| 城 一裕（じよう かずひろ） | データ更新日：2023.05.29 |
准教授 ／
芸術工学研究院
音響設計部門
| 1. | 鷲尾 拓海, 城 一裕, 生物の鳴き声による創作楽器の制作, 研究報告音楽情報科学（MUS）, 2022-MUS-134, 30, 1-7, 2022.06. |
| 2. | 佐伯 拓海, 城 一裕, 海洋性発光細菌をインクとして用いたデジタルスクリーン製版による映像表現の検討, 研究報告ヒューマンコンピュータインタラクション（HCI）, 2022-HCI-198, 15, 1-2, 2022.06. |
| 3. | Nobuhiro Masuda, Yosaku Matsutani, Yasuharu Akiyoshi, Kazuhiro Jo, Juppo Yokokawa, Reinventing Phonography: Three Case Studies of the Transduction, ISEA2022, International Symposium on Electronic Art, Barcelona. Proceedings, 10.7238/isea2022.proceedings, 861-863, 2022.12. |
| 4. | 佐伯拓海, 城一裕, “A Medium for Images or Luminous Bacteria” 発光細菌とデジタルスクリーン製版を用いた映像の検討, インタラクション2023, 344-347, 2023.03. |
| 5. | Juppo Yokokawa, Nobuhiro Masuda, Kazuhiro Jo, Chromatophony A Potential Application of Living Images in the Pixel Era, Leonardo, 10.1162/leon_a_02107, 55, 3, 252-257, 2022.05, Squids can rapidly change their body color using chromatophores that are controlled by electrical signals transmitted through nerves. The authors transform a squid’s skin into an audio visualizer called Chromatophony. This is accomplished by sending an electric tone signal composed as music to the skin. Although Chromatophony’s appearance is similar to that of computer-generated images, it is based on a natural phenomenon with a colorful mosaic display. By comparing chromatophores with pixels, the authors propose Living Images to expand the potential of visual expression from the perspective of bioart theory.. |
| 6. | 中内 春一郎, 城 一裕, APD をめぐる諸問題ー研究・当事者・支援の視座からー, 共創学会第 5 回年次大会予稿集 - 2021年12月, 2021.12. |
| 7. | 松浦知也, 城一裕, mimium:音と音楽のための自己拡張性の高いプログラミング言語の設計と実装, 日本ソフトウェア科学会研究会資料シリーズ(Web), 94, 2021.12. |
| 8. | Tomoya Matsuura, Kazuhiro Jo, mimium: a self-extensible programming language for sound and music., FARM 2021: Proceedings of the 9th ACM SIGPLAN International Workshop on Functional Art, Music, Modelling, and Design(FARM@ICFP), 10.1145/3471872.3472969, 1-12, 2021.08, We propose a programming language for music named mimium, which combines temporal-discrete control and signal processing in a single language. mimium has an intuitive imperative syntax and can use stateful functions as Unit Generator in the same way as ordinary function definitions and applications. Furthermore, the runtime performance is made equivalent to that of lower-level languages by compiling the code through the LLVM compiler infrastructure. By using the strategy of adding a minimum number of features for sound to the design and implementation of a general-purpose functional language, mimium is expected to lower the learning cost for users, simplify the implementation of compilers, and increase the self-extensibility of the language. In this paper, we present the basic language specification, semantics for simple task scheduling, the semantics for stateful functions, and the compilation process. mimium has certain specifications that have not been achieved in existing languages. Future works suggested include extending the compiler functionality to combine task scheduling with the functional paradigm and introducing multi-stage computation for parametric replication of stateful functions.. |
| 9. | 石井 優里, 城 一裕, 演劇空間としての『あつまれ どうぶつの森』の可能性—Possibilities of "Animal Crossing : New Horizons" as Theatrical Space, ヒューマンインタフェース学会研究報告集, 23, 79-86, 2021.06. |
| 10. | イ・スンギュ、城 一裕, 日本の電子音楽の現状調査 — モジュラーシンセサイザーを対象として, 先端芸術音楽創作学会 会報, Vol.13 , No.1 , 20-29, 2021.02. |
| 11. | 吉村帆生、城 一裕, 人工喉頭と肉声の組合せによる歌声の芸術的価値の考察, 先端芸術音楽創作学会 会報, Vol.13, No.1, 12-19, 2021.02. |
| 12. | 吉村帆生、城 一裕, 人工喉頭と肉声の組合せによる歌声の芸術的価値の考察, 先端芸術音楽創作学会 会報, Vol.13 No.1, 12-19, 2021.02. |
| 13. | イ・スンギュ,城 一裕, 日本の電子音楽の現状調査 ― モジュラーシンセサイザーを対象として, 先端芸術音楽創作学会 会報, Vol.13 No.1, 20-29, 2021.02. |
| 14. | Kazuhiro Jo, Juppo Yokokawa, Nobuhiro Masuda, Living Images: Images Supported by Living Things, Proceedings of the International Display Workshops, 10.36463/idw.2020.0850, 27, 850-853, 2020.12, We propose the notion of "Living Images" by reviewing the historical background from early color photography through germ paintings with microbes to recent artworks include our audiovisual work Chromatophony. We aim to highlight the link between digital and living images and initiate discussions on future forms of display.. |
