Hybrid Virtual Modeling for Multisensory Interaction Design

Berdahl, Edgar; Pfalz, Andrew; Blandino, Michael

doi:10.1145/2986416.2986451

Cited by 2 publications

(4 citation statements)

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“…A third wave of mass-interaction tools have appeared in the last decade, driven by open-source initiatives: HSP (haptic signal processing) [6] provided a first means for audio rate simulation in Max/MSP, whereas Synth-a-modeler [10] provides a Faust-based [57] engine allowing compilation for a variety of targets and platforms. It has since been extended with a modelling user interface and bridges allowing for interconnection between mass-interaction, waveguide and modal synthesis elements [8]. Recent developments have yielded new prototypes for 3D mass-interaction frameworks with audio and haptic capabilities [71,46], the mi-gen toolkit for efficient simulation in Max/MSP [47], as well as Ruratae [1] a system offering a novel approach to sound-producing 3D mass-interaction models.…”

Section: A Brief History Of Mass-interaction Tools For Musical Creationmentioning

confidence: 99%

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Multisensory instrumental dynamics as an emergent paradigm for digital musical creation

Leonard

Villeneuve

Kontogeorgakopoulos

2020

J Multimodal User Interfaces

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The nature of human/instrument interaction is a long-standing area of study, drawing interest from fields as diverse as philosophy, cognitive sciences, anthropology, human-computer-interaction, or artistic creation. In particular, the case of the interaction between performer and musical instrument provides an enticing framework for studying the instrumental dynamics that allow for embodiment, skill acquisition and virtuosity with (electro-)acoustical instruments, and questioning how such notions may be transferred into the realm of digital music technologies and virtual instruments.This paper offers a study of concepts and technologies allowing for instrumental dynamics with Digital Musical Instruments, through an analysis of haptic-audio creation centred on a) theoretical and conceptual frameworks, b) technological components -namely physical modelling techniques for the design of virtual mechanical systems and force-feedback technologies allowing mechanical coupling with them, and c) a corpus of artistic works based on this approach. Through this retrospective, we argue that artistic works created in this field over the last 20 years -and those yet to come -may be of significant importance to the haptics community as new objects that question physicality, tangibility, and creativity from a fresh and rather singular angle. Following which, we discuss the convergence of efforts in this field, challenges still ahead, and the possible emergence of a new transdisciplinary community focused on multisensory digital art forms.

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Section: A Brief History Of Mass-interaction Tools For Musical Creationmentioning

confidence: 99%

“…These works rely on tools developed or co-developed by Berdahl, namely the FireFader opensource force-feedback device, the HSP framework in Max programming environment and the Synth-A-Modeler software. Most of the descriptions below come from the publication mentioned before and from Edgar's website 8 .…”

Section: Edgar Berdahl and Lsu (Louisina State University)mentioning

confidence: 99%

Multisensory instrumental dynamics as an emergent paradigm for digital musical creation

Leonard

Villeneuve

Kontogeorgakopoulos

2020

J Multimodal User Interfaces

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“…• Synth-A-Modeler [9,11] is another tool for creating physics-based models. Table 9.1 summarizes the Synth-A-Modeler objects referred to in the rest of the chapter.…”

Section: Open-source Technology For the Design Of Haptic Musical Instmentioning

confidence: 99%

“…This kind of thinking is also helpful when designing virtual instruments for haptic interaction. The authors are working on this endeavor not only by prototyping, iterating, and refining interaction designs into music compositions, but also by expanding and honing the content available in the Open-Source Haptics for Artists repository [6,7,9,11].…”

Section: Laptop Orchestra Of Louisianamentioning

confidence: 99%

Force-Feedback Instruments for the Laptop Orchestra of Louisiana

Berdahl

Pfalz

Blandino

et al. 2018

Springer Series on Touch and Haptic Systems

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Digital musical instruments yielding force feedback were designed and employed in a case study with the Laptop Orchestra of Louisiana. The advantages of force feedback are illuminated through the creation of a series of musical compositions. Based on these and a small number of other prior music compositions, the following compositional approaches are recommended: providing performers with precise, physically intuitive, and reconfigurable controls, using traditional controls alongside force-feedback controls as appropriate, and designing timbres that sound uncannily familiar but are nonetheless novel. Video-recorded performances illustrate these approaches, which are discussed by the composers. IntroductionApplications of force feedback for designing musical instruments have been studied since as early as 1978 at ACROE [14,17,21,36] (Chap. 8 reports on recent advancements). Such works provide a crucial reference for understanding the role that haptic technology can play in music, and these are described in detail in a preceding chapter. The wider computer music community has demonstrated a sustained interest in incorporating force-feedback technology into musical works and projects. This has been evidenced by a series of projects during recent decades.

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Hybrid Virtual Modeling for Multisensory Interaction Design

Cited by 2 publications

References 10 publications

Multisensory instrumental dynamics as an emergent paradigm for digital musical creation

Multisensory instrumental dynamics as an emergent paradigm for digital musical creation

Force-Feedback Instruments for the Laptop Orchestra of Louisiana

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