Authorship：Last author   Publishing type：Research paper (conference, symposium, etc.)  

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Authorship：Last author   Publishing type：Research paper (conference, symposium, etc.)  

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Authorship：Last author   Publishing type：Research paper (conference, symposium, etc.)  

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Authorship：Last author   Publishing type：Research paper (international conference proceedings)  

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Language：Japanese   Publisher：Digital Game Research Association JAPAN  

Audio games are a genre of games that are played using only sound without visual information. In this study, we propose an action game that uses sound information as input and output by introducing voice control into audio games. The player wears a headset with a gyro-sensor attached to it and attacks enemies coming from various directions in a threedimensional game space using his/her voice. In this paper, we will report the details of the game design and the results of a gaming experience questionnaire.

DOI： 10.57518/digrajproc.14.0_153

CiNii Research

Publisher：Proceedings - SIGGRAPH 2024 Emerging Technologies  

We present the latest development of Nukabot, a human-computer interaction mediation system that connects the fermented food microbiome with its human carer through voice communication. A nukadoko is a traditional Japanese fermentation technique that involves rice bran mixed with salt and water (nuka) put in a wooden, enamel, or plastic container (doko). The current version of Nukabot is a porcelain nukadoko equipped with chemical sensors to track the fermentation status, voice recognition, and vocal synthesis engines that enable humans to talk and ask questions about the ferment.

DOI： 10.1145/3641517.3665786

Web of Science

Scopus

Authorship：Last author   Publishing type：Research paper (international conference proceedings)  

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Authorship：Lead author  

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Publishing type：Research paper (bulletin of university, research institution)  

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CiNii Research

CiNii Research

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CiNii Research

CiNii Research

CiNii Research

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Japanese   Publishing type：Research paper (other academic)  

Language：Japanese   Publishing type：Research paper (other academic)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others   Publishing type：Research paper (other academic)  

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.

DOI： 10.36463/idw.2020.0850

Language：Others   Publishing type：Research paper (other academic)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others   Publishing type：Research paper (scientific journal)  

Language：Others  

Language：Others  

“Multi-Sounds Fish Call”: A sound stimulation device for sea fishing

Language：English   Publishing type：Research paper (other academic)  

"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.

DOI： 10.1145/3173225.3173300

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/3078072.3079738

Language：English   Publishing type：Research paper (scientific journal)  

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.

DOI： 10.20668/adada.20.4_85

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/2984751.2984756

Language：Japanese   Publishing type：Research paper (scientific journal)  

Language：Japanese   Publishing type：Research paper (other academic)  

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．

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/2839462.2856346

Language：English   Publishing type：Research paper (other academic)  

DOI： 10.1145/2818498.2818509

Language：English   Publishing type：Research paper (scientific journal)  

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.

DOI： 10.1162/LMJ_a_00206

Language：English   Publishing type：Research paper (scientific journal)  

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.

DOI： 10.1162/LMJ_a_00206

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/2658537.2662973

Language：Japanese  

Proposal of VJ·decoration expression that utilizes a narrow space such as a moving train

Language：English   Publishing type：Research paper (scientific journal)  

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.

DOI： 10.1017/S1355771813000253

Language：English   Publishing type：Research paper (scientific journal)  

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'.

DOI： 10.1017/S1355771813000253

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/2390776.2390788

Language：Japanese  

2011-2012

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1109/Culture-Computing.2011.54

Language：Japanese   Publishing type：Research paper (scientific journal)  

What Sounds Do We Hear?

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1109/ISMAR-AMH.2010.5643313

Language：Japanese   Publishing type：Research paper (scientific journal)  

The Way from DIY (Do It Yourself) to DIWO (Do It with Others) Thorough Chiptune Marching Band

DOI： 10.3169/itej.64.1465

Language：English   Publishing type：Research paper (scientific journal)  

DOI： 10.3169/itej.64.1465

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/1810543.1810612

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1007/978-3-642-04052-8_21

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/1640233.1640294

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/1640233.1640344

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/1640233.1640366

Language：English   Publishing type：Research paper (scientific journal)  

Transition of instruments in The SINE WAVE ORCHESTRA
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.

DOI： 10.1145/1461999.1462004

Language：English   Publishing type：Research paper (scientific journal)  

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.

DOI： 10.1145/1461999.1462004

Language：English   Publishing type：Research paper (other academic)  

DOI： 10.1145/1501750.1501874

Language：English   Publishing type：Research paper (other academic)  

Audio Interface as a Device for Physical Computing
In this paper, we would like to describe the employment of audio interface as a device for physical computing. We <br />
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<br />
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.

Language：English   Publishing type：Research paper (other academic)  

Monalisa: "see the sound, hear the image"
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.

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/1347390.1347405

Language：English   Publishing type：Research paper (other academic)  

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.

Language：English   Publishing type：Research paper (other academic)  

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.

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1109/TABLETOP.2007.24

Language：English   Publishing type：Research paper (scientific journal)  

DOI： 10.1162/lmj.2007.17.46b

Language：Japanese  

Language：English   Publishing type：Research paper (other academic)  

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.

DOI： 10.1145/1101149.1101280

Language：Japanese  

The control of time base information using BUI (Breathed User Interface)
BUI(Breathed User Interface)is an interface using exhalation.In this paper, we describe the realization of the operational environment of time base information using BUI.The system consists of a vane wheel, which detects exhalation, a computer with MAX/msp.Image, CD, external input voice and audio file were projected as information on the time base.

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Event date： 2009.12

Language：English  

Venue：Yokohama   Country：Japan  

Chiptune Marching Band is an exploration of themes in resource use, creative culture, and ad-hoc community formation. It is a public workshop and performance for researchers, students, and the general public that has taken place in diverse international venues and events. In the workshop, participants are led through a presentation on concepts and basic knowledge of localized power resources and energy micro-generation approaches, technical knowledge of audio circuits, and participatory performance practice through performative "happening." Then they receive a kit of parts and some assistance with circuit building and instrument fabrication. With step-by-step instructions, they build a sensor-driven sound-making circuit powered by human and environmentally friendly resources. For instrument fabrication, they personalize their instruments in whatever way they choose with provided materials. Participants who finish the workshop discuss how to organize a public performance. Following the discussion, participants are organized into a "marching band" that parades through the streets as a public performance and spectacle. At the end of the march, participants take their instruments home.

Event date： 2009.10

Language：English  

Venue：Berkeley   Country：United States  

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.

Event date： 2009.10

Language：English  

Venue：Berkeley   Country：United States  

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.

Event date： 2009.10

Language：English  

Venue：Berkeley   Country：United States  

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.

Event date： 2009.9

Language：English  

Venue：Paris   Country：France  

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.

Event date： 2008.12

Language：English  

Venue：Yokohama   Country：Japan  

Event date： 2001.11

Language：English  

Venue：Orlando, FL   Country：United States  

In this paper, we will describe the TSI (Teething ring Sound Instrument), a new sound instrument given to babies, which consists of a teething ring, a knob, an I-CubeX Digitizer and a computer which processes MIDI messages. The TSI is designed to bring music experience to baby with the movement of the babies reflex sucking motion. We provided the TSI to a baby and observed her action to the TSI and her reaction to the generated sound. This experiment showed the high potential of the TSI.