Sketching sonic interactions by imitation-driven sound synthesis

Sketching is at the core of every design activity. In visual design, pencil and paper are the preferred tools to produce sketches for their simplicity and immediacy. Analogue tools for sonic sketching do not exist yet, although voice and gesture are embodied abilities commonly exploited to communicate sound concepts. The EU project SkAT-VG aims to support vocal sketching with computeraided technologies that can be easily accessed, understood and controlled through vocal and gestural imitations. This imitation-driven sound synthesis approach is meant to overcome the ephemerality and timbral limitations of human voice and gesture, allowing to produce more refined sonic sketches and to think about sound in a more designerly way. This paper presents two main outcomes of the project: The Sound Design Toolkit, a palette of basic sound synthesis models grounded on ecological perception and physical description of sound-producing phenomena, and SkAT-Studio, a visual framework based on sound design workflows organized in stages of input, analysis, mapping, synthesis, and output. The integration of these two software packages provides an environment in which sound designers can go from concepts, through exploration and mocking-up, to prototyping in sonic interaction design, taking advantage of all the possibilities of- fered by vocal and gestural imitations in every step of the process

THE IMAGINATIVE REHEARSAL MODEL – DEWEY, EMBODIED SIMULATION, AND THE NARRATIVE HYPOTHESIS

In this contribution I outline some ideas on what the pragmatist model of habit ontology could offer us as regards the appreciation of the constitutive role that imagery plays for social action and cognition. Accordingly, a Deweyan understanding of habit would allow for an understanding of imagery in terms of embodied cognition rather than in representational terms. I first underline the motor character of imagery, and the role its embodiment in habit plays for the anticipation of action. Secondly, I reconstruct Dewey's notion of imaginative rehearsal in light of contemporary, competing models of intersubjectivity such as embodied simulation theory and the narrative practice hypothesis, and argue that the Deweyan model offers us a more encompassing framework which can be useful for reconciling these approaches. In this text I am mainly concerned with sketching a broad picture of the lines along which such a project could be developed. For this reason not all questions are given equal attention, and I shall concentrate mainly on the basic ideas, without going directly into the details of many of them

Information and ideas : concept design in three industrial contexts

This paper reviews the application of a new concept design method in a number of industrial settings. The ICR Grid is intended to better integrate information into the concept design process. In addition to sketching and sharing concepts in a manner similar to the 6-3-5 Method, participants undertake information search tasks, use specific information items for concept development, and reflect on the merit of concepts as the session progresses. Three different companies were invited to utilise the method to address current design issues. Grid output, observation and semi-structured interviews were used to assess the performance of the method, with marked differences in use across organisations highlighting future potential applications and development

Collaborative Practices that Support Creativity in Design

Design is a ubiquitous, collaborative and highly material activity. Because of the embodied nature of the design profession, designers apply certain collaborative practices to enhance creativity in their everyday work. Within the domain of industrial design, we studied two educational design departments over a period of eight months. Using examples from our fieldwork, we develop our results around three broad themes related to collaborative practices that support the creativity of design professionals: 1) externalization, 2) use of physical space, and 3) use of bodies. We believe that these themes of collaborative practices could provide new insights into designing technologies for supporting a varied set of design activities. We describe two conceptual collaborative systems derived from the results of our study

The effect of prototyping material on verbal and non-verbal behaviours in collaborative design tasks

This paper reports a study of 23 controlled experiments, with a total of 99 individual tasks, between pairs of designers collaborating to solve a simple design task using four different types of prototyping media. The aim of the study was to correlate verbal and non-verbal behaviours across different types of media with a range of measurement indicators. Using innovative movement trail images we show how collaborative sketching activity results in attenuated use of interpersonal collaborative space when compared with cardboard, clay, and Lego, which provoked intensive collaboration. Furthermore, the sketching (control) condition resulted in pre-conceived ideas being executed when compared with the three-dimensional media, where ideas emerged through collaboration. This finding suggests that increased creativity in design can result through the careful choice of prototyping media at the beginning of the design process

Beyond words: Aesthetic knowledge and knowing in design

Aesthetic knowledge comes from practitioners understanding the look, feel, smell, taste and sound of things. It is vital to work in many organizational contexts. In this paper, we explore aesthetic knowledge and knowing in organizations through detailed observation of design work in the architectural practice Edward Cullinan Architects. Through our research, we explore aesthetic knowledge in the context of architectural work, we unpack what it is, how it is generated, and how it is applied in design projects, shared between practitioners and developed at the level of the organization. Our analysis suggests that aesthetic knowledge plays an important part in organizational practice, not only as the symbolic context for work, but as an integral part of the work that people do. It suggests that aesthetic reflexivity, which involves an opening up and questioning of what is known, is experienced as part of practice as well as a `time out' from practice

Harmony and Technology Enhanced Learning

New technologies offer rich opportunities to support education in harmony. In this chapter we consider theoretical perspectives and underlying principles behind technologies for learning and teaching harmony. Such perspectives help in matching existing and future technologies to educational purposes, and to inspire the creative re-appropriation of technologies

Maintaining, changing and crossing contexts: an activity theoretic reinterpretation of mobile learning

Although mobile learning is a popular topic in current research, it is not well conceptualized. Many researchers rely on under‐theorized conceptions of the topic, and those who have tried to refine the ideas involved have found this to be complex and difficult. In this paper a new interpretation of the concept ‘mobile learning’ is offered, drawing on the tradition of activity theory. The interpretation focuses on the continuity of learning activities that take place in multiple contexts, which are embodied as the combination of the physical and social setting of the learning activities. The paper starts by sketching the current research context and then outlines the theoretical tradition within which the interpretation of ‘mobile learning’ is located. Then the new interpretation is offered and the concepts are applied to case studies to illustrate how this new understanding develops current thinking in the area. The paper concludes by discussing the implications for research of adopting such a perspective

To “Sketch-a-Scratch”

A surface can be harsh and raspy, or smooth and silky, and everything in between. We are used to sense these features with our fingertips as well as with our eyes and ears: the exploration of a surface is a multisensory experience. Tools, too, are often employed in the interaction with surfaces, since they augment our manipulation capabilities. “Sketch-a-Scratch” is a tool for the multisensory exploration and sketching of surface textures. The user’s actions drive a physical sound model of real materials’ response to interactions such as scraping, rubbing or rolling. Moreover, different input signals can be converted into 2D visual surface profiles, thus enabling to experience them visually, aurally and haptically