Creative Process and Pedagogy with Interactive Dance, Music, and Image

2009 ◽  
Vol 41 (S1) ◽  
pp. 307-311 ◽  
Author(s):  
Kerry Francksen ◽  
Bret Battey ◽  
Jo Breslin
Keyword(s):  
New Technologies ◽  
Music Technology ◽  
Teaching Staff ◽  
Dance Music ◽  
Feedback Systems ◽  
Interactive Technologies ◽  
Dance Pedagogy ◽  
Emergent Behaviour ◽  
Lecture Demonstration ◽  
Compositional Structures

This lecture-demonstration reflects on a research-informed teaching project in which teaching staff in dance and music technology collaborated on technical and pedagogic research and artistic creation in interactive dance. Our primary aim was to throw light on how interactive technologies might challenge and develop the ways in which students in dance and music technology engage in creative practice. Through the exploration of a set of technologies and conceptual approaches, the research has revealed very particular compositional structures and methods. Experimental sketches were developed with a particular focus on emergent behaviour and richly behavioured audio-visual feedback systems that were both controlled by and influenced the dancers. The demonstration presents our approaches and offers methodologies and strategies for the use of new technologies in dance pedagogy.

scholarly journals From Bulletin Boards to Big Data

2021 ◽  
Vol 50 (1) ◽  
pp. 39-62
Author(s):  
Christian Göbel ◽  
Jie Li
Keyword(s):  
Big Data ◽  
New Technologies ◽  
Central Government ◽  
Developmental Trajectory ◽  
Credit System ◽  
Feedback Systems ◽  
Social Credit ◽  
Bulletin Boards ◽  
Local Decision ◽  
Set Up

Why do Chinese governments at various levels set up public complaint websites where citizen petitions and government responses can be reviewed by the general public? We argue that it is the result of two factors: strong signals sent by the central government to improve governance, and the availability of new technologies to promote policy innovation. To impress their superiors, local officials adopted newly available commercial technology to innovate existing citizen feedback systems, which presented a developmental trajectory from “openness,” “integration,” to “big data-driven prediction.” Drawing on policy documents and interviews with local politicians and administrators, we provide a chronological perspective of how technical development, central government’s signals and local decision-making have interacted in the past two decades to bring forth today’s public complaint websites. The contingent and non-teleological nature of this development can also be applied to other policies such as the social credit system.

scholarly journals Pedagogical model of the formation of readiness for creative self-development of future primary school teachers

2021 ◽  
Author(s):  
А.А. Хафизова
Keyword(s):  
Primary School ◽  
New Technologies ◽  
Teaching Profession ◽  
Teaching Staff ◽  
School Teachers ◽  
Pedagogical Model ◽  
Primary School Teachers ◽  
Dynamic Transformation ◽  
Self Development ◽  
Creative Self

Актуальность статьи обусловлена тем, что образовательное пространство современности подвластна динамичной трансформации, которая предписывает постоянную эволюцию образовательной системы. Разрабатываются и апробируются новые технологии, применяются новейшие средства и формы обучения, в процесс обучения внедряется цифровая образовательная среда. В таких условиях представляется важным обратить особое внимание на подготовку педагогических кадров. В статье представлена авторская педагогическая модель формирования готовности к творческому саморазвитию будущих учителей начальных классов. Для прогрессии компонентов творческого саморазвития будущих учителей начальной школы использовались практические задания с творческим уклоном и творческие упражнения. Проанализированы и интерпретированы результаты исследования по эффективности педагогической модели формирования готовности к творческому саморазвитию будущих учителей начальных классов. Творческая направленность педагогической профессии требует подготовки будущих учителей начальных классов, способных к творческому саморазвитию. The relevance of the article is caused by the fact that the educational space of our time is subject to dynamic transformation, which prescribes the constant evolution of the educational system. New technologies are being developed and tested, the newest means and forms of education are used, a digital educational environment is being introduced into the learning process. In such conditions, it seems important to pay special attention to the training of teaching staff. The article presents the author's pedagogical model of the formation of readiness for creative self-development of future primary school teachers. For the progression of the components of creative self-development of future primary school teachers, practical tasks with a creative bias and creative exercises were used. Analyzed and interpreted the results of research on the effectiveness of the pedagogical model of formation of readiness for creative self-development of future primary school teachers. The creative orientation of the teaching profession requires the preparation of future primary school teachers capable of creative self-development.

