bEADS:Extended Actuated Digital Shaker

While there are a great variety of digital musical interfaces available to the working musician, few o er the level of immediate, nuanced and instinctive control that one nds in an acoustic shaker. bEADS is a prototype of a digital musical instrument that utilises the gestural vocabulary associated with shaken idiophones and expands on the techniques and sonic possibilities associated with them. By using a bespoke physically informed synthesis engine, in conjunction with accelerometer and pressure sensor data, an actuated handheld instrument has been built that allows for quickly switching between widely di ering percussive sound textures. The prototype has been evaluated by three experts with di erent levels of involvement in professional music making

Engineering Students’ Dynamic And Fluid Group Practices In A Collaborative Design Project

There is a growing interest in engineering education that the curriculum should include collaborative design projects. Collaboration and collaborative learning imply a shared activity, a shared purpose, a joint problem-solving space, and mutual interdependence to achieve intended learning outcomes. The focus, in this study, is 1 Corresponding Author J Bernhard [email protected] on engineering students’ collaborative group practices. The context is a design project in the fifth semester of the problem-based Architecture and Design programme at Aalborg University. Students’ collaborative work in the preparation for an upcoming status seminar was video recorded in situ. In our earlier studies video ethnography, conversation analysis and embodied interaction analysis have been used to explore what interactional work the student teams did and what kind of resources they used to collaborate and complete the design task on a momentmoment basis. In this paper we report from a one-hour period where a group of four engineering students do final designs in preparation for the status seminar. Using recorded multi-perspective videos, we have analysed students’ fine-grained patterns of social interaction within this group. We found that the interaction and collaboration was very dynamic and fluid. It was observed that students seamlessly switched from working individually to working collaboratively. In collaborative work students frequently changed constellations and would not only work as a whole group, but also would break into subgroups of two or three students to do some work. Our results point to the need to investigate group practices and individual and collaborative learning in design project groups and other collaborative learning environments in more detail and the results challenge a naïve individualcollaborative-binary

Interaction, instruments and performance: HCI and the design of future music technologies

Rationale There has been little chance for researchers, performers and designers in the UK to come together in order to explore the use and design of new and evolving technologies for performance. This workshop examines the interplay between people, musical instruments, performance and technology. Now, more than ever technology is enabling us to augment the body, develop new ways to play and perform, and augment existing instruments that can span the physical and digital realms. By bringing together performers, artists, designers and researchers we aim to develop new understandings how we might design new performance technologies. Some Topics - Methods and Approaches; What are the methods and approaches that we can employ to understanding interaction and interplay in performance and what impact does technology have on this? - Sonic Augmentation; can performance and sound change the experiential attributes of places, e.g. make them more accessible, more playful? -Physical/digital augmentation; how can one augment one’s self or existing musical instruments and artifacts physically and digitally? - Meaning and Mediation; can people narrate or make sense and movement as part of performance – how does the audience understand this? - Mobility and Immobility; performance and movement, what are the dynamics of performing at rest or whilst mobile, how can technology supported co-located and distributed performance and reception? - Locating Content and Spatialisation; how is performance located, how does sound and performance become part of the spatial fabric and what software tools can support this? - Personalization and Reflection; how can people use new performance technologies to narrate and reflect upon experiences – both as performer and spectator? These are some tentative implications and questions that we expect to address in the workshop. Goals The main goal of the workshop is to bring people together to discuss the issues mentioned previously and to explore this emergent space. As part of Audio Mostly we would like to build this community and develop a network that would engender ongoing participation, debate, scholarship and collaboration. The workshop would also like to encourage early career researchers and PhD students to attend in order to grow the community