26,147 research outputs found

    A Conceptual Framework for Motion Based Music Applications

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    Imaginary projections are the core of the framework for motion based music applications presented in this paper. Their design depends on the space covered by the motion tracking device, but also on the musical feature involved in the application. They can be considered a very powerful tool because they allow not only to project in the virtual environment the image of a traditional acoustic instrument, but also to express any spatially defined abstract concept. The system pipeline starts from the musical content and, through a geometrical interpretation, arrives to its projection in the physical space. Three case studies involving different motion tracking devices and different musical concepts will be analyzed. The three examined applications have been programmed and already tested by the authors. They aim respectively at musical expressive interaction (Disembodied Voices), tonal music knowledge (Harmonic Walk) and XX century music composition (Hand Composer)

    Interactive Spaces. Models and Algorithms for Reality-based Music Applications

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    Reality-based interfaces have the property of linking the user's physical space with the computer digital content, bringing in intuition, plasticity and expressiveness. Moreover, applications designed upon motion and gesture tracking technologies involve a lot of psychological features, like space cognition and implicit knowledge. All these elements are the background of three presented music applications, employing the characteristics of three different interactive spaces: a user centered three dimensional space, a floor bi-dimensional camera space, and a small sensor centered three dimensional space. The basic idea is to deploy the application's spatial properties in order to convey some musical knowledge, allowing the users to act inside the designed space and to learn through it in an enactive way

    Embodied Knowledge: Writing Researchers’ Bodies Into Qualitative Health Research

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    After more than a decade of postpositivist health care research and an increase in narrative writing practices, social scientific, qualitative health research remains largely disembodied. The erasure of researchers’ bodies from conventional accounts of research obscures the complexities of knowledge production and yields deceptively tidy accounts of research. Qualitative health research could benefit significantly from embodied writing that explores the discursive relationship between the body and the self and the semantic challenges of writing the body by incorporating bodily details and experiences into research accounts. Researchers can represent their bodies by incorporating autoethnographic narratives, drawing on all of their senses, interrogating the connections between their bodily signifiers and research processes, and experimenting with the semantics of self and body. The author illustrates opportunities for embodiment with excerpts from an ethnography of a geriatric oncology team and explores implications of embodied writing for the practice of qualitative health research

    The sound of home? Some thoughts on how the radio voice anchors, contains and sometimes pierces

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    This article argues that while psychoanalytic theory has been valuably employed by television, film and cultural studies, there has been no comparable 'psychoanalytic turn' in radio studies. It suggests that the concept of 'containment', as developed variously by Wilfred Bion and Esther Bick, might go some way to explain the powerful role that the voice of the radio presenter can play in the regular listener's internal world, with the capacity both to 'hold' the listener together, and to transform overwhelming fears into more manageable feelings. It argues that the disembodied radio voice does this partly because it recalls the prenatal power of the maternal voice, and partly through the temporal order that regular radio voices impose on the internal and external world. Both Second World War British radio catchphrases and Roosevelt's Fireside Chats are discussed in relation to their containment function. The article also explores the radio as a transitional space, as defined by Donald Winnicott, through which it can constitute listeners into an 'imagined community'. It ends by reflecting on the impact of the angry voice of the 'shock-jock' which, it suggests, amplifies rather than contains overwhelming feelings

    Breaching bodily boundaries: posthuman (dis)embodiment and ecstatic speech in lip-synch performances by boychild

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    Employing a sci-fi inspired aesthetic, queer, black, trans artist, boychild presents audiences with a future vision of human embodiment. Strobe lighting makes her appear fragmented or as if she were a hologram. An electronic light flickers behind her teeth. Her eyes are obscured by whited-out contact lenses. boychild’s is a body interfaced with technology. She is imaged as non-human, cyborgian. Whilst boychild considers her onstage persona to be female, her body reads ambiguously. Transgressing demarcations between the supposedly polarised categories of organic/machine, male/female, the queer form of embodiment she presents is posthuman. Implementing the theoretical principles of Rosi Braidotti’s anti-humanist concept of the posthuman and Donna Haraway’s cyborg politics, I argue that boychild’s engagement with the posthuman does not end with aesthetics, rather it extends to the plotting of a posthuman politics, posing a radical challenge to heteronormative body politics. Theorising boychild’s lip-synch performances, I argue for her style of performance as a technologised form of ventriloquism, as she ‘speaks’ with the voice of another or the voice of another speaks through her. Using Mladen Dolar’s and Slavoj ĆœiĆŸek’s psychoanalytical philosophies in conjunction with Steven Connor’s literature on ventriloquism, I unpick the intricacies of presence and power inherent to her ‘voice’ and indicate its broader political implications

    The Art of Exile: A Narrative for Social Justice in a Modern World

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    In this paper I will illustrate what exile art is, how it is influenced on a global platform, and the change it engenders. My research reveals a central theme of globalization in the exchange, mix, and clash of cultures and political views that accompany it as well as the spread of art and ideas. In my research I illustrate how political circumstance, and sense of responsibility to share a political narrative, propelled exile art from a personal to a political narrative. My research illustrates how, as displaced people stripped of a homeland, exiled artists have surfaced as a voice of awareness, social justice, and political change, giving a voice to those who have none. I emphasize how artists in exile communicate the internal struggle of being caught between two cultures. I discuss how the artists’ symbolic rendering of the imagined third spaces of exile illustrates the intimate and personal experience of exile. Further, my research seeks to understand the significance of how this artform is received on a global market

    Mobile connections : curator's statement.

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    The Mobile Connections exhibition at the Futuresonic 2004 festival explored how mobile and locative media reconfigure social, cultural and information space. It looked beyond computing in its current form, towards the social and cultural possibilities opened by a new generation of networked, location-aware media. It sought an art of mobile communications: asking, are there any forms of expression that are intrinsic or unique to mobile and locative media

    Voicing embodiment, relating difference: towards a relational legal subjectivity

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    Focusing on the writings of Adriana Cavarero and Lia Cigarini, this piece examines the possible counterpractices and counterspaces of a politics of relational subjectivity outside the time of the masculine legal order which are to be found in Italian sexual difference theory. Both Cavarero and Cigarini share a desire to create a practice of sexual difference based on relational subjectivity. In their writings and in their praxis they have attempted to bring into being spaces where the unique embodied existent can interact with other unique existents in a space of relational politics. This is a politics based on the unique existent who acts, speaks, and thinks for herself rather than one based on the ideal abstract individual of liberal rights ideology. In effect, it amounts to a politics of relational plurivocality

    Audio-Visual: Disembodied Voices in Theory

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    After a survey of the major critical trends since the generalization of synchronized film sound, this bibliographical essay sets out to delineate the way film sound studies have developed around issues of taxonomy, meaning, and reception. Focusing on the treatment of the disembodied voice by various theorists, three trends can be identified: borrowing from semiology and narratology, an essentially descriptive approach first emerges that creates a new vocabulary to talk about sound and analyze the links between sound and image. A second approach emphasizes the possible meanings of the disembodied voice, a trend heavily influenced by Lacanian theories and their later adaptations by feminist film theorists. Finally, some researchers have opted for semio-pragmatic or cognitive approaches that take into account the experience of audiences. These different approaches underline the way film sound has evolved as an object of study, to be considered as a complex and flexible phenomenon. They also have developed tools that can be applied to other audiovisual media in which the role of sound and the voice should not be underestimated
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