I have found that strong, semantically-meaningful mappings between gesture and sound or visuals help create compelling performance interactions, especially when there is no tangible instrument for a performer to manipulate, as is the case in a dance performance.
As a choreographer developing movement on performers throughout a rehearsal process, I am aware of the need for flexible systems and modes of thought about gesture recognition that could be easily integrated into rehearsal.
Technology is best integrated into performance when it can support this variety and liveness, instead of fighting against it with predetermined, pre-timed events. Thus, I aim to create ways that technological media elements can be intimately linked to the expressivity and nuance of a performer’s live movement.
Cunningham’s Variations V…Cunningham’s 1999 work Biped..The work of the dance company Troika Ranch..developed the mapping software Isadora..“16 [R]evolutions,”..Yamaha’s Miburi system…Paradiso and Aylward’s Sensemble….Very Nervous System… Laetitia Sonami’s “Lady’s Glove,”…… Bodycoder System created by Marc Bokowiec and Julie Wilson-Bokowiec
In particular, Rowe distinguishes between two paradigms of interactive systems, the instrument paradigm and the player paradigm. In the instrument paradigm, the system serves as an “extended musical instrument,” where aspects of a human performance are analyzed and control a rich output that goes beyond the traditional response of an instrument but still feels like a solo performance. This paradigm has been used in models such as Tod Machover’s Hyperinstruments, discussed in the next section, where a system observes elements of a live musician’s performance and uses those elements to shape its musical behavior in ways that are learnable, repeatable, and perfectible by the performer. In the player paradigm, the system serves as an “artificial player,” with its own musical behavior affected to various extents by the human performer.
Focusing more on interactive systems that are shaped by a performer’s movement, Marcelo Wanderly characterizes three different modes of physical and gestural interaction with music: digital instruments, sound installations, and dance-music interfaces. These interactions take place with varying levels of intentionality: digital instruments are played by performers specifically to produce music, sound installations are played by people who also serve as the audience members, and in dance-music interfaces dancers do not dance explicitly for the purpose of generating sound, but dance movements are interpreted to generate sound.