I’m very pleased to have been a part of the Mustwork2016 workshop that was held on Friday June 10th 2016 in the Michael Smurfit Business School, UCD, Carysfort Avenue, Blackrock, Co Dublin. The workshop was intended to allow for the presentation of scientific research and to highlight industrial, employment, and research opportunities in the area of music computing, technology, and analytics in Ireland.
My collaborative paper “The Design of Tangible Digital Musical Instruments” was presented to the delegates to offer guidelines that highlight the impact of haptic feedback upon the experiences of computer musicians using Digital Musical Instruments (DMIs). It was proposed that by following the guidelines presented in the paper, haptically enabled DMI designs can be fully communicative to all senses and present computer musicians with an array of carefully designed tools for their own artistic endeavours.
I will be presenting at the Picteilín Creative Media Conference at DkIT on the 22nd of January. Look for “Usability Testing of Game Controllers” in Stream C if you are attending.
Picteilín 2016 Creative Media and Game Studies Conference.
Narrative, Interactivity, and Emergent Digital Practices.
January 22nd, Dundalk Institute of Technology, Dublin Rd., Louth.
Venue: P1081 & 1139 & 1135 in the PJ Carroll Building.
I am pleased to announce that “U – Modified” (an audiovisual collaboration with Siobhan Mannion & Sara Wentworth) will be included in this year’s DRHA conference in Dublin on Wednesday, 2nd September 2015.
You can catch U – Modified in the The Hub DCU Student Centre between 14:00 and 16:00. The original 10 minute found sounds and extended vocal techniques composition has been further refined and expanded to include visualisations reflective of the themes that were developed for the live performance at the INTIME symposium in 2014.
The proceedings for CMMR that took place in Plymouth, UK on the 16-19 June 2015 are now available to read here.
HCI Models for Digital Musical Instruments: Methodologies for Rigorous Testing of Digital Musical Instruments (p. 534)
Digital Musical Instrument Analysis: The Haptic Bowl (p.591)
There is also a brief video with highlights from the concert performances.
My paper “Vibrotactile Discrimination of Pure and Complex Waveforms.” will be included in the 12th Sound and Music Computing Conference hosted in Maynooth, Ireland. I look forward to seeing all of the delegates there and hearing what the keynotes have to say about their fields of study.
Here’s the abstract for my paper!
Here we present experimental results that investigate the application of vibrotactile stimulus of pure and complex waveforms. Our experiment measured a subject’s ability to discriminate between pure and complex waveforms based upon vibrotactile stimulus alone. Subjective same/different awareness was captured for paired combinations of sine, saw, and square waveforms at a fixed fundamental frequency of 160 Hz (f0). Each arrangement was presented non-sequentially via a gloved vibrotactile device. Audio and bone conduction stimulus were removed via headphone and tactile noise masking respectively. The results from our experiments indicate that humans possess the ability to distinguish between different waveforms via vibrotactile stimulation when presented asynchronously at f0 and that this form of interaction may be developed further to advance digital musical instrument (DMI) extra-auditory interactions in computer music.
I will be presenting at the next IDEAS meeting at UCC on the 12th June, 2015.
See you there…
G. W. Young, “Vibrotactile Feedback in Digital Musical Instrument Design,” at the IDEAS Group meeting, University College Cork, Cork, Ireland, June 12, 2015.
Digital Musical Instruments (DMIs) present musicians with performance issues that are unique to the genre of computer music. One of the most significant deviations from conventional acoustic instruments is the level of physical feedback returned via DMIs to users. Currently, computer interfaces for musical expression are not enabled to be as physically communicative as acoustic instruments. Specifically, DMIs lack the ability to impart important performance information relating to the current state of the device to the user. In my research, it is argued that the level of haptic feedback presented can significantly affect the user’s overall rating of a DMI. In this session we will discuss my research findings to date and explore HCI inspired device evaluation methodologies that can potentially be applied in a musical contexts.