Analysis of conceptual metaphors to improve music software: the role of prior experience in inclusive music interaction

An open challenge for interaction designers is to find ways of designing software solutions capable of enhancing the ability of users with differing levels of knowledge and capabilities to perform tasks that normally require specialised domain expertise. This challenge is particularly demanding in areas such as music analysis, where complex, abstract, domain-specific concepts and notations occur. One promising theoretical foundation for this work involves the identification of what are assumed to be conceptual metaphors and image schemas. These constructs are grounded in prior sensory-motor experiences of space, force, orientation and interactions with other bodies and are identified through analysing discourse. These theories have already been applied with some success both to musical concepts and, separately, to user interface design with the intention of creating more intuitive designs through exploiting these prior sensory-motor experiences. However, the present work appears to be the first to combine these hitherto distinct bodies of research. We hypothesise that if we can identify the conceptual metaphors and image schemas used by musical experts to structure their understanding of music, we can utilise this information to develop a general theoretical framework to aid designers in systematically improving their designs, providing a foundation for inclusive music interaction design and thus opening up software normally restricted to domain experts to a wider and more varied user population. A possible methodology for the development of such a framework is discussed along with details of a study to apply the conceptual metaphors and image schemas used by a small group of experienced musicians to an evaluation of Harmony Space

Eliciting Domain Knowledge Using Conceptual Metaphors: A Case Study from Music Interaction

Interaction design for domains that involve complex abstractions can prove challenging. This problem is particularly acute in domains where the intricate nature of domain-specific knowledge can be difficult for even the most experienced expert to conceptualise or articulate. One promising solution to the problem of representing complex domain abstractions involves the use of conceptual metaphors. Previous applications of conceptual metaphors to abstract domains have yielded encouraging results. However, the design of appropriate methods for eliciting conceptual metaphors for the purposes of informing interaction design remains an open question. In this paper, we report on a series of studies carried out to elicit conceptual metaphors from domain experts, using music as a case study, reflecting on the benefits and drawbacks of each approach

Evaluating musical software using conceptual metaphors

An open challenge for interaction designers is to find ways of designing software to enhance the ability of novices to perform tasks that normally require specialized domain expertise. This challenge is particularly demanding in areas such as music analysis, where complex, abstract, domain-specific concepts and notations occur. One promising theoretical foundation for this work involves the identification of conceptual metaphors and image schemas, found by analyzing discourse. This kind of analysis has already been applied, with some success, both to musical concepts and, separately, to user interface design. The present work appears to be the first to combine these hitherto distinct bodies of research, with the aim of devising a general method for improving user interfaces for music. Some areas where this may require extensions to existing method are noted. This paper presents the results of an exploratory evaluation of Harmony Space, a tool for playing, analysing and learning about harmony. The evaluation uses conceptual metaphors and image schemas elicited from the dialogues of experienced musicians discussing the harmonic progressions in a piece of music. Examples of where the user interface supports the conceptual metaphors, and where support could be improved, are discussed. The potential use of audio output to support conceptual metaphors and image schemas is considered

Towards a participatory approach for interaction design based on conceptual metaphor theory: a case study from music interaction

"Music Interaction" is the term for interaction design within the domain of music. In areas such as music, the ability to engage effectively in certain activities tends to be restricted to those who have acquired detailed knowledge of domain-specific theories, terminologies, concepts or processes. It can be challenging to design or enhance user interfaces for software able to support novices in these kinds of musical activities. One promising approach to this challenge involves translating musicians’ implicit domain knowledge into patterns known as conceptual metaphors, which are metaphorical ex-tensions of recurring patterns of embodied experience applied to abstract domains, and using this information to inform interaction designs for music. This approach has been applied experimentally with some success to designing user interfaces. However, to the best of our knowledge, this present work is the first to consider in detail the use of Conceptual Metaphor Theory as a key component of a partici-patory design process. In this chapter we present a participatory approach to Music Interaction design based on the principles of Conceptual Metaphor Theory. We posit that such an approach will facilitate the development of innovative and intuitive interaction designs for both novices and experts alike

Music interaction: understanding music and human-computer interaction

We introduce and review recent research in Music and Human Computer Interaction, also known as Music Interaction. After a general overview of the discipline, we analyse the themes and issues raised by the fifteen chapters of this book, each of which presents recent research in this field. The bulk of this chapter is organised as an FAQ. This enables some FAQs to focus on cross cutting issues that appear in multiple chapters, and some chapters to feature in multiple FAQs. Broad topics include: the scope of research in Music Interaction; the role of HCI in Music Interaction; and conversely, the role of Music Interaction in HCI. High-level themes include embodied cognition, spatial cognition, evolutionary interaction, gesture, formal language, affective interaction, and methodologies from social science. Musical activities of interest include performance, composition, analysis, collaborative music making, and human and machine improvisation. Specific issues include: whether Music Interaction should be easy; what can be learned from the experience of being “in the groove”, and what can be learned from the deep commitment of musical amateurs. Broader issues include: what Music Interaction can offer traditional instruments and traditional musical activities; what relevance it has for non-musical domains; and ways in which Music Interaction can enable entirely new musical activities possible

Whole body interaction in abstract domains

Whole Body Interaction appears to be a good fit of interaction style for some categories of application domain, such as the motion capture of gestures for computer games and virtual physical sports. However, the suitability of whole body interaction for more abstract application domains is less apparent, and the creation of appropriate whole body interaction designs for complex abstract areas such as mathematics, programming and musical harmony remains challenging. We argue, illustrated by a detailed case study, that conceptual metaphor theory and sensory motor contingency theory offer analytic and synthetic tools whereby whole body interaction can in principle be applied usefully to arbitrary abstract application domains. We present the case study of a whole body interaction system for a highly abstract application area, tonal harmony in music. We demonstrate ways in which whole body interaction offers strong affordances for action and insight in this domain when appropriate conceptual metaphors are harnessed in the design. We outline how this approach can be applied to abstract domains in general, and discuss its limitations.Published versio

What can the language of musicians tell us about music interaction design?

