Visualizing music in a meaningful and intuitive way is a challenge. Our aim is to visualize music by interconnecting similar aspects in music and in visual perception. We focus on visualizing harmonic relationships between tones and colours. Related existing visualizations map tones or keys into a discrete set of colours. As concurrent (simultaneous) tones are not perceived as entirely separate, but also as a whole, we present a novel method for visualizing a group of concurrent tones (limited to the pitches of the 12tone chromatic scale) with one colour for the whole group. The basis for calculation of colour is the assignment of key spanning circle of thirds to the colour wheel. The resulting colour is not limited to discrete set of colours: similar tones, chords and keys have similar colour hue; dissonance and consonance are represented by low and high colour saturation respectively. The proposed method is demonstrated as part of our prototype music visualization system using extended 3-dimensional piano roll notation.
The methods used in geology to determine colour and colour coverage are expensive, time consuming, and/ or subjective. Estimates of colour coverage can only be approximate since they are based on rough comparisonbased measuring etalons and subjective estimation, which is dependent upon the skill and experience of the person performing the estimation. We present a method which accelerates, simplifies, and objectifies these tasks using a computer application. It automatically calibrates the colours of a digital photo, and enables the user to read colour values and coverage, even after returning from field work. Colour identification is based on the Munsell colour system. For the purposes of colour calibration we use the X-Rite ColorChecker Passport colour chart placed onto the photographed scene. Our computer application detects the ColorChecker colour chart, and finds a colour space transformation to calibrate the colour in the photo. The user can then use the application to read colours within selected points or regions of the photo.The results of the computerised colour calibration were compared to the reference values of the ColorChecker chart. The values slightly deviate from the exact values, but the deviation is around the limit of human capability for visual comparison. We have devised an experiment, which compares the precision of the computerised colour analysis and manual colour analysis performed on a variety of rock samples with the help of geology students using Munsell Rock-color Chart. The analysis showed that the precision of manual comparative identification on multicoloured samples is somewhat problematic, since the choice of representative colours and observation points for a certain part of a sample are subjective. The computer based method has the edge in verifiability and repeatability of the analysis since the application the original photo to be saved with colour calibration, and tagging of colouranalysed points and regions. IzvlečekMetode, ki se v geologiji uporabljajo za določanje barv in barvne pokritosti, so drage, zamudne in/ali subjektivne. Ocena barvne zastopanosti ali pokritosti je lahko le zelo približna, saj temelji na grobih primerjalnih etalonih in subjektivni oceni, ki je odvisna od izurjenosti in izkušenj ocenjevalca. Predstavljamo metodo, ki te naloge pospeši, poenostavi in objektivizira s pomočjo računalniške aplikacije, ki na zajeti digitalni fotografiji z uporabo računalniškega vida samodejno umeri barve in uporabniku tudi kasneje, po terenskem delu, omogoča odčitavanje barvnih odtenkov. Barvna identifikacija temelji na barvnem sistemu Munsell. Za barvno umerjanje uporabljamo umerjevalno barvno lestvico X-Rite ColorChecker Passport, ki jo uporabnik postavi v območje zajema fotografije kamnine. Računalniška aplikacija, ki smo jo razvili, na zajeti fotografiji zazna barvno lestvico ColorChecker in poišče transformacijo barvnega prostora, s katero fotografijo barvno umerimo. Uporabnik lahko nato s pomočjo aplikacije po barvnem sistemu Munsell odčita barvo v izbranih ...
The article presents a case study of artistic use of augmented reality built with the Layar augmented reality application. Members of ArtNetLab, a group of new media artists, have conceptualized a series of projects for geolocated virtual objects (augments), that can be perceived by means of smart-phone or tablet-computer applications in the urban space of a city. The user experience in art is not limited to practical and efficient use of a gadget directed towards a predetermined set of actions, instead it has to involve the user in the art experience, and this opens up a broad field of conceivable contexts. Our case study presents an art project that proposes and tests a concrete solution to the latent question proposed by an existing technology, and we describe how the artists encoded meanings by using a ubiquitous mobile platform for augmented reality.
We propose a system of colour visualization of music based on a system of colour signs, which are connected to musical tones. Tones, which are in harmonic relationships, are represented by related colours. First, we outline the foundations on which the system of colour signs is based -the mathematical model of harmony. We discuss several possibilities of visual representation of expressive elements of music -melody, composition, rhythm and harmony. These relationships enabled us to develop a computer program that employs these elements for visualization. The program mimics human perception in which the parts are determined by the perception of the whole. Furthermore, the program enables the development of tools that can enhance music understanding during listening or performing. Music performance can acquire a new quality with the use of interactive coloured musical instruments, which by using colours show the performer different possibilities for forming musical harmonies and thereby change the composing of music into a game and attractive colour-aural journey. Here we stumble upon a challenge for educational science and methodology: how to use such upcoming multimedia tools. These tools would bring the processes of learning and playing a game closer together since playing games is a child's most natural form of functioning. Furthermore, in the area of artistic creation we can once again establish a balance between our logical and intuitive nature.
Podrobnosti človeškega zaznavanja tonov oziroma glasbe kot celote, so še vedno odprto raziskovalno področje. Osredotočamo se na nizkodimenzionalne geometrijske modele, ki pomagajo človeku razumeti slušni prostor. Večini obstoječih modelov manjka intuitivna preslikava, ki ohranja zaznavne razdalje med tonskim prostorom, prostorom akordov in tonalitet. Zato predlagamo nov dopolnjen model preslikovanja tonov in tonalitet v vizualni prostor, ki v primerjavi z obstoječimi modeli boljše modelira zaznavne razdalje. Predlagani model je kvocientni prostor, ki smo ga izpeljali s pomočjo zmanjševanja števila dimenzij izvornih podatkov psihoakustičnih poskusov. Model ohranja zajeto varianco najboljših primerljivih modelov, pri čemer omogoča lažjo interpretacijo od obstoječih modelov.
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