No abstract

Taking as a point of departure recent theoretical advances in Interaction Design and Human-Computer Interaction (Löwgren 2009), we discuss a body of knowledge gathered in Ubiquitous Music practices (Keller et al. 2011a) during the last six years. New concepts and methods have been proposed to describe aspects of the ideation and materialisation of experiences with technology. Pliability (Löwgren 2007) and anchoring (Keller et al. 2010) are two of the multiple design qualities that surfaced in interaction design that impact information technology creative practices. We present results of experiments addressing creativity support for ubiquitous music making through the time tagging metaphor (Radanovitsck et al. 2011). The studies serve to exemplify how relational properties can be integrated within creativity-centred design. Our research indicates that sonic relational properties may provide affordances for proto-musical phenomena. We discuss the theoretical and methodological implications of this proposal highlighting its impact on everyday musical creativity. Ubiquitous music. nteraction aesthetic proto-musical qualities.

In this paper we propose aesthetic heuristics as an area of study within ubiquitous music research. Initially we discuss the motivations for narrowing the focus of the experimental variables involved in creativity-centred design studies. Then we place aesthetic heuristics within the current efforts toward designs for creativity support, highlighting recent studies that target everyday musical creativity. The reviewed experimental results point to a gap between the current theoretical proposals in musical creativity and the factors that impact everyday musical activities. Selfreferentiality of the experimental-theoretical construct and early domain restriction are two of the limitations pointed out by previous theoretical work. We provide a working definition of aesthetic heuristics, indicating its object of study and its rationale. We also lay out initial experimental strategies. Potential contributions from interaction aesthetics and ubimus research are discussed, introducing the concept of creative bias and a set of experimental hypotheses. The last section of the paper furnishes examples of creative biases within the context of musical interaction design.Ubiquitous music. Creativity-centred design. Aesthetic heuristics.

. 2011). The studies serve to exemplify how relational properties can be integrated within creativity-centred design. Our research indicates that sonic relational properties may provide affordances for proto-musical phenomena. We discuss the theoretical and methodological implications of this proposal highlighting its impact on everyday musical creativity.Ubiquitous music. nteraction aesthetic proto-musical qualities.

No abstract