Interactive intelligence: behaviour-based AI, musical HCI and the Turing Test

The field of behaviour-based artificial intelligence (AI), with its roots in the robotics research of Rodney Brooks, is not predominantly tied to linguistic interaction in the sense of the classic Turing test (or, "imitation game"). Yet, it is worth noting, both are centred on a behavioural model of intelligence. Similarly, there is no intrinsic connection between musical AI and the language-based Turing test, though there have been many attempts to forge connections between them. Nonetheless, there are aspects of musical AI and the Turing test that can be considered in the context of non-language-based interactive environments–-in particular, when dealing with real-time musical AI, especially interactive improvisation software. This paper draws out the threads of intentional agency and human indistinguishability from Turing’s original 1950 characterisation of AI. On the basis of this distinction, it considers different approaches to musical AI. In doing so, it highlights possibilities for non-hierarchical interplay between human and computer agents

Collaborative music interaction on tabletops: an HCI approach

With the advent of tabletop interaction, collaborative activities are better supported than they are on single-user PCs because there exists a physical shareable space, and interaction with digital data is more embodied and social. In sound and music computing, collaborative music making has traditionally been done using interconnected networks, but using separated computers. Musical tabletops introduce opportunities of playing in collaboration through sharing physically the same musical interface. However, few tabletop musical interfaces exploit this collaborative potential (e.g. the Reactable). We are interested in looking into how collaboration can be fully supported by means of musical tabletops for music performance in contrast with more traditional settings. We are also looking at whether collective musical engagement can be enhanced by providing more suitable interfaces to collaboration. In HCI and software development, we find an iterative process approach of design and evaluation—where evaluation allows us to identify key issues that can be addressed in the next design iteration of the system. Using a similar iterative approach, we plan to design and evaluate some tabletop musical interfaces. The aim is to understand what design choices can enhance and enrich collaboration and collective musical engagement on these systems. In this paper, we explain the evaluation methodologies we have undertaken in three preliminary pilot studies, and the lessons we have learned. Initial findings indicate that evaluating tabletop musical interfaces is a complex endeavour which requires an approach as close as possible to a real context, with an interdisciplinary approach provided by interaction analysis techniques

Multi-touch interaction principles for collaborative real-time music activities: towards a pattern language

In this paper we give an analysis of the literature on a set of problems that can arise when undertaking the interaction design of multi-touch applications for collaborative real-time music activities, which are designed for multitouch technologies (e.g. smartphones, tablets, interactive tabletops, among others). Each problem is described, and a candidate design pattern (CDP) is suggested in the form of a short sentence and a diagram—an approach inspired by Christopher Alexander’s A Pattern Language. These solutions relate to the fundamental collaborative principles of democratic relationships, identities and collective interplay. We believe that this approach might disseminate forms of best design practice for collaborative music applications, in order to produce real-time musical systems which are collaborative and expressive

Consistency v autonomy: effective feedback to a very large cohort

In this paper, we report on an on-going project to change the culture of tutor feedback at the Open University, based on a new Level 1 Computing and IT module, My Digital Life, which currently has 4000 students enrolled, supported and assessed by a network of over 200 regional tutors. At Level 1, effective feedback on assessment is essential for students’ retention and progression. However, the OU’s need to deal with such large cohorts has led to an assessment culture that tends towards consistency across multiple markers, with highly prescriptive marking guides, heavily geared to the allocation of marks, rather than encouraging tutors to provide focussed and constructive feedback. The project attempts to redress the balance towards tutor autonomy with a new style of assessment material, intended to develop students’ core skills and self-directed, reflective learning, and a new style of marking guides, focussed on promoting future-altering feedback. This new strategy is being evaluated through structured interviews with a group of tutors

Online assessment: supported learning or “just do it”?

