Acknowledgements
List of Figures
List of Tables
Chapter 1 Introduction
1.1 Introduction
1.2 Artistic Viewpoint
1.3 Research Aims and Methodology
1.4 Research Questions and Aims
1.5 Structure of this Document
Chapter 2 Interactivity and Gesture Based Sonic Projects
2.1 Interactivity: ‘Artistic Process’ or a ‘Tool Exhibition’?
2.1.1 Early Movement-Based Sound Projects as Live Interactive Process
2.2 Sonic Gesture Measurements
2.2.1 The Choice for a Controller Device in a Musical Context
2.2.2 Introduction to Mapping
2.2.3 Object Location in Space
2.2.4 Moving Body Part Tracking
2.2.5 Control versus Discontrol
2.3 Summary ‘Interactivity and Gesture Based Sonic Projects’
Chapter 3 Interactive Movement-Based Projects
3.1 Data Measurement Methods for Body Motion
3.1.1 Full Body Motion and Location Tracking
3.1.1.1 Sensitive Dance Floors
3.1.1.2 Breaking
3.1.1.3 Camera Tracking
3.1.2 Body Part Motion Capacity and Personal Space Tracking
3.1.2.1 Wired Up
3.1.2.2 Motion Capturing the Skeleton
3.1.2.3 Gesture Detection accessible for Artists
3.1.3 Summary ‘Data Measurement Methods for Body Motion’
3.2 Choreography in Computer Code
3.2.1 Gesture Recognition
3.2.2 Motion Analysis Algorithms
3.2.3 Choreography as a Composition of Atomic Gestures
3.2.4 Expressive Content
3.2.5 Gesture Recognition for Artistic Purposes
3.2.6 Summary ‘Choreography in Computer Code’
3.3 Summary ‘Interactive Movement-Based Projects’
Chapter 4 Context of the Spatial ChoreoSonic Environment
4.1 Music and Sound for Dance
4.1.1 Improvisation in Dance and Technology Performance
4.1.2 How does a Dancer perceive the Technology?
4.1.2.1 Embodiment and Virtual Disembodiment
4.1.2.2 ‘TranSonic’ Perception
4.1.3 Summary ‘Music and Sound for Dance’
4.2 Bodily Space 77
4.2.1 Human Movement in General Space
4.2.2 Spatial Bodily Perception of the Dancer
4.2.3 The Body in Geometric Space
4.2.4 Summary ‘Bodily Space’
4.3 Auditory Space
4.3.1 Spatial Sound: A Moving Sonic Architecture?
4.3.2 Ambisonic Surround Sound
4.3.3 Spatial Perception of Ambisonic Sound
4.3.4 Summary ‘Auditory Space’
4.4 Audiovisual Spatial Synchronicity, ‘Sound as Disembodied Movement’ and ‘Dance as Embodied Sound’
4.4.1 Geometry in Spatial Audiovisual Division and Perception
4.4.2 Spatial Body-Sensor Pentagon
4.4.3 Geometry in a Cubical Form
4.4.4 Summary ‘Audiovisual Spatial Synchronicity’
4.5 Summary ‘Context of the Spatial ChoreoSonic Environment’
Chapter 5 Case Study 1: Preliminary Practical Research, ‘Cricket’ System Development
5.1 The Cricket System
5.1.1 Context of the Cricket System
5.1.2 Technical Operation of the Cricket System
5.1.3 Technical Set Up ChoreoSonic Environment
5.1.4 Outcome Case Study I: ‘Cricket’ System Development
5.2 System Errors: 'The Ghost of the Machine’
5.3 A Low Cost Indoor Positioning System (LCIPS)
5.4 Summary ‘Case Study 1: Preliminary Practical Research’
Chapter 6 Three Dimensional Data Interpreting Methodology
6.1 Raw Movement Input Data
6.1.1 Full Body Motion Data
6.1.2 Case Study 2 ‘Scanning the Space’
6.1.3 Kinespheric Movement Data
6.2 Deduced Spatial Movement Parameters
6.2.1 Proximity
6.2.2 Speed
6.2.3 Circular Movement, Rotation and ‘Wave-ing’
6.2.4 Direction
6.3 Sonic Output
6.3.1 Additive Synthesizer
6.3.2 Samples and Effects
6.3.3 Case Study 3: Showing at the University of Chichester (U.C.), UK (12/01/2007).
6.4 Sonic Spatiality
6.4.1 Volume & Panning
6.4.2 Frequency
6.4.3 Reverb
6.4.4 Delay
6.5 Interdependent Spatial ChoreoSonic Relationship
6.5.1 ‘Beep-Stop’ Model
6.5.2 ‘S-E-N-S-I-O’ Model
6.5.3 ‘Vector’ Model’
6.6 Equipment used
6.7 Summary ‘Three Dimensional Data Interpreting Methodology’
Chapter 7 Conclusions and Future Work
7.1 The Theoretical Research
7.2 The Preliminary Technical Research
7.3 The Final Artistic Outcome
7.4 Evaluation and Future Work
Bibliography
Publications
Presentations, Seminars and Workshops
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