| 1. |
- Almqvist Gref, Andreas, et al.
(författare)
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Sonification as catalyst in training manual wheelchair operation for sports and everyday life
- 2016
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Ingår i: Proceedings of the 13th Sound and Music Computing Conference, SMC 2016. - Hamburg : Zentrum fur Mikrotonale Musik und Multimediale Komposition (ZM4). - 9783000537004 ; , s. 9-14, s. 9-14
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Konferensbidrag (refereegranskat)abstract
- In this paper, a study on sonification of manual wheelchair movements is presented. The aim was to contribute to both rehabilitation contexts and in wheelchair sports contexts, by providing meaningful auditory feedback for training of manual wheelchair operation. A mapping approach was used where key parameters of manual wheelchair maneuvering were directly mapped to different sound models. The system was evaluated with a qualitative approach in experiments. The results indicate that there is promise in utilizing sonification for training of manual wheelchair operation but that the approach of direct sonification, as opposed to sonification of the deviation from a predefined goal, was not fully successful. Participants reported that there was a clear connection between their wheelchair operation and the auditory feedback, which indicates the possibility of using the system in some, but not all, wheelchair training contexts.
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| 2. |
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| 3. |
- Bresin, Roberto, 1963-, et al.
(författare)
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Sonification of the self vs. sonification of the other : Differences in the sonification of performed vs. observed simple hand movements
- 2020
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Ingår i: International journal of human-computer studies. - : Elsevier BV. - 1071-5819 .- 1095-9300. ; 144
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Tidskriftsartikel (refereegranskat)abstract
- Existing works on interactive sonification of movements, i.e., the translation of human movement qualities from the physical to the auditory domain, usually adopt a predetermined approach: the way in which movement features modulate the characteristics of sound is fixed. In our work we want to go one step further and demonstrate that the user role can influence the tuning of the mapping between movement cues and sound parameters. Here, we aim to verify if and how the mapping changes when the user is either the performer or the observer of a series of body movements (tracing a square or an infinite shape with the hand in the air). We asked participants to tune movement sonification while they were directly performing the sonified movement vs. while watching another person performing the movement and listening to its sonification. Results show that the tuning of the sonification chosen by participants is influenced by three variables: role of the user (performer vs observer), movement quality (the amount of Smoothness and Directness in the movement), and physical parameters of the movements (velocity and acceleration). Performers focused more on the quality of their movement, while observers focused more on the sonic rendering, making it more expressive and more connected to low-level physical features.
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| 4. |
- Bresin, Roberto, 1963-, et al.
(författare)
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SOUND FOREST/LJUDSKOGEN: A LARGE-SCALE STRING-BASED INTERACTIVE MUSICAL INSTRUMENT
- 2016
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Ingår i: Sound and Music Computing 2016. - : SMC Sound&Music Computing NETWORK. - 9783000537004 ; , s. 79-84
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Konferensbidrag (refereegranskat)abstract
- In this paper we present a string-based, interactive, largescale installation for a new museum dedicated to performing arts, Scenkonstmuseet, which will be inaugurated in 2017 in Stockholm, Sweden. The installation will occupy an entire room that measures 10x5 meters. We aim to create a digital musical instrument (DMI) that facilitates intuitive musical interaction, thereby enabling visitors to quickly start creating music either alone or together. The interface should be able to serve as a pedagogical tool; visitors should be able to learn about concepts related to music and music making by interacting with the DMI. Since the lifespan of the installation will be approximately five years, one main concern is to create an experience that will encourage visitors to return to the museum for continued instrument exploration. In other words, the DMI should be designed to facilitate long-term engagement. Finally, an important aspect in the design of the installation is that the DMI should be accessible and provide a rich experience for all museum visitors, regardless of age or abilities.
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| 5. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Acoustic modelling as a strategy for composing site-specific music
- 2020
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Ingår i: ACM International Conference Proceeding Series. - New York, NY, USA : Association for Computing Machinery. ; , s. 69-76
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Konferensbidrag (refereegranskat)abstract
- This paper describes two site-specific musical compositions, focusing on how modelling was used in their respective composition processes. Primarily, the acoustics of the sites were modelled to aid in the preparation and composition of the pieces. From this we propose the general use of modelling as a way to work with the concept of site. But the idea of formulating a model is also applicable more widely in the work described and this is discussed with the two pieces as starting points. Both pieces use acoustic room scale feedback as their only source of sound, so the impact of the room, speakers and microphones used is immense. The first piece, Rundgång, is a commission for the GRM Acousmonium. The second piece, Clockwork, is a public installation that will also be the site of a performance, combining the installation with live interventions. Clockwork will also employ modelling as a component of the piece itself, and include a remote performer and a remote audience. We suggest that there are possibilities to employ compositional strategies to embrace these kinds of hybrid presence situations by composing for many vantage points.
