A virtual diary companion

Chatbots and embodied conversational agents show turn based conversation behaviour. In current research we almost always assume that each utterance of a human conversational partner should be followed by an intelligent and/or empathetic reaction of chatbot or embodied agent. They are assumed to be alert, trying to please the user. There are other applications which have not yet received much attention and which require a more patient or relaxed attitude, waiting for the right moment to provide feedback to the human partner. Being able and willing to listen is one of the conditions for being successful. In this paper we have some observations on listening behaviour research and introduce one of our applications, the virtual diary companion

Messaging in mobile augmented reality audio

Monen käyttäjän välinen asynkroninen viestintä tapahtuu tyypillisesti tekstiä käyttäen. Mobiileissa käyttötilanteissa tekstinsyöttö voi kuitenkin olla hidasta ja vaivalloista. Sekä viestien kirjoittaminen että lukeminen vaatii huomion keskittämistä laitteen näyttöön. Tässä työssä kehitettiin viestintäsovellus, jossa tekstin sijaan käytetään puhetta lyhyiden viestien jakamiseen ryhmien jäsenten välillä. Näitä viestejä voidaan kuunnella heti niiden saapuessa tai niitä voi selata ja kuunnella myöhemmin. Sovellusta on tarkoitettu käytettävän mobiilin lisätyn äänitodellisuuden alustan kanssa, mikä mahdollistaa lähes häiriintymättömän ympäristön havaitsemisen samalla kun kommunikoi ääniviestien avulla. Pieni ryhmä käyttäjiä testasi sovellusta pöytätietokoneilla ja kannettavilla tietokoneilla. Yksi isoimmista eduista tekstipohjaiseen viestintään verrattuna todettiin olevan puheen mukana välittyvä ylimääräinen tieto verrattuna samaan kirjoitettuun viestiin, puheviestinnän ollessa paljon ilmeikkäämpää. Huonoja puolia verrattuna tekstipohjaiseen viestintään olivat hankaluus selata vanhojen viestien läpi sekä vaikeus osallistua useampaan keskusteluun samaan aikaan.Asynchronous multi-user communication is typically done using text. In the context of mobile use text input can, however, be slow and cumbersome, and attention on the display of the device is required both when writing and reading messages. A messaging application was developed to test the concept of sharing short messages between members of groups using recorded speech rather than text. These messages can be listened to as they arrive, or browsed through and listened to later. The application is intended to be used on a mobile augmented reality audio platform, allowing almost undisturbed perception of and interaction with the surrounding environment while communicating using audio messages. A small group of users tested the application on desktop and laptop computers. The users found one of the biggest advantages over text-based communication to be the additional information associated with a spoken message, being much more expressive than the same written message. Compared with text chats, the users thought it was difficult to quickly browse through old messages and confusing to participate in several discussions at the same time

Immersed in Pop! Excursions into Compositional Design

Recent changes in consumer audio and music technology and distribution - for example the addition of 3D audio formats such as Dolby Atmos to music streaming services, the recent release of “Spatial Audio” on Apple and Beats products, the proliferation of musical content in virtual reality and 360º videos, etc. - have reignited a public discourse on concepts of immersion and interactivity in popular music and media. This raises questions and necessitates a deepening of popular musicological discourse in these areas. This thesis thus asks: what is the relationship between so-called immersive media and immersive experience? How are immersive and interactive experiences of audiovisual popular music compositionally designed? And to what degree do interpretations of immersion and interactivity in popular music imply agency on part of the listener/viewer? To address these questions, Bresler has authored or co-authored four articles and book chapters on music in immersive and interactive media with a focus on compositional design and immersion in pop music. In the framing chapter, these articles are contextualized through the coining of the term immersive staging, which is a framework for understanding how the perceived relationship between the performer and listener is mediated through technology, performativity, audiovisual compositional design, and aesthetics. Additionally, the chapter makes a case for the hermeneutic methodologies employed throughout.publishedVersio

Feeling Machines: Immersion, Expression, and Technological Embodiment in Electroacoustic Music of the French Spectral School

