Imposing a Networked Vibrotactile Communication System for Improvisational Suggestion

Abstract

This paper describes the implementation ofNeVIS, a local network system that establishes communication between individual performers, as well as between laptop and performers. Specifically, this is achieved by making use of vibrotactile feedback as a signalling tool within an improvisational setting. A discussion of the current developments regarding the use of networks within improvisation is presented, followed by an outline of the benefits of utilising the haptic feedback channel as a further sensory information pathway when performing digital music. We describe a case study of the system within the context of our computer-mediated improvisational duo Můstek, involving piano, percussion and live electronics. Here, a cueing system or framework is imposed over the improvisation and is transmitted directly to the skin of the performers via tiny vibrations. Additionally, performers may make use of simple vibrotactile signals to enhance traditional visual cues that are often employed within performance. A new work,Socks and Ammo, was created using NeVIS, and was presented at various international conferences and festivals. We also tested the system itself within a group of postgraduate researchers and composers. Qualitative evaluation of the musical outcomes as experienced both by the performers and by the listeners at these events is offered, as well as implications about the nature of collaborative music-making.

Co-Design of Musical Haptic Wearables for Electronic Music Performer's Communication

“…T HE emerging field of "musical haptics" investigates the application of haptics research to the musical domain [1]. Endeavors in this field include the development of haptic interfaces for music performers (e.g., haptically-enhanced digital musical instruments [2] or tactile notification systems [3], [4], [5]) and music listeners (e.g., haptic devices aiming to enrich the listening musical experience [6]). Some studies focus on analyzing how haptic cues affect musicians' experience and performance [7], [8], [9], [10].…”

“…Various types of communication infrastructures for networked music performances [16] have been proposed in the laptop orchestra context, namely using wireless local networks [17] with exchange of Open Sound Control (OSC) messages (e.g., [18], [19]). However, as noted by Hayes and Michalakos, "Often, due to the logistics of performing with laptops, where information is displayed on a sizable screen, and the laptop is usually placed on a table along with peripherals, such as soundcards and controllers, the scope to facilitate gestural anticipation, recognizable visual cues, or meaningful physical movements is much more reduced than with performances using traditional instruments" [4]. Typical technological solutions to such communication issues have involved exchange of text messages over a local network displayed on the laptop screens [15], especially in the context of live coding [20], [21].…”

“…Different authors have advocated the use of haptic stimulation as an alternative to visual display for the communication between players of electronic music ensembles [22], [15], [4], [12]. For instance, by involving the haptic channel in coperformer communication laptop musicians can be free from the constraints of looking at specific parts of the screen to get notifications from other performers [15].…”

Skin Music (2012)

“…My research has also examined the possible applications of vibrotactile technology in deepening the performer's engagement with her instrument [3,5], as well its ability to provide cues and aid communication during musical improvisation [6]. Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page.…”

Configuring a Haptic Interface for Music Performance

“…The use of haptics in music performance and composition practice is a gradually expanding field, particularly with regard to the design of music controllers and interfaces and digital musical instruments (Birnbaum 2007, Verplank, Gurevich & Matthews 2002; other work is exploring its use in artistic practiceto guide improvisation (Hayes & Michalakos 2012), for installation (Gunther 2007) and to aid synchronisation and ensemble communication (Armitage et al 2012). The potential for haptics in such applications is an exciting prospect, providing a means of communicating information via non-audible channels.…”