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  • 1.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society.
    Europeiska ljudlandskap – tur och retur: en betraktelse inifrån av ett soundscape-projekt2010In: Nutida musik, ISSN 1652-6082, no 1, p. 45-47Article in journal (Refereed)
  • 2.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society.
    Interaktiv musikkomposition2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and per­spectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience di­mensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.

  • 3.
    Andersson, Anders-Petter
    Malmö högskola.
    "Shoot ’em up -musik": om musikaliska strukturer för interaktivt berättande i tevespelet Rez2003In: NM/T Nutida Musik/Tritonus, ISSN 0029-6597, no 2, p. 26-30Article in journal (Other academic)
    Abstract [sv]

    Det musikdramatiska berättandet har idag lierat sig med nya medier och teknologier. Resultatet av detta är att gränsen mellan lyssnaren och den aktive kompositören håller på att luckras upp. I musiken till datorspelen finner vi ett musikdramatiskt berättande som genom interaktiviteten frångår det traditionella berättandets linjära narratologi. Att komponera musik som både är intressant och samtidigt flexibelt rättar sig efter en publik som fysiskt medverkar till att skapa musiken är kanske vår tids största utmaning för nu verksamma musiker, tonsättare och dramatiker.

  • 4.
    Andersson, Anders-Petter
    et al.
    The Oslo School of Architecture and Design.
    Cappelen, Birgitta
    The Oslo School of Architecture and Design.
    Designing empowering vocal and tangible interaction: 2013In: The International conference on new interfaces for musical expression / [ed] Kyogu Lee, Kaejeon, Korea: Seoul National University , 2013, p. 406-412Conference paper (Refereed)
    Abstract [en]

    Our voice and body are important parts of our self-experience, and our communication and relational possibilities. They gradually become more important for Interaction Design due to increased development of tangible interaction and mobile communication. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible media. We build on the use of voice in Music Therapy and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that through use reduce isolation and passivity and increase empowerment for the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 5.
    Andersson, Anders-Petter
    et al.
    Kristianstad University, School of Health and Society, Avdelningen för Hälsovetenskap II. Kristianstad University, Research Platform for Collaboration for Health.
    Cappelen, Birgitta
    The Oslo School of Architecture and Design.
    Musical interaction for health improvement2014In: Oxford handbook of interactive audio / [ed] Karen Collins, Bill Kapralos, Holly Tessler, Oxford: Oxford University Press , 2014, p. 247-262Chapter in book (Refereed)
    Abstract [en]

    During the past decade, tangible sensor technologies have matured and become less expensive and easier to use, leading to an explosion of innovative musical designs within video games, smartphone applications, and interactive art installations. Interactive audio has become an important design quality in commercially successful games like Guitar Hero , and a range of mobile phone applications motivating people to interact, play, dance, and collaborate with music. Parallel to the game, phone, and art scenes, an area of music and health research has grown, showing the positive results of using music to promote health and wellbeing in everyday situations and for a broad range of people, from children and elderly to people with psychological and physiological disabilities. Both quantitative medical and ecological humanistic research show that interaction with music can improve health, through music’s ability to evoke feelings, motivate people to interact, master, and cope with difficult situations, create social relations and experience shared meaning. Only recently, however, the music and health field has started to take interest in interactive audio, based on computer-mediated technologies’ potential for health improvement. Here, we show the potential of using interactive audio in what we call interactive musicking in the computer-based interactive environment Wave. Interactive musicking is based on musicologist Christopher Small’s concept “musicking”, meaning any form of relation-building that occurs between people, and people and things, related to activities that include music. For instance, musicking includes dancing, listening, and playing with music (in professional contexts and in amateur, everyday contexts). We have adapted the concept of "musicking" on the design of computer-based musical devices. The context for this chapter is the research project RHYME. RHYME is a multidisciplinary collaboration between the Centre for Music and Health at the Norwegian Academy of Music, the Oslo School of Architecture and Design (AHO), and Informatics at the University of Oslo. Our target group is families with children with severe disabilities. Our goal is to improve health and wellbeing in the families through everyday musicking activities in interactive environments. Our research approach is to use knowledge from music and health research, musical composition and improvisation, musical action research, musicology, music sociology, and soundscape studies, when designing the tangible interactive environments. Our focus here is interaction design and composition strategies, following research-by-design methodology, creating interactive musicking environments. We describe the research and design of the interactive musicking environment Wave, based on video documentation, during a sequence of actions. Our findings suggest some interactive audio design strategies to improve health. We base the design strategies on musical actions performed while playing an instrument, such as impulsive or iterative hitting, or sustainable stroking of an instrument. Musical actions like these can also be used for musicking in everyday contexts, creating direct sound responses to evoke feelings that create expectations and confirm interactions. In opposition to a more control-oriented, instrument and interface perspective, we argue that musical variation and narrative models can be used to design interactive audio, where the audio is seen as an actor taking many different roles, as instrument, co-musician, toy, etc. In this way, the audio and the interactive musicking environments will change over time, answering with direct response, as well as nose-thumbing and changing response, motivating creation, play, and social interaction. Musical variation can also be used to design musical backgrounds and soundscapes that can be used for creating layers of ambience. These models create a safe environment and contribute to shared meaning.

