Enhanced Learning of Jazz Chords with a Projector Based Piano Keyboard Augmentation

Published version: https://www.springer.com/gp/book/9783030353421acceptedVersio

Between Two Worlds:Virtuality in Arts and Teaching

Virtual worlds provide a platform in which to construct compelling experiences not possible within the material and temporal constraints of the physical world. The virtual realm has the potential to be united and engaged by physicality--informing and transforming the audience\u27s experience of exhibition in a profoundly transformative nature. The Institute for Digital Intermedia Arts at Ball State University has been incorporating mixed-reality approaches into museum exhibitions, musical performances, installation art, and interface over the last several years. This paper documents specific explorations of the opportunities of the Second Life environment for mixed-reality experiences--analyzing approaches to bridging the worlds such as media streaming, client-side interaction, an external web server communication hub, as well as opportunities for human/computer interaction

The Relationship Between Cognition and Sensorimotor Behavior in an F1 Driving Simulation: An Explorative Study

Sensorimotor control simultaneously engages multiple cognitive processes, like decision making, intention, processing, and the integration of multisensory signals. The reciprocal relationship of cognition and sensorimotor learning is well documented. However, little is known if the status of cognitive skills relates to immediate sensorimotor performance of performing a novel skill. Thus, we aim to explore whether cognitive skills in general and executive functions (EFs) in particular may relate to novel sensorimotor performance and adaptive skills. Therefore, 23 male participants engaged in a novel driving simulation for 2 days. On the first day, they accustomed to the F1 simulation until meeting a preset threshold (adaption). On the second day, they aimed to drive as fast as possible (performance). In addition, we measured EFs and global cognition. We found meaningful relationships between response inhibition (Stroop Color and Word Test), the driving performance (r = 0.48, p = 0.013), and the adaptive ability (r = 0.34, p = 0.012). All other tests of executive functioning and global cognition remained non-significant. Our results illustrate an association of driving performance and adaptive abilities and the EF selective attention/inhibition in a novel F1 simulation. Given the novelty of the task, the ability to adjust sensorimotor behavior to keep the car on the track seems to be the primary necessary skill to navigate the lap and achieve fast times. © Copyright © 2020 Eckardt, Roden, Grube and Schorer

The nature of applied voice teaching expertise: common elements observed in the lessons of three exemplary applied voice instructors

Based on theories of expert pedagogy, the purpose of this study was to better understand the nature of expertise in voice instruction by observing common elements across three expert voice teachers (Joseph Frank, tenor; Eric Howe, baritone; and Erie Mills, soprano) and discovering the extent voice teaching aligned with common elements of instrumental instruction (Duke & Simmons, 2006a). This qualitative study addressed the overarching question: How can expert voice teaching be characterized? More specifically, using Duke and Simmons’ study of instrumental music teaching expertise as a point of departure, I wanted to understand: To what extent does voice teaching observed in the present study align with Duke and Simmons’ 19 Common Elements of Expertise? Methods of data collection included observation-digital recording of nearly 20 hours of lessons, participant interviews, and field notes. Recorded lessons were reviewed to identify teaching behaviors-attributes that related to students’ goal achievement within “rehearsal frames” (Duke, 1999/2000; 2008). Data analysis occurred in two phases, first coding transcribed data for original elements and second for new elements. Narrative descriptions were created for new elements. Findings gave evidence that expert voice teaching was similar to 14 original elements and revealed nine new elements under three categories: working with a largely invisible and fully embodied instrument, frequent exclusive focus on technique, and drawing on extensive familiarity with texts used for singing. Conclusions advance a theoretical model of voice teaching expertise, drawing on Berliner (1986; 1988). That model has implications for the preparation of novice voice teachers and for further research on voice teaching expertise

Immaterial Attachments: Performing iPhone and the Rhetorics of Dematerialization

Engaging with rhetorical studies, performance studies, and surveillance studies, this thesis attempts to outline the ideological construction of the experience of iPhone, underlining how this experience—and its performance—is imbricated with conceptions of social control. To do this, I begin with the cultural oscillation between extreme psychological attachment to Apple’s iPhone and its complementary disposability. How can an object generate such attachment, yet remain disposable? To get at this question, I examine how attachment and disposability are layered together in an experience of iPhone structured by rhetorics of dematerialization. These are visual and discursive fragments that, together, construct an ideological impulse that tends toward the disappearance of the objects to which they refer, overall, working to supplement and promote iPhone’s culture of disposability. In relation to iPhone, this thesis examines rhetorics of dematerialization through three intersecting vectors: the device, the human user, and the proximal space that stages their interaction. With rhetorics of dematerialization as the larger frame, my main analyses focus on specific instances of the tension between attachment and disposability, considered as performances of attachment. Generally, these are everyday performances on and with iPhone—gestural interface, picking it up, throwing it out—that 1) collapse attachment and disposability into each other under the rhetorical rubric of a phenomenal dematerialization, 2) require users to enact, embody, and assume the rhetorics of dematerialization, and 3) have both cultural and individual effects. iPhone’s culture of disposability relies on the dematerialization of waste and wasteful consumer practices. Individually, performances of attachment with iPhone allow new models of surveillance (through data-gathering and self-tracking practices) to permeate users’ everyday experience

Spartan Daily, February 21, 2017

Volume 148, Issue 11https://scholarworks.sjsu.edu/spartan_daily_2017/1010/thumbnail.jp

Networks of Liveness in Singer-Songwriting: A practice-based enquiry into developing audio-visual interactive systems and creative strategies for composition and performance.

This enquiry explores the creation and use of computer-based, real-time interactive audio-visual systems for the composition and performance of popular music by solo artists. Using a practice-based methodology, research questions are identified that relate to the impact of incorporating interactive systems into the songwriting process and the liveness of the performances with them. Four approaches to the creation of interactive systems are identified: creating explorative-generative tools, multiple tools for guitar/vocal pieces, typing systems and audio-visual metaphors. A portfolio of ten pieces that use these approaches was developed for live performance. A model of the songwriting process is presented that incorporates system-building and strategies are identified for reconciling the indeterminate, electronic audio output of the system with composed popular music features and instrumental/vocal output. The four system approaches and ten pieces are compared in terms of four aspects of liveness, derived from current theories. It was found that, in terms of overall liveness, a unity to system design facilitated both technological and aesthetic connections between the composition, the system processes and the audio and visual outputs. However, there was considerable variation between the four system approaches in terms of the different aspects of liveness. The enquiry concludes by identifying strategies for maximising liveness in the different system approaches and discussing the connections between liveness and the songwriting process

Aesthetic potential of human-computer interaction in performing arts

Human-computer interaction (HCI) is a multidisciplinary area that studies the communication between users and computers. In this thesis, we want to examine if and how HCI when incorporated into staged performances can generate new possibilities for artistic expression on stage. We define and study four areas of technology-enhanced performance that were strongly influenced by HCI techniques: multimedia expression, body representation, body augmentation and interactive environments. We trace relevant artistic practices that contributed to the exploration of these topics and then present new forms of creative expression that emerged after the incorporation of HCI techniques. We present and discuss novel practices like: performer and the media as one responsive entity, real-time control of virtual characters, on-body projections, body augmentation through humanmachine systems and interactive stage design. The thesis concludes by showing some concrete examples of these novel practices implemented in performance pieces. We present and discuss technologyaugmented dance pieces developed during this master’s degree. We also present a software tool for aesthetic visualisation of movement data and discuss its application in video creation, staged performances and interactive installations