Location via proxy:   [ UP ]  
[Report a bug]   [Manage cookies]                
skip to main content
10.1145/3527927.3532799acmconferencesArticle/Chapter ViewAbstractPublication Pagesc-n-cConference Proceedingsconference-collections
research-article
Open access

Flow with the Beat! Human-Centered Design of Virtual Environments for Musical Creativity Support in VR

Published: 20 June 2022 Publication History

Abstract

As previous studies have shown, the environment of creative people can have a significant impact on their creative process and thus on their creations. However, with the advent of digital tools such as virtual instruments and digital audio workstations, more and more creative work is digital and decoupled from the creator’s environment. Virtual Reality technologies open up new possibilities here, as creative tools can seamlessly merge with any virtual environment the user finds himself in. This paper reports on the human-centered design process of a VR application that aims at supporting the user’s individual needs to support their creativity while composing percussive beats in virtual environments. For this purpose, we derived factors that influence creativity from literature and conducted focus group interviews in order to learn how virtual environments and 3DUI can be designed for creativity support. In a subsequent laboratory study, we let users interact with a virtual step sequencer UI in virtual environments that were either customizable or fixed/unchangeable. By analyzing post-test ratings from music experts, self-report questionnaires, and user behavior data, we examined the effects of such customizable virtual environments on user creativity, user experience, flow, and subjective creativity support scales. While we did not observe a significant impact of this independent variable on user creativity, user experience or flow, we found that users had specific individual needs regarding their virtual surroundings and strongly preferred customizable virtual environments, even though the fixed virtual environment was designed to be creatively stimulating. We also observed consistently high flow and user experience ratings, which promote human-centered design of VR-based creativity support tools in a musical context.