  • 6.
    Andersson, Anders-Petter
    et al.
    Institute of Design, The Oslo School of Architecture and Design.
    Cappelen, Birgitta
    Institute of Design, The Oslo School of Architecture and Design.
    Vocal and tangible interaction crossing borders2013In: Include Asia 2013 Proceedings: global challenges and local solutions in inclusive design, Conference on inclusive design / [ed] Jeremy Myerson, London: Helen Hamlyn Centre of Design, The Royal College of Art in London, The Hong Kong Design Centre , 2013Conference paper (Refereed)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience for all of us. They are also essential for our way to communicate and build relations cross borders such as abilities, ages, locations and backgrounds. Voice, body and tangibility gradually become more important for ICT, due to increased development of tangible interaction and mobile communication. The voice and tangible interaction therefore also become more important for the Universal Design field. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible and sensorial media. We build on use of voice in Music Therapy, knowledge from multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that are sensorially stimulating. Interactive media that through use reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques, to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 7.
    Andersson, Anders-Petter
    et al.
    Kristianstad University, School of Health and Society, Avdelningen för Hälsovetenskap II. Kristianstad University, Research Platform for Collaboration for Health.
    Cappelen, Birgitta
    Oslo School of Architecture and Design.
    Vocal and tangible interaction in RHYME2014In: Music, Health, Technology and Design / [ed] Stensæth, Karette, Oslo: Norwegian Academy of Music , 2014, p. 21-38Chapter in book (Refereed)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience for all of us. They are also essential for our way to communicate and build relations cross borders such as abilities, ages, locations and backgrounds. Voice, body and tangibility gradually become more important for Information and Communication Technology (ICT), due to increased development of tangible interaction and mobile communication. The voice and tangible interaction therefore also become more important for the fields of Assistive Technology, Health Technology and Universal Design. In this paper we present and discuss our work with voice and tangible interaction in our on-going research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible and sensorial media. We build on use of voice in Music Therapy, knowledge from multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that are sensorially stimulating. Interactive media that through use, can reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques, to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 8.
    Andersson, Anders-Petter
    et al.
    Kristianstad University, School of Health and Society. Kristianstad University, Forskningsplattformen Hälsa i samverkan.
    Cappelen, Birgitta
    The Oslo School of Architecture and Design.
    Vocal and tangible technology for music and health2013In: Book of abstracts: setting the tone: cultures of relating and reflecting in music therapy / [ed] Gro Trondalen, Oslo: The Norwegian Academy of Music , 2013, p. 24-24Conference paper (Refereed)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience. They are also essential for our way to communicate and build relations cross borders like abilities, ages, locations, backgrounds and cultures. Voice and tangibility gradually become more important when developing new music technology for the Music Therapy and the Music and Health fields, due to new technology possibilities that have recently arisen. For example smartphones, computer games and networked, social media services like Skype. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project. The goal is to improve health for families, adults and children with severe disabilities through use of collaborative, musical, tangible sensorial media. We build on use of voice in Music Therapy and studies by Lisa Sokolov, Diane Austin, Kenneth Bruscia and Joanne Loewy. Further we build on knowledge from Multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible, sensorially stimulating interactive media, that through use reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross- media techniques, to create rhythms, melodies and harmonic chords to stimulate body- voice connections, positive emotions and structures for actions. The reflections in this paper build on action research methods, video observations and research-by-design methods. We reflect on observations of families and close others with children with severe disabilities, interacting in three vocal and tangible installations.

