The instrument in space: The embodiment of music in the machine age

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.The body exists in space and time. It moves through cultural spaces and temporal rhythms. In the combination of instantiated actions and environmental conditions a context is created, this through embodiment. In this thesis I will attempt to link definitions of embodiment with the process of creating and performing new sound theatre works that involve live interaction with media technology. I will also examine terms such as inscription or incorporation and their application to processes of learning and memory within a particular context of inter-disciplinary skills. Finally, in the light of this genre, I will approach the problematic of analytical procedures that change the very parameters of embodied knowledge. The term sound theatre could be defined as a shift of play between music, image and text, incorporating elements such as gesture, choreography, audio and visual technology into a compositional dialogue. However this approach demands a re-examination of the spatial and temporal aspects involved in such inter-activity and their consequent relation to the performer. Taking the starting-point of sound and movement within the body of the performer, my research involves investigations into medial extensions of embodiment that have developed through a discourse with machines. This project takes an essentially practical basis for its research in the form of collaborations with musicians and practitioners of media technology towards a creative product. The result is a series of written compositions, each of which examines a different aspect of sound theatre. The valuable exchange that takes place during such a situation of experimentation becomes equally as important as the final product, providing much of the material framework for issues such as terminology and analytical procedures that concern my investigation

Objekt-Manipulation und Steuerung der Greifkraft durch Verwendung von Taktilen Sensoren

This dissertation describes a new type of tactile sensor and an improved version of the dynamic tactile sensing approach that can provide a regularly updated and accurate estimate of minimum applied forces for use in the control of gripper manipulation. The pre-slip sensing algorithm is proposed and implemented into two-finger robot gripper. An algorithm that can discriminate between types of contact surface and recognize objects at the contact stage is also proposed. A technique for recognizing objects using tactile sensor arrays, and a method based on the quadric surface parameter for classifying grasped objects is described. Tactile arrays can recognize surface types on contact, making it possible for a tactile system to recognize translation, rotation, and scaling of an object independently.Diese Dissertation beschreibt eine neue Art von taktilen Sensoren und einen verbesserten Ansatz zur dynamischen Erfassung von taktilen daten, der in regelmäßigen Zeitabständen eine genaue Bewertung der minimalen Greifkraft liefert, die zur Steuerung des Greifers nötig ist. Ein Berechnungsverfahren zur Voraussage des Schlupfs, das in einen Zwei-Finger-Greifarm eines Roboters eingebaut wurde, wird vorgestellt. Auch ein Algorithmus zur Unterscheidung von verschiedenen Oberflächenarten und zur Erkennung von Objektformen bei der Berührung wird vorgestellt. Ein Verfahren zur Objekterkennung mit Hilfe einer Matrix aus taktilen Sensoren und eine Methode zur Klassifikation ergriffener Objekte, basierend auf den Daten einer rechteckigen Oberfläche, werden beschrieben. Mit Hilfe dieser Matrix können unter schiedliche Arten von Oberflächen bei Berührung erkannt werden, was es für das Tastsystem möglich macht, Verschiebung, Drehung und Größe eines Objektes unabhängig voneinander zu erkennen

