Demonstration venue · read-only. Every page can be browsed; the buttons that would change it are switched off. Create an account to run TaxoReview on your own data. A simulation from public publication records: the people listed were not invited and did not agree to review.
? Tutorial for this page

Toby Gifford

dblp:132/1513 · DBLP profile ↗
← Back
4ranked-venue papers
0as first author
0since 2021 · last 2019
0000-0002-9902-3362ORCID · corroborated

Domains — the database's venue-derived domains; a paper can count in several

Human-computer interaction and ubiquitous computing · 2Applied, interdisciplinary, general and emerging computing · 2

Expertise — from the expertise taxonomy: the topics of the expert's papers under the CCF categories. A weight counts papers with recency: 1 for a paper about the topic, 0.3 when the topic is its context, halved every five years.

Human-computer interaction and pervasive computing
1 paper
Human-AI interaction · 50% Haptics and multimodal interaction · 50%
Computer graphics and multimedia
1 paper
Audio and music processing · 100%

Topics — the 2 heaviest of 3, each with the papers that count most for it

TopicWeightPapersLastEvidence papers
Human-AI interaction
creative AI
0.412019
In a Silent Way: Communication Between AI and Improvising Musicians Beyond Sound · CHI 2019
Audio and music processing
music generation
0.112019
In a Silent Way: Communication Between AI and Improvising Musicians Beyond Sound · CHI 2019

Methods — techniques the papers use, named apart from their topics

skin conductance sensing · 0.8FSS-2 questionnaire · 0.8
YearPublicationVenuePosition
2019 In a Silent Way: Communication Between AI and Improvising Musicians Beyond Sound
abstract
Collaboration is built on trust, and establishing trust with a creative Artificial Intelligence is difficult when the decision process or internal state driving its behaviour isn't exposed. When human musicians improvise together, a number of extra-musical cues are used to augment musical communication and expose mental or emotional states which affect musical decisions and the effectiveness of the collaboration. We developed a collaborative improvising AI drummer that communicates its confidence through an emoticon-based visualisation. The AI was trained on musical performance data, as well as real-time skin conductance, of musicians improvising with professional drummers, exposing both musical and extra-musical cues to inform its generative process. Uni- and bi-directional extra-musical communication with real and false values were tested by experienced improvising musicians. Each condition was evaluated using the FSS-2 questionnaire, as a proxy for musical engagement. The results show a positive correlation between extra-musical communication of machine internal state and human musical engagement.
Jon McCormack, Toby Gifford, Patrick Hutchings, Maria Teresa Llano, Matthew Yee-King, Mark d'Inverno
CHI2
2017 Distributed Musical Decision-making in an Ensemble of Musebots : Dramatic Changes and Endings A Brief History of Musebot Ensembles
Arne Eigenfeldt, Oliver Bown, Andrew R. Brown, Toby Gifford
ICCC4
2016 Flexible Generation of Musical Form: Beyond Mere Generation
Arne Eigenfeldt, Oliver Bown, Andrew R. Brown, Toby Gifford
ICCC4
2013 Factors affecting audience perceptions of agency in human computer musical partnerships
abstract
What design factors contribute to an illusion of agency in a computational system? Our previous research [1, 2] has investigated this question in the context of creative human-machine musical partnerships, where we identified musical behaviours implying machine agency from the perspective of a human performer. This paper investigates an audience perspective: what factors contribute to an impression of machine agency for in a musical performance? Audience feedback data was collected during a concert with four performances, each comprising a human musician interacting with a computer music system. Three performances utilized a computational agent, CIM [1], designed for this research. The fourth performance utilized an array of effect pedals designed in an extended instrument paradigm [3]. The audience feedback questionnaire queried whether a sense of machine agency was imparted, and to what degree visual, spatial, timbral and musical factors contributed to this impression. The results showed our CIM system succeeded in imparting a sense of agency, and that all four of the suggested factors contributed to that impression.
Andrew R. Brown, Toby Gifford, Bradley Voltz
Creativity & Cognition2