PDF (Español)
FLIP
Publication Date: 2009-01-01
How to Cite
Jordà, S. . (2009). The reactable: Tabletop tangible intrefaces for multihreaded musical performance. Kepes, 6(5), 201–223. Retrieved from https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/429
More Citation Formats
Authors
Abstract
Abstract
In recent years we have seen a proliferation of musical tables. Believing that this is not just the result of a tabletop trend, in this paper I first discuss the reasons that make tabletop interfaces promising musical interfaces. After that, I present the reactable, a musical instrument based on a tabletop interface that exemplifies several of these potential achievements.
Keywords:
References
Bencina, R. and Kaltenbrunner, M. (2005). “The Design and Evolution of Fiducials for the reacTIVision System”. Proc. 3rd International Conference on Generative Systems in the Electronic Ar5).
Bencina, R., Kaltenbrunner, M. and Jordà, S. (2005). “Improved Topological Fiducial Tracking in the reacTIVision System”. Proc. IEEE International Workshop on Projector-Camera Syste5).
Bischoff, J., Gold, R. and Horton, J. (1978). “Music for an interactive Network of Computers”. Computer Music Journal, 2(3), 24-29.
Blaine, T. and Perkis, T. (2000). “Jam-O-Drum, A Study Interaction Design”. Proc. ACM DIS 2000 Conference. NY: ACM(2000).
Buxton, W., Patel, S., Reevs, W., and Baecker, R. (1982). “Object and the Design of Timbral Resources”. Computer Music Journal, 982), 32-44.
Buxton, W. (1997). “Artists and the art of the luthiers”. ACM SIGGRAPH Computer Graphics, 3997, 10-–11.
Chadabe, J. (1975). “The Voltage-controlled synthesizer”. In John Applton (Eed.), The development and practice of electronic music. New Jersey: Prentl (1975). Chomsky, N. (1956). “Three models for the description of lnguage””. IRE Transactions on Information hor(1956), 113-124.
Cutler, M., Robair, G. and Bean. (2000). “Outer Limits”. Electronic Musician Magazine, (2000, 49-72.
Fitts, P. M. (1951). “Engineering Psychology and Equipment Design”. In S. S. Stevens (Ed.), Handbook of Experimental Psychology (pp. 17-1340). i1287-1340.
Fitts, P. M. and Posner, M. I. (1967). Human Performance. Belmont, CAs/ Cole (1967).
Gaver, W.W., Bowers, J., Boucher, A., Gellerson, H., Pennington, S., Schmidt, A., Steed, A., Villars, N. and Walker, B. (2004). “The drift table: designing for ludic engagement”. Proc CHI ‘04 extended abstracts on Human factors in computing syste Press(2004), 885-–900.
Hornecker, E. and Buur, J. (2006). “Getting a Grip on Tangible Interaction: A Framework on Physical Space and Social Interaction”. PI 2006 (2006), 437-446. Ishii, H and Ullmer, B. (1997). “Tangible Bits: Towards Seamless Interfaces between People, Bitsd Atoms”. InCHI 97 (1997), 22-27.
Jordà, S. (1999). “Faust Music On Line (FMOL): An approach to Real-time Collective Composition on the Internet”. Leonardo Musl, 9: (1999). 5-12.
____. (2002). “Improvising with Computers: A personal Survey (1989-2001)” Journal of New Music R1(1): (2002), 1-10.
_____. (2002). “FMOL: Toward User-Friendly, Sophisticated New Musical Instruments”. Computer Musi, 26(3): (2002), 23-39.
_______. (2003) Sonigraphical Instruments: From FMOL to the reactable*. Proc. International Conference on New Interfaces for Musical Expression, 70-76.
Jordà, S., Kaltenbrunner, M., Geiger, G. and Bencina, R. The reactable*. Proc.International Computer Music Conference (2005)
Jordà, S. (2005). Digital Lutherie: Crafting musical computers for new musics performance and improvisatin. PhD. Dissertation., Universitat Pabra, Barcelona.
Kaltenbrunner, M., Geiger, G. and Jordà, S. (2004). “Dynamic Patches for Live Musical Performance”. Proc. International Conference on New Interfaces for Musiression (NIME-04), (2004) 19-22.
Kaltenbrunner, M. http://ww.iua.upf.emtg/reactable/ ?related [.Referenced October 20, 2006].
Mazalek, A. (2005). Media Tables: An extensible method for developing multi-user media interaction platforms for sharedspaces. PhD. Dissertation., Massachusetitute of Technology (2005).
