Creative Surrogates : Supporting Decision-Making in Ubiquitous Musical Activities
暂无分享,去创建一个
[1] Matthew Burtner,et al. Ecoacoustic and shamanic technologies for multimedia composition and performance , 2005, Organised Sound.
[2] Ben Shneiderman,et al. Creativity support tools: accelerating discovery and innovation , 2007, CACM.
[3] Stefania Serafin,et al. Proceedings of the International Computer Music Conference , 2007 .
[4] Marcelo Soares Pimenta,et al. Ubiquitous Music , 2014, Computational Music Science.
[5] Marcelo Soares Pimenta,et al. The Mobile Csound Platform , 2012, ICMC.
[6] Scott P. Robertson,et al. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems , 1991 .
[7] Andrea Botero,et al. Expanding Design Space : Design-In-Use Activities and Strategies , 2010 .
[8] Damin Keller,et al. Compositional Processes from an Ecological Perspective , 2000, Leonardo Music Journal.
[9] Yvonne Rogers. Mindless or mindful technology? , 2014, EICS '14.
[10] William J. Mitchell,et al. Beyond Productivity: Information, Technology, Innovation, and Creativity , 2003 .
[11] Marcelo Soares Pimenta,et al. Principles for Music Creation by Novices in Networked Music Environments , 2011 .
[12] Wendy E. Mackay,et al. Musink: composing music through augmented drawing , 2009, CHI.
[13] Maria Helena de Lima,et al. Creativity-centred design for ubiquitous musical activities: Two case studies , 2012 .
[14] Phoebe Sengers,et al. The Three Paradigms of HCI , 2007 .
[15] Victor Lazzarini,et al. Development Tools for Ubiquitous Music on the World Wide Web , 2014, Ubiquitous Music.
[16] Marc Leman,et al. The musical instrument as a natural extension of the musician , 2009 .
[17] Jonathan Berger,et al. Paititi: a multimodal journey to el dorado (original artwork, installation, sound synthesis, video) , 2004 .
[18] Richard Wesley Nance. COMPOSITIONAL EXPLORATIONS OF PLASTIC SOUND , 2007 .
[19] Marcelo Soares Pimenta,et al. Convergent Trends Toward Ubiquitous Music , 2011 .
[20] Matthew Wright,et al. Problems and prospects for intimate musical control of computers , 2001 .
[21] Bill Buxton,et al. Sketching User Experiences: Getting the Design Right and the Right Design , 2007 .
[22] Willemien Visser,et al. Organisation of Design Activities: Opportunistic, with Hierarchical Episodes , 1994, Interact. Comput..
[23] Ben Shneiderman,et al. Creativity Support Tools: Report From a U.S. National Science Foundation Sponsored Workshop , 2006, Int. J. Hum. Comput. Interact..
[24] Álvaro Barbosa,et al. Capture and transformation of urban soundscape data for artistic creation , 2014 .
[25] David J. Weiss,et al. Performance-based assessment of expertise: How to decide if someone is an expert or not , 2002, Eur. J. Oper. Res..
[26] Davide Rocchesso,et al. Sonic Interaction Design , 2013, Int. J. Hum. Comput. Stud..
[27] Atau Tanaka. Sensor-Based Musical Instruments and Interactive Music , 2011 .
[28] Scott R. Klemmer,et al. Hacking, Mashing, Gluing: Understanding Opportunistic Design , 2008, IEEE Pervasive Computing.
[29] Marcelo Soares Pimenta,et al. Anchoring In Ubiquitous Musical Activities , 2010, ICMC.
[30] Barry Truax,et al. Genres and techniques of soundscape composition as developed at Simon Fraser University , 2002, Organised Sound.
[31] Susanne Bødker,et al. When second wave HCI meets third wave challenges , 2006, NordiCHI '06.
[32] Davide Rocchesso,et al. The Sonification Handbook , 2011 .
[33] Tone Bratteteig,et al. Proceedings of the 4th Nordic conference on Human-computer interaction: changing roles , 2006 .
[34] D. Cope. New Music Composition , 1977 .
[35] Marcelo de Oliveira Johann,et al. Ecologically grounded multimodal design: The Palafito 1.0 study , 2014, ICMC.
[36] Marcelo Soares Pimenta,et al. Ubiquitous Music Ecosystems: Faust Programs in Csound , 2014, Ubiquitous Music.
[37] Marcelo de Oliveira Johann,et al. Relational Properties in Interaction Aesthetics: The Ubiquitous Music Turn , 2014, EVA.
[38] John D. Gould,et al. Composing letters with a simulated listening typewriter , 1982, CHI '82.