In this paper we address moves to online assessment using interactive computer marked assignments (iCMAs). At the Open University, these tests offer the student 3 tries at each question with increasing amounts of feedback, and also multiple attempts at each assignment are allowed. The research (HEA funded) aims to investigate students’ motivations towards and views on the tests, and their patterns of engagement with them. Focus group data on a small sample, survey data on a larger sample and VLE statistical data across the whole cohort (2500 students) were all acquired. A bare majority of respondents were using the iCMAs to review learning, but engagement with feedback was less certain. Most students did not attempt to increase their score after the first attempt. Whilst completing iCMAs was found to be fun, this did not adequately replace tutor feedback and interaction

Issues and techniques for collaborative music making on multi-touch surfaces

A range of systems exist for collaborative music making on multi-touch surfaces. Some of them have been highly successful, but currently there is no systematic way of designing them, to maximise collaboration for a particular user group. We are particularly interested in systems that will engage novices and experts. We designed a simple application in an initial attempt to clearly analyse some of the issues. Our application allows groups of users to express themselves in collaborative music making using pre-composed materials. User studies were video recorded and analysed using two techniques derived from Grounded Theory and Content Analysis. A questionnaire was also conducted and evaluated. Findings suggest that the application affords engaging interaction. Enhancements for collaborative music making on multi-touch surfaces are discussed. Finally, future work on the prototype is proposed to maximise engagement

Towards a taxonomy for video analysis on collaborative musical tabletops

This position paper summarises some themes encountered when analysing video data in the context of music performance with interactive tabletops. It presents methodological approaches and coding schemes used for a set of experiments on musical tabletops and collaboration. Finally, it outlines an initial taxonomy based on the outcomes of the projects introduced, which can be used for video annotation of collaborative music interaction

SoundXY4: supporting tabletop collaboration and awareness with ambisonics spatialisation

Co-located tabletop tangible user interfaces (TUIs) for music performance are known for promoting multi-player collaboration with a shared interface, yet it is still unclear how to best support the awareness of the workspace in terms of understanding individual actions and the other group members actions, in parallel. In this paper, we investigate the effects of providing auditory feedback using ambisonics spatialisation, aimed at informing users about the location of the tangibles on the tabletop surface, with groups of mixed musical backgrounds. Participants were asked to improvise music on "SoundXY4: The Art of Noise", a tabletop system that includes sound samples inspired by Russolo's taxonomy of noises. We compared spatialisation vs. no-spatialisation conditions, and findings suggest that, when using spatialisation, there was a clearer workspace awareness, and a greater engagement in the musical activity as an immersive experience

A Subsumption Agent for Collaborative Free Improvisation

This paper discusses the design and evaluation of an artificial agent for collaborative musical free improvisation. The agent provides a means to investigate the underpinnings of improvisational interaction. In connection with this general goal, the system is also used here to explore the implementation of a collaborative musical agent using a specific robotics architecture, Subsumption. The architecture of the system is explained, and its evaluation in an empirical study with expert improvisors is discussed. A follow-up study using a second iteration of the system is also presented. The system design and connected studies bring together Subsumption robotics, ecological psychology, and musical improvisation, and contribute to an empirical grounding of an ecological theory of improvisation

Dissecting the Shared Genetic Architecture of Suicide Attempt, Psychiatric Disorders, and Known Risk Factors

Background Suicide is a leading cause of death worldwide, and nonfatal suicide attempts, which occur far more frequently, are a major source of disability and social and economic burden. Both have substantial genetic etiology, which is partially shared and partially distinct from that of related psychiatric disorders. Methods We conducted a genome-wide association study (GWAS) of 29,782 suicide attempt (SA) cases and 519,961 controls in the International Suicide Genetics Consortium (ISGC). The GWAS of SA was conditioned on psychiatric disorders using GWAS summary statistics via multitrait-based conditional and joint analysis, to remove genetic effects on SA mediated by psychiatric disorders. We investigated the shared and divergent genetic architectures of SA, psychiatric disorders, and other known risk factors. Results Two loci reached genome-wide significance for SA: the major histocompatibility complex and an intergenic locus on chromosome 7, the latter of which remained associated with SA after conditioning on psychiatric disorders and replicated in an independent cohort from the Million Veteran Program. This locus has been implicated in risk-taking behavior, smoking, and insomnia. SA showed strong genetic correlation with psychiatric disorders, particularly major depression, and also with smoking, pain, risk-taking behavior, sleep disturbances, lower educational attainment, reproductive traits, lower socioeconomic status, and poorer general health. After conditioning on psychiatric disorders, the genetic correlations between SA and psychiatric disorders decreased, whereas those with nonpsychiatric traits remained largely unchanged. Conclusions Our results identify a risk locus that contributes more strongly to SA than other phenotypes and suggest a shared underlying biology between SA and known risk factors that is not mediated by psychiatric disorders.Peer reviewe