References

[1]
Teresa M. Amabile. 1982. Social psychology of creativity: A consensual assessment technique.Journal of Personality and Social Psychology 43, 5(1982), 997–1013. https://doi.org/10.1037//0022-3514.43.5.997
[2]
Teresa M. Amabile. 2013. Componential Theory of Creativity. In Encyclopedia of Management Theory. https://doi.org/10.4135/9781452276090.n50
[3]
Valentina Rita Andolfi, Chiara Di Nuzzo, and Alessandro Antonietti. 2017. Opening the mind through the body: The effects of posture on creative processes. Thinking Skills and Creativity 24 (2017), 20–28. https://doi.org/10.1016/j.tsc.2017.02.012
[4]
Timothy Arterbury and G. Michael Poor. 2019. 3D positional movement interaction with user-defined, virtual interface for music soware: Movemidi. Conference on Human Factors in Computing Systems - Proceedings (2019), 4–7. https://doi.org/10.1145/3290607.3313267
[5]
Florent Berthaut. 2020. 3D interaction techniques for musical expression Florent Berthaut To cite this version : HAL Id : hal-02430634. (2020).
[6]
Florent Berthaut, Myriam Desainte-Catherine, and Martin Hachet. 2010. Drile : an immersive environment for hierarchical live-looping. Proceedings of New Interfaces for Musical Expression (NIME10) (2010), 192–197.
[7]
Florent Berthaut Dr., Myriam Desainte-Catherine, and Martin Hachet. 2011. Interacting with 3D Reactive Widgets for Musical Performance. Journal of New Music Research 40, 3 (2011), 253–263. https://doi.org/10.1080/09298215.2011.602693
[8]
Akshay Bhagwatwar, Anne Massey, and Alan R. Dennis. 2013. Creative virtual environments: Effect of supraliminal priming on team brainstorming. Proceedings of the Annual Hawaii International Conference on System Sciences (2013), 215–224. https://doi.org/10.1109/HICSS.2013.152
[9]
Virginia Braun and Victoria Clarke. 2012. Thematic analysis.(2012).
[10]
Stéphanie Buisine, Jérôme Guegan, Jessy Barré, Frédéric Segonds, and Améziane Aoussat. 2016. Using avatars to tailor ideation process to innovation strategy. Cognition, Technology and Work 18, 3 (2016), 583–594. https://doi.org/10.1007/s10111-016-0378-y
[11]
Anıl Çamcı, Matias Vilaplana, and Ruth Wang. 2020. Exploring the Affordances of VR for Musical Interaction Design with VIMEs. Proceedings of the International Conference on New Interfaces for Musical Expression (2020), 144–150. pdfs/nime2020_paper23.pdf
[12]
Benedict Carey. 2016. SpectraScore VR: Networkable virtual reality software tools for real-time composition and performance. Proceedings of the International Conference on New Interfaces for Musical Expression 16(2016), 3–4. http://www.nime.org/proceedings/2016/nime2016_demonstration0002.pdf
[13]
Canan Ceylan, Jan Dul, and Serpil Aytac. 2008. Can the office environment stimulate a manager’s creativity?Human Factors and Ergonomics In Manufacturing 18, 6(2008), 589–602. https://doi.org/10.1002/hfm.20128
[14]
Yu Shan Chang, Chia Hui Chou, Meng Jung Chuang, Wen Hung Li, and I. Fan Tsai. 2020. Effects of virtual reality on creative design performance and creative experiential learning. Interactive Learning Environments 0, 0 (2020), 1–16. https://doi.org/10.1080/10494820.2020.1821717
[15]
Erin Cherry and Celine Latulipe. 2014. Quantifying the creativity support of digital tools through the creativity support index. ACM Transactions on Computer-Human Interaction 21, 4(2014). https://doi.org/10.1145/2617588
[16]
Ching-Hua Chuan, Elaine Chew, 2007. A hybrid system for automatic generation of style-specific accompaniment. In Proceedings of the 4th international joint workshop on computational creativity. Goldsmiths, University of London London, 57–64.
[17]
Vicente Chulvi, María Jesús Agost, Marta Royo, and Carlos García-García. 2020. The effect of nature on designers’ creativity, according to their personality profile. Alexandria Engineering Journal 59, 2 (2020), 987–998. https://doi.org/10.1016/j.aej.2020.03.036
