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Feral Experiments in CreaTures Co-Laboratory

In this paper, we share insights from our creative practice-based experimentation with ‘feral’ ways of stimulating eco-social change. Drawing on our experiences with three practice-based research projects – Open Forest, Cyano Automaton, and Open Urban Forest – we discuss how feral ways may foster more-than-human co-creation of knowledge and data, and nurture pluralistic making sense-with other-thanhuman creatures. We first explore the concept of feral in supporting the understanding of how creative eco-social inquiries may evolve beyond the bounds of anthropocentrism, in relation with more-than-human experiences. Through our three cases, we illustrate how experimenting with feralness can bring to the fore issues of power, agency, and control in the currently human-centric discourses around data, technology, and sensemaking in eco-social transformation. By sharing our emerging insights regarding feral ways, our aim is to help nurture critical, more-than-human perspectives in creative practice-based inquiries in art and design.

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Feral Experiments in CreaTures Co-Laboratory

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The indoor sound environment and human task performance

A substantial amount of studies have addressed the inﬂuence of sound on human performance. In many of these, however, the large acoustic differences between experimental conditions prevent a direct translation of the results to realistic effects of room acoustic interventions. This review identiﬁes those studies which can be, in principle, translated to (changes in) room acoustic parameters and adds to the knowledge about the inﬂuence of the indoor sound environment on people. The review procedure is based on the effect room acoustics can have on the relevant quantiﬁers of the sound environment in a room or space. 272 papers containing empirical ﬁndings on the inﬂuence of sound or noise on some measure of human performance were found. Of these, only 12 papers complied with this review's criteria. A conceptual framework is suggested based on the analysis of results, positioning the role of room acoustics in the inﬂuence of sound on task performance. Furthermore, valuable insights are pre- sented that can be used in future studies on this topic. Whi le the inﬂuence of the sound environment on performance is clearly an issue in many situations, evidence regarding the effectiveness of strategies to control the sound environment by room acoustic design is lacking and should be a focus area in future studies.

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The indoor sound environment and human task performance

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The measurement of atmospherics

De sfeer van een ruimte of omgeving is een belangrijke factor in de beleving van die ruimte door een bezoeker. Om het belang van de factor sfeer te kunnen vaststellen is een goed meetinstrument nodig. In deze studie wordt een voorstel gedaan voor een dergelijk meetinstrument. Hiertoe wordt een meta-analyse uitgevoerd op bestaande empirische en theoretische studies naar sfeer. Deze studies komen uit de marketingliteratuur en uit museum studies. Winkels en musea zijn twee relevante voorbeelden van waar sfeer een evidente rol speelt in de ervaring van bezoekers en hun gedrag. Het is dan ook niet verwonderlijk dat er vanuit deze disciplines redelijk wat aandacht is geweest voor sfeer.

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Reference points

We need mental and physical reference points. We need physical reference points such as signposts to show us which way to go, for example to the airport or the hospital, and we need reference points to show us where we are. Why? If you don’t know where you are, it’s quite a difficult job to find your way, thus landmarks and “lieux de memoire” play an important role in our lives.

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Audiomotor transformations in improvising and score-dependent musicians

The realization of one’s musical ideas at the keyboard is dependent on the ability to transform sound into movement, a process called audiomotor transformation. Using fMRI, we investigated cerebral activations while classically‐trained improvising and non‐improvising musicians imagined playing along with recordings of familiar and unfamiliar music excerpts. We hypothesized that audiomotor transformation would be associated with the recruitment of dedicated cerebral networks, facilitating aurally‐cued performance. Results indicate that while all classically‐trained musicians engage a left‐hemisphere network involved in motor skill and action recognition, only improvising musicians additionally recruit a right dorsal frontoparietal network dedicated to spatially‐driven motor control. Mobilization of this network, which plays a crucial role in the real‐time transformation of imagined or perceived music into goal‐directed action, may be held responsible not only for the stronger activation of auditory cortex we observed in improvising musicians in response to the aural perception of music, but also for the superior ability to play ‘by ear’ which they demonstrated in a follow‐up study. The results of this study suggest that the practice of improvisation promotes the implicit acquisition of hierarchical music syntax which is then recruited in top‐down manner via the dorsal stream during music performance.

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Speech dysprosody but no music ‘dysprosody’ in Parkinson's disease

Parkinson’s disease is characterized not only by bradykinesia, rigidity, and tremor, but also by impairments of expressive and receptive linguistic prosody. The facilitating effect of music with a salient beat on patients’ gait suggests that it might have a similar effect on vocal behavior, however it is currently unknown whether singing is affected by the disease. In the present study, fifteen Parkinson patients were compared with fifteen healthy controls during the singing of familiar melodies and improvised melodic continuations. While patients’ speech could reliably be distinguished from that of healthy controls matched for age and gender, purely on the basis of aural perception, no significant differences in singing were observed, either in pitch, pitch range, pitch variability, and tempo, or in scale tone distribution, interval size or interval variability. The apparent dissociation of speech and singing in Parkinson’s disease suggests that music could be used to facilitate expressive linguistic prosody.

