Mapping and Meaning: Embodied Metaphors and Non–localized Structures in Performance SystemDesign

Ricky Graham; Brian Bridges

Mapping and Meaning: Embodied Metaphors and Non–localized Structures in Performance SystemDesign

Research output: Chapter in Book/Report/Conference proceeding › Conference contribution › peer-review

Abstract

This paper explores the application of gestural structures and embodied image schemas in the design of control mappings and interpretative layers for a spatial music performance system. In doing so, it advances a design that maps structural features derived from musical performance gestures to various aspects of spatial and timbral sound processing. An analysis of a system by one of the co-authors will be undertaken, in addition to discussion of wider implications for performance system designs based upon these theoretical perspectives. The importance of image schemas in such a model is their potential utility in contributing to the development of richer, yet coherent, mappings that go beyond simpler localized transduction–based models to encompass a variety of less localized output modalities.

Original language	English
Title of host publication	Unknown Host Publication
Place of Publication	Copenhagen, Denmark
Publisher	Re-New Digital Arts Forum
Pages	216-222
Number of pages	344
Volume	1
Publication status	Published (in print/issue) - 29 Oct 2013
Event	Re-New 2013 Digital Arts Festival and Conference - Copenhagen, Denmark Duration: 29 Oct 2013 → …

Conference

Conference	Re-New 2013 Digital Arts Festival and Conference
Period	29/10/13 → …

Bibliographical note

Reference text: 1. Tanaka, A., Musical Performance Practice on Sensor-based Instruments. In: Wanderley, M., Battier, M. (eds): Trends in Gestural Control of Music. IRCAM, Paris (2000), 389– 405
2. Bongers, B., Physical Interfaces in the Electronic Arts: Interaction Theory and Interfacing Techniques for Real–time Performance. In: Wanderley, M., Battier, M. (eds): Trends in Gestural Control of Music. IRCAM, Paris (2000), 41–70
3. Winkler, T., Composing Interactive Music: Techniques and Ideas Using Max. MIT Press, Cambridge, Mass. (2001)
4. Hunt, A., Wanderley, M., Kirk, R.: Towards a Model for Instrumental Mapping in Expert Musical Interaction. In: Wanderley, M., Battier, M. (eds): Trends in Gestural Control of Music. IRCAM, Paris (2000), 209–212
5. Levitin, D., McAdams, S., Adams, R. Control Parameters for Musical Instruments: a foundation for new mappings of gesture to sound. Organised Sound 7(2), 171–189 (2002)
6. Norman, D., The Design of Everyday Things. Basic Books, New York (1988)
7. Gibson, J., The Ecological Approach to Visual Perception. Houghton Mifflin, Boston
(1979)
8. Cadoz, C., Wanderley. M. Gesture–Music. In: In: Wanderley, M., Battier, M. (eds):
Trends in Gestural Control of Music. IRCAM, Paris (2000) 77–8
9. Lakoff, G., Women, Fire and Dangerous Things: What Categories Reveal about the
Mind. University of Chicago Press, Chicago (1987)
10. Johnson, M., The Meaning of the Body: Aesthetics of Human Understanding.
University of Chicago Press, Chicago (2007)
11. Wilkie, K., Holland, S., Mulholland, P., What Can the Language of Musicians Tell Us
about Music Interaction Design? Computer Music Journal 34(40), 34–48
12. Smalley, D., Spectromorphology: explaining sound–shapes. Organised Sound 2(2),
107–126 (1997)
13. Smalley, D., Space-form and the Acousmatic Image. Organised Sound, 12(1), 35–58,
(2007)
14. Emmerson, S., Living Electronic Music. Ashgate, Aldershot (2007)
15.Graham, R., Expansion of Electronic Guitar Performance Practice through the
Application and Development of Interactive Digital Music Systems. Ph.D. Thesis.
University of Ulster, Northern Ireland (2012)
16. Lerdahl, F., Tonal Pitch–space. Oxford University Press, Oxford (2001)
17. Lerdahl, F., Krumhansl, C., Modeling Tonal Tension. Music Perception 24(4), 329–
366 (2007)
18. Krumhansl, C., Cognitive Foundations of Musical Pitch. Oxford University Press,
Oxford (1990)
19.Reynolds, C., Flocks, Herds and Schools: A distributed behavioral model.
SIGGRAPH Comput. Graph. 21(4), 25-34 (1987)
20.Bates, E., The Composition and Performance of Spatial Music. Ph.D. Thesis.
University of Dublin, Trinity College, Dublin (2010)

Keywords

gesture
mapping
embodied cognition
image schemas
performance system
electroacoustic
acousmatic
spatial music
post-digital music