| 15. | K. Nishida K. Jo, Modules for analog synthesizers using Aloe vera biomemristor, Proceedings of the International Conference on New Interfaces for Musical Expression, 111-115, 2020.07. |
| 16. | 横川十帆, 城一裕, 48.生物を用いた芸術作品の歴史的位置付けーケンサキイカの色素胞を用いた映像装置・作品の制作を通じて, 共創学会第 3 回年次大会予稿集, -, 73-76, 2019.12. |
| 17. | 永田成彦, 城 一裕, 人と音と酒, 共創学会第 3 回年次大会予稿集, -, 103-105, 2019.12. |
| 18. | 吉村帆生,城 一裕, 「声」の楽器による楽曲制作を通じた、声の違和感に関する研究, 先端芸術音楽創作学会 会報, Vol.11 No.1, 5-10, 2019.11. |
| 19. | 横川十帆, 城 一裕, イカの色素胞を用いた新たな視覚表現の提案, 先端芸術音楽創作学会 会報, Vol.11 No.1, 1-4, 2019.11. |
| 20. | 西田騎夕, 城 一裕, バイオメモリスタを用いたモジュラーシンセの開発とそれによる音楽表現の拡張の検討, 先端芸術音楽創作学会会報, 11, 23-28, 2019.11. |
| 21. | 松浦知也, 城 一裕, 計算機による音生成の異なるあり方を探る 『Electronic Delay Time Automatic Calculator』の制作, 先端芸術音楽創作学会 会報, Vol.11 No.1, 43-49, 2019.11. |
| 22. | 帯屋健之, 城 一裕, 音刺激を用いた海釣り用誘引デバイスの開発, 先端芸術音楽創作学会 会報, Vol.11 No.1, 36-42, 2019.11. |
| 23. | 帯屋健之, 城 一裕, 音刺激を用いた海釣り用誘引デバイスの開発, 日本音響学会九州支部，第13回 学生のための研究発表会, -, 21-24, 2019.10. |
| 24. | Kazuhiro Jo, Paul DeMarinis, Life in the groove: Re-visiting the common sense of sound reproduction, Proceedings of RE:SOUND 2019, 10.14236/ewic/resound19.11, 72-75, 2019.08. |
| 25. | 清水久見, 城一裕, モーターを用いた擦弦デバイス“Gizmoviolon”, 情報処理学会研究報告(Web), 2018, MUS-119, 2018.06. |
| 26. | 帯屋健之, 城一裕, 海釣り用の音刺激による誘引デバイス“Multi-Sounds Fish Call”, 情報処理学会研究報告(Web), 2018, MUS-119, 2018.06. |
| 27. | Kazuhiro Jo, Au clair de la lune on gramophone-for Édouard-Léon Scott and László Moholy-Nagy-(1860/1923/2015), 12th International Conference on Tangible, Embedded, and Embodied Interaction, TEI 2018 TEI 2018 - Proceedings of the 12th International Conference on Tangible, Embedded, and Embodied Interaction, 10.1145/3173225.3173300, 517-520, 2018.03, [URL], "Au Clair de la Lune on Gramophone-For Édouard-Léon Scott and László Moholy-Nagy-(1860/1923/2015)" is a work that realizes the provocative idea of Moholy-Nagy, "a record without prior acoustic information" (1923), with the help of mature vinyl audio recording technology and current personal fabrication tools. In this paper, I explain the body, background, and characteristics of the work.. |
| 28. | Daiya Aida, Kiyoshi Suganuma, Kazuhiro Jo, Abe Kazunao, The KOROGARU Park series Three features of the Park of the future, 16th International ACM Conference on Interaction Design and Children, IDC 2017 IDC 2017 - Proceedings of the 2017 ACM Conference on Interaction Design and Children, 10.1145/3078072.3079738, 379-384, 2017.06, [URL], This paper reports the findings made during the operation of the KOROGARU Park series, a series of temporary park facilities featuring media technologies launched by the Yamaguchi Center for Arts and Media located in Yamaguchi, Japan between 2012 and 2016. The KOROGARU Park series has three common features: (1) Physical forms, (2) Media mechanisms, and (3) Social sprouts. In this paper, we examine the three features in detail, including description and analysis, for the complete series of five parks. While the examination, we intend to depict the potential of media technology in fostering social growth and learning in parks.. |
| 29. | Yosuke Sakai, Takayuki Ito, Mitsuhito Ando, Keina Konno, Tsubasa Nishi, Kiyoshi Suganuma, Fumie Takahara, Kazuhiro Jo, Tomimatsu Kiyoshi, Practical Study of Open Sharing at Yamaguchi Center for Arts and Media [YCAM], International Journal of Asia Digital Art and Design Association, 10.20668/adada.20.4_85, 20, 4, 85-93, 2017, [URL], Yamaguchi Center for Arts and Media [YCAM] (herein after YCAM) is an art center focused on media technology. It produces artwork incorporating media technology, develops media technology, archives related information, and provides education. YCAM has open shared its works from some of its projects. To open share means to publish a work so that a third party can utilize it freely within certain conditions. In this paper, the introduction of open sharing at YCAM and the practice of implementing open sharing will be described and discussed.. |
