The influence of group membership on cross-contextual imitation

Research on mimicry has demonstrated that individuals imitate in-group members more strongly than out-group members. In the present study, we tested whether such top-down modulation also applies for more extreme forms of direct mapping, such as for cross-contextual imitation settings, in which individuals imitate others' movements without sharing a common goal or context. Models on self-other control suggest that top-down modulations are based merely on a direct link between social sensory processing and imitation. That is, perceived similarities between oneself and another person is sufficient to amplify a shared representation between own and others' actions, which then trigger imitation. However, motivational accounts explain such findings with the assumption that individuals are motivated to affiliate with others. Because imitation is linked to positive social consequences, individuals should imitate in-group members more strongly than out-group members. We tested these two theoretical accounts against each other by applying a cross-contextual imitation paradigm. The results demonstrate that in-group members are more strongly cross-contextually imitated than out-group members the higher individuals' motivation to affiliate with the in-group is. This supports motivational models but not self-other control accounts. Further theoretical implications are discussed

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

Stability of hyperbolic space under Ricci flow

We study the Ricci flow of initial metrics which are C^0-perturbations of the hyperbolic metric on H^n. If the perturbation is bounded in the L^2-sense, and small enough in the C^0-sense, then we show the following: In dimensions four and higher, the scaled Ricci harmonic map heat flow of such a metric converges smoothly, uniformly and exponentially fast in all C^k-norms and in the L^2-norm to the hyperbolic metric as time approaches infinity. We also prove a related result for the Ricci flow and for the two-dimensional conformal Ricci flow.Comment: 18 page

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