Physical heart in a digital instrument

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.Cataloged from PDF version of thesis.Includes bibliographical references (p. 113-119).Today's tools and instruments, whether musical or graphical, fall into two very distinct classes, each with its own benefits and drawbacks. Traditional physical instruments offer a richness and uniqueness of qualities that result from the unique properties of the physical materials used to make them. The hand-crafted qualities are also very important for these tools. In contrast, electronic and computer-based instruments lack this richness and uniqueness; they produce very predictable and generic results, but offer the advantage of flexibility, as they can be many instruments in one. I propose a new approach to designing and building instruments which attempts to combine the best of both, and I call this approach "hybrid instruments", since the resulting instruments exist simultaneously in both the physical and digital environments. The approach is characterized by a sampling of the instrument's physical matter and its properties and is complemented by a physically simulated, virtual shape or other digital signal manipulations. This thesis describes the key concepts of the approach and presents an actual example of such a hybrid instrument: the Chameleon Guitar. The guitar project contains several aspects: separation of the guitar interface from its acoustic content; division of the acoustic content into a physical part and a digital processing part; and maximization of the user's freedom in each of the domains. I provide a historical and technical overview; discuss related works, motivation and concepts, and present the design of the Chameleon Guitar.(cont.) In addition the project evaluation by musicians and instrument-makers is described, together with future work and conclusions. I hope to demonstrate that this approach to building digital instruments maintains some of the rich qualities and variation found in real instruments (the result of natural materials combined with craft) with the flexibility and open-endedness of virtual instruments.by Amit Zoran.S.M

Physical rendering with a digital airbrush

Airbrush painting is an expressive art form that allows for unrepeatable spray patterns and unique ink staining. Artists utilize these properties while painting, expressing subjective style and artistic intentions. We present an augmented airbrush device that acts both as a physical spraying device and an intelligent digital guiding tool, that maintains both manual and computerized control. We demonstrate our custom designed hardware and numerous algorithms that control it through hands-on usage examples of a human-computer collaborative of a physical painting effort

The FreeD - A Handheld Digital Milling Device for Craft and Fabrication

We present an approach to combine digital fabrication and craft that is focused on a new fabrication experience. The FreeD is a hand-held, digitally controlled, milling device. It is guided and monitored by a computer while still preserving gestural freedom. The computer intervenes only when the milling bit approaches the 3D model, which was designed beforehand, either by slowing down the spindle's speed or by drawing back the shaft. The rest of the time it allows complete freedom, allowing the user to manipulate and shape the work in any creative way. We believe The FreeD will enable a designer to move in between the straight boundaries of established CAD systems and the free expression of handcraft

Inkjet-printed conductive patterns for physical manipulation of audio signals

In this demo paper, we present the realization of a completely aesthetically driven conductive image as a multi-modal music controller. Combining two emerging technologies - rapid prototyping with an off-the-shelf inkjet printer using conductive ink and parametric graphic design, we are able to create an interactive surface that is thin, flat, and flexible. This sensate surface can be conformally wrapped around a simple curved surface, and unlike touch screens, can accommodate complex structures and shapes such as holes on a surface. We present the design and manufacturing flow and discuss the technology behind this multi-modal sensing design. Our work seeks to offer a new dimension of designing sonic interaction with graphic tools, playing and learning music from a visual perspective and performing with expressive physical manipulation

Hybrid reAssembage : introducing traditional practice into contemporary design

Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.Title as it appears in MIT degrees awarded booklet, September 18, 2013: Hybrid reAssembage: introducing traditional practice into contemporary design Cataloged from PDF version of thesis. Title as it appears in MIT degrees awarded booklet, September 18, 2013: Hybrid reAssembage: introducing traditional practice into contemporary design.Includes bibliographical references.Hybrid reAssemblage is a design gestalt that lies at the cross-section of digital design practice and the tactile qualities of traditional craft. It spans a territory in which the value of artifacts is produced through automated production as well as human subjectivity. This work is an exploration of two divergent realms: that of emerging computational technologies, and traditional hand-hewn practice. Hybrid reAssemblage proposes a new way of thinking about the machine, as generator of control and efficiency, and the unpredictable and singular nature of the raw and the manual. I illustrate Hybrid reAssemblage through three diverse projects: FreeD is a digital handheld milling device for carving, guided and monitored by a computer while preserving the maker's freedom to manipulate the work in many creative ways. It reintroduces craft techniques to digital fabrication, proposing a hybrid human-computer interaction experience. In addition to the technology, I present a user study, demonstrating how FreeD enables personalization and expression as an inherent part of the fabrication process. Chameleon Guitar exploits a selection of acoustic properties via a set of replaceable resonators and by a simulated shape, merging real-wood acoustic qualities with a simulated guitar body. It marries digital freedom with the uniqueness of acoustic instruments, and demonstrates a hybrid functionality platform. Focusing on the production of sonic qualities, this project is evaluated acoustically, pointing to the significance of attention to detail such as craft and wood qualities. Finally, Fused Crafts is a collection of artifacts that are part handcrafted and part 3D printed, visually demonstrating the potential of combining these practices to create hybrid aesthetics. I illustrate this visual concept with two examples: intentionally broken ceramic artifacts with 3D printed restoration, and 3D printed structure that is designed to allow the application of hand-woven patterns. This project is a search for an approach where both technologies can benefit from each other aesthetically, enriching the final product with new qualities. This dissertation begins with a contextual background, leading to the presentation of the projects. In the last part, I evaluate the work through feedback received from a panel of design, craft, and HCI experts.Amit Zoran.Ph. D