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

作为人意味着要有创造力，要与他人联系，要成为文化的一部分，这种文化是在人们把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，人们以一种特殊的方式表达自己的身份，这种身份与人类互动和创作音乐的地点和方式有关。在利物浦的LIPA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流向海洋，几扇门后你可以进入花坛俱乐部等；这些地方有助于培养创造力，使四个年轻人能够环游世界，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，以及在创造过程中人与人之间的“化学反应”，这可以带来实践和结果的变化。“合适的音乐在合适的时间”对听者有影响，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可能感受到和思考的共同点。音乐作为情感的语言，可以表达事物之间的瞬间多模态复杂性，可以帮助我们发现自己对社会挑战的感受和思考，以及我们如何参与进来，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）致力于研究创造过程，以改变人们的生活，启动以不同方式做事的过程，并克服与疾病一起生活时所经历的负担。CIMTR研究的方法是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互动创作过程和表演，尽管与身体一起表演，但作为人类的表达不一定与身体部位功能障碍或生理过程的物质主义描述相同。融入一个身体不同于它的身体功能，因为我们生活在我们的身体里，健康和创造性也可以通过过度推动身体的边界来表达，以达到艺术目的。简而言之，CIMTR的研究为在创造过程中记录的数据集以及如何在特定时间和地点将创造和生理过程整合在一起来描述变化增加了人文主义的、多模态人类经验的叙事视角。这可以是一个治疗室，在一个亲密的治疗合同中，寻求帮助的人与专业人士将他/她的创造性敏感性投入到治疗过程中，而不是艺术结果中，它可以是一个舞台，表演者如何从彼此或观众中获得灵感，它可以是在工作室中创建一个音频混合，在这里共享聆听可能会产生一种声音，这种声音来自参与其中的人。它可能是对沉浸式过程的视听设置的校准，它可能显示戏剧治疗师如何反映和扩展一个被限制在狭窄的情绪调节中的人的肢体语言，或者演员如何即兴发挥戏剧角色来改变给定的叙述。通过这次竞标，我们的目标是扩展我们的技术解决方案的方法论，专注于身体在不同环境下的表现，以及大脑研究的不同视角下这种表现是什么样子，人们在创作过程中如何看待周围发生的事情，并追踪他们的目光和关注的对象，他们的身体如何在他们参与创作过程的空间中移动，并利用当前技术手段的语言描述我们可以观察，跟踪和唤起的范式，这些范式足以代表人类的创作过程。

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.