.................................................................................................................... II! CONTENTS ................................................................................................................... III! LIST OF FIGURES ........................................................................................................ VII! LIST OF TABLES ......................................................................................................... VIII! SUBMITTED MEDIA ...................................................................................................... IX! SUBMITTED SOFTWARE ............................................................................................... X! ACKNOWLEDGEMENTS ................................................................................................ XI! OVERVIEW ..................................................................................................................... 1! INTRODUCTION ............................................................................................................ 4! 1.! LIVE CODING .......................................................................................................... 7! 1.1.! INTRODUCTION!........................................................................................................................!7! 1.2.! ROUTES!..................................................................................................................................!9! 1.3.! ENVIRONMENTS!FOR!LIVE!CODING!.............................................................................................!11! 1.4.! PERFORMING!WITH!BEER!.......................................................................................................!11! 1.5.! THE!MANY!FACES!OF!CODE!.......................................................................................................!12! 1.5.1.! Code(as(interface(.........................................................................................................(12! 1.5.2.! Code(as(communication(medium(................................................................................(14! 1.6.! LIVE!CODING!AND!THE!AUDIENCE!..............................................................................................!15! 1.7.! MUSIC!COMPOSED!WITH!LIVE!CODING!.......................................................................................!17! 1.8.! MAPPING!IMMUTABILITY!AND!HYBRID!ENVIRONMENTS!.................................................................!19! 1.9.! LIVE!CODING!IN!STUDIO:!FROM!CODE!TO!TAPE!.............................................................................!25! 1.10.! OTHER!ASPECTS!OF!LIVE!CODING!.............................................................................................!27! 1.11.! CONCLUSION!.......................................................................................................................!28! iv 2.! HARDWARE PROTOTYPING ................................................................................. 31! 2.1.! INTRODUCTION!......................................................................................................................!31! 2.2.! OVERVIEW!OF!POP!.................................................................................................................!31! 2.3.! CALIBRATION!AND!SCALING:!SENSORS!MAKING!SENSE!...................................................................!33! 2.4.! MAPPING!OF!POP!..................................................................................................................!34! 2.5.! MODES!OF!INTERACTION!OF!POP!..............................................................................................!35! 2.6.! CONTROL!AND!STRUCTURE!.......................................................................................................!35! 2.7.! MUSIC!COMPOSED!WITH!POP!..................................................................................................!36! 2.8.! REMARKS!ON!POP!..................................................................................................................!38! 2.9.! CONCLUSION!.........................................................................................................................!41! 3.! TANGIBLE INTERFACES ....................................................................................... 43! 3.1.! INTRODUCTION!......................................................................................................................!43! 3.2.! DIGITAL!MUSICAL!INSTRUMENTS!(DMI)!.....................................................................................!44! 3.3.! OVERVIEW!OF!BIGRAIN!...........................................................................................................!46! 3.3.1.! Mapping(of(BiGrain(.....................................................................................................(47! 3.4.! OVERVIEW!OF!STAY!ON!THIS!GESTURE!......................................................................................!49! 3.4.1.! Mapping(of(Stay(On(This(Gesture(................................................................................(49! 3.5.! MUSIC!COMPOSED!WITH!THE!WIIMOTE!.....................................................................................!50! 3.6.! CONCLUSION!.........................................................................................................................!53! 4.! OPTICAL INTERFACES .......................................................................................... 56! 4.1.! INTRODUCTION!......................................................................................................................!56! 4.2.! OVERVIEW!OF!GREAP!.............................................................................................................!58! 4.2.1.! Scene(handling/snapshots(..........................................................................................(59! 4.3.! MAPPING!VARIABILITY!.............................................................................................................!60! 4.4.! INTERACTION!AFFORDANCES!OF!GREAP!......................................................................................!62! 4.5.! EFFORT!AND!VISUALISATION!OF!MUSICAL!TENSION!.......................................................................!63! v 4.6.! TANGIBLE!SOUND!...................................................................................................................!63! 4.7.! METAPHORS!.........................................................................................................................!64! 4.8.! MUSIC!COMPOSED!WITH!GREAP!...............................................................................................!64! 4.9.! CONCLUSION!.........................................................................................................................!67! 5.! CONCLUSIONS – DISCUSSION OF MUSICAL IMPLICATIONS .............................. 70! 5.1.! ENCORE!................................................................................................................................!77! 6.! FURTHER RESEARCH ........................................................................................... 77! REFERENCES ............................................................................................................... 79! APPENDIX – ATARAXIA ............................................................................................... 88! INSTRUCTIONS AND TECHNICAL REQUIREMENTS ................................................... 89! HOW TO LAUNCH GREAP ........................................................................................... 89! TROUBLESHOOTING ................................................................................................... 90! INSTRUCTIONS FOR THE PERFORMANCE OF ATARAXIA .......................................... 90! SCORE OF ATARAXIA .................................................................................................. 92! APPENDIX – BLIND DATE ............................................................................................ 99! INSTRUCTIONS AND TECHNICAL REQUIREMENTS ................................................... 99! FAIR ALGO ................................................................................................................. 100! TROUBLESHOOTING ................................................................................................. 102! INSTRUCTIONS FOR THE PERFORMANCE OF BLIND DATE ..................................... 102! FAIR ALGO CODE ..................................................................................................... 103! APPENDIX – POP ....................................................................................................... 104! INSTRUCTIONS AND TECHNICAL REQUIREMENTS ................................................. 104!
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