Please use this identifier to cite or link to this item: https://scidar.kg.ac.rs/handle/123456789/15919
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dc.contributor.authorPolitis D.-
dc.contributor.authorTzimas R.-
dc.contributor.authorMargounakis, Dimitrios-
dc.contributor.authorAleksić, Veljko-
dc.contributor.authorParis N.-
dc.date.accessioned2023-02-08T16:05:14Z-
dc.date.available2023-02-08T16:05:14Z-
dc.date.issued2022-
dc.identifier.issn2367-3370-
dc.identifier.urihttps://scidar.kg.ac.rs/handle/123456789/15919-
dc.description.abstractMobile devices of any sort, size and construction have increased drastically the sensory input of the Internet in unprecedented levels. Massive recordings of every day artistic activities, in the form of sound archives, photographs, movie films footages or video signals have proved to be particularly successful and influential within the social services’ immense cloud. Mobile devices prove to be the most convenient means to input in digital format what millions of correspondents notice with their physical senses happening in their everyday cognitive walk within their natural habitat. As a result, the amount of sensory input, within each user’s walkthrough in his digital habitat, has increased drastically for hearings that have been not that much promoted by the established media hubs - which are more or less using digital footages highly influenced by the US movie industry and the lifestyles of people within each country that are behaving accordingly to the prevalent model.-
dc.sourceLecture Notes in Networks and Systems-
dc.titleUser Experience and Music Perception in Broadcasts: Sensory Input Classification-
dc.typeconferenceObject-
dc.identifier.doi10.1007/978-3-030-96296-8_37-
dc.identifier.scopus2-s2.0-85128762201-
Appears in Collections:Faculty of Technical Sciences, Čačak

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