Documentation and Replicability in the NIME Community

Calegario, Filipe; Tragtenberg, João; Frisson, Christian; Meneses, Eduardo; Malloch, Joseph; Cusson, Vincent; Wanderley, Marcelo M.

doi:10.21428/92fbeb44.dc50e34d

Cited by 5 publications

(4 citation statements)

References 13 publications

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“…DMIs may not have been designed for longevity, as studied by Morreale and McPherson (2017). The design and development process of DMIs may not have been documented in enough depth to be replicated, as reviewed by Calegario et al (2021).…”

Section: Replicabilitymentioning

confidence: 99%

Challenges and Opportunities of Force Feedback in Music

Frisson

Wanderley

2023

Arts

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A growing body of work on musical haptics focuses on vibrotactile feedback, while musical applications of force feedback, though more than four decades old, are sparser. This paper reviews related work combining music and haptics, focusing on force feedback. We then discuss the limitations of these works and elicit the main challenges in current applications of force feedback and music (FF&M), which are as follows: modularity; replicability; affordability; and usability. We call for the following opportunities in future research works on FF&M: embedding audio and haptic software into hardware modules, networking multiple modules with distributed control, and authoring with audio-inspired and audio-coupled tools. We illustrate our review with recent efforts to develop an affordable, open-source and self-contained 1-Degree-of-Freedom (DoF) rotary force-feedback device for musical applications, i.e., the TorqueTuner, and to embed audio and haptic processing and authoring in module firmware, with ForceHost, and examine their advantages and drawbacks in light of the opportunities presented in the text.

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Section: Replicabilitymentioning

confidence: 99%

Challenges and Opportunities of Force Feedback in Music

Frisson

Wanderley

2023

Arts

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“…In this regard, we align our work with those calling for more replicability and better documentation of NIMEs [26] [27]. Future work could involve assessing the proto-langpsil's technical replicability [28] and any maker ecology that develops around it [29]. However, in this work we mainly prioritised minimising risk towards the langspil tradition, about which Eyjólfsson commented: "there is no danger [with the proto-langspil] because as I see it, cultural heritage is something for us to play with, recreate, and the more alien landscapes we make the better.…”

Section: Discussionmentioning

confidence: 60%

The Proto-Langspil: Launching an Icelandic NIME Research Lab with the Help of a Marginalised Instrument

et al.

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Historically marginalised instruments witness and bear vital stories that can deeply affect identity and galvanise communities when revitalised. We present the protolangspil as a contemporary interpretation of the langspil, an Icelandic monochord-like folk instrument, and describe its agential and performative contributions to the first Icelandic NIME research lab. This paper describes how the proto-langspil has served as an instrument in establishing the research methodology of our new lab and concretised the research agenda via a series of encounters with music performers and composers, luthiers, anthropologists, musicologists, designers and philosophers. These encounters have informed and challenged our research practices, mapped our surroundings, and embedded us in the local social fabric. We share our proto-langspil for replication, and reflect on encounters as a methodology framing mechanism that eschews the more traditional empirical approaches in HCI. We conclude with a final provocation for NIME researchers to embrace AI research with an open mind.

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“…It has also proven to be noticeably sustainable, with three years of development so far and no signs yet of slowing down. We note a similar collaborative relationship between, for example, Rebecca Fiebrink and Laetitia Sonami facilitating over 8 years of ongoing development of Wekinator and the Spring Spyre [21], or Joseph Malloch and Andrew Stewart's roles in the development and support of the T-Stick [22][23] and its growing community of practitioners [24]. Although there is no doubt that numerous other participants and contributors have played essential roles in these projects (the mubone included), this kind of central collaborative duo, with a technical artist and artistic technician, may still be a useful model for NIME research, providing a stable core that could improve the longevity and reliability of the instruments and technology developed compared to solo or large group research.…”

Section: Discussionmentioning

confidence: 87%

early prototypes and artistic practice with the mubone

West

Leung²

Nime 2022

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The mubone (lowercase "m") is a family of instruments descended from the trombone family, a conceptual design space for trombone augmentations, and a growing musical practice rooted in this design space and the artistic affordances that emerge from it.We present the design of the mubone and discuss our initial implementations. We then reflect on the beginnings of an artistic practice: playing mubone, as well as exploring how the instrument adapts to diverse creative contexts. We discuss mappings, musical exercises, and the development of Garcia, a sound-and-movement composition for mubone.

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Documentation and Replicability in the NIME Community

Cited by 5 publications

References 13 publications

Challenges and Opportunities of Force Feedback in Music

Challenges and Opportunities of Force Feedback in Music

The Proto-Langspil: Launching an Icelandic NIME Research Lab with the Help of a Marginalised Instrument

early prototypes and artistic practice with the mubone

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