Enactive Sound Machines: Theatrical Strategies for Sonic Interaction Design

Embodied interaction with digital sound has been subject to much prior research, but a method of coupling simple and intuitive hand actions to the vast potential of digital soundmaking in a perceptually meaningful way remains elusive. At the same time, artistic practices centred on performative soundmaking with objects remain overlooked by researchers. This thesis explores the design and performance of theatre sound effects in Europe and the U.S. in the late nineteenth and early twentieth century in order to converge the embodied knowledge of soundmaking at the heart of this historical practice with present-day design and evaluation strategies from Sonic Interaction Design and Digital Musical Instrument design. An acoustic theatre wind machine is remade and explored as an interactive sounding object facilitating a continuous sonic interaction with a wind-like sound. Its main soundmaking components are digitally modelled in Max/MSP. A prototype digital wind machine is created by fitting the acoustic wind machine with a rotary encoder to activate the digital wind-like sound in performance. Both wind machines are then evaluated in an experiment with participants. The results show that the timbral qualities of the wind-like sounds are the most important factor in how they are rated for similarity, that the rotational speed of both wind machines is not clearly perceivable from their sounds, and that the enactive properties of the acoustic wind machine have not yet been fully captured in the digital prototype. The wind machine’s flywheel mechanism is also found to be influential in guiding participants in their performances. The findings confirm the acoustic wind machine’s ability to facilitate enactive learning, and a more complete picture of its soundmaking components emerges. The work presented in this thesis opens up the potential of mechanisms to couple simple hand actions to complex soundmaking, whether acoustic or digital, in an intuitive way

Presence 2005: the eighth annual international workshop on presence, 21-23 September, 2005 University College London (Conference proceedings)

OVERVIEW (taken from the CALL FOR PAPERS) Academics and practitioners with an interest in the concept of (tele)presence are invited to submit their work for presentation at PRESENCE 2005 at University College London in London, England, September 21-23, 2005. The eighth in a series of highly successful international workshops, PRESENCE 2005 will provide an open discussion forum to share ideas regarding concepts and theories, measurement techniques, technology, and applications related to presence, the psychological state or subjective perception in which a person fails to accurately and completely acknowledge the role of technology in an experience, including the sense of 'being there' experienced by users of advanced media such as virtual reality. The concept of presence in virtual environments has been around for at least 15 years, and the earlier idea of telepresence at least since Minsky's seminal paper in 1980. Recently there has been a burst of funded research activity in this area for the first time with the European FET Presence Research initiative. What do we really know about presence and its determinants? How can presence be successfully delivered with today's technology? This conference invites papers that are based on empirical results from studies of presence and related issues and/or which contribute to the technology for the delivery of presence. Papers that make substantial advances in theoretical understanding of presence are also welcome. The interest is not solely in virtual environments but in mixed reality environments. Submissions will be reviewed more rigorously than in previous conferences. High quality papers are therefore sought which make substantial contributions to the field. Approximately 20 papers will be selected for two successive special issues for the journal Presence: Teleoperators and Virtual Environments. PRESENCE 2005 takes place in London and is hosted by University College London. The conference is organized by ISPR, the International Society for Presence Research and is supported by the European Commission's FET Presence Research Initiative through the Presencia and IST OMNIPRES projects and by University College London

Human factors in instructional augmented reality for intravehicular spaceflight activities and How gravity influences the setup of interfaces operated by direct object selection

In human spaceflight, advanced user interfaces are becoming an interesting mean to facilitate human-machine interaction, enhancing and guaranteeing the sequences of intravehicular space operations. The efforts made to ease such operations have shown strong interests in novel human-computer interaction like Augmented Reality (AR). The work presented in this thesis is directed towards a user-driven design for AR-assisted space operations, iteratively solving issues arisen from the problem space, which also includes the consideration of the effect of altered gravity on handling such interfaces.Auch in der bemannten Raumfahrt steigt das Interesse an neuartigen Benutzerschnittstellen, um nicht nur die Mensch-Maschine-Interaktion effektiver zu gestalten, sondern auch um einen korrekten Arbeitsablauf sicherzustellen. In der Vergangenheit wurden wiederholt Anstrengungen unternommen, Innenbordarbeiten mit Hilfe von Augmented Reality (AR) zu erleichtern. Diese Arbeit konzentriert sich auf einen nutzerorientierten AR-Ansatz, welcher zum Ziel hat, die Probleme schrittweise in einem iterativen Designprozess zu lösen. Dies erfordert auch die Berücksichtigung veränderter Schwerkraftbedingungen

