Abstract
| Language | English |
|---|---|
| Title of host publication | Unknown Host Publication |
| Place of Publication | Copenhagen, Denmark |
| Pages | 216-222 |
| Number of pages | 344 |
| Volume | 1 |
| Publication status | Published - 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 → … |
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Keywords
- gesture
- mapping
- embodied cognition
- image schemas
- performance system
- electroacoustic
- acousmatic
- spatial music
- post-digital music
Cite this
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Mapping and Meaning: Embodied Metaphors and Non–localized Structures in Performance SystemDesign. / Graham, Ricky; Bridges, Brian.
Unknown Host Publication. Vol. 1 Copenhagen, Denmark, 2013. p. 216-222.Research output: Chapter in Book/Report/Conference proceeding › Conference contribution
TY - GEN
T1 - Mapping and Meaning: Embodied Metaphors and Non–localized Structures in Performance SystemDesign
AU - Graham, Ricky
AU - Bridges, Brian
N1 - 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)
PY - 2013/10/29
Y1 - 2013/10/29
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
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
CY - Copenhagen, Denmark
ER -