This dissertation considers the music and technical practice of composers affiliated with French spectralism, including Hugues Dufourt, Gérard Grisey, Tristan Murail, Jean-Claude Risset, and Kaija Saariaho. They regularly described their work, which was attuned to the transformative experiences that technologies of electronic sound production and reproduction could inspire in listeners, using metaphoric appeals to construction: to designing new sounds or exploring new illusory aural phenomena. To navigate a nascent but fast-expanding world of electronic and computer music, the spectralists appealed to physical musical attributes including gesture, space, and source-cause identification. Fascinated by gradual timbral transformations, they structured some of their pieces to invite speculative causal listening even while seeking to push it to expressive extremes. I hypothesize that, much as the immersive technology of the cinema can create the illusory feeling of flight in viewers, electronic music can inspire listeners to have experiences in excess of their physical capabilities. Those feelings are possible because listening can be understood as empathetic and embodied, drawing on a listener’s embodied and ecological sensorimotor knowledge and musical imagery alongside referential, semiotic, and cultural aspects of music. One way that listeners can engage with sounds is by imagining how they would create them: what objects would be used, what kind of gestures would they perform, how much exertion would be required, what space would they inhabit. I cite recent research in psychoacoustics to argue that timbre indexes material, gesture, and affect in music listening. Technologies of sound production and reproduction allow for the manipulation of these tendencies by enabling composers to craft timbres that mimic, stretch, or subvert the timbres of real objects. Those electronic technologies also suggest manipulations to composers, by virtue of their design affordances, and perform an epistemological broadening by providing insight into the malleability of human perceptual modes. I illustrate these claims with analytic examples from Murail’s Ethers (1978), Saariaho’s Verblendungen (1984), and Grisey’s Les Chants de l’Amour (1984), relating an embodied and corporeal account of my hearing and linking it to compositional and technological features of spectral music

The Sampling of Bodily Sound in Contemporary Composition: towards an embodied analysis

Full version unavailable due to 3rd party copyright restrictions.The listener’s experience as an embodied subject is at the centre of this work. Embodied experience forms the basis for analyses of three contemporary compositions that sample bodily sound, in order to question how such works represent and mediate the body. The possible applications of this embodied methodology are illustrated through three case studies: Crackers by Christof Migone (2001), A Chance to Cut is a Chance to Cure by Matmos (2001) and Ground Techniques (2009) by Neil Luck. The findings of each analysis are placed within discussion of critical and theoretical concerns related to the (re)presentation, mediation and manipulation of the body both as materiality and as social construct, using, in particular, work by Hansen (2004) and Wegenstein (2006). The sampling practices of these works lead to the fragmentation of the represented bodies, in which margins between bodily interiors and exteriors are frequently crossed, bringing about a reconfiguration of the musical subject. Furthermore, the celebration of the bodily origins of these works complicates notions of recorded sound as disembodied. The analytical methodology developed in this thesis derives from a consideration of approaches in a number of fields: feminist musicology, music psychology, embodied cognition, phenomenology, music and gesture and new media theory. The sensations and affective responses of the listening body are discussed alongside an examination of how listening is shaped by processes of technological mediation. This thesis attends to both the body that is listening and the body that is listened to. I argue that it is not adequate to understand the works studied as merely representing the body, but suggest it would be more appropriate to understand the relationship between work and body as multi-faceted, conceptualising the body and recorded sound as mutually framing. This uncovers not only technology as mediation, but also the body as mediation. Finally, the case studies are used to reflect upon the limits of the embodied analysis methodology and its potential for wider application.This study was part-financed with the aid of a studentship from University College Falmouth and a grant from The Sir Richard Stapley Educational Trust

Music as Communication: A Rhetorical Perspective Based on Susanne Langer\u27s Theory of Aesthetic Symbolism

The purpose of this dissertation is to create a rhetorical perspective by which to understand and analyze music as aesthetic communication. Specifically, this study extends Susanne Langer\u27s theory of aesthetic symbolism as it relates to music as a mode of communication. Once the rhetorical perspective for analyzing music as communication has been depicted, the perspective is operationalized to analyze music from two contemporary social movements in the United States. The music analyzed in this dissertation comes from the Neo-Nazi Skinhead movement and the New Age movement. By approaching music as aesthetic communication in this way, the reader is able to determine how music can communicate, as well as how it is used as a mode of communication in these two social movements. Further, the value of this rhetorical perspective as a means by which to understand and analyze music as communication is ascertained. Several conclusions may be drawn from this study. First, this study furthers the inquiry offered in existing literature with regard to analyzing music as communication. By approaching the procedure from an aesthetic perspective, this dissertation provides a means by which to analyze music as it may communicate using both lyrical content and musical score, as well as how music can communicate without lyrical content. In addition, based on the data in this dissertation, this author confirms the ideas presented in the existing literature that music communicates for social movements. Finally, this author concludes that music does communicate for the Neo-Nazi Skinhead movement and for the New Age movement