Physicalizing Time Through Orientational Metaphors for Generating Rhythmic Gestures

Possibilities for cross-disciplinary interactive performance continue to grow as new tools are developed and adapted. Yet, the qualitative aspects of cross-disciplinary interaction have not advanced at the same rate. We suggest that new models for understanding gesture in different media will support the development of nuanced interaction for interactive performance. We have explored this premise by considering models for generating musical rhythmic gestures that enable implicit interaction between the gestures of a dancer and the generated music. We create and implement a model for generating dynamic rhythmic gestures that flow in, around, or out of goal points. Goal points can be layered and quantized to a meter, providing the rhythmic structure expected in music, while the figurations enable the generated rhythms to flow with the performer responding to the more qualitative aspects of performer.

Content

Author and article information

Contributors

Greg Corness

Kristin Carlson

Conference

Publication date: July 2018

Publication date (Print): July 2018

Pages: 280-286

Affiliations

[0001]Columbia College Chicago

Chicago, IL, USA

[0002]Illinois State University

Bloomington, IL, USA

Article

DOI: 10.14236/ewic/EVA2018.54

SO-VID: e8024da7-a27f-46ab-9a3c-f28825102e17

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 9 - 13 July 2018

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2018.54

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

S. Adams 1997 Poetic Designs: An Introduction to Meters, Verse Forms, and Figures of Speech Broadview Press
M. Babbitt 1962 Twelve-Tone Rhythmic Structure and the Electronic Medium Perspectives of New Music 1 1:30
A. BogartT. Landau 2004 The Viewpoints Book: A Practical Guide to Viewpoints and Composition Theatre Communications Group
K. K. Bradley 2008 Rudolf Laban. Routledge
G. Corness 2013 Breath as an Embodied Connection for Performer-System Collaborative Improvisation (PhD Dissertation) Simon Fraser University, Canada
A. Elmsley (né Lambert)T. WeydeN. Armstrong 2017 Generating Time: Rhythmic Perception, Prediction and Production with Recurrent Neural Networks Journal of Creative Music Systems 1 2
A. ForteS. Gilbert 1982 Introduction to Schenkerian analysis W. W. Norton & Company
L. Hartley 1989 Wisdom of the Body Moving: An Introduction to Body-mind Centering North Atlantic Books
M. H'Doubler 1940 Dance: A Creative Art Experience The University of Wisconsin Press
M. Johnson 1990 The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason University of Chicago Press
G. LakoffM. Johnson 1999 Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought Basic Books
F. LerdahlR. Jackendoff 1983 A Generative Theory of Tonal Music MIT Press
C. PalmerC. Krumhansl 1990 Mental Representations for Musical Meter Journal of Experimental Psychology: Human Perception and Performance 16 4
K. StuddL. L. Cox 2013 Everybody is a body Indianapolis, IN Dog Ear Publishing

Comments

Comment on this article

[1] S. Adams 1997 Poetic Designs: An Introduction to Meters, Verse Forms, and Figures of Speech Broadview Press

[2] M. Babbitt 1962 Twelve-Tone Rhythmic Structure and the Electronic Medium Perspectives of New Music 1 1:30

[3] A. BogartT. Landau 2004 The Viewpoints Book: A Practical Guide to Viewpoints and Composition Theatre Communications Group

[4] K. K. Bradley 2008 Rudolf Laban. Routledge

[5] G. Corness 2013 Breath as an Embodied Connection for Performer-System Collaborative Improvisation (PhD Dissertation) Simon Fraser University, Canada

[6] A. Elmsley (né Lambert)T. WeydeN. Armstrong 2017 Generating Time: Rhythmic Perception, Prediction and Production with Recurrent Neural Networks Journal of Creative Music Systems 1 2

[7] A. ForteS. Gilbert 1982 Introduction to Schenkerian analysis W. W. Norton & Company

[8] L. Hartley 1989 Wisdom of the Body Moving: An Introduction to Body-mind Centering North Atlantic Books

[9] M. H'Doubler 1940 Dance: A Creative Art Experience The University of Wisconsin Press

[10] M. Johnson 1990 The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason University of Chicago Press

[11] G. LakoffM. Johnson 1999 Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought Basic Books

[12] F. LerdahlR. Jackendoff 1983 A Generative Theory of Tonal Music MIT Press

[13] C. PalmerC. Krumhansl 1990 Mental Representations for Musical Meter Journal of Experimental Psychology: Human Perception and Performance 16 4

[14] K. StuddL. L. Cox 2013 Everybody is a body Indianapolis, IN Dog Ear Publishing

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