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This paper is an explorative interaction design study focusing on the development of a wearable device for enhanced learning of bodily skills. It uses a variation of technology scouting and matchmaking to explore possible technologies related to assistive technology for learning. Semi-structured interviews were conducted with people in the concerned fields and analysis of the interviews resulted in insights that could inform the development of the design. Research findings suggest that a wearable learning system that leverages AI to guide and assist learning of bodily skills through a haptic interface could be possible with current technology. The paper proposes a schematic diagram of the system, UX goals and evaluates user attitudes towards such a system. Overall, this design study could serve as a resource for future development of AI-assisted education for activities involving bodily movement.

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Includes an exploration of working memory models from a musical standpoint. / A musical key can only be retained in memory for approximately 20 seconds. However, other factors may be influencing the strength of this retention. The current study tests the influence of time and number of events (chords) in an intervening key on the deterioration in memory of a nonadjacent key. Stimuli first established a major key using traditional harmonic rules, then modulated to an intervening key that was either 6 or 9 seconds in duration and formed from either 4 or 6 chords. Stimuli then returned to the original key in a probe cadence. Participants were asked to rate this cadence in terms of its sense of closure. It was revealed that there is a significant negative effect of time on the probe cadence though no effect of number of events was found. This suggests that spending more time in an intervening key, and not the number of intervening chords, diminishes the memory of the original key. However, it is unclear from this study where in memory the nonadjacent key relationship is processed. Relevant literature is examined to form a working hypothesis with the goal of strengthening future studies with a capable foundation in memory research and theories. / Thesis / Master of Science (MSc) / We have a very short memory span for musical keys. Humans can only remember a key for approximately 20 seconds after it’s changed. However, it is unclear whether it is time spent away from the key that makes us forget or if it is the number of chords we heard in a second, interrupting key. The current study tests this distinction using nonadjacent key relationships—in which a key is established, a different key interrupts for a random amount of time and number of chords before returning to the original key for two target chords. Results confirmed previous findings as there was a significant effect of time on memory. However, there was no effect of number of chords, suggesting that it is the length of time spent away from a key, not number of chords that has an effect on memory.

O presente trabalho propõe pesquisar a relação entre processos mentais, improvisação musical e performance. Realiza essa investigação partindo da perspectiva da psicologia cognitiva das décadas de 1980 e 1990 que concebe a improvisação musical enquanto um sistema de expertise. Incorpora à pesquisa as novas abordagens fundamentadas em princípios da neurociência realizadas na primeira década do século XXI, que investigam a improvisação enquanto um comportamento criativo espontâneo e, através de experimentos com neuroimagem funcional, buscam as possíveis bases cerebrais para a criatividade. O objetivo deste estudo é apropriar-se de parte do conhecimento produzido pela psicologia cognitiva e pela neurociência acerca dos mecanismos psicológicos e neurobiológicos que geram a improvisação, a fim de sugerir possíveis interfaces entre esse conhecimento, as rotinas de estudo do músico improvisador e as estratégias pedagógicas do professor de improvisação. / This paper intends to research the relationship between mental processes, musical improvisation and performance. The investigation starts from the cognitive psychology perspective in the 1980s and 1990s, considered a system of expertise, and go forward on new approaches, based on principles of neuroscience from the first decade of this century, that understood the cognitive psychology as a creative and spontaneous behavior. Through experiments with functional neuroimaging, the study reffered here in seeks the possible cerebral basis for creativity. The aim of this study is to appropriate part of the knowledge, produced by cognitive psychology and neuroscience, about the psychological and neurobiological mechanisms that generate improvisation. The research suggests, eventually, possible interfaces between cognitive psychology and neuroscience, the routines of study for an improvising musician and the pedagogical strategies of a teacher of improvisation.

