Advertisement

Conclusion: Intercultural Tele-Improvisatory Interaction: Applications and Contexts

  • Roger MillsEmail author
Chapter
Part of the Springer Series on Cultural Computing book series (SSCC)

Abstract

This chapter describes how the findings in this book can be used to enhance knowledge of tele-collaborative engagement across a range of disciplines and contexts. It highlights examples in HCI, education, musicology, and games design to show how tele-improvisatory practices contribute useful perspectives to these fields. Additional findings pertaining to technical experiences of software and hardware installation, network configurations and the ramifications of connectivity problems on performers’ creativity are discussed. The chapter also outlines how the methodologies used in the research can themselves, be advanced, and extended to new areas of enquiry. It begins with an overview of the book to illustrate insights into intercultural collaborative interaction in distributed and digitally mediated environments provided by each chapter. The final discussion focuses on future work and the development of a taxonomy of tele-improvisatory interaction that integrates a sizeable number of world cultures, musical traditions, instruments, technologies and performer experiences.

References

  1. Alaghband-Zadeh C (2015) Chloë Alaghband-Zadeh. Ethnomusicol Forum 24(3):349–379CrossRefGoogle Scholar
  2. Ascott R (2014) Bachelor of art and technology (Technoetic Arts) (Official Website). http://dmh.detaoma.com/en/degree-education/undergraduate/arttechnology/. Accessed 3 Sept 2018
  3. Bailey D (1992) Improvisation: its nature and practice in music. Da Capo Press, AshbourneGoogle Scholar
  4. Baily J (1999) Culture in exile. Forced Migr Rev 6:2–46Google Scholar
  5. Borch C (2002) Interview with Edward W. Soja: thirdspace, postmetropolis, and social theory. J Soc Theory 3(1):113–120Google Scholar
  6. Bowers J, Taylor R, Hook J, Freeman D, Bramley C, Newell C (2014) HCI: human-computer improvisation. In: Proceedings of the 2014 companion publication on designing interactive systems (DIS Companion ’14). Vancouver, BC, Canada, pp 203–206Google Scholar
  7. Braasch J (2009) The telematic music system: affordances for a new instrument to shape the music of tomorrow. Contemp Music Rev 28(4):421–432CrossRefGoogle Scholar
  8. Cadoz C, Wanderley MM (2000) Gesture-music. In: MM Wanderley, Battier M (ed) Trends in gestural control of music. Ircam, Centre PompidouGoogle Scholar
  9. Cohen JE (2007) Cyberspace as/and space. Columbia Law Rev 107(1):210–256Google Scholar
  10. Carôt A, Kramer U, Schuller G (2006) Network music performance (NMP) in narrow band networks. In: Paper presented at the 120th convention, audio engineering society, 20–23 May 2006 Paris, pp 1–9Google Scholar
  11. Carôt A, Werner C (2007) Network music performance—problems, approaches and perspectives. In: Paper presented at the music in the global village conference, 6–8 Sept 2007, Budapest, HungaryGoogle Scholar
  12. Clayton M (2013) Entrainment, ethnography and musical interaction. In: Clayton M, Dueck B, Leante L (eds) Experience and meaning in music performance. Oxford University Press, Oxford, pp 17–39CrossRefGoogle Scholar
  13. Clayton M, Leante L (2013) Embodiment in music performance. In: Clayton M, Dueck B, Leante L (eds) Experience and meaning in music performance. Oxford University Press, Oxford, pp 188–207CrossRefGoogle Scholar
  14. Coker W (1972) Musical meaning: a theoretical introduction to musical aesthetics. Collier-Macmillan, CambridgeGoogle Scholar
  15. Costello BM (2018) Rhythm, play and interaction design. Springer, LondonCrossRefGoogle Scholar
