skip to main content
10.1145/3452918.3465496acmconferencesArticle/Chapter ViewAbstractPublication PagesimxConference Proceedingsconference-collections
Work in Progress

Liquid Hands: Evoking Emotional States via Augmented Reality Music Visualizations

Published:23 June 2021Publication History

ABSTRACT

Music performances have transformed in unprecedented ways with the advent of digital music. Plenty of music visualizers enhance live performances in various forms, including LED display boards and holographic illustrations. However, the impracticability of live performances due to the CoVID-19 outbreak has led to event organizers adopting alternatives in virtual environments. In this work, we propose Liquid Hands, an Augmented Reality (AR) music visualizer system, wherein three-dimensional particles react to the flow of music, forming a visually aesthetic escapade. With hand-particle interactions, Liquid Hands aims to enrich the music listening experience in one’s personal space and bridge the gap between virtual and physical concerts. We intend to explore the emotions our system induces by conducting a pilot study, in which we measure the user’s psychological state through Electroencephalography (EEG). We hypothesize that the proposed system will evoke emotions akin to those exhibited in live music performances.

References

  1. Franz Aurenhammer and Rolf Klein. 2000. Voronoi Diagrams.Handbook of computational geometry 5, 10 (2000), 201–290.Google ScholarGoogle Scholar
  2. Ruth A Baer. 2011. Measuring mindfulness. Contemporary Buddhism 12, 1 (2011), 241–261.Google ScholarGoogle ScholarCross RefCross Ref
  3. Felicia Rodica Baltes and Andrei C Miu. 2014. Emotions during live music performance: Links with individual differences in empathy, visual imagery, and mood.Psychomusicology: Music, Mind, and Brain 24, 1 (2014), 58.Google ScholarGoogle Scholar
  4. Tony Bergstrom, Karrie Karahalios, and John C. Hart. 2007. Isochords: Visualizing Structure in Music. In Proceedings of Graphics Interface 2007 (Montreal, Canada) (GI ’07). Association for Computing Machinery, New York, NY, USA, 297–304. https://doi.org/10.1145/1268517.1268565Google ScholarGoogle ScholarDigital LibraryDigital Library
  5. Jennifer Block-Lerner, Kristalyn Salters-Pedneault, and Matthew T Tull. 2005. Assessing mindfulness and experiential acceptance. In Acceptance and mindfulness-based approaches to anxiety. Springer, 71–99.Google ScholarGoogle Scholar
  6. The blog at the bottom of the sea. 2016. Fast Voronoi Diagrams and Distance Field Textures on the GPU With the Jump Flooding Algorithm. Retrieved March 27, 2021 from https://blog.demofox.org/2016/02/29/fast-voronoi-diagrams-and-distance-dield-textures-on-the-gpu-with-the-jump-flooding-algorithm/Google ScholarGoogle Scholar
  7. Kirk Warren Brown and Richard M Ryan. 2003. The benefits of being present: mindfulness and its role in psychological well-being.Journal of personality and social psychology 84, 4(2003), 822.Google ScholarGoogle Scholar
  8. Ross Buck. 1999. The biological affects: a typology.Psychological review 106, 2 (1999), 301.Google ScholarGoogle Scholar
  9. Elaine Chew and Alexandre R.J. Francois. 2003. MuSA.RT: Music on the Spiral Array. Real-Time. In Proceedings of the Eleventh ACM International Conference on Multimedia (Berkeley, CA, USA) (MULTIMEDIA ’03). Association for Computing Machinery, New York, NY, USA, 448–449. https://doi.org/10.1145/957013.957106Google ScholarGoogle ScholarDigital LibraryDigital Library
  10. Peter Ciuha, Bojan Klemenc, and Franc Solina. 2010. Visualization of Concurrent Tones in Music with Colours. In Proceedings of the 18th ACM International Conference on Multimedia (Firenze, Italy) (MM ’10). Association for Computing Machinery, New York, NY, USA, 1677–1680. https://doi.org/10.1145/1873951.1874320Google ScholarGoogle ScholarDigital LibraryDigital Library
