1,360 research outputs found

    Bendit_I/O: A System for Extending Mediated and Networked Performance Techniques to Circuit-Bent Devices

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    Circuit bending—the act of modifying a consumer device\u27s internal circuitry in search of new, previously-unintended responses—provides artists with a chance to subvert expectations for how a certain piece of hardware should be utilized, asking them to view everyday objects as complex electronic instruments. Along with the ability to create avant-garde instruments from unique and nostalgic sound sources, the practice of circuit bending serves as a methodology for exploring the histories of discarded objects through activism, democratization, and creative resurrection. While a rich history of circuit bending continues to inspire artists today, the recent advent of smart musical instruments and the growing number of hybrid tools available for creating connective musical experiences through networks asks us to reconsider the ways in which repurposed devices can continue to play a role in modern sonic art. Bendit_I/O serves as a synthesis of the technologies and aesthetics of the circuit bending and Networked Musical Performance (NMP) practices. The framework extends techniques native to the practices of telematic and network art to hacked hardware so that artists can design collaborative and mediated experiences that incorporate old devices into new realities. Consisting of user-friendly hardware and software components, Bendit_I/O aims to be an entry point for novice artists into both of the creative realms it brings together. This document presents details on the components of the Bendit_I/O framework along with an analysis of their use in three new compositions. Additional research serves to place the framework in historical context through literature reviews of previous work undertaken in the circuit bending and networked musical performance practices. Additionally, a case is made for performing hacked consumer hardware across a wireless network, emphasizing how extensions to current circuit bending and NMP practices provide the ability to probe our relationships with hardware through collaborative, mediated, and multimodal methods

    Listening and remembering: networked off-line improvisation for four commuters

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    This paper analyses the experience of the networked off-line improvisation 'Listening and Remembering', a performance for four commuters using voices and sounds from the Mexico City and Paris metros. It addresses the question: how can an act of collective remembering, inspired by listening to metro soundscapes, lead to the creation of networked voice- and sound-based narratives about the urban commuting experience? The networked experience is seen here from the structural perspective (telematic setting), the sonic underground context, the ethnographic process that led to the performance, the narratives that are created in the electro-acoustic setting, the shared acoustic environments that those creations suggest, and the technical features and participants' responses that prevent or facilitate interaction. Emphasis is placed on the participants' status as non-performers, and on their familiarity with the sonic environment, as a context that allows the participation of non-musicians in the making of music through telematically shared interfaces, using soundscape and real-time voice. Participants re-enact their routine experience through a dialogical relation- ship with the sounds, the other participants, themselves, and the experience of sharing: a collective memory

    Akson, an Audio-Visual Environment for Networked Interaction and Performance

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    In this article, we present Akson, a web-based audio-visual (AV) environment for networked interaction and performance. It is demonstrated as an emerging artefact of an investigation in computer music and media art from collaborative interfaces exploring the cloud. Akson allows both the generation of content in a customized network and the structuring of agents connected in different interaction models. There are detailed experiments carried out during the development process, their existence taking advantage of the Internet and the way in which the software works technically is detailed extensively. As an interface that extends the artistic gesture, it is presented as a result of research in the context of Braga Media Arts, a creative city of UNESCO (UCCN)

    Soundworks - A Framework for Networked Music Systems on the Web - State of Affairs and New Developments

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    International audienceThis paper presents a novel major version of soundworks, a framework dedicated at developing distributed multimedia applications on the web and entirely written in javascript. Since its first release in 2015, the framework has served as a basis for numerous artistic and research projects such as concerts, installations, workshops , teaching or experimental setups. These diverse use cases and situations permitted to validate numerous aspects of the framework but also showed some limitations-particularly in terms of inclusion of non-expert developers such as artists and researchers-leading to the novel version presented here. The paper first presents some applications developed in the last year and show that, despite their idiosyncrasies, recurring problems have emerged during their elaboration and development (e.g. state-management). Second, we present new design and implementation aspects of the framework developed to overcome these issues. Finally we describe a simple testbed application - designed to summarize a number of recurring features and constraints encountered in Network Music Systems - and some elements of its implementation within soundworks. We believe that this novel version will provide solid foundations for the design and implementation of higher-level tools dedicated to non-expert developers, and thereby, foster new artistic, technological and epistemic areas. The soundworks framework is open-source and released under BSD-3-Clause license