  16. Cox A (2011) Embodying music: principles of the mimetic hypothesis. Soc Music Theory 17(2)Google Scholar
  17. Crabtree A, Chamberlain A, Grinter RE, Jones M, Rodden T, Rogers Y (2013) Introduction to the special issue of “The Turn to the Wild”. ACM Trans Comput-Hum Interact (TOCHI) 20(3):1–4Google Scholar
  18. de Castro Salgado LC, Leitão CF, De Souza CS (2013) a journey through cultures metaphors for guiding the design of cross-cultural interactive systems. Springer, LondonGoogle Scholar
  19. Dahl S, Bevilacqua F, Bresin R, Clayton M, Leante L, Poggi I, Rasamimanana N (2010) Gestures in performance. In: Godøy RI, Leman M (eds) Musical gestures: sound, movement, and meaning. Routledge, New York, pp 36–68Google Scholar
  20. Dresser M (2008) Mark Dresser: Telematics. All About Jazz. https://www.allaboutjazz.com/mark-dresser-telematics-mark-dresser-by-aaj-staff.php?pg=2. Accessed 4 July 2018
  21. Dubber A (2015) Human music interaction. https://andrewdubber.com/2015/07/human-music-interaction/. Accessed 25 November 2018
  22. Edmonds E (2018) The art of interaction: what HCI can learn from interactive art (J. M. Carroll Ed.). Morgan and Playpool Publishers, LondonGoogle Scholar
  23. Ermi L, Mäyrä F (2005) Fundamental components of the gameplay experience: analysing immersion. Changing views: world in Play. In: Selected Papers of the 2005 digital games research associations second international conference. Vancouver, British Columbia, Canada: DiGRA, pp 15–27Google Scholar
  24. Fatone GA, Clayton M, Leante L, Rahaim M (2011) Imagery, melody and gesture in cross cultural perspective. In: Gritten A, King E (eds) New perspectives on music and gesture. Ashgate, Surrey, Burlington, pp 203–220Google Scholar
  25. Fencott R, Bryan-Kinns N (2013) Computer musicking: HCI, CSCW and collaborative digital musical interaction. In: Holland S, Wilkie K, Mulholland P, Seago A (eds) Music and human computer interaction. Springer, London, pp 189–206CrossRefGoogle Scholar
  26. Friedman J (2015) Fine arts programs slowly move online: students can now earn online degrees and certificates in painting, photography and other fine arts. https://www.usnews.com/education/online-education/articles/2015/07/20/fine-arts-programs-slowly-move-online. Accessed 9 Mar 2018
  27. Ganburged B (2012) Video cue recall interview with author/interviewer: R. Mills. University of Technology, SydneyGoogle Scholar
  28. Gaver WW (1989) The SonicFinder: an interface that uses auditory icons. Hum-Comput Interact 4:67–94CrossRefGoogle Scholar
  29. Gibson JJ (1979) The ecological approach to visual perception. Houghton Mifflin, BostonGoogle Scholar
  30. Godøy RI (2010) Gestural affordances of sound. In: Godøy RI, Leman M (eds) Musical gestures: sound, movement and meaning. Routledge, New York, pp 103–125CrossRefGoogle Scholar
  31. Grodal T (2003) Stories for eye, ear, and muscles: video games, media, and embodied experiences. In: Perron B, Wolf MJP (eds) The video game theory reader. Routedge, New York, pp 129–155Google Scholar
  32. Gurevich M (2006) JamSpace: a networked real-time collaborative music environment. In: Extended abstract presented at the CHI 2006, Montréal, Québec, Canada, pp 821–826Google Scholar
  33. Hanlon M (2012) Post performance video cue recall/interviewer: R. Mills. University of Technology, SydneyGoogle Scholar
  34. Heydarian P (2016) Automatic recognition of Persian musical modes in audio musical signals. PhD, London Metropolitan University, LondonGoogle Scholar
  35. Holland S, Wilkie K, Mulholland P, Seago A (2013) Music interaction: understanding music and human computer interaction. In: Holland S, Wilkie K, Mulholland P, Seago A (eds) Music and human-computer interaction. Springer, London, pp 1–28CrossRefGoogle Scholar
