Burley! (sound design)

A young tetra fish, one of a million in her school, just wants some attention. Feeling lonely and bored, she is attracted by the manic antics of a gang of older fish who spend the hours inventing new extreme sports. She begins a quest to gain their acceptance, but at what cost?

Reassembled, Slightly Askew:Composition & Sound Design

Reassembled, Slightly Askew is an autobiographical, immersive audio-based artwork based on Shannon Sickels’ experience of falling critically ill with a rare brain infection and her journey of rehabilitation with an acquired brain injury. Audience members experience Reassembled individually, listening to the audio via headphones while lying on a bed. The piece makes use of binaural microphone technology and spatial sound design techniques, causing listeners to feel they are inside Shannon’s head, viscerally experiencing her descent into coma, brain surgeries, early days in the hospital, and re-integration into the world with a hidden disability. It is a new kind of storytelling, never done before about this topic, that places the listener safely in the first-person perspective with the aim of increasing empathy and understanding. Reassembled… was made through a 5-year collaboration with an interdisciplinary team of artists led by Shannon Sickels (writer & performer), Paul Stapleton (composer & sound designer), Anna Newell (director), Hanna Slattne (dramaturgy), Stevie Prickett (choreography), and Shannon’s consultant neurosurgeon and head injury nurse. It’s development and production has been made possible with the support of a Wellcome Trust Arts Award, the Arts Council NI, Sonic Arts Research Centre, Belfast's Metropolitan Arts Centre, and grants from the Arts & Disability Award Ireland scheme. In its 2015 premiere year, Reassembled had 99 shows across Northern Ireland, including at the Cathedral Quarter Arts Festival (the MAC, Belfast) and BOUNCE Arts & Disability Forum Festival (Lyric Theatre, Belfast). It was awarded 5 stars in the Stage, a Hospital Club h100 Theatre & Performance Award, and been shared at medical conferences and trainings across the UK. It continues to be presented in diverse artistic and educational contexts, including as part of A Nation’s Theatre Festival in 2016 at Battersea Arts Centre in London where it was given 4 star reviews in the Guardian, Time Out London and the Evening Standard. "A real-life ordeal, captured by a daring, disorientating artistic collaboration, which works brilliantly on so many levels…It should be available on prescription.” — The Stage ★★★★★ www.reassembled.co.uk Audio clips and documentary footage available here: http://www.paulstapleton.net/portfolio/reassembled-slightly-askew

Reflective learning through social network sites in design education

Reflective learning is vital for successful practice-led education such as animation, multimedia design and graphic design, and social network sites can accommodate various learning styles for effective reflective learning. In this paper, the researcher studies reflective learning through social network sites with two animation units. These units aim to provide students with an understanding of the tasks and workflows involved in the production of style sheets, character sheets and motion graphics for use in 3D productions for film and television and game design. In particular, an assessment in these units requires students to complete their online reflective journals throughout the semester. The reflective learning has been integrated within the unit design and students are encouraged to reflect weekly learning processes and outcomes. A survey evaluating for students’ learning experience was conducted, and its outcomes indicate that social network site based reflective learning will not be effective without considering students’ learning circumstances and designing peer-to-peer interactions.

Acoustic Design in Urban Development : analysis of urban soundscapes and acoustic ecology research in New York City

The world is urbanizing rapidly with more than half of the global population now living in cities. Improving urban environments for the well-being of the increasing number of urban citizens is becoming one of the most important challenges of the 21st century. Even though it is common that city planners have visions of a ’good urban milieu’, those visions are concerning visual aesthetics or practical matters. The qualitative perspective of sound, such as sonic diversity and acoustic ecology are neglected aspects in architectural design. Urban planners and politicians are therefore largely unaware of the importance of sounds for the intrinsic quality of a place. Whenever environmental acoustics is on the agenda, the topic is noise abatement or noise legislation – a quantitative attenuation of sounds. Some architects may involve acoustical aspects in their work but sound design or acoustic design has yet to develop to a distinct discipline and be incorporated in urban planning.My aim was to investigate to what extent the urban soundscape is likely to improve if modern architectural techniques merge with principles of acoustics. This is an important, yet unexplored, research area. My study explores and analyses the acoustical aspects in urban development and includes interviews with practitioners in the field of urban acoustics, situated in New York City. My conclusion is that to achieve a better understanding of the human living conditions in mega-cities, there is a need to include sonic components into the holistic sense of urban development.

