Accountable artefacts: the case of the Carolan guitar

We explore how physical artefacts can be connected to digital records of where they have been, who they have encountered and what has happened to them, and how this can enhance their meaning and utility. We describe how a travelling technology probe in the form of an augmented acoustic guitar engaged users in a design conversation as it visited homes, studios, gigs, workshops and lessons, and how this revealed the diversity and utility of its digital record. We describe how this record was captured and flexibly mapped to the physical guitar and proxy artefacts. We contribute a conceptual framework for accountable artefacts that articulates how multiple and complex mappings between physical artefacts and their digital records may be created, appropriated, shared and interrogated to deliver accounts of provenance and use as well as methodological reflections on technology probes

Audio in place: media, mobility & HCI: creating meaning in space

Audio-based content, location and mobile technologies can offer a multitude of interactional possibilities when combined in innovative and creative ways. It is important not to underestimate impact of the interplay between location, place and sound. Even if intangible and ephemeral, sounds impact upon the way in which we experience the built as well as the natural world. As technology offer us the opportunity to augment and access the world, mobile technologies offer us the opportunity to interact while moving though the world. They are technologies that can mediate, provide and locate experience in the world. Vision, and to some extent the tactile senses have been dominant modalities discussed in experiential terms within HCI. This workshop suggests that there is a need to better understand how sound can be used for shaping and augmenting the experiential qualities of places through mobile computing

The gift of the algorithm: beyond autonomy and control

This piece brings together, participation, algorithmic composition and augmentation (as a mechanism by which people can work together to augment and support a composer’s workflow). The performance is about understanding the ways in which composition and performance can be understood, socially, aesthetically and scientifically. This performance becomes a piece of research and design in its own right, a more experimental manifestation of HCI, but it also demonstrates and disrupts conventional production and performance by making the multiple layers of practice and provenance obvious. *See Program notes for a fuller description of the piece for public consumption. We also aim to discuss this further and demo at the Performance workshop that we have submitted. This is part the on going research of the FAST project and aims to engage the wider interdisciplinary Audio Mostly community. • Program notes This piece expands upon Chamberlain’s work into compositional practices that explore autonomy and control, and builds upon the Numbers into Notes system as developed by De Roure. The piece (which is an evolving work) uses the symbolism of the gift to frame parts of the interactions that have occurred in the development of the piece. Individuals are given the chance to create an algorithm. This is made into a physical entity (containing a sequence), which is then gifted to the composer; these together are combined and used to compose a piece. The piece is then performed and given back to the audience (live), of which some members have created the original algorithms. The performance creates a gift, a souvenir, a memento of the experience which some of the audience members can take away. The performance also acts as a way in which we can also understand the interplay between algorithms, art, performance, provenance and participation

Interacting with robots as performers and producers of music

Is it really so strange to think about a robot as something, or perhaps someone that can produce music, as a performer or even as a composer? What happens when robots perform on stage to live audiences, and when they are perceived as intelligent? In this abstract we start to unpack and explicate some of the issues that emerge when the fields of music technology and robotics come together. The aim of this piece of writing is to prompt the Digital Music Research community to engage in debate, in order develop this emerging field of research

Interconnected alchemy: an apparatus for alchemical algorithms

The trope of the fraudulent or occult alchemist, prevalent since the mediaeval period of alchemy’s introduction into European thought, belies the endeavour of practitioners from ancient Egypt onwards. Alchemists used observation, experimentation, and drew conclusions to understand the world around them. Notions of interconnectedness, harmoniousness and codification pervade the alchemical pursuit—and alchemy interconnects literature, art, mathematics, and music....One of our tools is "numbers into notes", a web app for algorithmic composition based on early mathematics, in which the role of the human is to parameterize the algorithm and map number ranges to musical note

Interaction, instruments and performance: HCI and the design of future music technologies

Rationale There has been little chance for researchers, performers and designers in the UK to come together in order to explore the use and design of new and evolving technologies for performance. This workshop examines the interplay between people, musical instruments, performance and technology. Now, more than ever technology is enabling us to augment the body, develop new ways to play and perform, and augment existing instruments that can span the physical and digital realms. By bringing together performers, artists, designers and researchers we aim to develop new understandings how we might design new performance technologies. Some Topics - Methods and Approaches; What are the methods and approaches that we can employ to understanding interaction and interplay in performance and what impact does technology have on this? - Sonic Augmentation; can performance and sound change the experiential attributes of places, e.g. make them more accessible, more playful? -Physical/digital augmentation; how can one augment one’s self or existing musical instruments and artifacts physically and digitally? - Meaning and Mediation; can people narrate or make sense and movement as part of performance – how does the audience understand this? - Mobility and Immobility; performance and movement, what are the dynamics of performing at rest or whilst mobile, how can technology supported co-located and distributed performance and reception? - Locating Content and Spatialisation; how is performance located, how does sound and performance become part of the spatial fabric and what software tools can support this? - Personalization and Reflection; how can people use new performance technologies to narrate and reflect upon experiences – both as performer and spectator? These are some tentative implications and questions that we expect to address in the workshop. Goals The main goal of the workshop is to bring people together to discuss the issues mentioned previously and to explore this emergent space. As part of Audio Mostly we would like to build this community and develop a network that would engender ongoing participation, debate, scholarship and collaboration. The workshop would also like to encourage early career researchers and PhD students to attend in order to grow the community

The Cowl - v.27 - n.7 - Dec 02, 1964

The Cowl - student newspaper of Providence College. Vol 27, Number 7 - December 02, 1964. 16 pages

The BG News July 8, 1976

The BGSU campus student newspaper July 8, 1976. Volume 60 - Issue 122https://scholarworks.bgsu.edu/bg-news/4260/thumbnail.jp

The Cowl - v.26 - n.18 - Apr 29, 1964

The Cowl - student newspaper of Providence College. Volume 26, Number 18 - April 29, 1964. 10 pages

The Experiences of an Individual with Parkinson\u27s Engaging in a Relationship-based, Improvisational Music Therapy Group

This study explored the experiences of an individual with Parkinson’s engaging in a relationshipbased, improvisational music therapy group. The researcher utilized the methodology of naturalistic inquiry. An archived video recording of a group music therapy session held through a videoconferencing platform was observed. Music experiences and verbal dialogue were transcribed and put into notation software, and subsequently analyzed through inductive analysis. Two main themes were found: (a) Musical Interrelatedness and (b) Relationship Between Music and Words, with two subthemes under the former; Diane’s Musical Relationship with the Therapist and Diane’s Musical Relationship with the Group; and three under the latter; Words Enhancing Diane’s Musical Experience, Music Supporting Diane’s Verbal Responses, and Significance Of The Voice. Results illustrated the participant’s experience of a relationshipbased improvisational music therapy group as something supportive, creative, and potentially beneficial for their overall well-being