physical movement. This generative music engine is conceptualized and based on physical movement rather than established ‘musical ’ parameters. Using a virtual physics (e.g. gaming) engine, physical interaction between objects, a flow of energy is created, which is then wired dynamically to sonic

Background in music theory, analysis and composition. The two foundational subdisciplines of American music theory, Schenkerian theory and pitch-class set theory, have historically been viewed as mutually exclusive and largely incompatible. Nonetheless, they share a common interest in motives at various levels of musical structure (Forte, 1988). In recent decades, an interest has developed in applying the results yielded by both approaches to performance (Berry, 1989). Background in physiology and biology (of music). The Hungarian choreographer and dance theorist Rudolf von Laban developed a comprehensive system of dance notation called “kinetography, ” the study of drawing movement (Laban, 1928). Later dubbed “Labanotation ” (Knust, 1979), Laban’s system became the gold standard of dance notation systems, enabling choreographers to preserve precisely documented “scores ” of their works that could be reconstructed by later generations of dancers without having to rely on the inconsistent memory of individual dancers (Maletic, 1987). Aims. Using an analysis of both Nijinsky’s reconstructed dance score (Guest and Jeschke, 1991) and Debussy’s music for Prélude à ‘L’apres-midi d’un faune ’ as an example, we aim to provide a synthesis of dance and linear analysis whose results differ significantly from those produced by a purely musical analysis (Brown, 1993). In our examination of Nijinsky as “choreographer-analyst, ” we aim to reverse the directional arrow between analysis and performance,

of this increased input bandwidth. We present a variety of multifinger and whole hand gestural interaction techniques for these displays that leverage and extend the types of actions that people perform when interacting on real physical tabletops. Apart from gestural input techniques, we also explore interaction

re-search in the social sciences typically considers empty-handed gestures, digital gesture interactions often make use of hand-held objects or touch surfaces to capture gestures that would be difficult to track in free space. In most cases, the physical objects used to make these gestures serve

this article we focus on the study of the gestures of a person, but the same methodology could be applied to the study of robots motions or of other kinds of articulated objects. Some examples of applications are listed in the table 1.

This paper describes Steve, an animated agent that helps students learn to perform physical, procedural tasks. The student and Steve cohabit a three-dimensional, simulated mock-up of the student's work environment. Steve can demonstrate how to perform tasks and can also monitor students while

In many applications today user interaction is moving away from mouse and pens and is becoming pervasive and much more physical and tangible � New emerging interaction ����� nologies allow developing and experimenting with new ��� teraction methods on the long way to providing intuitive ��� man

Co-articulation is a pervasive and widely accepted phenomenon in speech production. While phonetic segments are discrete and serially ordered, the articulators implementing them in spoken language notoriously do not operate in a corresponding fashion. In a phonetic representation of the word ‘mat’, for example, the segments [m], [a], and [t] are linearly concatenated and the boundaries of

and dance performances and interactive installation. Typically, the estimation of the time progression allows for the synchronization of physical gestures to sound files by time stretching/compressing audio buffers or videos.

of interaction techniques using synchronous gestures such as dynamically tiling together displays by physically bumping them together, discusses implementation issues, and speculates on further possibilities for synchronous gestures.