    Mobile support in CSCW applications and groupware development frameworks

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    Computer Supported Cooperative Work (CSCW) is an established subset of the field of Human Computer Interaction that deals with the how people use computing technology to enhance group interaction and collaboration. Mobile CSCW has emerged as a result of the progression from personal desktop computing to the mobile device platforms that are ubiquitous today. CSCW aims to not only connect people and facilitate communication through using computers; it aims to provide conceptual models coupled with technology to manage, mediate, and assist collaborative processes. Mobile CSCW research looks to fulfil these aims through the adoption of mobile technology and consideration for the mobile user. Facilitating collaboration using mobile devices brings new challenges. Some of these challenges are inherent to the nature of the device hardware, while others focus on the understanding of how to engineer software to maximize effectiveness for the end-users. This paper reviews seminal and state-of-the-art cooperative software applications and development frameworks, and their support for mobile devices

    The Translocal Event and the Polyrhythmic Diagram

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    This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

    Curated language learning spaces: Design principles of physical 21st century language centers

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    This article develops a set of design principles for 21st century language centers. It is based on a 2013 survey of language center directors and staff for the International Association for Language Learning and Technology (IALLT). The proposed criteria, which are flexibility and adaptability, mission-based design, situatedness, social space and community design, and de-emphasis of technology, offer a new direction in the physical and conceptual design of 21st century language learning spaces

    The Case for Public Interventions during a Pandemic

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    Funding Information: This work has been supported by Marie Skłodowska Curie Actions ITN AffecTech (ERC H2020 Project 1059 ID: 722022). Publisher Copyright: © 2022 by the authors.Within the field of movement sensing and sound interaction research, multi-user systems have gradually gained interest as a means to facilitate an expressive non-verbal dialogue. When tied with studies grounded in psychology and choreographic theory, we consider the qualities of interaction that foster an elevated sense of social connectedness, non-contingent to occupying one’s personal space. Upon reflection of the newly adopted social distancing concept, we orchestrate a technological intervention, starting with interpersonal distance and sound at the core of interaction. Materialised as a set of sensory face-masks, a novel wearable system was developed and tested in the context of a live public performance from which we obtain the user’s individual perspectives and correlate this with patterns identified in the recorded data. We identify and discuss traits of the user’s behaviour that were accredited to the system’s influence and construct four fundamental design considerations for physically distanced sound interaction. The study concludes with essential technical reflections, accompanied by an adaptation for a pervasive sensory intervention that is finally deployed in an open public space.publishersversionpublishe

    Virtual Reality Games for Motor Rehabilitation

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    This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

    Network Narrative: Prose Narrative Fiction and Participatory Cultural Production in Digital Information and Communication Networks

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    In this study of prose narrative created explicitly for participatory network communications environments I argue that network narratives constitute an important, born-networked form of literary and cultural expression. In the first half of the study I situate network narratives within a rich, dynamic process of reciprocity and codependence between the technological, material and formal properties of communication media on the one hand, and the uses of these media in cultural practices and forms of expression on the other. I point out how the medial and cultural flows that characterize contemporary network culture promote a codependent relation between narrative and information. This relation supports literary cultural expressions that invoke everyday communication practices increasingly shaped by mobile, networked computing devices. In the second half of this study, I extend theoretical work in the field of electronic literature and digital media to propose a set of four characteristics through which network narratives may be understood as distinct modes of networked, literary cultural expression. Network narratives, I suggest, are multimodal, distributed, participatory, and emergent. These attributes are present in distinct ways, within distinct topological layers of the narratives: in the story, discourse, and character networks of the narrative structure; in the formal and navigational structures; and in the participatory circuits of production, circulation and consumption. Attending to these topological layers and their interrelationships by using concepts derived from graph theory and network analysis offers a methodology that links the particular, closely read attributes and content of network narratives to a more distant understanding of changing patterns in broader, networked cultural production. Finally, I offer readings of five examples of network narratives. These include Kate Pullinger and Chris Joseph’s Flight Paths, Penguin Books and De Montfort University’s collaborative project A Million Penguins, the Apple iOS application The Silent History, Tim Burton’s collaboration with TIFF, BurtonStory, and a project by NFB Interactive, Out My Window. Each of these works incorporates user participation into its production circuits using different strategies, each with different implications for narrative and navigational structures. I conclude by describing these distinct strategies as additive participation – participation that becomes embedded within the work itself – and delineating different approaches that are employed independently or in combination by the authors and producers
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