The author presents a novel compositional framework to guide designing interplay between moving listeners and sound objects in space. Demonstrated by a case study of interactive octophonic installation, the presented framework offers new ways to articulate and analyze artistic interplay using real-world location context as a spatial composition canvas.
{"title":"Algorithmic Spatialization Using Object-Based Audio and Indoor Positioning System","authors":"Yuan-Yi Fan","doi":"10.1162/lmj_a_01058","DOIUrl":"https://doi.org/10.1162/lmj_a_01058","url":null,"abstract":"The author presents a novel compositional framework to guide designing interplay between moving listeners and sound objects in space. Demonstrated by a case study of interactive octophonic installation, the presented framework offers new ways to articulate and analyze artistic interplay using real-world location context as a spatial composition canvas.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42865088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Manfred Werder, Casey Anderson, Travis Just, Kara Feely, Natacha Diels, John (Jack) Callahan, Carolyn Chen, Sarah Hennies
20160 consists of 3 rolls of semitransparent paper, each sized 10 cm × 22 m, trisected from a found paper roll. Since January 2016 I have been inscribing the first roll with typewriters found on site. The first performative presentation took place in Ciudad de México on 9 February 2016. I’ve been tracing the world onto the roll—words and text found in poetry, philosophy and the world. In the act of writing, the world operates on the unveiled paper, impregnates it and so actualizes the score, and once the paper is rolled up again, its veiled transparency lets the world’s abundance manifested on the paper mingle into ever-new possible compounds. 20170 consists of approximately 400 sheets of old found paper. I’ve been inscribing the paper since April 2017. Wandering through the world and dwelling on their intrinsic realities, I insert the paper in the typewriter and find myself writing. Writing the score coincides with its actualization and allows for ever-new instances. There is no other time than that of the enunciation and every text is eternally written here and now.
{"title":"Sonic Commentary: Audio Series Volume 29","authors":"Manfred Werder, Casey Anderson, Travis Just, Kara Feely, Natacha Diels, John (Jack) Callahan, Carolyn Chen, Sarah Hennies","doi":"10.1162/lmj_a_01078","DOIUrl":"https://doi.org/10.1162/lmj_a_01078","url":null,"abstract":"20160 consists of 3 rolls of semitransparent paper, each sized 10 cm × 22 m, trisected from a found paper roll. Since January 2016 I have been inscribing the first roll with typewriters found on site. The first performative presentation took place in Ciudad de México on 9 February 2016. I’ve been tracing the world onto the roll—words and text found in poetry, philosophy and the world. In the act of writing, the world operates on the unveiled paper, impregnates it and so actualizes the score, and once the paper is rolled up again, its veiled transparency lets the world’s abundance manifested on the paper mingle into ever-new possible compounds. 20170 consists of approximately 400 sheets of old found paper. I’ve been inscribing the paper since April 2017. Wandering through the world and dwelling on their intrinsic realities, I insert the paper in the typewriter and find myself writing. Writing the score coincides with its actualization and allows for ever-new instances. There is no other time than that of the enunciation and every text is eternally written here and now.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138541786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Blued Trees project is a transdisciplinary thought experiment, physically manifested across miles of the North American continent. It melds ideas about music, acoustics, art and environmental policy. Hundreds of GPS-located individual trees in the path of proposed natural gas pipelines were painted with a sine wave sigil. Each “treenote” contributed to an aerially perceivable composition employing the local terrain. The score is the formal skeleton for systemic changes challenging several laws. A mock trial explored how this project might open new directions in legal activism for Earth rights and contribute to an operatic libretto.