  • 9.
    Andersson, Anders-Petter
    et al.
    Kristianstad University, School of Health and Society, Avdelningen för Hälsovetenskap II. Kristianstad University, Forskningsplattformen Hälsa i samverkan.
    Cappelen, Birgitta
    Oslo School of Architecture & Design.
    Olofsson, Fredrik
    Designing sound for recreation and well-being2014In: Proceedings of the International Conference on New Interfaces for Musical Expression (NIME 2014) / [ed] Baptiste Caramiaux, Koray Tahiroğlu, Rebecca Fiebrink, Atau Tanaka, 2014, p. 529-532Conference paper (Refereed)
    Abstract [en]

    In this paper we explore how we compose sound for an interactive tangible and mobile interface, where the goal is to improve health and well-being for families with children with disabilities. We describe the composition process of how we decompose a linear beat-based and vocal sound material and recompose it with real-time audio synthesis and composition rules into interactive Scenes. Scenes that make it possible for the users to select, explore and recreate different sound worlds. In order to recreate, the users interact with the tangible interface in different ways, as instrument, play with it as a friend, improvise and create music and relax with it as ambient sounding furniture. We discuss composition techniques for mixing sound, tangible-physical and lighting elements in the Scenes. Based on observations we explore how a diverse audience in the family and at school can recreate and improvise their own sound experience and play together in open and non-therapeutic everyday situations. We conclude by discussing the possible impact of our findings for the NIME-community; how the techniques of decomposing, recomposing and recreating sound, based on a relational perspective, could contribute to the design of new instruments for musical expression.

  • 10.
    Andersson, Anders-Petter
    et al.
    Kristianstad University, School of Health and Society.
    Cappellen, Birgitta
    The Oslo School of Architecture and Design.
    Same but different: composing for interactivity2008In: Audio Mostly Conference: A Conference on Interaction with Sound, October 22-23 2011, Luleå University, Interactive Institute, Sonic, 2008, p. 80-85Conference paper (Refereed)
    Abstract [en]

    Based on experiences from practical design work, we try to show, what we believe, are the similarities and differences, between composing music for interactive media compared to linear music. In our view, much is the same, built on traditions that have been around for centuries within music and composition. The fact that the composer writes programming code is an essential difference. Instead of writing one linear work, he creates infinite numbers of potential musics that reveal themselves as answers to user interactions in many situations. Therefore, we have to broaden our perspectives. We have to put forward factors that earlier was implicit in the musical and music making situations, no matter if it was the concert hall, the church, or the club. When composing interactive music we have to consider the genre, the potential roles the listener might take, and the user experience in different situations.