| 30. | Mitsuhito Ando, Chisaki Murakami, Takayuki Ito, Kazuhiro Jo, Initial trials of ofxEpilog From real time operation to dynamic focus of epilog laser cutter, 29th Annual Symposium on User Interface Software and Technology, UIST 2016 UIST 2016 Adjunct - Proceedings of the 29th Annual Symposium on User Interface Software and Technology, 10.1145/2984751.2984756, 175-176, 2016.10, [URL], This paper describes ofxEpilog which enable people to control a laser cutter of Epilog in real time. ofxEpilog is an addon of openFrameworks, an open source C++ toolkit for creative coding. With the addon, people could directly send their image object to a laser cutter through Ethernet. By alternating the generation and transmission of the command of cutting, the addon could sequentially control a laser cutter in real time. This paper introduces our initial trials of ofxEpilog with a real time operation (A), dynamic focus (zaxis) control with a given 3D object (B), and a scanned 3D object (C). Technical limitations and our upcoming challenges are also discussed.. |
| 31. | 坂井 洋右, 伊藤 隆之, 水野祐, 城 一裕, 富松 潔, GRP Contract Form – 成果のオープン化を実現する共同研究開発のための契約書ひながた –, 日本バーチャルリアリティ学会 論文誌, 2016.03. |
| 32. | 北堀あすみ, 松井茂, 城 一裕, 《日常の行為とその周りの人々 - A-Z, a-zから考える》の分析, 日本認知科学会研究分科会「間合い―時空間インタラクション」第4回研究会予稿集, 2016.03, [URL], 本研究では，発表代表者による修士修了制作の映像作品《日常の行為とその周りの人々 - A-Z，a-zから考える》を対象に，日常の行為に基づく「接触によるコミュニケーション」という視点から分析を試みた．対象とした本映像作品は，発表代表者の日常を基盤とした28の単独行為を捉えた「A-Z」と，街頭の人々と発表代表者共が行った26の共同行為を捉えた「a-z」から構成されている．分析の前提として，ウィリアムスによるコミュニケーション形態の分類を踏まえ，「A-Z」を個人完結型，「a-z」を対人・小集団のコミュニケーションと位置づけている．行為直後に記した動機や感想等のコメンタリーを分析し，日常生活における触覚によるコミュニケーションの役割を考察した結果，接触を中心とした一人称のコミュニケーションが，ありえるかもしれない別の身体感を体験として理解したこと，および，接触を中心とした複数名によるコミュニケーションが自発的な行為と解放感を促したこと，が明らかとなった．. |
| 33. | Keina Konno, Richi Owaki, Yoshito Onishi, Ryo Kanda, Sheep, Akiko Takeshita, Tsubasa Nishi, Naoko Shiomi, Kyle McDonald, Satoru Higa, Motoi Shimizu, Yosuke Sakai, Yasuaki Kakehi, Kazuhiro Jo, Yoko Ando, Kazunao Abe, Takayuki Ito, Dividual plays experimental lab - An installation derived from dividual plays, 10th Anniversary Conference on Tangible Embedded and Embodied Interaction, TEI 2016 TEI 2016 - Proceedings of the 10th Anniversary Conference on Tangible Embedded and Embodied Interaction, 10.1145/2839462.2856346, 647-652, 2016.02, [URL], Dividual Plays Experimental Lab" is an extract from the dance piece "Dividual Plays". Dividual Plays was produced as the first research outcome of "Reactor for Awareness in Motion [RAM]", a research project we have been involved since 2010 (http://ram.ycam.jp/en/). Dividual Plays Experimental Lab consists of essential elements of Dividual Plays, virtual environments for dance "scenes", a programming toolkit "RAM Dance Toolkit", and a motion capture system "MOTIONER". With these systems, the lab allows the visitors to explore and create their own body movements correspond with the experience of the dancers in Dividual Plays.. |
| 34. | Kiyoshi Suganuma, Daiya Aida, Rie Okada, Satoshi Hama, Zan Yamashita, Takayuki Ito, Yosuke Sakai, Kazuhiro Jo, "KOTOBA SHINTAI" A workshop to explore the interconnectivity between words and body movements, SIGGRAPH Asia, SA 2015 SIGGRAPH Asia 2015 Symposium on Education, SA 2015, 10.1145/2818498.2818509, 2015.11, [URL]. |
| 35. | Kazuhiro Jo, The role of mechanical reproduction in (what was formerly known as) the record in the age of personal fabrication, Leonardo Music Journal, 10.1162/LMJ_a_00206, 24, 65-67, 2014.12, [URL], The author examines the role of mechanical reproduction in (what was formerly known as) analog records in the age of personal fabrication with an example from his recent project cutting record. He investigates the creation of records without inputting sound sources by utilizing a production technique and a variety of materials, in conjunction with a discussion of a performance and workshop extracted from the project.. |
| 36. | Kazuhiro Jo, The Role of Mechanical Reproduction in (What Was Formerly Known as) the Record in the Age of Personal Fabrication, LEONARDO MUSIC JOURNAL, 10.1162/LMJ_a_00206, 24, 65-67, 2014.12, The author examines the role of mechanical reproduction in (what was formerly known as) analog records in the age of personal fabrication with an example from his recent project cutting record. He investigates the creation of records without inputting sound sources by utilizing a production technique and a variety of materials, in conjunction with a discussion of a performance and workshop extracted from the project.. |