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Cite this

@inproceedings{f34769a4e2a84c11acdce156887bde15,

title = "Mapping and Meaning: Embodied Metaphors and Non–localized Structures in Performance SystemDesign",

abstract = "This paper explores the application of gestural structures and embodied image schemas in the design of control mappings and interpretative layers for a spatial music performance system. In doing so, it advances a design that maps structural features derived from musical performance gestures to various aspects of spatial and timbral sound processing. An analysis of a system by one of the co-authors will be undertaken, in addition to discussion of wider implications for performance system designs based upon these theoretical perspectives. The importance of image schemas in such a model is their potential utility in contributing to the development of richer, yet coherent, mappings that go beyond simpler localized transduction–based models to encompass a variety of less localized output modalities.",

keywords = "gesture, mapping, embodied cognition, image schemas, performance system, electroacoustic, acousmatic, spatial music, post-digital music",

author = "Ricky Graham and Brian Bridges",

note = "Reference text: 1. Tanaka, A., Musical Performance Practice on Sensor-based Instruments. In: Wanderley, M., Battier, M. (eds): Trends in Gestural Control of Music. IRCAM, Paris (2000), 389– 405 2. Bongers, B., Physical Interfaces in the Electronic Arts: Interaction Theory and Interfacing Techniques for Real–time Performance. In: Wanderley, M., Battier, M. (eds): Trends in Gestural Control of Music. IRCAM, Paris (2000), 41–70 3. Winkler, T., Composing Interactive Music: Techniques and Ideas Using Max. MIT Press, Cambridge, Mass. (2001) 4. Hunt, A., Wanderley, M., Kirk, R.: Towards a Model for Instrumental Mapping in Expert Musical Interaction. In: Wanderley, M., Battier, M. (eds): Trends in Gestural Control of Music. IRCAM, Paris (2000), 209–212 5. Levitin, D., McAdams, S., Adams, R. Control Parameters for Musical Instruments: a foundation for new mappings of gesture to sound. Organised Sound 7(2), 171–189 (2002) 6. Norman, D., The Design of Everyday Things. Basic Books, New York (1988) 7. Gibson, J., The Ecological Approach to Visual Perception. Houghton Mifflin, Boston (1979) 8. Cadoz, C., Wanderley. M. Gesture–Music. In: In: Wanderley, M., Battier, M. (eds): Trends in Gestural Control of Music. IRCAM, Paris (2000) 77–8 9. Lakoff, G., Women, Fire and Dangerous Things: What Categories Reveal about the Mind. University of Chicago Press, Chicago (1987) 10. Johnson, M., The Meaning of the Body: Aesthetics of Human Understanding. University of Chicago Press, Chicago (2007) 11. Wilkie, K., Holland, S., Mulholland, P., What Can the Language of Musicians Tell Us about Music Interaction Design? Computer Music Journal 34(40), 34–48 12. Smalley, D., Spectromorphology: explaining sound–shapes. Organised Sound 2(2), 107–126 (1997) 13. Smalley, D., Space-form and the Acousmatic Image. Organised Sound, 12(1), 35–58, (2007) 14. Emmerson, S., Living Electronic Music. Ashgate, Aldershot (2007) 15.Graham, R., Expansion of Electronic Guitar Performance Practice through the Application and Development of Interactive Digital Music Systems. Ph.D. Thesis. University of Ulster, Northern Ireland (2012) 16. Lerdahl, F., Tonal Pitch–space. Oxford University Press, Oxford (2001) 17. Lerdahl, F., Krumhansl, C., Modeling Tonal Tension. Music Perception 24(4), 329– 366 (2007) 18. Krumhansl, C., Cognitive Foundations of Musical Pitch. Oxford University Press, Oxford (1990) 19.Reynolds, C., Flocks, Herds and Schools: A distributed behavioral model. SIGGRAPH Comput. Graph. 21(4), 25-34 (1987) 20.Bates, E., The Composition and Performance of Spatial Music. Ph.D. Thesis. University of Dublin, Trinity College, Dublin (2010); Re-New 2013 Digital Arts Festival and Conference ; Conference date: 29-10-2013",

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PY - 2013/10/29

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N2 - This paper explores the application of gestural structures and embodied image schemas in the design of control mappings and interpretative layers for a spatial music performance system. In doing so, it advances a design that maps structural features derived from musical performance gestures to various aspects of spatial and timbral sound processing. An analysis of a system by one of the co-authors will be undertaken, in addition to discussion of wider implications for performance system designs based upon these theoretical perspectives. The importance of image schemas in such a model is their potential utility in contributing to the development of richer, yet coherent, mappings that go beyond simpler localized transduction–based models to encompass a variety of less localized output modalities.

AB - This paper explores the application of gestural structures and embodied image schemas in the design of control mappings and interpretative layers for a spatial music performance system. In doing so, it advances a design that maps structural features derived from musical performance gestures to various aspects of spatial and timbral sound processing. An analysis of a system by one of the co-authors will be undertaken, in addition to discussion of wider implications for performance system designs based upon these theoretical perspectives. The importance of image schemas in such a model is their potential utility in contributing to the development of richer, yet coherent, mappings that go beyond simpler localized transduction–based models to encompass a variety of less localized output modalities.

KW - gesture

KW - mapping

KW - embodied cognition

KW - image schemas

KW - performance system

KW - electroacoustic

KW - acousmatic

KW - spatial music

KW - post-digital music

UR - http://www.l--l.dk/downloadables/re-new_2013_conference_proceeding.pdf

M3 - Conference contribution

VL - 1

SP - 216

EP - 222

BT - Unknown Host Publication

PB - Re-New Digital Arts Forum

CY - Copenhagen, Denmark

T2 - Re-New 2013 Digital Arts Festival and Conference

Y2 - 29 October 2013

ER -

Mapping and Meaning: Embodied Metaphors and Non–localized Structures in Performance SystemDesign

Abstract

Conference

Bibliographical note

Keywords

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