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The cerebral organization of audiomotor transformations in music

The realization of one’s musical ideas at the keyboard is dependent on the ability to transform sound into movement, a process called audiomotor transformation. Using fMRI, we investigated cerebral activations while classically-trained improvising and non-improvising musicians imagined playing along with recordings of familiar and unfamiliar music excerpts. We hypothesized that audiomotor transformation would be associated with the recruitment of dedicated cerebral networks, facilitating aurally-cued performance. Results indicate that while all classically-trained musicians engage a left-hemisphere network involved in motor skill and action recognition, only improvising musicians additionally recruit a right dorsal frontoparietal network dedicated to spatially-driven motor control. Mobilization of this network, which plays a crucial role in the real-time transformation of imagined or perceived music into goal-directed action, may be held responsible not only for the stronger activation of auditory cortex we observed in improvising musicians in response to the aural perception of music, but also for the superior ability to play ‘by ear’ which they demonstrated in a follow-up study. The results of this study suggest that the practice of improvisation promotes the implicit acquisition of hierarchical music syntax which is then recruited in top-down manner via the dorsal stream during music performance. In a study of audiomotor transformation in Parkinson patients, we demonstrated a dissociation between dysprosody in speech and music. While patients’ speech could reliably be distinguished from that of healthy individuals, purely on the basis of aural perception, no difference was observed between patients and healthy controls in their ability to sing improvised melodies.

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Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study

Using fMRI, cerebral activations were studied in 24 classically-trained keyboard performers and 12 musically unskilled control subjects. Two groups of musicians were recruited: improvising (n=12) and score-dependent (non-improvising) musicians (n=12). While listening to both familiar and unfamiliar music, subjects either (covertly) appraised the presented music performance or imagined they were playing the music themselves. We hypothesized that improvising musicians would exhibit enhanced efficiency of audiomotor transformation reflected by stronger ventral premotor activation. Statistical Parametric Mapping revealed that, while virtually 'playing along' with the music, improvising musicians exhibited activation of a right-hemisphere distribution of cerebral areas including posterior-superior parietal and dorsal premotor cortex. Involvement of these right-hemisphere dorsal stream areas suggests that improvising musicians recruited an amodal spatial processing system subserving pitch-to-space transformations to facilitate their virtual motor performance. Score-dependent musicians recruited a primarily left-hemisphere pattern of motor areas together with the posterior part of the right superior temporal sulcus, suggesting a relationship between aural discrimination and symbolic representation. Activations in bilateral auditory cortex were significantly larger for improvising musicians than for score-dependent musicians, suggesting enhanced top-down effects on aural perception. Our results suggest that learning to play a music instrument primarily from notation predisposes musicians toward aural identification and discrimination, while learning by improvisation involves audio-spatial-motor transformations, not only during performance, but also perception.

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Behavioral quantification of audiomotor transformations in improvising and score-dependent musicians

The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning. In a recent fMRI study comparing these two groups of musicians while they either imagined playing along with a recording or covertly assessed the quality of the performance, we observed activation of a right-hemisphere network of posterior superior parietal and dorsal premotor cortices in improvising musicians, indicating more efficient audiomotor transformation. In the present study, we investigated the detailed performance characteristics underlying the ability of both groups of musicians to replicate music on the basis of aural perception alone. Twenty-two classically trained improvising and score-dependent musicians listened to short, unfamiliar two-part excerpts presented with headphones. They played along or replicated the excerpts by ear on a digital piano, either with or without aural feedback. In addition, they were asked to harmonize or transpose some of the excerpts either to a different key or to the relative minor. MIDI recordings of their performances were compared with recordings of the aural model. Concordance was expressed in an audiomotor alignment score computed with the help of music information retrieval algorithms. Significantly higher alignment scores were found when contrasting groups, voices, and tasks. The present study demonstrates the superior ability of improvising musicians to replicate both the pitch and rhythm of aurally perceived music at the keyboard, not only in the original key, but also in other tonalities. Taken together with the enhanced activation of the right dorsal frontoparietal network found in our previous fMRI study, these results underscore the conclusion that the practice of improvising music can be associated with enhanced audiomotor transformation in response to aurally perceived music.

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Producten 11

Feral Experiments in CreaTures Co-Laboratory

The indoor sound environment and human task performance

The measurement of atmospherics

Reference points

Audiomotor transformations in improvising and score-dependent musicians

Speech dysprosody but no music ‘dysprosody’ in Parkinson's disease

The cerebral organization of audiomotor transformations in music

Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study

Behavioral quantification of audiomotor transformations in improvising and score-dependent musicians

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Producten 11

Feral Experiments in CreaTures Co-Laboratory

The indoor sound environment and human task performance

The measurement of atmospherics

Reference points

Audiomotor transformations in improvising and score-dependent musicians

Speech dysprosody but no music ‘dysprosody’ in Parkinson's disease

The cerebral organization of audiomotor transformations in music

Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study

Behavioral quantification of audiomotor transformations in improvising and score-dependent musicians