{"title":"The Music of the Trees: The Blued Trees Symphony and Opera as Environmental Research and Legal Activism","authors":"Aviva Rahmani","doi":"10.1162/lmj_a_01055","DOIUrl":"https://doi.org/10.1162/lmj_a_01055","url":null,"abstract":"The Blued Trees project is a transdisciplinary thought experiment, physically manifested across miles of the North American continent. It melds ideas about music, acoustics, art and environmental policy. Hundreds of GPS-located individual trees in the path of proposed natural gas pipelines were painted with a sine wave sigil. Each “treenote” contributed to an aerially perceivable composition employing the local terrain. The score is the formal skeleton for systemic changes challenging several laws. A mock trial explored how this project might open new directions in legal activism for Earth rights and contribute to an operatic libretto.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01055","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42324046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In “A Cyborg Manifesto,” Donna Haraway explores implications of the increasing hybridization of humans and machines. While society has long been concerned with the encroachment of technology onto human activity, Haraway challenges this concern, suggesting instead a kinship between organism and machine, a hybrid body. A sonic-cyborg performance realizes this understanding of the human-machine hybrid through movement and sound, incorporating a “kinesonic” approach to composition and an exploration of “mechatronic” expression. In this article, the authors describe their approach to enacting sonic-cyborg performance by outlining the creative framework and associated technologies involved in two collaborative pieces that explore questions of fluidity between organism and machine: Teka-Mori and Why Should Our Bodies End at the Skin?
在《机器人宣言》中，Donna Haraway探讨了人类和机器日益杂交的含义。虽然社会长期以来一直关注技术对人类活动的侵蚀，但哈拉韦对这一担忧提出了质疑，相反，他提出了生物体和机器（一种混合体）之间的亲缘关系。声音半机械人的表演通过运动和声音实现了对人机混合的理解，结合了“动觉”的构图方法和对“机电一体化”表达的探索。在这篇文章中，作者描述了他们通过概述两个合作作品中涉及的创造性框架和相关技术来实现声音半机械人表演的方法：Teka Mori和Why Should Our Bodies End at the Skin？
{"title":"Enacting Sonic-Cyborg Performance through the Hybrid Body in Teka-Mori and Why Should Our Bodies End at the Skin?","authors":"Aurie Y. Hsu, S. Kemper","doi":"10.1162/lmj_a_01069","DOIUrl":"https://doi.org/10.1162/lmj_a_01069","url":null,"abstract":"In “A Cyborg Manifesto,” Donna Haraway explores implications of the increasing hybridization of humans and machines. While society has long been concerned with the encroachment of technology onto human activity, Haraway challenges this concern, suggesting instead a kinship between organism and machine, a hybrid body. A sonic-cyborg performance realizes this understanding of the human-machine hybrid through movement and sound, incorporating a “kinesonic” approach to composition and an exploration of “mechatronic” expression. In this article, the authors describe their approach to enacting sonic-cyborg performance by outlining the creative framework and associated technologies involved in two collaborative pieces that explore questions of fluidity between organism and machine: Teka-Mori and Why Should Our Bodies End at the Skin?","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01069","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41740724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With increasing virtualization and the recognition that today’s virtual computers are faster than hardware computers of 10 years ago, modes of computation are now limited only by the imagination. Pulsed Melodic Affective Processing (PMAP) is an unconventional computation protocol that makes affective computation more human-friendly by making it audible. Data sounds like the emotion it carries. PMAP has been demonstrated in nonmusical applications, e.g. quantum computer entanglement and stock market trading. This article presents a musical application and demonstration of PMAP: a dynamic reconfigurable score for acoustic orchestral performance, in which the orchestra acts as a PMAP half-adder to add two numbers.
