|Kazuhiro JO||Last modified date：2020.06.17|
Associate Professor / Department of Communication Design Science / Faculty of Design
|Kazuhiro JO||Last modified date：2020.06.17|
|1.||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, 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..|
|2.||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.
|3.||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, 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..|
|4.||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..|
|5.||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, 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..
|6.||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, 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..|
|7.||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.|
|8.||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'..|
|9.||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_00207, 24, 24, 65-67, 2014.01, 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..|
|10.||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, 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..
|11.||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..|
|12.||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.
|13.||GRP Contract Form.|
|14.||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, 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..|
|15.||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, 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..
|16.||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, 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..|
|17.||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, 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..
|18.||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, "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..|
|19.||Mitsuhito ANDO, Chisaki MURAKAMI, Takayuki ITO, Kazuhiro JO, Initial Trials of ofxEpilog: From Real Time Operation to Dynamic Focus of Epilog Laser Cutter, In Proceedings of the 29th Annual Symposium on User Interface Software and Technology (UIST '16 Adjunct). ACM, http://dl.acm.org/citation.cfm?id=2984756, 175-176, 2016.10, This paper describes ofxEpilog which enable people to control a laser cutter of Epilog in real time. ofxEpilog is an add on of open Frameworks, an open source C++ toolkit for creative coding. With the add on, 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 add on 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 (z-axis) control with a given 3D object (B), and a scanned 3D object (C). Technical limitations and our upcoming challenges are also discussed..|