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Peter Bennett

University of Bristol, Computer Science, Post-Doc

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Peter is post-doc in the Interaction and Graphics Lab at the University of Bristol.
Most recent project is the ChronoTape:
www.chronotape.com

More information on my other projects and research on my homepage:
www.peteinfo.com
Supervisors: Roger Woods and Sile O'Modhrain

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Vrije Universiteit Brussel

Katherine Butler Schofield

King's College London

Korea Advanced Institute of Science and Technology

Politecnico di Milano

cameron tonkinwise

University of Technology Sydney

Kansas State University

Norwegian University of Science and Technology

University of Twente

Savannah College of Art and Design

Javier Marín-López

Universidad de Jaén

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Papers by Peter Bennett

Neurythmic: A Rhythm Creation Tool Based on Central Pattern Generators

by Daniel Bennett and Peter Bennett

We describe the development of Neurythmic: an interactive system for the creation and performance... more We describe the development of Neurythmic: an interactive system for the creation and performance of fluid, expressive musical rhythms using Central Pattern Generators (CPGs). CPGs are neural networks which generate adap-tive rhythmic signals. They simulate structures in animals which underly behaviours such as heartbeat, gut peristalsis and complex motor control. [7, 6]. Neurythmic is the first such system to use CPGs for interactive rhythm creation. We discuss how Neurythmic uses the entrainment behaviour of these networks to support the creation of rhythms which avoid the rigidity of grid-based approaches. As well as discussing the development, design and evaluation of Neurythmic, we discuss relevant properties of the CPG networks used (Matsuoka's Neural Oscillator), and describe methods for their control. Evaluation with expert and professional musicians shows that Neurythmic is a versatile tool, adapting well to a range of quite different musical approaches.

Feelable User Interfaces: An Exploration of Non-Visual Tangible User Interfaces

by Katrin Wolf and Peter Bennett

MagneTexture: A Non-Visual Tangible User Interface

by Katrin Wolf and Peter Bennett

Hap-Kit: A haptic interface for a virtual drum-kit

Abstract–This report describes the design and testing of a haptic interface for a virtual drum-ki... more Abstract–This report describes the design and testing of a haptic interface for a virtual drum-kit. This interface incorporates several novel features including the use of a controllable brake, force sensors and wire gearing. It is shown how these features generally improve the haptic interface and how they can be specifically used to aid simulation of a real drum. It is also shown how coherent multi-sensory feedback between the sound and haptic output can increase the realism of the haptic interface.

Making Time: Defining Rhythms in Archaeological Research

ABSTRACT In this paper we describe two technology interventions being made on archaeology digs as... more

Designing for style in new musical interactions

Abstract In this paper we discuss the concept of style, focusing in particular on methods of desi... more Abstract In this paper we discuss the concept of style, focusing in particular on methods of designing new instruments that facilitate the cultivation and recognition of style. We distinguish between style and structure of an interaction and discuss the significance of this formulation within the context of NIME. Two workshops that were conducted to explore style in interaction design are described, from which we identify elements of style that can inform and influence the design process.

ChronoTape: Tangible Timelines For Family History

An explosion in the availability of online records has led to surging interest in genealogy. In t... more An explosion in the availability of online records has led to surging interest in genealogy. In this paper we explore the present state of genealogical practice, with a particular focus on how the process of research is recorded and later accessed by other researchers. We then present our response, ChronoTape, a novel tangible interface for supporting family his- tory research. The ChronoTape is an example of a temporal tangible interface, an interface designed to enable the tangible representation and control of time. We use the ChronoTape to interrogate the value relationships between physical and digital materials, personal and professional practices, and the ways that records are produced, maintained and ultimately inherited. In contrast to designs that support exist- ing genealogical practice, ChronoTape captures and embeds traces of the researcher within the document of their own re- search, in three ways: (i) it ensures physical traces of digital research; (ii) it generates personal material around the use of impersonal genealogical data; (iii) it allows for graceful degradation of both its physical and digital components in order to deliberately accommodate the passage of information into the future.