{"title":"Application of Musical Computing to Creating a Dynamic Reconfigurable Multilayered Chamber Orchestra Composition","authors":"Alexis Kirke","doi":"10.1162/lmj_a_01064","DOIUrl":"https://doi.org/10.1162/lmj_a_01064","url":null,"abstract":"With increasing virtualization and the recognition that today’s virtual computers are faster than hardware computers of 10 years ago, modes of computation are now limited only by the imagination. Pulsed Melodic Affective Processing (PMAP) is an unconventional computation protocol that makes affective computation more human-friendly by making it audible. Data sounds like the emotion it carries. PMAP has been demonstrated in nonmusical applications, e.g. quantum computer entanglement and stock market trading. This article presents a musical application and demonstration of PMAP: a dynamic reconfigurable score for acoustic orchestral performance, in which the orchestra acts as a PMAP half-adder to add two numbers.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01064","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41353126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
the 1960s. The path I followed to turn the idea into reality is described briefly here. Like many other artists I had rebuffed the art market; I focused instead on reworking my book Expansion of Art [1]. But by 1969, I had finished a blueprint for my Submarine Center, which was composed of three sections: an audiovisual center, a center for theory and research, and an experimental diving center. Like a cybernetic system, these three parts were closely linked. In this synopsis, I focus on the concept of the audiovisual center, which included “sound art.” Although written almost 50 years ago, my 1972 book Planet Meer. Kunst & Umweltforschung Unterwasser captures the concept precisely. It expresses an early concept of environmentally created sound art, but its view of the project is as relevant today as it was then:
{"title":"Sound Structures Experienced Underwater","authors":"J. Claus","doi":"10.1162/lmj_e_01077","DOIUrl":"https://doi.org/10.1162/lmj_e_01077","url":null,"abstract":"the 1960s. The path I followed to turn the idea into reality is described briefly here. Like many other artists I had rebuffed the art market; I focused instead on reworking my book Expansion of Art [1]. But by 1969, I had finished a blueprint for my Submarine Center, which was composed of three sections: an audiovisual center, a center for theory and research, and an experimental diving center. Like a cybernetic system, these three parts were closely linked. In this synopsis, I focus on the concept of the audiovisual center, which included “sound art.” Although written almost 50 years ago, my 1972 book Planet Meer. Kunst & Umweltforschung Unterwasser captures the concept precisely. It expresses an early concept of environmentally created sound art, but its view of the project is as relevant today as it was then:","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48217320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
thematic issues for over 20 years. This is the second time in a row that this journal has been published without an overarching theme. I confess that I was not entirely convinced that nonthematic issues would be as exciting as the thematic ones had been. But I must admit: I am not at all disappointed. The previous one worked just fine. And the present one works really well too. Our former editor-in-chief, Nicolas Collins, had an eye for spotting themes that were exciting, innovative and relevant. Nevertheless, I often wondered whether or not thematic issues were preventing potential authors from engaging with the journal more widely. Of course, both approaches have their advantage and disadvantages. The variety of high-quality papers that were submitted for this issue is impressive. The volume covers a wide range of topics, some of which I was not even aware were being developed in such depth, from writings about musique concrete in Korean, to spiritualism and activism, to virtual reality musical instruments, genetic music and 3D music notation, to cite but six. It was a real treat to have had the opportunity to read these papers ahead of their publication. I am delighted to have been invited to introduce this issue, which opens with Kat Austen’s article addressing what is perhaps one of the most significant global issues of our time: climate change. Austen created compelling music using data collected at the Arctic, and I was excited to learn how she engaged with the data and repurposed the scientific equipment for measuring them. Also politically motivated is Aviva Rahmani’s Blued Trees work. It combines concepts from music, acoustics, art and environmental policy. Hundreds of GPS-located trees in the path of proposed natural gas