178 research outputs found
Correction: Frid, E. Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice. Multimodal Technologies and Interaction 2019, Vol. 3, Page 57
No full textUnfortunately, some errors and imprecise descriptions were made in the final proofreading phase, and the author, therefore, wishes to make the following corrections to this paper [...
Haptic music players for children with profound and multiple learning disabilities (PMLD) – Exploring different modes of interaction for felt sound
No full textSupplementary material for the paper:
Frid E, Panariello C. Haptic music players for children with profound and multiple learning disabilities (PMLD) – Exploring different modes of interaction for felt sound. ICA 2022
Participation art online
No full textThesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Includes bibliographical references (p. 87-89).Online participatory media holds the promise of activating otherwise passive audiences by providing spaces that encourage creative collaboration among diverse participants. The thesis traces the history of participation in artistic movements and early networked communication to contextualize a series of projects at the intersection of performance and participation online. Projects include WikiPhone, in which multiple participants collaborate on soundtracks in real-time, modifying existing online videos; OpenBrand, a system that allows participants to rewrite advertisements; Emma On Relationships, a video blog inviting participants to call in for love advice; and several other projects, exploring aspects of creativity and collaboration. Commonalities within these systems are examined in order to define design principles governing the creation of participatory media, and to explore the potential of these systems to effect social and political change.Amber Frid-Jimenz.S.M
Customizing and Evaluating Accessible Multisensory Music Experiences with Non-Vocal Children—A Case Study on the Perception of Musical Haptics Using Participatory Design with Proxies. Multimodal Technologies and Interaction
No full textSupplementary material for the paper:
Frid, E., Panariello, C. and Núñez-Pacheco, C. (2022) Customizing and Evaluating Accessible Multisensory Music Experiences with Non-Vocal Children—A Case Study on the Perception of Musical Haptics Using Participatory Design with Proxies. Multimodal Technologies and Interaction
Analysis of the qualities of human movement in individual action
No full textThe project was organized as a preliminary study for Use Case #1 of the Horizon 2020 Research Project “Dance in the Dark” (H2020 ICT Project
n.645553 - http://dance.dibris.unige.it).
The main objective of the DANCE project is to study and develop novel techniques and algorithms for the automated measuring of non-verbal bodily expression and the emotional qualities conveyed by human movement, in order to enable the perception of nonverbal artistic whole-body experiences
to visual impaired people. In the framework of the eNTERFACE ’15 Workshop we investigated methods for analyzing human movements in terms of
expressive qualities. When analyzing an individual action we were mainly concentrating on the quality of motion and on elements suggesting different
emotions. We developed a system to automatically extract several movement features and transfer them to the auditory domain through interactive sonification. We performed an experiment with 26 participants and collected a dataset made of video and audio recordings plus accelerometer data. Finally, we performed a perception study through questionnaires, in order to evaluate and validate the system.
As real time application of our system we developed a game named ”Move in the Dark”, which has been presented in the Mundaneum Museum of Mons,
Belgium and Festival della Scienza, Genova, Italy (27 November 2015)
Sonification of women in sound and music computing - The sound of female authorship in ICMC, SMC and NIME proceedings
No full textThe primary goal of this study was to approximate the number of female authors in the academic field of Sound and Music Computing. This was done through gender prediction from author names for proceedings from the ICMC, SMC and NIME conferences, and by sonifying these results. Although gender classification by first name can only serve as an estimation of the actual number of female authors in the field, some conclusions could be drawn. The total percentage of author names classified as female was 10.3% for ICMC, 11.9% for SMC and 11.9% for NIME. When merging data from all three conferences for years 2004-2016, it could be concluded that names classified as female ranged from 9.5 to 14.3%. Changes in the ratio of female vs. male authors over time were further illustrated by sonifications, allowing the reader to explore, compare and reflect upon the results by listening to sonic representations of the data. The conclusion that can be drawn from this study is that the field of Sound and Music Computing is still far from being gender-balanced.</p
Musical Robots : Overview and Methods for Evaluation
No full textInternational audienceMusical robots are complex systems that require the integration of several different functions to successfully operate. These processes range from sound analysis and music representation to mapping and modeling of musical expression. Recent advancements in Computational Creativity (CC) and Artificial Intelligence (AI) have added yet another level of complexity to these settings, with aspects of Human–AI Interaction (HAI) becoming increasingly important. The rise of intelligent music systems raises questions not only about the evaluation of Human-Robot Interaction (HRI) in robot musicianship but also about the quality of the generated musical output. The topic of evaluation has been extensively discussed and debated in the fields of Human–Computer Interaction (HCI) and New Interfaces for Musical Expression (NIME) throughout the years. However, interactions with robots often have a strong social or emotional component, and the experience of interacting with a robot is therefore somewhat different from that of interacting with other technologies. Since musical robots produce creative output, topics such as creative agency and what is meant by the term "success" when interacting with an intelligent music system should also be considered. The evaluation of musical robots thus expands beyond traditional evaluation concepts such as usability and user experience. To explore which evaluation methodologies might be appropriate for musical robots, this chapter first presents a brief introduction to the field of research dedicated to robotic musicianship, followed by an overview of evaluation methods used in the neighboring research fields of HCI, HRI, HAI, NIME, and CC. The chapter concludes with a review of evaluation methods used in robot musicianship literature and a discussion of prospects for future research
Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice
No full textCurrent advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a total of 113 publications focusing on ADMIs. Based on the 83 instruments in this dataset, ten control interface types were identified: tangible controllers, touchless controllers, Brain–Computer Music Interfaces (BCMIs), adapted instruments, wearable controllers or prosthetic devices, mouth-operated controllers, audio controllers, gaze controllers, touchscreen controllers and mouse-controlled interfaces. The majority of the AMDIs were tangible or physical controllers. Although the haptic modality could potentially play an important role in musical interaction for many user groups, relatively few of the ADMIs (14.5%) incorporated vibrotactile feedback. Aspects judged to be important for successful ADMI design were instrument adaptability and customization, user participation, iterative prototyping, and interdisciplinary development teams
The Gender Gap and the Computer Music Narrative : On the Under-Representation of Women at Computer Music Conferences
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