O presente trabalho propõe pesquisar a relação entre processos mentais, improvisação musical e performance. Realiza essa investigação partindo da perspectiva da psicologia cognitiva das décadas de 1980 e 1990 que concebe a improvisação musical enquanto um sistema de expertise. Incorpora à pesquisa as novas abordagens fundamentadas em princípios da neurociência realizadas na primeira década do século XXI, que investigam a improvisação enquanto um comportamento criativo espontâneo e, através de experimentos com neuroimagem funcional, buscam as possíveis bases cerebrais para a criatividade. O objetivo deste estudo é apropriar-se de parte do conhecimento produzido pela psicologia cognitiva e pela neurociência acerca dos mecanismos psicológicos e neurobiológicos que geram a improvisação, a fim de sugerir possíveis interfaces entre esse conhecimento, as rotinas de estudo do músico improvisador e as estratégias pedagógicas do professor de improvisação. / This paper intends to research the relationship between mental processes, musical improvisation and performance. The investigation starts from the cognitive psychology perspective in the 1980s and 1990s, considered a system of expertise, and go forward on new approaches, based on principles of neuroscience from the first decade of this century, that understood the cognitive psychology as a creative and spontaneous behavior. Through experiments with functional neuroimaging, the study reffered here in seeks the possible cerebral basis for creativity. The aim of this study is to appropriate part of the knowledge, produced by cognitive psychology and neuroscience, about the psychological and neurobiological mechanisms that generate improvisation. The research suggests, eventually, possible interfaces between cognitive psychology and neuroscience, the routines of study for an improvising musician and the pedagogical strategies of a teacher of improvisation.

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No description available.

Au cours des dernières années, l’avènement des technologies de captation du mouvement a radicalement transformé l’univers de la pratique artistique tout en ouvrant des perspectives inédites pour la recherche scientifique. La musique est actuellement l’un des domaines les plus impliqués dans ce renouvellement expressif et épistémologique. Dans ce cadre, les processus d’interaction entre médiation technologique, mouvement et son, semblent se décliner selon deux modalités majeures : d’une part, les technologies d’analyse du mouvement permettent d’étudier expérimentalement la connexion mutuelle entre phénomène acoustique et système sensori-moteur; de l’autre, la compréhension de la nature incarnée de l’expérience musicale oriente la conception et le développement de technologies interactives pour la performance vers un modèle plus holistique. En partant de ces prémisses, cette thèse porte sur la manière dont la transformation des aspects imperceptibles du mouvement en données perceptibles – sous forme de son – permet de prendre conscience des processus physiologiques et figuratifs qui sont à la base du geste. Dans ce contexte, la relation entre mouvement et feedback sonore est analysée selon une perspective écologique visant à mettre en lumière comment la médiation technologique induit un processus d’extension et d’intensification autopoïétique de l’anatomie corporelle. Notamment dans le cas de la pratique performative, l’interaction sonore offre alors au performeur la possibilité de redéfinir sa propre organisation perceptive sur la base d’un un nouveau répertoire des données sensorielles, lui permettant ainsi de repenser la composition expressive du mouvement. / During the last years, motion sensing technologies have radically transformed the universe of the artistic practice. This dramatic change has recently inspired new perspectives in scientific research. Music is actually among the most affected domaines by this expressive and epistemological renewal. The interactive relation between mediation technology, movement and sound, seems to be declined into two main modalities : on one hand, movement analysis’ technologies allow to study mutual connections between acoustic phenomenon and sensorimotor system, on the other hand, embodied understanding of musical experience can help to devise an holistic approach to interactive systems conception and development. Given this background scenario, this thesis focuses on how movement’s qualities transformation into sound allows the performer to become aware of physiological and imaginative processes in gesture composition. In this framework, sound feedback-movement relation is analyzed from an ecological point of view. According to this approach, mediation technology seems to elicit an autopoietic process of extension and intensification of corporeality. Especially in the artistic performance, sound interaction offers to performer a new sensorial geography that allows him/her to renew his/her perceptive organization and thereby rethink expressive composition of movement.