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The sound produced by user interaction in the virtual and augmented environ- ment aims to dissolve the boundaries between the virtual and the augmented, by introducing a new kind of a reality: the “extended reality” (ER). Extended re- ality offers the new possibilities in a game-engine environment to implement a non-linear narrative that entirely depends on user’s interaction.

Figure 9 The sound produced by user interaction in the virtual and augmented environ- ment aims to dissolve the boundaries between the virtual and the augmented, by introducing a new kind of a reality: the “extended reality” (ER). Extended re- ality offers the new possibilities in a game-engine environment to implement a non-linear narrative that entirely depends on user’s interaction.

Related Figures (11)

Video 1 (8:21). Mark Pilkington (1969 VCS3) and Ricardo Climent (live game-engines) performing Putney K at Sines & Squares (left) and at xCoAx 2015 (right), the 3rd Conference on Computation, Communication, Aesthetics & X. (https: //vimeo.com/139128350)
Video 1 (8:21). Mark Pilkington (1969 VCS3) and Ricardo Climent (live game-engines) performing Putney K at Sines & Squares (left) and at xCoAx 2015 (right), the 3rd Conference on Computation, Communication, Aesthetics & X. (https: //vimeo.com/139128350)
Modular design is based on the subdivision of simple block elements called modules, and it is through the energy of movement, transmission and connec- tion of these units that the metaphor is fulfilled. The design of the modular syn- thesizer — an assemblage of diverse parts, each with a distinctive role in the larger system — contrasts with the contemporary digital computer, a single, all-inclusive machine capable of innumerable number calculations.
Modular design is based on the subdivision of simple block elements called modules, and it is through the energy of movement, transmission and connec- tion of these units that the metaphor is fulfilled. The design of the modular syn- thesizer — an assemblage of diverse parts, each with a distinctive role in the larger system — contrasts with the contemporary digital computer, a single, all-inclusive machine capable of innumerable number calculations.
Figure 4. A map of technologies employed across different outcomes. [Click image to enlarge] (undefined/17_4/images/climent- etal_ARVRputney-outcomes.jpg)
Figure 4. A map of technologies employed across different outcomes. [Click image to enlarge] (undefined/17_4/images/climent- etal_ARVRputney-outcomes.jpg)
Figure 5. Storyboard representation of the various stages and structure (a dynamic score) of Putney K. [Click image to enlarge] (undefined/17_4 /images/climent-etal_ARVRputney- storyboard.jpg)
Figure 5. Storyboard representation of the various stages and structure (a dynamic score) of Putney K. [Click image to enlarge] (undefined/17_4 /images/climent-etal_ARVRputney- storyboard.jpg)
Figure 6. Ricardo Climent and Rodrigo de Le6én performing Putney K during Simbiosis 2015 on a giant screen in Teatro Cedrus in Pachuca (Mexico) on 25 November 2015. [Click image to enlarge] (undefined/17_4/images/climent- etal_simbiosis2015.jpg) character activates the fast and unpredictable melodic contours via a proximity sensor (in the virtual space) and places it at the centre of the scene, creating a sonically rich electronic counterpoint when they are all together. This scores enough compositional esteem to proceed to the next section, while the musifi- cation of the dynamic floor in an otherwise totally dark environment is made via the live synthesizer through the use of visual arm cues or body gestures. The fourth scene, exploring the “London Underground” map consists of pre-com- posed sections that are dynamically performed. The small green scanner traces each London tube station, sonically “ping-pointing” the sound of each station until it reaches Putney bridge station. The main character, K (in the game en- gine), and the real instrument portray the sounds of the two potentiometers in orbit, representing gestural detail and a 3-dimensional sustained sound shooter (the former) and the Doppler effect (the latter).
Figure 6. Ricardo Climent and Rodrigo de Le6én performing Putney K during Simbiosis 2015 on a giant screen in Teatro Cedrus in Pachuca (Mexico) on 25 November 2015. [Click image to enlarge] (undefined/17_4/images/climent- etal_simbiosis2015.jpg) character activates the fast and unpredictable melodic contours via a proximity sensor (in the virtual space) and places it at the centre of the scene, creating a sonically rich electronic counterpoint when they are all together. This scores enough compositional esteem to proceed to the next section, while the musifi- cation of the dynamic floor in an otherwise totally dark environment is made via the live synthesizer through the use of visual arm cues or body gestures. The fourth scene, exploring the “London Underground” map consists of pre-com- posed sections that are dynamically performed. The small green scanner traces each London tube station, sonically “ping-pointing” the sound of each station until it reaches Putney bridge station. The main character, K (in the game en- gine), and the real instrument portray the sounds of the two potentiometers in orbit, representing gestural detail and a 3-dimensional sustained sound shooter (the former) and the Doppler effect (the latter).
Figure 7. Components emerging from wall markers as seen by the user wearing the mobile 3D-printed glasses. [Click image to enlarge] (undefined/17_4/images/climent- etal ARVRoutnev-3d.inq)
Figure 7. Components emerging from wall markers as seen by the user wearing the mobile 3D-printed glasses. [Click image to enlarge] (undefined/17_4/images/climent- etal ARVRoutnev-3d.inq)
Figure 8. Technical setup for AR_VR_Putney. [Click image to enlarge] (undefined/17_4/images /climent-etal_ARVRputney- routing.jpg)
Figure 8. Technical setup for AR_VR_Putney. [Click image to enlarge] (undefined/17_4/images /climent-etal_ARVRputney- routing.jpg)
The VR environment users achieve the highest grade of immersion because they can interact in the virtual world. The perception of movements and the users’ Space perception are fully dependent on the virtual space. The user inter- actions within the virtual space affect the experience of the users in the real en- vironment, as the VR user’s interactions directly impact — and alter — the sound composition heard in the real environment.
The VR environment users achieve the highest grade of immersion because they can interact in the virtual world. The perception of movements and the users’ Space perception are fully dependent on the virtual space. The user inter- actions within the virtual space affect the experience of the users in the real en- vironment, as the VR user’s interactions directly impact — and alter — the sound composition heard in the real environment.
Figure 10. A visitor exploring VR at the 2015 xCoAx Conference in Glasgow, merging the aural with the augmented VCS3. [Click image to enlarge] (undefined/17_4/images /climent-etal_ ARVRputney-user.jpg) position. The virtual immersion is partial, while the users are aware of the real environment that surrounds them.
Figure 10. A visitor exploring VR at the 2015 xCoAx Conference in Glasgow, merging the aural with the augmented VCS3. [Click image to enlarge] (undefined/17_4/images /climent-etal_ ARVRputney-user.jpg) position. The virtual immersion is partial, while the users are aware of the real environment that surrounds them.
Related topics:
Sound and ImageVisual MusicSound Synthesis
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