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      Configuring a Haptic Interface for Music Performance

      ,

      Electronic Visualisation and the Arts (EVA 2015) (EVA)

      Electronic Visualisation and the Arts

      7 & 9 July 2015

      Multimodality, Tactile, Music, Haptic, Interface

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          There is no author summary for this article yet. Authors can add summaries to their articles on ScienceOpen to make them more accessible to a non-specialist audience.

          Abstract

          Our daily interactions and perceptions involve multiple sensory multimodalities; most exchanges are inherently multimodal, playing an important part in our decoding and understanding of environments. Events can often engage multiple senses. Furthermore, musical experiences can be highly multisensory, with obvious auditory stimulation, the visual elements of a live performance, and physical stimulation of the body. In this paper, we will propose a means of incorporating an additional somatic channel of communication into live performances and compositional practice to further augment the physical nature of live performance.

          This work explores the integration of augmented vibratory, or haptic stimulation for audiences in live performance. The vibration interface is presented as an expressive and creative live performance-based tool for composers. Vibrations, or haptics, are implemented as an additional instrumental line, alongside auditory musical gestures, to expand the composer’s palette of expressions through augmented somatic engagement. This paper will describe the background, and design and development of a haptic interface for the purpose of audio-haptic listening-feeling. The focus of this paper is to describe a study into motor latency for informing multimedia simultaneity.

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          Most cited references 8

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          Tactile and Haptic Illusions.

          This paper surveys the research literature on robust tactile and haptic illusions. The illusions are organized into two categories. The first category relates to objects and their properties, and is further differentiated in terms of haptic processing of material versus geometric object properties. The second category relates to haptic space, and is further differentiated in terms of the observer's own body versus external space. The illusions are initially described and where possible addressed in terms of their functional properties and/or underlying neural processes. The significance of these illusions for the design of tactile and haptic displays is also discussed. We conclude by briefly considering a number of important general themes that have emerged in the materials surveyed.
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            Organ, Organ

             E Gunther,  E. GUNTHER (2007)
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              Multimodal Music Composition

               J. ARMITAGE,  K Ng (2013)
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                Author and article information

                Conference
                July 2015
                July 2015
                : 41-45
                Affiliations
                ICSRiM – University of Leeds, School of Music and School of Computing, Leeds LS2 9JT, U.K.

                haptics@icsrim.org.uk, www.icsrim.leeds.ac.uk
                Article
                10.14236/ewic/eva2015.4
                © Joanne Armitage et al. Published by BCS Learning and Development Ltd. Proceedings of EVA London 2015, UK

                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/

                Electronic Visualisation and the Arts (EVA 2015)
                EVA
                London, UK
                7 & 9 July 2015
                Electronic Workshops in Computing (eWiC)
                Electronic Visualisation and the Arts
                Product
                Product Information: 1477-9358BCS Learning & Development
                Self URI (journal page): https://ewic.bcs.org/
                Categories
                Electronic Workshops in Computing

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