Simon Holland

AudioGPS: Spatial Audio Navigation with a Minimal Attention Interface

Abstract: In this paper we describe a prototype spatial audio user interface for a Global Positioning System (GPS). The interface is designed to allow mobile users to carry out location tasks while their eyes, hands or attention are otherwise engaged. Audio user interfaces for GPS have typically been designed to meet the needs of visually impaired users, and generally, though not exclusively, employ speech-audio. In contrast, our prototype system uses a simple form of non-speech, spatial audio. This paper analyses various candidate audio mappings for location and distance information. A variety of tasks, design considerations, design trade-offs and opportunities are considered. The findings from pilot empirical testing are reported. Finally, opportunities for improvements to the system and for future evaluation are explored.

Avoiding object misconceptions

This paper identifies and describes a number of misconceptions observed in students learning about object technology. It identifies simple, concrete, measures course designers and teachers can take to avoid these misconceptions arising. The context for this work centres on an introductory undergraduate course and a postgraduate course. Both these courses are taught by distance education. These courses both use Smalltalk as an introduction to object technology. More particularly, the undergraduate course uses Smalltalk as a first programming language.Distance education can limit the amount and speed of individual feedback that can be given in the early stages of learning. For this reason, particular attention has been paid to characterizing measures for avoiding elementary misconceptions seen in beginning learners. At the same time we also address some misconceptions observed in postgraduate students. The pedagogical issues discussed are of particular importance when devising an extended series of examples for teaching or assessment, or when designing a visual microworld to be used for teaching purposes.

Feeling the beat where it counts: fostering multi-limb rhythm skills with the haptic drum kit

This paper introduces a tool known as the Haptic Drum Kit, which employs four computer-controlled vibrotactile devices, one attached to each wrist and ankle. In the applications discussed here, haptic pulses are used to guide the playing, on a drum kit, of rhythmic patterns that require multi-limb co-ordination. The immediate aim is to foster rhythm skills and multi-limb coordination. A broader aim is to systematically develop skills in recognizing, identifying, memorizing, retaining, analyzing, reproducing, and composing polyphonic rhythms. We consider the implications of three different theories for this approach: the work of the music educator Dalcroze (1865-1950 [1]; the entrainment theory of human rhythm perception and production [2,3]; and sensory motor contingency theory [4]. In this paper we report on a design study; and identify and discuss a variety of emerging design issues. The study demonstrates that beginning drummers are able to learn intricate drum patterns from haptic stimuli alone

Multimedia Interface Design in Education

This book is about the design and use of advanced multimedia interfaces for learning. Each chapter is concerned with some aspect of the theory or practice of multimedia interfaces and their use as tools to facilitate human learning. The chapters treat the issue from a wide variety of perspectives, including human-computer interaction, interface design, artificial intelligence, intelligent tutoring systems, psychology, education, and music. Three points distinguish the book: It is specifically about the use of multiple media in educational contexts; it addresses the use of multiple media within human-computer interaction, not merely the use of computers to mediate multimedia presentations; it addresses the problems from a variety of theoretical and practical perspectives, not simply a technology-driven pragmatism. The book is based on papers presented at a NATO Advanced Research Workshop held in September 1989 as part of the NATO Science Committee six-year Programme on Advanced Educational Technology.

What can the language of musicians tell us about music interaction design

It is difficult to create good interaction designs for music software or to substantially improve existing designs. One reason is that music involves diverse and complex concepts, entities, relationships, processes, terminologies, and notations. An open challenge for interaction designers is to find systematic ways of channeling the tacit, specialized knowledge of musicians into designs for intuitive user interfaces that can capably support musically skilled users, without excluding those with less technical musical knowledge. One promising new approach to this challenge involves the application of research from the theory of image schemas and conceptual metaphors This theory has already been applied with some success to analyzing musical concepts, mathematical concepts, general-purpose user-interface design, and sound-generation interaction designs involving simple musical parameters such as tempo, volume, and pitch. We propose that by identifying the conceptual metaphors and image schemas used by musical experts when analyzing an excerpt of music, and then assessing the extent to which these conceptual metaphors are supported by existing music-interaction designs, it is possible to identify areas where the designs do not match musicians’ understanding of the domain concepts. This process provides a principled basis for identifying points at which designs could be improved to better support musicians’ understanding and tasks, and for the provisional identification of possible improvements. We present the results of an analysis of dialogue between three musicians as they discuss an excerpt of music. A methodology for the systematic identification of image schemas and conceptual metaphors is detailed. We report on the use of the results of the dialogue analysis to illuminate the designs of two contrasting examples of music software. Areas in which the designs might be made more intuitive are identified, and corresponding suggestions for improvements are outlined. The present research appears to be the first to investigate the potential of conceptual metaphor theory for investigating and improving music-interaction designs that deal with complex musical concepts, such as harmonic progressions, modulation, and voice leading.

