~ICMC 2015 - Sept. 25 - Oct. 1, 2015 - CEMI, University of North Texas
gesture, (re)combine gestures and sonic output to craft musical syntax, and consider how gestures and sound correlate
in performance. At times the movement vocabulary involved in playing a controller seems secondary or incidental
to the compositional design and performance. Alternatively,
a kinesonic approach seeks to develop an "ecological" relationship between controller design, movement vocabulary,
and mapping strategies [7, 4, 20]. This understanding guides
our approach to creating music for the Remote electroAcoustic Kinesthetic Sensing (RAKS) system.
3.2 Gesture Types
Table 1 summarizes the gesture types useful in a kinesonic
approach to composition: effector and accompanying gesture [21], imagined and referential gesture [21, 1], and gesture attributes [1] ("characteristics" from [6]). While each
category has distinct qualities, the gesture types overlap
fluidly.
Description Originating Example
Modality
ffctor [21 ]
sound production is a T instrumental
direct "effect" of performance percussionist strikes drum
movement pefrmane_
accompanying [21]
movement does not
always result in instrumental pianist's arm movement
sound products ound performance before depressing keys
modification
gesture attribute
quantifiable charac- HCI controller quality of an arm moveteristic of a motion or development ment, e.g. accelerating or
movement _ _smooth
reconfigurable
any movement arm movement combined
mapped to sound; HCI performance with sensors or video
often mediated by tracking to control comtechnology J________ uter-enerated sound
imagined [21]
instrumental perabstract and concep- formance, audi- correlation between mutual relationship to ence reception, c anheography
movement choreomusical s
[17, 18]
referential [21]
conceptual reference instrumental and extra-musical elements
to gesture attributes HCI performance, (i.e.: metaphor, quality of
of movement choreomusical movement)
Table 1. Summary and examples of gesture types.
4. THE RAKS SYSTEM
4.1 The Remote electroAcoustic Kinesthetic Sensing
(RAKS) System
The RAKS system is an Arduino-based' wireless sensor
interface designed specifically for belly dance movement
vocabulary. The system is modular, allowing the configuration of sensors to change based on the movement and artistic requirements of each piece. "RAKS" is a play on the
Arabic term, Raqs Sharqi (Middle Eastern dance).
The RAKS system is designed to minimize the amount of
interference with the dancer's movement. The interface consists of a corset and a lightweight belt (Figure 1). The
RAKS system is built with the LilyPad Arduino that communicates wirelessly with Max2 using the XBee protocol.
Sensors employed to date include a flex sensor in the corset,
an ADXL345 digital triple-axis accelerometer on the belt,
and zils (finger cymbals) wired as switches. The system also
includes two programmable LED rings, which are activated
wirelessly from the computer.
~ ~ LED Rings
(on front)
Flex Sensor
LilyPad Arduino
ADXL 345
Accelerometer
XBee Modul
Figure 1. RAKS system belt and corset.
4.2 Gesture Attributes in the RAKS System Design
The gesture attributes of belly dance movement vocabulary
serve as the foundation for the RAKS system design. Torso
undulations, controlled hip isolations, and upper and lower
body layering are a few characteristics of the movement
vocabulary. The gesture attributes influence the design and
functionality of the RAKS system including the software,
hardware, types of sensors, and costume architecture. To
this end, the flex sensor is placed near the chest and torso,
and the accelerometer is placed on the hips to optimize
movement capture. Table 2 summarizes the gesture attributes and corresponding design features on the RAKS system.
Movement Body Gesture RAKS System
Vocabulary Movement Attributes Design Feature
continuous,
undulation torso down-to-up/up- flex sensor
to-down
I http://www.arduino.cc/
2 https://cycling74.com/
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