[18]
Lorenza S. Colzato, Ayca Szapora, Justine N. Pannekoek, and Bernhard Hommel. 2013. The impact of physical exercise on convergent and divergent thinking. Frontiers in Human Neuroscience 7, DEC (2013), 1–6. https://doi.org/10.3389/fnhum.2013.00824
[19]
Willams Costa, Luca Ananias, Iago Barbosa, Bruno Barbosa, Andre De’Carli, Ricardo R. Barioni, Lucas Figueiredo, Veronica Teichrieb, and Daniel Filgueira. 2019. Songverse: A music-loop authoring tool based on virtual reality. Proceedings - 2019 21st Symposium on Virtual and Augmented Reality, SVR 2019 (2019), 216–222. https://doi.org/10.1109/SVR.2019.00046
[20]
Mihaly Csikszentmihalyi. 2000. Beyond boredom and anxiety.Jossey-Bass.
[21]
Darren W. Dahl and C. Page Moreau. 2007. Thinking inside the box: Why consumers enjoy constrained creative experiences. Journal of Marketing Research 44, 3 (2007), 357–369. https://doi.org/10.1509/jmkr.44.3.357
[22]
Chris Donahue, Julian McAuley, and Miller Puckette. 2018. Adversarial audio synthesis. arXiv preprint arXiv:1802.04208(2018).
[23]
René Dubos. 1971. Man made environments.Journal of School Health 41, 7 (1971), 339–343.
[24]
Barry Eaglestone, Nigel Ford, Guy Brown, and Adrian Moore. 2007. Information systems and creativity: An empirical study. Journal of Documentation 63 (07 2007), 443–464. https://doi.org/10.1108/00220410710758968
[25]
Sarah Earle. 2019. Assessment in the Primary Classroom: Principles and practice. Learning Matters.
[26]
Hamid Eghbal-Zadeh, Richard Vogl, Gerhard Widmer, and Peter Knees. 2018. A GAN based drum pattern generation UI prototype. Late Breaking/Demos at the International Society for Music Information Retrieval Conference (ISMIR)(2018).
[27]
M.M. Farbood, E. Pasztor, and K. Jennings. 2004. Hyperscore: a graphical sketchpad for novice composers. IEEE Computer Graphics and Applications 24, 1 (2004), 50–54. https://doi.org/10.1109/MCG.2004.1255809
[28]
Allan Filipowicz. 2006. From positive affect to creativity: The surprising role of surprise. Creativity Research Journal 18, 2 (2006), 141–152. https://doi.org/10.1207/s15326934crj1802_2
[29]
Kenton B. Fillingim, Hannah Shapiro, Catherine J. Reichling, and Katherine Fu. 2021. Effect of physical activity through virtual reality on design creativity. Artificial Intelligence for Engineering Design, Analysis and Manufacturing: AIEDAM 35, 1 (2021), 99–115. https://doi.org/10.1017/S0890060420000529
[30]
Jonas Frich, Lindsay MacDonald Vermeulen, Christian Remy, Michael Mose Biskjaer, and Peter Dalsgaard. 2019. Mapping the Landscape of Creativity Support Tools in HCI. Association for Computing Machinery, New York, NY, USA, 1–18. https://doi.org/10.1145/3290605.3300619
[31]
A. Gabriel, D. Monticolo, M. Camargo, and M. Bourgault. 2016. Creativity support systems: A systematic mapping study. Thinking Skills and Creativity 21, July 2017 (2016), 109–122. https://doi.org/10.1016/j.tsc.2016.05.009
[32]
Jérôme Guegan, Stéphanie Buisine, Fabrice Mantelet, Nicolas Maranzana, and Frédéric Segonds. 2016. Avatar-mediated creativity: When embodying inventors makes engineers more creative. Computers in Human Behavior 61 (2016), 165–175. https://doi.org/10.1016/j.chb.2016.03.024
[33]
Jérôme Guegan, Julien Nelson, and Todd Lubart. 2017. The Relationship between Contextual Cues in Virtual Environments and Creative Processes. Cyberpsychology, Behavior, and Social Networking 20, 3(2017), 202–206. https://doi.org/10.1089/cyber.2016.0503
[34]
Ryo Hajika, Kunal Gupta, Prasanth Sasikumar, and Yun Suen Pai. 2019. HyperDrum: Interactive synchronous drumming in virtual reality using everyday objects. SIGGRAPH Asia 2019 XR, SA 2019(2019), 15–16. https://doi.org/10.1145/3355355.3361894
[35]
