Survey of Physical Interfaces for Music

From CCRMA Wiki

(Difference between revisions)
Jump to: navigation, search
 
(8 intermediate revisions not shown)
Line 1: Line 1:
-
<font size=5>'''How to Categorize/Analyze Existing Controllers?'''</font>
+
<font size=5>How to Categorize/Analyze Existing Controllers?</font>
==Dichotomies==
==Dichotomies==
Line 11: Line 11:
* Sonification vs. Deliberate Control
* Sonification vs. Deliberate Control
** Rego Sen, Wai Kit Leung, Ariege Misherghi -- [http://ccrma.stanford.edu/courses/250a-fall-2003/video/Rego/Rego.mov Foosball Live] (133M)
** Rego Sen, Wai Kit Leung, Ariege Misherghi -- [http://ccrma.stanford.edu/courses/250a-fall-2003/video/Rego/Rego.mov Foosball Live] (133M)
 +
** [http://www.youtube.com/watch?v=bJ9LQHazTRg Toriton Plus]
** Peter Solderitsch, Becky Currano, Unnur Grettarsdottir -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/TM.mov Musical TM] (25M)
** Peter Solderitsch, Becky Currano, Unnur Grettarsdottir -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/TM.mov Musical TM] (25M)
* Pre-programmed vs. Performed
* Pre-programmed vs. Performed
** Brian Rulifson et al.  -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/GPS.mov GPS Sonification] (18M)
** Brian Rulifson et al.  -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/GPS.mov GPS Sonification] (18M)
-
** Curtis Bahn & Tomie Hahn -- [http://www.arts.rpi.edu/crb/Activities/SSpeaPer/pikapika.htm Pikapika]
 
-
 
-
* Gesture vs. Mode Change
 
-
** Pascal Stang, John McCarty, Jeff Bernstein -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/Muggle.mov Muggling] (15M)
 
-
** Yamaha -- [http://www.media.mit.edu/%7Ejoep/MPEGs/Miburi.mpg Miburi] (18M)
 
** David Lowenfels -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/GridDrum.mov Grid Drum] (22M)
** David Lowenfels -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/GridDrum.mov Grid Drum] (22M)
Line 31: Line 27:
** David Merrill, Tim Hankins, Jocelyn Robert -- [http://ccrma.stanford.edu/%7Everplank/250a/TurnTable.mov COOL] (120M)
** David Merrill, Tim Hankins, Jocelyn Robert -- [http://ccrma.stanford.edu/%7Everplank/250a/TurnTable.mov COOL] (120M)
** Rodrigo Segnini, Hiroko Terasawa, Vivian Woo -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/Kitchen2.mov Sound Kitchen] (42M)
** Rodrigo Segnini, Hiroko Terasawa, Vivian Woo -- [http://ccrma.stanford.edu/%7Everplank/250a/2002/Kitchen2.mov Sound Kitchen] (42M)
-
 
