@inproceedings{masu_how_2019,

title = {How do Dancers Want to Use Interactive Technology? Appropriation and Layers of Meaning Beyond Traditional Movement Mapping},

author = {Raul Masu and Nuno N. Correia and Stephan Jurgens and Ivana Druzetic and William Primett},

url = {https://doi.org/10.1145/3359852.3359869},

doi = {10.1145/3359852.3359869},

isbn = {978-1-4503-7250-3},

year  = {2019},

date = {2019-10-01},

urldate = {2020-02-14},

booktitle = {Proceedings of the 9th International Conference on Digital and Interactive Arts},

pages = {1--9},

publisher = {Association for Computing Machinery},

address = {Braga, Portugal},

series = {ARTECH 2019},

abstract = {There has been an increased interest in HCI research regarding the possibilities of interactive technology applied to the field of dance performance, particularly contemporary dance. This has produced numerous strategies to capture data from the moving bodies of the dancers and to map that data into different types of display formats. In this paper, we look at the role of interactive technology in dance performance from a broader perspective, aiming at understanding the needs of dancers and their relation with the audience. To this end, we ran a focus group with ten dancers with expertise in technology. We analysed the focus group using thematic analysis. We discuss the implications for design of our results by framing the role of technology in dance performance, proposing design guidelines related to the communication to the audience, use of technology, and mapping. Moreover, we propose different levels of ambiguity and appropriation related to the creators of the performance and the audience.},

keywords = {},

pubstate = {published},

tppubtype = {inproceedings}

}

@inproceedings{masu_penguin:_2018,

title = {Penguin: Design of a Screen Score Interactive System},

author = {Raul Masu and Nuno N. Correia},

year  = {2018},

date = {2018-01-01},

booktitle = {Proceedings of International Conference on Live Interfaces 2018},

address = {Porto},

abstract = {In this paper, we present Penguin, a system for live scoring, and Studio I, a piece composed for the system and an accordion. The system is shaped in two modules, one that generates a musical stream in real-time and the other that manages a live scoring process. Penguin is designed to be used in interactive performances alongside traditional instruments. Studio I is a piece for Penguin and accordion. The interaction design of the system and the piece were fine- tuned involving the instrumentalist. We provide a general description of Penguin and present the design process that led to the development of the interactive performance. The design process led two main contributions. Firstly, we identify and frame a new performer role that mixes performing and conducting elements. Secondly, we discuss how the design process of the system affected the ownership of the aesthetic of music.},

keywords = {},

pubstate = {published},

tppubtype = {inproceedings}

}

@inproceedings{masu_toward_2018,

title = {Toward the adoption of design concepts in scoring for Digital Musical Instruments: a case study on affordances and constraints},

author = {Raul Masu and Nuno N. Correia and Fabio Morreale},

url = {http://www.studiomusicatreviso.it/icnmc/library/Paper_45_2018.pdf},

year  = {2018},

date = {2018-01-01},

urldate = {2019-03-03},

booktitle = {Proc. International Conference on New Music Concepts ICNMC 2018},

address = {Treviso},

abstract = {This paper, we propose the idea that a score for a Digital Musical In- strument (DMIs) 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.},

keywords = {},

pubstate = {published},

tppubtype = {inproceedings}

}

@inproceedings{correia_role_2017,

title = {The Role of Live Visuals in Audience Understanding of Electronic Music Performances},

author = {Nuno N. Correia and Deborah Castro and Atau Tanaka},

url = {https://dl.acm.org/citation.cfm?id=3123555},

year  = {2017},

date = {2017-01-01},

urldate = {2018-01-01},

booktitle = {Audio Mostly},

pages = {1--8},

publisher = {ACM Press},

address = {New York, NY, USA},

abstract = {There is an identified lack of visual feedback in electronic music performances. Live visuals have been used to fill in this gap. However, there is a scarcity of studies that analyze the effectiveness of live visuals in conveying feedback. In this paper, we aim to study the contribution of live visuals to the understanding of electronic music performances, from the perspective of the audience. We present related work in the fields of audience studies in performing arts, electronic music and audiovisuals. For this purpose, we organized two live events, where 10 audiovisual performances took place. We used questionnaires to conduct an audience study in these events. Results point to a better audience understanding in two of the four design patterns we used as analytical framework. In our discussion, we suggest best practices for the design of audiovisual performance systems that can lead to improved audience understanding.},

