The body as a spatial sound generating instrument: defining the three dimensional data interpreting methodology (3DIM)

This practice-led research contributes to the field of interactive dance and spatial sound performance. The document describes a research journey into ways that emphasize the sonic spatiality in dance choreography by creating a range of ChoreoSonic experiments and compositions that succeed from the spatial perspectives of both disciplines. The project explores an active interrelationship between ambisonic surround sound design and contemporary improvised dance through the technological areas of wireless electronic tracking systems and computer programming. The research process incorporates discussions covering developments in interactive art performances including references from the field of spatial sound composition, dance, interactive technologies and computer mapping. Alongside these theoretical investigations, an original Three Dimensional Data Interpreting Methodology (3DIM) is presented as an artistic spatial mapping strategy in order to achieve an aesthetic conceptualization within the domain of visual and auditory interactive performance. The different parameters of 3DIM are sorted into four main categories: raw movement input data from the tracking system, deduced (algorithmic) spatial movement parameters, sonic output and sonic spatiality. Each of these categories consists of the relevant spatial movement or sonic parameters and is accompanied by a graphic of the implementation in the 3DIM software. The 3DIM has been designed in the visual programming environment Max/MSP/Jitter, and has been developed and tested in a range of practical interactive 'Sound Skeleton' research experiments and compositions. The resulting interactive ChoreoSonic performance environment enables dance movements in space to be transformed into real time 3D spatial sound composition. The written thesis also includes video extracts of the 'Sound Skeleton' creations and documentation of the 3DIM Max/MSP/Jitter software, with accompanying manual and supporting text. A ckn o w led gem en ts I am grateful for the continuous support of my Director of Studies Dr Joseph Hyde at Bath Spa University who not only continuously reviewed my writings but also has been a big support in organizing the practical part of the PhD. Thanks to my second supervisor Dr Andy Keep at Bath Spa University who inspired me to design the graphics of the 3DIM implementation charts, and for his general support during the proof-reading of the final writing of this thesis. I am also very grateful to the dedication of my external advisor Dr Sher Doruff in Amsterdam who has always given useful feedback, suggestions and the needed positive vibrations for the practical research. I would in particular like to thank my external advisor Prof. Sarah Rubidge from the University of Chichester for being a tremendous support since the start of my interactive career, during our collaborative research and work enterprises, and for being the advisory guide on the long road of this PhD research. I am much obliged to Dr Cliff Randell, senior fellow at the University of Bristol, one of the inventors of the applied Low Cost Indoor Positioning system. I am tremendously grateful for his support in supplying and adjusting the system and his presence during the long days of the practical research. Special thanks to Dr Anne Nigten and Marc Boon from V2 lab in the Netherlands, and to Paul Gillieron from PGAcoustic and Surround AV in London who collaboratively developed and supplied the prototype of the Cricket tracking system used at the early stages of my research. The practical methodology for this research would not have been possible without the commitment and collaboration of all dancers involved. I am much obliged to the following dancers for the exchange of ideas and participation in one or more case studies, practical research experimentations and/or presentations: Abi Mortimer, Carrie Whitaker and Guy Adams of Lila Dance Company and independent dance artists Esther Lewis-Smith, Sasha Spasic