Results 1 - 10
of
14
Open Sound Control: An Enabling Technology for Musical Networking
- Organised Sound
, 2005
"... ..."
Jamming User Interfaces: Programmable Particle Stiffness and Sensing for Malleable and Shape-Changing Devices
"... Malleable and organic user interfaces have the potential to enable radically new forms of interactions and expressiveness through flexible, free-form and computationally controlled shapes and displays. This work, specifically focuses on particle jamming as a simple, effective method for flexible, sh ..."
Abstract
-
Cited by 16 (2 self)
- Add to MetaCart
(Show Context)
Malleable and organic user interfaces have the potential to enable radically new forms of interactions and expressiveness through flexible, free-form and computationally controlled shapes and displays. This work, specifically focuses on particle jamming as a simple, effective method for flexible, shape-changing user interfaces where programmatic control of material stiffness enables haptic feedback, deformation, tunable affordances and control gain. We introduce a compact, low-power pneumatic jamming system suitable for mobile devices, and a new hydraulic-based technique with fast, silent actuation and optical shape sensing. We enable jamming structures to sense input and function as interaction devices through two contributed methods for high-resolution shape sensing using: 1) index-matched particles and fluids, and 2) capacitive and electric field sensing. We explore the design space of malleable and organic user interfaces enabled by jamming through four motivational prototypes that highlight jamming’s potential in HCI, including applications for tabletops, tablets and for portable shape-changing mobile devices.
deform: An interactive malleable surface for capturing
"... We introduce a novel input device, deForm, that supports 2.5D touch gestures, tangible tools, and arbitrary objects through real-time structured light scanning of a malleable surface of interaction. deForm captures high-resolution surface deformations and 2D grey-scale textures of a gel surface thro ..."
Abstract
-
Cited by 6 (3 self)
- Add to MetaCart
(Show Context)
We introduce a novel input device, deForm, that supports 2.5D touch gestures, tangible tools, and arbitrary objects through real-time structured light scanning of a malleable surface of interaction. deForm captures high-resolution surface deformations and 2D grey-scale textures of a gel surface through a three-phase structured light 3D scanner. This technique can be combined with IR projection to allow for invisible capture, providing the opportunity for colocated visual feedback on the deformable surface. We describe methods for tracking fingers, whole hand gestures, and arbitrary tangible tools. We outline a method for physically encoding fiducial marker information in the height map of tangible tools. In addition, we describe a novel method for distinguishing between human touch and tangible tools, through capacitive sensing on top of the input surface. Finally we motivate our device through a number of sample applications. ACM Classification: H5.2 [Information interfaces and
Improvising Machines Ethnographically Informed Design For Improvised Electro-Acoustic Music
, 2002
"... This dissertation is concerned with the improvisation of electro-acoustic music from musicological, aesthetic, practical and technical design standpoints. Detailed ethnographic descriptions of the author's performance experience are offered alongside accounts of software applications which have ..."
Abstract
-
Cited by 3 (0 self)
- Add to MetaCart
This dissertation is concerned with the improvisation of electro-acoustic music from musicological, aesthetic, practical and technical design standpoints. Detailed ethnographic descriptions of the author's performance experience are offered alongside accounts of software applications which have been developed to support the improvisation of electroacoustic music. A CD accompanies the submission. Chapter 1 examines various positions regarding improvisation in the musicological literature and the writings of various composers and critics. It is argued that we should resist any theoretical opposition of improvisation to composition and follow an ethnographic turn whereby we treat `improvisation' as a member category and examine its significance in the hands of those who use the notion. A variety of the world's musics are considered from this standpoint including an examination of recent musicological work on jazz. Chapter 2 opens by presenting electro-acoustic music as indigenously a `machine music' and develops with an extended ethnographic treatment of the author's concert experience as an improvisor in this idiom. Special consideration is given of observable variations in forms of technical interactivity, social interaction and musical material which exist across the various documented performances. A number of well-known theorisations of electro-acoustic music are discussed on the basis of this analysis. An aesthetic specific to improvised electro-acoustic music is formulated in terms of exhibiting the variable relations people can have to technologies and each other in a machine world. Chapter 3 turns to questions of technical design drawing from the ethnographic findings and the proposed machine music aesthetic. An `against the grain' research agenda is proposed foll...
Perceptual Synthesis Engine: An . . .
, 2001
"... A real-time synthesis engine which models and predicts the timbre of acoustic instruments based on perceptual features extracted from an audio stream is presented. The thesis describes the modeling sequence including the analysis of natural sounds, the inference step that finds the mapping between c ..."
Abstract
- Add to MetaCart
A real-time synthesis engine which models and predicts the timbre of acoustic instruments based on perceptual features extracted from an audio stream is presented. The thesis describes the modeling sequence including the analysis of natural sounds, the inference step that finds the mapping between control and output parameters, the timbre prediction step, and the sound synthesis. The system enables applications such as cross-synthesis, pitch shifting or compression of acoustic instruments, and timbre morphing between instrument families. It is fully implemented in the Max/MSP environment. The Perceptual Synthesis Engine was developed for the Hyperviolin as a novel, generic and perceptually meaningful synthesis technique for non-discretely
Ethnographically Informed Design For Improvised Electro-Acoustic Music
"... The right of John Bowers to be identified as the author of this work has been asserted. The contents of this work should not be reproduced without the permission of the author, except for the purpose of limited, attributed quotation. Improvising Machines ..."
Abstract
- Add to MetaCart
The right of John Bowers to be identified as the author of this work has been asserted. The contents of this work should not be reproduced without the permission of the author, except for the purpose of limited, attributed quotation. Improvising Machines
unknown title
"... advantages of an FPGA-based sensor interface The gluion is a sensor interface that was designed to overcome some of the limitations of more traditional designs based on microcontrollers, which only provide a small, fixed number of digital modules such as counters and serial interfaces. These are oft ..."
Abstract
- Add to MetaCart
(Show Context)
advantages of an FPGA-based sensor interface The gluion is a sensor interface that was designed to overcome some of the limitations of more traditional designs based on microcontrollers, which only provide a small, fixed number of digital modules such as counters and serial interfaces. These are often required to handle sensors where the physical parameter cannot easily be converted into a voltage. Other sensors are packed into modules that include converters and communicate via SPI or I2C. Finallly, many designs require output capabilities beyond simple on/off. The gluion approaches these challenges thru its FPGA-based design which allows for a large number of digital I/O modules. It also provides superior flexibility regarding their configuration, resolution, and functionality. In addition, the FPGA enables a software implementation of the host link- in the case of the gluion the OSC protocol as well as the underlying Ethernet layers.
OpenSound Control: State of the Art 2003
- In Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME-03
, 2003
"... OpenSound Control ("OSC") is a protocol for communication among computers, sound synthesizers, and other multimedia devices that is optimized for modern networking technology. OSC has achieved wide use in the field of computer-based new interfaces for musical expression for wide-area and l ..."
Abstract
- Add to MetaCart
OpenSound Control ("OSC") is a protocol for communication among computers, sound synthesizers, and other multimedia devices that is optimized for modern networking technology. OSC has achieved wide use in the field of computer-based new interfaces for musical expression for wide-area and local-area networked distributed music systems, inter-process communication, and even within a single application.