keywords = {},

pubstate = {published},

tppubtype = {inproceedings}

}

@inproceedings{correia_avui_2017,

title = {AVUI: Designing a Toolkit for Audiovisual Interfaces},

author = {Nuno N. Correia and Atau Tanaka},

url = {https://doi.org/10.1145/3025453.3026042},

isbn = {978-1-4503-4655-9},

year  = {2017},

date = {2017-05-01},

urldate = {2021-07-30},

booktitle = {Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems},

pages = {1093--1104},

publisher = {Association for Computing Machinery},

address = {New York, NY, USA},

abstract = {The combined use of sound and image has a rich history, from audiovisual artworks to research exploring the potential of data visualization and sonification. However, we lack standard tools or guidelines for audiovisual (AV) interaction design, particularly for live performance. We propose the AVUI (AudioVisual User Interface), where sound and image are used together in a cohesive way in the interface; and an enabling technology, the ofxAVUI toolkit. AVUI guidelines and ofxAVUI were developed in a three-stage process, together with AV producers: 1) participatory design activities; 2) prototype development; 3) encapsulation of prototype as a plug-in, evaluation, and roll out. Best practices identified include: reconfigurable interfaces and mappings; object-oriented packaging of AV and UI; diverse sound visualization; flexible media manipulation and management. The toolkit and a mobile app developed using it have been released as open-source. Guidelines and toolkit demonstrate the potential of AVUI and offer designers a convenient framework for AV interaction design.},

keywords = {},

pubstate = {published},

tppubtype = {inproceedings}

}

@inproceedings{correia_av_2016,

title = {AV Zones – Tablet App for Audiovisual Performance},

author = {Nuno N. Correia},

year  = {2016},

date = {2016-01-01},

booktitle = {Proc. 3rd ICLI},

address = {Brighton},

abstract = {We have identified potential for tablets to be used as stand-alone tools for audiovisual performance, and not simply as controllers, due to their portability, expressive capabilities of multi-touch, and processing power. To explore this potential, we have developed AV Zones (AudioVisual Zones), an iPad app for audiovisual performance. In a preliminary phase, we conducted interviews with audiovisual performers and a workshop, to understand user needs and desires. We then developed AV Zones, an iPad app for audiovisual performance, composed of an audio sequencer/looper with a visualizer. It explores the interactive potential of a touch screen tablet for integrated musical and visual expression. By default, 3 audiovisual columns or “zones” allow for the manipulation of 3 audio loops. These zones are metaphorical adaptations of channels in a standard audio mixer.},

keywords = {},

pubstate = {published},

tppubtype = {inproceedings}

}

@inproceedings{metatla_tap_2016,

title = {Tap the ShapeTones: Exploring the effects of crossmodal congruence in an audio-visual interface},

author = {Oussama Metatla and Nuno N. Correia and Nick Bryan-Kinns and Tony Stockman and Fiore Martin},

url = {https://doi.org/10.1145/2858036.2858456},

year  = {2016},

date = {2016-01-01},

urldate = {2016-06-24},

booktitle = {Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems},

publisher = {ACM},

address = {San Jose, California, USA},

series = {CHI '16},

keywords = {},

pubstate = {published},

tppubtype = {inproceedings}

}

@inproceedings{correia_prototyping_2015,

title = {Prototyping Audiovisual Performance Tools: A Hackathon Approach},

author = {Nuno N. Correia and Atau Tanaka},

url = {http://www.nime.org/proceedings/2015/nime2015_230.pdf},

year  = {2015},

date = {2015-01-01},

urldate = {2015-11-13},

booktitle = {Proc. NIME 2015},

pages = {1--3},

address = {Baton Rouge, Louisiana},

abstract = {We present a user-centered approach for prototyping tools for performance with procedural sound and graphics, based on a hackathon. We also present the resulting prototypes. These prototypes respond to a challenge originating from earlier stages of the research: to combine ease-of-use with expressiveness and visibility of interaction in tools for audiovisual performance. We aimed to convert sketches, resulting from an earlier brainstorming session, into functional prototypes in a short period of time. The outcomes include open-source software base released online. The conclusions reflect on the methodology adopted and the effectiveness of the prototypes.},

keywords = {},

pubstate = {published},

tppubtype = {inproceedings}

}