scholarly journals Institutional Traps of Digitalization of Russian Higher Education

2021 ◽  
Vol 30 (3) ◽  
pp. 59-75
Author(s):  
M. A. Golovchin
Keyword(s):  
Higher Education ◽  
Large Scale ◽  
New Technologies ◽  
Teaching Staff ◽  
Original Matrix ◽  
Russian Higher Education ◽  
The Matrix ◽  
Institutional Traps ◽  
The Impact ◽  
Russian Universities

In 2016-2018 the state in Russia adopted a package of program documents, which implies the transfer of education to the large-scale introduction of digital technologies. This phenomenon has been called “digitalization of education”. In scientific literature, electronization and digitalization are increasingly called one of the institutional traps for the development of Russian universities, since the corresponding institutional environment has not yet been formed due to the forced nature of innovations. As a result, the processes of introducing new technologies into education are still not regulated. Within the framework of the purpose of the study, the manifestations of the trap of electronization and digitalization of Russian higher education were analyzed on the basis of sociological data, and the theoretical modeling of the process of adaptation of educational agents to the institution of digitalization was carried out.In the course of the study, the approaches were summarized that have been developed in discussions on educational digitalization. The article presents the author’s vision of the studied phenomenon as an institutional trap; as well as understanding of the institutional features and characteristics of electronization and digitalization in education.The research method is the analysis of estimates obtained in the course of an expert survey which was conducted by the Vologda Scientific Center of the Russian Academy of Sciences among the representatives of the teaching staff of state universities in the Vologda region. In the course of this analysis, the indicators of educational digitalization as an effective innovation were clarified such as an increased accessibility of educational resources; simplification of communication and the process of transferring knowledge from teacher to student; increased opportunities for training specialists for the new (digital) economy; improving the quality of education in universities, etc. Based on the results of the empirical study, it has been determined that the conditions for the development of digitalization in Russian universities are currently ambiguous, which is closely related to the level of competitiveness of the educational organization.The scientific novelty of the research consists in the presentation of an original matrix describing the process of university employees adaptation to the conditions of digital transformation of education. The matrix is proposed on the basis of a sociological analysis of the impact of the trap of electronization and digitalization on the activities of educational agents. The matrix can be taken into account in the practice of higher education management.

Sound, Electronics, and Music: A Radical and Hopeful Experiment in Early Music Education

2017 ◽  
Vol 41 (3) ◽  
pp. 36-49 ◽  
Author(s):  
Lauren Hayes
Keyword(s):  
Music Education ◽  
Computer Music ◽  
Large Scale ◽  
New Technologies ◽  
Music Technology ◽  
Musical Ability ◽  
Early Music ◽  
Field Recording ◽  
Additional Support ◽  
The University

Discussions of pedagogical approaches to computer music are often rooted within the realm of higher education alone. This article describes Sound, Electronics, and Music, a large-scale project in which tutelage was provided on various topics related to sound and music technology to around 900 schoolchildren in Scotland in 2014 and 2015. Sixteen schools were involved, including two schools for additional support needs. The project engaged several expert musicians and researchers to deliver the different areas of the course. Topics included collective electroacoustic composition, hardware hacking, field recording, and improvisation. A particular emphasis was placed on providing a form of music education that would engender creative practice that was available to all, regardless of musical ability and background. The findings and outcomes of the project suggest that we should not be restricting to the university level the discussion of how to continue to educate future generations in the practices surrounding computer music. We may be failing to engage an age group that is growing readily familiar with the skills and vocabulary surrounding new technologies.

