Psytrance Influences on Touchless Interactive Experiences: New Roles for Performers and Audience within the Electronic Music Scenario

Psytrance Influences on Touchless Interactive Experiences: New Roles for Performers and Audience within the Electronic Music Scenario

Paulo César Teles (University of Campinas, Brazil) and Aidan Boyle (Jacobs University Bremen, Germany)
DOI: 10.4018/978-1-4666-8665-6.ch007
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Abstract

In the fields of new media, art, and technology, we live and evolve together with multimedia interactivedigital technology. This symbiosis has made it possible to develop novel works that dialogue with theexploratory nature of the human being when confronted with unfamiliar technological equipment. The electronic music scenario brought us some elements that inspired and provoked us in this quest. The Psytrance style in particular made us realize that once a minimal simple harmony was supported by a solid rhythm, the audience could interact and control many of the sound clusters available, solely with their body movement. In this chapter we report experimental results and analysis, which point towards an approach for composing electronic music through the distinct and innovative behaviour of the participants, turning them into real performers, as well as transforming the role of the DJ/VJ by engaging them in a two-way dialogue with their audience.
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Towards An Interactive Touchless Electronic Music Scenario

Interactivity is now at the forefront in the design of new instruments, immersive installations, and interactive dance experiments. Considering the popularity of devices such as the Kinect, Nintendo Wii game console and music‐based games, such as Guitar Hero, Dance Dance Revolution, and Rockband, “the full use of one’s body in controlling an interactive experience is showing itself to be what people are looking for in their play experiences” (Giannachi, 2004).

Bearing this in mind, we directed our research in interactive environments with the aim of developing an organic sound ambiance that could be activated and influenced by the presence and movement of people. This lead to a more specific question: would it be possible to interactively co-compose electronic music works with a few members of the audience? The following scenario serves to illustrate the aforementioned features as well as support the accounts and discussion that follow in the chapter.

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