|Kazuhiro JO||Last modified date：2020.06.17|
Associate Professor / Department of Communication Design Science / Faculty of Design
|1.||Naoko Kubo, Kazuhiro Jo, Ken Matsunaga, TSI (Teething ring Sound Instrument)
A design of the sound instrument for the baby, Proceedings of the 14th Annual ACM Symposium on User Interface Software and Technology (UIST'01), 2001.12, 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..
|2.||Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori, Design of installation with interactive UAVs, 2008 International Conference on Advances in Computer Entertainment Technology, ACE 2008, 2008.12.|
|3.||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, 2009.10, 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..|
|4.||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, 2009.10, 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..
|5.||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, 2009.10, 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..
|6.||Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori, Designing interactive blimps as puppets, 8th International Conference on Entertainment Computing, ICEC 2009, 2009.11, 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..|
|7.||Kazuhiro Jo, Jamie Allen, Chiptune Marching Band
Presented simultaneously in Japanese and English, ACM SIGGRAPH ASIA 2009 Courses, SIGGRAPH ASIA '09, 2009.12, 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..
|8.||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, 2010.07, 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..
|9.||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, 2010.12, 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..
|10.||Tomotaro Kaneko, Kazuhiro Jo, Generative music workshop, 2011 2nd International Conference on Culture and Computing, Culture and Computing 2011, 2011.12, 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..|
|11.||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, 2012.12, 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..
|12.||Kazuhiro JO, John Smith, “A record without (or with) prior acoustic information” and “Given: 1.Manet, 2.Coil - Oscillation from a minimum unit of speaker”, 5th Joint Meeting of the Acoustical Society of America and Acoustical Society of Japan, 2016.11, In this demonstration, we’d like to introduce two of our work, “A record without (or with) prior acoustic information” and “Given: 1.Manet, 2.Coil - Oscillation from a minimum unit of speaker”. The first one is a work in which we computationally draw a groove of a record as a vector graphic (with Adobe Illustrator or other tools) by calculating frequencies with a number of zigzags, and engrave the groove on diverse materials on diverse material include paper, wood, or acrylic with laser cutter or cutting plotter to produce sounds. Through the demonstration, we show a process of making the record with a cutting plotter on the spot. The result and other examples would be played on a standard analog record player. The second one is a work in which we split a unit of a speaker into a magnet and a coil. We demonstrate an example of the work by johnsmith as a cartilage conduction hearing with a set of neodymium magnets and a pair of coils with stereo mini jack. Through the demonstration, people could listen the sound from her/his portable audio player by directly vibrating her/his cartilages. Both of the work would present alternate embodiments of matured audio technologies (i.e. vinyl record and headphone) with a help of later technological developments. The demonstration shows basic principles of how audio technologies work. Through our practices at the intersection of media archeology and personal fabrication, we’d like to reconsider the ordinariness of acoustic media technologies..|
|13.||Kazuhiro JO, Re-Inventing the Wheel: To Embody the Possible Presents, CHI 2016 CrossFAB workshop, 2016.05, [URL], Re-Inventing the Wheel is a project, which I’m organizing with colleagues (Ryota Kuwakubo, Akira Segawa, and Shigeru Matsui) and students at IAMAS (Institute of Advanced Media Arts and Sciences) since 2013. The aim of the project is to embody ”the possible presents” instead of the preferable futures [Dunne, Raby, 2013] by re-reading the history with practices. By utilizing the literature of media archeology [Huhtamo, 2011] as our foothold, we firstly deepen our understanding for the role and function of various media, especially in the field of audio and visual, before their stabilization in the history. Then, we apply each acquired notion as a technique for diverse aesthetic practices in the era of personal fabrication [Gershenfeld, 2008]. Instead of depicting the future or excavating the past, we try to redefine the reality of our circumstances by producing the alternatives.
|14.||Kazuhiro JO, A study of “a record without prior acoustic information”, Sound Art Matters 2016, 2016.06, “I have suggested to change the gramophone from a reproductive instrument to a productive one, so that on a record without prior acoustic information, the acoustic information, the acoustic phenomenon itself originates by engraving the necessary Ritchriftreihen (etched grooves).” [Moholy-Nagy, 1923].
In this paper, we'd like to introduce our technique of “a record without (or with) prior acoustic information” to stimulate further understanding of record, recording, and reproduction at the crossing of media archeology and personal fabrication.
The technique is a part of the Re-Inventing the wheel project which I’m co-organizing with colleagues and students at IAMAS (Institute of Advanced Media Arts and Sciences) since 2013. The aim of the project is to embody ”the possible presents” instead of the preferable futures [Dunne and Raby, 2013] nor imaginary media [Kluitenberg, 2007] by re-reading the history with our techniques. By utilizing the literature of media archeology [Hutamo, 2011] as our foothold, we apply our understanding of various media as a technique for diverse aesthetic practices in the era of personal fabrication [Gershenfeld, 2005]. Instead of depicting the future or excavating the past, we try to redefine the reality of our circumstances by producing the alternatives.
In 1923 Bauhaus master László Moholy-Nagy made the above proposal to produce a record without inputting acoustic information. At the time, it was just a provocative idea. However, after 9 decades, I have realized the idea as a technique of “a record without prior acoustic information” on diverse material include paper, wood, or acrylic with the help of mature vinyl audio recording technology and current personal fabrication tools [Jo, 2014].
By using the technique, we produced several objects include “Au Clair de la Lune on Gramophone - For Édouard- Léon Scott and László Moholy-Nagy -(1860/1923/2015)” in which I reproduce a french folk song / the oldest recorded music by Léon Scott [Cowen, 2012], “Au Clair de la Lune”, with a form of record for a gramophone. Instead of using a recording of the music, I computationally draw a waveform with a conventional vector graphics application (i.e. Adobe Illustrator) by calculating frequencies of every note. After a thorough examination of materials to overcome the weight of soundbox of a gramophone, the result is horizontally engraved on a surface of lacquered anodized aluminum plate by a laser cutter. The outcome could be played on ordinary analog record players in 78 rpm include a traditional gramophone..