There are rhythms of action and response to all human-computer interactions. As we click, swipe, tap and sway to their beats, these rhythms intersect with the rhythms of our everyday lives. Perhaps they synchronize, perhaps they disrupt each other or maybe they dance together. Whatever their impact our experience of these rhythms will colour our experience of an interaction design. In playful interactive applications, rhythm is especially crucial because of the role it performs in building and maintaining the precarious spirit of play. Play involves movement and this movement has a rhythm that drives the experience. But what is the character of these rhythms of play and how can they be used in the design of interactive applications? These questions are the focus of this book. Drawing on traditions of rhythmic design practice in dance, performance, music and architecture, this book reveals key insights into practical strategies for designing playful rhythmic experience. With playful experiences now being incorporated into almost every type of computer application, interaction design practitioners and researchers need to develop a deeper understanding of the specific character of rhythms within play. Written from a designer's perspective, with interviews from leading creative artists and interaction design practitioners, Rhythm, Play and Interaction Design will help practitioners, researchers and students understand, evaluate and create rhythmic experiences.

The Routledge International Handbook of Practice-Based Research presents a cohesive framework with which to conduct practice-based research or to support, manage and supervise practice-based researchers. It has been written with an inclusive approach, with the intention of presenting deep and meaningful knowledge for the benefit of all readers. This handbook has been designed to present specific detail of practice-based research by outlining its shared traits with all forms of research and to highlight its core distinguishing features into a cohesive, principled and methodical approach. To this end, the handbook is presented in five sections: 1. Practice-Based Research, 2. Knowledge, 3. Method, 4. The Practice-Based PhD and 5. Practitioner Voices. Each section begins with a leading chapter that outlines each of the distinct areas as they relate to practice-based research. This is followed by a series of contributing chapters that discuss pertinent themes in more detail. Practitioners from a broad range of backgrounds will find these chapters helpful: research students or final year graduates will be introduced to the principled nature of practice-based research PhD researchers embarking on a research project or are in the flow of research will find this guidance supportive professionals such as designers, makers, engineers, artists and creative technologists wishing to strengthen their research into their practice will be guided through the principled and focused nature of practice-based research supervisors, managers and policy makers will benefit from the potential and rigour of practice-based researchers in the pursuit of new knowledge.

This research monograph explores the rapidly expanding field of networked music making and the ways in which musicians of different cultures improvise together online. It draws on extensive research to uncover the creative and cognitive approaches that geographically dispersed musicians develop to interact in displaced tele-improvisatory collaboration. It presents a multimodal analysis of three tele-improvisatory performances that examine how cross-cultural musician’s express and perceive intentionality in these interactions, as well as their experiences of distributed agency and tele-presence. Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session will provide essential reading for musician’s, postgraduate students, researchers and educators, working in the areas of telematic performance, musicology, music cognition, intercultural communication, distance collaboration and learning, digital humanities, Computer Supported Cooperative Work and HCI.

The Creative Reflective Practitioner explores research and practice through the eyes of people with a wholehearted commitment to creative work. It reveals what it means to be a reflective creative practitioner, whether working alone, in collaboration with others, with digital technology or doing research, and what we can learn from listening and observing closely. It gives the reader new insights into the fascinating challenge that having a reflective creative mindset can bring. Creative reflective practice is seen through practitioner ideas and works which have informed the writing at every level, supported by research studies and historical accounts. The practitioners featured in this book represent a broad spectrum of interdisciplinary creative activities producing works in film, music, drama, dance and interactive installations. Their work is innovative, full of new ideas and exciting to experience, offering engagement and challenge for audiences and participants alike. Practitioner interviews give a direct sense of how they see creative practice from the inside. The ways in which these different situations of practice stimulate and facilitate reflection in practice and how we can learn from this are described. Variations of reflective practice are discussed that extend the original concepts proposed by Donald Schön, and a contemporary dimension is added through the role of the digital in creative reflective practice as a tool, mediator, medium and partner. This book is relevant to people who wish to understand creativity and reflection in practice and how to learn from the practitioners themselves. This includes researchers in any discipline as well as students, arts professionals and practitioners such as artists, curators, designers, musicians, performers, producers and technologists.