  • 11.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society, Avdelningen för Design och datavetenskap.
    Co-created staging: situating installations2011In: Interactive Media Arts Conference, IMAC2011, Re-new digital arts festival / [ed] Ass. Prof. Morten Søndergaard, ArT / Aalborg University, Copenhagen, 2011Conference paper (Refereed)
    Abstract [en]

    Staging is the creative act of showing something to an audience.When staging, the artist choose and create the context, situationand structure of the presented object, play or installation. The chosen context and situation provide background for the audience interpretations. Meaning is co-created between the artist and audience, based on the cultural and individual understanding of the context and situation. The term installation is open, ambiguous and undefined. One does not completely know what to expect and where to find an installation. It is open towards many interpretations. In this paper we present how we worked with staging of two interactive installations in different exhibition situations, to provoke and motivate different interpretations, expectations and interactions. We argue for staging as a communicative strategy to attract and motivate diverse audiences and user groups to collaborate and co-create through interpretation and interaction. Further we argue that installations have to be open to many possible structures, interpretations, interaction forms and roles the user can take, and shift betweendynamically. When the user dynamically restructure, shift rolesand thereby re-situate the installation, the user is a co-creator in the staging act. We call this dynamic staging.

  • 12.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society.
    Design for co-creation with interactive montage2011In: Proceedings, 4th Nordic Design Research Conference, Nordes2011, School of Art and Design, Aalto University, Helsinki, Finland
May 29th - June 1st, 2011: Making Design Matter / [ed] Jung-Joo Lee, School of Art and Design, Aalto University, 2011Conference paper (Refereed)
    Abstract [en]

    Montage in cinema means to mount images andsounds from different sources, that are interpreted together and whose oppositions drive the storyfurther. In this paper we develop the montage concept further for co-creation in interactive, tactile, spatial cross-media. As case we use the design of the interactive, tangible, cross-media installation ORFI. ORFI is developed to facilitate collaboration and co-creation between children with severe disabilities and their care persons. In this paper we focus on how we have designed for interactive montage. We present two main types of interactive montage, close and shifted in three dimensions (spatial, temporal and actorial). With the first we mean spatial and temporal closeness, depending on the roles users take and the interpretations they make. With shifted we mean how to use spatial and temporal shifting and distance between the media elements in space and over time, depending on the users’ roles and interpretations. All this to encourage co-creation over time, between a variety of users in different situations.

  • 13.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society, Avdelningen för Hälsovetenskap II. Kristianstad University, Research Platform for Collaboration for Health.
    Designing four generations of 'Musicking Tangibles'2014In: Music, Health, Technology and Design / [ed] Stensæth, Karette, Oslo: Norwegian Academy of Music , 2014, p. 1-20Chapter in book (Refereed)
    Abstract [en]

    n this article we present a novel approach for the understanding and the design of interactive health improving music technology, what we call Musicking Tangibles. The Musicking Tangibles approach represents an alternative approach to the traditional instrument, interface and switch-oriented music technology perspective. Our approach combines a humanistic, resource and empowerment oriented health approach with an aesthetic and culture based design approach towards music technology. We present four empowering and health improving qualities for the Musicking Tangibles. These qualities emphasize to: 1) Continually evoke interest and positive emotions relevant to diverse users’ interpretation of the tangibles and the situation; 2) Dynamically offer the users many roles to take, many musicking actions to make and many ways to express themselves; 3) Offer the users aesthetically consistent responses and build relevant cross-media expectations and challenges over time and space, consistent with their character; 4) Offer the users many relations to make: to people, things, experiences, events and places. Further we present and argue for some design solutions of the Musicking Tangibles ORFI, WAVE, REFLECT, and the POLLY World from the RHYME-project. In developing POLLY we have tried to put together as many design qualities as possible, to exemplify our view and current understanding.

