To signify complex combinations of technical devices that create a particular musical Representation as well as sound and results show ways in which DJs draw on heuristics That participants understood musical shaping multi-modally, through gesture and visual The idea of shaping to modify a track while it was playing to help control the transitionīetween tracks and in relation to the overall trajectory of a set. Playing sets without any shaping involves playing the music badly. Use the notion of shape implicitly when planning and executing their sets, and that
Phenomenological Analysis was used to analyse the data.
#Sonic visualiser in virtual dj 8 professional#
Shaping by three professional DJs with varied backgrounds. Paper presents an interview study investigating the use and understanding of musical Questionnaire study suggesting that shape may be a useful concept for some DJs. Research to DJs performing on turntables, chosen in light of existing evidence from a The notion of musical shape is widely used by performing musicians,īut most studies have focused on classical performing contexts. It is hoped that the Atlas may be useful for revealing the possibilities of physically-based sonic interaction methods that may connect well to users' intuition and innate capacities. Finally, the Sonic Interaction Atlas is introduced, a prototype community application that allows for the archival and organization of information in existing sonic interaction design cases, and for the generation of new scenarios during early-stage design research by aiding exploration of the suitability of different sonic interaction models. Both exemplify aspects of sonic interactions that connect well to the users' intuitions. We present two implementations: the Data Solids Sonification Model for exploratory data analysis, and the Shoogle system for mobile phone interactions. Existing sonification techniques are examined, to identify principles for displaying information by sound during interaction, focusing particularly on Model-Based Sonification. We firstly discuss the issue of information conveyance by sound in everyday interactions, including HCI and product interaction design. This paper advocates a closer connection between the emerging field of sonic interaction design and that of sonification. Drawing on work that engages with feminist theory and cultural studies, we suggest that critical reflection and, moreover, mediation is necessary to address burgeoning concerns that have been raised within the NIME discourse in relation to methodological approaches, “equity, diversity, and inclusion,” “accessibility,” and the fostering of “rigorous” interdisciplinary research. We discuss the relationship between the market demands of the neoliberal university-which have underpinned academia's drive for innovation-and the quantification and economization of research performance that have facilitated certain disciplinary and social frictions to emerge within NIME-related research and practice. In this paper we highlight many of the recent-and some not so recent-challenges that have been brought upon the NIME community as it attempts to maintain and expand its identity as a platform for multidisciplinary research into HCI, interface design, and electronic and computer music. Although this origin story is often noted, the implications of NIME's history as emerging from a field predominantly dealing with human–computer interaction (HCI) have rarely been discussed. Nearly two decades after its inception as a workshop at the Association for Computing Machinery Conference on Human Factors in Computing Systems, New Interfaces for Musical Expression (NIME) exists as an established international conference significantly distinct from its precursor.
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