The Design of a New Musical Glove: a Live Performance Approach
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The Design of a New Musical Glove: A Live Performance Approach. Giuseppe Torre Digital Media & Arts Research Centre Faculty of Science and Engineering Department of Computer Science and Information Systems University of Limerick Submitted to the University of Limerick for the degree of PhilosophiæDoctor (PhD) 2013 1. Supervisor: Dr. Kerry Hagan Digital Media & Arts Research Centre University of Limerick Ireland 2. Supervisor: Dr. Mikael Fernstr¨om Interaction Design Centre University of Limerick Ireland 1. Reviewer: Dr. Dominic Murcott Trinity Laban Conservatoire of Music London United Kingdom 2. Reviewer: Dr. Paul Stapleton Sonic Arts Research Centre Queen's University Belfast Northern Ireland 1. Chair: Dr. Chris Exton Dept. of Computer Science and Information Systems University of Limerick Ireland Day of the defense: 17th December 2012 Signature from head of PhD committee: ii Abstract A live performance using novel technologies is a highly complex sys- tem in which anthropological, sociological, psychological, musicolog- ical and technical issues are heavily involved. The New Interfaces for Musical Expression (NIME) community has presented a new ap- proach to music performance often heavily technologically mediated while outputting a great deal of new digital instruments since 2001. Within this broad research field, important issues such as hardware interface design, mapping strategies, skilled performance and compo- sitional approaches have been considered. Many NIME practitioners have explored the development of `gestural controllers' in the hope of achieving natural and intimate interaction while also designing clear interactions between performer's gesture and sound from an audience perspective. This thesis expands on this notion through the consider- ation of the possibilities for enhancing the audience engagement and understanding of the underlaying structures and mechanics of the live performance. To this end, a newly developed data glove named Pointing-at is devel- oped. A number of live performances in which the data glove is used are presented and discussed. The analysis of both the theoretical and practical elements of the research formed the basis for the develop- ment of an approach to the design of nuanced gestural performative actions that are both visually and sonically legible to audience mem- bers. In that regard, the use of metaphors that are coherent to the theme of the performance have been found to be a useful tool that can enhance both the performer and audience experience of the live performance. Declaration I herewith declare that I have produced this paper without the pro- hibited assistance of third parties and without making use of aids other than those specified; notions taken over directly or indirectly from other sources have been identified as such. This paper has not previously been presented in identical or similar form to any other Irish or foreign examination board. The thesis work was conducted from 2007 to 2012 under the supervi- sion of Dr. Kerry Hagan and Dr. Mikael Fernstr¨omat University of Limerick. Limerick, 2013 Acknowledgements I am indebted to many people for the development of this research. They all have played a fundamental role in this long journey. My warmest and most sincere thanks go to: My supervisors: Dr. Kerry Hagan and Dr. Mikael Fernstr¨omfor their guidance, support and patiance. My previous supervisor Dr. Annette Aboulafia for helping me understand what PhD research means. My performance partners: Robert Sazdov and Dorota Konczweska. My colleagues in the CSIS Department and Ms. Annette McEllig- ott for moral and financial support. My third unofficial `supervisor' Nicholas Ward for all the interesting and grumpy debates had and advice given. Anthony Quinn for proof-reading this dissertation. The SFI-funded Tyndall National Access Program (NAP60) and all the Tyndall team participating to the Celeritas project: Philip An- gove, Javier Torres, Brendan O'Flynn. The IDC people involved in the Celeritas Project: Stephen Shirley, Marc McLoughlin, Conor Hig- ghins and Colm McGettrick. The NIME Community for stimulating many of the reflections in this dissertation. To Caitriona Kinsella