Ariadna Capasso's research while affiliated with New York University and other places
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Publications (7)
We approach the analysis of the dynamics of knowledge transfer and decision-making in ecologically grounded creative practice through a longitudinal study of the exchange processes involved in the elaboration of the installation InMesh 1.0. The paper outlines a theoretical framework for the analysis of knowledge transfer mechanisms in ubiquitous mu...
In this paper three methodological approaches to creativity-centered design are identified: the computational approach, the dialogical perspective and the ecologically grounded framework. These methods relate to the current definition of ubiquitous music (ubimus). Both social and material factors that shape creative musical phenomena within ubiquit...
We present results of a ten-month design study targeting the observation of creative artistic practice by a video-ar tist, a sculptor and a composer. The study yielded the multimedia installation Palafito/Palafita/Home-on-stilts 1.0, featuring 19:30 minutes of sonic material and video footage, and three 5x8x3-meter raw-wood sculptures. This paper...
Current musical practices point to convergent research trends that bring together eco-composition, cooperative composition, mobile music and networked music. We present results of three compositional studies devised to test three musical interaction metaphors for ubiquitous computing contexts: the cup metaphor, time tagging and spatial tagging. The...
This paper has two main objectives: (i) to discuss essential concepts of the ecological approach to composition, proposing the term eco-composition as a common reference for theoretical perspectives and compositional techniques; and (ii) to present the multimedia piece Vivir sin después , realised within the context of the Paititi Project .
Followi...
The installation Urban Corridor was presented from June to August, 2000, at the Colorado University Art Gallery within the context of the Electronic Easel exhibition. This installation consisted in a constructed space shaped as a corridor containing lights, motion sensors, two slide projectors, a video projector, and a multi-channel sound system. T...
Through a discussion of the installation piece, The Trade / Oro por Baratijas, we address the theoretical issues behind the development of ecologically based compositional work. We discuss whether ecologically based music can be studied using linguistic tools. The concepts of potentiality and actuality are situated within the perspective of individ...
Citations
... The third component of the definition relies on interactions between components 1 and 2, encompassing relational properties. Three categories of relational properties have been proposed: material relational properties, which arise from activities with physical objects; social relational properties, which emerge from exchanges among the stakeholders; and formal relational properties, which are featured in cognitive simulations and conceptual operations that employ off-line cognitive resources -i.e., resources that are decoupled from the activity [74], [158]. ...
![[object Object]](https://i1.rgstatic.net/ii/profile.image/273769000337412-1442283024414_Q64/Damian-Keller-2.jpg)
![[object Object]](https://i1.rgstatic.net/ii/profile.image/276882667917326-1443025380877_Q64/Joe-Timoney.jpg)
... The artistic practices of the late 1990s found a suitable platform in the convergent technologies of the first decade of the 21st century. Although some researchers stuck to acoustic instrumental notions to target virtuosic performance [24] and to emulate instrumental chamber music built around the concept of the orchestra, a group of researchers in Brazil proposed loosely structured artistic interventions involving web-oriented technologies, embedded platforms and the deployment of musical activities on consumer-level mobile devices [25][26][27]. These proposals engage with network technologies as enablers for the exploration of spaces not amenable to the mainstream, acoustic instrumental perspective on musical interaction. ...
![[object Object]](https://i1.rgstatic.net/ii/profile.image/279851975102474-1443733318586_Q64/Luciano-Flores.jpg)
![[object Object]](https://i1.rgstatic.net/ii/profile.image/272235382439939-1441917381503_Q64/Marcelo-Pimenta-2.jpg)
... Converging trends in creative practice research (Keller and Capasso 2006 ;Truax 2002 ), educational research (Loi and Dillon 2006 ), and music education (Burnard 2007 ) point to the local context as a key factor in shaping creative experiences. These approaches propose creativity as a research focus within socially informed paradigms, gathering support from ecological methodologies (Keller 2000 ;Loi and Dillon 2006 ) and activity theory research (Burnard 2007 ;Keller et al. 2010 ;Leont'ev 1978 ). ...
Reference: creativity-digital-age-springer
... The layout of the installation was designed to allow the visitors to walk freely within the gallery space. Consis tently with other ecologically grounded creative endea vors [36](Keller et al. 2002), the actions of the visitors were considered a central component of the artwork ex perience. Depending on the locations of the participants, different combinations of visual and sonic content were available. ...
... This factor is particularly relevant when the activities involve intense social interaction . Engagement may encompass multiple mechanisms related to personal (Keller and Capasso 2000 ) and social aspects of the creative activity (Lima et al. 2012 ). ...
Reference: creativity-digital-age-springer
