Algorithmic music composition involves specifying music in such a way that it is non-deterministic on playback, leading to music which has the potential to be different each time it is played. Current systems for algorithmic music composition typically require the user to have considerable programming skill and may require formal knowledge of music. However, much of the potential user population are music producers and musicians (some professional, but many amateur) with little or no programming experience and few formal musical skills. To investigate how this gap between tools and potential users might be better bridged we designed Choosers, a prototype algorithmic programming system centred around a new abstraction (of the same name) designed to allow non-programmers access to algorithmic music composition methods. Choosers provides a graphical notation that allows structural elements of key importance in algorithmic composition (such as sequencing, choice, multi-choice, weighting, looping and nesting) to be foregrounded in the notation in a way that is accessible to non-programmers. In order to test design assumptions a Wizard of Oz study was conducted in which seven pairs of undergraduate Music Technology students used Choosers to carry out a range of rudimentary algorithmic composition tasks. Feedback was gathered using the Programming Walkthrough method. All users were familiar with Digital Audio Workstations, and as a result they came with some relevant understanding, but also with some expectations that were not appropriate for algorithmic music work. Users were able to successfully make use of the mechanisms for choice, multi-choice, looping, and weighting after a brief training period. The ‘stop’ behaviour was not so easily understood and required additional input before users fully grasped it. Some users wanted an easier way to override algorithmic choices. These findings have been used to further refine the design of Choosers.
Grimshaw, Mark; Schott, Gareth(Digital Games Research Association (DiGRA), 2007)
To date, little has been written on digital game sound as Games Studies has almost exclusively treated and discussed digital games as a visual medium. This paper explores how sound possesses the ability to create perceptions of a variety of spaces within the game world, thus constituting a significant contributing factor to player immersion. Focusing on First-Person Shooters (FPS), we argue that player(s) and soundscape(s), and the relationships between them, may be usefully construed and conceptualized as an acoustic ecology. An argument is presented that, even though its sonic palette may be smaller, the FPS acoustic ecology emulates real world ecologies as players form a vital component in its construction and maintenance. The process of building a conceptual framework for understanding and testing the function of game sound as an acoustic ecology is broadly outlined, involving the application and extension of a disparate range of media sound theories in addition to the construction of new concepts to account for the unique features of the interactive medium of FPS games.
Marshall, Lindsey(Institute of Electrical and Electronics Engineers (IEEE), 2005)
Increasingly, students entering visual communications courses seem to expect training in industry-standard software to make up the majority of course content. This is seen as the source of some tension between visual communication design educators and government/university policies for widening participation. It may also be related to the perceived need for graduate employees to have knowledge of industry standard software prior to employment. There has been a rise in the number of students applying to study visual communications since the introduction of desktop publishing in the 1980s. This, together with a more diverse student profile has created differing student expectations and a change in the culture of visual communications higher education courses. Widening participation policies have facilitated an increase in recruitment both directly from sixth form study (post 16 year old) and from an increasing ethnically diverse background from the UK, Europe and internationally, rather than through UK based traditional preparatory courses. These factors place pressure on existing curricula, and may lead to a narrowing of content as a deficit in prior learning and understanding has to be accounted for. Student expectation of software training together with the vocational nature of visual communication design courses may lead to courses becoming predominantly software oriented. In the context of the implementation of government widening participation policy, this may result in the reduction of courses to technological skill provision. In order to identify any tension between student expectation and course content, staff perceptions of student requirements have been compared to their perceptions of the purpose of an education in visual communications.
Ch'ng, Eugene; Stone, Robert J.; Arvanitis, Theodoros N.(International Society on Virtual Systems and MultiMedia, 2005)
Virtual Reality as applied to heritage representation has become an important technological development in the support of education, site/artefact preservation and investigative research for the 21st century. VR technology, coupled with Artificial Life, an emerging field in science, promises to enhance these areas of endeavour even further by introducing an element of naturalistic dynamics and historical realism into an otherwise “sterile” and unengaging 3D reconstruction. Our evaluation of the merits of introducing Artificial Life-based software of simulated complex adaptive systems (focusing on the generation of plant life) has shown viability in that vegetation dynamics and behaviour can, using additional knowledge from subject matter experts in other scientific fields (geography, geology, archaeology), reproduce a credible historical representation of an ancient landscape, in this case the Mesolithic basin of the North Sea.
The collaborators developed, curated and organized an exhibition of work produced by artists and school children; all working together to examine the social-economic conditions of the Black Country. Informed by the histories of practitioners such as John Latham, Barbara Steveni, David Harding, Stephen Willats and others; the project was concerned with the relationship between arts practice, regeneration and education. The focus was upon conceptual thinking, rather than material output. Artists worked in collaboration with school children on issues concerning culture-led regeneration with the intent of questioning the role of children within such change. The artists explored and critiqued notions of collaboration and participation when aligned with the relationship between education and social control. Hewitt and Jordan began by negotiating enough critical space for the project to be attractive to nationally respected contemporary artists. They sought to convince Creative Partnerships to allow the artists to make a proposal without a brief. They matched the artists to appropriate schools where they then developed individual approaches to working with the students. In some cases, the young people became the subject of the work, and others encouraged them to take responsibility for the finished artwork.
World Book Night takes place each year on 26th April and is an International Event .WBN Collective of which I am a member produce works in association with the Centre for Fine Print Research at the University of the West of England Bristol , UK , each year.Each year the practice outcomes are shared publicly online - https://vimeo.com/164111118 and a publication / artefact is produced in a limited edition, www.bookarts.uwe.ac.uk/events/wbn2016.html This year the artist's book / folio Serena Joy has been accepted for the Tate Artists Book Collection at the Tate Galleries in London
Light & Paint is a return to Guy Sherwin’s early practices where acrylic painting is animated by projected light. Colours in the hand-painted mural, measuring 9 metres by 3.3 metres, are affected by the changing coloured light of digital projection. You can see a time-lapse film of the installation here:
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