Moog, R. (2004). Keynote speech at the Conference on New Interor Musical Expression (2004).
Patten, J., Ishii, H., Hnes, J., Pangaro, G. (2001)., “Sensetable: A Wireless Object Tracking Platform for Tangible User Ies”. Proc. ACM CHI ‘01 (2001), 253-260.
Patten, J., Reht, B. and Ishii, H. (2002)., “Audiopad: A Tag-based Interface for Musical Performance”. Proc. Conference on New Intfor Musical Expression (2002), 24-26.
_______. (2006). “Interaction Techniques for Musical Performance with Tatop Tangible Interfaces”. In ACE 2006 Advances in Computer EntertaHollywood, California, (2006).
Pressing, J. (1984). “Cognitive rocesses in Improvisation”. Iin Ray Crozier and Anthony Chapman (Eds.), Cognitive Processes in the Peczier and Anthony Chapmanand, Amsterdam (1984), 345-363.
Pressing, J. (1990). “Cybernetic Issues in Interactive Performance Systems”. Music Journal, 14(1): (1990), 12-25
Puckette, M. (2002). “Max at 17er Music Journal, 26(4): (2002), 31-43. ReacTIVision. httg.upf.edu/reactable/?software [. Referenced October 20, 2006]
Shen, C., Lesh, N. and Vernier, F. (2003). “Personal Digital Historian: Story Sharing Around th In Interactions, 0(2): (2003), 15-22. SmallFish.: http/hosting. zkm.de/wmuench/small_fish, [Referenced October 20, 2006].
Turner, T. (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musicporary Music Review, 22(4): (2003). 81-92.
Ullmer B. and Ishii, H. (2001). “Emerging Frameworks for Tangible User Interfaces”. In John M. Carroll (Ed.), Human-Computer Interactio (pp. 579-601). rroll, Addison-Wesley (2001), 579-601.
Ullmer, B. (2002). Tangible Interfaces for Manipulating Aggregates of Digtal Information. Ph.D. Dissertation., usetts Institute of Technology (2002).
Vertegaal, R. and Eaglestone, B. (1996). “Comparison of input devices in an ISEE direct timbre manipulation tasacting with Computers, 8(1): (1996), 13-30. Wanderley, M. M. (2001). Performer-Instrument Interaction: Applications toGestural Control of Music. Ph.D thesis., Uni Pierre et Marie Curie - Paris VI (2001).
Wilson, A.D. (2005). “PlayAnywhere: a compact interactive tbletop projectionvision system”. Proc. 18th annual ACM symposium on User inter software and ogy, ew York, NY, USA, ACM Press (2005), 83-–92.
Bencina, R., Kaltenbrunner, M. and Jordà, S. (2005). “Improved Topological Fiducial Tracking in the reacTIVision System”. Proc. IEEE International Workshop on Projector-Camera Syste5).
Bischoff, J., Gold, R. and Horton, J. (1978). “Music for an interactive Network of Computers”. Computer Music Journal, 2(3), 24-29.
Blaine, T. and Perkis, T. (2000). “Jam-O-Drum, A Study Interaction Design”. Proc. ACM DIS 2000 Conference. NY: ACM(2000).
Buxton, W., Patel, S., Reevs, W., and Baecker, R. (1982). “Object and the Design of Timbral Resources”. Computer Music Journal, 982), 32-44.
Buxton, W. (1997). “Artists and the art of the luthiers”. ACM SIGGRAPH Computer Graphics, 3997, 10-–11.
Chadabe, J. (1975). “The Voltage-controlled synthesizer”. In John Applton (Eed.), The development and practice of electronic music. New Jersey: Prentl (1975). Chomsky, N. (1956). “Three models for the description of lnguage””. IRE Transactions on Information hor(1956), 113-124.
Cutler, M., Robair, G. and Bean. (2000). “Outer Limits”. Electronic Musician Magazine, (2000, 49-72.
Fitts, P. M. (1951). “Engineering Psychology and Equipment Design”. In S. S. Stevens (Ed.), Handbook of Experimental Psychology (pp. 17-1340). i1287-1340.
Fitts, P. M. and Posner, M. I. (1967). Human Performance. Belmont, CAs/ Cole (1967).
Gaver, W.W., Bowers, J., Boucher, A., Gellerson, H., Pennington, S., Schmidt, A., Steed, A., Villars, N. and Walker, B. (2004). “The drift table: designing for ludic engagement”. Proc CHI ‘04 extended abstracts on Human factors in computing syste Press(2004), 885-–900.
