• Login
    JavaScript is disabled for your browser. Some features of this site may not work without it.
    Risky business: Disfluency as a design strategy 
    •   QMRO Home
    • School of Electronic Engineering and Computer Science
    • Centre for Digital Music (C4DM)
    • Risky business: Disfluency as a design strategy
    •   QMRO Home
    • School of Electronic Engineering and Computer Science
    • Centre for Digital Music (C4DM)
    • Risky business: Disfluency as a design strategy
    ‌
    ‌

    Browse

    All of QMROCommunities & CollectionsBy Issue DateAuthorsTitlesSubjectsThis CollectionBy Issue DateAuthorsTitlesSubjects
    ‌
    ‌

    Administrators only

    Login
    ‌
    ‌

    Statistics

    Most Popular ItemsStatistics by CountryMost Popular Authors

    Risky business: Disfluency as a design strategy

    View/Open
    Published version (955.7Kb)
    Metadata
    Show full item record
    Abstract
    This paper presents a study examining the effects of disflu- ent design on audience perception of digital musical instru- ment (DMI) performance. Disfluency, defined as a barrier to effortless cognitive processing, has been shown to gen- erate better results in some contexts as it engages higher levels of cognition. We were motivated to determine if dis- fluent design in a DMI would result in a risk state that audiences would be able to perceive, and if this would have any effect on their evaluation of the performance. A DMI was produced that incorporated a disfluent characteristic: It would turn itself off if not constantly moved. Six phys- ically identical instruments were produced, each in one of three versions: Control (no disfluent characteristics), mild disfluency (turned itself off slowly), and heightened disflu- ency (turned itself off more quickly). 6 percussionists each performed on one instrument for a live audience (N=31), and data was collected in the form of real-time feedback (via a mobile phone app), and post-hoc surveys. Though there was little difference in ratings of enjoyment between the versions of the instrument, the real-time and qualita- tive data suggest that disfluent behaviour in a DMI may be a way for audiences to perceive and appreciate performer skill.
    Authors
    BIN, SMA; BRYAN-KINNS, N; MCPHERSON, AP; New Interfaces for Musical Expression
    URI
    https://nime2018.sched.com/
    http://qmro.qmul.ac.uk/xmlui/handle/123456789/39184
    Collections
    • Centre for Digital Music (C4DM) [209]
    Licence information
    CC-BY
    Twitter iconFollow QMUL on Twitter
    Twitter iconFollow QM Research
    Online on twitter
    Facebook iconLike us on Facebook
    • Site Map
    • Privacy and cookies
    • Disclaimer
    • Accessibility
    • Contacts
    • Intranet
    • Current students

    Modern Slavery Statement

    Queen Mary University of London
    Mile End Road
    London E1 4NS
    Tel: +44 (0)20 7882 5555

    © Queen Mary University of London.