  36. Hollan J, Hutchins E, Kirsh D (2000) Distributed cognition: toward a new foundation for human-computer interaction research. ACM Trans Comput-Hum Interact 7(2):174–196CrossRefGoogle Scholar
  37. Husserl E (2013) Cartesian meditations: an introduction to phenomenology. Springer Science & Business Media, The HagueGoogle Scholar
  38. Juslin PN, Sloboda J (2010) Handbook of music and emotion: theory, research, applications. In: Juslin PN, Sloboda J (eds) Oxford University Press, OxfordGoogle Scholar
  39. Kałuża M, Golik E (2008) Intercultural communication and the internet: the role of intercultural communication in internet societies. Informacijos Mokslai 45:22–34Google Scholar
  40. Kenny DT (2010) The role of negative emotions in performance anxiety. In: Juslin PN, Sloboda J (eds) Handbook of music and emotion: theory, research, applications. Oxford University Press, Oxford, pp 425–451Google Scholar
  41. Kiefer C, Collins N, Fitzpatrick G (2008) HCI methodology for evaluating musical controllers: a case study. In: Proceedings of the 8th international conference new interfaces for musical expression, Genoa, Italy, pp 87–90Google Scholar
  42. Koenig AD (2008) Exploring effective educational video game design: the interplay between narrative and game-schema construction, PhD. Arizona State University, ArizonaGoogle Scholar
  43. Lakoff G, Johnson M (1980) Metaphors we live by. University of Chicago Press, ChicagoGoogle Scholar
  44. Lee L, Ricke J (2013) Graphic ships: mutimodal telematic performance. New York: Culture Hub. http://www.lisaleeishan.com/portfolio/graphic-ships/. Accessed 7 May 2018
  45. Lee JH, Tennis JT, Clarke RI, Carpenter M (2013) Developing a video game metadata schema for the Seattle interactive media museum. https://surface.syr.edu/cgi/viewcontent.cgi?article=1171&context=istpub. Accessed 7 May 2018CrossRefGoogle Scholar
  46. Leman M (2012) Musical gestures and embodied cognition. In: Paper presented at the Actes des Journées d’Informatique Musicale (JIM 2012), Mons, Belgium, pp 5–7Google Scholar
  47. Lindley CA, Sennersten CC (2006) Game play schemas: from player analysis to adaptive game mechanics. In: Paper presented at the CyberGames ‘06, international conference on game research and development, Perth, Australia, 04–06 Dec 2006, pp 47–53Google Scholar
  48. Lindley CA, Sennersten CC (2008) Game play schemas: from player analysis to adaptive game mechanics. Int J Comput Games Technol 2008:1–7CrossRefGoogle Scholar
  49. Meyer J, Dentel L, Seifart F (2012). A methodology for the study of rhythm in drummed forms of languages: Bora of Amazon. In: Paper presented at the 13th annual conference of the international speech communication association 2012 proceedings of Interspeech 2012, Portland, USAGoogle Scholar
  50. Mills R (2014a) Tele-improvisation: a multimodal analysis of intercultural improvisation in networked music performance, PhD. University of Technology, Sydney, Australia. https://opus.lib.uts.edu.au/bitstream/10453/31925/1/01front.pdf Accessed 3 July 2018
  51. Mills R (2014b) Flight of the sea swallow: a multimodal approach to examining collaborative interaction in networked music performance. In: Proceedings of conference of interdisciplinary musicology, Staatliches Institut für Musikforschung, Berlin, Germany, Dec 4–6 2014, pp 104–109Google Scholar
  52. Nishida H (2005) Cultural schema theory. In: Gudykunst WB (ed) Theorizing about intercultural communication. Sage, Thousand Oaks, pp 401–418Google Scholar
  53. Norman DA (1988) The psychology of everyday things. Basic Books, New YorkGoogle Scholar