Music and Human-Computer Interaction

This agenda-setting book presents state of the art research in Music and Human-Computer Interaction (also known as Music Interaction). Music Interaction research is at an exciting and formative stage. Topics discussed include interactive music systems, digital and virtual musical instruments, theories, methodologies and technologies for Music Interaction. Musical activities covered include composition, performance, improvisation, analysis, live coding, and collaborative music making. Innovative approaches to existing musical activities are explored, as well as tools that make new kinds of musical activity possible. Music and Human-Computer Interaction is stimulating reading for professionals and enthusiasts alike: researchers, musicians, interactive music system designers, music software developers, educators, and those seeking deeper involvement in music interaction. It presents the very latest research, discusses fundamental ideas, and identifies key issues and directions for future work.

Learning About Harmony with Harmony Space: An Overview

Recent developments are presented in the evolution of Harmony Space, an interface that exploits theories of tonal harmony. In particular the design of the interface draws on Balzano’s and Longuet-Higgins’ theories of tonal harmony. The interface allows entities of interest (notes, chords, chord progressions, key areas, modulations) to be manipulated via direct manipulation techniques using a single principled spatial metaphor to make a wide range of musical tasks accessible for novices to perform. The interface can also be used by experienced musicians to make a range of expert tasks more tractable than by using conventional tools and notations. The interface is highly interactive and multi-modal, using two pointing devices and spatial, aural and kinaesthetic cues that all map uniformly into the underlying representation. Sonic recent implementations of Harmony Space are discussed, together with some of the musical tasks which they make tractable for beginners and experienced musicians. Aspects of the simple, consistent, principled framework behind the interface are outlined.

Running up Blueberry Hill: prototyping whole body interaction in harmony space

Musical harmony is considered to be one of the most abstract and technically difficult parts of music. It is generally taught formally via abstract, domain-specific concepts, principles, rules and heuristics. By contrast, when harmony is represented using an existing interactive desktop tool, Harmony Space, a new, parsimonious, but equivalently expressive, unified level of description emerges. This focuses not on abstract concepts, but on concrete locations, objects, areas and trajectories. This paper presents a design study of a prototype version of Harmony Space driven by whole body navigation, and characterizes the new opportunities presented for the principled manipulation of chord sequences and bass lines. These include: deeper engagement and directness; rich physical cues for memory and reflection, embodied engagement with rhythmic time constraints; hands which are free for other simultaneous activities (such as playing a traditional instrument); and qualitatively new possibilities for collaborative use.

Direct combination

This paper reports on Direct Combination, a new user interactiontechnique. Direct Combination may be viewed variously as: asystematic extension to Direct Manipulation; a concise navigationalframework to help users find the operations they need; and as aframework to make a greater range and variety of operationsavailable to the user, without overburdening user or interfacedesigner. While Direct Combination may be seen as an extension ofDirect Manipulation, it may also be applied to a wide range of userinteraction styles, including even command line interfaces.Examples from various hypothetical systems and from an implementedsystem are presented. This paper argues that Direct Combination isapplicable not just to problem seeking or design oriented domains(where the technique originated) but is generally applicable. Avariety of new interaction styles for Direct Combination arepresented. The generalisation of Direct Combination to then-dimensional case is presented.

Towards a Participatory Approach for Interaction Design Based on Conceptual Metaphor Theory: A Case Study from Music Interaction

“Music Interaction” is the term for interaction design within the domain of music. In areas such as music, the ability to engage effectively in certain activities tends to be restricted to those who have acquired detailed knowledge of domain-specific theories, terminologies, concepts or processes. It can be challenging to design or enhance user interfaces for software able to support novices in these kinds of musical activities. One promising approach to this challenge involves translating musicians’ implicit domain knowledge into patterns known as conceptual metaphors, which are metaphorical extensions of recurring patterns of embodied experience applied to abstract domains, and using this information to inform interaction designs for music. This approach has been applied experimentally with some success to designing user interfaces. However, to the best of our knowledge, this present work is the first to consider in detail the use of Conceptual Metaphor Theory as a key component of a participatory design process. In this chapter we present a participatory approach to Music Interaction design based on the principles of Conceptual Metaphor Theory. We posit that such an approach will facilitate the development of innovative and intuitive interaction designs for both novices and experts alike.