  11. Mihaly Csikszentmihalyi and Mihaly Csikzentmihaly. 1990. Flow: The psychology of optimal experience. Vol. 1990. Harper & Row New York.Google ScholarGoogle Scholar
  12. deadmau5. 2021. Cubev3. Retrieved March 27, 2021 from https://cubev3.com/Google ScholarGoogle Scholar
  13. Frank M Diaz. 2013. Mindfulness, attention, and flow during music listening: An empirical investigation. Psychology of Music 41, 1 (2013), 42–58.Google ScholarGoogle ScholarCross RefCross Ref
  14. Simon Dixon. 2000. Extraction of musical performance parameters from audio data. In Proceedings of the First IEEE Pacific-Rim Conference on Multimedia. 42–45.Google ScholarGoogle Scholar
  15. Hauke Egermann, Mary Elizabeth Sutherland, Oliver Grewe, Frederik Nagel, Reinhard Kopiez, and Eckart Altenmüller. 2011. Does music listening in a social context alter experience? A physiological and psychological perspective on emotion. Musicae Scientiae 15, 3 (2011), 307–323.Google ScholarGoogle ScholarCross RefCross Ref
  16. Joyce Horn Fonteles, Maria Andréia Formico Rodrigues, and Victor Emanuel Dias Basso. 2013. Creating and evaluating a particle system for music visualization. Journal of Visual Languages & Computing 24, 6 (2013), 472–482.Google ScholarGoogle ScholarDigital LibraryDigital Library
  17. Alf Gabrielsson. 2001. Emotions in strong experiences with music.Series in affective science. Music and emotion: Theory and research (2001), 431–449.Google ScholarGoogle Scholar
  18. Christian Gold, Martin Voracek, and Tony Wigram. 2004. Effects of music therapy for children and adolescents with psychopathology: a meta-analysis. Journal of Child Psychology and Psychiatry 45, 6 (2004), 1054–1063.Google ScholarGoogle ScholarCross RefCross Ref
  19. M. Goodwin and M. Vetterli. 1996. Time-frequency signal models for music analysis, transformation, and synthesis. In Proceedings of Third International Symposium on Time-Frequency and Time-Scale Analysis (TFTS-96). 133–136.Google ScholarGoogle Scholar
  20. Hewlett-Packard. 2021. HP VR Backpack. Retrieved March 27, 2021 from https://www8.hp.com/us/en/vr/vr-backpack.htmlGoogle ScholarGoogle Scholar
  21. R. Hiraga and N. Matsuda. 2004. Graphical expression of the mood of music. In 2004 IEEE International Conference on Multimedia and Expo (ICME) (IEEE Cat. No.04TH8763), Vol. 3. 2035–2038 Vol.3.Google ScholarGoogle Scholar
  22. Rumi Hiraga, Reiko Mizaki, and Issei Fujishiro. 2002. Performance Visualization: A New Challenge to Music through Visualization. In Proceedings of the Tenth ACM International Conference on Multimedia (Juan-les-Pins, France) (MULTIMEDIA ’02). Association for Computing Machinery, New York, NY, USA, 239–242. https://doi.org/10.1145/641007.641054Google ScholarGoogle ScholarDigital LibraryDigital Library
  23. R. Hiraga, F. Watanabe, and I. Fujishiro. 2002. Music learning through visualization. In Second International Conference on Web Delivering of Music, 2002. WEDELMUSIC 2002. Proceedings.101–108.Google ScholarGoogle Scholar
  24. Carroll E Izard. 2007. Basic emotions, natural kinds, emotion schemas, and a new paradigm. Perspectives on psychological science 2, 3 (2007), 260–280.Google ScholarGoogle Scholar
  25. Patrik N Juslin, Simon Liljeström, Daniel Västfjäll, Gonçalo Barradas, and Ana Silva. 2008. An experience sampling study of emotional reactions to music: listener, music, and situation.Emotion 8, 5 (2008), 668.Google ScholarGoogle Scholar
  26. Patrik N Juslin and Marcel R Zentner. 2001. Current trends in the study of music and emotion: Overture. Musicae scientiae 5, 1_suppl (2001), 3–21.Google ScholarGoogle ScholarCross RefCross Ref
