Computing is transforming how we interact with music. New theories and new technologies have emerged that present fresh challenges and novel perspectives for researchers and practitioners in music and human-computer interaction (HCI). In this collection, the interdisciplinary field of music interaction is considered from multiple viewpoints: designers, interaction researchers, performers, composers, audiences, teachers and learners, dancers and gamers. The book comprises both original research in music interaction and reflections from leading researchers and practitioners in the field. It explores a breadth of HCI perspectives and methodologies: from universal approaches to situated research within particular cultural and aesthetic contexts. Likewise, it is musically diverse, from experimental to popular, classical to folk, including tango, laptop orchestras, composition and free improvisation.
This agenda-setting book presents state of the art research in Music and Human-Computer Interaction (also known as ‘Music Interaction’). Music Interaction research is at an exciting and formative stage. Topics discussed include interactive music systems, digital and virtual musical instruments, theories, methodologies and technologies for Music Interaction. Musical activities covered include composition, performance, improvisation, analysis, live coding, and collaborative music making. Innovative approaches to existing musical activities are explored, as well as tools that make new kinds of musical activity possible. Music and Human-Computer Interaction is stimulating reading for professionals and enthusiasts alike: researchers, musicians, interactive music system designers, music software developers, educators, and those seeking deeper involvement in music interaction. It presents the very latest research, discusses fundamental ideas, and identifies key issues and directions for future work.
This SpringerBrief provides a unique insight into the practice and research of the connections between voice, HCI and embodiment. Specifically, it explores how the voice can be embodied and mediated by means of gestural communication through sensor interfaces and aims to situate and contextualise various aspects that generate meaningful connections in such interactive interface performance. The author offers an approach for understanding creative practices between humans and computers in gestural live music performance, from the perspective of the embodied relationships created within such systems. Underlying practices, principles and sensor technologies that support creativity in embodied human-computer interaction in vocal music performance are examined and a dynamic framework and tools for anyone wishing to engage with this subject in depth are presented. The book is essential reading not only for musicians, composers, researchers, application developers, musicologists and educators but also for students and tertiary institutions as well as actors and dramaturgs in a music context.
This book offers a thorough exploration of interaction design by examining various technologies, interaction techniques, styles, and devices. This book • Assists readers in acquiring a deep understanding of diverse ways humans interact with computer technologies and in selecting the most suitable approach for various interactive scenarios. • Introduces cutting‐edge interaction techniques, including multimodal and gesture‐based interaction, wearables, haptic, speech and sound‐based interaction, embodied interaction, and more. • Advances beyond traditional interfaces to large and multiscreen interactions, proxemics, brain‐computer interfaces, affective computing and Extended Reality. This book will appeal to individuals interested in Human-Computer Interaction research and applications.
About the publication Embodiment and the Arts: Views from South Africa presents a diversity of views on the nature and status of the body in relation to acting, advertisements, designs, films, installations, music, photographs, performance, typography, and video works. Applying the methodologies of phenomenology, hermeneutic phenomenology, embodied perception, ecological psychology, and sense-based research, the authors place the body at the centre of their analyses. The cornerstone of the research presented here is the view that aesthetic experience is active and engaged rather than passive and disinterested. This novel volume offers a rich and diverse range of applications of the paradigm of embodiment to the arts in South Africa. Table of Contents List of figures List of tables Acknowledgments Notes on contributors PART 1 Conceptualising embodiment and the arts Chapter 1 Embodiment and the arts in context Jenni Lauwrens 1 Plotting a course 2 Embodiment 3 Aesthetic embodiment 4 The sensorium 5 Too deep for words? 6 Overview of chapters Chapter 2 Enactive cognition in improvising musical ensembles: A South African perspective Marc Duby 1 Introduction 2 The promise of embodied cognition 3 4E cognition: A brief overview 4 Musicking and enactive cognition 5 Conclusion PART 2: Sensory scholarship Chapter 3 Sight/site-specific recording: Embodiment and absence Marc Röntsch 1 Introduction 2 Background 3 Embodiment and artistic research 4 Jazz ensemble playing 5 Blinding 6 On absence 7 Conclusion Chapter 4 The art of touch in remote online environments Jenni Lauwrens 1 Introduction 2 The significance and boundaries of touch 3 Out of touch 4 Holding hands over the internet: Telepresence, co-presence and the promise of digital touch 5 Chasing the Holy Grail of touch 6 Haptic visuality and the memory of touch 7 Conclusion Chapter 5 Outer space and sensory deprivation (or why is outer space so bland?) Amanda du Preez 1 Introduction 2 On blandness 3 What does outer space smell, taste and look like? 4 Falling down or falling up? 5 Gravity mimicked 6 Unfolding within the fourfold 7 Conclusion Chapter 6 The typographic sensorium: A cross-modal reading of letterforms Kyle Rath 1 Introduction: Function(s) of type 2 Design and the typographic sensorium 2.1 Sight: Type as image 2.2 Touch: Type as haptic and kinaesthetic 2.3 Sound: Type as wave-form 2.4 Olfaction: Type as scent and taste 3 Conclusion PART 3: Material presence Chapter 7 A haptic and humanising reading of the subjects of studio portraits and asylum photography in colonial South Africa Rory du Plessis 1 Introduction 2 The Black Photo Album 3 Interpreting photographs from the Orange Free State Asylum, c 1900 3.1 First encounter 3.2 Second encounter 4 Conclusion Chapter 8 Athi-Patra Ruga’s politics of disorientation: Queer(y)ing threads