This short paper describes a performance in the Artworks section of the Creativity and Cognitions conference 2015. The artwork makes use of the author's research into creating a dialog between the fields of music and philosophy. Specifically the artwork is a multimedia piece that structures a philosophical text as a metaphor realized as electronic musical shape and process. The piece is entitled: Constellation theory of knowledge. Utilizing the philosophical concept of the "constellation" (an idea that Theodor Adorno and Walter Benjamin both made use of) the work seeks to first describe the idea and then articulate it in metaphorical form. This process is an extension of earlier modes of composition that utilized ideas in music via symbolic abstraction. R. Strauss and R. Wagner both made use of this form -- the procedure has not been developed further and offers interesting possibilities in terms of orienting motion processes within electronic music.
{"title":"Performance: Constellation Theory of Knowledge Electronic Music and Philosophical Metaphor","authors":"Scott L. Simon","doi":"10.1145/2757226.2757377","DOIUrl":"https://doi.org/10.1145/2757226.2757377","url":null,"abstract":"This short paper describes a performance in the Artworks section of the Creativity and Cognitions conference 2015. The artwork makes use of the author's research into creating a dialog between the fields of music and philosophy. Specifically the artwork is a multimedia piece that structures a philosophical text as a metaphor realized as electronic musical shape and process. The piece is entitled: Constellation theory of knowledge. Utilizing the philosophical concept of the \"constellation\" (an idea that Theodor Adorno and Walter Benjamin both made use of) the work seeks to first describe the idea and then articulate it in metaphorical form. This process is an extension of earlier modes of composition that utilized ideas in music via symbolic abstraction. R. Strauss and R. Wagner both made use of this form -- the procedure has not been developed further and offers interesting possibilities in terms of orienting motion processes within electronic music.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129855041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This demo is one of the results of a practice-based research, which explored the generation of interactive experiences based on the cooperative collection of data for ethnographical purposes. In this case, a collection of soundscapes from Stockholm has lead to some experiments where the audio clips gathered are controlled in real-time according to a brain computer interface and a set of rules that determines a real time composition. One of the most significant inputs at this point has been the theory of Psychogeography, which posits that the territory and its transformation can be understood as an psychological and emotional setup, susceptible of being understood by means of different kinds of dynamic measurements and modes of representation. The result described here is an experimental performance and sound-video installation in which the visitors can "stroll" through a data archive, according to their brain activity, and by means of a brain scan device. The measurement of specific brain waves creates a sound and video synthesis related to the media collection. This demo seeks to expose the concept and technological implementation behind the result and also to perform the interactive sound experience at the event.
{"title":"Psychogeographical Sound-drift","authors":"Iván Chaparro, Ricardo Duenas","doi":"10.1145/2757226.2764559","DOIUrl":"https://doi.org/10.1145/2757226.2764559","url":null,"abstract":"This demo is one of the results of a practice-based research, which explored the generation of interactive experiences based on the cooperative collection of data for ethnographical purposes. In this case, a collection of soundscapes from Stockholm has lead to some experiments where the audio clips gathered are controlled in real-time according to a brain computer interface and a set of rules that determines a real time composition. One of the most significant inputs at this point has been the theory of Psychogeography, which posits that the territory and its transformation can be understood as an psychological and emotional setup, susceptible of being understood by means of different kinds of dynamic measurements and modes of representation. The result described here is an experimental performance and sound-video installation in which the visitors can \"stroll\" through a data archive, according to their brain activity, and by means of a brain scan device. The measurement of specific brain waves creates a sound and video synthesis related to the media collection. This demo seeks to expose the concept and technological implementation behind the result and also to perform the interactive sound experience at the event.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116043298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Session details: Performances","authors":"P. Cosgrove, S. Gollifer","doi":"10.1145/3247476","DOIUrl":"https://doi.org/10.1145/3247476","url":null,"abstract":"","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126132226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We describe an approach to analyzing student-created content on wiki systems based on identifying creative linguistic content. We apply this approach to wiki entries written by students in an advanced chemistry course. We illustrate creative linguistic forms, how they change over time, and, based on in-depth student interviews, their value to student producers and consumers of wiki content.
