| 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. |
- 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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| 3. |
- Ljungdahl Eriksson, Martin, 1982-, et al.
(författare)
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The Sound Bubble : An Aesthetic Additive Design Approach to Actively Enhance Acoustic Office Environments
- 2019
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Ingår i: Proceedings of 13th conference on Sound and Music Computing, Hamburg 2016. - Hamburg : Zentrum für Mikrotonale Musik und Multimediale Komposition (ZM4), Hochschule für Musik und Theater. - 9783000537004 ; , s. 253-260
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Konferensbidrag (refereegranskat)abstract
- Moving towards more open and collaborative workplaces has been an emerging trend in the last decades. This change has led to workers sharing a common open space, with seating’s based on current activity, so called activity-based offices. Consequently, it becomes difficult to design sonic environments that cater to different needs in the same space. In this study we explored the possibility of adding site-specific but location-adaptive sound environments to enhance the experience of an activity-based office workplace. For this purpose, we developed the concept of the “sound bubble,” a micro-space in which the user is embedded by a semi-transparent sound environment. The purpose of the bubble is to help the user ignore irrelevant and disturbing noise while working in an open landscape. The sound bubble supports the user to stay in “everyday listening” mode, i.e., not focusing on anything particular in the surrounding environment while being able to keep a link with it. The sound bubble was evaluated by a total of 43 test subjects participating in an experience-based test, conducting their usual work tasks in an office landscape. Our results show that the sound bubble can enhance auditory work conditions for individual work requiring concentration.
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| 4. |
- Ljungdahl Eriksson, Martin, et al.
(författare)
-
The Sound Bubble : An Aesthetic Additive Design Approach to Actively Enhance Acoustic Office Environments
- 2016
-
Ingår i: Proceedings of 13th conference on Sound and Music Computing, Hamburg 2016. - 9783000537004 ; , s. 253-260
-
Konferensbidrag (refereegranskat)abstract
- Moving towards more open and collaborative workplaces has been an emerging trend in the last decades. This change has led to workers sharing a common open space, with seating’s based on current activity, so called activity-based offices. Consequently, it becomes difficult to design sonic environments that cater to different needs in the same space. In this study we explored the possibility of adding site-specific but location-adaptive sound environments to enhance the experience of an activity-based office workplace. For this purpose, we developed the concept of the “sound bubble,” a micro-space in which the user is embedded by a semi-transparent sound environment. The purpose of the bubble is to help the user ignore irrelevant and disturbing noise while working in an open landscape. The sound bubble supports the user to stay in “everyday listening” mode, i.e., not focusing on anything particular in the surrounding environment while being able to keep a link with it. The sound bubble was evaluated by a total of 43 test subjects participating in an experience-based test, conducting their usual work tasks in an office landscape. Our results show that the sound bubble can enhance auditory work conditions for individual work requiring concentration.
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| 5. |
- Paloranta, Jimmie, et al.
(författare)
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Interaction with a large sized augmented string instrument intended for a public setting
- 2016
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Ingår i: Sound and Music Computing 2016. - Hamburg : Zentrum für Mikrotonale Musik und Multimediale Komposition (ZM4). - 9783000537004 ; , s. 388-395
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Konferensbidrag (refereegranskat)abstract
- In this paper we present a study of the interaction with a large sized string instrument intended for a large installation in a museum, with focus on encouraging creativity,learning, and providing engaging user experiences. In the study, nine participants were video recorded while interacting with the string on their own, followed by an interview focusing on their experiences, creativity, and the functionality of the string. In line with previous research, our results highlight the importance of designing for different levels of engagement (exploration, experimentation, challenge). However, results additionally show that these levels need to consider the users age and musical background as these profoundly affect the way the user plays with and experiences the string.
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| 6. |
- Turchet, Luca
(författare)
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The Hyper-hurdy-Gurdy
- 2019
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Ingår i: SMC 2016 - 13th Sound and Music Computing Conference, Proceedings. - : Zentrum fur Mikrotonale Musik und Multimediale Komposition (ZM4), Hochschule fur Musik und Theater. - 9783000537004 ; , s. 491-497
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Konferensbidrag (refereegranskat)abstract
- This paper describes the concept, design, implementation, and evaluation of the Hyper-Hurdy-Gurdy, which is the augmentation of the conventional hurdy-gurdy musical instrument. The augmentation consists of the enhancement of the instrument with different types of sensors and microphones, as well as of novel types of real-time control of digital effects during the performer's act of playing. The placing of the added technology is not a hindrance to the acoustic use of the instrument and is conveniently located. Audio and sensors data processing is accomplished by an application coded in Max/MSP and running on an external computer. Such an application also allows the use of the instrument as a controller for digital audio workstations. On the one hand, the rationale behind the development of the instrument was to provide electro-acoustic hurdy-gurdy performers with an interface able to achieve radically novel types of musical expression without disrupting the natural interaction with the traditional instrument. On the other hand, this research aimed to enable composers with a new instrument capable of allowing them to explore novel pathways for musical creation.
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| 7. |
- Turchet, Luca
(författare)
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The Hyper-Zampogna
- 2019
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Ingår i: SMC 2016 - 13th Sound and Music Computing Conference, Proceedings. - : Zentrum fur Mikrotonale Musik und Multimediale Komposition (ZM4), Hochschule fur Musik und Theater. - 9783000537004 ; , s. 485-490
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Konferensbidrag (refereegranskat)abstract
- This paper describes a design for the Hyper-Zampogna, which is the augmentation of the traditional Italian zampogna bagpipe. The augmentation consists of the enhancement of the acoustic instrument with various microphones used to track the sound emission of the various pipes, different types of sensors used to track some of the player's gestures, as well as novel types of real-time control of digital effects. The placing of the added technology is not a hindrance to the acoustic use of the instrument and is conveniently located. Audio and sensors data processing is accomplished by an application coded in Max/MSP and running on an external computer. Such an application also allows for the use of the instrument as a controller for digital audio workstations. On the one hand, the rationale behind the development of such augmented instrument was to provide electro-acoustic zampogna performers with an interface capable of achieving novel types of musical expression without disrupting the natural interaction with the traditional instrument. On the other hand, this research aimed to provide composers with a new instrument enabling the exploration of novel pathways for musical creation.
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