A Semantic Web Annotation Tool for a Web-Based Audio Sequencer

Music and sound have a rich semantic structure which is so clear to the composer and the listener, but that remains mostly hidden to computing machinery. Nevertheless, in recent years, the introduction of software tools for music production have enabled new opportunities for migrating this knowledge from humans to machines. A new generation of these tools may exploit sound samples and semantic information coupling for the creation not only of a musical, but also of a "semantic" composition. In this paper we describe an ontology driven content annotation framework for a web-based audio editing tool. In a supervised approach, during the editing process, the graphical web interface allows the user to annotate any part of the composition with concepts from publicly available ontologies. As a test case, we developed a collaborative web-based audio sequencer that provides users with the functionality to remix the audio samples from the Freesound website and subsequently annotate them. The annotation tool can load any ontology and thus gives users the opportunity to augment the work with annotations on the structure of the composition, the musical materials, and the creator's reasoning and intentions. We believe this approach will provide several novel ways to make not only the final audio product, but also the creative process, first class citizens of the Semantic We

The acoustic, the digital and the body: a survey on musical instruments

This paper reports on a survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools. The survey focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments. The questions of control, instrumental entropy, limitations and creativity were addressed in relation to people's activities of playing, creating or modifying their instruments. The approach used in the survey was phenomenological, i.e. we were concerned with the experience of playing, composing for and designing digital or acoustic instruments. At the time of analysis, we had 209 replies from musicians, composers, engineers, designers, artists and others interested in this topic. The survey was mainly aimed at instrumentalists and people who create their own instruments or compositions in flexible audio programming environments such as SuperCollider, Pure Data, ChucK, Max/MSP, CSound, etc

CreaTable Content and Tangible Interaction in Aphasia

Multimedia digital content (combining pictures, text and music) is ubiquitous. The process of creating such content using existing tools typically requires complex, language-laden interactions which pose a challenge for users with aphasia (a language impairment following brain injury). Tangible interactions offer a potential means to address this challenge, however, there has been little work exploring their potential for this purpose. In this paper, we present CreaTable – a platform that enables us to explore tangible interaction as a means of supporting digital content creation for people with aphasia. We report details of the co-design of CreaTable and findings from a digital creativity workshop. Workshop findings indicated that CreaTable enabled people with aphasia to create something they would not otherwise have been able to. We report how users’ aphasia profiles affected their experience, describe tensions in collaborative content creation and provide insight into more accessible content creation using tangibles

An Overview of Immersive Virtual Reality Music Experiences in Online Platforms

As the field of Virtual Reality (VR) continues to mature, so too does the potential for creative and immersive musical experiences in the medium. However, of the thousands of applications now available across the major VR platforms, only a small number of titles focus on the ability to create or explore musical content. This article outlines the current state of music games, experiences, and creative applications across the current VR ecosystem. Firstly, it surveys the quantity of commercial titles currently available across the major VR platforms with a music-related focus. Secondly, the article classifies music applications into the following subcategories: music creation and creative arranging, rhythm games, music video experiences, and music performance activities. Finally, it provides an overview of the key musical applications in each category that can assist and inspire musicians, technicians, and educators in their creative musical endeavors

mixiTUI:A Tangible Sequencer for Electronic Live Performances

With the rise of crowdsourcing and mobile crowdsensing techniques, a large number of crowdsourcing applications or platforms (CAP) have appeared. In the mean time, CAP-related models and frameworks based on different research hypotheses are rapidly emerging, and they usually address specific issues from a certain perspective. Due to different settings and conditions, different models are not compatible with each other. However, CAP urgently needs to combine these techniques to form a unified framework. In addition, these models needs to be learned and updated online with the extension of crowdsourced data and task types, thus requiring a unified architecture that integrates lifelong learning concepts and breaks down the barriers between different modules. This paper draws on the idea of ubiquitous operating systems and proposes a novel OS (CrowdOS), which is an abstract software layer running between native OS and application layer. In particular, based on an in-depth analysis of the complex crowd environment and diverse characteristics of heterogeneous tasks, we construct the OS kernel and three core frameworks including Task Resolution and Assignment Framework (TRAF), Integrated Resource Management (IRM), and Task Result quality Optimization (TRO). In addition, we validate the usability of CrowdOS, module correctness and development efficiency. Our evaluation further reveals TRO brings enormous improvement in efficiency and a reduction in energy consumption

Patterns of Musical Interaction with Computing Devices

In line with the efforts from the Ubiquitous Music Group, our research identified recurring patterns of interaction between humans and computing devices in existing music software and hardware. These four kinds of repeatedly implemented musical interactions are being documented in the form of interaction design patterns, providing an alternative taxonomy of interaction types, suitable for musical and computational developments in ubiquitous music research. In this paper we briefly describe the meaning of patterns in design fields. We also defend the use of interaction patterns in the design of ubiquitous music systems, and present the four proto-patterns proposed in our research. We intend with this paper to foster discussions at this 3rd Ubimus workshop, which can lead to refinement and improvement of the proposed interaction design patterns

Creating an Agent Based Framework to Maximize Information Utility

With increased reliance on communications to conduct military operations, information centric network management becomes vital. A Defense department study of information management for net-centric operations lists the need for tools for information triage (based on relevance, priority, and quality) to counter information overload, semi-automated mechanisms for assessment of quality and relevance of information, and advances to enhance cognition and information understanding in the context of missions [30]. Maximizing information utility to match mission objectives is a complex problem that requires a comprehensive solution in information classification, in scheduling, in resource allocation, and in QoS support. Of these research areas, the resource allocation mechanism provides a framework to build the entire solution. Through an agent based mindset, the lessons of robot control architecture are applied to the network domain. The task of managing information flows is achieved with a hybrid reactive architecture. By demonstration, the reactive agent responds to the observed state of the network through the Unified Behavior Framework (UBF). As information flows relay through the network, agents in the network nodes limit resource contention to improve average utility and create a network with smarter bandwidth utilization. While this is an important result for information maximization, the agent based framework may have broader applications for managing communication networks

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research