| 1. |
- Hansen, Kjetil Falkenberg, 1972-, et al.
(författare)
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DJ scratching performance techniques : Analysis and synthesis
- 2003
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Ingår i: Proc. Stockholm Music Acoustics Conference. ; , s. 693-696
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Konferensbidrag (refereegranskat)abstract
- Scratching is a popular way of making music, turning the DJ into a musician. Normally scratching is done using a vinyl record, a turntable and a mixer. Vinyl manipulation is built up by a number of specialized techniques that have been analysed in a previous study. The present study has two main objectives. First is to better understand and model turntable scratching as performed by DJs. Second is to design a gesture controller for physical sound models, i.e. models of friction sounds. We attached sensors to a DJ equipment set-up. Then a DJ was asked to perform typical scratch gestures both isolated and in a musical context, i.e. as in a real performance. He also was asked to play with different emotions: sad, angry, happy and fearful. A model of the techniques used by the DJ was built based on the analysis of the collected data. The implementation of the model has been done in pd. The Radio Baton, with specially adapted gesture controllers, has been used for controlling the model. The system has been played by professional DJs in concerts.
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| 2. |
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| 3. |
- Lindborg, PerMagnus, 1968-
(författare)
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Leçons : an Approach to a System for Machine Learning, Improvisation and Music Performance
- 2003
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Ingår i: Computer Music Modeling and Retreival. - : Springer-Verlag New York. - 3540209220
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Bokkapitel (refereegranskat)abstract
- This paper aims at describing an approach to the music performancesituation as a laboratory for investigating interactivity. I would like to present“Leçons pour un apprenti sourd-muet” 1, where the basic idea isthat of two improvisers, a saxophonist and a computer, engaged in a seriesof musical questions and responses. The situation is inspired fromthe Japanese shakuhachi tradition, where imitating the master performeris a prime element in the apprentice’s learning process. Through listeningand imitation, the computer’s responses get closer to that of its master foreach turn. In this sense, the computer’s playing emanates from the saxophonist’sphrases and the interactivity in “Leçons” takes place on thelevel of the composition.
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| 4. |
- Hansen, Kjetil Falkenberg, 1972-, et al.
(författare)
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Analysis of a genuine scratch performance
- 2004
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Ingår i: Lecture Notes in Computer Science. - Berlin, Heidelberg : Springer Berlin/Heidelberg. - 0302-9743 .- 1611-3349. - 9783540210726 ; 2915, s. 477-478, s. 519-528
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Tidskriftsartikel (refereegranskat)abstract
- The art form of manipulating vinyl records done by disc jockeys (DJs) is called scratching, and has become very popular since its start in the seventies. Since then turntables are commonly used as expressive musical instruments in several musical genres. This phenomenon has had a serious impact on the instrument-making industry, as the sales of turntables and related equipment have boosted. Despite of this, the acoustics of scratching has been barely studied until now. In this paper, we illustrate the complexity of scratching by measuring the gestures of one DJ during a performance. The analysis of these measurements is important to consider in the design of a scratch model.
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| 5. |
- Lindborg, PerMagnus, 1968-
(författare)
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Le dialogue musicien-machine : Aspects des systèmes d'interactivité musicale
- 2003
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Ce texte a comme sujet la confluence entre la création musicale et les sciences cognitives. Le but principal du travail a été de faire de la reconnaissance sur le terrain. Le présent texte est donc forcément incomplet, et ne servira que de point de départ pour une recherche substantielle.J’ai choisi comme thématique l’interactivité musicale, qui sera définie comme le dialogue musicien–machine. Je vais tenter d’approcher ce phénomène par multiples chemins, qui se superposent. Le thème restera au centre, et autour de lui, j’esquisserai sa relation avec plusieurs faits et phénomènes liés, en particulier : les langages naturels et formels, la question de l’interface à la création, l’intelligence artificielle, et les notions de mémoire et de sens. Ces approches mises ensemble constitueront l’étude des aspects des systèmes d’interactivité. Le vaste sujet de l’interactivité musicale est incrusté dans l’histoire de la musique d’ordinateur, une histoire qui date déjà d’un demi-siècle au moins. Par