Sounds and Shapes
Levin and Lieberman created audio visual art that uses the contours of hand gestures. In these Manual Input Sessions different hand movements make different sounds. Based on a previous audio visual project with a mouse they used these same goals as a guide for their new piece:
Simplicity/Difficulty: Easy to use, but sophisticated.
Repeatability/inexhaustible: The system response constantly with constant output, and never responds the same way twice due to
Create, Manipulate, Destroy: The system provides sound and visuals that can be made, used, and erased.
Audiovisual Commensurability: Sonic and visual dimensions are equally malleable.
They were influenced and aided by prior work on audiovisual tracking media. One of them was Myron Krueger's VIDEOPLACE system. In this body and hand movement was tracked and used to play various games and make various recreational artwork. It used computer vision to capture silhouettes of hands and bodies. It was programmed to detect the point of fingers to use the system. Mulder et al.'s Sound Sculpting allowed hands to manipulate a 3D object to create various sounds. It was effective in allowing the hands to control audio and visuals. Lyon et al.'s Mouthesizer. This piece was useful for tracking interior contours. A small camera observes the mouth. The movement of the mouth controlled different sounds. The inside of the mouth was tracked by comparing color and contrast of the mouth.
Manual Input Sessions are a way of expression of hand gestures. One model of this is the Neg Drop. In this system interior contours of hands is used to create an object. The size and smoothness of the interior space changes the sound and thickness of the objet. When the hand opens up, the objet drops and interacts with the edge of the projector screen. The Innerstamp model works the same way expect the object doesn't move and it plays one continuous sound. The Rotuni model creates a rhythmic melody for each contour tracked. A virtual clock arm originating from the center of the contour searches the perimeter of the contour like a radar line. The length of the clock arm controls different sounds. This model needs no interior contour. These instruments manipulate realtime audiovisual media through the use of hands over a projector. It makes for an interesting avenue into future media involving visual tracking and audiovisual manipulation.
Simplicity/Difficulty: Easy to use, but sophisticated.
Repeatability/inexhaustible: The system response constantly with constant output, and never responds the same way twice due to
Create, Manipulate, Destroy: The system provides sound and visuals that can be made, used, and erased.
Audiovisual Commensurability: Sonic and visual dimensions are equally malleable.
They were influenced and aided by prior work on audiovisual tracking media. One of them was Myron Krueger's VIDEOPLACE system. In this body and hand movement was tracked and used to play various games and make various recreational artwork. It used computer vision to capture silhouettes of hands and bodies. It was programmed to detect the point of fingers to use the system. Mulder et al.'s Sound Sculpting allowed hands to manipulate a 3D object to create various sounds. It was effective in allowing the hands to control audio and visuals. Lyon et al.'s Mouthesizer. This piece was useful for tracking interior contours. A small camera observes the mouth. The movement of the mouth controlled different sounds. The inside of the mouth was tracked by comparing color and contrast of the mouth.
Manual Input Sessions are a way of expression of hand gestures. One model of this is the Neg Drop. In this system interior contours of hands is used to create an object. The size and smoothness of the interior space changes the sound and thickness of the objet. When the hand opens up, the objet drops and interacts with the edge of the projector screen. The Innerstamp model works the same way expect the object doesn't move and it plays one continuous sound. The Rotuni model creates a rhythmic melody for each contour tracked. A virtual clock arm originating from the center of the contour searches the perimeter of the contour like a radar line. The length of the clock arm controls different sounds. This model needs no interior contour. These instruments manipulate realtime audiovisual media through the use of hands over a projector. It makes for an interesting avenue into future media involving visual tracking and audiovisual manipulation.
posted by Composing with Piankh at 8:04 AM
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