Facilitating collective musical creativity

Tanaka, Atau; Tokui, Noriko; Momeni, Ali

doi:10.1145/1101149.1101177

Cited by 23 publications

(15 citation statements)

References 20 publications

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“…Tanaka [36] has similarly acknowledged the mutual constitution of spatial or distribution channels of sound and the music that resides in them. Ecological thinking extends this idea to include the interface along with the medium and any other relevant factors.…”

Section: More Meaningful Interface Evaluationsmentioning

confidence: 99%

2007: Expression and Its Discontents: Toward an Ecology of Musical Creation

Gurevich¹,

Treviño²

2017

A NIME Reader

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We describe the prevailing model of musical expression, which assumes a binary formulation of "the text" and "the act," along with its implied roles of composer and performer. We argue that this model not only excludes some contemporary aesthetic values but also limits the communicative ability of new music interfaces. As an alternative, an ecology of musical creation accounts for both a diversity of aesthetic goals and the complex interrelation of human and non-human agents. An ecological perspective on several approaches to musical creation with interactive technologies reveals an expanded, more inclusive view of artistic interaction that facilitates novel, compelling ways to use technology for music. This paper is fundamentally a call to consider the role of aesthetic values in the analysis of artistic processes and technologies.

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Section: More Meaningful Interface Evaluationsmentioning

confidence: 99%

2007: Expression and Its Discontents: Toward an Ecology of Musical Creation

Gurevich¹,

Treviño²

2017

A NIME Reader

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“…CC-Remix is a web-based system for collaborative remixing of audio [26]. The system is intended for synchronous performance and uses automatic techniques to extract interesting segments for remix, rather than allowing users to produce a collective definition of which segments are interesting.…”

Section: Related Workmentioning

confidence: 99%

Community annotation and remix

Shaw

Schmitz

2006

Proceedings of the 1st ACM International Workshop on Human-Centered Multimedia

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We present a platform for community-supported media annotation and remix, including a pilot deployment with a major film festival. The platform was well received by users as fun and easy to use. An analysis of the resulting data yielded insights into user behavior. Completed remixes exhibited a range of genres, with over a third showing thematic unity and a quarter showing some attempt at narrative. Remixes were often complex, using many short segments taken from various source media. Reuse of spoken and written language in source media, and the use of written language in user-defined overlay text segments proved to be essential for most users. We describe how community remix statistics can be leveraged for media summarization, browsing, and editing support. Further, the platform as a whole provides a solid base for a range of ongoing research into community annotation and remix including analysis of remix syntax, identification of reusable segments, media and segment tagging, structured annotation of media, collaborative media production, and hybrid content-based and community-in-the-loop approaches to understanding media semantics.

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“…REMOTE Applications for LANs tend toward customized avantgarde performance systems [2,7]. Distributed applications can potentially include large numbers of users via the Internet, and provide radically new modes of interaction [10,16].…”

Section: Network Musicmentioning

confidence: 99%

“…Inherent limitations of the Internet present a challenge to real-time performance. The Internet is currently better-suited for non-real-time collaborative composition, artificially-synchronized pseudo-real-time performance [14], or real-time pieces with synthetic sound that can account for latency in their design [10,16]. Real-time jamming is mainly restricted to live performance systems on LANs [2,8].…”

Section: Network Musicmentioning

confidence: 99%

“…As in early experimental efforts using analog networks [13], these implicitly embody the notion that extending a collaborative environment to a virtual space creates a different set of affordances than face-to-face interaction [6]. Tanaka [16] makes an analogy to traditional music, where there is a strong coupling between genres or styles and the spaces in which they are performed.…”

Section: Chi 2006 · Work-in-progressmentioning

confidence: 99%

See 1 more Smart Citation

JamSpace

Gurevich

2006

CHI '06 Extended Abstracts on Human Factors in Computing Systems

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Michael GurevichInstitute for Infocomm Research 21 Heng Mui Keng Terrace Singapore 119613 mgurevich@i2r.a-star.edu.sgThe motivation, design, implementation and analysis of a networked environment for real-time music collaboration are presented. JamSpace provides a simple hardware and software interface that allows novices to play music together anonymously from isolated locations connected by a local network. The low-latency conditions of a local network allow for realtime rhythmic collaboration. This in turn facilitates satisfaction of the design requirements of accessibility to novices as well as privacy and anonymity.

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Facilitating collective musical creativity

Cited by 23 publications

References 20 publications

2007: Expression and Its Discontents: Toward an Ecology of Musical Creation

2007: Expression and Its Discontents: Toward an Ecology of Musical Creation

Community annotation and remix

JamSpace

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