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Towards an evaluation methodology for digital musical instruments considering performer’s view: a case study

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  • 1. Towards an evaluation methodology for digital musical instruments considering performers view: a case studyjeronimo filipefrancisco giordano veronica geberbarbosacalegario magalhaescabralteichrieb ramalho

2. d M usT Cmusic technology interactivity creativity augmenting experiences for a better life 3. Digital Musical Instrumentcontrollermappingsound synthesis 4. but how can we evaluate thoseinstruments? 5. !Stowell et al. 2009 6. OModhrain 2011 Orio et al. 2002 Hsu and Sosnick 2009Stowell et al. 2009 Birnbaum et al. 2005state of the art 7. OModhrain 2011 performerOrio et al. 2002views Hsu and Sosnick 2009audience Stowell et al. 2009manufacturerBirnbaum et al. 2005 state of the art 8. OModhrain 2011Orio et al. 2002task-basedHsu and Sosnick 2009 approachStowell et al. 2009Birnbaum et al. 2005 state of the art 9. OModhrain 2011quantitative approachOrio et al. 2002 Hsu and Sosnick 2009Stowell et al. 2009rehearsals Birnbaum et al. 2005performancesstate of the art 10. qualitative approachOModhrain 2011Orio et al. 2002individual sessions Hsu and Sosnick 2009free and guided explorations Stowell et al. 2009semi-structured interviewsBirnbaum et al. 2005discourse analysis state of the art 11. OModhrain 2011 Orio et al. 2002 Hsu and Sosnick 2009Stowell et al. 2009 Birnbaum et al. 2005!state of the art 12. methodology proposalData Collection Data Analysis Data Visualization Rehearsals Discourse Analysis Dimension Spaces Performances Interviews 13. prototype /parameter1 0.7 0.1OSCeleton re.scalla/joint/r_hand/1 0.7 0.1 5.9 OSCulator note onnote off SimpleSynth 14. prototype /parameter1 0.7 0.1OSCeleton re.scalla/joint/r_hand/1 0.7 0.1 5.9 OSCulator note onnote off SimpleSynth 15. prototype: mappings 16. prototype demo 17. !data collection 4 people, aged 18-25, familiarity with technology and music rehearsals:free and guided performances 18. data analysis 19. data analysisUser 2 is familiar technology, constantly listens to music and despite playing acoustic guitarfor years, does not consider himself as a professional musician. He described his relationwith the system making an analogy with a tamed animal: "the system tamed me, when Iwas supposed to tame it. This description emerged from his perception of systems notesflow control. He found the sound feedback and latency between gesture and soundsynthesis in a good level but stressed that the note sequence is "boring", suggesting toapply effects, such as pitch bending, to complete this gap. His main concern was aboutvisual feedback, naming it as the priority improvement the system could have. According tohim, the influence of the space in the system would reflect in a greater freedom ofactions, as "running and jumping". The tiredness to use the system was also highlighted byhim as a disadvantage, ironically saying that "Im not athlete yet" for using the instrument. 20. data analysisUser 2 is familiar technology, constantly listens to music and despite playing acoustic guitarfor years, does not consider himself as a professional musician. He described his relation sound making an analogyanda latency is"the system tamed me, when Iwith the systemfeedback with tamed animal: OKwas supposed to tame it. This description emerged from his perception of systems notesnote sequence is boringflow control. He found the sound feedback and latency between gesture and soundsynthesis in a good level but stressed that the note sequence is "boring", suggesting tovisual naming it as the priority improvement the system could have. According to feedback is missingapply effects, such as pitch bending, to complete this gap. His main concern was aboutvisual feedback,him, the influence of the space in the system would reflect in a greater freedom oftiredness to use the systemactions, as "running and jumping". The tiredness to use the system was also highlighted byhim as a disadvantage, ironically saying that "Im not athlete yet" for using the instrument. 21. data visualization 22. data visualization ! 23. discussionThe combination of different ideas, methods and techniques has enriched theevaluation process as a whole providing more complete qualitative results andtools for comparison. 24. discussionData Collection Data Analysis Data Visualization Rehearsals Discourse Analysis Dimension Spaces Performances Interviews 25. discussionData Collection Data Analysis Data Visualization Rehearsals Discourse Analysis Dimension Spaces Performances Interviews 26. discussionData Collection Data Analysis Data Visualization Rehearsals Discourse Analysis Dimension Spaces Performances Interviews 27. future workthe method is still under continuous development include the audiences view improve the prototype based on the user feedbackcompare with other case studies towards a step in the development cycle of a DMI 28. referencesD. Birnbaum, R. Fiebrink, J.W. Malloch, and M.M. Wanderley, Towards a dimension space for musical devices, Proceedings of the 2005 Conference on New interfaces for musical expression, National University of Singapore, 2005, p. 192195.N. Orio, I. Stravinsky, N. Schnell, and M.M. Wanderley, Input Devices for Musical Expression: Borrowing Tools from HCI, Real-Time Systems, 2002.W. Hsu and M. Sosnick, Evaluating interactive music systems: An HCI approach, Proceedings of the 2009 Conference on New Interfaces for Musical Expression, 2009, pp. 25-28.S. OModhrain, A framework for the evaluation of digital musical instruments, Computer Music Journal, vol. 35, 2011, p. 2842.D. Stowell, A. Robertson, N. Bryan-Kinns, and M.D. Plumbley, Evaluation of live humancomputer music-making: Quantitative and qualitative approaches, International Journal of Human-Computer Studies, vol. 67, Nov. 2009, pp. 960-975.Website containing files mentioned in this work.http://www.cin.ufpe.br/~fcac/sbcm2011.Microsoft Xbox Kinect website. http://www.xbox.com/kinect. Re.Scallax project website. http://code.google.com/p/rescalax/.SimpleSynth application website. http://notahat.com/simplesynth. 29. contactdM usT Chttp://mustic.netfcac@cin.ufpe.br