Hornecker, E. and Buur, J. (2006). “Getting a Grip on Tangible Interaction: A Framework on Physical Space and Social Interaction”. PI 2006 (2006), 437-446. Ishii, H and Ullmer, B. (1997). “Tangible Bits: Towards Seamless Interfaces between People, Bitsd Atoms”. InCHI 97 (1997), 22-27.
Jordà, S. (1999). “Faust Music On Line (FMOL): An approach to Real-time Collective Composition on the Internet”. Leonardo Musl, 9: (1999). 5-12.
____. (2002). “Improvising with Computers: A personal Survey (1989-2001)” Journal of New Music R1(1): (2002), 1-10.
_____. (2002). “FMOL: Toward User-Friendly, Sophisticated New Musical Instruments”. Computer Musi, 26(3): (2002), 23-39.
_______. (2003) Sonigraphical Instruments: From FMOL to the reactable*. Proc. International Conference on New Interfaces for Musical Expression, 70-76.
Jordà, S., Kaltenbrunner, M., Geiger, G. and Bencina, R. The reactable*. Proc.International Computer Music Conference (2005)
Jordà, S. (2005). Digital Lutherie: Crafting musical computers for new musics performance and improvisatin. PhD. Dissertation., Universitat Pabra, Barcelona.
Kaltenbrunner, M., Geiger, G. and Jordà, S. (2004). “Dynamic Patches for Live Musical Performance”. Proc. International Conference on New Interfaces for Musiression (NIME-04), (2004) 19-22.
Kaltenbrunner, M. http://ww.iua.upf.emtg/reactable/ ?related [.Referenced October 20, 2006].
Mazalek, A. (2005). Media Tables: An extensible method for developing multi-user media interaction platforms for sharedspaces. PhD. Dissertation., Massachusetitute of Technology (2005).
Moog, R. (2004). Keynote speech at the Conference on New Interor Musical Expression (2004).
Patten, J., Ishii, H., Hnes, J., Pangaro, G. (2001)., “Sensetable: A Wireless Object Tracking Platform for Tangible User Ies”. Proc. ACM CHI ‘01 (2001), 253-260.
Patten, J., Reht, B. and Ishii, H. (2002)., “Audiopad: A Tag-based Interface for Musical Performance”. Proc. Conference on New Intfor Musical Expression (2002), 24-26.
_______. (2006). “Interaction Techniques for Musical Performance with Tatop Tangible Interfaces”. In ACE 2006 Advances in Computer EntertaHollywood, California, (2006).
Pressing, J. (1984). “Cognitive rocesses in Improvisation”. Iin Ray Crozier and Anthony Chapman (Eds.), Cognitive Processes in the Peczier and Anthony Chapmanand, Amsterdam (1984), 345-363.
Pressing, J. (1990). “Cybernetic Issues in Interactive Performance Systems”. Music Journal, 14(1): (1990), 12-25
Puckette, M. (2002). “Max at 17er Music Journal, 26(4): (2002), 31-43. ReacTIVision. httg.upf.edu/reactable/?software [. Referenced October 20, 2006]
Shen, C., Lesh, N. and Vernier, F. (2003). “Personal Digital Historian: Story Sharing Around th In Interactions, 0(2): (2003), 15-22. SmallFish.: http/hosting. zkm.de/wmuench/small_fish, [Referenced October 20, 2006].
Turner, T. (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musicporary Music Review, 22(4): (2003). 81-92.
Ullmer B. and Ishii, H. (2001). “Emerging Frameworks for Tangible User Interfaces”. In John M. Carroll (Ed.), Human-Computer Interactio (pp. 579-601). rroll, Addison-Wesley (2001), 579-601.
Ullmer, B. (2002). Tangible Interfaces for Manipulating Aggregates of Digtal Information. Ph.D. Dissertation., usetts Institute of Technology (2002).
Vertegaal, R. and Eaglestone, B. (1996). “Comparison of input devices in an ISEE direct timbre manipulation tasacting with Computers, 8(1): (1996), 13-30. Wanderley, M. M. (2001). Performer-Instrument Interaction: Applications toGestural Control of Music. Ph.D thesis., Uni Pierre et Marie Curie - Paris VI (2001).
Wilson, A.D. (2005). “PlayAnywhere: a compact interactive tbletop projectionvision system”. Proc. 18th annual ACM symposium on User inter software and ogy, ew York, NY, USA, ACM Press (2005), 83-–92.
Downloads
Download data is not yet available.
