A Knowledge-based, Data-driven Method for Action-sound Mapping

This paper presents a knowledge-based, data-driven method for using data describing action-sound couplings collected from a group of people to generate multiple complex mappings between the performance movements of a musician and sound synthesis. This is done by using a database of multimodal motion data collected from multiple subjects coupled with sound synthesis parameters. A series of sound stimuli is synthesised using the sound engine that will be used in performance. Multimodal motion data is collected by asking each participant to listen to each sound stimulus and move as if they were producing the sound using a musical instrument they are given. Multimodal data is recorded during each performance, and paired with the synthesis parameters used for generating the sound stimulus. The dataset created using this method is then used to build a topological representation of the performance movements of the subjects. This representation is then used to interactively generate training data for machine learning algorithms, and define mappings for real-time performance. To better illustrate each step of the procedure, we describe an implementation involving clarinet, motion capture, wearable sensor armbands, and waveguide synthesis

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)

DESIGN AS A FUNCTIONAL LEADER: A case study of Philips to investigate the potential of design as a leading functional discipline

This research investigates the role of design as a functional leader in multinational industries, to drive innovation successfully at a strategic level. It involved a detailed case study of the innovation process, and practices within Philips Design based in Eindhoven, The Netherlands, where design is a key decision making function within the company but not yet recognised as a leading discipline at strategic level. Philips Design wanted to use design research to build an integrated map of its actual practices and correlate these with other corporate innovation practices, to help establish strategic recognition for their value. The doctoral challenge was to explicate the process and determine whether the findings have generic capacity to support the role of design as a functional leading discipline. The investigation integrates an iterative loop of; abductive reasoning of design thinking and inductive reasoning of management thinking in an action research cycle. The case study was part of an empirical enquiry, where the researcher became a participatory observer at Philips Design, conducting one-on-one interviews for data collection and refining their analysis using a Delphi Technique. Three other multinational organisations were explored to take into account how each perceives the contribution of design and the different roles it plays in their organisation. Data triangulation was also used to validate findings with a third party expert. The research contributes to knowledge by confirming the conditions for design to act as a leading functional discipline. It shows that design cannot be the only functional lead for a multinational organisation. It identifies the major reason for this as the difference between thinkers trying to find viable options for the future and practitioners trying to defend the core business in their organisation, resulting in a gap between strategy and operation. The research further elaborates on the reasons for the gap to exist through qualitative conceptual relationships between designer behaviour and organisational culture in the different innovation cycles that exist in the organisation

Surfing the Waves: Live Audio Mosaicing of an Electric Bass Performance as a Corpus Browsing Interface

In this paper, the authors describe how they use an electric bass as a subtle, expressive and intuitive interface to browse the rich sample bank available to most laptop owners. This is achieved by audio mosaicing of the live bass performance audio, through corpus-based concatenative synthesis (CBCS) techniques, allowing a mapping of the multi-dimensional expressivity of the performance onto foreign audio material, thus recycling the virtuosity acquired on the electric instrument with a trivial learning curve. This design hypothesis is contextualised and assessed within the Sandbox#n series of bass+laptop meta-instruments, and the authors describe technical means of the implementation through the use of the open-source CataRT CBCS system adapted for live mosaicing. They also discuss their encouraging early results and provide a list of further explorations to be made with that rich new interface