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This paper proposes discussions for the (re)negotiation of responsibilities in performances that involve a collaboration between human and computer agents. Most of current research is human-hierarchical, leaving the machine the role of a mere tool at performer's service. In this paper a more balanced distribution of responsibilities between the two...
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... to cover the entire space of the canvas; 2. to be independent of the presence or absence of other objects in the canvas; 3. to have non-deterministic movements: the path taken by the fly cannot be predicted nor controlled in any possibly ways by the musician. Figure 2 shows a possible path taken by the fly over a period of two minutes. ...
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Citations
... The performance took place in Trento, during the 12th International Conference on the Design of Cooperative Systems (figure 2). A complete description of the design of the instrument and the performance can be found in [28]. ...
... The DMI: Chimney. Chimney [28], is an open-source software application developed in Processing. In Chimney, the DMI composer/performer can select the musical patterns to be played during the performance, by uploading them in the software database before the performance. ...
This paper presents ARCAA (Actors, Role, Context, Activity, Artefacts), a framework that supports designers in understanding the artefact ecology in the music performance scenario, in particular, allowing to frame the role of the different actors. The ARCAA framework is the result of the combination of two different areas of HCI: artefact ecology concept, and design framework for digital musical instruments. The model borrows three categories from MINUET an established design framework and rethinks them from an ecological perspective. In ARCAA, these three categories are used as three lenses to connect each human actor to her artefact ecology. Finally, the framework allows comparing how the various artefacts create connections among the different people involved. The second part of the paper describes a case study that shows a practical adoption of the framework.
... Recent theories [7,8] proposed considering musical creativity as a distributed network of musical agencies. This concept was originally proposed in the context of algorithmic music: distributing agencies to non-human performers can spark new forms of creativity [8,32]. Comments from our survey suggest that the artistic practice of 7 performers can be analysed under the lens of musical agencies redistribution. ...
The term 'NIME'-New Interfaces for Musical Expression-has come to signify both technical and cultural characteristics. Not all new musical instruments are NIMEs, and not all NIMEs are defined as such for the sole ephemeral condition of being new. So, what are the typical characteristics of NIMEs and what are their roles in performers' practice? Is there a typical NIME repertoire? This paper aims to address these questions with a bottom up approach. We reflect on the answers of 78 NIME performers to an on-line questionnaire discussing their performance experience with NIMEs. The results of our investigation explore the role of NIMEs in the performers' practice and identify the values that are common among performers. We find that most NIMEs are viewed as exploratory tools created by and for performers, and that they are constantly in development and almost in no occasions in a finite state. The findings of our survey also reflect upon virtuosity with NIMEs, whose peculiar performance practice results in learning trajecto-ries that often do not lead to the development of virtuosity as it is commonly understood in traditional performance.
... Before presenting some discussion on the usage of the score, we provide a brief description of the system and a previous work. A more comprehensive description of technical details can be found in a paper by Morreale and Masu [19]. ...
... Chimney forces the composer to devise a specific compositional approach, finding a new balance between composition and improvisation. The paper by Morreale and Masu presents the shifting from a time-based to a sonic object composing approach describing in detail a composition named Alinearity [19]. Alinearity could be performed as a solo piece or in duo with a trumpeter. ...
This paper proposes the idea that a score for a Digital Musical In-
strument (DMI) can be approached from a design perspective. In particular, we
focus on the concepts of affordances and constraints. The paper describes the
use of scores in a piece called XXV composed for Chimney, a DMI and Cello.
Both the piece and the system are detailed with a focus on design concepts. In
the conclusion, we compare our approach to other literature that discuss the use
of score with DMIs. Based on this, and the results obtained, we present recommendations regarding the use of score in DMIs. Future work is also outlined.
... This paper proposes another example in which part of the control is delegated to the machine. Chimney, a software instrument developed by two of the authors [6], forces the musician to delegate timing decisions to a non-responsive autonomous agent. As a consequence, the human agent has limited control on the temporal evolution of the piece. ...
... An example of DMI in which the musician divests control on timing to the machine is offered by Chimney [6]. In this virtual DMI the control on the temporal evolution of the piece is delegated to a computer agent, an algorithmic random walker. ...
... An informal evaluation was conducted at a public concert in which Chimney was perfomed in a duo with a trumpet [6]. Both the musician that was controlling Chimney (the second author of this paper) and the trumpeter were interviewed at the end of the performace. ...
Research on musical instrument design suggests that deliberate constraints can offer new creative experiences to the performer. At times, design constraints are physically embedded in the instrument to limit the interaction possibilities ; in other cases the constraints are given by delegating part of the control to the machine. In this paper we propose a case study related to the latter form of constraints: in Chimney the musician delegates control on timing to an autonomous agent. Elaborating on opinions collected from musicians interacting with Chimney, we reflect on the consequences of delegating part of the control to the machine. Without the possibility of influencing the temporal evolution of the piece, the human performer is pushed to find creative workarounds and to surrender to a more balanced collaboration with the machine.
Human-AI co-creativity involves both humans and AI collaborating on a shared creative product as partners. In a creative collaboration, interaction dynamics, such as turn-taking, contribution type, and communication, are the driving forces of the co-creative process. Therefore the interaction model is a critical and essential component for effective co-creative systems. There is relatively little research about interaction design in the co-creativity field, which is reflected in a lack of focus on interaction design in many existing co-creative systems. The primary focus of co-creativity research has been on the abilities of the AI. This paper focuses on the importance of interaction design in co-creative systems with the development of the Co-Creative Framework for Interaction design (COFI) that describes the broad scope of possibilities for interaction design in co-creative systems. Researchers can use COFI for modeling interaction in co-creative systems by exploring alternatives in this design space of interaction. COFI can also be beneficial while investigating and interpreting the interaction design of existing co-creative systems. We coded a dataset of existing 92 co-creative systems using COFI and analyzed the data to show how COFI provides a basis to categorize the interaction models of existing co-creative systems. We identify opportunities to shift the focus of interaction models in co-creativity to enable more communication between the user and AI leading to human-AI partnerships.
Human-AI co-creativity involves both humans and AI collaborating on a shared creative product as partners. In a creative collaboration, interaction dynamics, such as turn-taking, contribution type, and communication, are the driving forces of the co-creative process. Therefore the interaction model is a critical and essential component for effective co-creative systems. There is relatively little research about interaction design in the co-creativity field, which is reflected in a lack of focus on interaction design in many existing co-creative systems. The primary focus of co-creativity research has been on the abilities of the AI. This paper focuses on the importance of interaction design in co-creative systems with the development of the Co-Creative Framework for Interaction design (COFI) that describes the broad scope of possibilities for interaction design in co-creative systems. Researchers can use COFI for modeling interaction in co-creative systems by exploring alternatives in this design space of interaction. COFI can also be beneficial while investigating and interpreting the interaction design of existing co-creative systems. We coded a dataset of existing 92 co-creative systems using COFI and analyzed the data to show how COFI provides a basis to categorize the interaction models of existing co-creative systems. We identify opportunities to shift the focus of interaction models in co-creativity to enable more communication between the user and AI leading to human-AI partnerships.