| 37. | John Smith, Kazuhiro Jo, "Toru" A game that reverses the wisdom of age using mosquito sound, 1st ACM SIGCHI Annual Symposium on Computer-Human Interaction in Play, CHI PLAY 2014 CHI PLAY 2014 - Proceedings of the 2014 Annual Symposium on Computer-Human Interaction in Play, 10.1145/2658537.2662973, 375-378, 2014.10, [URL], We propose "Toru," a game that reverses the game skills developed as a person ages using ultra-highfrequency (mosquito) sound. The game has its origin in the computer game Simon (1978), which we interpret from visual to auditory form using the mosquito sound (i.e., ultra-high-frequency sound) for its difficulty settings. Because of individual variations in hearing, the Toru game transforms its character from Mimicry (simulation) to Alea (chance), and provides an opportunity to reverse the wisdom of age (i.e., game skills advantage) developed by adults over the years.. |
| 38. | 青木 聖也, 平林 真実, 城 一裕, 金山 智子, 鉄道などの狭い移動体空間を利用した VJ・デコレーション表現の提案, エンタテインメントコンピューティングシンポジウム2014論文集, 2014, 155-157, 2014.09. |
| 39. | Kazuhiro Jo, Adam Parkinson, Atau Tanaka, Workshopping participation in music, Organised Sound, 10.1017/S1355771813000253, 18, 3, 282-291, 2013.12, [URL], This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the Music One Participates In, which focuses on a shift from the listener-as-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term 'workshop', as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of 'workshopping'.. |
| 40. | Kazuhiro Jo, Adam Parkinson, Atau Tanaka, Workshopping participation in music, Organised Sound, 10.1017/S1355771813000253, 18, 3, 282-291, 2013.12, This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the Music One Participates In, which focuses on a shift from the listener-as-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term 'workshop', as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of 'workshopping'. © 2013 Cambridge University Press.. |
| 41. | Kentaro Fukuchi, Akifumi Tomiyama, Kazuhiro Jo, Shunsuke Takao, Laser cooking A novel culinary technique for dry heating using a laser cutter and vision technology, ACM Multimedia 2012 4th Workshop on Multimedia for Cooking and Eating Activities, CEA 2012 CEA 2012 - Proceedings of the 2012 ACM Workshop on Multimedia for Cooking and Eating Activities, Co-located with ACM Multimedia 2012, 10.1145/2390776.2390788, 55-58, 2012.12, [URL], We propose a novel cooking technology that uses a laser cutter as a dry-heating device. In general, dry-heat cooking heats the whole surface of an ingredient, while a laser cutter heats a small spot of the surface in a very short time. Our approach employs a computer-controlled laser cutter and a video image-processing technique to cook ingredients according to their shape and composition, allowing for new tastes, textures, decorations, and engraving unique identifiers to the ingredients. We introduce some examples of laser cooking. In addition, we propose a multi-layered 3D printing technique using powdered sugar to create edible sculpture.. |
| 42. | 城一裕, 2011-2012年の都市・建築・言葉 アンケート, 10＋1 web site, 2012.01. |
| 43. | Tomotaro Kaneko, Kazuhiro Jo, Generative music workshop, 2011 2nd International Conference on Culture and Computing, Culture and Computing 2011 Proceedings - 2011 2nd International Conference on Culture and Computing, Culture and Computing 2011, 10.1109/Culture-Computing.2011.54, 179-180, 2011.12, [URL], In this paper, we present our practice of Generative Music Workshop (2010-). This workshop is a series of events that reproduce past masterpieces of generative music. The aim of the workshop is historical re-examination of generative works to contribute to recent musical practices with mobile computing devices. We regard that the organization of sounds with environmental elements would be a significant for music application of mobile computer. With this view, this workshop reflects past experimental music/sound art works as one of the practices that is conscious of the relationship between generativity and environment. This paper depicts the diversity of the way to organize sounds in three works: Steve Reich's Pendulum music, Alvin Lucier's Music on a long thin wire, and Richard Lehman's Travelon Gamelon.. |