Cheng-Zhi Anna Huang, David Duvenaud, and Krzysztof Z. Gajos. 2016. ChordRipple: Recommending Chords to Help Novice Composers Go Beyond the Ordinary. In Proceedings of the 21st International Conference on Intelligent User Interfaces(Sonoma, California, USA) (IUI ’16). Association for Computing Machinery, New York, NY, USA, 241–250. https://doi.org/10.1145/2856767.2856792
[36]
Junko Ichino, Aura Pon, Ehud Sharlin, David Eagle, and Sheelagh Carpendale. 2014. Vuzik: The effect of large gesture interaction on children’s creative musical expression. In Proceedings of the 26th Australian Computer-Human Interaction Conference on Designing Futures: the Future of Design. 240–249.
[37]
Shu Imaizumi, Ubuka Tagami, and Yi Yang. 2020. Fluid movements enhance creative fluency: A replication of Slepian and Ambady (2012). PLoS ONE 15, 7 July (2020), 1–10. https://doi.org/10.1371/journal.pone.0236825
[38]
International Organization for Standardization (ISO). 2010. Ergonomics of human-system interaction - Part 210: Human-centred design for interactive systems (ISO 9241-210:2010). Technical Report. http://shop.snv.ch/
[39]
Rachel Kaplan and Stephen Kaplan. 1989. The experience of nature: A psychological perspective. Cambridge university press.
[40]
James C. Kaufman, John Baer, Jason C. Cole, and Janel D. Sexton. 2008. A comparison of expert and nonexpert raters using the consensual assessment technique. Creativity Research Journal 20, 2 (2008), 171–178. https://doi.org/10.1080/10400410802059929
[41]
Olga Kombeiz and Anna Steidle. 2018. Facilitation of creative performance by using blue and red accent lighting in work and learning areas. Ergonomics 61, 3 (2018), 456–463. https://doi.org/10.1080/00140139.2017.1349940
[42]
Annett Körner, Michael Geyer, Marcus Roth, Martin Drapeau, Gabriele Schmutzer, Cornelia Albani, Siegfried Schumann, and Elmar Brähler. 2008. Persönlichkeitsdiagnostik mit dem NEO-Fünf-Faktoren-Inventar: Die 30-Item-Kurzversion (NEO-FFI-30). PPmP - Psychotherapie · Psychosomatik · Medizinische Psychologie 58, 6 (jun 2008), 238–245. https://doi.org/10.1055/s-2007-986199 arxiv:ISSN 0013-726X
[43]
Li Lan, Sarra Hadji, Lulu Xia, and Zhiwei Lian. 2021. The effects of light illuminance and correlated color temperature on mood and creativity. Building Simulation 14, 3 (2021), 463–475. https://doi.org/10.1007/s12273-020-0652-z
[44]
Bettina Laugwitz, Theo Held, and Martin Schrepp. 2008. Construction and evaluation of a user experience questionnaire. In Symposium of the Austrian HCI and usability engineering group. Springer, 63–76.
[45]
Stephanie Lichtenfeld, Andrew J. Elliot, Markus A. Maier, and Reinhard Pekrun. 2012. Fertile Green: Green Facilitates Creative Performance. Personality and Social Psychology Bulletin 38, 6 (2012), 784–797. https://doi.org/10.1177/0146167212436611
[46]
Matthew Lombard and Theresa Ditton. 1997. At the heart of it all: The concept of presence. Journal of computer-mediated communication 3, 2 (1997), JCMC321.
[47]
Teemu Mäki-patola, Juha Laitinen, Aki Kanerva, and Takala Takala. 2005. Experiments with virtual reality instruments. Proceedings of the 2005 international Conference on New Interfaces for Musical Expression (2005), 11–16. http://dl.acm.org/citation.cfm?id=1085946
[48]
Laura H. Malinin. 2016. Creative practices embodied, embedded, and enacted in architectural settings: Toward an ecological model of creativity. Frontiers in Psychology 6, JAN (2016), 1–19. https://doi.org/10.3389/fpsyg.2015.01978
[49]
Alex Marin, Martin Reimann, and Raquel Castaño. 2014. Metaphors and creativity: Direct, moderating, and mediating effects. Journal of Consumer Psychology 24, 2 (2014), 290–297. https://doi.org/10.1016/j.jcps.2013.11.001
[50]
Janetta Mitchell McCoy and Gary W. Evans. 2002. The potential role of the physical environment in fostering creativity. Creativity Research Journal 14, 3-4 (2002), 409–426. https://doi.org/10.1207/S15326934CRJ1434_11
[51]
