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

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

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

Conceptual Metaphor, Human-Computer Interaction And Music: Applying Conceptual Metaphor To The Design And Analysis Of Music Interactions

Interaction design for domains that involve complex abstractions can present significant challenges. This problem is particularly acute in domains where users lack effective means to conceptualise and articulate relevant abstractions. In this thesis, we investigate the use of domain-specific conceptual metaphors to address the challenge of presenting complex abstractions, using tonal harmony as an extended case study. This thesis presents a methodology for applying domain-specific conceptual metaphors to interactions designs for music. This domain involves complex abstractions where users with any degree of domain knowledge may have difficulty in articulating concepts. The methodology comprises several parts. Firstly, the thesis explores methods for systematically guiding conversation between musicians to elicit speech that describes music using conceptual metaphors. Recommendations for the most suitable methods are made. Secondly, the thesis presents a methodology for identifying image schemas and conceptual metaphors from transcriptions of conversations between musicians. The methodology covers rules for identifying source image schemas and extrapolating conceptual metaphors. Thirdly, the thesis presents a methodology for evaluating existing music interaction designs using domain-specific conceptual metaphors. We demonstrate that this approach can be used to identify potential areas for improvement as well as tensions in the design between certain tasks or abstractions. Fourthly, the thesis presents a case study for the development of a conceptual metaphor-influenced design process. In the case study, a set of materials are developed to be used by participants in the design process to facilitate the mapping of conceptual metaphors to elements of an interaction design without requiring knowledge of Conceptual Metaphor Theory. Finally, a pilot study is presented integrating the results of the conceptual metaphor-influenced design process into a consistent and useful prototype system. Compromises and refinements to the design proposals made during the design process are discussed and the resulting system design is detailed

"Functional electrical stimulation (FES) impacted on important aspects of my life" - A qualitative exploration of chronic stroke patients' and carers' perceptions of FES in the management of dropped foot.

Our purpose was to explore the impact of functional electrical stimulation (FES), as applied in the management of dropped foot, on patients with chronic stroke and their carers. A qualitative phenomenological study was undertaken. Participants were recruited from the Lothian FES clinic. Data were collected by using semistructured face-to-face interviews and analysed by using the framework of interpretative phenomenological analysis (IPA). Thirteen patients and nine carers consented to participate in the study. The overarching theme that emerged from the data was that "FES impacted on important aspects of my life." Four subthemes were identified: 1) "Walking with FES is much better"; 2) "FES helped regain control of life"; 3) "Feeling good comes with using FES"; and 4) "FES is not perfect but it is of value." This study provides insights into the perceptions of patients and carers of the impact of FES. These results have implications for clinicians delivering an FES service for the management of dropped foot after stroke. © Informa Healthcare. USA, Inc

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

User experiences, preferences and choices relating to functional electrical stimulation and ankle foot orthoses for foot-drop after stroke

Objectives: To explore experiences, preferences and choices relating to the use of ankle foot orthoses (AFOs) and functional electrical stimulation (FES) for foot-drop by people who have suffered a stroke and their carers, with the aim of informing clinical decision-making. Design: Semi-structured interviews explored individual experiences through a phenomenological approach. The Interpretative Phenomenological Analysis framework was used to enable organisation and interpretation of qualitative interview data. Setting: Participants who had used both transcutaneous FES and one of several types of AFO were recruited from a single FES clinic. Participants: Nine people who had suffered a stroke and four carers were recruited purposively, including people between 2 and 9 years post stroke, with different degrees of difficulty in walking. Results: Participants described experiences, preferences and choices relating to AFO and FES use. All but one person expressed a preference for FES use and related this to being able to move the ankle more freely; walk more normally, safely and independently; and greater comfort. Several people also used AFOs when the FES equipment failed, when travelling and near water. One person rationed their use of FES on a daily basis due to allergic reactions. Conclusions: The consensus in this sample demonstrated positive and negative experiences of both FES and AFO use. Participants weighed up the pros and cons, and despite predominant preferences for FES, many also used AFOs due to some drawbacks of FES. Further research and development are required to reduce drawbacks and further explore users' experiences. © 2010 Chartered Society of Physiotherapy

Carer experiences of life after stroke - a qualitative analysis

Aims and objectives. Carers' experiences of caring for a stroke survivor were explored, including reactions and changes in their lives. Method. A phenomenological approach was taken to the collection and analysis of data. Semi-structured interviews lasting an average of 43 min were carried out with nine informal carers in their own homes. All were married to someone who had survived a stroke. Results. An overarching theme emerged, entitled: 'lives turned upside-down'. It took time for participants to understand the long-term impacts of stroke. Carers experienced increased caring and domestic workloads alongside reduced participation and altered expectations of life. They found emotional and cognitive changes in their partners particularly distressing, and would have valued more information and help with adjusting to the increased emotional, physical and cognitive workload of caring. Conclusions. It is important to support carers of people who have survived a stroke in adjusting to their changed lifestyles. This may affect their quality of life as well as sustainability of caring, and requires further research

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