Interactive Music using a MultiTouch Cellular Automata - PowerPoint PPT Presentation

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Interactive Music using a MultiTouch Cellular Automata

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Title: Interactive Music using a MultiTouch Cellular Automata


1
Interactive Music using aMulti-Touch Cellular
Automata
LANSDOWN CENTRE for Electronic Arts
  • Robin Fencott
  • www.RobinFencott.com 
  • Robin_at_RobinFencott.com

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Multi-Touch Screens
  • A Multi-Touch Screen is a touch screen that can
    register one or more points of simultaneous
    physical contact.
  • Intuitive and direct. No physical controls (e.g.
    stylus, puck).
  • Multi-Touch screens are excellent tools for the
    manipulation of visual information.
  • Building a Multi-Touch Screen is a well
    documented process.
  • An active field of research in academic,
    commercial and hobby/DIY domains.

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Multi-Touch Screens
  • This project uses the Frustrated Total Internal
    Reflection approach (FTIR).
  • A sheet of acrylic is illuminated along its
    edges by infra-red LEDs. The light is trapped by
    Total Internal Reflection.
  • When a fingertip touches the acrylic the trapped
    light can escape.
  • A camera can see this light as a blob. A blob
    tracking program can monitor the position of
    touch points over time.
  • We can use a standard video projector to display
    an image back onto the touch surface.

5
Version 1.0
  • Built from wood and scrap materials.
  • Obsolete or salvaged equipment.
  • Electrical components are standard.

6
Project Goals
  • Intuitive and accessible.
  • Encourage creative and playful engagement.
  • Abstract, both visually and sonically.
  • Musical, but not an instrument, tool or
    environment.

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Cellular Automata
  • Cellular Automata (CA) are systems where time and
    space are measured in discrete steps.
  • The values of a CA are stored in cells arranged
    in one or more dimensions (e.g. a two-dimensional
    grid).
  • As time progresses the cells are simultaneously
    updated according to a pre-defined set of rules.
  • For example in Conways Life each cell is
    either dead or alive. The value of the cell is
    determined by the values of its neighbours.
  • CA can exhibit emergent behaviour - a simple set
    of rules can produce a complex outcome.

15
Interactive Cellular Automata
  • Adjacent cells begin to interact with each other
    creating localised activity around the
    participants points of touch.
  • The Cellular Automata gives the work an active
    and responsive feel, rather than being passive.
  • Criteria for the CA
  • Must not erupt or seem totally random.
  • Activity is localised.
  • Cells must decay over time and eventually die
    out.

16
Mapping
  • Direct and (hopefully) perceivable. This is in
    line with the objective of approachability.
  • Each cell is given a colour. Initially all cells
    are orange or pink, however greens and yellows
    are introduced over time.
  • Each cell is given a musical note, which is not
    related to the xy position.
  • Instead, notes are picked at random from a small
    musical scale. This means a non-musician can
    still make nice music.

17
Mapping
  • Different colour groups get different synthetic
    timbres and individual cells get slight
    variations on these timbres.
  • Spatial position is aligned with the horizontal
    screen location.
  • Gliding gestures cause pitch bending.

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Sessions
  • The grid is randomised at the start of the
    program.
  • The software notes when the screen is in use and
    gradually adds variations, e.g. replacing cells,
    introducing new sonic and visual colours etc.
  • Once the system has been inactive for a short
    time the system is reset to a new random state.
  • The temporal thresholds are also randomised with
    each session.

19
Audience Reception
  • Participants grasp the nature of the interaction
    and appreciate the correlation between colours
    and timbres.
  • The work appeals to people of all ages.
  • Participants often spend at least a minute
    interacting with the work.
  • People are inquisitive and want to know how it
    works.
  • People usually approach the piece as a toy,
    although occasionally I am expected to play a
    tune.

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Thank you
LANSDOWN CENTRE for Electronic Arts
Robin Fencott www.RobinFencott.com Robin_at_RobinFenc
ott
  • This appearance was funded by the
  • Lansdown Centre for Electronic Arts,
  • Middlesex University, London.
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