TOPUP: Transform Outcome and Process Utilities and Programs - Upgrading music performance and intervention research equipment for creative processes

作为人类意味着要有创造力，要与他人交往，要成为文化的一部分，这种文化是在人们创造它作为他们社会身份的创造性表达的地方发展起来的。音乐是各地区的文化资产之一，在这些地区，他们创造了一种特殊的身份表达，这种身份表达与人类互动和创造音乐的场所和方式有关。在利物浦的利帕前，一个雕塑展示了西装，鼓和吉他盒，从那里你可以看到默西河漂向大海，几扇门下来，你可以进入蓝花楹俱乐部等;这些地方有助于发展创造力，使四名年轻人能够周游世界，并使创意产业成长为世界领先的人物。其核心是在特定时间和地点的创造过程，以及人类在创造过程中相互关联的“化学反应”，这可以带来实践和结果的变化。“在正确的时间播放正确的音乐”会对听众产生影响，歌曲中情感和思想的表达可以代表和象征许多人在特定时间的感受和想法的共同点。音乐作为情感的语言，可以表达事物如何相互关联的瞬间多模态复杂性，并有助于发现我们对社会挑战的感受和思考，以及我们如何加入，将人们和组织聚集在一起，支持更快乐，更健康的生活。剑桥音乐治疗研究所（CIMTR）致力于研究创造性的过程，以改变人们的生活，启动过程，以不同的方式做事，并克服疾病生活时所经历的负担。CIMTR研究我们如何重新思考结果和治疗过程的医学理念，因为我们正在处理音乐干预期间的交互式创作过程和表演，尽管是用身体进行的，但人类的表达不一定与身体部位或生理过程功能障碍的唯物主义描述相同。融入身体与其身体功能不同，因为我们生活在身体中，健康和创造力的存在和感觉也可以通过出于艺术目的过度突破身体边界来表达。简而言之，CIMTR的研究为创造性过程中记录的数据集增加了多模态人类体验的人文叙事视角，以及如何在特定时间和地点整合创造性和生理过程来描述变化。这可以是一个治疗室，在寻求帮助的人和专业人士之间的治疗合同的亲密关系，将他/她的创造性敏感性投入到治疗过程中，而不是艺术成果，它可以是一个舞台，表演者如何从彼此或观众中获得灵感，它可以是在演播室中创建音频混合，其中共享的收听可以创建从所涉及的人表示的声音，它可以是沉浸式过程的视听设置的校准，它可以显示戏剧治疗师如何反映和扩展被锁定在狭窄的情感调节中的人的肢体语言，或者演员如何即兴发挥戏剧角色以改变给定的叙述。通过这次竞标，我们的目标是扩大我们的技术解决方案的方法库，专注于身体在不同环境中的表现，以及这种表现在不同的大脑研究镜头下的表现，人们如何在创造性过程中看待周围发生的事情，并跟踪他们的目光和关注的对象，他们的身体如何在参与创造过程的空间中移动，并利用当前技术措施的语言来描述我们所能观察到的，追踪并唤起足以代表人类创造过程的范式。

Being human means to be creative, to relate to others, to be part of a culture that is developed in places where people produce it as a creative expression of their social identity. Music is one of the cultural assets of regions in which they create a particular expression of their identity that relates to places and ways in which humans interact and create music. In front of the LIPA in Liverpool a sculpture displays suit-, drum-, and guitar cases and from there you have a view on the Mersey river floating towards the ocean, a few doors down you can enter the Jacaranda Club etc.; these places were instrumental for developing creativity that allowed four young men to travel the world and the creative industries to grow into world-leading figures. At the core of this is the creative process at a certain time and place and the 'chemistry' of humans relating to each other in a creative process that can bring about change in practice and outcomes. The 'right music at the right time' has an impact on the listener, the expressions of emotions and thoughts in a song can represent and symbolise a common denominator of what many may feel and think at a particular time. Music as the language of emotions allows expressing the momentary multimodal complexity of how things relate to each other and can help to discover ourselves in what we feel and think about the societal challenges and how we join-in, to bring people and organisations together to support happier and healthier lives. The Cambridge Institute for Music Therapy Research (CIMTR) is dedicated to study the creative process to bring about change in people's lives, to initiate processes to do things differently and to overcome the burden experienced when living with disease. CIMTR researches ways in how we can rethink the medical idea of outcomes and treatment processes as we are dealing with interactive creative processes and performances during musical interventions and although performed with a body, the expression of being human is not necessarily identical with the materialistic description of dysfunctions of body parts or physiological processes. To be incorporated in a body is different from its physical functions as we live in our body and being and feeling healthy and creative can also be expressed in an excessive pushing of the body's boundaries for artistic purposes. In short, CIMTR's research adds a humanistic, narrative perspective of the multimodal human experience to the datasets recorded during creative processes and how change can be described integrating the creative and physiological processes at a certain time and place. This can be a therapy room in the intimacy of a healing contract between a person seeking help and a professional devoting his/her creative sensitivity to the healing process and not to the artistic outcome, it can be a stage and how the performers are is inspired from each other or from the audience, it can be the creation of an audio mix in the studio where shared listening may create a sound that is signified from the people involved, it may be the calibration of audiovisual settings for immersive processes, it may show how a drama therapist mirrors and extends the body language of a person locked in a narrowed regulation of emotion, or how an actors improvising roles of a play to transform the given narratives. With this bid we aim to expand our methodological repertoire of technological solutions to focus on how the body performs in different settings and how this performance looks like with different lenses of brain research, how people look at things happening around them during creative processes and track their gaze and objects focused upon, how their bodies move through spaces in which they are involved in creative processes and to utilise the language of current technological measures describing what we can observe, track and evoke with paradigms that are adequate to represent the creative process of being human.