Exploring the Digital Music Instrument Trombosonic with Extreme Users and at a Participatory Performance

We introduce the “Trombosonic” as a new digital music instrument inspired by the slide trombone. An ultrasonic sensor combined with a red laser allows the performer to play the instrument using similar movements to playing a trombone to change the pitch, despite the absence of a physical slider, by moving one hand back and forth. Additional sensors enhance the potential for musical expression by movement of the whole interface and by using the breath. We identify and discuss a variety of design issues arising from the Trombosonic. Due to its compact size and the lack of a slider, the Trombosonic can be played in many different ways. In order to explore varied potential uses of the Trombosonic, we carried out a series of informal evaluations. These included experts in new musical instruments, an older user, a younger user, an interaction design expert, and the audience at an experimental concert with audience participation. Future work is also discussed. Further technical development might include a built-in microphone to use the human voice and an expansion of the synthesiser’s features

Design Implications for Technology-Mediated Audience Participation in Live Music

Mobile and sensor-based technologies have created new interaction design possibilities for technology-mediated au- dience participation in live music performance. However, there is little if any work in the literature that systematically identifies and characterises design issues emerging from this novel class of multi-dimensional interactive performance systems. As an early contribution towards addressing this gap in knowledge, we present the analysis of a detailed sur- vey of technology-mediated audience participation in live music, from the perspective of two key stakeholder groups - musicians and audiences. Results from the survey of over two hundred spectators and musicians are presented, along with descriptive analysis and discussion. These results are used to identify emerging design issues, such as expressive- ness, communication and appropriateness. Implications for interaction design are considered. While this study focuses on musicians and audiences, lessons are noted for diverse stakeholders, including composers, performers, interaction designers, media artists and engineers

D2D-Based Grouped Random Access to Mitigate Mobile Access Congestion in 5G Sensor Networks

The Fifth Generation (5G) wireless service of sensor networks involves significant challenges when dealing with the coordination of ever-increasing number of devices accessing shared resources. This has drawn major interest from the research community as many existing works focus on the radio access network congestion control to efficiently manage resources in the context of device-to-device (D2D) interaction in huge sensor networks. In this context, this paper pioneers a study on the impact of D2D link reliability in group-assisted random access protocols, by shedding the light on beneficial performance and potential limitations of approaches of this kind against tunable parameters such as group size, number of sensors and reliability of D2D links. Additionally, we leverage on the association with a Geolocation Database (GDB) capability to assist the grouping decisions by drawing parallels with recent regulatory-driven initiatives around GDBs and arguing benefits of the suggested proposal. Finally, the proposed method is approved to significantly reduce the delay over random access channels, by means of an exhaustive simulation campaign.Comment: First submission to IEEE Communications Magazine on Oct.28.2017. Accepted on Aug.18.2019. This is the camera-ready versio

Experimence: Considerations for Composing a Rock Song for Interactive Audience Participation

In popular music genres, typical songs are pre-composed and leave little or no space for improvisation during a live performance. That applies for the performing musicians as well as for the spectators in terms of interactive audience participation. In this study we question these improvisational limits and try to identify strategies for involving the audience as an additional and unpredictable factor in a pre-composed rock song. To do so we composed “Experimence” guided by the standard practice of song writing. The song was premiered at a public live concert where the audience could collaboratively participate in real-time by playing with a balloon together throughout the song. Using a Wizard of Oz technique, the movements of the balloon influenced the live music played by the pianist. We reflect across this experience and present notable issues raised during the composition, rehearsals and the actual performance. We then classify these aspects as abstract variables of consideration for a composition meant to promote such audience participation. We propose this proof of concept as a starting point for further discussion, suggesting that a song such as Experimence can be a unique and individual piece of music every time it is played although largely pre-composed

Over 50 years of behavioural evidence on the magnetic sense in animals – What has been learnt?

Magnetoreception is a key element in the sensory repertoire of many organisms, and it has been shown to play a particular role in animal navigation. While the first data to demonstrate a magnetic compass in songbirds through behavioural measures were presented decades ago, studies of behaviour are still the main source of information in learning about the magnetic senses. The behavioural evidence is, however, scattered with sometimes contradictory results. Partly, this is a consequence of a wide spectrum of methods used across multiple research groups studying different model organisms. This has limited the ability of researchers to pin down exactly how and why animals use the Earth’s magnetic field. Here, we lay out how a range of methods for testing behaviour spanning from field observations to laboratory manipulations can be used to test for a magnetic sense in animals. To this end, we discuss the principal limitations of behavioural testing in telling us how animals sense the magnetic field, and we argue that behaviour must go hand in hand with other fields to advance our understanding of the magnetic sense

Corneal sensitivity is required for orientation in free-flying migratory bats

The exact anatomical location for an iron particle-based magnetic sense remains enigmatic in vertebrates. For mammals, findings from a cornea anaesthesia experiment in mole rats suggest that it carries the primary sensors for magnetoreception. Yet, this has never been tested in a free-ranging mammal. Here, we investigated whether intact corneal sensation is crucial for navigation in migrating Nathusius’ bats, Pipistrellus nathusii, translocated from their migratory corridor. We found that bats treated with corneal anaesthesia in both eyes flew in random directions after translocation and release, contrasting bats with a single eye treated, and the control group, which both oriented in the seasonally appropriate direction. Using a Y-maze test, we confirmed that light detection remained unaffected by topical anaesthesia. Therefore our results suggest the cornea as a possible site of magnetoreception in bats, although other conceivable effects of the anaesthetic are also explored. Furthermore, we demonstrate that the corneal based sense is of bilateral nature but can function in a single eye if necessary