-
 
Line 60: Line 54:
** Active interpretation by performer.
** Active interpretation by performer.
** E.g. Live coding -- [http://www.youtube.com/watch?v=hFAh-pgxGyc ChucK]
** E.g. Live coding -- [http://www.youtube.com/watch?v=hFAh-pgxGyc ChucK]
-
* Mark Hauenstein's [http://www.nurons.net/audioshaker/video2.htm Audio Shaker]
+
** Mark Hauenstein's [http://www.nurons.net/audioshaker/video2.htm Audio Shaker]
Line 119: Line 113:
** Degrees of freedom
** Degrees of freedom
 +
==Reference Papers==
-
Reference Papers
+
1. M. Gurevich and J. Treviño (2007). [http://ccrma.stanford.edu/courses/250a/docs/gurevich_trevino.pdf Expression and Its Discontents: Toward an Ecology of Musical Creation]. Proceedings of the 2007 Conference on New Interfaces for Musical Expression (NIME-07), New York, USA.
-
1. M. Gurevich, B. Verplank and S. Wilson (2003). [Phttp://ccrma.stanford.edu/courses/250a/docs/gurevich_icmc2003.pdf hysical Interaction Design for Music]. Proceedings of the 2003 International Computer Music Conference, Singapore.
+
2. M. Gurevich, B. Verplank and S. Wilson (2003). [http://ccrma.stanford.edu/courses/250a/docs/gurevich_icmc2003.pdf Physical Interaction Design for Music]. Proceedings of the 2003 International Computer Music Conference, Singapore.
-
2. T. Blaine and S. Fels (2003). [http://www.nime.org/2003/onlineproceedings/Papers/NIME03_Blaine.pdf Contexts of Collaborative Musical Experiences]. Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME-03), Montreal, Canada.
+
3. T. Blaine and S. Fels (2003). [http://www.nime.org/2003/onlineproceedings/Papers/NIME03_Blaine.pdf Contexts of Collaborative Musical Experiences]. Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME-03), Montreal, Canada.
-
3. J. Malloch, D. Birnbaum, E. Sinyor and M. Wanderley (2006). [http://www.dafx.ca/proceedings/papers/p_049.pdf Examining Design Goals of Digital Musical Instruments]. Proceedings of the 9th International Conference on Digital Audio Effects (DAFx-06), Montreal, Canada.
+
4. J. Malloch, D. Birnbaum, E. Sinyor and M. Wanderley (2006). [http://www.dafx.ca/proceedings/papers/p_049.pdf Examining Design Goals of Digital Musical Instruments]. Proceedings of the 9th International Conference on Digital Audio Effects (DAFx-06), Montreal, Canada.
-
4. D. Birnbaum, R. Fiebrink, J. Malloch and M. M. Wanderley (2005). [http://www.nime.org/2005/proc/nime2005_192.pdf Towards a Dimension Space for Musical Devices]. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05), Vancouver, BC, Canada.
+
5. D. Birnbaum, R. Fiebrink, J. Malloch and M. M. Wanderley (2005). [http://www.nime.org/2005/proc/nime2005_192.pdf Towards a Dimension Space for Musical Devices]. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05), Vancouver, BC, Canada.
-
5. P. Cook (2001). [http://www.nime.org/2001/papers/cook.pdf Principles for Designing Computer Music Controllers]. CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.
+
6. P. Cook (2001). [http://www.nime.org/2001/papers/cook.pdf Principles for Designing Computer Music Controllers]. CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.
-
6. C. Poepel (2005). [http://www.nime.org/2005/proc/nime2005_228.pdf On Interface Expressivity]. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05), Vancouver, BC, Canada.
+
7. C. Poepel (2005). [http://www.nime.org/2005/proc/nime2005_228.pdf On Interface Expressivity]. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05), Vancouver, BC, Canada.
    
    
-
7. D. Wessel and M. Wright (2001). [http://www.nime.org/2001/papers/wessel.pdf Problems and Prospects for Intimate Musical Control of Computers]. CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.
+
8. D. Wessel and M. Wright (2001). [http://www.nime.org/2001/papers/wessel.pdf Problems and Prospects for Intimate Musical Control of Computers]. CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.
 +
 
 +
9. S. Jorda (2001). [http://www.nime.org/2001/papers/jorda.pdf New Musical Interfaces and New Music-making Paradigms].CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.
 +
 
 +
10. M. Resnick and B. Silverman (2005). [http://web.media.mit.edu/%7Emres/papers/IDC-2005.pdf Some Reflections on Designing Construction Kits for Kids]. Proceedings of Interaction Design and Children conference, Boulder, CO.
 +
 
 +
 
 +
<center>[[PID 2007]]</center>
-
8. S. Jorda (2001). [http://www.nime.org/2001/papers/jorda.pdf New Musical Interfaces and New Music-making Paradigms].CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.
 
-
9. M. Resnick and B. Silverman (2005). [http://web.media.mit.edu/%7Emres/papers/IDC-2005.pdf Some Reflections on Designing Construction Kits for Kids]. Proceedings of Interaction Design and Children conference, Boulder, CO.
+
[[Category:PID]][[Category:PID_2007]]

Current revision as of 13:36, 13 August 2007

How to Categorize/Analyze Existing Controllers?