The electroacoustic and its double : duality and dramaturgy in live performance

Live electroacoustic performance juxtaposes and superimposes two main elements: the real, present and physical, against the simulated and disembodied. In this sense, it is a liminal form which negotiates two different worlds on stage. In this dissertation I will address some central aspects of performance that have been reshaped and problematised by the use of the electroacoustic medium in a live context. I will investigate in particular three main dualities: the performer's body/electroacoustic sound; physical space/electroacoustic space; and performance/audience. I will also discuss a generalised duality common to all three: presence/absence. Rather than regarding these dualities as indicators of discontinuity, I will suggest that they can help develop a continuum of connections and relationships between performance elements. These connections can be designed as part of the composition process. By investigating these dualities, this research addresses the main elements of the live event. The central guiding principle here is that the live electroacoustic mode is a performance discipline, and therefore requires a dramaturgical approach that takes into consideration the elements of the live event: performer, audience and use of space. I will suggest that such an approach should guide the creative process, starting at the initial composition stages, through rehearsal and the actual performance.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

The instrument in space : the embodiment of music in the machine age

The body exists in space and time. It moves through cultural spaces and temporal rhythms. In the combination of instantiated actions and environmental conditions a context is created, this through embodiment. In this thesis I will attempt to link definitions of embodiment with the process of creating and performing new sound theatre works that involve live interaction with media technology. I will also examine terms such as inscription or incorporation and their application to processes of learning and memory within a particular context of inter-disciplinary skills. Finally, in the light of this genre, I will approach the problematic of analytical procedures that change the very parameters of embodied knowledge. The term sound theatre could be defined as a shift of play between music, image and text, incorporating elements such as gesture, choreography, audio and visual technology into a compositional dialogue. However this approach demands a re-examination of the spatial and temporal aspects involved in such inter-activity and their consequent relation to the performer. Taking the starting-point of sound and movement within the body of the performer, my research involves investigations into medial extensions of embodiment that have developed through a discourse with machines. This project takes an essentially practical basis for its research in the form of collaborations with musicians and practitioners of media technology towards a creative product. The result is a series of written compositions, each of which examines a different aspect of sound theatre. The valuable exchange that takes place during such a situation of experimentation becomes equally as important as the final product, providing much of the material framework for issues such as terminology and analytical procedures that concern my investigation.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Harry Partch: A Catalyst for Queer Compositionism

My encounter with Harry Partch - mediated through recordings, films, and sleeve photographs - is taken as an interpellative hail (Althusser, 2014) to inquire into his legacy. As a queer musician, I re-articulate Partch’s volatility and (apparent) inability to collaborate, positing that he presented his personhood as hybridised with his self-built instruments, precarious home-studios, audio equipment, microtonal systems, published writings, records, sleeve notes, etc. I champion this hybridised personhood as a queer expression of his epistemology of the closet (Sedgwick, 2008), asking whether this notion applies to what I have coined a queer compositionist stance in collaborative performance projects. Partch collaborated intimately with the human and nonhuman agents (Latour, 2007) that he assembled into his life’s work. I see his protectionism of this assemblage not simply as outsiderism, but as a queer utopian message to arm oneself against the inertia (Becker, 1995) of normalising forces. A methodology centred around Bruno Latour supports this notion. In this regard, I follow the lead of Benjamin Piekut’s scholarship on musical experimentalism. I ask whether the kind of networked hybridity that Latour has us pay attention to could relate to queer negotiations of the closet. Can a re-articulation of Harry Partch’s life’s work as a mediation of his personhood foreground ephemeral evidence (Muñoz 1996) of his ambivalent use of outsider labels? How can this speculation be used as a catalyst for a queer orientation of collaborative performance projects? The queer Partch that emerges from these questions haunts a series of collaborative performance projects that have offered practice-based contexts for an enquiry into my proposed queer compositionist stance. This stance foregrounds a quiet insistence on project-specific musical principles, not based on authorial signature, but on closet-like assemblages of conceptually integrated elements. In my accounts of the project’s developments, I have exposed queer compositionism as offering a unique contribution to hauntological approaches to music production