28 research outputs found
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 artÃstico 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
Recommended from our members
Penguin: Design of a Screen Score Interactive System
In this paper, we present Penguin, a system for live scoring, and Studio I, a piece composed for the system and an accordion. The system is shaped in two modules, one that generates a musical stream in real-time and the other that manages a live scoring process. Penguin is designed to be used in interactive performances alongside traditional instruments. Studio I is a piece for Penguin and accordion. The interaction design of the system and the piece were fine- tuned involving the instrumentalist. We provide a general description of Penguin and present the design process that led to the development of the interactive performance. The design process led two main contributions. Firstly, we identify and frame a new performer role that mixes performing and conducting elements. Secondly, we discuss how the design process of the system affected the ownership of the aesthetic of music
Recommended from our members
Toward the adoption of design concepts in scoring for Digital Musical Instruments: a case study on affordances and constraints
This paper, we propose the idea that a score for a Digital Musical In- strument (DMIs) can be approached from a design perspective. In particular, we focus on the concepts of affordances and constraints. The paper describes the use of scores in a piece called XXV composed for Chimney, a DMI and Cello. Both the piece and the system are detailed with a focus on design concepts. In the conclusion we compare our approach to other literature that discuss the use of score with DMIs. Based on this, and the results obtained, we present recommendations regarding the use of score in DMIs. Future work is also outlined
The Influence of Coauthorship in the Interpretation of Multimodal Interfaces
This paper presents a model to codesign interpretively flexible artefacts. We present the case study of Beatfield, a multimodal system that allows users to control audiovisual material by means of tangible interaction. The design of the system was coauthored by individuals with different background and interests to encourage a range of difference interpretations. The capability of Beatfield to foster multiple interpretations was evaluated in a qualitative study with 21 participants. Elaborating on the outcome of this study, we present a new design model that can be used to stimulate heterogeneous interpretations of interactive artefacts
NIME Principles & Code of Practice on Ethical Research
NIME upholds the highest ethical standards in research and artistic practice by recognising the importance of individual persons and data as an expression of personhood. These standards also include ethical values that are not always a concern of institutional research committees, including inclusivity, accessibility, animal rights, socio-economic fairness, and environmental awareness. The complete NIME Principles & Code of Practice on Ethical Research can be found at: www.nime.org/ethics
Share Your Values! Community-Driven Embedding of Ethics in Research
Ethically-defensible research requires wide-ranging, holistic, and deep consideration. It is often overseen by Research Ethics Committees, Institutional Research Boards or equivalents but not all organisations have these and where they do, their degree of independence from organisational priorities varies (perhaps leading to research that would create reputational or other difficulties for organisations being left unpublished or unacknowledged). Conflicts of interest can therefore be left unmanaged, participants may be exploited, and society may not benefit. In this paper, we claim that publishing communities (e.g. scholarly conferences) can play a larger role in supporting improved ethical practice by defining and communicating the ethical values of their community’s collective identity and aspirations. This approach is not prescriptive like procedural ethics nor as broad as general research ethics codes (both are important) but offers a tangible way to unify ethics concerns across research contexts
Pathways to live visuals in dance performances: a quantitative audience study
INTRODUCTION: We present an audience study investigating the impact of different technologies to create visuals in dance performances.
OBJECTIVES: We investigated four conditions: motion capture, sensors, camera image, and minimal interaction; and four variables: how much did the audience perceive a connection between the body and the visuals; the visuals as merely copying the dancer; how much distracting were the visuals; and how much did the audience enjoy the visuals.
METHODS: We used a questionnaire to collect data. We analyzed it using Friedman’s test, and Spearman’s correlation test.
RESULTS: The audience perceived a stronger connection in the camera condition, but in the same condition, visuals tend to be merely copying the dancer. We also suggest that the perceived connection has a positive correlation with enjoyment, while distraction has a negative correlation.
CONCLUSION: Our results help to highlight the impact that different technology have on live visuals for dance
ARCAA: a framework to analyse the artefact ecology in computer music performance
This paper presents ARCAA (Actors, Role, Context, Activity, Artefacts), a framework that supports designers in understanding the artefact ecology in the music performance scenario, in particular, allowing to frame the role of the different actors. The ARCAA framework is the result of the combination of two different areas of HCI: artefact ecology concept, and design framework for digital musical instruments. The model borrows three categories from MINUET an established design framework and rethinks them from an ecological perspective. In ARCAA, these three categories are used as three lenses to connect each human actor to her artefact ecology. Finally, the framework allows comparing how the various artefacts create connections among the different people involved. The second part of the paper describes a case study that shows a practical adoption of the framework