Applying Game Mechanics to Networked Music HCI Systems

Çamcı, Anıl; Çakmak, Cem; Forbes, Angus G.

doi:10.1007/978-3-319-92069-6_14

Cited by 3 publications

(2 citation statements)

References 16 publications

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“…In one such example, Victor Zappi et al create a virtual performance where the artists' embodied interactions with virtual objects lead to new visual and auditory forms that can then be manipulated by the audience in real time [11]. The networked music platform Monad implements a similar shared instrument by employing game mechanics to stimulate a musical collaboration, where multiple performers manipulate a single visual object that functions as a virtual synthesizer [12].…”

Section: Modern Practices In Instrument Designmentioning

confidence: 99%

Hyperreal Instruments: Bridging VR and Digital Fabrication to Facilitate New Forms of Musical Expression

Çamcı¹,

Granzow

2019

Leonardo Music Journal

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Virtual Reality (VR) and digital fabrication technologies today are ushering in a new wave of opportunities in instrument design; the marriage of these two domains, seemingly at odds with each other, can bring impossible instruments to life. In this article, the authors first sample such instruments throughout history. The authors also look at how technology has facilitated the materialization of impossible instruments from the twentieth century on. They then discuss the bridging of VR and fabrication as a new frontier in instrument design, where synthetic sounds can be used to condition an equally synthetic sensory scaffolding upon which the time-varying spectra can be interactively anchored: The result is new instruments that can defy our sense of audiovisual reality while satisfying our proprioceptive and haptic expectations. The authors report on their ongoing work as well as their projections of how emerging technologies in VR and fabrication will shape the design of new musical interfaces.

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Section: Modern Practices In Instrument Designmentioning

confidence: 99%

Hyperreal Instruments: Bridging VR and Digital Fabrication to Facilitate New Forms of Musical Expression

Çamcı¹,

Granzow

2019

Leonardo Music Journal

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“…Other parallels include concentration, skill, challenge, control, clear goals, feedback, immersion, and social interaction [13]. Concepts from gaming mechanics can even be integrated into musical interfaces to encourage collaborative performance [32]. While gaming experience is markedly different from music interaction in other ways, such as its emphasis on competition, tools such as the Gaming Experience Questionnaire (GEQ) may be of value in assessing experiential components of music interaction including affective valence, immersion, competence, creativity, enjoyment, and aesthetics [31].…”

Section: Tools From Ludologymentioning

confidence: 99%

Embracing Less Common Evaluation Strategies for Studying User Experience in NIME

Reimer¹,

Wanderley

Nime 2021

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Assessment of user experience (UX) is increasingly important in music interaction evaluation, as witnessed in previous NIME reviews describing varied and idiosyncratic evaluation strategies. This paper focuses on evaluations conducted in the last four years of NIME (2017 to 2020), compares results to previous research, and classifies evaluation types to describe how researchers approach and study UX in NIME. While results of this review confirm patterns such as the prominence of short-term, performer perspective evaluations, and the variety of evaluation strategies used, they also show that UX-focused evaluations are typically exploratory and limited to novice performers. Overall, these patterns indicate that current UX evaluation strategies do not address dynamic factors such as skill development, the evolution of the performerinstrument relationship, and hedonic and cognitive aspects of UX. To address such limitations, we discuss a number of less common tools developed within and outside of NIME that focus on dynamic aspects of UX, potentially leading to more informative and meaningful evaluation insights.

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