Kirsty A. Beilharz

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Hyper-shaku (Border-Crossing) is an interactive sensor environment that uses motion sensors to trigger immediate responses and generative processes augmenting the Japanese bamboo shakuhachi in both the auditory and visual domain. The latter differentiates this process from many hyper-instruments by building a performance of visual design as well as(More)
Sonification is an emerging modality of information representation, the auditory equivalent of visualization employing non-speech sound to display attributes of form, pattern, recurrence and trends in abstract data. Like data-art or visual and auditory art-forms driven by data content directly mapped to their rendering, sonification shares the goal of(More)
Architectural space is a key contributor to the perceptual world we experience daily. We present 'ParticleTecture', a soundspace installation system that extends spatial perception of ordinary architectural space through gestural interaction with sound in space. ParticleTecture employs a particle metaphor to produce granular synthesis soundspaces in(More)
This paper describes the performance, mapping, transformation and representation phases of a model for gesture-triggered musical creativity. These phases are articulated in an example creative environment, Hyper-Shaku (Border-Crossing), an audio-visually augmented shakuhachi performance to demonstrate the adaptive, empathetic response of the generative(More)
In this paper we examine a wearable sonification and visualisation display that uses physical analogue visualisation and digital sonification to convey feedback about the wearer's activity and environment. Intended to bridge a gap between art aesthetics, fashionable technologies and informative physical computing, the user experience evaluation reveals the(More)
Many musical instruments have interfaces which emphasise the pitch of the sound produced over other perceptual characteristics , such as its timbre. This is at odds with the musical developments of the last century. In this paper, we introduce a method for replacing the interface of musical instruments (both conventional and unconventional) with a more(More)