  27. Jon Kabat-Zinn and Jon Kabat Zinn. 2013. Mindfulness meditation in everyday life. BettterListen! LLC.Google ScholarGoogle Scholar
  28. Satoshi Kawase and Satoshi Obata. 2016. Psychological responses to recorded music as predictors of intentions to attend concerts: Emotions, liking, performance evaluations, and monetary value. Musicae Scientiae 20, 2 (2016), 163–172.Google ScholarGoogle ScholarCross RefCross Ref
  29. Carol L Krumhansl. 1997. An exploratory study of musical emotions and psychophysiology.Canadian Journal of Experimental Psychology/Revue canadienne de psychologie expérimentale 51, 4 (1997), 336.Google ScholarGoogle Scholar
  30. Ondřej Kubelka. 2000. Interactive music visualization. In Central European Seminar on Computer Graphics, Vol. 4.Google ScholarGoogle Scholar
  31. You-Yun Lee and Shulan Hsieh. 2014. Classifying different emotional states by means of EEG-based functional connectivity patterns. PloS one 9, 4 (2014), e95415.Google ScholarGoogle ScholarCross RefCross Ref
  32. Lars-Olov Lundqvist, Fredrik Carlsson, Per Hilmersson, and Patrik N Juslin. 2009. Emotional responses to music: Experience, expression, and physiology. Psychology of music 37, 1 (2009), 61–90.Google ScholarGoogle Scholar
  33. Cathy H McKinney, Michael H Antoni, Mahendra Kumar, Frederick C Tims, and Philip M McCabe. 1997. Effects of guided imagery and music (GIM) therapy on mood and cortisol in healthy adults.Health psychology 16, 4 (1997), 390.Google ScholarGoogle Scholar
  34. Microsoft. 2020. Altspace VR. Retrieved March 27, 2021 from https://altvr.com/Google ScholarGoogle Scholar
  35. Microsoft. 2021. What is the Mixed Reality Toolkit. Retrieved March 27, 2021 from https://docs.microsoft.com/en-us/windows/mixed-reality/mrtk-unity/Google ScholarGoogle Scholar
  36. Andrei C Miu and Felicia Rodica Balteş. 2012. Empathy manipulation impacts music-induced emotions: A psychophysiological study on opera. PloS one 7, 1 (2012), e30618.Google ScholarGoogle ScholarCross RefCross Ref
  37. Reiko Miyazaki and Issei Fujishiro. 2002. comp-i: 3d visualization of midi datasets. In VIS’02: Proceedings of the conference on Visualization 2002 Posters.Google ScholarGoogle Scholar
  38. Reiko Miyazaki, Issei Fujishiro, and Rumi Hiraga. 2003. Exploring MIDI Datasets. In ACM SIGGRAPH 2003 Sketches & Applications(San Diego, California) (SIGGRAPH ’03). Association for Computing Machinery, New York, NY, USA, 1. https://doi.org/10.1145/965400.965453Google ScholarGoogle ScholarDigital LibraryDigital Library
  39. Ivan Nyklíček, Julian F Thayer, and Lorenz JP Van Doornen. 1997. Cardiorespiratory differentiation of musically-induced emotions.Journal of Psychophysiology(1997).Google ScholarGoogle Scholar
  40. OpenBCI. 2020. Introducing: Galea. Retrieved May 5, 2021 from https://openbci.com/community/introducing-galea-bci-hmd-biosensing/Google ScholarGoogle Scholar
  41. Jaak Panksepp. 2007. Neurologizing the psychology of affects: How appraisal-based constructivism and basic emotion theory can coexist. Perspectives on psychological science 2, 3 (2007), 281–296.Google ScholarGoogle Scholar
  42. Eric Prydz. 2021. Epic 5.0. Retrieved March 27, 2021 from https://www.ericprydz.com/epicGoogle ScholarGoogle Scholar
  43. Martin Roberts. 2018. The Unreasonable Effectiveness of Quasirandom Sequences. Retrieved March 27, 2021 from http://extremelearning.com.au/unreasonable-effectiveness-of-quasirandom-sequences/Google ScholarGoogle Scholar
  44. Damien Constantine Rompapas, Daniel Flores Quiros, Charlton Rodda, Bryan Christopher Brown, Noah Benjamin Zerkin, and Alvaro Cassinelli. 2020. Project Esky: Enabling High Fidelity Augmented Reality Content on an Open Source Platform. In ACM Interactive Surfaces and Spaces.Google ScholarGoogle Scholar
