Embodied, participatory sense-making in digitally-augmented music practices : theoretical principles and the artistic case “SoundBikes”
- Author
- Pieter-Jan Maes (UGent) , Valerio Lorenzoni, Bart Moens (UGent) , Joren Six (UGent) , Federica Bressan (UGent) , Ivan Schepers (UGent) and Marc Leman (UGent)
- Organization
- Project
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- DaphNet (Dynamix Preservation of interactive art: The next frontier of multimedia cultural heritage)
- Abstract
- Electronic and digital technologies open immense opportunities for music composition, listening, interaction, and participation. However, at the same time, they critically challenge some of the most basic principles that drive human engagement and interaction with music. This article first presents a theoretical discussion of two of these principles, namely sensorimotor control and participatory sense-making. Thereafter, it presents SoundBikes, a music installation that implements these theoretical considerations. SoundBikes is rooted in the idea that collective music-making is a form of participatory sense-making that emerges from embodied, dynamical and collaborative interactions between co-performers. The core components of SoundBikes include an EMS Synthi 100 and two stationary bikes equipped with sensors. To stimulate social interaction and collaboration between cyclist-performers, we designed SoundBikes in a way that performers could exert control over expressive features in the playback of music compositions, by coordinating their (cycling) movements with one another. This functionality is integrated in a gameplay—to further stimulate social collaboration and competition—and a visually attractive environment—to provide visual feedback and to create ambiance.
- Keywords
- Interaction, Embodiment
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Citation
Please use this url to cite or link to this publication: http://hdl.handle.net/1854/LU-8566806
- MLA
- Maes, Pieter-Jan, et al. “Embodied, Participatory Sense-Making in Digitally-Augmented Music Practices : Theoretical Principles and the Artistic Case ‘SoundBikes.’” CRITICAL ARTS-SOUTH-NORTH CULTURAL AND MEDIA STUDIES, vol. 32, no. 3, Routledge, 2018, pp. 77–94, doi:10.1080/02560046.2018.1447594.
- APA
- Maes, P.-J., Lorenzoni, V., Moens, B., Six, J., Bressan, F., Schepers, I., & Leman, M. (2018). Embodied, participatory sense-making in digitally-augmented music practices : theoretical principles and the artistic case “SoundBikes.” CRITICAL ARTS-SOUTH-NORTH CULTURAL AND MEDIA STUDIES, 32(3), 77–94. https://doi.org/10.1080/02560046.2018.1447594
- Chicago author-date
- Maes, Pieter-Jan, Valerio Lorenzoni, Bart Moens, Joren Six, Federica Bressan, Ivan Schepers, and Marc Leman. 2018. “Embodied, Participatory Sense-Making in Digitally-Augmented Music Practices : Theoretical Principles and the Artistic Case ‘SoundBikes.’” CRITICAL ARTS-SOUTH-NORTH CULTURAL AND MEDIA STUDIES 32 (3): 77–94. https://doi.org/10.1080/02560046.2018.1447594.
- Chicago author-date (all authors)
- Maes, Pieter-Jan, Valerio Lorenzoni, Bart Moens, Joren Six, Federica Bressan, Ivan Schepers, and Marc Leman. 2018. “Embodied, Participatory Sense-Making in Digitally-Augmented Music Practices : Theoretical Principles and the Artistic Case ‘SoundBikes.’” CRITICAL ARTS-SOUTH-NORTH CULTURAL AND MEDIA STUDIES 32 (3): 77–94. doi:10.1080/02560046.2018.1447594.
- Vancouver
- 1.Maes P-J, Lorenzoni V, Moens B, Six J, Bressan F, Schepers I, et al. Embodied, participatory sense-making in digitally-augmented music practices : theoretical principles and the artistic case “SoundBikes.” CRITICAL ARTS-SOUTH-NORTH CULTURAL AND MEDIA STUDIES. 2018;32(3):77–94.
- IEEE
- [1]P.-J. Maes et al., “Embodied, participatory sense-making in digitally-augmented music practices : theoretical principles and the artistic case ‘SoundBikes,’” CRITICAL ARTS-SOUTH-NORTH CULTURAL AND MEDIA STUDIES, vol. 32, no. 3, pp. 77–94, 2018.
@article{8566806,
abstract = {{Electronic and digital technologies open immense opportunities for music composition, listening, interaction, and participation. However, at the same time, they critically challenge some of the most basic principles that drive human engagement and interaction with music. This article first presents a theoretical discussion of two of these principles, namely sensorimotor control and participatory sense-making. Thereafter, it presents SoundBikes, a music installation that implements these theoretical considerations. SoundBikes is rooted in the idea that collective music-making is a form of participatory sense-making that emerges from embodied, dynamical and collaborative interactions between co-performers. The core components of SoundBikes include an EMS Synthi 100 and two stationary bikes equipped with sensors. To stimulate social interaction and collaboration between cyclist-performers, we designed SoundBikes in a way that performers could exert control over expressive
features in the playback of music compositions, by coordinating their (cycling) movements
with one another. This functionality is integrated in a gameplay—to further stimulate social
collaboration and competition—and a visually attractive environment—to provide visual
feedback and to create ambiance.}},
author = {{Maes, Pieter-Jan and Lorenzoni, Valerio and Moens, Bart and Six, Joren and Bressan, Federica and Schepers, Ivan and Leman, Marc}},
issn = {{0256-0046}},
journal = {{CRITICAL ARTS-SOUTH-NORTH CULTURAL AND MEDIA STUDIES}},
keywords = {{Interaction,Embodiment}},
language = {{eng}},
number = {{3}},
pages = {{77--94}},
publisher = {{Routledge}},
title = {{Embodied, participatory sense-making in digitally-augmented music practices : theoretical principles and the artistic case “SoundBikes”}},
url = {{http://doi.org/10.1080/02560046.2018.1447594}},
volume = {{32}},
year = {{2018}},
}
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