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3. About mapping

Saturday 23 December 2006, by admin

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The mapping could be understand by cartography. One speaks about synchronous mapping if the control of the sound made visual in a sequential way, if sound and image are simultaneously controlled by intentional parameters, pre-written, or dependent on a gestural transducer. Antonio de Sousa-Dias talks about the systematic tendency to the synchronicity in the relation sound-video, wishing to propose other approaches [1], just like Benoît Courribet [2]. Alain Bonardi proposes a decorrelated mapping in time between sound and image [3].

In the context of interactive arts and virtual environments, the design of a mapping, a scale-setting, possibly integrating kinesthetic data (instrumental gesture, gesture danced or interacting), has directly to see with the composition, a spatialized mode of writing with N dimensions [4]. The question of the mapping and of interface setting is major in the interactions image-sound, describing a transductive relation, which co-constitutes the terms that it articulates [5].

Footnotes

[1] Antonio de Sousa Dias : Articulation musique image : les cas de "réflexion faite..." et "Natureza Morta visages d’une dictature", Actes des JIM 2005.

[2] B. Courribet : Réflexions sur les relations musique/vidéo et stratégies de mapping pour Max/MSP/Jitter. Actes des JIM 2005, pdf

[3] A. Bonardi, New Approaches of Theatre and Opera Directly Inspired by Interactive Data-Mining, Conférence Sound & Music Computing (SMC’04)

[4] A. Sedes : ’Espaces sonores, espaces sensibles’, in Espaces sonores, actes de recherche, EMT, Paris, 2003.

[5] Lire à ce propos B. Stiegler : ’La technique et le temps, livre 2’, Gallilée, Paris, 1996.


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