scholarly journals Integrating Score, Performance, and Medium in the work-concept: The HypeSax as a Case Study

2021 ◽  
Author(s):  
Cristohper Ramos Flores
Keyword(s):  
Creative Process ◽  
New Technologies ◽  
Close Relation ◽  
Music Technology ◽  
First Century ◽  
Musical Work ◽  
Technology Project ◽  
New Instrument ◽  
Work Concept

<p><b>This thesis presents a novel music-technology project, the HypeSax, which affords new roles to the saxophone and enhances its sound capacities. This document presents a discussion of the musical ideas and design criteria behind the development of this new instrument, addressing issues of embodiment that arise from the use of new technologies, and of what this new medium means in the discussion of the ontology of the musical work. This project is intended to research the medium through a case study, in which the medium becomes the central focus of my compositional decisions.</b></p> <p>As part of this project, a body of new musical works, associated with the HypeSax, was created. These compositions and the creative process from which they originated are analysed in relation to the HypeSax, questioning if the musical work is limited to the composition or if other processes such as the development of the medium, which in this case is the HypeSax, can be considered part of its ontology.</p> <p>The desire to understand and define the ontology of the musical work has led musicians, musicologists and philosophers to formulate multiple propositions that observe perspectives of creation and reception, as well as different ways in which these interact. This thesis proposes the integration of a new element in the conversation of the work-concept: the medium. The argument presented is that, in light of compositional practices in the twenty-first century, the creative work begins when musicians design instruments, software, audio setups, and other new technologies, actively transforming the medium through which their work works are created. Despite the fact that the medium has always been in close relation with the composition, performance and reception of the work, it has not been considered an element in the ontology of the work. Nevertheless, it becomes impossible to ignore the importance of the medium as new technologies facilitate its manipulation as a part of the creative process. </p> <p>New works featuring the HypeSax are discussed, as well as how this novel medium provides the affordances and possibilities that allow the creation of said works. This case study serves to demonstrate the importance of the medium in the context of a new tripartite model of the work-concept where score, performance and medium are integrated, in a non-hierarchical structure, as one inseparable reality of music.</p>

scholarly journals Hybridity In New Media: A Pre-Production Guideline

2019 ◽  
Vol 1 (2) ◽  
pp. 89
Author(s):  
A. Harditya
Keyword(s):  
New Media ◽  
Professional Practice ◽  
Creative Process ◽  
New Technologies ◽  
Media Production ◽  
Creative Arts ◽  
Media Technology ◽  
Interactive Technologies ◽  
Media Technologies ◽  
Practice Based Research

 ‘New’ technologies have disrupted the creative process of arts and media production, but no common professional practice seems to have drastically changed. ‘New' is only a trick, a temporary euphoria indicating that creative arts and media are on its way to the utopian future. Currently, creative arts and media practitioners are influenced by the dynamically developing technologies and the big issue is that they accepted every innovational media technology unknowingly, everything is normal, but every changes lead to a new normal.  The purpose of this paper is to discover the new creative production process that influenced by new technologies. In the process of discovery, this paper uses a Practice-based Research methodology by Estelle Barrett to acknowledge the capability of these media technologies by utilising creative practices. All findings in this research are discovered by experimenting on contemporary audio visual and interactive technologies. The result of this journal is a guideline for preparing new media production.

