Using node-level metrics of in-strength, out-strength, and synchrony, we show that mlVAR is capable of teasing apart complex role-based dynamics (controller, primary contributor, or secondary contributor) between participants. Measured signals reflect participants’ affective states (positive valence and negative valence), physiological states (skin conductance and heart rate), attention (gaze fixation duration and gaze dispersion), nonverbal communication (head acceleration and facial expressiveness), and verbal communication (speech rate). In order to demonstrate the utility of mlVAR for understanding the temporal dynamics of multimodal multi-party (MMP) interactions, we apply it to 9 signals measured from 201 users (67 triads) who engaged in a 15-minute collaborative problem solving task. Importantly, mlVAR facilitates investigations into highly complex collaborative interactions within a unified framework.
The information conveyed in this article was garnered from interviews and archival sources, during several periods of fieldwork in Scandinavia between 19.Multi-level vector autoregression (mlVAR) is a recently developed dynamic network model for assessing multimodal temporal data streams derived from multiple users over time. Both the musicians and their products reflect the obvious influence of popular music idioms, but the more significant factor is the degree to which each has contributed to the forging of a new, positive Saami ethnic identity.
In this article, the activities of a selected group of Saami musicians and recordings from the latter half of the 20th century are examined within the socio-political context of their respective eras.
Much of this music is clearly created for entertainment purposes, but there is compelling evidence that some of the most prominent Saami musicians have also consciously manipulated musical resources either to support or confront issues lying at the core of contemporary Saami culture. The results of these efforts range from simple rock'n'roll performed in Saami dialects, to complex, syncretic productions featuring Saami musical elements intermixed with instrumentation and concepts gleaned from other cultures. Beginning in the late 1950s and continuing into the present, Saami (formerly Lapp) musicians in Norway, Sweden and Finland have created a sizeable amount of popular music aimed primarily at Saami audiences.
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