Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt

The analysis of the creative processes involved in electroacoustic music may to a large extent rely on the thorough study of the technological tools used for the realisation of a musical work, both on the composition and on the performance sides. Understanding the behaviour and potential range of aesthetic results of such tools enables the musicologist to approach the studied work much beyond its final form, as presented on tape or as performed on a particular occasion: gaining knowledge on a wider technological context leads to considering the actual artistic decisions in the perspective of the potential outcomes that the composer and performer could face but not necessarily adopt. Hence, analysing an electroacoustic work on the basis of the study of its creative context, technological tools and compositional methods may constitute a useful approach to a better understanding of its related creative processes. However, the implementation of such an approach, mainly based on the hardware or software elements used during the creation of a given work, is not straightforward. First, it implies that the considered technologies are still in use and have not be come irreversibly obsolete. In this matter, new performances of a work are good opportunities for such investigations, as they often provide a technical update and require a deep understanding of the composer’s intentions. The musicologist also needs to have access to the resources, which may not be available without a direct contact with the composer. Assuming these conditions are reached,the musicological and organological studies can encounter another issue, particularly in the digital domain: the sources are not always presented under forms that are directly readable by the analyst, for instance with a specific programming language. Despite all these possible difficulties, many cases of technological tools lean themselves to an in-depth investigation, leading to relevant conclusions on some of the creative processes appearing in the field of electroacoustic music. In the context of a common session of several analytical approaches to a same electroacoustic piece, Hans Tutschku’s Entwurzelt for six singers and electronics (2012), this article focuses on the investigation and modelling of tools and methods of the compositional stage of the realisation of the work. During a performance of Entwurzelt, the electronic materials are simply triggered as events by one of the singers, without further interactivity–thus, the essential part of the research on the electroacoustic realisation aims at exploring the processes used during the compositional stage itself. As the electronics are used as an extension of the live vocal expression by the means of harmonic amplification and complex texturing, the tools for generation and processing of both symbolic representations and audio explored. Since the software tools that constitute the primary sources for our research were not directly designed to be used beyond their creative purposes, this talk presents software modelling implemented by the two authors to demonstrate the technological context in which Tutschku could compose Entwurzelt, emphasizing his creative methods and the decisions he could make upon a wider range of possible materials and processing techniques

Freeform User Interfaces for Graphical Computing

報告番号: 甲15222 ; 学位授与年月日: 2000-03-29 ; 学位の種別: 課程博士 ; 学位の種類: 博士(工学) ; 学位記番号: 博工第4717号 ; 研究科・専攻: 工学系研究科情報工学専

Designing Hybrid Interactions through an Understanding of the Affordances of Physical and Digital Technologies

Two recent technological advances have extended the diversity of domains and social contexts of Human-Computer Interaction: the embedding of computing capabilities into physical hand-held objects, and the emergence of large interactive surfaces, such as tabletops and wall boards. Both interactive surfaces and small computational devices usually allow for direct and space-multiplex input, i.e., for the spatial coincidence of physical action and digital output, in multiple points simultaneously. Such a powerful combination opens novel opportunities for the design of what are considered as hybrid interactions in this work. This thesis explores the affordances of physical interaction as resources for interface design of such hybrid interactions. The hybrid systems that are elaborated in this work are envisioned to support specific social and physical contexts, such as collaborative cooking in a domestic kitchen, or collaborative creativity in a design process. In particular, different aspects of physicality characteristic of those specific domains are explored, with the aim of promoting skill transfer across domains. irst, different approaches to the design of space-multiplex, function-specific interfaces are considered and investigated. Such design approaches build on related work on Graspable User Interfaces and extend the design space to direct touch interfaces such as touch-sensitive surfaces, in different sizes and orientations (i.e., tablets, interactive tabletops, and walls). These approaches are instantiated in the design of several experience prototypes: These are evaluated in different settings to assess the contextual implications of integrating aspects of physicality in the design of the interface. Such implications are observed both at the pragmatic level of interaction (i.e., patterns of users' behaviors on first contact with the interface), as well as on user' subjective response. The results indicate that the context of interaction affects the perception of the affordances of the system, and that some qualities of physicality such as the 3D space of manipulation and relative haptic feedback can affect the feeling of engagement and control. Building on these findings, two controlled studies are conducted to observe more systematically the implications of integrating some of the qualities of physical interaction into the design of hybrid ones. The results indicate that, despite the fact that several aspects of physical interaction are mimicked in the interface, the interaction with digital media is quite different and seems to reveal existing mental models and expectations resulting from previous experience with the WIMP paradigm on the desktop PC

