skip to main content
10.1145/3537972.3538019acmotherconferencesArticle/Chapter ViewAbstractPublication PagesmocoConference Proceedingsconference-collections
research-article

And She Will Sound The Alarm: Performance and Demo of the Body Sample Player

Authors Info & Claims
Published:30 June 2022Publication History

ABSTRACT

Kinesthetic empathy, in the context of interactive design, is defined as the ability to encode and decode the input of other users of the system or to sense a shift in the system itself [7]. Achieving this between two players or between players and observers in a virtual performance system involving sound is difficult to achieve and requires that players and audience have an existing connection with the system that marries the sonic and kinesthetic sense known as “auditory kinesthesia” [11]. These sensibilities can be facilitated through the design of the system itself following the principles of usability and kinesthetic interaction, or through performer training [9]. In traditional music and dance, kinesthetic empathy exists both between players and between players and audience. It is much more difficult to achieve this in the context of interactive performance as the audience does not have the same culturally specific empathetic response when observing digitally mediated performance as they do when viewing forms of music and dance they are already familiar with. The Body Sample Player is a digital musical instrument and performance platform that uses real-time data gathered by body tracking cameras to control the volumes of looping sound samples, turning the body itself into a sound controller. The system has evolved over the years, facilitating several different musical works ranging from solo ”DJ” controller style musical performances to large scale interactive music and dance works for multiple performers. It has also been used to create interactive installations that are accessible to the audiences of these large-scale works. It is our contention that by giving audience members first-hand experience engaging with this instrument before witnessing a performance, they will more easily be able to recognize expressivity in the performance, and in doing so, will experience a higher level of kinesthetic empathy. Therefore, we propose a performance of And She Will Sound the Alarm, a piece for a single performer created for the Body Sample Player system, to be preceded by a demonstration in which conference attendees can interact with the system itself.

