Acknowledgements

Content
List of Figures
List of Tables
1 Introduction

2 Interactivity and
Gesture Based Projects
3 Interactive Movement-Based Projects
4 Context of the Spatial
ChoreoSonic Environment

5 Case Study I
'Cricket'

6 Three Dimensional Data Interpreting Methodology
7 Conclusion and Future Work
Bibliography
Publications
Presentations, Seminars and Workshops
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Stan Wijnans

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Figure 1 Picture of Stelarc’s robotic construction ‘Muscle Machine’ (CAD model by John Grimes, UK).
Figure 2 Trisha Brown ‘Locus’ (in Karpinska 2001).
Figure 3 The Division of Space through the Moving Body (Laban in Ullmann 1966:143).
Figure 4 Head-related System of Coordinates in Auditory Experiments (Blauert 1997a:14).
Figure 5 Compiled picture by the author of the Centre of Spatial Movement- and Sound Perception.
Figure 6 A flat Pentagonal Pose of the Body (Laban 1966:19).
Figure 7 Space Modules of the Arms and Legs I (Kirstein et al. 1953:2).
Figure 8 Dynamic sensors representation in Max/MSP software.
Figure 9 ‘Geometric Kinesphere’ Laban (1966:140).
Figure 10 Two cameras viewing the same space intersect to form a box like area representing the common viewing field (Lovell & Mitchell 1995).
Figure 11 Cricket Handheld 1 (2006)
Figure 12 Cricket Handheld 2 (2007).
Figure 13 Flexible grid of infrastructure of 5 Cricket beacons on the ceiling.
Figure 14 Ideal shape of directional flow of 5 Cricket sensors.
Figure 15 Two dimensional sensitive floor of 5 Cricket sensors (approximately).
Figure 16 The speaker system and Cricket receiver grid.
Figure 17 Diagram of the shape of the sensitive space (approximate).
Figure 18 Sensor pointing upwards to the ceiling.
Figure 19 The four receiving LCIPS sensors attached in the corners of a square grid on the ceiling.
Figure 20 The 5 sensors of the LCIPS.
Figure 21 3DIM implementation chart no.1: the four broad parameter categories.
Figure 22 3DIM implementation chart no.2: raw positioning data of two (Cricket) sensor units.
Figure 23 Dancer C. Whitaker from Lila Dance Company with the Cricket handheld 2006.
Figure 24 diagram of composition strategy ‘Scanning the Space’.
Figure 25 Dancer S. Spasic with 5 sensors of the LCIPS in a pentagonal structure.
Figure 26 3DIM implementation chart no. 3: raw kinespheric input data.
Figure 27 3DIM implementation chart no. 4: deduced spatial movement parameters.
Figure 28 3DIM implementation chart no. 5: additive synthesizer parameters.
Figure 29 3DIM implementation chart no. 6: samples and effects.
Figure 30 The sensitive floor area marked with white tape. From left to right: S. Wijnans, C. Whitaker, G. Adams, S. Rubidge.
Figure 31 3DIM implementation chart no. 7: Showing at University Chichester.
Figure 32 To explain the effect of auditory spaciousness (Blauert 1997b:109).
Figure 33 3DIM implementation chart no. 8: sonic spatial structure parameters.
Figure 34 Technical Set Up 2006-2007.
Figure 35 Technical Set Up 2007-2009.