conséquent il sera nécessaire de cerner le cœur du sujet et de parcourir des cercles concentriques ou en spirale, pour gagner des connaissances qui nous permettent de comprendre mieux le phénomène. La procédure est un peu comme quand on observe une étoile avec l’œil nu : si on la regarde tout droit elle disparaît… La rétine est plus sensible à la lumière dans les côtés. Le texte est donc fatalement un collage consistant de plusieurs études d’envergure limitée. Malgré cela, il faut respecter les aspects importants propres au sujet, essayer d’esquiver le superflu et faire le plus possible de liens. La recherche est guidée par trois thématiques. Quelle est la matière, en d’autres termes, les composants et les processus qui constituent le système de proprement dit, utilisé dans la situation de performance musicale ? Deuxièmement, quelle est la relation entre recherche cognitive et outils technologiques à disposition ? Troisièmement, quelles implications est-ce que les technologies ont eues et auront d’autant plus à l’avenir sur la créativité musicale ?Depuis plusieurs années, les concepts qui sous-tiennent ce texte ont influencé mon travail de compositeur et performeur. J’ai fait des expériences en la matière au travers d’œuvres employant des dispositifs électroacoustiques de configuration variable : “Beda+” (1995), “Tusalava” (1999), “Leçons pour un apprenti sourd-muet” (1998-9), “gin/gub” (2000), “Manifest”[1] (2000), “Project Time”[2] (2001), “sxfxs” (2001), “Extra Quality” (2001-2), ”D!sturbances 350–500”[3]… Ces morceaux de musique sont nés d'une curiosité pour le fondement théorique de la cognition et le fonctionnement du cerveau humain. En particulier, je me suis consacré à analyser la situation de jeu dans laquelle a lieu un échange d’informations et d’initiatives musicales entre musicien et machine, qui agissent sur un degré équivalent de participation dans un système complexe. J’éprouve que cette situation ludique peut également servir d’outil de recherche ; elle est un peu comme un laboratoire, ou un banc d’essai, pour tester des hypothèses, qu’elles soient des propos limités à la musique, ou bien plus étendues, élargissant vers des terrains inhabituels.Étant compositeur, j’ai essayé de rendre l’étude ni trop limitée, ni strictement descriptive. J’ai ressenti le besoin d’analyser des travaux contemporains, ayant des composants scientifiques : les trois projets étudiés sont effectivement en cours de développement. Il s’agissait dans cette étude de capter plutôt leur raison d’être que de montrer leurs formes respectives dans un état finalisé, qui de toute façon n’est pas leur destin. Si la musicologie se contentait de démontrer des structures dans des œuvres de répertoire connues depuis longtemps, ou si elle s’enfermait dans un académisme technocrate développant des modèles n’expliquant que des choses qui sont évidentes pour les musiciens, alors elle souffrirait d’anémie. En proposant une hypothèse, elle doit comporter des aspects prédictifs. Ce serait encore mieux si des modèles développés en support à l’hypothèse étaient facilement accessibles et pouvaient servir au développement de nouveaux outils innovants. Cela est souhaitable, non seulement pour stimuler la production créative, mais également pour aider à mieux comprendre le fonctionnement de la créativité lui-même.L’activité musicale, au sens général, pour ceux qui la produisent autant que pour ceux qui l’apprécient, est un exercice essentiellement non-verbal dont le but est l’émergence d'une compréhension de la créativité humaine d’un ordre autre que verbal ou écrit. En étudiant la créativité, et surtout sa formalisation, ne risquerait-on pas de la dénaturer ? Peut-être la créativité ne risque-t-elle pas de s’effondrer dans la recherche ? Que restera-t-il de la création musicale le jour où une machine aura composé une œuvre capable d’émouvoir les auditeurs ignorant tout de son mode de fabrication ? Néanmoins, en suivant l’appel de William Faulkner, “kill your darlings”, espérons transcender la créativité telle qu’on la connaît et aller vers des pays musicaux inouïs.
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| 6. |
- Porathe, Thomas
(författare)
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Landmark representation in 3-D nautical charts
- 2004
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Ingår i: Proceedings of the Eighth International Conference on Information Visualisation, IV 2004. - 1093-9547. - 0769521770 ; , s. 159-164
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Konferensbidrag (refereegranskat)abstract
- This paper first presents an overview of a research project in the field of information design concerning a new 3-D decision support system for nautical navigation, a 3-D cart. The paper then discusses landmark representation in the virtual environment of the chart; particularly the representation of forested islands andcoasts where the tree canopy is an important feature in the silhouette. Experiment with removing certain parts of laser scanned data, shows promising results when it comes to recreating the silhouette of islands with forests or groves of trees in the virtual environment.
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| 7. |
- Collier, Andrew, et al.