Sticks, balls or a ribbon? Results of a formative user study with bioinformaticians

User interfaces in modern bioinformatics tools are designed for experts. They are too complicated for\ud novice users such as bench biologists. This report presents the full results of a formative user study as part of a\ud domain and requirements analysis to enhance user interfaces and collaborative environments for\ud multidisciplinary teamwork. Contextual field observations, questionnaires and interviews with bioinformatics\ud researchers of different levels of expertise and various backgrounds were performed in order to gain insight into\ud their needs and working practices. The analysed results are presented as a user profile description and user\ud requirements for designing user interfaces that support the collaboration of multidisciplinary research teams in\ud scientific collaborative environments. Although the number of participants limits the generalisability of the\ud findings, the combination of recurrent observations with other user analysis techniques in real-life settings\ud makes the contribution of this user study novel

Nested Explorative Maps: A new 3D canvas for conceptual design in architecture

International audienceIn this digital age, architects still need to alternate between paper sketches and 3D modeling software for their designs. Indeed, while 3D models enable to explore different views, creating them at very early stages might reduce creativity since they do not allow to superpose several tentative designs nor to refine them progressively, as sketches do. To enable exploratory design in 3D, we introduce Nested Explorative Maps, a new system dedicated to interactive design in architecture. Our model enables coarse to fine sketching of nested architectural structures, enabling to progressively sketch a 3D building from floor plan to interior design, thanks to a series of nested maps able to spread in 3D. Each map allows the visual representation of uncertainty as well as the interactive exploration of the alternative, tentative options. We validate the model through a user study conducted with professional architects, enabling us to highlight the potential of Nested Explorative Maps for conceptual design in architecture.En cette ère du numérique, les architectes doivent encore alterner entre le croquis papier et logiciels de modélisation 3D afin de réaliser leurs conceptions. En effet, les modèles 3D permettent d’explorer différentes vues mais leur création à un stade très précoce peut impliquer une perte de la créativité car ils ne permettent pas de superposer plusieurs plans provisoires ni de les affiner progressivement, comme le font les esquisses. Pour permettre la conception exploratoire dans l'espace 3D, nous présentons Nested Explorative Maps, un nouveau système dédié à la conception interactive en architecture. Notre modèle permet de dessiner du grossier aux détails des structures architecturales imbriquées, afin de dessiner progressivement un bâtiment en 3D, du plan à la décoration intérieure, grâce à une série de cartes imbriquées capables de se répandre en 3D. Chaque carte permet de représenter visuellement l’incertitude et d’explorer de manière interactive les différentes options possibles. Une étude utilisateur réalisée auprès d'architectes professionnels nous a permis de valider notre modèle et de mettre en évidence le potentiel des cartes exploratoires imbriquées pour la conception conceptuelle en architecture

Vision systems with the human in the loop

The emerging cognitive vision paradigm deals with vision systems that apply machine learning and automatic reasoning in order to learn from what they perceive. Cognitive vision systems can rate the relevance and consistency of newly acquired knowledge, they can adapt to their environment and thus will exhibit high robustness. This contribution presents vision systems that aim at flexibility and robustness. One is tailored for content-based image retrieval, the others are cognitive vision systems that constitute prototypes of visual active memories which evaluate, gather, and integrate contextual knowledge for visual analysis. All three systems are designed to interact with human users. After we will have discussed adaptive content-based image retrieval and object and action recognition in an office environment, the issue of assessing cognitive systems will be raised. Experiences from psychologically evaluated human-machine interactions will be reported and the promising potential of psychologically-based usability experiments will be stressed