Adéle Adendorff 1 Introduction 2 Spinning tales and fashioning avatars 3 The politics of disorientation 3.1 Queer(y)ing phenomenology 3.2 Miss Congo and the table in the drawing-room 4 Casting off: Tying up loose threads Chapter 9 Seeing an image at the University of Pretoria’s Africana collection in context Sikho Siyotula 1 Introduction 2 The grass at the University of Pretoria’s gates 3 The world visualised in Ethnic map of Southern Africa 4 Visualising the Nguni estate or Shakan period 5 Visualising the Mapungubwe and Zimbabwe estate 6 Conclusion PART 4: Embodied performance and composition Chapter 10 Navigating dissonance: Bodymind and character congruency in acting Èmil Haarhoff, Marth Munro and Marié-Heleen Coetzee 1 Introduction 2 Bodymind and embodiment 3 Acting as an embodied craft 4 Actor-character dissonance and heightened awareness 5 Navigating actor-character dissonance 5.1 Choice and reappraisal 5.2 Actively applying heightened bodymind awareness 6 Conclusion Chapter 11 Advocating the importance of nonverbal communication in multimodal actor training Elri Wium and Janine Lewis 1 Introduction 2 Case control study 3 Nonverbal communication as an analysis model 4 Discussion of syncretic behavioural communication design 5 Data collection and analysis through a mixed-methods approach 5.1 Observation study 5.2 Analysis of habitual characterisation (coded narrative recordings) 5.3 Assessing the semi-structured interviews 6 Conclusion Chapter 12 Embodied composition ontologies, process and technology: Gesture heuristics and creative potential in music Miles Warrington 1 Introduction 2 Creative spaces 3 Compositional approaches, processes and models 3.1 Gesture schemas and embodiment of sound 3.2 Gesture signification 3.3 Problem solving and gesture models 3.4 Hyperinstruments 4 Conclusion Index
As the first extensive exploration of contemporary third wave HCI, this handbook covers key developments at the leading edge of human-computer interactions. Now in its second decade as a major current of HCI research, the third wave integrates insights from the humanities and social sciences to emphasize human dimensions beyond workplace efficiency or cognitive capacities. The earliest HCI work was strongly based on the concept of human-machine coupling, which expanded to workplace collaboration as computers came into mainstream professional use. Today HCI can connect to almost any human experience because there are new applications for every aspect of daily life. Volume 1 - Technologies covers technical application areas related to artificial intelligence, metacreation, machine learning, perceptual computing, 3D printing, critical making, physical computing, the internet of things, accessibility, sonification, natural language processing, multimodal display, and virtual reality.
The pervasive influence of technology continuously shapes our daily lives. From smartphones to smart homes, technology is revolutionizing the way we live, work and interact with each other. Human-computer interaction (HCI) is a multidisciplinary research field focusing on the study of people interacting with information technology and plays a critical role in the development of computing systems that work well for the people using them, ensuring the seamless integration of interactive systems into our technologically driven lifestyles. The book series contains six volumes providing extensive coverage of the field, wherein each one addresses different theoretical and practical aspects of the HCI discipline. Readers will discover a wealth of information encompassing the foundational elements, state-of-the-art review in established and emerging domains, analysis of contemporary advancements brought about by the evolution of interactive technologies and artificial intelligence, as well as the emergence of diverse societal needs and application domains. These books: · Showcase the pivotal role of HCI in designing interactive applications across a diverse array of domains. · Explore the dynamic relationship between humans and intelligent environments, with a specific emphasis on the role of Artificial Intelligence (AI) and the Internet of Things (IoT). · Provide an extensive exploration of interaction design by examining a wide range of technologies, interaction techniques, styles and devices. · Discuss user experience methods and tools for the design of user-friendly products and services. · Bridge the gap between software engineering and human-computer interaction practices for usability, inclusion and sustainability. These volumes are an essential read for individuals interested in human-computer interaction research and applications.
This is the first extensive compilation documenting contemporary third wave HCI, covering key methodological developments at the leading edge of human-computer interactions. Now in its second decade as a major current of HCI research, the third wave integrates insights from the humanities and social sciences to emphasize human dimensions beyond workplace efficiency or cognitive capacities. Where the earliest HCI work has been strongly based on the concept of human-machine coupling, which expanded to workplace collaboration as computers came into mainstream professional use, today HCI can connect to almost any human experience because there are new applications for every aspect of daily life. Volume 2 - Methodologies covers methodological approaches grounded in autoethnography, empathy-based design, crowdsourcing, psychometrics, user engagement, speculative design, somatics, embodied cognition, peripheral practices and transdisciplinarity.
This book constitutes late breaking papers from the 22nd International Conference on Human-Computer Interaction, HCII 2020, which was held in July 2020. The conference was planned to take place in Copenhagen, Denmark, but had to change to a virtual conference mode due to the COVID-19 pandemic. From a total of 6326 submissions, a total of 1439 papers and 238 posters have been accepted for publication in the HCII 2020 proceedings before the conference took place. In addition, a total of 333 papers and 144 posters are included in the volumes of the proceedings published after the conference as “Late Breaking Work” (papers and posters). These contributions address the latest research and development efforts in the field and highlight the human aspects of design and use of computing systems. The 54 late breaking papers presented in this volume were organized in two topical sections named: User Experience Design and Evaluation Methods and Tools; Design Case Studies; User Experience Case Studies.
