1,720,960 research outputs found
Interactive Spaces: Model for Motion-based Music Applications
Full text linkWith the extensive utilization of touch screens, smartphones and various reactive surfaces, reality- based and intuitive interaction styles have now become customary. The employment of larger interactive areas, like floors or peripersonal three-dimensional spaces, further increase the reality- based interaction affordances, allowing full-body involvement and the development of a co- located, shared user experience. Embodied and spatial cognition play a fundamental role for the interaction in this kind of spaces, where users act in the reality with no device in the hands and obtain an audio and graphical output depending on their movements. Starting from the early experiments of Myron Krueger in 1971, responsive floors have been developed through various technologies including sensorized tiles and computer vision systems, to be employed in learn- ing environments, entertainment, games and rehabilitation. Responsive floors allow the spatial representation of concepts and for this reason are suitable for immediate communication and engagement. As many musical features have meaningful spatial representations, they can easily be reproduced in the physical space through a conceptual blending approach and be made available to a great number of users. This is the key idea for the design of the original music applications presented in this thesis. The applications, devoted to music learning, production and active listening, introduce a novel creative approach to music, which can be further assumed as a general paradigm for the design of motion-based learning environments. Application assessment with upper elementary and high school students has proved that users engagement and bodily inter- action have a high learning power, which can be a valid resource for deeper music knowledge and more creative learning processes. Although further interface tests showed that touch screen interaction performs better than full-body interaction, some important guidelines for the design of reactive floors applications have been obtained on the basis of these test results. Moreover, the conceptual framework developed for the design of music applications can represent a valid paradigm also in the general field of human-computer interaction
Interactive Spaces. Models and Algorithms for Reality-based Music Applications
Full text linkReality-based interfaces have the property of linking the user's physical space with the computer digital content, bringing in intuition, plasticity and expressiveness.
Moreover, applications designed upon motion and gesture tracking technologies involve a lot of psychological features, like space cognition and implicit knowledge.
All these elements are the background of three presented music applications, employing the characteristics of three different interactive spaces: a user centered three dimensional space, a floor bi-dimensional camera space, and a small sensor centered three dimensional space.
The basic idea is to deploy the application's spatial properties in order to convey some musical knowledge, allowing the users to act inside the designed space and to learn through it in an enactive way
The "Hand Composer": gesture-driven Music Composition Machines
No full textA gesture-driven, composition system framework called "The Hand Composer" is presented. The framework is based on the analysis of the existing relationships between music generative models and musical composition in the context of the 20th century music historical background. A short definition of three music generative models with their control parameters is provided. The system framework is based on a number of interactive machines performing various patterns of music composition and producing a stream of MIDI data to be compatible with a Disklavier performance. Hand gestural input, captured by the Leap Motion Sensor, can control some parameters of the music composing machines, changing interactively and in real time their musical output
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