Ravi Mehta, Rui(Juliet) Zhu, and Amar Cheema. 2012. Is noise always bad? exploring the effects of ambient noise on creative cognition. Journal of Consumer Research 39, 4 (2012), 784–799. https://doi.org/10.1086/665048
[52]
Ravi P. Mehta and Rui Juliet Zhu. 2009. Blue or red? Exploring the effect of color on cognitive task performances. Advances in Consumer Research 36, February (2009), 1045–1046.
[53]
Liang Men and Nick Bryan-Kinns. 2018. LeMo: Supporting Collaborative Music Making in Virtual Reality. 2018 IEEE 4th VR Workshop on Sonic Interactions for Virtual Environments, SIVE 2018March(2018). https://doi.org/10.1109/SIVE.2018.8577094
[54]
Nicolas Michinov and Estelle Michinov. 2020. Do Open or Closed Postures Boost Creative Performance? The Effects of Postural Feedback on Divergent and Convergent Thinking. Psychology of Aesthetics, Creativity, and the Arts (2020). https://doi.org/10.1037/aca0000306
[55]
Randall K. Minas, Alan R. Dennis, and Anne P. Massey. 2016. Opening the mind: designing 3d virtual environments to enhance team creativity. Proceedings of the Annual Hawaii International Conference on System Sciences 2016-March(2016), 247–256. https://doi.org/10.1109/HICSS.2016.38
[56]
Alec G. Moore, Michael J. Howell, Addison W. Stiles, Nicolas S. Herrera, and Ryan P. McMahan. 2015. Wedge: A musical interface for building and playing composition-appropriate immersive environments. 2015 IEEE Symposium on 3D User Interfaces, 3DUI 2015 - Proceedings (2015), 205–206. https://doi.org/10.1109/3DUI.2015.7131772
[57]
Axel Mulder. 1999. Design of virtual three-dimensional instruments for sound control. Ph. D. Dissertation.
[58]
Martin Naef and Daniel Collicott. 2006. A VR Interface for Collaborative 3D Audio Performance. In Proceedings of the 2006 International Conference on New Interfaces for Musical Expression (NIME06), Paris, France. arxiv:arXiv:1011.1669v3
[59]
Julien Nelson and Jérôme Guegan. 2019. “I’d like to be under the sea”: Contextual cues in virtual environments influence the orientation of idea generation. Computers in Human Behavior 90, August 2018 (2019), 93–102. https://doi.org/10.1016/j.chb.2018.08.001
[60]
J.C. Nunnally and J.C. Nunnaly. 1978. Psychometric Theory. McGraw-Hill.
[61]
Linda A. O’Hara and Robert J. Sternberg. 2001. It doesn’t hurt to ask: Effects of instructions to be creative, practical, or analytical on essay-writing performance and their interaction with students’ thinking styles. Creativity Research Journal 13, 2 (2001), 197–210. https://doi.org/10.1207/s15326934crj1302_7
[62]
Marily Oppezzo and Daniel L. Schwartz. 2014. Give your ideas some legs: The positive effect of walking on creative thinking. Journal of Experimental Psychology: Learning Memory and Cognition 40, 4(2014), 1142–1152. https://doi.org/10.1037/a0036577
[63]
J. Paradiso. 1997. Electronic Music Interfaces: New Ways to Play. IEEE Spectrum 34, 12 (1997), 18–30.
[64]
Thomas Priest. 2006. Self-evaluation, creativity, and musical achievement. Psychology of Music 34, 1 (2006), 47–61. https://doi.org/10.1177/0305735606059104
[65]
Falko Rheinberg, Regina Vollmeyer, and Stefan Engeser. 2003. Die Erfassung des Flow-Erlebens. In Diagnostik von Motivation und Selbstkonzept (Tests und Trends – Jahrbuch der pädagogisch-psychologischen Diagnostik - Band 2). 261–279.
[66]
Mel Rhodes. 1961. An Analysis of Creativity. The Phi delta kappan 42, 7 (1961), 305–310.
[67]
Philippa Riley, Norman Alm, and Alan Newell. 2009. An interactive tool to promote musical creativity in people with dementia. Computers in Human Behavior 25, 3 (2009), 599–608. https://doi.org/10.1016/j.chb.2008.08.014
[68]
Ruben Schlagowski, Silvan Mertes, and Elisabeth André. 2021. Taming the Chaos: Exploring Graphical Input Vector Manipulation User Interfaces for GANs in a Musical Context. In Audio Mostly 2021. ACM, virtual/Trento Italy, 216–223. https://doi.org/10.1145/3478384.3478411
[69]