pipelines across the North American continent were painted with a sinewave symbol. Data from the GPS locations and interpretations of geographic features informed the composition. Virtual Reality (VR) technology has been around for a while, and a number of musicians and artists have experimented with it. The article by Anıl Çamcı and John Granzow brings something innovative: they combine VR and digital fabrication technology to design new musical instruments. And Kıvanç Tatar, Mirjana Prpa and Philippe Pasquier introduce a piece based on a VR environment of their own design, where a performer interacts with an artificial agent though breathing. They employed multiagents combined with emotion recognition systems to control the parameters of the piece. A note by David Kim-Boyle introduces an approach to notating music in three dimensions. He is interested in real-time notation of generative music and also dynamic visualizations of music. The author illustrates his ideas by means of examples and discusses the potential of his 3D notation methods for implementing immersive mixedreality music notation systems. The article by Yuan-Yi Fan explores sound spatialization techniques to harness listeners’ experience in a given spa
20多年来的主题问题。这是该杂志连续第二次在没有总体主题的情况下发表。我承认，我并不完全相信非主题问题会像主题问题那样令人兴奋。但我必须承认：我一点也不失望。前一个效果很好。现在的也很好用。我们的前主编尼古拉斯·柯林斯善于发现令人兴奋、创新和相关的主题。尽管如此，我经常想知道主题问题是否阻碍了潜在作者更广泛地参与该杂志。当然，这两种方法都有其优点和缺点。为这个问题提交的各种高质量论文令人印象深刻。这本书涵盖了广泛的主题，其中一些我甚至不知道正在深入发展，从韩语中关于具体音乐的写作，到唯心主义和激进主义，再到虚拟现实乐器、基因音乐和3D乐谱，仅举六个例子。有机会在这些论文发表前阅读它们，真是一种享受。我很高兴被邀请介绍这个问题，它以凯特·奥斯汀的文章开头，该文章探讨了我们这个时代最重要的全球问题之一：气候变化。奥斯汀利用在北极收集的数据创作了引人注目的音乐，我很高兴了解到她是如何处理这些数据并重新利用科学设备进行测量的。Aviva Rahmani的《蓝树》作品也是出于政治动机。它结合了音乐、声学、艺术和环境政策的概念。位于北美大陆拟建天然气管道路径上的数百棵GPS定位树被涂上了正弦波符号。来自全球定位系统位置的数据和对地理特征的解释为组成提供了信息。虚拟现实技术已经存在了一段时间，许多音乐家和艺术家都对其进行了实验。AnılÇamcı和John Granzow的文章带来了一些创新：他们将虚拟现实和数字制造技术结合起来设计新的乐器。KıvançTatar、Mirjana Prpa和Philippe Pasquier介绍了一件基于他们自己设计的VR环境的作品，表演者通过呼吸与人工智能体互动。他们采用了与情感识别系统相结合的多智能体来控制作品的参数。大卫·金·博伊尔（David Kim Boyle）的一篇笔记介绍了一种在三维空间中标记音乐的方法。他对生成音乐的实时记谱以及音乐的动态可视化感兴趣。作者通过实例阐述了他的想法，并讨论了他的3D记谱方法在实现沉浸式混合真实音乐记谱系统方面的潜力。袁一帆的文章探讨了声音空间化技术，以利用听众在特定空间的体验。作者提出了一个框架来思考移动的听众和移动的声音之间的相互作用。该框架由基于对象的音频、室内定位系统和算法空间化策略组成，并通过一个案例研究装置进行了演示。尽管与VR研究本身没有严格联系，但范的框架势必会启发开发用于VR环境中听觉沉浸的复杂系统。Chaz Underriner的多媒体作品《风景：家》使用了电吉他、视频投影和环绕音响系统。安德里纳的文章阐述了现实在艺术中的表现，这使得呈现不真实的熟悉和真实的陌生成为可能。作者揭示了在文学中表现超现实的技巧，并将其与电声音乐中公认的实践进行了比较。音频反馈可以产生迷人的声音。人们通常认为，过滤只是由房间的声学特性引起的。Lilac Atassi的笔记提醒我们，设备（例如扬声器和麦克风）也会过滤声音。她介绍了她为减少音频设备频率响应对声音的影响所做的努力。虚拟现实和混合现实正在模糊真实和超现实之间的区别。播放带有介绍的音乐
{"title":"Introduction: Leonardo Music Journal 29","authors":"E. Miranda","doi":"10.1162/lmj_a_01053","DOIUrl":"https://doi.org/10.1162/lmj_a_01053","url":null,"abstract":"thematic issues for over 20 years. This is the second time in a row that this journal has been published without an overarching theme. I confess that I was not entirely convinced that nonthematic issues would be as exciting as the thematic ones had been. But I must admit: I am not at all disappointed. The previous one worked just fine. And the present one works really well too. Our former editor-in-chief, Nicolas Collins, had an eye for spotting themes that were exciting, innovative and relevant. Nevertheless, I often wondered whether or not thematic issues were preventing potential authors from engaging with the journal more widely. Of course, both approaches have their advantage and disadvantages. The variety of high-quality papers that were submitted for this issue is impressive. The volume covers a wide range of topics, some of which I was not even aware were being developed in such depth, from writings about musique concrete in Korean, to spiritualism and activism, to virtual reality musical instruments, genetic music and 3D music notation, to cite but six. It was a real treat to have had the opportunity to read these papers ahead of their publication. I am delighted to have been invited to introduce this issue, which opens with Kat Austen’s article addressing what is perhaps one of the most significant global issues of our time: climate change. Austen created compelling music using data collected at the Arctic, and I was excited to learn how she engaged with the data and repurposed the scientific equipment for measuring them. Also politically motivated is Aviva Rahmani’s Blued Trees work. It combines concepts from music, acoustics, art and environmental policy. Hundreds of GPS-located trees in the path of proposed natural gas pipelines across the North American continent were painted with a sinewave symbol. Data from the GPS locations and interpretations of geographic features informed the composition. Virtual Reality (VR) technology has been around for a while, and a number of musicians and artists have experimented with it. The article by Anıl Çamcı and John Granzow brings something innovative: they combine VR and digital