International audienceTrying to implement the concepts of instrumental interaction / instrumental communication by using computers requires specific technologies. It leads, indeed, to the new technological paradigm of instrumental computer simulator

Luciani, Annie

Hal - Université Grenoble Alpes

Instrumental interaction : technologyAnnie LucianiTo cite this version:Annie Luciani. Instrumental interaction : technology. Enaction and enactive interfaces : ahandbook of terms, Enactive Systems Books, pp.154-155, 2007. <hal-00980220>HAL Id: hal-00980220https://hal.archives-ouvertes.fr/hal-00980220Submitted on 17 Apr 2014HAL is a multi-disciplinary open accessarchive for the deposit and dissemination of sci-entific research documents, whether they are pub-lished or not. The documents may come fromteaching and research institutions in France orabroad, or from public or private research centers.L’archive ouverte pluridisciplinaire HAL, estdestine´e au de´poˆt et a` la diffusion de documentsscientifiques de niveau recherche, publie´s ou non,e´manant des e´tablissements d’enseignement et derecherche franc¸ais ou e´trangers, des laboratoirespublics ou prive´s.4 Enaction and Enactive Interfaces: A Handbook of Terms !,#/&-76+#&$8!'#&+-$%&'(#0!&+%9#(8(:;!Annie Luciani [ACROE&INPG] Trying to implement the concepts of in-strumental interaction / instrumental com-munication "! #$%&'()*$&+,! -.))(/$0-+&0.$1 "! #$%&'()*$&+,! 0$&*'+-&0.$1 by using computers requires specific technologies. It leads, in-deed, to the new technological paradigm of instrumental computer simulator. Such an instrumental computer simulator, in order to allow instrumental interaction, must satisfy a number of needs [Uhl et al., 1995]: - Since the objects to interact with are phys-ical, their computer models have to be physically-based models. - These models must be able to produce all the physical behaviours of the modelled objects that will be perceptible, whatever their spatial and temporal scales (auditory, visible, haptic) is . - These models must also be able to provide the ability of being handled (ergotic inter-action). - The computer simulation of these models has to be performed in real-time; the simu-lation must not present any noticeable dif-ference with the equivalent instrumental situation in the real world (when it exists; for a discussion see the item “simulation” "! 20)(,+&0.$1. Such an instrumental situation re-built around a computer by using physical simula-tion and appropriate devices can be called a representation of real instrumental situation. Some conceptual difference with the usual approach implemented in virtual reality can be noticed: - There is no need of “reality” nor "immer-sion", but it is conversely necessary to have at disposal a genuine simulation of the in-strumental universe, i.e. of the objects near or close to the body, and with the relevant properties necessary to achieve the task. - This simulation of the instrumental uni-verse has to be run with a range of per-formances comparable to the real instrumental situation, especially in terms of dynamics. This is often not required in reality These properties are necessary in order to convey the main qualities of the instrumental situation, such as: the possibility of the pro-gressive appropriation of the object as an instrument (that is the embodiment prop-erty); the strong feeling to have it in-hand (that is the presence property), the playability (or instrumentability) in order to stimulate not only efficiency but also creativity (for example, new way of manipulation, new strategies of exploration, etc.). One example of such computer-enabled instrumental interaction is reported in the articles dealing with the notion of ergotic sounds [Florens, 2003] [Luciani et al., 2007]. In the experimental setup discussed, the performer, when bowing a virtual string, has a strong impression of the presence in-hand of the string, thanks to a specific implemen-tation of the string-bow simulation and to the haptic-audio interaction in which the simu-lated vibrating string itself returns sensitive information to both the hand and the hear. These principles, incidentally, have been also used in the implementation of a real time instrumental simulator to learn nanophysics [Marlière et al., 2004]. Re-building an instrumental interaction in the context of computerized systems is a non-trivial modelling and implementation process. In this process, the main important features are not the objective realism, nor the subjective realism of the situation, are no more only the performance of the task, but tentative new concepts such as presence, believability, embodiment, intimacy, cre-ativity, etc "! 3'*%*$-*4! 0$! -.)5(&*'06*7! *$80/'.$)*$&%1 "! 9*,0*8+:0,0&;<!=>?1. Enaction and Enactive Interfaces: A Handbook of Terms 5 <+.+-+#%+/![Florens, 2003] Florens, Jean-Loup, Expressive bowing on a virtual string instrument, 5th International Gesture Workshop 2003, 2003/04/15-2003/04/17, Springer, Jaime G. Carbonell, Carnegie Mellon University, Pittsburgh, PA, USA & Jorg Siekmann, University of Saarland, Saarbrucken, Germany, Gènes, Italie, vol. 2915 (2003) pp.487-496. [Luciani et al., 2007] Luciani A., Florens J.L., Couroussé D., Cadoz C. “Ergotic Sounds: A new way to improve Playability, Believability and Presence of Digital Musical Instruments”. Proc. Of Enactive 07. Nov 2007. ACROE Eds. Grenobel 2007. [Marlière et al. 2004] Marlière S., Urma D., Florens J.L.,Marchi F.. “Multi-sensorial interaction with a nano-scale phenomenon : the force curve”. Proc. of EuroHaptics 2004. Munchen, Germany. pp. 246-252. 2004/06/05-07. [Uhl et al., 1995] Uhl C., Florens J.L., Luciani A., Cadoz C. «Hardware Architecture of a Real Time Simulator for he Cordis-Anima System :Physical Models, Images, Gestures and Sounds» - Proc. of Computer Graphics International '95 - Leeds (UK), 25-30 June 1995 - , Academic Press. - RA Ernshaw & JA Vince Ed. - pp 421-436 <+8$&+)!'&+6/!9*,0*8+:0,0&;<!=>?!#$%&'()*$&+,!-.))($0-+&0.$!#$%&'()*$&+,!0$&*'+-&0.$!#$&*'@+-*4!*$+-&08*!3'*%*$-*4!0$!-.)5(&*'06*7!*$80'.$)*$&%!20)(,+&0.$! [Cadoz, 2003] Cadoz C. «Le geste, canal de communication homme/machine. La communication instrumentale» - Technique et science de l’information. Volume 13 - n° 1/1994, pages 31-61 [Ju et al., 2003] W. Ju, S. Madsen, J. Fiene, M. Bolas, I. McDowall, and R. Faste, “Interaction Devices for Hands-On Desktop Design”, proc. SPIE 03, 2003. <+8$&+)!'&+6/!A.$&'.,!)*&+5B.'%!C'D.&0-E*50%&*)0-E%*)0.&0-!@($-&0.$%!#))*'%0.$!8%F!80%/G/80%!#$%&'()*$&+,!-.))($0-+&0.$!#$%&'()*$&+,!0$&*'+-&0.$H!&*-B$.,.D;!I'+$%5+'*$-;<=!!C'D.&0-E*50%&*)0-E%*)0.&0-!!+-&0.$/5*'-*5&0.$!,..5%!C'D.&0-E*50%&*)0-E%*)0.&0-!@($-&0.$%!!

Instrumental interaction : technology

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Instrumental interaction : technology

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