| 44. | 城一裕, 「いったい何がきこえているんだろう」展, 音響学会音響教育研究会, 6, 1, 51-56, 2011.01, 「いったい何がきこえているんだろう」展は，NTTインターコミュニケーション・センターで開催された，「音楽」ではなく「言葉」でもない「音」に注目した展覧会である．本展覧会では，音と知覚の連動，音と空間や環境の関係性，ききとり方の変化など，各テーマに合わせたアート作品やデバイスなどを展示し，遊ぶように音を体験，思考しながら，聴覚と知覚に関する新しい発見の扉を開くことを目指した．本稿では，展覧会の紹介を通じ，見たり，触れたりするのではなく，聴くことで気づく世界のあり方について議論したい．. |
| 45. | Giulio Jacucci, Mira Wagner, Ina Wagner, Elisa Giaccardi, Mauro Annunziato, Nell Breyer, Jonas Hansen, Kazuhiro Jo, Stijn Ossevoort, Alessandro Perini, Natacha Roussel, Susanne Schuricht, ParticipArt Exploring participation in interactive art installations, 9th IEEE International Symposium on Mixed and Augmented Reality 2010: Arts, Media, and Humanities, ISMAR-AMH 2010 9th IEEE International Symposium on Mixed and Augmented Reality 2010 Arts, Media, and Humanities, ISMAR-AMH 2010 - Proceedings, 10.1109/ISMAR-AMH.2010.5643313, 3-10, 2010.12, [URL], ParticipART is an initiative aimed at exploring participation in interactive works using ubiquitous computing and mixed reality. It supports and analyses work of artists and creative practitioners incorporating or reflecting on participatory processes to support new roles and forms of engagement for art participants. We aim at proposing a space for discussion that can enliven and enrich the dialogue between human-computer interaction and the creative practices. We present several works that have been exhibited and experienced. The works are used to reflect on the different participative strategies and the role of interaction technologies: enabling authorship, affording connectivity, interacting with artificial beings, reinterpreting the visitor world, and engaging in performative acts.. |
| 46. | Kazuhiro Jo, The way from DIY (do it yourself) to DIWO (do it with others) thorough chiptune marching band, Kyokai Joho Imeji Zasshi/Journal of the Institute of Image Information and Television Engineers, 10.3169/itej.64.1465, 64, 10, 1465-1469, 2010.10, [URL]. |
| 47. | 城 一裕, DIY (Do It Yourself), そして, DIWO (Do It with Others) への道り : Chiptune Marching Band の活動を通じて, 映像情報メディア学会誌 : 映像情報メディア = The journal of the Institute of Image Information and Television Engineers, 10.3169/itej.64.1465, 64, 10, 1465-1469, 2010.10, 本稿では,筆者が昨年英国滞在中に,世界各地のフェスティバル,アートスペース,国際 会議の場で行ってきたDIY(Do It Yourself )の実践と音のパフォーマンスに関する参加 型の試みChiptune Marching Bandの活動を通じて,現在,アーティスト,技術者,デ ザイナー,研究者たちの間で盛り上がりを見せつつある,DIY(Do It Yourself)そして DIWO(Do It With Others)と呼ばれている動き,その一例を紹介していきたいと思い ます.. |
| 48. | Lalya Gaye, Atau Tanaka, Ranald Richardson, Kazuhiro Jo, Social inclusion through the digital economy Digital creative engagement and youth-led innovation, 9th International Conference on Interaction Design and Children, IDC2010 Proceedings of IDC2010 The 9th International Conference on Interaction Design and Children, 10.1145/1810543.1810612, 352-355, 2010.07, [URL], SIDE is a UK-based research project investigating the social benefits of digital technologies for marginalized social groups. The Creative Media Group works in particular with creative practices and young people, with a twofold research focus: the fostering of engagement through digital creativity, and the support of youth-led innovation with digital technologies. This paper describes the aims and objectives of the Creative Media Group in the SIDE project, as well as the first few months of its research.. |