(författare)
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Modelling substorm chorus events in terms of dispersive azimuthal drift
- 2004
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Ingår i: Annales Geophysicae. - : Copernicus GmbH. - 0992-7689 .- 1432-0576. ; 22:12, s. 4311-4327
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Tidskriftsartikel (refereegranskat)abstract
- The Substorm Chorus Event (SCE) is a radio phenomenon observed on the ground after the onset of the substorm expansion phase. It consists of a band of VLF chorus with rising upper and lower cutoff frequencies. These emissions are thought to result from Doppler-shifted cyclotron resonance between whistler mode waves and energetic electrons which drift into a ground station's field of view from an injection site around midnight. The increasing frequency of the emission envelope has been attributed to the combined effects of energy dispersion due to gradient and curvature drifts, and the modification of resonance conditions and variation of the half-gyrofrequency cutoff resulting from the radial component of the E x B drift. A model is presented which accounts for the observed features of the SCE in terms of the growth rate of whistler mode waves due to anisotropy in the electron distribution. This model provides an explanation for the increasing frequency of the SCE lower cutoff, as well as reproducing the general frequency-time signature of the event. In addition, the results place some restrictions on the injected particle source distribution which might lead to a SCE.
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| 8. |
- Ekelin, Annelie
(författare)
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Working with the Fogbow : Design and Reconfiguration of services and Participation in E-Government
- 2003
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about the metaphors of the rainbow and the fogbow, investigations and evaluations, public Internet monitors, writing women, reflections and discussions about politics, design and democracy. It is also about the ongoing re-structuring of participation in service design within the development of E-Government. The aim behind the drive towards E-Government is to modernise administration and make it more efficient. The transformation and modernisation of public services are proclaimed to bring about a change in services based on a 'citizen-centred approach.' In such a process, communication between citizens and public authorities should play an essential role. Themes such as accountability, accessibility and participation all form part of the reconfiguration and at the same time these themes is shaped by the transformation. The papers in this thesis discuss, in different ways, how this reconfiguration is enacted in practice. Theories and methodologies from feminist theories, participatory design and informatics, are used in order to develop broader and more complex understandings of ongoing development within E-Government. Introduction to the papers Paper I Everyday Dialogue and Design for Co-Operative Use: An Evaluation of the Public Internet Monitor Project Accessibility is a central issue in the achievement of democracy, i.e. with respect to the opportunity for and right to 'access' to new technology and information – an argument also used when justifying the Public Internet Monitor Project. 'Access' in this context refers not only to purely physical access to new technology and information, it is also about the opportunity to take part in community business on several different levels. The present sub-report presents the project and its background. The paper also discusses the way in which the Public Internet Monitor Project as a whole has contributed to the development of a social interface or contact surface between citizens and public authorities, as well as how it has stimulated processes of change within public administration and in contacts between public authorities and citizens. Among the questions raised during the evaluation are; how local networks and activities can be stimulated by the citizen monitor and how the user's ideas and experience can be utilised in local adaptations so that they become an essential part of a continuous development of services and technology. The paper also describes the linked chains of responsibility exemplified in the excerpts from the interviews. These also include final users as a means of creating a personalised service adapted to local praxis and user environments. The question is posed "is it possible to talk in terms of interactivity on several different levels, not only in the sense of transmitting information or communicating, but also as a means of creating a relation-based interactivity?" Paper II Reconfiguration of Citizenship: Rights and Duties in Development of Public Services This paper presents the case of the cleaner in the library and some examples of feedback failures. Access to information, technology, and to some degree, participation in development of new services, is a central issue in the prevailing eGovernment discourse. This vision also comprises the idea of the active, contributing citizen and considers the development of local public participation as a process of co-construction of citizenship and services engaging several actors on different levels. At the same time, access must be seen as a contemporaneous process of inclusion and exclusion, a defining and drawing up of the boundaries of a new electronically mediated membership, where access is becoming a prerequisite for activating citizenship, transforming "the right to have access" into a "duty to participate", not just for citizens but for the employees who must manage the reconfiguration of citizenship and relations. The foundations for participation, however, turn out to be relatively restricted in practice. The original title of the paper was: Co-Construction of Citizenship: Rights and duties in development of public services. Paper III Consulting the Citizens – Relationship-based Interaction in the Development of E-Government This paper investigates current practices for involving citizens in the development of web-based services in public administration and tries to track their motives. With respect to democratisation, I argue that there is a large potential in adopting participatory design methods for establishing relation-based