  45. Klaus R Scherer. 2004. Which emotions can be induced by music? What are the underlying mechanisms? And how can we measure them?Journal of new music research 33, 3 (2004), 239–251.Google ScholarGoogle Scholar
  46. Klaus R Scherer and Marcel R Zentner. 2001. Emotional effects of music: Production rules.(2001).Google ScholarGoogle Scholar
  47. S. M. Smith and G. N. Williams. 1997. A visualization of music. In Proceedings. Visualization ’97 (Cat. No. 97CB36155). 499–503.Google ScholarGoogle ScholarCross RefCross Ref
  48. Stereolabs. 2021. Zed Mini - Mixed Reality Camera. Retrieved March 27, 2021 from https://www.stereolabs.com/zed-mini/Google ScholarGoogle Scholar
  49. Aman Tiwari. 2018. MeshToSDF. Retrieved March 27, 2021 from https://github.com/aman-tiwari/MeshToSDFGoogle ScholarGoogle Scholar
  50. Tomorrowland. 2021. Around the World. Retrieved March 27, 2021 from https://www.tomorrowland.com/en/digital/around-the-world/welcomeGoogle ScholarGoogle Scholar
  51. Ultraleap. 2021. Leap Motion Controller. Retrieved March 27, 2021 from https://www.ultraleap.com/product/leap-motion-controller/Google ScholarGoogle Scholar
  52. Ultraleap. 2021. Project Northstar. Retrieved March 27, 2021 from https://developer.leapmotion.com/northstarGoogle ScholarGoogle Scholar
  53. Unity. 2021. Unity Home Page. Retrieved March 27, 2021 from https://unity.com/Google ScholarGoogle Scholar
  54. Unity. 2021. Visual Effect Graph. Retrieved March 27, 2021 from https://unity.com/visual-effect-graphGoogle ScholarGoogle Scholar
  55. L. Valbom and A. Marcos. 2007. An Immersive Musical Instrument Prototype. IEEE Computer Graphics and Applications 27, 4 (2007), 14–19.Google ScholarGoogle ScholarDigital LibraryDigital Library
  56. M. Wattenberg. 2002. Arc diagrams: visualizing structure in strings. In IEEE Symposium on Information Visualization, 2002. INFOVIS 2002.110–116.Google ScholarGoogle ScholarCross RefCross Ref
  57. Wikipedia. 2020. Particle system. Retrieved March 27, 2021 from https://en.wikipedia.org/wiki/Particle_systemGoogle ScholarGoogle Scholar
  58. Wikipedia. 2021. Brownian motion. Retrieved March 27, 2021 from https://en.wikipedia.org/wiki/Brownian_motionGoogle ScholarGoogle Scholar
  59. Wikipedia. 2021. Signed distance function. Retrieved March 27, 2021 from https://en.wikipedia.org/wiki/Signed_distance_functionGoogle ScholarGoogle Scholar
  60. Robert Williams. 2020. Fortnite’ virtual rap concert draws record 12.3M attendees. Retrieved March 27, 2021 from https://www.mobilemarketer.com/news/fortnite-virtual-rap-concert-draws-record-123m-attendeesGoogle ScholarGoogle Scholar
  61. Marcel Zentner, Didier Grandjean, and Klaus R Scherer. 2008. Emotions evoked by the sound of music: characterization, classification, and measurement. Emotion 8, 4 (2008), 494.Google ScholarGoogle ScholarCross RefCross Ref

Recommendations

Comments

Login options

Check if you have access through your login credentials or your institution to get full access on this article.

Sign in
  • Published in

    cover image ACM Conferences
    IMX '21: Proceedings of the 2021 ACM International Conference on Interactive Media Experiences
    June 2021
    331 pages
    ISBN:9781450383899
    DOI:10.1145/3452918

    Copyright © 2021 Owner/Author

    Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author.

    Publisher

    Association for Computing Machinery

    New York, NY, United States

    Publication History

    • Published: 23 June 2021

    Check for updates

    Qualifiers

    • Work in Progress
    • Research
    • Refereed limited

    Acceptance Rates

    Overall Acceptance Rate69of245submissions,28%

    Upcoming Conference

    IMX '24

PDF Format

View or Download as a PDF file.

PDF

eReader

View online with eReader.

eReader

HTML Format

View this article in HTML Format .

View HTML Format