| 49. | Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori, Designing interactive blimps as puppets, 8th International Conference on Entertainment Computing, ICEC 2009 Entertainment Computing - ICEC 2009 - 8th International Conference, Proceedings, 10.1007/978-3-642-04052-8_21, 204-209, 2009.11, [URL], In this paper we propose four models of unmanned blimps: Robots, Pets, Agents, and Puppets, according to whether they are autonomous or not and whether they are shown to people or not. Robots and Pets are autonomous and Agents and Puppets are not autonomous. Robots and Agents are shown to people and Pets and Puppets are not shown to people. Based on these models, we approach toward interactive blimps as puppets, which visualize performances from people to people with real time effects and motions. We implemented prototype applications where people could make performances through controls of the blimp's light effects and flight motions with voice via mobile phones and a physical controller. We organized observations of these prototypes at a laboratory experiment and demo exhibitions. We also discuss our models based on spectators' experience.. |
| 50. | Jamie Allen, Areti Galani, Kazuhiro Jo, An ecology of practice Chiptune marching band, 7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009 C and C 2009 - Proceedings of the 2009 ACM SIGCHI Conference on Creativity and Cognition, 10.1145/1640233.1640294, 347-348, 2009.10, [URL], Chiptune Marching Band (CTMB) is a workshopperformance held in diverse public venues internationally (http://chiptunemarchingband.com/). The CTMB project proposes a contemporary form of dialogic art - an inclusive, participatory event designed to provide direct experience of resource, social and creative dynamics. In this poster we invoke the phrase "ecology of practice" to describe CTMB in terms of a number of interrelationships: amongst skills, with materials, in creativity and between participants. We also present our evaluative methods for 'participant' feedback within this type of event that are designed to be congruous with the overall intention.. |
| 51. | Kazuhiro Jo, Jamie Allen, Areti Galani, Chiptune marching band A public workshop and performance, 7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009 C and C 2009 - Proceedings of the 2009 ACM SIGCHI Conference on Creativity and Cognition, 10.1145/1640233.1640366, 481-482, 2009.10, [URL], This paper proposes a public workshop and performance, "Chiptune Marching Band", where participants make a sensor-reactive sound instrument, powered by a localized power resource, and perform with their instrument as a band.. |
| 52. | Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori, Toward entertainment blimps for everyone by everyone, 7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009 C and C 2009 - Proceedings of the 2009 ACM SIGCHI Conference on Creativity and Cognition, 10.1145/1640233.1640344, 445-446, 2009.10, [URL], This paper describes our vision and approach toward "entertainment blimps for everyone by everyone" through DIY prototyping. Our vision of "entertainment blimps for everyone" is that operators, who control the blimps, and spectators, who observe the blimps, could share and enjoy the activities together. Our vision of "entertainment blimps by everyone" is that both of developers, who are skilled in electronics or computer programming, and users, who are not, could reproduce and modify their own entertainment blimp projects.. |
| 53. | Kazuhiro Jo, Ken Furudate, Daisuke Ishida, Mizuki Noguchi, Transition of instruments in the SINE WAVE ORCHESTRA, Computers in Entertainment, 10.1145/1461999.1462004, 6, 4, 2008.12, [URL], This article discusses the transition of instruments in The SINE WAVE ORCHESTRA (SWO), which is a participatory sound performance project. Its basic concept is that each participant plays a sine wave, to collectively create a sound representation. Although all SWO works use the same sound source (i.e., sine waves), each SWO work employs different instruments. The employment of various instruments results in different styles of collective sound representation. This article examines five of the instruments utilized in SWO works. In The SINE WAVE ORCHESTRA The Stairway, the participants played sine waves with light-sensitive instruments as well as other instruments. In The SINE WAVE ORCHESTRA stay, participants accumulated sine waves in an echoless chamber. In The SINE WAVE ORCHESTRA nomadic, each participants played and exhibitied a sine wave with a Linux-installed Pod. At The SINE WAVE ORCHESTRA at ZeroOne San Jose/ISEA 2006, each participant played a sine wave with a hand-held plastic egg instrument; in The SINE WAVE ORCHESTRA mediate, participants extended the recursion of sine waves with eight sets of boards. In this article we discuss which elements of the instrument affect how people create collective sound representations and describe the participants' experience with the instruments.. |
