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Alexander Refsum Jensenius
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Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2022) 46 (4): 26–42.
Published: 01 December 2022
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In this article, we introduce the coadaptive audiovisual instrument, CAVI. This instrument uses deep learning to generate control signals based on muscle and motion data of a performer's actions. The generated signals control time-based live sound-processing modules. How does a performer perceive such an instrument? Does it feel like a machine learning–based musical tool? Or is it an actor with the potential to become a musical partner? We report on an evaluation of CAVI after it had been used in two public performances. The evaluation is based on interviews with the performers, audience questionnaires, and the creator's self-analysis. Our findings suggest that the perception of CAVI as a tool or actor correlates with the performer's sense of agency. The perceived agency changes throughout a performance based on several factors, including perceived musical coordination, the balance between surprise and familiarity, a “common sense,” and the physical characteristics of the performance setting.
Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2012) 36 (4): 28–39.
Published: 01 December 2012
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This article presents the development of the improvisation piece Transformation for electric violin and live electronics. The aim of the project was to develop an “invisible” technological setup that would allow the performer to move freely on stage while still being in full control of the electronics. The developed system consists of a video-based motion-tracking system, with a camera hanging in the ceiling above the stage. The performer's motion and position on stage is used to control the playback of sonic fragments from a database of violin sounds, using concatenative synthesis as the sound engine. The setup allows the performer to improvise freely together with the electronic sounds being played back as she moves around the “sonic space.” The system has been stable in rehearsal and performance, and the simplicity of the approach has been inspiring to both the performer and the audience.