7,803 research outputs found
Sensing and mapping for interactive performance
This paper describes a trans-domain mapping (TDM) framework for translating meaningful activities from one creative domain onto another. The multi-disciplinary framework is designed to facilitate an intuitive and non-intrusive interactive multimedia performance interface that offers the users or performers real-time control of multimedia events using their physical movements. It is intended to be a highly dynamic real-time performance tool, sensing and tracking activities and changes, in order to provide interactive multimedia performances.
From a straightforward definition of the TDM framework, this paper reports several implementations and multi-disciplinary collaborative projects using the proposed framework, including a motion and colour-sensitive system, a sensor-based system for triggering musical events, and a distributed multimedia server for audio mapping of a real-time face tracker, and discusses different aspects of mapping strategies in their context.
Plausible future directions, developments and exploration with the proposed framework, including stage augmenta tion, virtual and augmented reality, which involve sensing and mapping of physical and non-physical changes onto multimedia control events, are discussed
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3D (embodied) projection mapping and sensing bodies : a study in interactive dance performance
This dissertation identifies the synergies between physical and virtual environments when designing for immersive experiences in interactive dance performances. The integration of virtual information in physical space is transforming our interactions and experiences with the world. By using the body and creative expression as the interface between real and virtual worlds, dance performance creates a privileged framework to research and design interactive mixed reality environments and immersive augmented architectures. The research is primarily situated in the fields of visual art and interaction design. It combines performance with transdisciplinary fields and intertwines practice with theory. The theoretical and conceptual implications involved in designing and experiencing immersive hybrid environments are analyzed using the realityâvirtuality continuum. These theories helped frame the ways augmented reality architectures are achieved through the integration of dance performance with digital software and reception displays. They also helped identify the main artistic affordances and restrictions in the design of augmented reality and augmented virtuality environments for live performance. These pervasive media architectures were materialized in three field experiments, the live dance performances. Each performance was created in three different stages of conception, design and production. The first stage was to âdigitizeâ the performerâs movement and brain activity to the virtual environment and our system. This was accomplished through the use of depth sensor cameras, 3D motion capture, and brain computer interfaces. The second stage was the creation of the computational architecture and software that aggregates the connections and mapping between the physical body and the spatial dynamics of the virtual environment. This process created real-time interactions between the performerâs behavior and motion and the real-time generative computer 3D graphics. Finally, the third stage consisted of the output modality: 3D projector based augmentation techniques were adopted in order to overlay the virtual environment onto physical space. This thesis proposes and lays out theoretical, technical, and artistic frameworks between 3D digital environments and moving bodies in dance performance. By sensing the body and the brain with the 3D virtual environments, new layers of augmentation and interactions are established, and ultimately this generates mixed reality environments for embodied improvisational self-expression.Radio-Television-Fil
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Digital practices: An aesthetic and neuroesthetic approach to virtuality and embodiment
Merleau-Ponty and neuroaesthetics: Two approaches to performance and technology
This is an Author's Accepted Manuscript of an article published in Digital Creativity, 23(3-4), 225 - 238, 2012. Copyright @ 2012 Taylor & Francis, available online at: http://www.tandfonline.com/10.1080/14626268.2012.709941.Assisted by the rapid growth of digital technology, which has enhanced its ambitions, performance is an increasingly popular area of artistic practice. This article seeks to contextualise this within two methodologically divergent yet complimentary intellectual tendencies. The first is the work of the philosopher Merleau-Ponty, who recognised that our experience of the world has an inescapably âembodiedâ quality, not reducible to mental accounts, which can be vicariously extended through specific instrumentation. The second is the developing field of neuroaesthetics; that is, neurological research directed towards the analysis, in brain-functional terms, of our experiences of objects and events which are culturally deemed to be of artistic significance. I will argue that both these contexts offer promising approaches to interpreting developments in contemporary performance, which has achieved critical recognition without much antecedent theoretical support
Design Strategies for Adaptive Social Composition: Collaborative Sound Environments
In order to develop successful collaborative music systems a variety
of subtle interactions need to be identified and integrated. Gesture
capture, motion tracking, real-time synthesis, environmental
parameters and ubiquitous technologies can each be effectively used
for developing innovative approaches to instrument design, sound
installations, interactive music and generative systems. Current
solutions tend to prioritise one or more of these approaches, refining
a particular interface technology, software design or compositional
approach developed for a specific composition, performer or
installation environment. Within this diverse field a group of novel
controllers, described as âTangible Interfacesâ have been developed.
These are intended for use by novices and in many cases follow a
simple model of interaction controlling synthesis parameters through
simple user actions. Other approaches offer sophisticated
compositional frameworks, but many of these are idiosyncratic and
highly personalised. As such they are difficult to engage with and
ineffective for groups of novices. The objective of this research is to
develop effective design strategies for implementing collaborative
sound environments using key terms and vocabulary drawn from the
available literature. This is articulated by combining an empathic
design process with controlled sound perception and interaction
experiments. The identified design strategies have been applied to
the development of a new collaborative digital instrument. A range
of technical and compositional approaches was considered to define
this process, which can be described as Adaptive Social Composition.
Dan Livingston
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