| 54. | Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori, Design of installation with interactive UAVs, 2008 International Conference on Advances in Computer Entertainment Technology, ACE 2008 Proceedings of the 2008 International Conference on Advances in Computer Entertainment Technology, ACE 2008, 10.1145/1501750.1501874, 2008.12, [URL]. |
| 55. | K. Jo, K. Furudate, D. Ishida, N. Mizuki, Transition of instruments in The SINE WAVE ORCHESTRA, ACM Computers in Entertainment, 10.1145/1461999.1462004, 6, 4, 1-18, 2008.12, This article discusses the transition of instruments in The SINE WAVE ORCHESTRA (SWO), which is a participatory sound performance project. Its basic concept is that each participant plays a sine wave, to collectively create a sound representation. Although all SWO works use the same sound source (i.e., sine waves), each SWO work employs different instruments. The employment of various instruments results in different styles of collective sound representation. This article examines five of the instruments utilized in SWO works. In The SINE WAVE ORCHESTRA The Stairway, the participants played sine waves with light-sensitive instruments as well as other in- struments. In The SINE WAVE ORCHESTRA stay, participants accumulated sine waves in an echoless chamber. In The SINE WAVE ORCHESTRA nomadic, each participants played and ex- hibitied a sine wave with a Linux-installed Pod. At The SINE WAVE ORCHESTRA at ZeroOne San Jose/ISEA 2006, each participant played a sine wave with a hand-held plastic egg instrument; in The SINE WAVE ORCHESTRA mediate, participants extended the recursion of sine waves with eight sets of boards. In this article we discuss which elements of the instrument affect how people create collective sound representations and describe the participants’ experience with the instruments.. |
| 56. | K. Jo, Audio Interface as a Device for Physical Computing, Audio Mostly 2008 - a conference on Interaction with Sound, 123-127, 2008.10, In this paper, we would like to describe the employment of audio interface as a device for physical computing. We compare the audio interface with other devices and describe its characteristics. We also present examples of the employment with three different art works, Monalisa "shadow of the sound", The SINE WAVE ORCHESTRA stay amplified, and AEO. We explain the implementation of each work with different physical components. Finally, we discuss some of the potential of the employment of audio interface for future implementation.. |
| 57. | K. Jo, N. Nagano, Monalisa: "see the sound, hear the image", 8th International Conference New Interface for Musical Expression. NIME '08, 315-318, 2008.06, Monalisa is a software platform that enables to "see the sound, hear the image”. It consists of three software: Monalisa Application, Monalisa-Audio Unit, and Monalisa-Image Unit, and an installation: Monalisa “shadow of the sound”. In this paper, we describe the implementation of each software and installation with the explanation of the basic algorithms to treat the image data and the sound data transparently.. |
| 58. | Kazuhiro Jo, DrawSound A drawing instrument for sound performance, 2nd International Conference on Tangible and Embedded Interaction, TEI 2008 TEI'08 - Second International Conference on Tangible and Embedded Interaction - Conference Proceedings, 10.1145/1347390.1347405, 59-62, 2008.04, [URL], DrawSound is a drawing instrument for sound performances that combines multi-touch input technology with the expressive character of drawing. The instrument is intended to be used in two different art projects, The SINE WAVE QUARTET, and aeo. In this paper, we describe the implementation of DrawSound with three different pens and show how we design the two different sound performances. We also explain our preliminarily observations about the unique characters of DrawSound.. |
