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Patrick Hutchings

dblp:138/5141 · DBLP profile ↗
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3ranked-venue papers
1as first author
0since 2021 · last 2020
0000-0001-8680-6969ORCID · corroborated

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

Human-computer interaction and ubiquitous computing · 2Artificial intelligence and machine learning · 1 · 1 first-authorGraphics, computer vision, multimedia, augmented reality and games · 1

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
2020 Adaptive Music Composition for Games
abstract
The generation of music that adapts dynamically to content and actions has an important role in building more immersive, memorable, and emotive game experiences. To date, the development of adaptive music systems (AMSs) for video games is limited both by the nature of algorithms used for real-time music generation and the limited modeling of player action, game-world context, and emotion in current games. We propose that these issues must be addressed in tandem for the quality and flexibility of adaptive game music to significantly improve. Cognitive models of knowledge organization and emotional effect are integrated with multimodal, multiagent composition techniques to produce a novel AMS. The system is integrated into two stylistically distinct games. Gamers reported an overall higher immersion and correlation of music with game-world concepts with the AMS than that with the original game soundtracks in both the games.
Patrick Hutchings, Jon McCormack
IEEE Trans. Games1
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
CHI3
2014 Poetry of Separation: The Aesthetics of Spatial Montage and Generative Editing for Multi-layered Screens
So Jung Bang, Doo Won Yoo, Patrick Hutchings, Chungkon Shi, Graham Wakefield
ArtsIT3