| 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. |
- Messeter, Jörn, 1963-, et al.
(författare)
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Contextualizing mobile IT
- 2004
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Ingår i: Proceedings of Designing Interactive Systems 2004. - : ACM Press.
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Konferensbidrag (refereegranskat)
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| 3. |
- Sokoler, Tomas, et al.
(författare)
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Videomaterial på Designerns Bord – ett gripbart gränssnitt för hantering av videomaterial
- 2001
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Konferensbidrag (refereegranskat)abstract
- Artikeln presenter ett VideoBord med några VideoKort. VideoBordet är ett mötesbord som möjliggör kollaborativ utforskning och bearbetning av videomaterial under designsessioner via ett gripbart gränssnitt för många användare. VideoKorten är papperskort med en stillbild och text som tillsammans representerar viktiga nyckelsekvenser i videomaterialet. Respektive nyckelsekvens kan spelas upp genom att en knapp, som finns monterad på varje VideoKort, trycks in av någon deltagare i design sessionen. VideoKorten kan ligga utspridda på VideoBordet tillsammans med andra fysiska objekt. Därigenom kan mötesdeltagarna blanda "länkade" fysiska representationer av videomaterial med andra fysiska artefakter under brainstormsliknande designsessioner. Därigenom hanteras den utmaning som ligger i att blanda videons lite ogripbara och kortlivade karaktär med fysiska artefakters mer bestående och påtagliga gripbarhet. Implementeringen bygger på passiva RFID-taggar (Radio Frequency Identification) som är permanent monterade på varje enskilt VideoKort. RFID-taggen är dock modifierad så att aktivering enbart sker genom att användarna, via en knapptryckning på respektive kort, explicit ger uttryck för att man önskar få den speciella videosekvensen uppspelad. Preliminära observationer under en design workshop indikerar att den direkta fysiska manipulationen av VideoKorten tillsammans med dess direkta koppling till respektive videosekvens möjliggör den mix mellan fysiska artefakter och digital video som eftersträvades.
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| 4. |
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| 5. |
- Wetterstrand, Martin, 1976-, et al.
(författare)
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Activity and artifact : the symbiosis of truck drivers’ work and navigational systems
- 2001
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Ingår i: Proceedings of IFIP INTERACT01. - : IFIP Technical Committee No 13 on Human-Computer Interaction. ; , s. 399-406
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Konferensbidrag (refereegranskat)abstract
- This paper outlines design ideas from a project dealing with different interaction concepts for the design of a computer based navigation system for truck drivers. The incentive for thinking about interaction concepts is that programming of navigation systems often occurs while driving, since that is when the support is needed. We have been working with ethnographical studies of truck drivers driving both over short and long distances. There has been quite a lot of work done in the field of cars and navigation, in this paper however the main theme is not navigation in cars as such, but the truck environment as an example of a high-demanding room for work activities. This lead to a design situation where the artifact and the activity has to go together, the artifact has to ‘melt-in’ to the work practice. We discuss how the design of computational power can melt-in to the work-practice without demanding too much of the attention needed for driving the truck safely.
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| 6. |
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| 7. |
- Wetterstrand, Martin, 1976-, et al.
(författare)
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Eyes on the road : augmenting traffic information
- 2000
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Ingår i: Proccedings of DARE2000 Denmark Aarhus. - New York : ACM Press. ; , s. 147-148
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Konferensbidrag (refereegranskat)abstract
- This position paper outlines design ideas gained from a project dealing with different interaction concepts when designing a computer based navigation systems for truck drivers working over large areas and where the delivery and pick-up points from time to time are unfamiliar to the driver. The extension of this previous project includes more ’untraditional’ technology, but has the same approach and uses the same basic concepts. Both the original design and the new design are based on an empirical study of truck drivers work practice.
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| 8. |
- Wetterstrand, Martin, 1976-, et al.
(författare)
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Partner engaged design : new challanges for workplace design
- 2002
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Ingår i: Proceedings of PDC2002. - 0-9667818-2-1
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Konferensbidrag (refereegranskat)abstract
- The spatial organization of the workplace affects the work going on there. The technology used, changes the work practice. This paper describes a design process where different aspects of workplace design for project-based office work have been combined into one multi-stakeholder project, integrating the spatial aspects, the furniture, the information technology, and the IT-services that are connected to work. To have several different partners with different interests and competencies collaborating in a future oriented design process puts certain demands on the setup of the process and the tools being used. Taking a starting point in existing work practice, we have driven this project with techniques most often used for user-involvement. Scenario building played a crucial role in tying the process together. The concrete result is a completed concept proposal for an actual “office of the future” layout, which integrates advanced information technology and service solutions. The case shows that it is possible to reach innovative consensus-anchored results with the described design method.
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| 9. |
- 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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| 10. |
- Bresin, Roberto
(författare)
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Real-time visualization of musical expression
- 2004
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Ingår i: Proceedings of Network of Excellence HUMAINE Workshop "From Signals to Signs of Emotion and Vice Versa". ; , s. 19-23
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Konferensbidrag (refereegranskat)abstract
- A system for real-time feedback of expressive music performance is presented.The feedback is provided by using a graphical interface where acoustic cues arepresented in an intuitive fashion. The graphical interface presents on the computerscreen a three-dimensional object with continuously changing shape, size,position, and colour. Some of the acoustic cues were associated with the shape ofthe object, others with its position. For instance, articulation was associated withshape, staccato corresponded to an angular shape and legato to a rounded shape.The emotional expression resulting from the combination of cues was mapped interms of the colour of the object (e.g., sadness/blue). To determine which colourswere most suitable for respective emotion, a test was run. Subjects rated how welleach of 8 colours corresponds to each of 12 music performances expressingdifferent emotions.
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