オンガク ゲイジュツ ヒョウゲン ノ タメ ノ シンインターフェース

コンピュータ音楽、インタラクティブ・メディアアート、メディア・インスタレーションなどに関して、「音楽/芸術表現のための新しいインターフェース」という視点からの報告を行った。具体的には、(1) これまでに開発研究してきたインターフェースの実例概要、(2) NIME (New Interfaces for Musical Expression) という若い国際会議の活動経緯と事例紹介、(3) 2003年5月に研究発表と作品公演で参加した Montreal でのNIMEO3の参加報告、(4) 2004年6月にSUACで開催することになった国際会議MMEO4とメディアアートフェスティバルMAF2004についての状況、などを紹介した。This paper reports some activities in Media Art fields with the keywords "New Interfaces for Musical Expression". I report (1) Some results of my research and creation with new sensing systems, (2) About the new International Conference : NIME (New Interfaces for Musical Expression), (3) Report of the NIME03 held at McGill University in Montreal Canada (May 2003) which I had my presentation and performance of my work, (4) NIME2004 and MAF2004 (Media Art Festival) which will be held at SUAC in June 2004. SUAC will be better known as the pioneer of this field with these activities

Instrumentos musicais digitais

Resumo: Este trabalho propõe uma abordagem peculiar em relação à luteria digital que se utiliza de um paralelo hipotético entre os instrumentos musicais digitais e obras musicais de cunho semiimprovisacional. Parte-se dos conceitos de “obra-aberta” de Umberto Eco e “obra-processo” de César Aira e da visualização dos elementos estruturais e possibilidades prático-musicais que caracterizam os instrumentos digitais. Em seguida, é apresentada a questão da necessidade da realização de escolhas no trabalho de luteria digital e é proposto um roteiro de planejamento para guiar tais escolhas, segundo um pensamento composicional. Por fim, são apresentados e descritos alguns exemplos de instrumentos musicais digitais

Caractérisation des spécificités motrices d'utilisateurs en situation de handicap : application à la conception de systèmes personnalisables pour la pratique musicale instrumentale

The users and uses inclusion in product design remains a difficult aspect to be addressed, especially when their characterization is very specific (in the case of disabled people or situations of uses in stressful environments). In this context, the purpose of this work is to contribute to a better consideration of the users and uses by the implementation of tools and methods to characterize them. This characterization integrated into the design process, helped to meet the needs of AE2M Association (Ergonomic Adaptation of Musical Equipments). It aims to provide assistive technologies for people with physical impairments. These systems allow them to play musical instruments with the same level of independence that able-bodied people. In the context of this thesis, we firstly proposed a common conceptualization of "disability situation" in our context and have highlighted the constraints to the success of this thesis. Secondly, we did a bibliography study about design approaches in the disabled context, Human-Machine Interface in the musical context, and means and methods for the analysis of the users' motors specificities. This step allowed us to propose a generic design process approach adapted to the context of the design of assistive technology for people with physical impairments. This CARACTH method is inspired from the User Centered Design methodology to which we propose to insert: (1) a specific users' motor characterization step and (2) a modular architecture product definition step. These proposals permitted (3) to simplifying the iteration phases within the design process to allow a quick and effective personalization of the product (control and operative parts). Next, a set of experiments was conducted in the laboratory and in situ. They allowed offering and validating the modular product architecture pertinence for facilitating the assistive devices design for music practice, but also for proposing a system named KinecLAB to measure and interpret user's gestural capabilities. This KinectLAB system was tested and validated with professional physiotherapists in the Michallon Grenoble Hospital. Finally, our CARACTH process was applied to design a customizable system adapted to the physical capabilities of a disabled user. We confirmed its successful integration into a use situation during musical concert. We also studied the relevance of customization on user performances and workload.La prise en compte des usagers et des usages dans la conception des produits reste un aspect difficile à traiter, en particulier lorsque leur caractérisation est très spécifique (c'est le cas des personnes handicapées ou des situations d'usages dans des environnements contraignants). Dans ce contexte, l'objet de ces travaux est de contribuer à une meilleure prise en compte des usagers et usages par la mise en place d'outils et de méthodes permettant de les caractériser. Cette caractérisation, intégrée dans un processus de conception de produits, a contribué à répondre aux besoins de l'Association AE2M (Adaptation Ergonomique du Matériel Musical). Celle-ci a pour objectif de mettre à disposition de personnes en situation de handicap moteur des aides techniques leur permettant de jouer un ou plusieurs instruments de musique avec le même niveau d'autonomie que les personnes valides. Dans le cadre de ce travail de thèse, nous avons tout d'abord proposé une conceptualisation commune de ce qu'est une situation de handicap et avons mis en avant les conditions de bon déroulement des travaux de recherche. Dans un second temps, nous avons effectué une étude bibliographique centrée sur les approches de conception liée au handicap, les interactions Homme Machine dans le contexte musicale et les moyens et méthodes d'analyse des spécificités motrices des sujets. Cette étape nous a permis de proposé une méthode générique de processus de conception adapté au contexte de la conception d'aides techniques pour personnes en situation de handicap. Cette méthode nommée CARACTH est inspirée de la méthodologie de la Conception Centrée Utilisateur à laquelle nous proposons d'insérer : (1) une étape de caractérisation des spécificités motrices des utilisateurs et (2) une étape pour la définition d'une architecture produit modulaire. Ces évolution permettent notamment (3) de simplifier les phases d'itérations à l'intérieur du processus de conception pour permettre une personnalisation efficace et rapide du produit (partie commande et partie opérative). Nous présentons ensuite un ensemble d'expérimentations menées au laboratoire et sur le terrain. Elles ont permis de proposer et de valider la pertinence de l'architecture produit modulaire pour faciliter la conception d'aides techniques pour la pratique musicale, mais aussi de concevoir un système nommé KinecLAB pour la mesure et l'interprétation des possibilités gestuelles des usagers. Ce système KinectLAB a été testé et validé auprès de professionnel kinésithérapeute du CHU Michallon de Grenoble. Enfin, notre processus CARACTH a été appliqué pour la conception d'un système personnalisable aux capacités motrices d'un utilisateur en situation de handicap. Nous avons pu vérifier sa bonne intégration dans une situation d'usage en concert et aussi d'étudier la pertinence de la personnalisation sur les performances et la charge de travail de l'utilisateur