References

  1. Curtis Bahn, Tomie Hahn, and Dan Trueman. 2001. Physicality and Feedback: A Focus on the Body in the Performance of Electronic Music. Proceedings of the International Computer Music Conference 2001, 2(2001), 44–51. https://doi.org/10.1016/S0140-6736(01)05627-6Google ScholarGoogle Scholar
  2. Edward T. Cone. 1968. Musical form and musical performance(first edit ed.). W. W. Norton. 103 pages. https://www.worldcat.org/title/musical-form-and-musical-performance/oclc/436472Google ScholarGoogle Scholar
  3. Alan Cooper, Robert Reimann, and Dave Cronin. 2007. About Face 3: The Essentials of Interaction Design. John Wiley I& Sons, Inc., USA.Google ScholarGoogle ScholarDigital LibraryDigital Library
  4. Alexander P. Demos and Roger Chaffin. 2018. How music moves US: Entraining to musicians’ movements. Music Perception 35, 4 (apr 2018), 405–424. https://doi.org/10.1525/MP.2018.35.4.405Google ScholarGoogle ScholarCross RefCross Ref
  5. Alexander P. Demos, Hamed Layeghi, Marcelo M. Wanderley, and Caroline Palmer. 2019. Staying Together: A Bidirectional Delay–Coupled Approach to Joint Action. Cognitive Science 43, 8 (aug 2019), e12766. https://doi.org/10.1111/cogs.12766Google ScholarGoogle ScholarCross RefCross Ref
  6. Alexander P. Demos, Tânia Lisboa, Kristen T. Begosh, Topher Logan, and Roger Chaffin. 2020. A longitudinal study of the development of expressive timing. Psychology of Music 48, 1 (jan 2020), 50–66. https://doi.org/10.1177/0305735618783563Google ScholarGoogle ScholarCross RefCross Ref
  7. Maiken Hillerup Fogtmann, Jonas Fritsch, and Karen Johanne Kortbek. 2008. Kinesthetic Interaction - Revealing the bodily potential in interaction design. In Proceedings of the 20th Australasian Conference on Computer-Human Interaction: Designing for Habitus and Habitat, [OZCHI’08]. ACM Press, New York, New York, USA, 89–96. https://doi.org/10.1145/1517744.1517770Google ScholarGoogle ScholarDigital LibraryDigital Library
  8. Henry Head and Gordon Holmes. 1911. Sensory disturbances from cerebral lesions. Brain 34, 2-3 (1911), 102–254.Google ScholarGoogle ScholarCross RefCross Ref
  9. Ryan Ingebritsen. 2022. Auditory Kinesthesia: A Framework To Facilitate The Design And Performance Of Interactive Music Systems. Ph.D. Dissertation. unpublished dissertation thesis.Google ScholarGoogle Scholar
  10. Ryan Ingebritsen, Christopher Knowlton, Hugh Sato, and Erica Mott. 2020. Social movements: A case study in dramaturgically-driven sound design for contemporary dance performance to mediate human-human interaction. In TEI 2020 - Proceedings of the 14th International Conference on Tangible, Embedded, and Embodied Interaction. Association for Computing Machinery, Inc, New York, NY, USA, 227–237. https://doi.org/10.1145/3374920.3374955Google ScholarGoogle ScholarDigital LibraryDigital Library
  11. Ryan Ingebritsen, Christopher Knowlton, and John Toenjes. 2021. Kinesthetic Empathy in Remote Interactive Performance: Research into Platforms and Strategies for Performing Online. In Proceedings of the Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction (Salzburg, Austria) (TEI ’21). Association for Computing Machinery, New York, NY, USA, Article 50, 8 pages. https://doi.org/10.1145/3430524.3442456Google ScholarGoogle ScholarDigital LibraryDigital Library
  12. John Martin. 1936. America dancing: The background and personalities of the modern dance. Dance Horizons, New York. 117 pages.Google ScholarGoogle Scholar
  13. Jakob Nielsen. 1994. Usability Engineering. Morgan Kaufmann Publishers Inc., San Francisco, CA, USA.Google ScholarGoogle ScholarDigital LibraryDigital Library
  14. Matthew Reason and Dee Reynolds. 2010. Kinesthesia, empathy, and related pleasures: An inquiry into audience experiences of watching dance. Dance Research Journal 42, 2 (2010), 49–75. https://doi.org/10.1017/S0149767700001030Google ScholarGoogle ScholarCross RefCross Ref
  15. Mel Slater. 2017. Implicit Learning Through Embodiment in Immersive Virtual Reality. In Virtual, Augmented, and Mixed Realities in Education, Dejian Liu, Chris Dede, Ronghuai Huang, and John Richards (Eds.). Springer Singapore, Chapter 2, 19–33. https://doi.org/10.1007/978-981-10-5490-7Google ScholarGoogle Scholar
  16. Cathleen Wharton, John Rieman, Clayton Lewis, and Peter Polson. 1994. The Cognitive Walkthrough Method: A Practitioner’s Guide. John Wiley I& Sons, Inc., USA, 105–140.Google ScholarGoogle ScholarDigital LibraryDigital Library
  17. Nick Yee and Jeremy Bailenson. 2007. The proteus effect: The effect of transformed self-representation on behavior. Human Communication Research 33, 3 (jul 2007), 271–290. https://doi.org/10.1111/j.1468-2958.2007.00299.xGoogle ScholarGoogle ScholarCross RefCross Ref

Index Terms

  1. And She Will Sound The Alarm: Performance and Demo of the Body Sample Player
        Index terms have been assigned to the content through auto-classification.

        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 Other conferences
          MOCO '22: Proceedings of the 8th International Conference on Movement and Computing
          June 2022
          262 pages
          ISBN:9781450387163
          DOI:10.1145/3537972

          Copyright © 2022 ACM

          Permission to make digital or hard copies of all or part 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 components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected]

          Publisher

          Association for Computing Machinery

          New York, NY, United States

          Publication History

          • Published: 30 June 2022

          Permissions

          Request permissions about this article.

          Request Permissions

          Check for updates

          Qualifiers

          • research-article
          • Research
          • Refereed limited

          Acceptance Rates

          Overall Acceptance Rate50of110submissions,45%

        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