Autotune

La actividad de los prosumidores a raíz de la web 2.0 ha dado lugar a un continuo surgimiento de nuevos fenómenos audiovisuales realizados con software de edición de audio y video. La música juega un papel protagonista en muchos de ellos e interactúa con la imagen y el lenguaje verbal ofreciendo numerosas posibilidades para refrendar o subvertir los significados que cada lenguaje comunica de forma autónoma. En este artículo abordamos el empleo del "plug-in" AutoTune por parte de los prosumidores para subvertir el significado de los discursos políticos con una intención satírica, una práctica que en los últimos años se ha consolidado alcanzado una dimensión mundial. Esta práctica demuestra cómo la música se utiliza de forma constante para generar un significado diferente, muchas veces contrario, al que expresa el contenido textual de un discurso, funcionando como una herramienta fundamental del "polintertaiment" con grandes implicaciones ideológicas. Abordamos los parámetros que definen la musicalidad del lenguaje hablado como punto de partida para la creación musical con el AutoTune en esta tipología de vídeos, y profundizamos en este fenómeno con el análisis pormenorizado del ejemplo con mayor repercusión en España en los últimos años: la reciente musicalización que Iván Lagarto hizo del discurso que Rita Barberá pronunció en la Crida de las fallas de 2015.

In cinematic history, black bodies have been represented as inhuman, superhuman , and subhuman. T-Pain's work enacts strategic resistance to these discursive formations. T-Pain's "Can't Believe It" music video resonates with wider practices of how black bodies are represented in visual media. After an analysis of T-Pain's use of Auto-Tune as a technology that represents the human voice via machine, I articulate how T-Pain's earlier radical improvisational work with Auto-Tune and his subsequent cinematic strategies in his widely popular video represent the radical black imagination. T-Pain's "Can't Believe It" music video resonates with historical practices of how black bodies are represented in visual media. I analyze T-Pain's transformation of Auto-Tune into a subversive technology that represents the black voice via machine. I connect that sonic analysis to signifiers in the video, which are representations that deploy constructions of race, class, gender, and sexuality as they relate to notions of blackness. Crossing bar lines, the semiotics of T-Pain's trademark Auto-Tune sound, raises questions about what is at stake in the music through the generative force of sonic propulsion and the simultaneously old and novel articulation of a freedom drive propelling black performance.

Performance degradation due to imperfect isola-
tion of hardware resources such as cache, network, and I/O has
been a frequent occurrence in public cloud platforms. A web
server that is suffering from performance interference degrades interactive user experience and results in lost revenues. Existing work on interference mitigation tries to address this problem by intrusive changes to the hypervisor, e.g., using intelligent schedulers or live migration, many of which are available only to infrastructure providers and not end consumers. In this paper, we present a framework for administering webserver clusters where effects of interference can be reduced by intelligent reconfiguration. Our controller, ICE, improves webserver performance during interference by performing two-fold autonomous reconfigurations. First, it reconfigures the load balancer at the ingress point of the server cluster and thus reduces load on the impacted server. ICE then reconfigures the middleware at the impacted server to reduce its load even further. We implement and evaluate ICE on CloudSuite, a popular web application benchmark, and with two popular load balancers - HAProxy and LVS. Our experiments in a private cloud testbed show that ICE can improve median response time of web servers by upto 94% compared to a statically configured server cluster. ICE also outperforms an adaptive load balancer (using least connection scheduling) by upto 39%.