Francisco Zamorano

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SimpleTones Official Video

05.20.2012, Comments Off, 10. SimpleTones, by .

Final Thesis Document

05.04.2012, Comments Off, Final Thesis Document, by .

Download Thesis Document (pdf)

I had the chance to test Simpletones at PlayTech, an annual event at Parsons where children of all ages come to play test games and interactive projects that students are developing. It was a great experience where I could test a more finished version of Simpletones working with a new kind of audience . The evaluation is positive, kids interacted with the interface and behaved in a similar way from what I have observed before with previous versions, they explored, discovered, communicated, and they had tons of fun.

For this version I incorporated the color-lighted controllers, that gives the installation a different aspect and makes the computer vision sensing work more accurately. By doing this i solved the issue of clothing, since Simpletones uses color tracking, there is now no problem with the colors present in the clothing of users, making the tracking system consistent.

I also built the central pole with wheels that can be moved around the room.

Something beautiful to point out is that in many cases, children didn’t know each other but they still engaged in the collaborative experience. I see now that Simpletones can make complete strangers participate in a communal activity around music, which is something I expected but never really tried before.

I made this video using some of the footage I’ve collected during this year to have a quick overview of the process of designing SimpleTones.

Exhibition Setup

03.28.2012, Comments Off, Installation, by .

 

 

 

 

8_SimpleTones v1

03.13.2012, Comments Off, 8. Simpletones v1, Prototypes, by .

 

I performed this the with the new configuration (mapping) for Simpletones. As I expected, taking it to a bigger scale changes completely the interaction and the mood of the experience. I’m really pleased with the initial results, and I can say that it’s working in its current state. Participants collaborated to find out how it worked, played and most importantly they had tons of fun. The test was extremely helpful to see what needs to be fixed and improved.

One big issue is going to be clothing. Although the color tracking can be very precise (low tolerance to a different color than the selected), if any of the users are dressed in the same color of the tracking points, the system gets confused. To solve this I implemented a way to filter out any color point that is not a square or a circle (using a ratio relation), so it will try to pick the points in their hands (they should be spheres). However, this might not be enough, so I will have to find complementary ways to ensure the points’ positions are consistent.

Abstract 500 Words

02.28.2012, Comments Off, Abstracts, by .

[updated March 8, 2012]

Music is among one of the most ancient and ubiquitous human activities. Daniel J. Levitin explains that archaeologists have found that some of the earliest tools created by humans are musical instruments used in ritual gatherings. This supports that historically, music has served as a cohesive mechanism for defining communities, for celebration and for mourning. Ancient music rituals were activities where everyone actively participated regardless of their musical expertise [1]. Our present societies, in stark contrast, have developed a clear distinction between music performers and music listeners. As a result, collective music making has become reserved only for musicians, so most people never have the experience of making music with someone else.

There is however, a moment in our lives when we engage these collective experiences on a regular basis: in our childhood. In elementary school for instance, children are encouraged to play instruments and explore music together. Music becomes something fun to do with others by using play as a catalyst for the musical experience. Children are able to experience this only because the musical instruments they use have a low barrier to entry. A xylophone for example, is a very simple interface that requires a simple gesture, allowing children to quickly jump into the rewarding aspects of the musical experience without spending too much time learning how to play the instrument.

Most traditional instruments, conversely, require a considerable practice to be mastered. “Not knowing how to play an instrument” is an often-cited reason why non-musicians feel incapable of participating in collective music experiences. With traditional instruments, the physical configuration that gives each instrument its unique sound also poses a often difficult challenge to mastery. Sound synthesis however, has opened new possibilities for alternative sound control devices such as the Reactable or the Lemur [2][3][4]. Thanks to sound synthesis we can now start designing simpler musical interfaces in order to facilitate the musical experience for non-musicians since we are no longer constrained by the physical attributes of musical instruments.

Taking these ideas into account, I developed Simpletones, an interactive sound system that enables a sense of musical collaboration for non-musicians. Players can participate in musical improvisation with ease in real time by operating physical sound controllers in tandem. Simpletones encourages playful human-to-human interactions through a simple interface and a simple set of basic rules, enabling novices to be free from the need of previous musical experience to explore music in collaboration with other players.

By using play as a catalyst, participants can feel that they are playing instead of “performing”, in turn making collaborative musical improvisation more approachable for non-musicians. Without the need of musical mastery, participants can focus on the collaborative aspects of performance, such as synchronizing movements and collective decision-making, ultimately engaging a state of group flow[5].

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  1. Daniel J.Levitin. This is your brain on music : the science of human obsession. New York  N.Y.: Dutton, 2006.
  2. Tina Blaine and Sidney Fels. 2003. Collaborative musical experiences for novices. Journal of New Music Research 32 (4) (12): 411-28.
  3. Daniel J.Levitin, Stephen McAdams, and Robert L. Adams. “Control Parameters for Musical Instruments: a Foundation for New Mappings of Gesture to Sound.” Organised Sound 7, no.02 (2003).
  4. M. Kaltenbrunner, S. Jordà , G.Geiger, and M.Alonso.  The ReacTable: A Collaborative Musical Instrument.  In Proceedings of WETICE. 2006, 406-411.
  5. Mihaly Csikszentmihalyi. Flow: The Psychology of Optimal Experience. New York: Harper & Row, 1990.

 

Abstract 100 words

02.23.2012, Comments Off, Abstracts, by .

Simpletones is an interactive sound system that enables a sense of musical collaboration for non-musicians. Participants create simple sound compositions with ease in real time by operating physical sound controllers in collaboration. Simpletones encourages playful human-to-human interactions through a simple interface and a simple set of basic rules, enabling novices to explore sound as a group without the need of previous musical experience. This allows novices to focus on the collaborative aspects of collective performance, such as synchronizing movements and collective decision-making; ultimately engaging a state of group flow.
The aim of  Simpletones is to make collaborative musical experiences more approachable for a wide range of users, allowing them to experience something usually considered the reserve of trained performers.