Principles for Music Creation by Novices in Networked Music Environments

Miletto, Evandro Manara; Pimenta, Marcelo Soares; Bouchet, François; Sansonnet, Jean-Paul; Keller, Damián

doi:10.1080/09298215.2011.603832

Cited by 31 publications

(27 citation statements)

References 10 publications

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“…On one hand, web deployment featured little or no support for audio prototyping. Java and Adobe Flash were the two languages that provided more extensive resources for audio applications [Keller et al 2011a] [Miletto et al 2011]. While Java was supported on several mobile platforms, such as JavaME and Android, Adobe Flash was not always available on mobile devices.…”

Section: Prototyping Platforms For Ubiquitous Musicmentioning

confidence: 99%

Prototyping of Ubiquitous Music Ecosystems

Lazzarini

Keller

Pimenta

2015

Journal of Cases on Information Technology

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Abstract. This paper focuses the prototyping stage of the design cycle of ubiquitous music (ubimus) ecosystems. We present three case studies of prototype deployments for creative musical activities. The first case exemplifies a ubimus system for synchronous musical interaction using a hybrid Java-JavaScript development platform, mow3s-ecolab. The second case study makes use of the HTML5 Web Audio library to implement a loop-based sequencer. The third prototype -an HTML-controlled sine-wave oscillator -provides an example of using the Chromium open-source sand-boxing technology Portable Native Client (PNaCl) platform for audio programming on the web. This new approach involved porting the Csound language and audio engine to the PNaCl web technology. The Csound PNaCl environment provides programming tools for ubiquitous audio applications that go beyond the HTML5 Web Audio framework. The limitations and advantages of the three approaches proposed -the hybrid Java/-JavaScript environment, the HTML5 audio library and the Csound PNaCl infrastructure -are discussed in the context of rapid prototyping of ubimus ecosystems.

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Section: Prototyping Platforms For Ubiquitous Musicmentioning

confidence: 99%

Prototyping of Ubiquitous Music Ecosystems

Lazzarini

Keller

Pimenta

2015

Journal of Cases on Information Technology

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“…These two forms of creative practice place self-expression as a secondary by-product of community actions rather than as an objective to be attained. Reducing the autistic bias may lead to support for distributed creativity (Hutchins 2010;Keller et al 2010), increased engagement (Brian-Kynns 2011) and smoother learning curves for novice music practitioners (Miletto et al 2011;Pimenta et al 2014). …”

Section: High-magnitude Biased Decisionsmentioning

confidence: 99%

“…Effective support for musical creativity may involve not only explicit knowledge but also implicit knowledge gained during the creative activity. In musical interaction design, supporting reflective and epistemic activity may prove to be more important than supporting actions directly related to sonic resources (Keller et al 2014c;Miletto et al 2011).…”

Section: Rationalismmentioning

confidence: 99%

“…The term ubiquitous music (ubimus) encompasses practices that empower participants of musical experiences through socially oriented, creativity-enhancing tools (Keller et al 2011a;Miletto et al 2011). Ubiquitous music has been defined as a research field that deals with distributed systems of human agents and material resources that afford musical activities through sustainable creativity support tools.…”

Section: Introductionmentioning

confidence: 99%

“…Ubiquitous music has been defined as a research field that deals with distributed systems of human agents and material resources that afford musical activities through sustainable creativity support tools. One perspective targets the development of computational tools for supporting ubiquitous musical activities by non-musicians Miletto 2011), proposing design patterns and metaphors for interaction to boost creativity.…”

Section: Introductionmentioning

confidence: 99%

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Aesthetic Heuristics in Ubimus

Keller

Otero

Costalonga

2015

Electronic Workshops in Computing

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In this paper we propose aesthetic heuristics as an area of study within ubiquitous music research. Initially we discuss the motivations for narrowing the focus of the experimental variables involved in creativity-centred design studies. Then we place aesthetic heuristics within the current efforts toward designs for creativity support, highlighting recent studies that target everyday musical creativity. The reviewed experimental results point to a gap between the current theoretical proposals in musical creativity and the factors that impact everyday musical activities. Selfreferentiality of the experimental-theoretical construct and early domain restriction are two of the limitations pointed out by previous theoretical work. We provide a working definition of aesthetic heuristics, indicating its object of study and its rationale. We also lay out initial experimental strategies. Potential contributions from interaction aesthetics and ubimus research are discussed, introducing the concept of creative bias and a set of experimental hypotheses. The last section of the paper furnishes examples of creative biases within the context of musical interaction design.Ubiquitous music. Creativity-centred design. Aesthetic heuristics.

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