interaction between administration and citizens. The paper presents an analysis of E-Government initiatives. More particularly it explores the discourse of the materials surrounding these initiatives, particularly with respect to value systems derived from the marketing perspective contra democratic values. It demonstrates that conventional images of democracy have only a background role to play in such efforts. Paper IV Mapping Out and Constructing Needs in the Development of Online Public Services This paper is based on a study concerning experiences of, access to and requests for public services on-line, within the RISI+ Project. The paper presents a pilot study of the setting up of public services in the local context of the county of Blekinge, in southeast Sweden. The study was conducted as a peer evaluation of a selection of methods, or types of needs analysis, used by different actors and producers of public services in order to gain a picture of various needs among users. One part of this study focuses on the views expressed by service providers about the dialogue between themselves and citizens on the provision of public services. This is compared with the practical use or, in some cases, lack of use, of explicit techniques, such as questionnaires, larger surveys and work carried out with the help of focus groups. A basic question is, 'what role does citizen involvement play in the analysis of needs and services and in the choice of design?'. Parts of this report were presented in a poster display at the NordiCHI 2000 conference, "Design versus design" in Stockholm in October 2000 and, in a different version, as a work-in-progress report at the PDC 2000 (Participatory Design) Conference "Bringing in more voices" , in New York in November. Paper V Making E-Government Happen : Everyday Co-Development of Services, Citizenship and Technology This paper describes the use of a metaphorical figure used in different contexts as part of a discussion of working relationships of the co-development of services, citizenship and technology change. The paper discusses the challenge of developing a supportive infrastructure for the ongoing local adaptation and development of public services as citizens use them. Developing supportive structures for co-operation in the design task involves incorporating ways of including the general public, mapping out networks, developing tailorable software and cultivating shop-floor management. If continuous joint co-development of services is made a central part of the co-development of services, citizenship and technology, this also blurs the boundaries between governmental and municipal authorities, private sector employees and other actors within, for example, the voluntary sector - but above all, continuous joint co-development blurs the boundary between citizens and local authorities. The citizens become key figures in the 'web of connections' that makes up the design, content and use of new technologies. In the discourse on participation in E-Government, few reflections are made concerning the basic issue of the democratic values that could be gained by early involvement of local employees and citizens in developmental work or technology-based changes. Making more deliberate use of participatory design methods for incorporating multi-perspectives in service design as well as technology production and use could be a way to stimulate a broader, more inclusive and sustainable participation in local development of E-Government. Paper VI Discourses and Cracks - A Case Study of Information Technology and Writing Women in a Regional Context This is the first of the papers I wrote, where empirical material from a local IT project is discussed and mirrored against the dominating discourses of information technology. Paper VI discusses information technology as a political and practical discourse, which is in part shaped by the repetition of an exalted rhetoric. This repetitive discursive model can be distinguished in global, regional and local contexts and reflects an optimistic belief in technology as an independent power that automatically furthers democratic development. The second part of the paper presents empirical material and experiences from the Women Writing on the Net-project (this was included in the framework of the DIALOGUE project, which was partially funded by ISPO/EC). The aim of the project was to create a virtual space for women on the Internet, and to explore the writing process in terms of aims, tool and method. The method of approach incorporates reflections and discussions about empowerment, democracy and representation of women. This contributed to a more complex understanding of the values of the predominant IT discourses, and revealed the "cracks" in, and possibilities of feminist redefinitions of, these values.
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| 9. |
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| 10. |
- Goebl, W., et al.
(författare)
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Once again: The perception of piano touch and tone : Can touch audibly change piano sound independently of intensity?
- 2004
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Ingår i: Proceedings of the International Symposium on Musical Acoustics, March 31st to April 3rd 2004 (ISMA2004), Nara, Japan. - Nara, Japan : The Acoustical Society of Japan, CD-ROM. - 4998060236 ; , s. 332-335
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Konferensbidrag (refereegranskat)abstract
- This study addresses the old question of whether the timbreof isolated piano tones can be audibly varied independentlyof their hammer velocities—only through thetype of touch. A large amount of single piano tones wereplayed with two prototypical types of touch: depressingthe keys with the finger initially resting on the key surface(pressed), and hitting the keys from a certain distanceabove (struck). Musicians were asked to identify the typeof touch of the recorded samples, in a first block with allattack noises before the tone onsets included, in a secondblock without them. Half of the listeners could correctlyidentify significantly more tones than chance in the firstblock (up to 86% accuracy), but no one in block 2. Thosewho heard no difference tended to give struck ratings forlouder tones in both blocks.
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