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| 6. |
- Elblaus, Ludvig, 1981-
(författare)
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Crafting Experience : Designing Digital Musical Instruments for Long-Term Use in Artistic Practice
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis collects a series of publications that all present work where digital musical instruments (DMIs) played a central role. While the papers focus on the individual projects where the DMIs where created, the first part of this thesis describes patterns and insights arrived at by comparing the projects and the DMIs, as well as discuss them in the context of other contemporary research.The projects described in the included papers all are quite different, but the role I performed in them was consistent in many ways. I position my- self as a craftsperson, and trace the practice of crafting digital musical instru- ments through the projects. As a working metaphor, I present the idea of the DMI-craftsperson as a translator between different domains. This requires a broader outlook than the mechanics of the instruments themselves, including some working understanding of the domains that the DMI interacts with.The relationship between DMIs and contemporary musical practice is a thread that runs through the work. I criticise the practice of exclusively performing laboratory based evaluations, and the concept of rigid and requirements based evaluations of artistic artefacts. Instead, I argue, relying on Sonic Interaction Design and embodied aesthetics, that the complexities and nuances of perfor- mance can only be fully explored by engaging in long-term artistic practice.
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| 7. |
- Elblaus, Ludvig, 1981-
(författare)
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Crafting New Interfaces for Musical Expression
- 2015
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis collects and contextualizes several projects involving artistically directed prototyping where new artifacts have been developed, in multi-disciplinary groups of practitioners, for use in performance contexts. These projects and their resulting publications have been team efforts, and therefore all papers have more than one author. In the introduction, a complementary perspective to that of the publications is offered, engaging with the characteristics of the digital innards of these artifacts and their digital material qualities. The stance that software source code is a design material is argued, and the notion of the crafting coder is used to view processes that use code as material for artistic creation. Code is also prominently featured in the introductory chapter with examples of some of the central components of the sound processing techniques that have been successfully used in the projects described in this thesis.The artifacts that are described in the thesis are: The Throat, an instrument for augmenting the singing voice using gestural control in real-time, The Vocal Chorder, a string based instrument using full-body interaction that also allows for audience participation through an installation mode, The Charged Room, a video tracking installation that lets users manipulate sound by moving across a stage, and Nebula, a garment that senses the users movements and responds with sound. These artifacts have been evaluated in the context they are designed for, and not only tested in laboratory settings, to make sure that the knowledge produced is valid. Several performances and peda-gogical courses have been used as empirical foundation for the claims of empowerment, expressivity, and performance qualities ascribed to the developed artifacts.
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| 8. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Demo Hour
- 2015
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Ingår i: interactions. - : Association for Computing Machinery (ACM). - 1072-5520 .- 1558-3449. ; 22:5, s. 6-9
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Tidskriftsartikel (refereegranskat)abstract
- Interactivity is a unique forum of the ACM CHI Conference that showcases hands-on demonstrations, novel interactive technologies, and artistic installations. At CHI 2015 in Seoul we hosted more than 30 exhibits, including an invited digital interactive art exhibit. Interactivity highlights the diverse group of computer scientists, sociologists, designers, psychologists, artists, and many more who make up the CHI community.
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| 9. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Modes of sonic interaction in circus : Three proofs of concept
- 2014
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Ingår i: Proceedings of Sound and Music Computing Conference 2014. - Athens : The International Computer Music Association, The Sound and Music Computing Steering Committe, The Institute for Research on Music & Acoustics. ; , s. 1698-1706, s. 1698-1706-
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Konferensbidrag (refereegranskat)abstract
- The art of circus is a vibrant and competitive culture that embraces new tools and technology. In this paper, a series of exploratory design processes resulting in proofs of concepts are presented, showing strategies for effective use of three different modes of sonic interaction in contemporary circus. Each design process is based on participatory studio work, involving professional circus artists. All of the proofs of concepts have been evaluated, both with studio studies and public circus performances, taking the work beyond theoretical laboratory projects and properly engaging the practice and culture of contemporary circus.The first exploration uses a contortionist’s extreme bodily manipulation as inspiration for sonic manipulations in an accompanying piece of music. The second exploration uses electric amplification of acoustic sounds as a transformative enhancement of existing elements of circus performance. Finally, a sensor based system of real-time sonification of body gestures is explored and ideas from the sonification of dance are translated into the realm of circus.
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| 10. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Nebula: An Interactive Garment Designed for Functional Aesthetics
- 2015
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Ingår i: Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems. - New York, NY, USA : ACM. - 9781450331463 ; , s. 275-278
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Konferensbidrag (refereegranskat)abstract
- In this paper we present Nebula, a prototype for examining the properties of textiles, fashion accessories, and digital technologies to arrive at a garment design that brings these elements together in a cohesive manner. Bridging the gap between everyday performativity and enactment, we aim at discussing aspects of the making process, interaction and functional aesthetics that emerged. Nebula is part of the Sound Clothes project that aims at exploring the expressive potential of wearable technologies creating sound from motion.
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