  • 14.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Kristianstad University, School of Engineering. Kristianstad University, School of Health and Society.
    Designing Smart Textile for Music and Health2011In: Ambience11: Where Art, Technology and Design meet - Proceedings 2011 / [ed] Lars Hallnäs, Borås: CTF, The Swedish School of Textile, University of Borås , 2011, p. 39-48Conference paper (Refereed)
    Abstract [en]

    In this paper we present our ongoing research on designing smart textile solutions for musical tangibles, what we call co-creative tangibles. Our textile, musical tangibles shall be used to improve health and wellbeing for children with severe disabilities and their families, in their homes. We use theories from the Music and Health field as a framework, both for the design process and the design related user evaluations. Building on an ecological and holistic health approach, our main goal is to reduce passivity and isolation, for the child with special needs. To achieve our overall goal, improve health for the users, our textile, musical tangibles have to evoke feelings in the user, be possible for the users to master, create and strengthen social relations and give the users a feeling of wholeness. Because of our ambitious goal, the diversity of users and the varying everyday situation, our musical tangibles have to offer the users a variety of musical actions to perform, and continuous choices of intensity levels and focus of attention. If not, the musical tangibles will lose their interest fast, and lack the relation building qualities we need. Our Music and Health approach therefore demands our textile, musical tangibles not only to be used as an instrument in limited therapeutic session, but in many situations in the users’ everyday lives.

  • 15.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society.
    Expanding the role of the instrument2011In: Proceedings of the International Conference on New Interfaces for Musical Expression, 30 May - 1 June 2011, Oslo, Norway / [ed] Alexander Refsum Jensenius, Rolf Inge Godøy, Oslo University, Oslo, 2011, p. 511-514Conference paper (Refereed)
    Abstract [en]

    The traditional role of the musical instrument is to be the working tool of the professional musician. On the instrument the musician performs music for the audience to listen to. In this paper we present an interactive installation, where we expand the role of the instrument to motivate musicking and co-creation between diverse users. We have made an open installation, where users can perform a variety of actions in several situations. By using the abilities of the computer, we have made an installation which can be interpreted to have many roles. It can both be an instrument, a co-musician, a communication partner, a toy, a meeting place and an ambient musical landscape. The users can dynamically shift between roles, based on their abilities, knowledge and motivation.

     

  • 16.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Malmö högskola.
    From designing objects to designing fields: from control to freedom2003In: Digital Creativity, ISSN 1462-6268, E-ISSN 1744-3806, Vol. 14, no 2, p. 74-90Article in journal (Refereed)
    Abstract [en]

    In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.

  • 17.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society.
    Musicking tangibles for empowerment2012In: Lecture Notes in Computer Science, ISSN 0302-9743, E-ISSN 1611-3349, Vol. 7382, p. 254-261Article in journal (Refereed)
    Abstract [en]

    In this paper we present a novel approach towards understanding and design of interactive music technology for people with special needs. The health effects of music are well documented, but very little research has been done and interactive music technology been developed, for Music Therapy and health improvement in everyday situations. Further, the music technology that has been used, exploits very little of the potential current computer technology has to offer the Music and Health and Music Therapy fields, because it is designed and used based on a very narrow perspective on technology and its potential. We present and argue for a broader understanding of music technology for empowerment and health improvement, building on a multidisciplinary approach and combining perspectives from Tangible interaction design with empowerment and resource oriented Music Therapy. We call this concept MusickingTangibles, inspired by the musicologist Christopher Small's important term "musicking". We further present two Musicking Tangibles we have designed, and argue for their empowering qualities based on user observations.

  • 18.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Institute of Design, The Oslo School of Architecture and Design.
    The empowering potential of re-staging2012In: Leonardo Electronic Almanac, ISSN 1071-4391, E-ISSN 1071-4391, ISSN 1071-4391, Vol. 18, no 3, p. 132-140Article in journal (Refereed)
    Abstract [en]

    In this paper we present and discuss the empowering potential of restaging interactive art installations. We build on an approach, where wedivide the staging process into four levels of staging (potential, strategic,tactical, dynamic), and in Umberto Eco’s sense open, to four categories ofchoices (genre, temporal, spatial, actorial) to perform on each staging level. We present and discuss how we staged one of our interactive installations at a museum of modern art and a rehabilitation centre for people with severe disabilities. We discuss our staging experience in relation to empowering qualities like; possibilities for self-expression, vitalization, ability to act, co-create, participation and mutual relation building. Our experience was that re-staging art at a radically different place became a provocation that re-vitalized us as creative individuals.

