Publications

Jan Schacher and Lia Wei.
In 6th International Conference on Movement and Computing (MOCO ’19), October 10–12, 2019, Tempe, AZ, USA. ACM, New York, NY, USA, 8 pages. https://doi.org/10.1145/3347122.3347136

Abstract:
In calligraphy, a brush stroke is rooted in an inner image, breath and the uninterrupted flow of movement. The same can be said of a bow stroke on a string instrument or a note sounded on a wind instrument. This article documents the encounter between a specific, two-person form of calligraphic performance, movement analysis techniques, and the mapping of brush gestures to sound processes. It shows how, based on data obtained in motion-capture sessions, the link between gesture and sound is established. This enables different models of sound processes, their specific mode of operation, and the understanding of what makes a stroke. Questions and issues arising from this concrete work are collected and a reflective analysis is carried out via a diagrammatic process. A discussion of critical limitations and possible extensions in this configuration concludes the article.

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Daniel Bisig, Pablo Palacio, Muriel Romero and Arnaud Pérez.
In 5th International Conference on Movement and Computing (MOCO ’18), MOCO’18, 28-30 June, 2018, Genoa, Italy https://doi.org/10.475/123_4

Abstract:
The project Sounding Feet explores the creative possibilities of interactively controlling sound synthesis through pressure sensitive shoe inlays that can monitor minute body movements. This extended abstract provides a brief overview over early experiments in designing pressure sensitive shoe inlays, the mapping of pressure values to two different sound synthesis models, and the testing of the setup in an improvisational se ing with two dancers.

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Jan Schacher.
In: Liang, H., editor, Ink Art Week: An International Platform for Contemporary Ink Art Research, Experimentation and Discussion, pages 87–89. Culture and Arts Publishing House, Beijing, China. online catalogue (URL valid in 08/2019)

Abstract:
Coming from a background of 'enactive' experimentation with technological music performance, this inquiry attempts to address the questions of musicality in calligraphic gestures. To investigate this, a first pilot study was carried out that evaluated the usability of motion-capture techniques, and serves to develop a form of staging and musical composition. The link between calligraphy gesture and sound is established by capturing stroke movements technically and connecting them to digital sound processes. The sounds follow and express directly the brushing gestures of the performers; the calligraphers take on a double role as musical performers. How can we come to understand the calligraphic gesture as a manifestation of universal movement and gesture prototypes? How can we understand calligraphy from a different perspective than the traditional art of writing in a culturally anchored practice?

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