Interactive Sound in Performance Ecologies: Studying Connections among Actors and Artifacts

This thesis’s primary goal is to investigate performance ecologies, that is the compound of humans, artifacts and environmental elements that contribute to the result of a per- formance. In particular, this thesis focuses on designing new interactive technologies for sound and music. The goal of this thesis leads to the following Research Questions (RQs): • RQ1 How can the design of interactive sonic artifacts support a joint expression across different actors (composers, choreographers, and performers, musicians, and dancers) in a given performance ecology? • RQ2 How does each different actor influence the design of different artifacts, and what impact does this have on the overall artwork? • RQ3 How do the different actors in the same ecology interact, and appropriate an interactive artifact? To reply to these questions, a new framework named ARCAA has been created. In this framework, all the Actors of a given ecology are connected to all the Artifacts throughout three layers: Role, Context and Activity. This framework is then applied to one systematic literature review, two case studies on music performance and one case study in dance performance. The studies help to better understand the shaded roles of composers, per- formers, instrumentalists, dancers, and choreographers, which is relevant to better design interactive technologies for performances. Finally, this thesis proposes a new reflection on the blurred distinction between composing and designing a new instrument in a context that involves a multitude of actors. Overall, this work introduces the following contributions to the field of interaction design applied to music technology: 1) ARCAA, a framework to analyse the set of inter- connected relationship in interactive (music) performances, validated through 2 music studies, 1 dance study and 1 systematic literature analysis; 2) Recommendations for de- signing music interactive system for performance (music or dance), accounting for the needs of the various actors and for the overlapping on music composition and design of in- teractive technology; 3) A taxonomy of how scores have shaped performance ecologies in NIME, based on a systematic analysis of the literature on score in the NIME proceedings; 4) Proposal of a methodological approach combining autobiographical and idiographical design approaches in interactive performances.O objetivo principal desta tese é investigar as ecologias performativas, conjunto formado pelos participantes humanos, artefatos e elementos ambientais que contribuem para o resultado de uma performance. Em particular, esta tese foca-se na conceção de novas tecnologias interativas para som e música. O objetivo desta tese originou as seguintes questões de investigação (Research Questions RQs): • RQ1 Como o design de artefatos sonoros interativos pode apoiar a expressão con- junta entre diferentes atores (compositores, coreógrafos e performers, músicos e dançarinos) numa determinada ecologia performativa? • RQ2 Como cada ator influencia o design de diferentes artefatos e que impacto isso tem no trabalho artístico global? • RQ3 Como os diferentes atores de uma mesma ecologia interagem e se apropriam de um artefato interativo? Para responder a essas perguntas, foi criado uma nova framework chamada ARCAA. Nesta framework, todos os atores (Actores) de uma dada ecologia estão conectados a todos os artefatos (Artefacts) através de três camadas: Role, Context e Activity. Esta framework foi então aplicada a uma revisão sistemática da literatura, a dois estudos de caso sobre performance musical e a um estudo de caso em performance de dança. Estes estudos aju- daram a comprender melhor os papéis desempenhados pelos compositores, intérpretes, instrumentistas, dançarinos e coreógrafos, o que é relevante para melhor projetar as tec- nologias interativas para performances. Por fim, esta tese propõe uma nova reflexão sobre a distinção entre compor e projetar um novo instrumento num contexto que envolve uma multiplicidade de atores. Este trabalho apresenta as seguintes contribuições principais para o campo do design de interação aplicado à tecnologia musical: 1) ARCAA, uma framework para analisar o conjunto de relações interconectadas em performances interativas, validado através de dois estudos de caso relacionados com a música, um estudo de caso relacionado com a dança e uma análise sistemática da literatura; 2) Recomendações para o design de sistemas interativos musicais para performance (música ou dança), tendo em conta as necessidades dos vários atores e a sobreposição entre a composição musical e o design de tecnologia interactiva; 3) Uma taxonomia sobre como as partituras musicais moldaram as ecologias performativas no NIME, com base numa análise sistemática da literatura dos artigos apresentados e publicados nestas conferência; 4) Proposta de uma aborda- gem metodológica combinando abordagens de design autobiográfico e idiográfico em performances interativas

A Quadruple-Based Text Analysis System for History and Philosophy of Science

abstract: Computational tools in the digital humanities often either work on the macro-scale, enabling researchers to analyze huge amounts of data, or on the micro-scale, supporting scholars in the interpretation and analysis of individual documents. The proposed research system that was developed in the context of this dissertation ("Quadriga System") works to bridge these two extremes by offering tools to support close reading and interpretation of texts, while at the same time providing a means for collaboration and data collection that could lead to analyses based on big datasets. In the field of history of science, researchers usually use unstructured data such as texts or images. To computationally analyze such data, it first has to be transformed into a machine-understandable format. The Quadriga System is based on the idea to represent texts as graphs of contextualized triples (or quadruples). Those graphs (or networks) can then be mathematically analyzed and visualized. This dissertation describes two projects that use the Quadriga System for the analysis and exploration of texts and the creation of social networks. Furthermore, a model for digital humanities education is proposed that brings together students from the humanities and computer science in order to develop user-oriented, innovative tools, methods, and infrastructures.Dissertation/ThesisDoctoral Dissertation Biology 201

Collaborative authoring and the virtual problem of context in writing courses

Since the 1980s, the field of rhetoric and composition has embraced the idea of collaborative writing as a means of generating new knowledge, troubling traditional conceptions of the author, and repositioning power within the student-teacher hierarchy. Authors such as David Bleich, Kenneth Bruffee, and Andrea Lunsford and Lisa Ede have written about, and advocated for, teachers' engagement with collaboration in the composition classroom. Yet in discussions of collaborative writing, scholars have tended to ignore an important element: the limitations placed upon student agency by the institutional context in which students write. We can ask students to work together in the classroom, but limitations on their choice of collaborators, their time together, and their ability to determine the outcome of their work result in an unproductive simulacrum of collaboration in which students write together but do not engage deeply with each other in the ways scholars describe. Ignoring the fact that classroom collaborative writing is embedded in different fields of power than writing done by scholars working outside institutional limitations results in a conception of collaborative writing as little more than an element of pedagogy, one that can be added to a syllabus without significantly changing the structure, goals, or ideology of the course. Rather than approaching collaborative writing as a means of pushing against the limits of institutional writing, the context in which collaboration takes place is naturalized. As a result, the assessment and disciplinary structures of the academy, the physical division of the student body into class sections, and the tools available to support (or undercut) collaborative work vanish in the scholarship. To counter this trend, I explore how the denial of context and the resulting disconnection between theory (the claims for collaborative writing) and practice (the twenty-first-century composition classroom) promote not collaboration, but a simulacrum of collaboration: academic work that mimics the appearance of true collaboration while failing to enact the liberatory possibility of working with other writers. This project explores collaborative theory on three levels: the personal, in which collaborative writing is illustrated via specific business, public, and academic contexts; the pedagogical, in which current collaborative theory and practice is deployed and analyzed to understand its limitations; and the disciplinary, in which current collaborative theory and practice is questioned, critiqued, and remediated to propose an alternative collaborative classroom praxis. The structure of the dissertation, which uses interchapters to draw connections between larger theoretical issues and my ethnographic research, interviews, and analysis, reflects these three strands as a means of illustrating the interdependence of the personal, pedagogical, and disciplinary conceptions of and engagements with collaborative writing