  • 19.
    Cappelen, Birgitta
    et al.
    Institute of Design, The Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Institute of Design, The Oslo School of Architecture and Design.
    Towards an empowering tangible interaction design for diversity2013In: Include Asia 2013 Proceedings: global challenges and local solutions in inclusive design, Conference on inclusive design / [ed] Jeremy Myerson, London: The Helen Hamlyn Centre for Design, The ROyal College of Art in London, Hong Kong Desing Centre , 2013Conference paper (Refereed)
    Abstract [en]

    The seven principles of Universal Design, such as ”4. Perceptible Information” and ”5. Tolerance for errors”, are formulated from the design’s or system’s perspective. The principles focus on the qualities of the system or design, not on the value of use, the long time experience and use by many different people. Nor do the principles embrace a cultural and social understanding of the value of things, designs and situations. In this paper we argue for the necessity to broaden this narrow system or product design perspective, when designing to empower diverse users. Our field of study is musical and cross-media Tangible Interaction Design, where multimedia computer capabilities are included in everyday objects. Our goal is to motivate social and musical co-creation for families with disabled children to improve their health and quality of life. To extend our design thinking, practice and understanding of a design’s value, meaning and empowering potential, we build on a humanistic health approach, resource-oriented thinking, Positive psychology and Empowerment philosophy. In the paper we present and discuss how we design cross-media, interactive, tangible and musical things to motivate and empower a variety of users in our on-going RHYME project.

  • 20.
    Persson, Filip
    et al.
    Kristianstad University, School of Health and Society.
    Augustsson, Tobias
    Kristianstad University, School of Education and Environment.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society.
    Effect tapper: interactive use of effects for musicians2012Report (Other academic)
    Abstract [en]

    In this paper we describe a prototype development for an interactive effect for musicians. This project was made with members of the horn section in the band Damn! They are also performing together with the Swedish hip-hop act Timbuktu. The instrument we focused on was the trombone. The trombone is played without a strap and is held and played with both hands. You use it by blowing into its mouthpiece and regulating its slide brace with one of your hands. The trombone itself is a rather long instrument and since it is not attached to your body by straps, this attribute can be an advantage when designing an interactive effect. It makes the instrument interesting for using sensors to read its position and movement (Y-axis, X-axis, and Z-axis). One sensor that we in this paper argue for is the accelerometer which proved to fit perfect for this task. The result ended up as a prototype for what we call Effect Tapper – software that with the help of an accelerometer and a tap tempo pedal let you use an interactive and controllable delay effect. In the tests with trombonist Jens Lindgård of the band Damn! we show that the prototype improved interaction, his possibility to control the effect and become more creative when playing.

  • 21.
    Persson, Henrik
    et al.
    Kristianstad University, School of Health and Society.
    Gustavsson, Jacob
    Kristianstad University, School of Health and Society.
    Olson, Anders
    Kristianstad University, School of Health and Society.
    Andersson, Anders-Petter
    Kristianstad University, School of Health and Society, Avdelningen för Design och datavetenskap. Kristianstad University, Forskningsplattformen Hälsa i samverkan.
    B.E.A.C.O.N. - Beacon Emits Audio from Color, Or Not2013Conference paper (Refereed)
    Abstract [en]

    People who suffer from dementia are often isolated due to lack of ways of communication. In many cases verbal communication can be difficult to perform at all. We created Beacon with the goal to let people with dementia interact with a very simple and intuitive control interface to give them a means of non-verbal communication, and let them take control over the soundscapes that Beacon is capable of producing. In this paper we describe our concept Beacon, its physical form and how the design makes it possible for a person with dementia to control the software by moving around items of different colors and sizes on its surface to create synthesized and sampled sounds. We hope that Beacon will produce positive results among people with dementia, and that the interaction will be rewarding.

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