| 59. | Kazuhiro Jo, Audio interface as a device for physical computing, 2008 Audio Mostly Conference - A Conference on Interaction with Sound Proceedings of the Audio Mostly Conference - A Conference on Interaction with Sound, 123-126, 2008, In this paper, we would like to describe the employment of audio interface as a device for physical computing. We compare the audio interface with other devices and describe its characteristics. We also present examples of the employment with three different art works, Monalisa "shadow of the sound", The SINE WAVE ORCHESTRA stay amplified, and AEO. We explain the implementation of each work with different physical components. Finally, we discuss some of the potential of the employment of audio interface for future implementation.. |
| 60. | Kazuhiro Jo, Audio interface as a device for physical computing, 2008 Audio Mostly Conference - A Conference on Interaction with Sound Proceedings of the Audio Mostly Conference - A Conference on Interaction with Sound, 123-126, 2008, In this paper, we would like to describe the employment of audio interface as a device for physical computing. We compare the audio interface with other devices and describe its characteristics. We also present examples of the employment with three different art works, Monalisa "shadow of the sound", The SINE WAVE ORCHESTRA stay amplified, and AEO. We explain the implementation of each work with different physical components. Finally, we discuss some of the potential of the employment of audio interface for future implementation.. |
| 61. | Kumiyo Nakakoji, Kazuhiro Jo, Yasuhiro Yamamoto, Yoshiyuki Nishinaka, Mitsuhiro Asada, Reproducing and re-experiencing the writing process in Japanese calligraphy, 2nd Annual IEEE International Workshop on Horizontal Interactive Human-Computer Systems, Tabletop 2007 Tabletop 2007 - 2nd Annual IEEE International Workshop on Horizontal Interactive Human-Computer Systems, 10.1109/TABLETOP.2007.24, 75-78, 2007.12, [URL], Japanese calligraphy is the art of brush writing where a person writes Japanese characters with a Chinese brush against a sheet of paper. We have implemented a mechanism to capture the process of producing Japanese calligraphy using MERL's DiamondTouch (DT) table. We add a very thin metal wire along the length of the brush to carry an electric signal from the writer's body through the brush tuft and ink to the table. As the brush tuft is touches a sheet of paper placed on the surface of the DT table, the ink in the tuft carries the signal from the users to DT. We capture the movement of the brush tuft to produce the visual and auditory representations of the writing process and for later replay.. |
| 62. | Kazuhiro Jo, Transition of an instrument The AEO sound performance project, Leonardo Music Journal, 10.1162/lmj.2007.17.46b, 17, 46-48, 2007.01, [URL]. |
| 63. | 城 一裕, CHI2006参加報告, 情報処理学会研究報告, 2006, 72, 巻頭4p, 2006.07. |
| 64. | Kazuhiro Jo, Ken Furudate, Daisuke Ishida, Mizuki Noguchi, The SINE WAVE ORCHESTRA stay, 13th ACM International Conference on Multimedia, MM 2005 Proceedings of the 13th ACM International Conference on Multimedia, MM 2005, 10.1145/1101149.1101280, 571-573, 2005.12, [URL], This is a report of creative and technical considerations in building a participatory sound performance The SINE WAVE ORCHESTRA stay. In this performance, the participants one by one leave their own sine wave in the performance space. These sine waves form a mutually interfering sound space while the sound field of a room changes during the performance.. |
| 65. | 城 一裕, 堀尾 寛太, 松永 建, BUI(Breathed User Interface) を利用した時間軸情報の制御, 情報処理学会研究報告. MUS,[音楽情報科学], 39, 16, 101-104, 2001.02, BUI(Breathed User Interface)は呼気を利用したインターフェースである。本稿では人間の持つ物理的・身体的な要素をコンピュータとのインタラクションに加えていく試みの一つとして、BUIによる時間軸情報の操作環境を実現したことを報告する。システムは呼気検出用の羽根車部と、MAX/mspを利用した処理を行うコンピュータから構成されている。時間軸上情報として映像、CD、外部入力音声およびオーディオファイルを利用した。. |
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