An evaluation of a sketching interface for interaction with concatenative sound synthesis.

This paper presents the evaluation of morpheme a sketching interface for the control of sound synthesis. We explain the task that was designed in order to assess the effectiveness of the interface, detect usability issues and gather participants’ responses regarding cognitive, experiential and expressive aspects of the interaction. The evaluation comprises a design task, where partici-pants were asked to design two soundscapes using the morpheme interface for two video footages. Responses were gathered using a series of likert type and open-ended questions. The analysis of the data gathered revealed a number of usability issues, however the performance of morpheme was satisfactory and participants recognised the creative potential of the interface and the synthesis methods for sound design applications.

SoundCipher

The SoundCipher software library provides an easy way to create music in the Processing development environment. With the SoundCipher library added to Processing you can write software programs that make music to go along with your graphics and you can add sounds to enhance your Processing animations or games. SoundCipher provides an easy interface for playing 'notes' on the JavaSound synthesizer, for playback of audio files, and comunicating via MIDI. It provides accurate scheduling and allows events to be organised in musical time; using beats and tempo. It uses a 'score' metaphor that allows the construction of simple or complex musical arrangements. SoundCipher is designed to facilitate the basics of algorithmic music and interactive sound design as well as providing a platform for sophisticated computational music, it allows integration with the Minim library when more sophisticated audio and synthesis functionality is required and integration with the oscP5 library for communicating via open sound control.

High fashion

High Fashion is a practice-led research enquiry that examines the processes involved in producing a no-budget film of high aesthetic standards that can confidently compete in the global film festival market, and to reflect on the production techniques tested during the making of the film. The practical outcome of the research is a twenty-five minute short drama. It incorporates a large cast and crew, original designer clothing, extravagant sets, and a popular soundtrack. The thesis considers how over one hundred professionals volunteered their time, expertise, and equipment to help produce the film. The thesis also examines the many obstacles encountered while producing the film and how these were overcome. It is written for the student filmmaker as a guide to "learn by doing."

Workshop on HCI and game interfaces : a long romance

This full day workshop invites participants to consider the nexus where the interests of game design, the expectations of play and HCI meet: the game interface. Game interfaces seem different to the interface to other software and there have been a number of observations. Shneiderman famously noticed that while most software designers are intent on following the tenets of the “invisible computer” and making access easy for the user, games inter-faces are made for players: they embed challenge. Schell discusses a “strange” relationship between the player and the game enabled by the interface and user interface designers frequently opine that much can be learned from the design of game interfaces. So where does the game interface actually sit? Even more interesting is the question as to whether the history of the relationship and sub-sequent expectations are now limiting the potential of game design as an expressive form. Recent innovations in I/O design such as Nintendo’s Wii, Sony’s Move and Microsoft's Kinect seem to usher in an age of physical player-enabled interaction, experience and embodied, engaged design. This workshop intends to cast light on this often mentioned and sporadically examined area and to establish a platform for new and innovative design in the field.

That one piece of advice - microlecture

Programme: In these microlectures, developers, educators, critics, and artists give you the one piece of advice that they hold above all others. That one piece of advice: It's about the passion: Excerpt: Shades of madness - Creativity - Passion: There is something very important to observe about an industry that engages in these intense weekends. The monolithic Hollywood model is not viable, we need to scaffold the next gen of game designers, foster the passion, provide opportunity, CHANGE the model – not just dress it in new clothes