On the hunt for feedback: Vibrotactile feedback in interactive electronic music performances

The expressivity of musical performance is highly dependent on the feedback relationship between the performer and the instrument. Despite current advances in music technology, performers still struggle to retain the same expressive nuances of acoustic instruments. The capacity of performative musical expression in technologically-driven music is mitigated by the limitations of controllers and other sensor-based devices used in the performance of such music. Due to their physical properties, such devices and components are unable to provide mainly the haptic and vibrotactile experience between the instrument and the user, thus breaking the link with traditional musical performance. Such limitations are apparent to performers, suggesting often the existence of an unnatural barrier between the technology and the performer. The thesis proposes the use of vibrotactile feedback as means to enhance performer’s expressivity and creativity in technology mediated performances and situate vibrotactile feedback as part of the tradition of instrumental musical playing. Achieved through the use of small controllable electric motors, vibrotactile feedback can nourish communicative pathways between the performer and technology, a relationship that is otherwise limited or non-existing. The ability to experience an instrument's communicative response can significantly improve the performer-instrument relationship, and in turn the music performed. Through a series of case studies, compositions and performances, the dissertation suggests ways in which vibrotactile feedback may be applied to enhance the experience between the technology and the performer. As a result performers are able to develop expressive nuances and have better control of the technology during performance

Epistemic tools: the phenomenology of digital musical instruments

Digital music technologies, and instruments in particular, are the result of specific systems of thought that define and enframe the user’s creative options. Distinctive divisions between digital and acoustic instruments can be traced, contrasting the conceptually based design of software with the affordances and constraints of physical artefacts. Having lost the world’s gift of physical properties, the digital instrument builder becomes more than a mere luthier. The process of designing and building the instrument is transformed into a process of composition, for it typically contains a greater degree of classification and music theory than its acoustic counterpart. Part I of this thesis begins by framing musical systems in the context of the philosophy of technology. Here technological conditions are questioned and theories introduced that will assist the investigation into the relationship between creativity and technology. After this general grounding, the ramifications digital technologies pose to the human body are explored in the context of human expression through tool use. The human-machine relationship is described from phenomenological perspectives and relevant theories of cognitive science. This analysis serves as a foundation for the concept of epistemic tools, defined as the mechanism whereby techno-cultural models are inscribed into technological artefacts. The cultural element of tool use and tool origins is therefore emphasised, an aspect that is highly relevant in musical technologies. Part I thus frames the material properties of acoustic and digital instruments in relation to human culture, cognition, performance and epistemology. Part II contextualises these theories in practice. The ixiQuarks, the live improvisation musical environment that resulted from the current research, are presented as a system addressing some of the vital problems of musical performance with digital systems (such as the question of embodiment and theoretical inscriptions), proposing an innovative interaction model for screen-based musical instruments. The concept of virtual embodiment is introduced and framed in the context of the ixi interaction model. Two extensive user studies are described that support the report on ixiQuarks. Furthermore, comparative surveys on the relationship between expression and technology are presented: a) the phenomenology of musical instruments, where the divergence between the acoustic and the digital is investigated; b) the question of expressive freedom versus time constraints in musical environments is explored with practitioners in the field; and c) the key players in the design of audio programming environments explain the rationale and philosophy behind their work. These are the first major surveys of this type conducted to date, and the results interweave smoothly with the observations and findings in the chapters on the nature and the design of digital instruments that make up the majority of Part II. This interdisciplinary research investigates the nature of making creative tools in the digital realm, through an active, philosophically framed and ethnographically inspired study, of both practical and theoretical engagement. It questions the nature of digital musical instruments, particularly in comparison with acoustic instruments. Through a survey of material epistemologies, the dichotomy between the acoustic and the digital is employed to illustrate the epistemic nature of digital artefacts, necessitating a theory of epistemic tools. Consequently virtual embodiment is presented as a definition of the specific interaction mode constituting human relations with digital technologies. It is demonstrated that such interactions are indeed embodied, contrasting common claims that interaction with software is a disembodied activity. The role of cultural context in such design is emphasised, through an analysis of how system design is always an intricate process of analyses, categorisations, normalisations, abstractions, and constructions; where the design paths taken are often defined by highly personal, culturally conditioned and often arbitrary reasons. The dissertation therefore dissects the digital musical instrument from the perspectives of ontology, phenomenology and epistemology. Respective sections in Part I and Part II deal with these views. The practical outcome of this research – the ixiQuarks – embodies many of the theoretical points made on these pages. The software itself, together with the theoretical elucidation of its context, should therefore be viewed as equal contributions to the field of music technology. The thesis closes by considering what has been achieved through these investigations of the technological context, software development, user studies, surveys, and the phenomenological and epistemological enquiries into the realities of digital musical instruments, emphasising that technology can never be neutral