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Inclusive Design in Digital Musical Instruments

F44b1ed1930d80881663a97eb6eb1d54?s=47 Amy Dickens
November 01, 2018

Inclusive Design in Digital Musical Instruments

This talk has been given at DICE festival in Berlin 2018 and at Monki Gras 2019.

It looks at a small snapshot of inclusive design, citing the four principles of web accessibility as outlined in the Web Content Accessibility Guidelines (WCAG 2.0) as a good place to start. You can read more about WCAG here: https://www.w3.org/TR/WCAG21/

If you would like to join the Accessible Instruments community, you can sign up here: https://goo.gl/forms/mrJahCsTiRdC1umA3

Please feel free to contact me about any of the content in this workshop.


Amy Dickens

November 01, 2018

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  5. Building accessible products is the right thing to do. As

    technology becomes more ingrained into everyday life, the ability to use digital products is a necessity; therefore, from an ethical perspective, ensuring that a diverse set of customers can use your product is a moral imperative. Emily Tate, Mind the Product |Putting Accessibility First, Interactions 2018 @RedRoxProjects
  6. @RedRoxProjects The overall goal should be… Making sure that everyone

    has equivalent access… If it takes the average person who can see 10 seconds and the average person with a visual impairment 5 minutes, that is not equivalent usability… That is not equivalent access Jonathan Lazar, recipient of SIGCHI Social Impact Award |Putting Accessibility First, Interactions 2018
  7. A quick nod towards web standards: Web Content Accessibility Guidelines

    WCAG 2.0 @RedRoxProjects
  8. #1 PERCEIVABLE @RedRoxProjects

  9. Information and user interface components must be presentable to users

    in ways they can perceive. It must not be invisible to all of their senses. @RedRoxProjects
  10. #2 OPERABLE @RedRoxProjects

  11. User interface components and navigation must be operable. It cannot

    require an interaction that a user cannot perform. @RedRoxProjects
  12. @RedRoxProjects #3 UNDERSTABLE

  13. Information and the operation of user interface must be understandable.

    The information nor operation of the interface should be beyond the user’s understanding. @RedRoxProjects
  14. @RedRoxProjects #4 ROBUST

  15. Content must be robust enough that it can be interpreted

    reliably by a wide variety of user agents, including assistive technologies. It shouldn’t break easily. @RedRoxProjects
  16. 19% of the world’s population is estimated to suffer from

    some form of disability at some point in their lives. @RedRoxProjects
  17. 1 in 5 of potential users. @RedRoxProjects

  18. Inclusive Design considers these users throughout the entire design process

    Walkthroughs with Personas Walkthroughs using Assistive Technology Paid user testing - by people with a range of accessibility requirements Using the Microsoft Inclusive Design Tool Kit as a guide @RedRoxProjects
  19. Affordances of digital technologies in music making @RedRoxProjects

  20. Technology has come a long way since the 1930s From

    Synthesizers to Apps the range of Digital Musical Instruments is vast. Some are sound generators, some are MIDI controllers, some can be both. Technology allows us to interact with sound in many ways. @RedRoxProjects
  21. @RedRoxProjects @RedRoxProjects

  22. Touch-able interfaces Sensitivity Malleable Visual Independence Familiarity of Devices @RedRoxProjects

  23. Gesture interfaces In-air Gestures Wearables Thresholds Tailorable @RedRoxProjects

  24. Apps Familiarity of Device Generative Audio Scapes Gamification Integration with

    Assistive Technologies @RedRoxProjects
  25. What does the technology tell the user? How to interact

    with it? How soon they can interact with it? What kind of sound it will generate? Seeing vs feeling What can be changed about it? What it can’t do? @RedRoxProjects
  26. Barriers to music making with digital musical instruments @RedRoxProjects

  27. @RedRoxProjects

  28. Non Visual Interaction Orientation & Positioning in Space Unconventional scores

    & creating common understanding Multiple User Requirements Different Devices, Networks & OSes Roles that change throughout the process @RedRoxProjects
  29. @RedRoxProjects

  30. The Research stuff the data is telling us... @RedRoxProjects

  31. Field study - a quick overview A group of students

    with a range of abilities (Aged up to 19) 5 days Recording found sounds, instrument parts & creating music together using traditional & digital instruments & a technology probe Record some parts, create “scores” or section notes & a mix in Ableton from which the performance is built. A live performance, with pre-recorded backing & live section solo parts played using technology @RedRoxProjects
  32. Three Interaction Modes @RedRoxProjects

  33. Two Interaction Cycles @RedRoxProjects

  34. @RedRoxProjects

  35. There is no “one size fits all” solution @RedRoxProjects

  36. Provide options : “tailorability” is key @RedRoxProjects

  37. What now? The FAME framework (Facilitating Access to Musical Experiences)

    The Accessible Instrument Finder & Community Exploring the tailoring of DMIs Taxonomy of Musical Gestures Industry Partners & Research Collaborations @RedRoxProjects
  38. and YOU @RedRoxProjects

  39. Let’s build better things! Amy Dickens Samsung Internet | The

    Mixed Reality Laboratory amy.dickens@nottingham.ac.uk Twitter :: RedRoxProjects GitHub :: RedRoxProjects Website :: adickens.co.uk