The research implements interactive music processes involving sound synthesis and symbolic treatments within a single environment. The algorithms are driven by classical instrumental performance through hybrid systems called hyperinstruments, in which the sensing of the performance gestures leads to open and goal-oriented generative music forms. The interactions are composed with MAX/Msp, designing contexts and relationships between real-time instrumental timbre analysis (sometimes with added inertial motion tracking) with a gesture-based idea of form shaping. Physical classical instruments are treated as interfaces, giving rise to the need to develop unconventional mapping strategies on account of the multi-dimensional and interconnecting quality of timbre. Performance and sound gestures are viewed as salient energies, phrasings and articulations carrying information about human intentions, in this way becoming able to change the musical behaviour of a composition inside a coded dramaturgy. The interactive networks are designed in order to integrate traditional music practices and “languages” with computational systems designed to be self-regulating, through the mediation of timbre space and performance gestural descriptions. Following its classic definition, technology aims to be mainly related not to mechanical practices but rather to rhetorical approaches: for this reason the software often foresees interactive scores, and must be performed in accordance with a set of external verbal (and video) explanations, whose technical detail should nevertheless not impair the most intuitive approach to music making.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. VIDEOCASSETTE IN ROTCH VISUAL COLLECTIONS. / Bibliography: leaves 43-45. / This paper explores the notion of marrying two technologies: raster-scan computer animation and optical video discs. Animated sequences, generated at non real-time rates, then transfered to video disc, can be recalled under user control at real-time rates. Highly detailed animation may be combined with other media in interactive systems. Such systems inherently offer a greater degree of flexibility to the animator. The implementation of one such system is discussed in detail. / by Walter Bender. / M.S.V.S.

Thesis. 1978. M.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 73-76. / M.S.

by Tien-Tsin Wong. / Thesis (Ph.D.)--Chinese University of Hong Kong, 1998. / Includes bibliographical references (p. 129-137). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 71-76. / by Scott Stevens Fisher. / M.S.V.S.

Thesis. 1978. M.Arch.A.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 81-84. / by Louis Weitzman. / M.Arch.A.S.

In the United States, congestive heart failure (CHF) impacts 6.5 million adults and costs about $39 billion year with a projected incidence increasing by 25% by 2030. CHF can be addressed by advancing patient self-care knowledge through interactive patient education. For this project, the Health Beliefs Model guided a strategy to stimulate behavior modification based on perceived benefits of self-care. The purpose of this quality improvement project was to implement an interactive patient education video system, called the Get Well Network, to encourage patient self-care to reduce CHF readmission rates at a veteran's administration hospital. Four evidence-based CHF video order sets were developed with interactive multidisciplinary patient-provider teach back strategies and questions. The topics included: medication adherence, dietary restrictions, smoking cessation, and exercise. During the period of project implementation, all veterans admitted with a diagnosis of CHF were given the opportunity to view the educational videos; the completed viewing rate increased from 3% to 30% during the initial 6 weeks. An attempt was made to retrieve quarterly data on congestive heart failure patient readmission rates from the Veteran's Administration's computerized system. However, recent changes in the ICD coding system have slowed the data gathering process and it continues to be ongoing. This project has the potential for positive social change by increasing veteran knowledge of self-care, thereby reducing the likelihood of CHF readmission.

Nam June Paik (1932-2006) is well known as the father of video art. However, this study demonstrates the importance of his earlier interactive art (1961-63), which historically has been overshadowed by his video art. At the climax of his career in interactive art, Paik introduced his two-way art to the public at his first solo exhibition in Wuppertal, West Germany, in 1963. Interactive art itself has been a peripheral area in the history of art, and it has plural pioneers across disciplinary boundaries. Among the several origins of interactive art, Nam June Paik utilized music as a fundamental approach to design the emerging art. Concentrating on Paik’s music theory and practice in West Germany, my research traces the unexplored academic area of his articles about new music in the Korean newspaper Chayushinmun(1958-59). The perspective in his articles toward new music became a significant foundation for his progressive interactive art. Based on his music background, Paik knew how to incorporate musical instruments and devices into his interactive art. Finally, this study will articulate a concrete relationship between Paik’s musical experiences and his interactive art. It argues that his interactive pieces, based on his musical experiences, make him one of the most creative pioneers of interactive art.

Set in Motion is a composition in two movements for an ensemble of 10 instruments that interacts with a computer in real-time performance using Max/MSP software. The instrumental writing in the piece focuses on incorporating electronic composition techniques into acoustic composition. Techniques such as constructing envelopes, shading, and sound masses, which are common in electronic works are applied to the ensemble. Also, the intervals of a major and minor second are important in the instrumental writing. These intervals provided the basis for the material, which was then transformed algorithmically, both in individual lines and whole sections of music. In terms of the electronics, the first movement takes advantage of the interactive possibilities of the software. The electronic part is created through the computer extending, processing, and responding to the instruments. The techniques include extracting small grains of sound from the live instruments and repeating them, analyzing the pitch of the signal and amplifying overtones, and rearranging fragments in blocks of recorded sound. The second movement changes the focus of the electronic sound. The electronics are made of precomposed gestures that compliment the live instruments. These gestures are categorized and selected randomly according to specific characteristics. Filtering and other effects applied to the sounds are chosen randomly as well.

This study was undertaken to assist with the development and introduction into the occupational therapy curriculum of an interactive, multimedia learning resource. The radical changes from traditional teaching/learning methodologies, focusing on instructor presentation, to a more learner active role could disadvantage some students. For instance, having to access information independently and problem-solve utilising material presented electronically may add considerable cognitive demands to the learning task. Many factors influence an individual learning in computerised interactive learning situations and these include motivation, previous experience, and a range of learner characteristics. The last factor includes styles of functioning which impact on both the interpretation of processes and the appraisal of performance levels. In many previous studies researching the use of media and learning, these factors have been isolated and their impact on user performance and attitude measured. However, with interactive multimedia, several elements combine to make research concentration on individual variables questionable. These elements include the range and mix of media used, the interactivity possible, and the degree of user control. Therefore, this exploratory study sought to establish some of the learning characteristics which combined to form statistical models in a range of participant navigational tasks. Multiple regression analysis was employed to determine the ways that individuals with differing personal characteristics make navigational decisions while browsing and problem-solving when utilising interactive learning materials. Case studies were employed to illustrate extreme cases. Personal characteristics measured included technological experience, cognitive style, learning style, computer awareness and computer anxiety. This research indicated that significant ++ / numbers of occupational therapy students displayed a tendency towards field-independent cognitive style, activist and reflector learning styles, and an aversion to the use of computer technology. Awareness of these strengths and weaknesses and their impact on multimedia navigation can assist both students and educators to plan strategies to maximise the effectiveness of learning materials. Statistically significant models were identified for five of the six dependent navigation variables measured although their predictor strength was low. Of the independent variables, age, cognitive style, computer thoughts, and prior computer experience all occurred in two or more of the statistically significant models for the navigation performance dependent variables. The dependent variable forming the strongest statistical model was attitudes towards the learning package, representing 38% of the variance.