fabrication technology to design new musical instruments. And Kıvanç Tatar, Mirjana Prpa and Philippe Pasquier introduce a piece based on a VR environment of their own design, where a performer interacts with an artificial agent though breathing. They employed multiagents combined with emotion recognition systems to control the parameters of the piece. A note by David Kim-Boyle introduces an approach to notating music in three dimensions. He is interested in real-time notation of generative music and also dynamic visualizations of music. The author illustrates his ideas by means of examples and discusses the potential of his 3D notation methods for implementing immersive mixedreality music notation systems. The article by Yuan-Yi Fan explores sound spatialization techniques to harness listeners’ experience in a given spa","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01053","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47385248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Virtual Reality (VR) and digital fabrication technologies today are ushering in a new wave of opportunities in instrument design; the marriage of these two domains, seemingly at odds with each other, can bring impossible instruments to life. In this article, the authors first sample such instruments throughout history. The authors also look at how technology has facilitated the materialization of impossible instruments from the twentieth century on. They then discuss the bridging of VR and fabrication as a new frontier in instrument design, where synthetic sounds can be used to condition an equally synthetic sensory scaffolding upon which the time-varying spectra can be interactively anchored: The result is new instruments that can defy our sense of audiovisual reality while satisfying our proprioceptive and haptic expectations. The authors report on their ongoing work as well as their projections of how emerging technologies in VR and fabrication will shape the design of new musical interfaces.
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The author describes Summerland, a generative installation for 24 computer-controlled telegraph sounders. This work uses texts from Samuel F.B. Morse and his contemporary, the Spiritualist medium Kate Fox, as source material, driving the sounders through both linguistic and spectral encoding of their words.
{"title":"Summerland: Exploring the Intersection of Spiritualism and Technology at the Dawn of the Electrical Age","authors":"Matthew Ostrowski","doi":"10.1162/lmj_a_01067","DOIUrl":"https://doi.org/10.1162/lmj_a_01067","url":null,"abstract":"The author describes Summerland, a generative installation for 24 computer-controlled telegraph sounders. This work uses texts from Samuel F.B. Morse and his contemporary, the Spiritualist medium Kate Fox, as source material, driving the sounders through both linguistic and spectral encoding of their words.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42965998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Respire is an immersive art piece that brings together three components: an immersive virtual reality (VR) environment, embodied interaction (via a breathing sensor) and a musical agent system to generate unique experiences of augmented breathing. The breathing sensor controls the user’s vertical elevation of the point of view under and over the virtual ocean. The frequency and patterns of breathing data guide the arousal of the musical agent, and the waviness of a virtual ocean in the environment. Respire proposes an intimate exploration of breathing through an intelligent mapping of breathing data to the parameters of visual and sonic environments.
{"title":"Respire: Virtual Reality Art with Musical Agent Guided by Respiratory Interaction","authors":"Kıvanç Tatar, Mirjana Prpa, Philippe Pasquier","doi":"10.1162/lmj_a_01057","DOIUrl":"https://doi.org/10.1162/lmj_a_01057","url":null,"abstract":"Respire is an immersive art piece that brings together three components: an immersive virtual reality (VR) environment, embodied interaction (via a breathing sensor) and a musical agent system to generate unique experiences of augmented breathing. The breathing sensor controls the user’s vertical elevation of the point of view under and over the virtual ocean. The frequency and patterns of breathing data guide the arousal of the musical agent, and the waviness of a virtual ocean in the environment. Respire proposes an intimate exploration of breathing through an intelligent mapping of breathing data to the parameters of visual and sonic environments.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01057","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47178719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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