Mr ADRIAN HAZZARD's Outputs (6)

The Audible Artefact: Promoting Cultural Exploration and Engagement with Audio Augmented Reality (2019)
Presentation / Conference Contribution
Cliffe, L., Mansell, J., Cormac, J., Greenhalgh, C., & Hazzard, A. (2019, September). The Audible Artefact: Promoting Cultural Exploration and Engagement with Audio Augmented Reality. Presented at Audio Mostly 2019, Nottingham, UK

This paper introduces two ongoing projects where audio augmented reality is implemented as a means of engaging museum and gallery visitors with audio archive material and associated objects, artworks and artefacts. It outlines some of the issues surr... Read More about The Audible Artefact: Promoting Cultural Exploration and Engagement with Audio Augmented Reality.

Adaptive Musical Soundtracks: from in-game to on the street (2019)
Presentation / Conference Contribution
Hazzard, A., & Greenhalgh, C. (2019, September). Adaptive Musical Soundtracks: from in-game to on the street. Presented at Audio Mostly 2019, Nottingham, United kingdom

We describe the challenges of creating location-based adaptive musical soundtracks, which we try to address via the iterative development of daoplayer, a tool to create such media experiences. Daoplayer is broadly modelled on the functionality of com... Read More about Adaptive Musical Soundtracks: from in-game to on the street.

Augmenting Guitars for Performance Preparation (2019)
Presentation / Conference Contribution
Martinez Avila, J. P. M., Hazzard, A., Greenhalgh, C., & Benford, S. (2019, September). Augmenting Guitars for Performance Preparation. Presented at AM'19: Audio Mostly Conference, Nottingham, UK

A substantial number of Digital Musical Instruments (DMIs) are built upon existing musical instruments by digitally and physi- cally intervening in their design and functionality to augment their sonic and expressive capabilities. These are commonly... Read More about Augmenting Guitars for Performance Preparation.

Encumbered Interaction: a Study of Musicians Preparing to Perform (2019)
Presentation / Conference Contribution
Martinez Avila, J. P., Greenhalgh, C., Hazzard, A., Benford, S., & Chamberlain, A. (2019, May). Encumbered Interaction: a Study of Musicians Preparing to Perform. Presented at CHI '19: CHI Conference on Human Factors in Computing Systems, Glasgow, Scotland, UK

Guitars are physical tools (for making music) that require skillful two-handed use. Their use is also supported by diverse digital and physical resources, such as videos and chord charts. To understand the challenges of interacting with supporting r... Read More about Encumbered Interaction: a Study of Musicians Preparing to Perform.

Failing with Style: Designing for Aesthetic Failure in Interactive Performance (2019)
Presentation / Conference Contribution
Hazzard, A., Greenhalgh, C., Kallionpää, M., Benford, S., Veinberg, A., Kanga, Z., & McPherson, A. (2019, May). Failing with Style: Designing for Aesthetic Failure in Interactive Performance. Presented at CHI '19: CHI Conference on Human Factors in Computing Systems, Glasgow, Scotland, UK

Failure is a common artefact of challenging experiences, a fact of life for interactive systems but also a resource for aesthetic and improvisational performance. We present a study of how three professional pianists performed an interactive piano co... Read More about Failing with Style: Designing for Aesthetic Failure in Interactive Performance.

Losing Her Voice : an opera in two acts for four singers, chorus, mixed septet and audience mobile phone interaction (2019)
Other
KELLY, E. (2019). Losing Her Voice : an opera in two acts for four singers, chorus, mixed septet and audience mobile phone interaction. Nottingham Lakeside Arts Djanogly Theatre, Nottingham, NG7 2RD

A new interactive opera inspired by America’s first true superstar – Geraldine Farrar, will let the audience be part of the performance, thanks to the collaborative efforts of experts in music and computer science from the University of Nottingham an... Read More about Losing Her Voice : an opera in two acts for four singers, chorus, mixed septet and audience mobile phone interaction.