and my friends. All of you. Distant or close (geographically): thanks. My family: Maurizio, Liliana, Zio Giovanni e Zia Giusy for just being who they are. My parents Diego and Albina for just being who they were. ... `Every one who is sure of his mind, or proud of his office, or anxious about his duty assumes a tragic mask. He deputes it to be himself and transfers to it almost all his vanity. While still alive and subject, like all existing things, to the undermining flux of his own substance, he has crystallized his soul into an idea, and more in pride than in sorrow he has offered up his life...by conscience into loyalties and duties, and we become \persons" or masks'. Art, truth and death turn everything to marble. (Santayana 1922, pp. 133-134) Contents List of Figures vii 1 Introduction 1 1.1 Aims and Objectives . 4 1.2 Methodology . 5 1.3 Research Contribution . 7 1.4 Thesis Outline . 8 2 NIME Live Performance Ecology - Composer and Audience Per- spectives 11 2.1 NIME Live Performance Ecology . 11 2.1.1 Gestures in Live Performances . 13 2.1.2 Constraints . 15 2.1.3 Affordances . 18 2.1.4 Instrument or Controller? . 20 2.1.5 Mapping - Composer and Audience Perspectives . 23 2.1.6 Functions and Frames . 27 2.2 Summary . 29 3 Survey of Data Gloves and their use in Live Performances 31 3.1 Glove Devices . 31 3.2 Glove Devices for Music Performances . 40 3.3 Data gloves - Analysis of Live Performances . 55 3.3.1 The Hands . 55 3.3.1.1 Discussion . 57 iii CONTENTS 3.3.2 Lady's Glove . 59 3.3.2.1 Discussion . 63 3.3.3 Collide . 63 3.3.3.1 Discussion . 65 3.3.4 Imogen Heap's data glove . 65 3.3.4.1 Discussion . 70 3.4 Summary . 72 4 Development of Pointing-at Data Glove 73 4.1 History and Partners involved . 73 4.2 Pointing-at Glove Design . 75 4.3 Hardware Specifications . 76 4.4 UART settings and MaxMSP Data Input . 79 4.5 Numerical Evaluation . 82 4.5.1 Sensors' Offset and Resolution . 82 4.5.2 Bending Sensor . 84 4.5.3 Attitude Estimation - TRIAD ALGORITHM . 85 4.5.3.1 Accuracy Considerations . 89 4.6 Max Sensor Interface . 90 4.6.1 Sensor Input Section . 90 4.6.2 Calibration . 90 4.6.3 On Tour Section . 91 4.6.4 Orientation Visualisation Section . 94 4.6.5 Calculated Values Section . 94 4.7 Summary . 95 5 Performances 97 5.1 Live Performances . 97 5.2 Preliminary Works . 98 5.2.1 Discussion and Lessons Learned . 101 5.3 3D-Dj Application . 103 5.3.1 Application Features - v.1 . 103 5.3.2 Application Features - v.2 . 105 5.3.3 Discussion . 107 iv CONTENTS 5.3.4 Lessons Learned . 111 5.4 Rex Levitates and Pointing-at . 112 5.4.1 Application Features . 112 5.4.2 Discussion . 113 5.4.3 Lessons Learned . 118 5.5 Molitva ................................ 119 5.5.1 Sound Design and Score Macro-Structure . 119 5.5.2 Mapping Strategies . 122 5.5.3 Discussion . 125 5.5.4 Lesson Learned . 128 5.6 Mani .................................. 129 5.6.1 Sound Design and Score Macro-Structure . 130 5.6.2 Mapping Strategies and Pointing-at Score Part . 131 5.6.3 Discussion . 138 5.6.4 Lessons Learned . 142 5.7 `AGORA'´ ............................... 143 5.7.1 Concept . 143 5.7.2 Development . 146 5.7.2.1 Technical Specifications . 146 5.7.2.2 Part A . 146 5.7.2.3 Part B . 150 5.7.2.4 Part C . 153 5.7.2.5 Score Macro Structure - Length and Structure of the Whole Performance . 153 5.7.3 Discussion . 158 5.7.4 Lessons Learned . 162 5.8 Summary . 163 6 Conclusions and Future Directions 165 6.1 Summary . 165 6.2 Conclusions . 166 6.3 Contributions . 173 6.4 Future Work . 174 v CONTENTS Appendix A: WIMU Specifications 175 Appendix B: TRIAD Algorithm numerical example 181 Appendix C: Driver 184 Appendix D: Mote External and Driver 197 Appendix E: TRIAD Algorithm Code 205 Appendix F: AHRS MAX Library 208 Appendix G: AGORA´ 211 References 213 vi List of Figures 2.1 Gestures . 16 2.2 Mapping Transparency . 25 2.3 Functions and Frames . 28 3.1 Communication Device . 32 3.2 Sayre Glove . 32 3.3 Digital Data Entry Glove . 33 3.4 VPL DataGlove . 34 3.5 VIEW . 35 3.6 Virtual Cockpit . 36 3.7 Power Glove . 37 3.8 Virtuality . 37 3.9 CyberGlove . 38 3.10 CyberGlove III . 39 3.11 Some data gloves . 41 3.12 Data Glove . 42 3.13 Data glove . 43 3.14 SoniMime . 44 3.15 SoniMime . 44 3.16 VIFE data glove . 45 3.17 HandySinger Glove . 46 3.18 Beat Boxing . 47 3.19 MusicGlove . 48 3.20 Mims . ..