| 1. |
“Multi-Sounds Fish Call”: A sound stimulation device for sea fishing. |
| 2. |
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.. |
| 3. |
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.. |
| 4. |
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.. |
| 5. |
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.. |
| 6. |
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.. |
| 7. |
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. |
| 8. |
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.. |
| 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_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.. |
| 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. |
Proposal of VJ·decoration expression that utilizes a narrow space such as a moving train. |
| 12. |
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'.. |
| 13. |
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.. |
| 14. |
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, 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.. |
| 15. |
2011-2012. |
| 16. |
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, 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.. |
| 17. |
What Sounds Do We Hear?. |
| 18. |
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, 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.. |
| 19. |
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. |
| 20. |
The Way from DIY (Do It Yourself) to DIWO (Do It with Others) Thorough Chiptune Marching Band. |
| 21. |
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, 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.. |
| 22. |
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, 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.. |
| 23. |
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, 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.. |
| 24. |
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, 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.. |
| 25. |
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, 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.. |
| 26. |
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.. |
| 27. |
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. |
| 28. |
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.. |
| 29. |
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.. |
| 30. |
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.. |
| 31. |
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.. |
| 32. |
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.. |
| 33. |
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.. |
| 34. |
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.. |
| 35. |
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. |
| 36. |
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.. |
| 37. |
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.. |