It is difficult to create good interaction designs for music software or to substantially improve existing designs. One reason is that music involves diverse and complex concepts, entities, relationships, processes, terminologies, and notations. An open challenge for interaction designers is to find systematic ways of channeling the tacit, specialized knowledge of musicians into designs for intuitive user interfaces that can capably support musically skilled users, without excluding those with less technical musical knowledge. One promising new approach to this challenge involves the application of research from the theory of image schemas and conceptual metaphors This theory has already been applied with some success to analyzing musical concepts, mathematical concepts, general-purpose user-interface design, and sound-generation interaction designs involving simple musical parameters such as tempo, volume, and pitch. We propose that by identifying the conceptual metaphors and image schemas used by musical experts when analyzing an excerpt of music, and then assessing the extent to which these conceptual metaphors are supported by existing music-interaction designs, it is possible to identify areas where the designs do not match musicians’ understanding of the domain concepts. This process provides a principled basis for identifying points at which designs could be improved to better support musicians’ understanding and tasks, and for the provisional identification of possible improvements. We present the results of an analysis of dialogue between three musicians as they discuss an excerpt of music. A methodology for the systematic identification of image schemas and conceptual metaphors is detailed. We report on the use of the results of the dialogue analysis to illuminate the designs of two contrasting examples of music software. Areas in which the designs might be made more intuitive are identified, and corresponding suggestions for improvements are outlined. The present research appears to be the first to investigate the potential of conceptual metaphor theory for investigating and improving music-interaction designs that deal with complex musical concepts, such as harmonic progressions, modulation, and voice leading

2D-electrophoresis and multiplex immunoassay proteomic analysis of different body fluids and cellular components reveal known and novel markers for extended fasting

Proteomic technologies applied for profiling human biofluids and blood cells are considered to reveal new biomarkers of exposure or provide insights into novel mechanisms of adaptation

Suitability of UK biobank retinal images for automatic analysis of morphometric properties of the vasculature

To assess the suitability of retinal images held in the UK Biobank--the largest retinal data repository in a prospective population-based cohort--for computer assisted vascular morphometry, generating measures that are commonly investigated as candidate biomarkers of systemic disease.Non-mydriatic fundus images from both eyes of 2,690 participants--people with a self-reported history of myocardial infarction (n=1,345) and a matched control group (n=1,345)--were analysed using VAMPIRE software. These images were drawn from those of 68,554 UK Biobank participants who underwent retinal imaging at recruitment. Four operators were trained in the use of the software to measure retinal vascular tortuosity and bifurcation geometry.Total operator time was approximately 360 hours (4 minutes per image). 2,252 (84%) of participants had at least one image of sufficient quality for the software to process, i.e. there was sufficient detection of retinal vessels in the image by the software to attempt the measurement of the target parameters. 1,604 (60%) of participants had an image of at least one eye that was adequately analysed by the software, i.e. the measurement protocol was successfully completed. Increasing age was associated with a reduced proportion of images that could be processed (p=0.0004) and analysed (p<0.0001). Cases exhibited more acute arteriolar branching angles (p=0.02) as well as lower arteriolar and venular tortuosity (p<0.0001).A proportion of the retinal images in UK Biobank are of insufficient quality for automated analysis. However, the large size of the UK Biobank means that tens of thousands of images are available and suitable for computational analysis. Parametric information measured from the retinas of participants with suspected cardiovascular disease was significantly different to that measured from a matched control group

Real-world experience of nintedanib for progressive fibrosing interstitial lung disease in the UK

Background Nintedanib slows progression of lung function decline in patients with progressive fibrosing (PF) interstitial lung disease (ILD) and was recommended for this indication within the United Kingdom (UK) National Health Service in Scotland in June 2021 and in England, Wales and Northern Ireland in November 2021. To date, there has been no national evaluation of the use of nintedanib for PF-ILD in a real-world setting.Methods 26 UK centres were invited to take part in a national service evaluation between 17 November 2021 and 30 September 2022. Summary data regarding underlying diagnosis, pulmonary function tests, diagnostic criteria, radiological appearance, concurrent immunosuppressive therapy and drug tolerability were collected via electronic survey.Results 24 UK prescribing centres responded to the service evaluation invitation. Between 17 November 2021 and 30 September 2022, 1120 patients received a multidisciplinary team recommendation to commence nintedanib for PF-ILD. The most common underlying diagnoses were hypersensitivity pneumonitis (298 out of 1120, 26.6%), connective tissue disease associated ILD (197 out of 1120, 17.6%), rheumatoid arthritis associated ILD (180 out of 1120, 16.0%), idiopathic nonspecific interstitial pneumonia (125 out of 1120, 11.1%) and unclassifiable ILD (100 out of 1120, 8.9%). Of these, 54.4% (609 out of 1120) were receiving concomitant corticosteroids, 355 (31.7%) out of 1120 were receiving concomitant mycophenolate mofetil and 340 (30.3%) out of 1120 were receiving another immunosuppressive/modulatory therapy. Radiological progression of ILD combined with worsening respiratory symptoms was the most common reason for the diagnosis of PF-ILD.Conclusion We have demonstrated the use of nintedanib for the treatment of PF-ILD across a broad range of underlying conditions. Nintedanib is frequently co-prescribed alongside immunosuppressive and immunomodulatory therapy. The use of nintedanib for the treatment of PF-ILD has demonstrated acceptable tolerability in a real-world setting