Explorations in Art and Technology presents the explorations in Art and Technology of the Creativity & Cognition Research Studios. The Studios were created to bring together the visions and expertise of people working at the boundaries of art and digital media. The book explores the nature of intersection and correspondence across these disciplinary boundaries, practices and conceptual frameworks through artists' illustrated contributions and studies of work in progress. These experiences are placed within the context of recent digital art history and the innovations of early pioneers.

Exploring Materiality in Childhood: Body, Relations and Space explores the multiple ways that childhood and materiality are intertwined and assembled. Bringing together a diverse range of authors, this topical book makes a scholarly contribution to our understanding of the entanglements of materiality and childhoods in international contexts. Chapters explore how various environments and material resources, including technologies and consumer goods, affect children’s lives. The book caters to a diverse range of theories, in sociomaterialist, posthumanist, post-anthropocentric and more-than-human research, critically exploring the boundaries of these theoretical approaches with diverse empirical cases. These wide ranges of perspectives develop alternatives to human-centred approaches in understanding children and childhoods. With its diverse theoretical and methodological choices, the book also serves as a versatile example for how to conduct research with children and on childhood. This book will be of great interest for academics, researchers, and postgraduate students in childhood studies, early childhood education, social sciences, cultural sciences and sociology.

The 3 volume-set LNCS 11566, 11567 + 11568 constitutes the refereed proceedings of the Human Computer Interaction thematic area of the 21st International Conference on Human-Computer Interaction, HCII 2019, which took place in Orlando, Florida, USA, in July 2019. A total of 1274 papers and 209 posters have been accepted for publication in the HCII 2019 proceedings from a total of 5029 submissions. The 125 papers included in this HCI 2019 proceedings were organized in topical sections as follows: Part I: design and evaluation methods and tools; redefining the human in HCI; emotional design, Kansei and aesthetics in HCI; and narrative, storytelling, discourse and dialogue. Part II: mobile interaction; facial expressions and emotions recognition; eye-gaze, gesture and motion-based interaction; and interaction in virtual and augmented reality. Part III: design for social challenges; design for culture and entertainment; design for intelligent urban environments; and design and evaluation case studies.

This book is a way of sharing insights empirically gathered, over decades of interactive media development, by the author and other children’s designers. Included is as much emerging theory as possible in order to provide background for practical and technical aspects of design while still keeping the information accessible. The author's intent for this book is not to create an academic treatise but to furnish an insightful and practical manual for the next generation of children’s interactive media and game designers. Key Features Provides practical detailing of how children's developmental needs and capabilities translate to specific design elements of a piece of media Serves as an invaluable reference for anyone who is designing interactive games for children (or adults) Detailed discussions of how children learn and how they play Provides lots of examples and design tips on how to design content that will be appealing and effective for various age ranges Accessible approach, based on years of successful creative business experience, covers basics across the gamut from developmental needs and learning theories to formats, colors, and sounds

In parallel to the printed book, each new volume is published electronically in LNCS Online.

The Digital Musician, Third Edition is an introductory textbook for creative music technology and electronic music courses. Written to be accessible to students from any musical background, this book examines cultural awareness, artistic identity and musical skills, offering a system-agnostic survey of digital music creation. Each chapter presents creative projects that reinforce concepts, as well as case studies of real musicians and discussion questions for further reflection. This third edition has been updated to reflect developments in an ever-changing musical landscape—most notably the proliferation of mobile technologies—covering topics such as collaborative composition, virtual reality, data sonification and digital scores, while encouraging readers to adapt to continuous technological changes. With an emphasis on discovering one’s musical voice and identity, and tools and ideas that are relevant in any musical situation, The Digital Musician is sure to be an invaluable student resource for years to come. Features of the third edition: Additional case studies, with new interviews exclusive to the third edition Revised chapter structure with an emphasis on student focus and understanding, featuring additional and expanded chapters Reinstatement of selected and updated first edition topics, including mixing, mastering and microphones Companion website featuring case study interviews, a historical listening list, bibliography and many additional projects Visit the companion website: www.andrewhugill.com/thedigitalmusician