{"title":"Creative Language in a Student-generated Bioorganic Chemistry Wiki Textbook","authors":"A. Tartaro, B. Goess, M. Winiski","doi":"10.1145/2757226.2757250","DOIUrl":"https://doi.org/10.1145/2757226.2757250","url":null,"abstract":"We describe an approach to analyzing student-created content on wiki systems based on identifying creative linguistic content. We apply this approach to wiki entries written by students in an advanced chemistry course. We illustrate creative linguistic forms, how they change over time, and, based on in-depth student interviews, their value to student producers and consumers of wiki content.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115064989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Robyn Taylor, J. Bowers, Bettina Nissen, Gavin Wood, Qasim Chaudhry, Peter C. Wright, L. Bruce, S. Glynn, H. Mallinson, Roy Bearpark
This paper describes three interactive artefacts created for a children's exhibition intended to encourage creativity and allow educational opportunities to emerge naturally through playful exploration. We describe five sensibilities that were used to inform our designs: considering artefacts as resources and scaffolds for imaginative engagement, rewarding extended investment, facilitating requisite unpredictability, encouraging an imaginative orientation to participation, and permitting multiple loci for interaction. Based on observation of how our interactives were used by the public, we discuss how our approach facilitated "open interactions" in a manner that was sensitive to the museum context, favoured a mix of materialities, and manifested a subtle mix of participation and designer autonomy.
{"title":"Making Magic: Designing for Open Interactions in Museum Settings","authors":"Robyn Taylor, J. Bowers, Bettina Nissen, Gavin Wood, Qasim Chaudhry, Peter C. Wright, L. Bruce, S. Glynn, H. Mallinson, Roy Bearpark","doi":"10.1145/2757226.2757241","DOIUrl":"https://doi.org/10.1145/2757226.2757241","url":null,"abstract":"This paper describes three interactive artefacts created for a children's exhibition intended to encourage creativity and allow educational opportunities to emerge naturally through playful exploration. We describe five sensibilities that were used to inform our designs: considering artefacts as resources and scaffolds for imaginative engagement, rewarding extended investment, facilitating requisite unpredictability, encouraging an imaginative orientation to participation, and permitting multiple loci for interaction. Based on observation of how our interactives were used by the public, we discuss how our approach facilitated \"open interactions\" in a manner that was sensitive to the museum context, favoured a mix of materialities, and manifested a subtle mix of participation and designer autonomy.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117151353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Computational textiles are textiles that respond to computer programming commands through embedded electronics. The purpose of this study is to determine what still and shape-changing, textural expressions of computational textiles can communicate emotionally to people. The central hypothesis is that for both kinds of textiles, there will be differences depending on whether the study participants experience the textiles via vision alone or via both vision and touch. If designers could begin to understand the nature of what various textile expressions communicated, and what computational textiles communicated in transformation then it would be possible to more clearly understand the role that texture of a computational textile plays in communicating emotion through a computational object.
{"title":"The Textility of Emotion: A Study Relating Computational Textile Textural Expression to Emotion","authors":"Felecia Davis","doi":"10.1145/2757226.2757231","DOIUrl":"https://doi.org/10.1145/2757226.2757231","url":null,"abstract":"Computational textiles are textiles that respond to computer programming commands through embedded electronics. The purpose of this study is to determine what still and shape-changing, textural expressions of computational textiles can communicate emotionally to people. The central hypothesis is that for both kinds of textiles, there will be differences depending on whether the study participants experience the textiles via vision alone or via both vision and touch. If designers could begin to understand the nature of what various textile expressions communicated, and what computational textiles communicated in transformation then it would be possible to more clearly understand the role that texture of a computational textile plays in communicating emotion through a computational object.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130706242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Kam Star, Fotis Paraskevopoulos, Maria Taramigkou, Dimitris Apostolou, Marise Schot, G. Mentzas
We present a system designed with the aim to facilitate the social creativity processes underlying creative research. It provides asynchronous and synchronous facilities for multi-user interaction while leveraging creativity with computational tools for inspirational search, inspirational clue generation and problem solving advice. Initial evaluation with a small group of users indicated that the software is in-line with the creative research approach where users work together with concept developers taking on multiple roles throughout the design process.
