Notating the non-notateable: digital notation of txalaparta practice

This paper explores notation practices related to the an- cient Basque musical tradition of the txalaparta. It will firstly present the txalaparta practice, introduce the im- provisational rules of txalaparta playing, and discuss attempts in creating notation systems for the instrument. Due to the nature of txalaparta playing, Common West- ern Notation is not a suitable notation, and we will pre- sent the notation system we have developed as part of the Digital Txalaparta project. This system captures the key parts of playing and serves for both playback and a rich documentation of what players actually perform

Ajna: negotiating forms in the making of a musical cabinet

Ajna is a musical cabinet made from a rich composition of acoustic materials and designed to perform digitally composed music. In this paper, we aim to unpack the design as well as key aspects of the design process that lead up to this unique artwork. We base our analysis on interviews with its two creators as well as on observations of Ajna performing in different contexts. From the perspective of interaction design, we first analyse the process of its making through the negotiations between physical form, temporal from, and the interactive gestalts. Lastly, we place these negotiations in a larger picture of bricolage as a design approach. Based on this we then discuss the qualities of bricolage in interaction design.QC 20141106Arts and Craft

Extending Human-Robot Relationships Based in Music With Virtual Presence

Social relationships between humans and robots require both long term engagement and a feeling of believability or social presence toward the robot. It is our contention that music can provide the extended engagement that other open-ended interaction studies have failed to do, also, that in combination with the engaging musical interaction, the addition of simulated social behaviors is necessary to trigger this sense of believability or social presence. Building on previous studies with our robot drummer Mortimer that show including social behaviors can increase engagement and social presence, we present the results of a longitudinal study investigating the effect of extending weekly collocated musical improvisation sessions by making Mortimer an active member of the participant's virtual social network. Although, we found the effects of extending the relationship into the virtual world were less pronounced than results we have previously found by adding social modalities to human-robot musical interaction, interesting questions are raised about the interpretation of our automated behavioral metrics across different contexts. Further, we found repeated results of increasingly uninteruppted playing and notable differences in responses to online posts by Mortimer and posts by participant's human friends

Differences of Human Perceptions of a Robot Moving using Linear or Slow in, Slow out Velocity Profiles When Performing a Cleaning Task

We investigated how a robot moving with different velocity profiles affects a person's perception of it when working together on a task. The two profiles are the standard linear profile and a profile based on the animation principles of slow in, slow out. The investigation was accomplished by running an experiment in a home context where people and the robot cooperated on a clean-up task. We used the Godspeed series of questionnaires to gather people's perception of the robot. Average scores for each series appear not to be different enough to reject the null hypotheses, but looking at the component items provides paths to future areas of research. We also discuss the scenario for the experiment and how it may be used for future research into using animation techniques for moving robots and improving the legibility of a robot's locomotion

Robotic arts: Current practices, potentials, and implications

Given that the origin of the “robot” comes from efforts to create a worker to help people, there has been relatively little research on making a robot for non-work purposes. However, some researchers have explored robotic arts since Leonardo da Vinci. Many questions can be posed regarding the potentials of robotic arts: (1) Is there anything we can call machine-creativity? (2) Can robots improvise artworks on the fly? and (3) Can art robots pass the Turing test? To ponder these questions and see the current status quo of robotic arts, the present paper surveys the contributions of robotics in diverse forms of arts, including drawing, theater, music, and dance. The present paper describes selective projects in each genre, core procedure, possibilities and limitations within the aesthetic computing framework. Then, the paper discusses implications of these robotic arts in terms of both robot research and art research, followed by conclusions including answers to the questions posed at the outset

Digitizing the txalaparta: computer-based study of a traditional practice

This article describes a software implementation dealing with the ancient Basque musical tradition of the txalaparta. The research is different from earlier studies of the txalaparta in that, by digitizing the instrument and its performance rules, we have had to formalize and make explicit conventions that hitherto have been tacit knowledge of improvisational practice. Analysis through software development is an unusual case of musicological analysis as it demands clarity and precision, and often requires multidisciplinary approaches to understand the studied subject. We have developed software in order to analyze and understand a practice that has received little musicological analysis. By expounding musical patterns and performers' behaviors that have hitherto been difficult to analyze, we reveal the social and cultural aspects of performance practice. The txalaparta is a two-performer instrument and the software produces txalaparta rhythms and plays along with a human player, while learning and adapting to the player's style. The system helps novices to explore the rules of the txalaparta and more-experienced performers to approach the instrument from a new perspective. In this research we have applied a user-centered approach, where feedback from players using the digital txalaparta was collected. This feedback allowed us to approach the reflective vision of txalaparta players and their thoughts on the results of our research