Martijn J Schuemie, Peter Van Der Straaten, Merel Krijn, and Charles APG Van Der Mast. 2001. Research on presence in virtual reality: A survey. CyberPsychology & Behavior 4, 2 (2001), 183–201.
[70]
Stefania Serafin, Cumhur Erkut, Juraj Kojs, Niels C. Nilsson, and Rolf Nordahl. 2013. Virtual Reality Musical Instruments: State of the Art, Design Principles, and Future Directions. 52, 12 (2013), 1–8. https://doi.org/10.1162/COMJ
[71]
Seiji Shibata and Naoto Suzuki. 2004. Effects of an indoor plant on creative task performance and mood. Scandinavian Journal of Psychology 45, 5 (2004), 373–381. https://doi.org/10.1111/j.1467-9450.2004.00419.x
[72]
Dean Keith Simonton. 2004. Creativity in science: Chance, logic, genius, and zeitgeist. Cambridge University Press.
[73]
Michael L. Slepian and Nalini Ambady. 2012. Fluid movement and creativity. Journal of Experimental Psychology: General 141, 4 (2012), 625–629. https://doi.org/10.1037/a0027395
[74]
Anna Steidle and Lioba Werth. 2013. Freedom from constraints: Darkness and dim illumination promote creativity. Journal of Environmental Psychology 35 (2013), 67–80. https://doi.org/10.1016/j.jenvp.2013.05.003
[75]
Morris I. Stein. 1953. Creativity and Culture. The Journal of Psychology: Interdisciplinary and Applied 36, 2(1953), 311–322. https://doi.org/10.1080/00223980.1953.9712897
[76]
Hannah Steinberg. 1997. Exercise enhances creativity independently of mood. British Journal of Sports Medicine 31, 3 (1997), 240–245. https://doi.org/10.1136/bjsm.31.3.240
[77]
Sylvie Studente, Nina Seppala, and Noemi Sadowska. 2016. Facilitating creative thinking in the classroom: Investigating the effects of plants and the colour green on visual and verbal creativity. Thinking Skills and Creativity 19 (2016), 1–8. https://doi.org/10.1016/j.tsc.2015.09.001
[78]
Theophanis Tsandilas, Catherine Letondal, and Wendy E. Mackay. 2009. MusInk: Composing Music through Augmented Drawing. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (Boston, MA, USA) (CHI ’09). Association for Computing Machinery, New York, NY, USA, 819–828. https://doi.org/10.1145/1518701.1518827
[79]
Luca Turchet, Rob Hamilton, and Anil Çamci. 2021. Music in Extended Realities. IEEE Access 9(2021), 15810–15832.
[80]
Rafael Valer, Rodrigo Schramm, and Luciana Porcher Nedel. 2020. Musical Brush: Exploring Creativity in an AR-based Tool Combining Music and Drawing Generation. 2020 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW)March(2020), 635–636. https://doi.org/10.1109/VRW50115.2020.00167
[81]
Kathleen D. Vohs, Joseph P. Redden, and Ryan Rahinel. 2013. Physical Order Produces Healthy Choices, Generosity, and Conventionality, Whereas Disorder Produces Creativity. Psychological Science 24, 9 (2013), 1860–1867. https://doi.org/10.1177/0956797613480186
[82]
Kai Wang and Jeffrey V. Nickerson. 2017. A literature review on individual creativity support systems. Computers in Human Behavior 74 (2017), 139–151. https://doi.org/10.1016/j.chb.2017.04.035
[83]
Xinyue Wang, Kelong Lu, Mark A. Runco, and Ning Hao. 2018. Break the “wall” and become creative: Enacting embodied metaphors in virtual reality. Consciousness and Cognition 62, October 2017 (2018), 102–109. https://doi.org/10.1016/j.concog.2018.03.004
[84]
Peter R Webster. 2002. Creativity and music education: Creative thinking in music: Advancing a model. Creativity and music education 1 (2002), 33.
[85]
Xiaozhe Yang, Lin Lin, Pei Yu Cheng, Xue Yang, Youqun Ren, and Yueh Min Huang. 2018. Examining creativity through a virtual reality support system. Educational Technology Research and Development 66, 5(2018), 1231–1254. https://doi.org/10.1007/s11423-018-9604-z
[86]
Yanyun Zhou, Yifei Zhang, Bernhard Hommel, and Hao Zhang. 2017. The impact of bodily states on divergent thinking: Evidence for a control-depletion account. Frontiers in Psychology 8, SEP (2017), 1–9. https://doi.org/10.3389/fpsyg.2017.01546