The Representation and Control of Time in Tangible User Interfaces

Tangible user interfaces provide a powerful and intuitive means of interact- ing with digital inf... more Tangible user interfaces provide a powerful and intuitive means of interact- ing with digital information, creating a seamless connection between the cyberspace of ‘bits’ and the physical world of ‘atoms’. Musical applications of tangible interfaces are successful because they solidify the ephemeral sounds and structure of music, presenting them to the player as readily graspable bricks, pucks and tangible objects. This thesis proposes that a detailed study of how time may be used within tangible interfaces is required in order to allow a better understanding of how to design new tangible interfaces for manipulating temporal media. The challenge in designing tangible interfaces for temporal media is also one of the things that makes the area exciting, namely that music and sounds are not existing physical objects; therefore representing them as objects provides the designer with a very wide selection of possibilities. The designer gets to decide what sound and musical structures look and feel like and how they behave. Rather than following a prescriptive route of giving the designer a set of guidelines, this thesis takes the more open approach of creating a design-space and interaction model that can help synthesise new design ideas, helping to draw attention to lesser explored areas.

This thesis proposes and evaluates the temporal-MCRit interaction model; a conceptual model of how time can be used in tangible user interfaces, adapted from a standard TUI model. This new interaction model can be used to both analyse existing systems, and synthesise new ones. The aim in proposing the interaction model is to encourage the design of tangible interfaces that go beyond a simple spatial mapping of time, towards future designs that allow fluid, intuitive interaction with temporal digital media. The BeatBearing tangible rhythm sequencer is presented in this thesis as an instrument designed to explore the tTUI design space and develop the interaction model. Variations of the BeatBearing are compared to evaluate the ability of the temporal-MCRit in assisting the designer of new temporal- TUIs.
The challenge of designing tangible interfaces for handling temporal digital media breaks down into three main questions:
1. How can time be represented in a tangible interface?
2. How can time be controlled in a tangible interface?
3. Knowing the above, how can TUIs be designed for intuitive, powerful and enjoyable interaction with temporal digital media?

In answering these questions this thesis lays the foundations for the development of advanced temporal-TUIs (temporal media tangible user interfaces). The vision is to unite the ‘hands-on’ physicality and nuance of musical instruments and recording studio equipment with the power and functionality of conventional graphical computer-based digital media editing. The tangible user interface basis of this vision means that the system will not simply provide controls with which to manipulate a virtual representation, but actually embody the digital-media in the real world, allowing direct physical manipulation of the time-based based media. The temporal-TUI concept is influenced by, and addresses, the challenges raised by new ways of engaging with music. In particular, those techniques that allow the player to interact with music out of time, as opposed to instruments that allow only the real-time production of music. In addressing this challenge it is hoped that advances in temporal-TUIs will in turn engender and inspire many new types of music, performance and composition.

The BeatBearing: a Tangible Rhythm Sequencer

The BeatBearing is a novel musical instrument that allows users to manipulate rhythmic patterns t... more The BeatBearing is a novel musical instrument that allows users to manipulate rhythmic patterns through the placement of ball bearings on a grid. The BeatBearing has been developed as an explorative design case for investigating how the theory of embodied interaction can inform the design of new digital musical instruments.

Towards Tangible Enactive-Interfaces

This paper compares the disciplines of Enactive In- terfaces and Tangible User Interface design w... more This paper compares the disciplines of Enactive In-
terfaces and Tangible User Interface design with the aim
of showing that by considering the design knowledge of
Tangible User Interfaces with the cognitive depth of the
theories of enaction, a new type of “enactive tangible-
user-interface” can be designed. Introductions to both
disciplines are given, before a method of gauging the
enactive potential of particular TUI’s is described. Fi-
nally a discussion of the two disciplines’ combination
is given with such questions as, “are all tangible-user-
interface’s enactive?” and “are all enactive interfaces
tangible?”