Rare chicken rescue

Sound design for documentary is an under-researched field. The specific context of representation of emotional or mental states is particularly open to clichéd treatment. Such treatment in the media often ‘perpetuates inaccurate or negative assumptions about mental health issues in the wider community’ (Francis et al 2005: 11) by employing, for example, either jarring sound/music combinations to signify ‘madness’ or overtly saccharine music to educe sympathy. This project adopted a practice-based approach to discovering a considered aesthetic treatment designed to elicit a more empathetic audience response. A more discriminating engagement with the intentions of the film was cultivated by abandoning both the ‘representational naturalism’ and the ‘distilled, evocative realism’ of documentary sound design (Davies 2007: 18) in favour of a more lyrical or musical approach. To achieve this we manipulated perspective, tonal character and perceptions of space in the final mixing stage. The project was funded by the Film Australia National Interest Program, ABC TV and the Pacific Film and Television Commission. As a crucial contributor to the aesthetic of the project I was nominated in the funding application, and ultimately received an AFI Award for Best Sound in a Documentary in 2008. The film was honoured by The Film Critics Circle of Australia, The Slamdance Film Festival in Utah and The Sydney Film Festival. It has been favourably reviewed in national and international print media (The Age, Sydney Morning Herald, among others) as well as online film/culture zines and blogs.

Nurse-led trials of medical devices: General principles and good practice

Aim To provide an overview of key governance matters relating to medical device trials and practical advice for nurses wishing to initiate or lead them. Background Medical device trials, which are formal research studies that examine the benefits and risks of therapeutic, non-drug treatment medical devices, have traditionally been the purview of physicians and scientists. The role of nurses in medical device trials historically has been as data collectors or co-ordinators rather than as principal investigators. Nurses more recently play an increasing role in initiating and leading medical device trials. Review Methods A review article of nurse-led trials of medical devices. Discussion Central to the quality and safety of all clinical trials is adherence to the International Conference on Harmonization Guidelines for Good Clinical Practice, which is the internationally-agreed standard for the ethically- and scientifically-sound design, conduct and monitoring of a medical device trial, as well as the analysis, reporting and verification of the data derived from that trial. Key considerations include the class of the medical device, type of medical device trial, regulatory status of the device, implementation of standard operating procedures, obligations of the trial sponsor, indemnity of relevant parties, scrutiny of the trial conduct, trial registration, and reporting and publication of the results. Conclusion Nurse-led trials of medical devices are demanding but rewarding research enterprises. As nursing practice and research increasingly embrace technical interventions, it is vital that nurse researchers contemplating such trials understand and implement the principles of Good Clinical Practice to protect both study participants and the research team.

Living the indie life : mapping creative teams in a 48 hour game jam and playing with data

In contemporary game development circles the ‘game making jam’ has become an important rite of passage and baptism event, an exploration space and a central indie lifestyle affirmation and community event. Game jams have recently become a focus for design researchers interested in the creative process. In this paper we tell the story of an established local game jam and our various documentation and data collection methods. We present the beginnings of the current project, which seeks to map the creative teams and their process in the space of the challenge, and which aims to enable participants to be more than the objects of the data collection. A perceived issue is that typical documentation approaches are ‘about’ the event as opposed to ‘made by’ the participants and are thus both at odds with the spirit of the jam as a phenomenon and do not really access the rich playful potential of participant experience. In the data collection and visualisation projects described here, we focus on using collected data to re-include the participants in telling stories about their experiences of the event as a place-based experience. Our goal is to find a means to encourage production of ‘anecdata’ - data based on individual story telling that is subjective, malleable, and resists collection via formal mechanisms - and to enable mimesis, or active narrating, on the part of the participants. We present a concept design for data as game based on the logic of early medieval maps and we reflect on how we could enable participation in the data collection itself.

Land of Ludos : envisioning a game jam as storied space and game

The Land Of Ludos is a proposal or a design concept for a game that re-imagines the recorded Bluetooth device movements from the 2011 48 Hour Game Making Challenge as an interactive narrative experience. As game developers, the most interesting elements of the 48 Hour challenge data visualisation project is not measurement or analysis of process, but the relationships and narratives created during the experience. [exerpt truna aka j.turner, Thomas & Owen, 2013] See: truna aka j.turner, Thomas & Owen (2013) Living the indie life: mapping creative teams in a 48 hour game jam and playing with data, in proc IE'2013, 9th Australasian Conference on Interactive Entertainment, September 30 - October 01 2013, Melbourne, VIC, Australia