Physical Interfaces in the Electronic Arts

Reprint from : Trends in Gestural Control of Music , M.M. Wanderley and M. Battier, eds. © 2000, Ircam - Centre Pompidou 41 Physical Interfaces in the Electronic Arts Interaction Theory and Interfacing Techniques for Real-time Performance Bert Bongers Engineering Design Centre University of Cambridge [email protected] Introduction This paper takes two approaches to describe aspects of physical interfaces in the electronic arts. One approach takes a Human Factors point of view of the different interactions that can take place in electronic art, and the other more practical approach describes sensor technologies (and a sensor categorisation) to make the physical interaction possible. In this introduction the historical development of the ergonomic aspects of the design of instruments are described. Because the earliest examples of the usage of electronic media to make art can be found in music, and because music has a long tradition of performance and of a precise and intimate relationship between human and technology, this paper often takes electronic musical instruments as a starting point. From there, the paper aims to describe the general field of art forms using electronics (visual arts, installations, architecture, network, music). Humans have always been making music by using objects and artefacts. Every known way of generating sound, using strings, bells, reeds etc. has been used to make musical instruments. In all stages of engineering (manual / mechanical / electromechanical / electronic / digital) the technology was reflected in the instruments. The nature of the sound generating process traditionally dictated the design of the instrument. Take for instance bowing a string. On a violin the strings are short and therefore fit on an instrument that is held under the player's chin. Longer strings to reach lower registers called for a bigger

Physical Interfaces in the Electronic Arts

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electronic arts

instruments

music

electronic media

technology