PETECUBE: a multimodal feedback interface

The PETECUBE project consists of a series of musical interfaces designed to explore multi-modal ... more

DAMPER: A Platfrom for Effortful Interface Development

This paper proposes that the physicality of an instrument be considered an important aspect in t... more This paper proposes that the physicality of an instrument be
considered an important aspect in the design of new interfaces for
musical expression. The use of Laban’s theory of effort in the
design of new effortful interfaces, in particular looking at effort-
space modulation, is investigated, and a platform for effortful
interface development (named the DAMPER) is described.
Finally, future work is described and further areas of research are
highlighted.

Neurythmic: A Rhythm Creation Tool Based on Central Pattern Generators

by Daniel Bennett and Peter Bennett

We describe the development of Neurythmic: an interactive system for the creation and performance... more We describe the development of Neurythmic: an interactive system for the creation and performance of fluid, expressive musical rhythms using Central Pattern Generators (CPGs). CPGs are neural networks which generate adap-tive rhythmic signals. They simulate structures in animals which underly behaviours such as heartbeat, gut peristalsis and complex motor control. [7, 6]. Neurythmic is the first such system to use CPGs for interactive rhythm creation. We discuss how Neurythmic uses the entrainment behaviour of these networks to support the creation of rhythms which avoid the rigidity of grid-based approaches. As well as discussing the development, design and evaluation of Neurythmic, we discuss relevant properties of the CPG networks used (Matsuoka's Neural Oscillator), and describe methods for their control. Evaluation with expert and professional musicians shows that Neurythmic is a versatile tool, adapting well to a range of quite different musical approaches.

Feelable User Interfaces: An Exploration of Non-Visual Tangible User Interfaces

by Katrin Wolf and Peter Bennett

MagneTexture: A Non-Visual Tangible User Interface

by Katrin Wolf and Peter Bennett

Hap-Kit: A haptic interface for a virtual drum-kit

Abstract–This report describes the design and testing of a haptic interface for a virtual drum-ki... more Abstract–This report describes the design and testing of a haptic interface for a virtual drum-kit. This interface incorporates several novel features including the use of a controllable brake, force sensors and wire gearing. It is shown how these features generally improve the haptic interface and how they can be specifically used to aid simulation of a real drum. It is also shown how coherent multi-sensory feedback between the sound and haptic output can increase the realism of the haptic interface.

Making Time: Defining Rhythms in Archaeological Research

ABSTRACT In this paper we describe two technology interventions being made on archaeology digs as... more

Designing for style in new musical interactions

Abstract In this paper we discuss the concept of style, focusing in particular on methods of desi... more Abstract In this paper we discuss the concept of style, focusing in particular on methods of designing new instruments that facilitate the cultivation and recognition of style. We distinguish between style and structure of an interaction and discuss the significance of this formulation within the context of NIME. Two workshops that were conducted to explore style in interaction design are described, from which we identify elements of style that can inform and influence the design process.

ChronoTape: Tangible Timelines For Family History

An explosion in the availability of online records has led to surging interest in genealogy. In t... more An explosion in the availability of online records has led to surging interest in genealogy. In this paper we explore the present state of genealogical practice, with a particular focus on how the process of research is recorded and later accessed by other researchers. We then present our response, ChronoTape, a novel tangible interface for supporting family his- tory research. The ChronoTape is an example of a temporal tangible interface, an interface designed to enable the tangible representation and control of time. We use the ChronoTape to interrogate the value relationships between physical and digital materials, personal and professional practices, and the ways that records are produced, maintained and ultimately inherited. In contrast to designs that support exist- ing genealogical practice, ChronoTape captures and embeds traces of the researcher within the document of their own re- search, in three ways: (i) it ensures physical traces of digital research; (ii) it generates personal material around the use of impersonal genealogical data; (iii) it allows for graceful degradation of both its physical and digital components in order to deliberately accommodate the passage of information into the future.

