Large-scale audience participation in live music using smartphones (original) (raw)
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Designing Interactive Audience Participation Using Smart Phones in a Musical Performance
In this paper we describe the design and evaluation of an interactive system for audience participation in live per-formances using smart phones to control the stereo pano-rama of the lead guitar. The system was developed through feedback from both spectators and artists. The evaluation was conducted during a live concert and builds on inter-views and video analysis. Findings include that musicians seem to be cautious about giving up control and that the audience at the same time wants a reasonable amount of control and clear feedback which in turn can be obtrusive to other spectators. We outline that balancing constraints with affordances is the key to both the audience's and mu-sicians' acceptance of such a system and that a playful participatory design process can lead to better results in this regard. It is also shown that using smart phones opens up a large possibility space but at the same time their use has to be subtle to not distract too much from the music.
Design Implications For Technology-Mediated Audience Participation In Live Music
Proceedings of the SMC Conferences, 2017
Mobile and sensor-based technologies have created new interaction design possibilities for technology-mediated audience participation in live music performance. However, there is little if any work in the literature that systematically identifies and characterises design issues emerging from this novel class of multi-dimensional interactive performance systems. As an early contribution towards addressing this gap in knowledge, we present the analysis of a detailed survey of technology-mediated audience participation in live music, from the perspective of two key stakeholder groupsmusicians and audiences. Results from the survey of over two hundred spectators and musicians are presented, along with descriptive analysis and discussion. These results are used to identify emerging design issues, such as expressiveness, communication and appropriateness. Implications for interaction design are considered. While this study focuses on musicians and audiences, lessons are noted for diverse stakeholders, including composers, performers, interaction designers, media artists and engineers.
EAI Endorsed Transactions on Creative Technologies, 2018
We discuss a setup for technology-mediated audience participation (TMAP)in live music using smartphones and highfrequency sound IDs in a playful setting. The audience needs to install a smartphone app. Using high-frequency sound IDs music samples and colors can be triggered on the audience's smartphones without the need to have an internet connection. The resulting soundscape is determined by the samples and parameters selected by the artist as well as by the location audience members choose in the performance space. We present the technical basis and iterative explorative design process of such a system for TMAP. The learnings from the perspective of musicians were technical requirements such as low latency, reliability, as well as increasing the number of possible sound samples and sound quality and we further present learnings on creating systems for TMAP from technical and creative perspectives.
2015
With the rise of ubiquitous computing, comes new possibilities for experiencing audio, visual and tactile media in distributed and situated forms, disrupting modes of media experience that have been relatively stable for decades. We present the Distributed Interactive Audio Devices (DIADs) project, a set of experimental interventions to explore future ubiquitous computing design spaces in which electronic sound is presented as distributed, interactive and portable. The DIAD system is intended for creative sound and music performance and interaction, yet it does not conform to traditional concepts of musical performance, suggesting instead a fusion of music performance and other forms of collaborative digital interaction. We describe the thinking behind the project, the state of the DIAD system’s technical development, and our experiences working with userinteraction in lab-based and public performance scenarios.
Interaction Models for Real-time Participatory Musical Performance using Mobile Devices
2017
With the availability of mobile devices, numerous works have emerged that invite the audience to participate in musical performances in real time. In this paper we review a number of different works with the intention to formulate and analyse interaction models used in real-time participatory musical performances. We identify audience participation forms and performance models as two main viewpoints for discussing interaction models. Furthermore we indicate several potential directions for an engaging and ongoing interactive dialogue. We conclude with an interest in the audience’s direct involvement in combination with a responsive form of interaction, for further research and development in the field of participatory musical performance using mobile devices.
Frontiers: Expanding Musical Imagination With Audience Participation
2016
This paper introduces Performance Without Borders and Embodied iSound, two sound installations performed at the 2016 Peninsula Arts Contemporary Music Festival at Plymouth University. Sharing in common the use of smartphones to afford real-time audience participation, two bespoke distributed computer systems (Sherwell and Levinsky Music, respectively). Whilst the first one implements a cloud-based voting system, the second implements movement tracking and iBeacon-based indoor-positioning to control the choice of soundtracks, audio synthesis, and surround sound positioning, among other parameters. The general concepts of the installations, in particular design and interactive possibilities afforded by the computer systems are presented.
PESI: extending mobile music instruments with social interaction
This paper presents the research project The Notion of Participative and Enacting Sonic Interaction (PESI). PESI aims to extend the engagement of performers in collective music practices using embodied approaches in physical and social interaction. In its design, the mobile phone functions as a tangible and expressive musical instrument, together with an extended system. In this paper, we contextualize the project with associated themes -physical, spatial and social interaction -and with related works. We also present the modular structure of the project, evaluation methods, initial conclusions and paths for future developments.
2017
This paper presents the Nü framework. The objective of the framework is to provide composers with a tool to control web-based audio processes on spectators smartphones during live performances. Connecting their devices to a webpage broadcasted by the performer’s laptop, spectators become part of the composition: from simple sound sources to active musicians. From a Max based interface, the performer can then control the behaviours of conceptual units, referred to as Nü modules, designed for live composition (distributed room reverb, granular synthesis, etc.). Each module is composed of a pair of JavaScript classes – one for the client, another for the server – relying on the Web Audio API for audio processing, and OSC messages for parameters control. Nü is an open source project based on the Soundworks framework.
Interaction, instruments and performance: HCI and the design of future music technologies
2017
Rationale There has been little chance for researchers, performers and designers in the UK to come together in order to explore the use and design of new and evolving technologies for performance. This workshop examines the interplay between people, musical instruments, performance and technology. Now, more than ever technology is enabling us to augment the body, develop new ways to play and perform, and augment existing instruments that can span the physical and digital realms. By bringing together performers, artists, designers and researchers we aim to develop new understandings how we might design new performance technologies. Some Topics - Methods and Approaches; What are the methods and approaches that we can employ to understanding interaction and interplay in performance and what impact does technology have on this? - Sonic Augmentation; can performance and sound change the experiential attributes of places, e.g. make them more accessible, more playful? -Physical/digital aug...
Bridging the gap between performers and the audience using networked smartphones: the a.bel system
The a.bel project aims to provide artists with a way to easily interact with their audience, making use of their participation to effectively craft unique performances. This paper gives an overview of the a.bel system and details the development of a suite of tools (as well as its integration into mobile applications) with which multimedia artists can easily create and distribute interactive content unto mobile devices.