Contents

Dichotomies

  • Sonification vs. Deliberate Control
  • Individual vs. Group
    • Sid Fels -- Tooka
    • Jorda -- Reactable
    • David Merrill, Tim Hankins, Jocelyn Robert -- COOL (120M)
    • Rodrigo Segnini, Hiroko Terasawa, Vivian Woo -- Sound Kitchen (42M)


Dimension Space Analysis

  • Arbitrary number of axes, not necessarily orthogonal
  • Axes may be continuous, discrete & ordered, or eccentric & unordered
  • Arrange axes in radial symmetry, each analysis creates a unique 2-D shape


Rasmussen's Human-Machine Interaction

  • Skill-based
    • "Real-time continuous response to a continuous signal."
    • Controlling a signal
    • High control rate
    • E.g. Instrumental performance
    • David Birnbaum's Rulers
  • Rule-based
    • "Selection and execution of stored procedures in response to cues extracted from the system"
    • Controlling a process
    • E.g. a Sequencer, like Grid Drum (above)
  • Knowledge/Model-based
    • "directed toward a conceptual goal. Active reasoning must be used before an appropriate action (rule- or skill-based) is taken."
    • Not characterized by literal presentation, but concept behind it.
    • Active interpretation by performer.
    • E.g. Live coding -- ChucK
    • Mark Hauenstein's Audio Shaker


Blaine & Fels' Contexts of Collaborative Musical Experiences

  • Balancing complexity and expressivity
    • But can't something be complex and expressive, if the performer is skilled??
  • Focus
    • Player to Player
    • Players to Audience
  • Location
    • Local vs. Remote
  • Media
    • Audio/Visual/Mixed
    • A/V causality
  • Scalability
  • Player Interaction
    • Specific roles
    • N copies
    • Jamming
    • Interdependency
  • Musical Range
    • Constraint
  • Physical Interface
  • Directed Interaction
    • Leader-follower
    • Turn-taking
    • Call-and-response
    • Expert leader
  • Pathway to Expert Performance
    • Compromised when ease of learning is achieved by constraining musical material
  • Level of Physicality


Themes

  • Scenario
    • Who, where, when?
    • Performance? installation? toy?
    • Local/Remote
  • Skill
    • Expert? anyone?
    • Threshold -- entry fee
    • Ceiling -- ability to develop virtuosity
    • Assumed prior knowledge/ability
  • Style
    • Ceiling
    • Walls -- range of actions, results
    • Paths from A-> B, is variation in gesture predictably reflected in sound
      • Controllability, mapping
    • Virtuosity, expression
  • Scale
    • Dynamic range
    • Range of sounds
    • Range of gestures
    • Degrees of freedom

Reference Papers

1. M. Gurevich and J. Treviño (2007). Expression and Its Discontents: Toward an Ecology of Musical Creation. Proceedings of the 2007 Conference on New Interfaces for Musical Expression (NIME-07), New York, USA.

2. M. Gurevich, B. Verplank and S. Wilson (2003). Physical Interaction Design for Music. Proceedings of the 2003 International Computer Music Conference, Singapore.

3. T. Blaine and S. Fels (2003). Contexts of Collaborative Musical Experiences. Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME-03), Montreal, Canada.

4. J. Malloch, D. Birnbaum, E. Sinyor and M. Wanderley (2006). Examining Design Goals of Digital Musical Instruments. Proceedings of the 9th International Conference on Digital Audio Effects (DAFx-06), Montreal, Canada.

5. D. Birnbaum, R. Fiebrink, J. Malloch and M. M. Wanderley (2005). Towards a Dimension Space for Musical Devices. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05), Vancouver, BC, Canada.

6. P. Cook (2001). Principles for Designing Computer Music Controllers. CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.

7. C. Poepel (2005). On Interface Expressivity. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05), Vancouver, BC, Canada.

8. D. Wessel and M. Wright (2001). Problems and Prospects for Intimate Musical Control of Computers. CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.

9. S. Jorda (2001). New Musical Interfaces and New Music-making Paradigms.CHI '01 Workshop on New Interfaces for Musical Expression (NIME-01). Seattle, USA.

10. M. Resnick and B. Silverman (2005). Some Reflections on Designing Construction Kits for Kids. Proceedings of Interaction Design and Children conference, Boulder, CO.


PID 2007
Personal tools