instance: Soma-based multi-user interaction design for the telematic sonic arts

The telematic work instance is a performance for viola and dance that digitally connects performers in Vancouver and Cape Town. The network interface enables a violist and a dancer to simultaneously play multi-user digital music-dance instruments over the internet with music and dance. The composition, design and performance interaction of instance draw from acoustic multi-user instrument paradigms and music-dance interactions in the African performing arts to explore the idiosyncrasies of the telematic performance space. The iterative design process implements soma-based research methods to inspire sonic compositional material with the body and to explore the performers\u27 embodied experience of sonic aesthetics during their interaction

Levelling Up: Designing and Testing a Contextual, Web-based Dreamweaver 8 Tutorial for Students with Technological Aptitude Differences

This thesis examines the user-centered design methods and methodology inherent to designing and testing a web-based Dreamweaver 8 tutorial for undergraduate and graduate students who enroll in certain English rhetoric and composition courses at Georgia State University. The tutorial’s three interfaces were rhetorically designed to support three corresponding types of user—novices, intermediates, and experts— whose familiarity with Dreamweaver and student web space determined their starting point of interaction with the artifact. Three usability tests examined each interface based on four usability attributes. Findings revealed the novice and expert interfaces to be usable, while the intermediate interface was more problematic. The analysis of findings indicated the advanced documentation theory to be sound; however, the practical implementation of the theory to this artifact was comparatively ineffective. More research is suggested for determining whether a multimodal tutorial design is the most useful and usable for the target audience(s)

Correct and Compositional Hardware Generators

Hardware generators help designers explore families of concrete designs and their efficiency trade-offs. Both parameterized hardware description languages (HDLs) and higher-level programming models, however, can obstruct composability. Different concrete designs in a family can have dramatically different timing behavior, and high-level hardware generators rarely expose a consistent HDL-level interface. Composition, therefore, is typically only feasible at the level of individual instances: the user generates concrete designs and then composes them, sacrificing the ability to parameterize the combined design. We design Parafil, a system for correctly composing hardware generators. Parafil builds on Filament, an HDL with strong compile-time guarantees, and lifts those guarantees to generators to prove that all possible instantiations are free of timing bugs. Parafil can integrate with external hardware generators via a novel system of output parameters and a framework for invoking generator tools. We conduct experiments with two other generators, FloPoCo and Google's XLS, and we implement a parameterized FFT generator to show that Parafil ensures correct design space exploration.Comment: 13 page

Cyclical Flow: Spatial Synthesis Sound Toy as Multichannel Composition Tool

This paper outlines and discusses an interactive system designed as a playful ‘sound toy’ for spatial composition. Proposed models of composition and design in this context are discussed. The design, functionality and application of the software system is then outlined and summarised. The paper concludes with observations from use, and discussion of future developments

BitBox!:A case study interface for teaching real-time adaptive music composition for video games

Real-time adaptive music is now well-established as a popular medium, largely through its use in video game soundtracks. Commercial packages, such as fmod, make freely available the underlying technical methods for use in educational contexts, making adaptive music technologies accessible to students. Writing adaptive music, however, presents a significant learning challenge, not least because it requires a different mode of thought, and tutor and learner may have few mutual points of connection in discovering and understanding the musical drivers, relationships and structures in these works. This article discusses the creation of ‘BitBox!’, a gestural music interface designed to deconstruct and explain the component elements of adaptive composition through interactive play. The interface was displayed at the Dare Protoplay games exposition in Dundee in August 2014. The initial proof-of- concept study proved successful, suggesting possible refinements in design and a broader range of applications

A Conceptual Framework for Motion Based Music Applications

Imaginary projections are the core of the framework for motion based music applications presented in this paper. Their design depends on the space covered by the motion tracking device, but also on the musical feature involved in the application. They can be considered a very powerful tool because they allow not only to project in the virtual environment the image of a traditional acoustic instrument, but also to express any spatially defined abstract concept. The system pipeline starts from the musical content and, through a geometrical interpretation, arrives to its projection in the physical space. Three case studies involving different motion tracking devices and different musical concepts will be analyzed. The three examined applications have been programmed and already tested by the authors. They aim respectively at musical expressive interaction (Disembodied Voices), tonal music knowledge (Harmonic Walk) and XX century music composition (Hand Composer)

Computing infrastructure issues in distributed communications systems : a survey of operating system transport system architectures

The performance of distributed applications (such as file transfer, remote login, tele-conferencing, full-motion video, and scientific visualization) is influenced by several factors that interact in complex ways. In particular, application performance is significantly affected both by communication infrastructure factors and computing infrastructure factors. Several communication infrastructure factors include channel speed, bit-error rate, and congestion at intermediate switching nodes. Computing infrastructure factors include (among other things) both protocol processing activities (such as connection management, flow control, error detection, and retransmission) and general operating system factors (such as memory latency, CPU speed, interrupt and context switching overhead, process architecture, and message buffering). Due to a several orders of magnitude increase in network channel speed and an increase in application diversity, performance bottlenecks are shifting from the network factors to the transport system factors.This paper defines an abstraction called an "Operating System Transport System Architecture" (OSTSA) that is used to classify the major components and services in the computing infrastructure. End-to-end network protocols such as TCP, TP4, VMTP, XTP, and Delta-t typically run on general-purpose computers, where they utilize various operating system resources such as processors, virtual memory, and network controllers. The OSTSA provides services that integrate these resources to support distributed applications running on local and wide area networks.A taxonomy is presented to evaluate OSTSAs in terms of their support for protocol processing activities. We use this taxonomy to compare and contrast five general-purpose commercial and experimental operating systems including System V UNIX, BSD UNIX, the x-kernel, Choices, and Xinu

Improvising with the threnoscope: integrating code, hardware, GUI, network, and graphic scores

Live coding emphasises improvisation. It is an art practice that merges the act of musical composition and performance into a public act of projected writing. This paper introduces the Threnoscope system, which includes a live coding micro-language for drone-based microtonal composition. The paper discusses the aims and objectives of the system, elucidates the design decisions, and introduces in particular the code score feature present in the Threnoscope. The code score is a novel element in the design of live coding systems allowing for improvisation through a graphic score, rendering a visual representation of past and future events in a real-time performance. The paper demonstrates how the system’s methods can be mapped ad hoc to GUI- or hardware-based control