Cgwtaiwan

2008

Keywords Augmented Reality, soundscape, reactivision, IpodTouch, PureData, Objective C. Abstract In this paper we present he system design of an augmented reality system for the sound-art installation EcoSonico, the sound biodiversity in Mexico (EcoSónico La biodiversidad sonora en México), project sponsored by The National Phonoteca of México and the Department of Environment and Natural Resources of México (SEMARNAT) . The propose of the installation is to create a user individual sound experience through the selection of several surroundings soundscapes contained in a mobile device (Ipod Touch) that allows the user to navigate in an augmented sound reality. This is achieved by detecting the user position and orientation using a fiducial tracking system (reactivison), that reports his position to the mobile device, where an algorithm of binaural spatialization of virtual sound objects permits the user identify and navigate into the soundscape. Finally we present future ideas to interact with the system On Line in the definition of the soundscapes.

User Centric Media, 2010

This paper surveys a collection of sample applications for networked usercentric contextaware embodied music listening. The applications have been designed and developed in the framework of the EUICT Project SAME (www.sameproject.eu) and have been presented at Agora Festival (IRCAM, Paris, France) in June 2009. All of them address in different ways the concept of embodied, active listening to music, i.e., enabling listeners to interactively operate in realtime on the music content by means of their movements and gestures as captured by mobile devices. In the occasion of the Agora Festival the applications have also been evaluated by both expert and nonexpert users.

2021

In this paper, we attempt to lay out a new area for ubimus, which not only connects with a number of existing interests within the field, but forges new possibilities for collaboration with other disciplines. We explore the idea of ubimus archaeology from four separate but overlapping perspectives: music software, creative resources, creative models, and creative ecosystems. Following a widely-laid out characterisation of these areas, we provide a practical exploration of music software archaeology. This is focused on the rescuing of three classic music programming systems: MUSIC V, CMUSIC, and MIT-EMS Csound. Ubimus deals with musical material resources, activities and by-products. One of the targets of the field is the advancement of design thinking, avoiding the pitfalls of fixation on design approaches restricted to an isolated piece of hardware, an instrument, a musical genre or to the constraints implied by some practices constructed around each of those items. An important aspect of ubimus research is the collection of data through field deployments of working prototypes or systems. While this is non-trivial for current technology, it is even more difficult for legacy technology. Problems include lack of access to hardware, lack of support for software, deficient documentation, limited practical usage and limited understanding of the social implications of music practices in contexts that in some cases are incompatible with current forms of music thinking.

2013

Mobile DJ is a music-listening system that allows multiple users to interactand collaboratively contribute to a single song over a social network. Activelistening through a tangible interface facilitates users to manipulate musicaleffects, such as incorporating chords or ``scratching'' the record. Acommunication and interaction server further enables multiple users to connectover the Internet and collaborate and interact through their music. User testsindicate that the device is successful at facilitating user immersion into theactive listening experience, and that users enjoy the added sensory input aswell as the novel way of interacting with the music and each other.

Generally mobile devices are seen being transportable, but they are moveable too-­‐ their ability to detect body-­‐motions is often ignored. Based on theories of the origin of music and of playing music, the instrumentarization / mediatisation of expressive sounds and behaviour become role models for intuitive emotional / personalized interfaces in social interaction. The ability to detect motion make mobile devices a kind of extension of the expressive body-­‐motion to create expressive sounds; the ability to share these sounds in social interaction make mobile devices tools to create collective "sounds in progress" and collectivize the agents. Based on these theories of music being emotional communication in social interaction and these abilities of devices being "mobile" various solutions of emotional communication by sound creating a new kind of "pop-­‐music" as "playing music" immediately by the body is introduced. Based on experimental studies of musical and gestural interaction the use of mobile devices and apps. (creating those new kinds of (pop-­‐)music) in music-­‐education/-­‐therapy or measuring emotional behaviour in marketing research is shown. Finally intuitive adaptive gestural interfaces / (living-­‐)environments and mobile devices / apps. in everyday-­‐life of a hedonic culture are introduced and discussed. Jauk, Werner, Intuitive gestural interfaces/adaptive environments and mobile devices/apps. Playing music and the musical work as a role model for personalized gestural interaction in social environments. In: ICMWT International conference on Mobile & Wireless Technology Congress-Book, Beijing, 2014, 280- 284.

The present study considers the interface design for music and graphical content in ubiquitous space. Herein, we present a mobile user-interface system for music and visual collaboration in a personal area network (PAN). The system, which is connected to a local area network (LAN; IEEE802.11b), is composed of an agent on a mobile device controller (PDA), a sound engine, and a graphical language environment. We considered the middleware agent that processes the context awareness in media art and game development. The prototype system "Sound Pad" demonstrated here is a musical instrument and the graphical controller of a mobile user-interface.

2007

The distinctive features of interactive sound installations in public space are considered, with special attention to the rich, if undoubtedly difficult, environments in which they exist. It is argued that such environments, and the social contexts that they imply, are among the most valuable features of these works for the approach that we have adopted to creation as research practice. The discussion is articulated through case studies drawn from two of our installations, Recycled Soundscapes (2004) and Skyhooks (2006). Implications for the broader design of new musical instruments are presented.

… Conference on New …, 2008

New application spaces and artistic forms can emerge when users are freed from constraints. In the general case of human-computer interfaces, users are often confined to a fixed location, severely limiting mobility. To overcome this constraint in the context of musical interaction, we present a system to manage large-scale collaborative mobile audio environments, driven by user movement. Multiple participants navigate through physical space while sharing overlaid virtual elements. Each user is equipped with a mobile computing device, GPS receiver, orientation sensor, microphone, headphones, or various combinations of these technologies. We investigate methods of location tracking, wireless audio streaming, and state management between mobile devices and centralized servers. The result is a system that allows mobile users, with subjective 3-D audio rendering, to share virtual scenes. The audio elements of these scenes can be organized into large-scale spatial audio interfaces, thus allowing for immersive mobile performance, locative audio installations, and many new forms of collaborative sonic activity.

2004

Abstract As a result of our research into multisensory perception, we developed two unique musical entertainment systems-Bubble Bumble and Magic Music Desk (MMD)-that provide users with multisensory experiences in creating and playing back music in 3D physical environments through augmented reality interfaces. During the process of creating and playing back music, users encounter visual-speech, visual-tactile, and tactile-auditory experiences.