Cited By

View all
  • (2024)How Are Measures of Usability and Creativity Support Correlated?Proceedings of the European Conference on Cognitive Ergonomics 202410.1145/3673805.3673815(1-7)Online publication date: 8-Oct-2024
  • (2024)Remote Rhythms: Audience-informed insights for designing remote music performancesProceedings of the 2024 ACM Designing Interactive Systems Conference10.1145/3643834.3660719(2675-2690)Online publication date: 1-Jul-2024
  • (2024)CreAIXR: Fostering Creativity with Generative AI in XR environments2024 IEEE International Conference on Metaverse Computing, Networking, and Applications (MetaCom)10.1109/MetaCom62920.2024.00034(1-8)Online publication date: 12-Aug-2024
  • Show More Cited By

Recommendations

Comments

Information & Contributors

Information

Published In

cover image ACM Conferences
C&C '22: Proceedings of the 14th Conference on Creativity and Cognition
June 2022
710 pages
ISBN:9781450393270
DOI:10.1145/3527927
This work is licensed under a Creative Commons Attribution-ShareAlike International 4.0 License.

Sponsors

Publisher

Association for Computing Machinery

New York, NY, United States

Publication History

Published: 20 June 2022

Check for updates

Badges

  • Honorable Mention

Author Tags

  1. Creativity
  2. Creativity Support Tools
  3. Generative Adversarial Networks
  4. Musical XR
  5. User Centered Design
  6. User Interface Design
  7. Virtual Reality

Qualifiers

  • Research-article
  • Research
  • Refereed limited

Conference

C&C '22
Sponsor:
C&C '22: Creativity and Cognition
June 20 - 23, 2022
Venice, Italy

Acceptance Rates

Overall Acceptance Rate 108 of 371 submissions, 29%

Contributors

Other Metrics

Bibliometrics & Citations

Bibliometrics

Article Metrics

  • Downloads (Last 12 months)371
  • Downloads (Last 6 weeks)58
Reflects downloads up to 02 Feb 2025

Other Metrics

Citations

Cited By

View all
  • (2024)How Are Measures of Usability and Creativity Support Correlated?Proceedings of the European Conference on Cognitive Ergonomics 202410.1145/3673805.3673815(1-7)Online publication date: 8-Oct-2024
  • (2024)Remote Rhythms: Audience-informed insights for designing remote music performancesProceedings of the 2024 ACM Designing Interactive Systems Conference10.1145/3643834.3660719(2675-2690)Online publication date: 1-Jul-2024
  • (2024)CreAIXR: Fostering Creativity with Generative AI in XR environments2024 IEEE International Conference on Metaverse Computing, Networking, and Applications (MetaCom)10.1109/MetaCom62920.2024.00034(1-8)Online publication date: 12-Aug-2024
  • (2024)Rhythmic Galaxy: A New Metaverse Concert Empowering Players Through Co-designHCI International 2024 – Late Breaking Papers10.1007/978-3-031-76812-5_28(416-428)Online publication date: 29-Jun-2024
  • (2023)ASMRcade: Interactive Audio Triggers for an Autonomous Sensory Meridian ResponseProceedings of the 25th International Conference on Multimodal Interaction10.1145/3577190.3614155(70-78)Online publication date: 9-Oct-2023
  • (2023)Immersive Sampling: Exploring Sampling for Future Creative Practices in Media-Rich, Immersive SpacesProceedings of the 2023 ACM Designing Interactive Systems Conference10.1145/3563657.3596131(212-229)Online publication date: 10-Jul-2023
  • (2023)BraidFlow: A Flow-annotated Dataset of Kumihimo Braidmaking ActivityProceedings of the 2023 ACM Designing Interactive Systems Conference10.1145/3563657.3596026(839-855)Online publication date: 10-Jul-2023
  • (2023)The effect of audio on the experience in virtual reality: a scoping reviewBehaviour & Information Technology10.1080/0144929X.2022.215837143:1(165-199)Online publication date: 2-Jan-2023
  • (2023)Musical Metaverse: vision, opportunities, and challengesPersonal and Ubiquitous Computing10.1007/s00779-023-01708-127:5(1811-1827)Online publication date: 13-Jan-2023

View Options

View options

PDF

View or Download as a PDF file.

PDF

eReader

View online with eReader.

eReader

HTML Format

View this article in HTML Format.

HTML Format

Login options

Figures

Tables

Media

Share

Share

Share this Publication link

Share on social media