The Representation and Control of Time in Tangible User Interfaces

Tangible user interfaces provide a powerful and intuitive means of interact- ing with digital inf... more Tangible user interfaces provide a powerful and intuitive means of interact- ing with digital information, creating a seamless connection between the cyberspace of ‘bits’ and the physical world of ‘atoms’. Musical applications of tangible interfaces are successful because they solidify the ephemeral sounds and structure of music, presenting them to the player as readily graspable bricks, pucks and tangible objects. This thesis proposes that a detailed study of how time may be used within tangible interfaces is required in order to allow a better understanding of how to design new tangible interfaces for manipulating temporal media. The challenge in designing tangible interfaces for temporal media is also one of the things that makes the area exciting, namely that music and sounds are not existing physical objects; therefore representing them as objects provides the designer with a very wide selection of possibilities. The designer gets to decide what sound and musical structures look and feel like and how they behave. Rather than following a prescriptive route of giving the designer a set of guidelines, this thesis takes the more open approach of creating a design-space and interaction model that can help synthesise new design ideas, helping to draw attention to lesser explored areas.

This thesis proposes and evaluates the temporal-MCRit interaction model; a conceptual model of how time can be used in tangible user interfaces, adapted from a standard TUI model. This new interaction model can be used to both analyse existing systems, and synthesise new ones. The aim in proposing the interaction model is to encourage the design of tangible interfaces that go beyond a simple spatial mapping of time, towards future designs that allow fluid, intuitive interaction with temporal digital media. The BeatBearing tangible rhythm sequencer is presented in this thesis as an instrument designed to explore the tTUI design space and develop the interaction model. Variations of the BeatBearing are compared to evaluate the ability of the temporal-MCRit in assisting the designer of new temporal- TUIs.
The challenge of designing tangible interfaces for handling temporal digital media breaks down into three main questions:
1. How can time be represented in a tangible interface?
2. How can time be controlled in a tangible interface?
3. Knowing the above, how can TUIs be designed for intuitive, powerful and enjoyable interaction with temporal digital media?

In answering these questions this thesis lays the foundations for the development of advanced temporal-TUIs (temporal media tangible user interfaces). The vision is to unite the ‘hands-on’ physicality and nuance of musical instruments and recording studio equipment with the power and functionality of conventional graphical computer-based digital media editing. The tangible user interface basis of this vision means that the system will not simply provide controls with which to manipulate a virtual representation, but actually embody the digital-media in the real world, allowing direct physical manipulation of the time-based based media. The temporal-TUI concept is influenced by, and addresses, the challenges raised by new ways of engaging with music. In particular, those techniques that allow the player to interact with music out of time, as opposed to instruments that allow only the real-time production of music. In addressing this challenge it is hoped that advances in temporal-TUIs will in turn engender and inspire many new types of music, performance and composition.

The BeatBearing: a Tangible Rhythm Sequencer

The BeatBearing is a novel musical instrument that allows users to manipulate rhythmic patterns t... more The BeatBearing is a novel musical instrument that allows users to manipulate rhythmic patterns through the placement of ball bearings on a grid. The BeatBearing has been developed as an explorative design case for investigating how the theory of embodied interaction can inform the design of new digital musical instruments.

Towards Tangible Enactive-Interfaces

This paper compares the disciplines of Enactive In- terfaces and Tangible User Interface design w... more This paper compares the disciplines of Enactive In-
terfaces and Tangible User Interface design with the aim
of showing that by considering the design knowledge of
Tangible User Interfaces with the cognitive depth of the
theories of enaction, a new type of “enactive tangible-
user-interface” can be designed. Introductions to both
disciplines are given, before a method of gauging the
enactive potential of particular TUI’s is described. Fi-
nally a discussion of the two disciplines’ combination
is given with such questions as, “are all tangible-user-
interface’s enactive?” and “are all enactive interfaces
tangible?”

PETECUBE: a multimodal feedback interface

The PETECUBE project consists of a series of musical interfaces designed to explore multi-modal ... more

DAMPER: A Platfrom for Effortful Interface Development

This paper proposes that the physicality of an instrument be considered an important aspect in t... more This paper proposes that the physicality of an instrument be
considered an important aspect in the design of new interfaces for
musical expression. The use of Laban’s theory of effort in the
design of new effortful interfaces, in particular looking at effort-
space modulation, is investigated, and a platform for effortful
interface development (named the DAMPER) is described.
Finally, future work is described and further areas of research are
highlighted.