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Visceral mobile system, with sensor acquisition sub-system (left) with accelerometers, pressure sensors, and gyroscope, and Sony Vaio U-71 handheld host computer (right)
Source publication
This paper describes a second-generation mobile music system that adds qualities of physical interaction to previous participative,
networked, multi-user systems. We call upon traditions in interactive sensor music instrument building to inform this process.
The resulting system underscores its dual personal/community context awareness with a techn...
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We present Cuebert, a mixing board concept for musical theatre. Using a user-centered design process, our goal was to reconceptualize the mixer using modern technology and interaction techniques, questioning over fifty years of interface design in audio technology. Our research resulted in a design that retains the physical controls — faders and kn...
Citations
... Locative music has provided a rich theme of exploration for the NIME community, with composers and designers stretching out into new forms of creative and technical exploration that actively exploits the physical environment [14]. ...
... Locative Media experiences have been embraced by a wide range of artists and designers seeking to explore the potential for interactive experiences that connect audiences with their environments in new ways. Location and mobility has been utilized as both a producer of content or a stage for content delivery [14]. Behrendt [2] classifies four general approaches to mobile sound art: 'sound platforms' [1], 'sonifying mobility' [4,6] and 'musical instruments' [12] and placed sounds' [3,16]. ...
Locative music experiences are often non-linear and as such the final structure of the music heard is guided by the movements of the user. We note an absence of principles regarding how composers should approach the structuring of such locative soundtracks. For instance, how does one compose for a non-linear soundtrack using linear, pre-composed placed sounds, where fixed musical time is placed into the indeterminate time of the user's experience? Furthermore, how does one create a soundtrack that is suitable for the location, but also functions as a coherent musical structure? We explore these questions by analyzing an existing 'placed sound' work from a traditional music theory perspective and in doing so reveal some structural principals from 'fixed' musical forms can also support the composition of contemporary locative music experiences.
... The capability of modern mobile devices has inspired app developers, composers and artists alike to create new mobile music experiences. Within the field of locative media, location and movement have operated as both a producer of content and a stage for content delivery [21]. Soundwalks convey location-themed narratives, combining recorded ambient sound, music and narration [9]. ...
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This chapter looks at technologies of biosensing and techniques of sonification that invoke physicalization of sound to create a sense of intimacy in musical performance and gallery exhibition. By comparing the dynamic across stage and gallery settings, I will discuss how the corporeal activation of sound can become a key not just to decode experimental performance, but as an entry point to possible intimate spaces created by digital interaction. I will draw upon notions of physicalization, enaction, and embodiment to describe how a visceral, nearly carnal situation can be created in technology-mediated work.
In this paper we chart the design, composition, and authoring of The Rough Mile: A Dynamic Locative Audio Walk in two parts that combines spoken word, original and found music, user generated content, and ambient environmental sound. The design of the locative walks-set in a city center's streets-deliberately sought to explore novel mechanisms to create thematic and structural relationships between the audio treatments and attributes of the built environment to create rich and detailed experiences. We reflect on our distinct design approach and the challenges that emerged along the way to present a set of opportunities for the design of such locative walking experiences.
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ABSTRACT
Audio-based mobile technology is opening up a range of new interactive possibilities. This paper brings some of those possibilities to light by offering a range of perspectives based in this area. It is not only the technical systems that are developing, but novel approaches to the design and understanding of audio-based mobile systems are evolving to offer new perspectives on interaction and design and support such systems to be applied in areas, such as the humanities.
Keywords
Design, Ethnography, HCI, Humanities, Interaction, Location, Mobile
Currently online access here:
http://eprints.nottingham.ac.uk/45081/8/Audio-Technology-and-Mobile-Human-Computer-Interaction--From-Space-and-Place-to-Social-Media-Music-Composition-and-Creation.pdf
This article pinpoints a specific movement within the broad spectrum of music technology to identify a musical and instrument-building tradition concerned with gesture. This area of research and creative practice, often labeled NIME after the international conference series New Interfaces for Musical Expression, goes beyond enhancing traditional instrument performance practice to looking at new paradigms for instrumental performance. This article focuses on musically driven efforts to exploit analog and digital technologies to capture musical gesture and afford new forms of sonic articulation and musical expression. It retraces the history of music technology in the twentieth century that led up to the founding of NIME and introduces composers and performers who have established a performance practice on interactive, sensor-based musical instruments. Finally, it finishes by indicating current directions in the field, including the musical exploitation of biometric signals and location-tracking technologies.