  54. Nowak K (2001) defining and differentiating copresence, social presence and presence as transportation. In: Proceedings of the HCI international conference on human-computer interaction, Philadelphia, Lawrence Erlbaum Associates, pp 686–690Google Scholar
  55. Oliveros P (2005) Deep listening: a composers sound practice. iUniverse Inc, New YorkGoogle Scholar
  56. Packer R (2017) Activating the third space. https://thirdspacenetwork.com/activating-the-third-space/. Accessed 2 Mar 2018
  57. Peng W (2016) How can MOOC providers create an interactive learning experience in the arts? Carnegie Mellon University, Pittsburgh, pp 1–13Google Scholar
  58. Plutchick R (1980) A general psychoevolutionary theory of emotion. In: Plutchick R, Kellerman H (eds) Emotion, theory, research and experience, vol 1. Academic Press, New York, pp 3–31Google Scholar
  59. Premnath S (2018) Personal communicationGoogle Scholar
  60. Sayyadi P (2012) Video cue recall interview/interviewer: R. Mills. University of Technology, SydneyGoogle Scholar
  61. Schön D (1995) The reflective practitioner: how professionals think in action. Aldgate Publishing, AldershotGoogle Scholar
  62. Soja EW (1996) Thirdspace: journeys to Los Angeles and other real-and-imagined places. Blackwell, OxfordGoogle Scholar
  63. Springer Professional (Official Website) (2018) Springer series on cultural computing. https://www.springerprofessional.de/en/springer-series-on-cultural-computing/1777094. Accessed 3 Sept 2018
  64. Stanyek J (2004) Diasporic improvisation and the articulation of intercultural music, PhD. University of California, San DiegoGoogle Scholar
  65. Stowell D, Robertson A, Bryan-Kinns N, Plumbley MD (2009) Evaluation of live human–computer music-making: quantitative and qualitative approaches. Int J Hum Comput Stud 67(11):960–975CrossRefGoogle Scholar
  66. Talhouk R, Ahmed SI, Wulf V, Crivellaro C, Vlachokyriakos V, Olivier P (2016) Refugees and HCI SIG: the role of HCI in responding to the refugee crisis. In: Extended abstract in proceedings of CHI EA 16 conference, San Jose, California, USA, pp 1073–1076Google Scholar
  67. Traube C, Depalle P, Wanderley M (2003) Indirect acquisition of instrumental gesture based on signal, physical and perceptual information. In: Proceedings of the NIME03, new instruments for musical expression, Montreal, Canada, pp 42–47Google Scholar
  68. Valverde I (2011) Senses places: virtual reality dance performance. New Zealand: Fridge Gallery, WelTec Wellington Institute of Technology, New Zealand. http://isabelcvalverde.blogspot.com/2011/07/senses-places-work-residency-fridge_16.html. Accessed 3 Sept 2018
  69. Van Leeuwen T (1999) Speech, music, sound. Macmillan, BasingstokeCrossRefGoogle Scholar
  70. Van Nort D (2018) Conducting the in-between: improvisation and intersubjective engagement in soundpainted electro-acoustic ensemble performance. Digit Creat 29(1):68–81CrossRefGoogle Scholar
  71. Whalley I (2012) New graphic notation system for Internet2 interactive music works. http://www.waikato.ac.nz/news-events/media/2012/new-graphic-notation-system-for-internet2-interactive-music-works. Accessed 3 Sept 2018
  72. Whalley I (2015) Developing telematic electroacoustic music: complex networks, machine intelligence and affective data stream sonification. Organised Sound, 20(Special Issue 1), 90–98CrossRefGoogle Scholar
  73. Whalley I (2017) Interview with author/interviewer: R. MillsGoogle Scholar
  74. Ward M (2010) Avatars and sojourners: explaining the acculturation of newcomers to multiplayer online games as cross-cultural adaptations. J Intercult Commun 7(23):34–56Google Scholar

Copyright information

© Springer Nature Switzerland AG 2019

Authors and Affiliations

  1. 1.University of Technology SydneySydneyAustralia

Personalised recommendations