Musikinstrumente interaktion design
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Transcript of Musikinstrumente interaktion design
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interacting with musical instruments
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Diplomarbeit
Elektronische Musik und Interaktivität:
Prinzipien, Konzepte, Anwendungen
ausgeführt am
Institut für Gestaltungs- und Wirkungsforschung
der Technischen Universität Wien
unter Anleitung von
Univ.Ass. DI Dr. Peter Purgathofer
durch
jörg piringer
Favoritenstraße 17/14, 1040 Wien
Wien, im Oktober 2001
Musikerzeugung mit
MultiTouch-Interfaces
ausgeführt im Rahmen der Lehrveranstaltung
183.xxx - Seminar
Matthias Steinböck
0527943
534
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Designing Musical Instruments for FlowSpencer CritchleyDecember 29 2004
If you ask musicians what they value most about making music, most of them will say—in some form or
another—flow. Flow is that wonderful sense of being lost in your work, when "work" becomes joy. Timedisappears, and so do distraction, anxiety, and just about everything else, yielding to a pure unity ofcreator and creation.
So wouldn’t it be strange if many of today’s musical instruments were designed to prevent or destroy
flow? According to a recently convened group of audio experts, that seems to be the case. The groupissued a report stating that most electronic musical instruments are complicated, confusing, and justplain frustrating to use—and when it comes to supporting flow, they compare poorly to instruments that
have been around for centuries.I was the facilitator for that group, which formed at this year’s Project Bar-B-Q, an annual conferencedesigned to influence music hardware and software over the next five years. The conference offers aunique combination of presentations, brainstorming, socializing, and intense pressure, and it has yielded
a surprising number of audio innovations.
Len Layton of the design group sets up a Reason sequence for Project Bar-B-Q’snightly electronic jam as Sigmatel's David Roach looks on. When later attempts atsyncing additional instruments to MIDI Clock proved disruptive, participants notedthat flow would improve greatly if jamming didn't require so many wires.Our workgroup was formed to analyze problems with the interface design of electronic musicalinstruments and come up with a potential solution. (We defined electronic musical instruments broadlyto include equipment that often functions alongside or even like an instrument, such as mixers andeffects.) The workgroup members were not simply armchair pundits; each member either plays
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How good can you become?Is there something left to learn after 1 day?
…after 2 days? …after 3 weeks? …after 10 years?
Do I want to keep learning for 10 years?
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How good do you want become?Will the instrument still be there in 6 month?
…in 2 years?…in 10 years?
Will it be respected? Will you want to play the instrument in 10 years?
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aspects of interaction designfor musical instruments
some
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simplicity & depth wide range of input data, but
support »only« one particular activity
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rich, satisfying feedbacknot only information, but
immediate, meaningful, physical feedback
»aesthetics« of feedback
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use, non-use, misuseuse = playing
non-use includes packing up, transporting, setup etc.
misuse = allow for unanticipated uses
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determinism, automation, heuristicswith traditional instruments, it's all about control
with electronic instruments (especially auteur instruments), it's often about giving up control
see »author«
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development as part of depthPlay It vs. Use It vs. Build it
many electroacoustic intruments are »auteur«-projects
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aestheticsaesthetic pleasure seeing, holding, playing it
also for observer
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1
Towards an articulation of
interaction aesthetics
Jonas Löwgren
manuscript, June 16, 2009
to appear in
The New Review of Hypermedia and Multimedia
ABSTRACT
Even though the emerging field of user experience generally acknowl-
edges the importance of aesthetic qualities in interactive products and
services, there is a lack of approaches recognizing the fundamentally
temporal nature of interaction aesthetics. By means of interaction criti-
cism, I introduce four concepts that begin to characterize the aesthetic
qualities of interaction. Pliability refers to the sense of malleability and
tightly coupled interaction that makes the use of an interactive visualiza-
tion captivating. Rhythm is an important characteristic of certain types
of interaction, from the sub-second pacing of musical interaction to the
hour-scale ebb and flow of peripheral emotional communication. Drama-
turgical structure is not only a feature of online role-playing games, but
plays an important role in several design genres from the most mundane
to the more intellectually sophisticated. Fluency is a way to articulate the
gracefulness with which we are able to handle multiple demands for our
attention and action in augmented spaces.
Keywords: interaction aesthetics, aesthetic interaction qualities, expe-
riential qualities
interaction aestheticspliabilityrhythm
dramaturgical structurefluencycontrol
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pliability …
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pliabilityIt refers to the user's sense of
shaping a malleable material in a tight loop of action and response.
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pliability enables flow
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BOREDO
M
Angst
skill
difficu
lty f l o w
= time
it takes a l
ong long time to get the
re!
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so the question isare traditional musical instruments complex
or simple? where does the challenge come from?
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Piano Tenori-on
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✘ ✘ ✘
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LONG TERM GOALS vs
Instant Gratification
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Eat me!
I'm yummy!
Omnomnom!!
I'm low fat!
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LONG TERM GOALS vs
Instant Gratification
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✘ ✘
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potential»(selbst-)wirkungserfahrung«
effective experience?experience of agency?
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so, make something that is...
very simple to understand yet immensely hard to play aesthetic to look at, hold, play and watch being played
gives rich, satisfying feedback while playing
easy to transport,
set up, handle
allows creative mis-use &