J. Pressing. Cybernetic issues in interactive performance systems. Computer Music Journal, 14(1):12--25, 1999. Home/Search Document Not in Database Summary Related Articles Check |
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Cognition and Physicality in Musical CyberInstruments - Ungvary, Vertegaal (2000) (Correct)
....of SensOrg, our first CyberInstrument, we took a cybernetic approach in an attempt to solve the above cognitive ergonomical issues. The Man SensOrg system is seen as a whole, a whole of constituting elements with optimized mappings, rather than as a set of simple input output relationships [4][18]. These elements include: rational and non verbal intent, human actuator channel, input device, software functionality, output device and human perceptual channel, with information flowing across elements. In addition, feedback processes may occur at different levels between elements. We tried to ....
.... particular musical function are parameters such as: movement type sensed (position, movement, force) direction of movement (rotary or linear) degrees of freedom; resolution (continuous or discrete) agent of control (hand, fingers, lungs) and the type of feedback (tactile, kinesthetic, visual) [18][31] When we refer to input devices as transducers, we explicitly incorporate their inherent output qualities in terms of the tactile, kinesthetic and visual feedback they provide. We refer to this feedback provided directly by the input device as Primary Feedback. Figure 5 shows an elementary ....
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Pressing, J. 1990. "Cybernetic Issues in Interactive Performance Systems." Computer Music Journal
Towards a Musician's Cockpit: Transducers, Feedback.. - Vertegaal, Ungvary.. (Correct)
.... cybernetic approach and look at the man instrument system as a whole of constituting parts (emotional tension, body parts, different types of transducers, feedback and musical function) we see that the relationship between these different entities are not merely simple input output relationships [Pressing, 1990]. For example, the tension in the muscle itself as conveyed by muscular receptor feedback is utilized in skilled performance as a representation (a form of output) of the audible result for which this same tension provided the input [Vertegaal and Ungvary, 1995] This of course only holds when ....
.... criteria for determining the suitability of a transducer for a particular musical function are parameters such as: movement type sensed (position, movement, force) resolution (continuous or discrete) agent of control (hand, fingers, lungs) and the type of feedback (tactile, kinesthetic, visual) [Pressing, 1990; Vertegaal and Ungvary, 1995] For reasons of clarity, we focus on the role of feedback in this selection process. When we refer to input devices as transducers, we explicitly incorporate their inherent output qualities in terms of the tactile, kinesthetic and visual feedback they provide. We ....
Jeff Pressing. Cybernetic Issues in Interactive Performance Systems. Computer Music Journal. 14 (1) pp.12-25, 1990.
Design of Virtual Three-dimensional Instruments for Sound Control - Mulder (1998) (3 citations) (Correct)
....performer vision control surface processing central nervous system visualisation intent motor system auditory sense audience vision central nervous system proprioception sensors actuators Figure 2.1: A model of musical performance. 2. 1 Analysis of Performer and Instrument Drawing from Pressing [71], a simple model of the interaction during musical performance between performer and instrument that results in audible effects perceived by an audience is CHAPTER 2. PERFORMER AND INSTRUMENT 6 given in figure 2.1. Visual and proprioceptive feedback (tactile and force feedback) and communication ....
Jeff Pressing. "Cybernetic issues in interactive performance systems." Computer music journal, 14 (1990), No. 1, 12-25.
Virtual Musical Instruments: Accessing the Sound Synthesis.. - Mulder (1994) (6 citations) (Correct)
....component, but the way in which the sounds are processed or generated in such setups, no further attention wull be paid in this paper to such designs. Also, setups where the computer, via keyboard or mouse, is the main controlling device will not be further considered here. Psychomotor issues Pressing (1990) addresses musical instrument design from an ergonomic point of view. Although his work is very useful and important, it is not based upon work in the field of motor control, but more on common musical instrument design knowledge and performance experience. The field of motor control specifically ....
Pressing, J. (1990). Cybernetic issues in interactive performance systems. Computer Music Journal, 14 (1), 12-25.
Towards a Dimension Space for Musical Devices - Birnbaum, Fiebrink, Malloch.. (2005) (Correct)
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J. Pressing. Cybernetic issues in interactive performance systems. Computer Music Journal, 14(1):12--25, 1999.
Digital Instruments and Players: Part I Efficiency And.. - Jorda (2004) (Correct)
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Pressing, J. (1990). Cybernetic Issues in Interactive Performance Systems. Computer Music Journal, 14(1), 12-25.
Don't Just Play it, Grow it!: Breeding Sound Synthesis and.. - Mandelis, Husbands (2004) (Correct)
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Pressing, J. (1990), Cybernetic issues in interactive performance systems, Computer Music Journal, 14 (1), pp. 12-25.
The Sentograph: Input Devices and the Communication of Bodily .. - Roel Vertegaal (1995) (1 citation) (Correct)
No context found.
Pressing, J. (1990). "Cybernetic Issues in Interactive Performance Systems." Computer Music Journal 14(1).
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