Indispensable drummers, drum machines, and record production

Kick It ◽  
2020 ◽  
pp. 265-312
Author(s):  
Matt Brennan
Keyword(s):  
Hip Hop ◽  
New Technologies ◽  
Dance Music ◽  
Digital Production ◽  
The Creation

This chapter explores attempts to replace drummers with new technologies, but also the gradual move of the drum kit—both acoustic and synthesized—from the margins to the center of pop record production from the 1970s to the present. It examines the development of recording the drum kit through the multi-tracking era and into the digital production era. It also discusses the important role the drum kit played in the creation of reggae, Afrobeat, hip-hop, disco, and dance music. It charts the rise of drum machines, digital samplers, augmenting the drum kit, and drumming without drummers.

scholarly journals Past music, future music: Technology and music institutions in the 20th century

New Sound ◽  
2016 ◽  
pp. 53-64
Author(s):  
Marija Maglov
Keyword(s):  
20Th Century ◽  
New Technologies ◽  
Music Technology ◽  
New Music ◽  
Music Practice ◽  
The Past ◽  
Pierre Boulez ◽  
The Future ◽  
Progressive Technology ◽  
Point Of Departure

In his text Technology and the Composer Pierre Boulez writes about new technologies that emerged in the 20th century, primarily created for the purposes of music recording and reproduction, but also established as a means of innovation in electronic and electro-acoustic music practice. Boulez points to two directions where technology and music are in question: conservative historicism and progressive technology, enabling the development of new music material and innovation. By using Boulez's text(s) as a point of departure, the author considers the roles those new technologies had in the development of some musical institutions and questions how institutionalized discourse molds ideas on the roles music technology should have. The aim of the paper is to discuss how the music of the past was 'conserved' and how the music of the future was created in particular types of music institutions thanks to new technological possibilities.

scholarly journals Strange Post-human Attractors: Algorithmic improvisation as acousmatic poiēsis

2021 ◽  
Vol 26 (1) ◽  
pp. 31-41
Author(s):  
Erik Nyström
Keyword(s):  
Computer Music ◽  
Music Technology ◽  
Machine Learning Algorithms ◽  
Feedback Systems ◽  
Agent Based ◽  
Music Practice ◽  
Clear Cut ◽  
Music Making ◽  
Karen Barad ◽  
And Performance

Contemporary thought is moving away from the notion that the human is a clear-cut concept. In particular, non-anthropocentric views are proliferating within the interdisciplinary area of critical post-humanism, with emphasis on non-dualistic views on relations between human and technology. This article shows how such a view can inform electroacoustic and computer music practice, and sees improvisation linked with composition as a fruitful avenue in this. Following a philosophical preparation and a discussion of relevant music discourse, two computer music works created by the author are discussed to demonstrate a model of music-making that merges composition and improvisation, based on the concepts of cognitive assemblages and intra-action, following the writings of N. Katherine Hayles and Karen Barad, respectively. The works employ techniques related to artificial intelligence and cybernetics, such as machine learning algorithms, agent-based organisation and feedback systems. It is argued that acousmatic sound is an important aspect of this practice. The research is thus situated not only in the frames of improvisation practice and music technology but also within spatial acousmatic composition and performance.

Challenges and Opportunities in Designing Experiences for Advanced Amateur Sportsmen

i-com ◽  
2017 ◽  
Vol 16 (2) ◽  
pp. 195-199 ◽  
Author(s):  
Paweł W. Woźniak
Keyword(s):  
Physical Exercise ◽  
Interaction Design ◽  
New Technologies ◽  
Psychological Aspects ◽  
Full Understanding ◽  
Design Technology ◽  
Interactive Technologies ◽  
Challenges And Opportunities

AbstractWhile new technologies supporting the experience of sports appear every day, we still do not have a full understanding of how to design technology that augments the experience of physical exercise. As more and more users practice sports in western societies, interaction design must learn to readdress the practical, social, physical and psychological aspects of sports. In this paper, I reflect on my past studies in the nascent field of designing interactive technologies for advanced amateur sportsmen. I share the practical challenges involved in augmenting experiences of training and race day performance. I discuss issues of qualitative experience, community, motivation and temporality to highlight where current sports technologies are insufficient. In particular, I focus on the experiences of those already involved in training routines and place less emphasis on beginners or those who need to be convinced to practice sports. I then discuss reasons for the difficulties involved in developing sports technologies and propose potential solutions to those difficulties to identify ways to move interaction design for sports forward.

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