EAI Endorsed Transactions on Creative Technologies 18(14): e5

Research Article

Learnings from an Iterative Design Process for Technology-Mediated Audience Participation (TMAP) using Smartphones

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  • @ARTICLE{10.4108/eai.16-1-2018.153643,
        author={Fares Kayali and Oliver Hodl and Christoph Bartmann and Ulrich Kuhn and Thomas Wagensommerer and Ruth Mateus-Berr},
        title={Learnings from an Iterative Design Process for Technology-Mediated Audience Participation (TMAP) using Smartphones},
        journal={EAI Endorsed Transactions on Creative Technologies},
        volume={18},
        number={14},
        publisher={EAI},
        journal_a={CT},
        year={2018},
        month={1},
        keywords={technology-mediated audience participation; TMAP; live music; smartphones; high-frequency sound IDs; iterative design.},
        doi={10.4108/eai.16-1-2018.153643}
    }
    
  • Fares Kayali
    Oliver Hodl
    Christoph Bartmann
    Ulrich Kuhn
    Thomas Wagensommerer
    Ruth Mateus-Berr
    Year: 2018
    Learnings from an Iterative Design Process for Technology-Mediated Audience Participation (TMAP) using Smartphones
    CT
    EAI
    DOI: 10.4108/eai.16-1-2018.153643
Fares Kayali1,*, Oliver Hodl1, Christoph Bartmann1, Ulrich Kuhn2, Thomas Wagensommerer2, Ruth Mateus-Berr2
  • 1: TU Wien (Vienna University of Technology), Argentinierstrasse 8/187, 1040 Vienna, Austria
  • 2: University of Applied Arts Vienna, Oskar-Kokoschka-Platz 2, 1010 Vienna, Austria
*Contact email: fares@igw.tuwien.ac.at

Abstract

We discuss a setup for technology-mediated audience participation (TMAP)in live music using smartphones and high-frequency sound IDs in a playful setting. The audience needs to install a smartphone app. Using high-frequency sound IDs music samples and colors can be triggered on the audience’s smartphones without the need to have an internet connection. The resulting soundscape is determined by the samples and parameters selected by the artist as well as by the location audience members choose in the performance space. We present the technical basis and iterative explorative design process of such a system for TMAP. The learnings from the perspective of musicians were technical requirements such as low latency, reliability, as well as increasing the number of possible sound samples and sound quality and we further present learnings on creating systems for TMAP from technical and creative perspectives.