Damián Keller

Convergent Trends Toward Ubiquitous Music

Abstract Current musical practices point to convergent research trends that bring together eco-composition, cooperative composition, mobile music and networked music. We present results of three compositional studies devised to test three musical interaction metaphors for ubiquitous computing contexts: the cup metaphor, time tagging and spatial tagging. These metaphors were developed through a conceptual and methodological framework that places compositional activities within the context of software development. We discuss the theoretical underpinnings of our approach and propose ubiquitous music as a frame of reference for this type of research.

New concepts and techniques in eco-composition

This paper has two main objectives: (i) to discuss essential concepts of the ecological approach to composition, proposing the term eco-composition as a common reference for theoretical perspectives and compositional techniques; and (ii) to present the multimedia piece Vivir sin despues, realised within the context of the Paititi Project.Following the Introduction, the paper is divided into two main sections. In section 2 we discuss issues raised by the application of the ecological approach to composition. Regarding the data-gathering procedures, eco-composition provides two effective methods: re-enaction and anchoring. Organisation of sonic materials is done through accumulation of heterarchical layers, giving rise to emergent musical phenomena. Section 3 dwells on the compositional strategies applied in the multimedia installation Vivir sin despues. We describe the process of re-enacting the first Spanish trip through the Amazon River Basin, carried out by Francisco de Orellana and fifty-nine Spaniards in 1541. Then we address technical aspects of the piece, such as the application of multiple views of single entities, the development of non-hierarchical forms and the manipulation of sonic fields.

Principles for Music Creation by Novices in Networked Music Environments

Abstract Networked music environments (NMEs) allow experimental artists to explore the implications of interconnecting their computers for musical purposes. Despite an evident progress in recent years of networked music research, very little attention has been paid to a very common potential kind of user: novices in music, that is, users with little or no previous music knowledge. Indeed, the same way that principles of Rich Internet Applications like YouTube and Flickr have turned the passive user into an active producer of content, we are investigating the issues to be considered by networked music environments in order to allow effective support of musical creation and experimentation by novices. CODES—a Web-based environment designed to support cooperative ways of music creation by novices—puts these principles into practice. The goal of this paper is to present, discuss and illustrate two main principles: (1) music creation by novices should be prototypical; and (2) music creation by novices should be cooperative. These principles have emerged during CODES design and development and we think they are a good starting point for further investigation of a novice-oriented perspective of NME dimensions.

Analysis by Modeling: Xenakis's ST/10-1 080262

This paper proposes analysis by modeling as a complement to current analytical practices. We present an analysis of Xenakiss algorithmic composition ST/10-1 080262. Two models were developed in order to study the temporal quantization processes and the streaming-fusion processes in this piece. Our study shows that fused granular textures could have been obtained by constraining the use of timbres to closely related classes and by increasing slightly the density of events.

Social and perceptual processes in the installation The Trade

Through a discussion of the installation piece, The Trade / Oro por Baratijas, we address the theoretical issues behind the development of ecologically based compositional work. We discuss whether ecologically based music can be studied using linguistic tools. The concepts of potentiality and actuality are situated within the perspective of individual–environment interactions. A process that describes the relationship between an individual and his specific social context is proposed: the personal environment. Consistency is discussed in relation to environmental sound listening processes and ecological modelling work. The first part of the paper concludes by suggesting that form-creation is dynamically determined by a process of mutual adaptation between listener and environment. The second part focuses on compositional methods and contextual elements as they are used in The Trade. This work has been developed through a multilevel approach where visual and sonic materials stem from social and historical issues. The organisational processes of the sound piece are based on the micro-temporal and spectral properties suggested by the visual elements in the installation. The meso-temporal dynamic is organised through ecologically constrained events. The macro-structural shape and the sources used in the piece make reference to a specific historical context, i.e. the conquest of the American continent by the European armies during the first half of the sixteenth century.

Musical interaction patterns: communicating computer music knowledge in a multidisciplinary project

The growing popularity of mobile devices gave birth to a still emergent research field, called Mobile Music, and concerning the development of musical applications for use in these devices. Our particular research investigates interaction design within this field, taking into account relations hips with ubiquitous computing contexts, and applying knowledge from several disciplines, mainly Computer Music and Human-Computer Interaction. In this paper we propose using the concept of patterns in such multidisciplinary design context. Design patterns are, essentially, common solutions for specific design problems, which have been systematically collected and documented. Since they help designers, allowing them to reuse proven solutions within a certain domain, we argue that they can aid multidisciplinary design, facilitating communication and allowing knowledge transfer among team members of diverse fields. We illustrate our point by describing a set of musical interaction patterns that came out of our investigation so far, showing how they encapsulate Computer Music knowledge and how this was helpful in our own design process.

Ubimus Through the Lens of Creativity Theories

We place Ubiquitous Music research within the context of current creativity theories. Given the ongoing theoretical discussion on the relevance of domain-specific or general approaches to creativity, this chapter covers general creativity frameworks and music-oriented models. First, we introduce the creativity factors, magnitudes and constructs that are applicable to UbiMus research. Then we discuss the limitations of several models of creativity that have been laid out within the context of music education and music psychology research. The analysis points to two caveats: lack of material grounding and no support for the early stages of creative activity. Key concepts are proposed to handle ecologically grounded creative practice and everyday musical phenomena.

Ubiquitous Music Ecosystems: Faust Programs in Csound

This chapter describes the combination of two high-level audio and music programming systems, Faust and Csound. The latter is a MUSIC N-derived language, with a large set of unit generators and a long history of development. The former is a purely functional language designed to describe audio processing algorithms that can be compiled into a variety of formats. The two systems are combined in the Faust Csound opcodes, which allow the on-the-fly programming, compilation and instantiation of Faust DSP programs in a running Csound environment. Examples are presented, and the concept of Ubiquitous Music Ecosystem is discussed.

Methods in Creativity-Centred Design for Ubiquitous Musical Activities

In this chapter we describe a set of creativity-centred design methods including strategies for interaction, signal processing, planning, prototyping and creativity assessment. Social, material and procedural requirements were gathered through a ten-subject planning design study. Based on these results, an interaction metaphor—time tagging—was developed to deal with a musical activity in ubiquitous contexts: localised audio mixing. We implemented a series of prototypes—the first generation of mixDroid—for mixing using Android-based mobile devices. An exploratory field study with mixDroid was conducted inside the studio and in the locations where the sound samples were recorded. Activities happening outside the studio resulted in higher creativity scores on two dimensions—explorability and productivity. We discuss the preliminary implications of these findings for future experiments targeting aspects of exploratory creativity in everyday settings.

Aesthetic heuristics in ubimus

In this paper we propose aesthetic heuristics as an area of study within ubiquitous music research. Initially we discuss the motivations for narrowing the focus of the experimental variables involved in creativity-centred design studies. Then we place aesthetic heuristics within the current efforts toward designs for creativity support, highlighting recent studies that target everyday musical creativity. The reviewed experimental results point to a gap between the current theoretical proposals in musical creativity and the factors that impact everyday musical activities. Self-referentiality of the experimental-theoretical construct and early domain restriction are two of the limitations pointed out by previous theoretical work. We provide a working definition of aesthetic heuristics, indicating its object of study and its rationale. We also lay out initial experimental strategies. Potential contributions from interaction aesthetics and ubimus research are discussed, introducing the concept of creative bias and a set of experimental hypotheses. The last section of the paper furnishes examples of creative biases within the context of musical interaction design.