Artistically Directed Prototyping in Development and in Practice

Elblaus, Ludvig; Hansen, Kjetil Falkenberg; Unander-Scharin, Carl

doi:10.1080/09298215.2012.738233

Cited by 8 publications

(6 citation statements)

References 9 publications

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“…Or are vision and hearing completely independent modalities that afford arbitrary mappings? Some metaphors for creative action strive to achieve a tight consistency between the chosen set of musical entities 7 and the proposed interaction mechanisms (Keller et al, 2010;Elblaus et al, 2012). This is not a mapping issue.…”

Section: Touching and Speakingmentioning

confidence: 99%

Semantic strategies in ubiquitous music: Deploying the sound sphere ecology in transitional settings

Keller¹,

Freitas²,

Bessa³

et al. 2020

Heliyon

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We report the results of a study involving twenty subjects doing musical activities in transitional settings, supported by an ecology of tools based on the metaphor for creative action Sound Sphere. The Sound Sphere Ecology (SFS) is a set of web-based tools, loosely organized around audio mixing and processing tasks. It employs verbal strategies for knowledge transfer to provide support for lay participants and specialists. To understand how the stakeholders influence and are influenced by this design strategy, we carried out a series of experiments involving assessments of the participants' behaviours and of the sonic products during various creative musical tasks with SFS. The overall results were positive, indicating that the proposed metaphor provides effective support for casual interaction, highlighting the participants' level of engagement. As a downside, the assessments pointed to ease of use as the lowest and less consistent item among the rated creative factors. We discuss the implications of these results and propose various design enhancements to enable the usage of a larger pool of resources. Considering the heterogeneous profiles of casual stakeholders, methodological refinements are also proposed to assess the knowledge gained by the participants during the exploratory activities, while augmenting their ability to share knowledge. This is one of the first studies on creativity-action metaphors for casual interaction.

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Section: Touching and Speakingmentioning

confidence: 99%

Semantic strategies in ubiquitous music: Deploying the sound sphere ecology in transitional settings

Keller¹,

Freitas²,

Bessa³

et al. 2020

Heliyon

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“…The design process is based on research and practise of prototyping [20], testbed comparisons [8], heuristic evaluation [35] and user experience testing [14]. Similar approaches have been used to design music technology for a gesturally controlled operatic-lead signal processor [13] and a digitally augmented cello [2].…”

Section: Design Spacementioning

confidence: 99%

User Experience in an Interactive Music Virtual Reality System: An Exploratory Study

Deacon

Stockman

Barthet

2017

Bridging People and Sound

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The Objects VR interface and study explores interactive music and virtual reality, focusing on user experience, understanding of musical functionality, and interaction issues. Our system offers spatiotemporal music interaction using 3D geometric shapes and their designed relationships. Control is provided by tracking of the hands, and the experience is rendered across a head-mounted display with binaural sound presented over headphones. The evaluation of the system uses a mixed methods approach based on semi-structured interviews, surveys and video-based interaction analysis. On average the system was positively received in terms of interview self-report, metrics for spatial presence and creative support. Interaction analysis and interview thematic analysis also revealed instances of frustration with interaction and levels of confusion with system functionality. Our results allow reflection on design criteria and discussion of implications for facilitating music engagement in virtual reality. Finally our work discusses the effectiveness of measures with respect to future evaluation of novel interactive music systems in virtual reality.

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“…Entering "The Charged Room", they scratched their sounds through altering their positions, letting the resulting sounds feed back into the performance, thereby creating new movements and new sounds. Moreover, the research around The Throat III [5,6,31] revolves around embodiment of singers' voices in relation to an interactive hand-held instrument for vocal manipulation. With The Throat III, the control of the performance resides in a glove put on the singer's right hand.…”

Section: Relocating Control In Performancesmentioning

confidence: 99%

“…Through our work with the exemplars The Vocal Chorder, reported here, The Charged Room [33] and The Throat III [5,6,31] we are taking our first steps towards the articulation of a research program investigating new aesthetic expressions for opera. A main defining property of exemplars in this design space is emancipation of the artist through the use of an interactive instrument.…”

Section: A Designerly Approach To Design Of Musical Instruments For Tmentioning

confidence: 99%

The vocal chorder

Unander-Scharin

Höök

2014

Proceedings of the SIGCHI Conference on Human Factors in Computing Systems

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With The Vocal Chorder, a large interactive instrument to create accompaniment, opera singers can get more power over the performance. The device allows performers to interactively accompany themselves through pushing, leaning on and bending steel wires. The design was guided by the unique needs of the solo-singer, explored through autobiographical design and material explorations, some on stage, and later tested by other singers. We discuss how designing for opera and for the stage requires extraordinary durability and how opera performances can change with a bodilyoriented instrument such as The Vocal Chorder. Through a designerly exploration, we arrived at a device that offered (1) a tool for singers to take control over the rhythmical pace and overall artistic and aesthetic outcome of their performances, (2) an enriched sense of embodiment between their voice and the overall performance; and (3) a means to empower opera singers on stage.

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Artistically Directed Prototyping in Development and in Practice

Cited by 8 publications

References 9 publications

Semantic strategies in ubiquitous music: Deploying the sound sphere ecology in transitional settings

Semantic strategies in ubiquitous music: Deploying the sound sphere ecology in transitional settings

User Experience in an Interactive Music Virtual Reality System: An Exploratory Study

The vocal chorder

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