{"title":"A Playful Affinity Space for Creative Research","authors":"Kam Star, Fotis Paraskevopoulos, Maria Taramigkou, Dimitris Apostolou, Marise Schot, G. Mentzas","doi":"10.1145/2757226.2757244","DOIUrl":"https://doi.org/10.1145/2757226.2757244","url":null,"abstract":"We present a system designed with the aim to facilitate the social creativity processes underlying creative research. It provides asynchronous and synchronous facilities for multi-user interaction while leveraging creativity with computational tools for inspirational search, inspirational clue generation and problem solving advice. Initial evaluation with a small group of users indicated that the software is in-line with the creative research approach where users work together with concept developers taking on multiple roles throughout the design process.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129321276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For the digitally tethered, life is defined at the intersection of the virtual and the physical. Our experience is necessarily tempered by a stream of simultaneous meta interactions, each an archive, an extension, and a reflection of some experienced reality. "How to Catch a Cloud" is a tool, a web-based application for the communal creation of such a stream. It also results in a democratically rendered, visual archive of experiences and impressions. But, more than either of these it is a proposition, an invitation, and an experiment. We manifest our existence through a process of obsessive archival. By referencing the parallel associations inherent in the use of the term, "cloud," this work proposes the possibility of capturing that which exists, but cannot be located, the climate. Finally, it wonders what we are truly collecting/creating in this manic cycle of perpetual archival. What are we placing in this uncontrollable and ephemeral space, "this cloud" Is it, perhaps, that equally indescribable idea of "the soul," or is it merely another representation, perpetually updated but always at a remove, never able to come fully into synchronicity with the experience it represents.
{"title":"How to Catch a Cloud","authors":"Minka Stoyanova","doi":"10.1145/2757226.2757369","DOIUrl":"https://doi.org/10.1145/2757226.2757369","url":null,"abstract":"For the digitally tethered, life is defined at the intersection of the virtual and the physical. Our experience is necessarily tempered by a stream of simultaneous meta interactions, each an archive, an extension, and a reflection of some experienced reality. \"How to Catch a Cloud\" is a tool, a web-based application for the communal creation of such a stream. It also results in a democratically rendered, visual archive of experiences and impressions. But, more than either of these it is a proposition, an invitation, and an experiment. We manifest our existence through a process of obsessive archival. By referencing the parallel associations inherent in the use of the term, \"cloud,\" this work proposes the possibility of capturing that which exists, but cannot be located, the climate. Finally, it wonders what we are truly collecting/creating in this manic cycle of perpetual archival. What are we placing in this uncontrollable and ephemeral space, \"this cloud\" Is it, perhaps, that equally indescribable idea of \"the soul,\" or is it merely another representation, perpetually updated but always at a remove, never able to come fully into synchronicity with the experience it represents.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117075301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Skin Music (2012) is a musical composition that is experienced as a private, multisensory installation by one person at a time. By lying on a piece of bespoke furniture, the listener perceives the music both through the usual auditory channels, as well as by different types of haptic sensation, through their body. The piece addresses the shared perceptual experiences of sonic and haptic sensation through an exploration of vibrational feedback.
{"title":"Skin Music (2012): an Audio-Haptic Composition for Ears and Body","authors":"Lauren Hayes","doi":"10.1145/2757226.2757370","DOIUrl":"https://doi.org/10.1145/2757226.2757370","url":null,"abstract":"Skin Music (2012) is a musical composition that is experienced as a private, multisensory installation by one person at a time. By lying on a piece of bespoke furniture, the listener perceives the music both through the usual auditory channels, as well as by different types of haptic sensation, through their body. The piece addresses the shared perceptual experiences of sonic and haptic sensation through an exploration of vibrational feedback.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122728910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statuevision is an interactive public projection performance that engages citizens in conversations about urban histories. Statuevision: Glasgow invites participants to explore Glasgow's history through its iconic statues and monuments. This performance employs interactive technologies that enable participants to animate three-dimensional renderings of the cities statues while learning about the lives of the figures.
{"title":"Statuevision: Glasgow","authors":"A. Momeni, C. Hentschker","doi":"10.1145/2757226.2757383","DOIUrl":"https://doi.org/10.1145/2757226.2757383","url":null,"abstract":"Statuevision is an interactive public projection performance that engages citizens in conversations about urban histories. Statuevision: Glasgow invites participants to explore Glasgow's history through its iconic statues and monuments. This performance employs interactive technologies that enable participants to animate three-dimensional renderings of the cities statues while learning about the lives of the figures.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115730456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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