Stringesthesia: Dynamically Shifting Musical Agency Between Audience and Performer Based on Trust in an Interactive and Improvised Performance

Author:

Hopkins Torin1ORCID,Doherty Emily2ORCID,Ofer Netta1ORCID,Weng Suibi Che-Chuan1ORCID,Gyory Peter1ORCID,Tobin Chad1ORCID,Hirshfield Leanne2ORCID,Do Ellen Yi-Luen1ORCID

Affiliation:

1. University of Colorado Boulder, ATLAS Institute, USA

2. University of Colorado, USA

Publisher

ACM

Reference45 articles.

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2. Philip Bobko Leanne Hirshfield Lucca Eloy Cara Spencer Emily Doherty Jack Driscoll and Hannah Obolsky. 2022. Human-agent teaming and trust calibration: a theoretical framework configurable testbed empirical illustration and implications for the development of adaptive systems. Theoretical Issues in Ergonomics Science (2022) 1–25. Philip Bobko Leanne Hirshfield Lucca Eloy Cara Spencer Emily Doherty Jack Driscoll and Hannah Obolsky. 2022. Human-agent teaming and trust calibration: a theoretical framework configurable testbed empirical illustration and implications for the development of adaptive systems. Theoretical Issues in Ergonomics Science (2022) 1–25.

3. Linda Bouchard and Joseph Browne . 2019 . Live Structures. In Proceedings of the International Conference on Technologies for Music Notation and Representation – TENOR’19 , Cat Hope, Lindsay Vickery, and Nat Grant (Eds.). Monash University, Melbourne, Australia, 26–32. Linda Bouchard and Joseph Browne. 2019. Live Structures. In Proceedings of the International Conference on Technologies for Music Notation and Representation – TENOR’19, Cat Hope, Lindsay Vickery, and Nat Grant (Eds.). Monash University, Melbourne, Australia, 26–32.

4. Courtney Brown and Garth Paine . 2019. A case study in collaborative learning via participatory music interactive systems: Interactive Tango Milonga. New Directions in Music and Human-Computer Interaction ( 2019 ), 285–306. Courtney Brown and Garth Paine. 2019. A case study in collaborative learning via participatory music interactive systems: Interactive Tango Milonga. New Directions in Music and Human-Computer Interaction (2019), 285–306.

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