarded a 5-year research fellowship! It's funded by the EPSRC and gives me five years to research "structured machine listening for soundscapes with multiple birds". What does that mean? It means I'm going to be developing computerised processes to analyse large amounts of sound recordings - automatically detecting the bird sounds in there and how they vary, how they relate to each other, how the birds' behaviour relates to the sounds they make.
What's the point of analysing bird sounds? Well...
One surprising fact about birdsong is that it has a lot in common with human language, even though it evolved separately. Many songbirds go through similar stages of vocal learning as we do, as they grow up. And each species is slightly different, which is useful for comparing and contrasting. So, biologists are keen to study songbird learning processes - not only to understand more about how human language evolved, but also to help understand more about social organisation in animal groups, and so on. I'm not a biologist but I'm going to be collaborating with some great people to help improve the automatic sound analysis in their toolkit - for example, by analysing much larger audio collections than they can possibly analyse by hand.
Bird population/migration monitoring is also important. UK farmland bird populations have declined by 50% since the 1970s, and woodland birds by 20% (source). We have great organisations such as the BTO and the RSPB, who organise professionals and amateurs to help monitor bird populations each year. If we can add improved automatic sound recognition to that, we can help add some more detail to this monitoring. For example, many birds are changing location year-on-year in response to climate change (source) - that's the kind of pattern you can detect better when you have more data and better analysis.
Sound is fascinating, and still surprisingly difficult to analyse. What is it that makes one sound similar to another sound? Why can't we search for sounds as easily as we can for words? There's still a lot that we haven't sorted out in our scientific and engineering understanding of audio. Shazam works well for music recordings, but don't be lulled into a false sense of security by that! There's still a long way to go in this research topic before computers can answer all of our questions about sounds.
I'll be developing automatic analysis techniques (signal processing and machine learning techniques), building on starting points such as my recent work on tracking multiple birds in an audio recording and on analysing frequency-modulation in bird sounds. I'll be based at Queen Mary University of London.
I'll also be collaborating with some experts in machine learning, in animal behaviour, in bioacoustics. One of the things on the schedule for this year is to record some zebra finches with the Clayton Lab. I've met the zebra finches already - they're jolly little things, and talkative too! :)
Here's an update to my own personal data about how long it takes to get academic articles published. I've also augmented it with funding applications too, to compare how long all these decisions take in academia.
It's important because often, especially as an early-career researcher, if it takes one year for a journal article to come out (even after the reviewers have said yes), that's one year of not having it on your CV.
So how long do the different bits take? Here's a bar-chart summarising the mean durations in my data:
The data is divided into 3 sections: first, writing up until first submission; then, reviewing (including any back-and-forth with reviewers, resubmission etc); then finally, the time from final decision through to publication.
Firstly note that there are not many data points here, so for example I have one journal article that took an extremely long time after acceptance to actually appear, and this skews the average. But it's certainly notable that the time spent writing generally is dwarfed by the time spent waiting. And particularly that it's not necessarily the reviewing process itself that forces us all to wait - various admin things such as typesetting seem to take at least as long. Whether or not things should take that long, well, it's up to you to decide.
Also - I was awarded a fellowship recently, which is great - but you can see in the diagram, that I spent about two years repeatedly getting negative funding decisions. It's tough!
This is just my own data - I make no claims to generality.
Agh, I just got caught out by a "silent" change in the behaviour of scipy for Python. By "silent" I mean it doesn't seem to be in the scipy 0.12 changelog even though it should be. I'm documenting it here in case anyone else needs to know:
Here's the simple code example - using scoreatpercentile to find a percentile for some 2D array:
import numpy as np from scipy.stats import scoreatpercentile scoreatpercentile(np.eye(5), 50)
On my laptop with scipy 11.0 (and numpy 1.7.1) the answer is:
array([ 0., 0., 0., 0., 0.])
On our lab machine with scipy 13.3 (and numpy 1.7.0) the answer is:
In the first case, it calculates the percentile along one axis. In the second, it calculates the percentile of the flattened array, because in scipy 12 someone added a new "axis" argument to the function, whose default value "None" means to analyse the flattened array. Bah! Nice feature, but a shame about the compatibility. (P.S. I've logged it with the scipy team.)
Someone on the Linux Audio Users list asked how they could analyse a load of FLAC files to work out if it was true for their music collection, that bass frequencies below about 150 Hz (say) tended to be centre-panned. Here's my answer.
First of all, coincidentally I know that Pedro Pestana published a nice analysis of exactly this phenomenon, at the AES 53rd conference recently. He actually looked at hundreds of number-one singles to determine the relationship between panning and frequency in the habits of producers/engineers for popular tracks. The paper isn't open access unfortunately but there you go.
So anyway here's a Python script I just wrote: script to analyse your audio files and plot the distribution of panning per frequency. And here's how it looks when I analyse the excellent Rumour Cubes album:
(Just to stress, this is a simple analysis. It simply looks at the spectral representation of the complete mix, it doesn't infer anything clever about the component parts of the mix.)
See any patterns? The pattern I was looking for is a bit subtle, but it's right down at the bottom below 100 Hz (i.e. 0.1 kHz on the scale): the bass tends to "pinch in" and not get panned around so much as the other stuff.
This analysis of Lotus Flower by Radiohead (by Daniel Jones) shows the effect more clearly.
This is what's generally observed, and widely known in mixing engineer "folklore": pan your bass to the centre, do what you like with the rest. Not everyone agrees on the reasons: some people say it's because the bass can cause the needle to skip out of vinyl records if it's off-centre, some people say it's because we can't really perceive the spatialisation very well at low frequencies, some people say it's just to maximise the energy in the mix. I have no comment on what the reasons might be, but it's certainly folk wisdom for various audio people, and empirically you can test it for yourself by analysing some of your music collection.
NOTE: Code and image updated 2014-02-08, thanks to Daniel Jones (see comments below) for spotting an issue.