We have been carrying out three editions of the Norwegian Championship of Standstill over the years, but it is first with the new resources in the MICRO project that we have finally been able to properly analyze all the data. The first publication coming out of the (growing) data set was published at SMC this year:
Abstract: The paper presents results from an experiment in which 91 subjects stood still on the floor for 6 minutes, with the first 3 minutes in silence, followed by 3 minutes with mu- sic. The head motion of the subjects was captured using an infra-red optical system. The results show that the average quantity of motion of standstill is 6.5 mm/s, and that the subjects moved more when listening to music (6.6 mm/s) than when standing still in silence (6.3 mm/s). This result confirms the belief that music induces motion, even when people try to stand still.
I am happy to announce the publication of a follow-up study to our former paper on group dancing to EDM, and a technical paper on motion capture of groups of people. In this new study we successfully managed to track groups of 9-10 people dancing in a semi-ecological setup in our motion capture lab. We also found a lot of interesting things when it came to how people synchronize to both the music and each other.
Abstract: The present study investigates how people move and relate to each other – and to the dance music – in a club-like setting created within a motion capture laboratory. Three groups of participants (29 in total) each danced to a 10-minute-long DJ mix consisting of four tracks of electronic dance music (EDM). Two of the EDM tracks had little structural development, while the two others included a typical “break routine” in the middle of the track, consisting of three distinct passages: (a) “breakdown”, (b) “build-up” and (c) “drop”. The motion capture data show similar bodily responses for all three groups in the break routines: a sudden decrease and increase in the general quantity of motion. More specifically, the participants demonstrated an improved level of interpersonal synchronization after the drop, particularly in their vertical movements. Furthermore, the participants’ activity increased and became more pronounced after the drop. This may suggest that the temporal removal and reintroduction of a clear rhythmic framework, as well as the use of intensifying sound features, have a profound effect on a group’s beat synchronization. Our results further suggest that the musical passages of EDM efficiently lead to the entrainment of a whole group, and that a break routine effectively “re-energizes” the dancing.
We are happy to announce that “Music, Communication & Technology” will be the very first joint degree between NTNU and UiO, the two biggest universities in Norway. The programme is now approved by the UiO board and will soon be approved by the NTNU board.
This is a different Master’s programme. Music is at the core, but the scope is larger. The students will be educated as technological humanists, with technical, reflective and aesthetic skills. We believe that the solutions to tomorrow’s societal challenges need to be based on intimate links between technological competence, musical sensibility, humanistic reflection, and a creative sense.
A core feature of the programme is the unique two-campus design. The student group is physically split between Oslo and Trondheim, 500 kilometres apart, but with a high-quality, network-based multimedia connection that allows for discussions, socialising and playing music. As a student you will get hands-on experience with state-of-the-art facilities, including motion capture systems, music production studios, and large loudspeaker arrays. The theoretical components include acoustics, music cognition, machine learning and human-computer interaction.
Abstract: This chapter looks at some of the principles involved in developing conceptual methods and technological systems concerning sonic microinteraction, a type of interaction with sounds that is generated by bodily motion at a very small scale. I focus on the conceptualization of interactive systems that can exploit the smallest possible micromotion that people are able to both perceive and produce. It is also important that the interaction that is taking place allow for a recursive element via a feedback loop from the sound produced back to the performer producing it.
How do dancers engage with electronic dance music (EDM) when dancing? This paper reports on an empirical study of dancers’ pleasurable engagement with three structural properties of EDM: (1) breakdown, (2) build-up, and (3) drop. Sixteen participants danced to a DJ mix in a club-like environment, and the group’s bodily activity was recorded with an infrared, marker-based motion capture system. After they danced, the subjects filled out questionnaires about the pleasure they experienced and their relative desire to move while dancing. Subsequent analyses revealed associations between the group’s quantity of motion and self-reported experiences of pleasure. Associations were also found between certain sonic features and dynamic changes in the dancers’ movements. Pronounced changes occurred in the group’s quantity of motion during the breakdown, build-up, and drop sections, suggesting a high level of synchronization between the group and the structural properties of the music. The questionnaire confirmed this intersubjective agreement: participants perceived the musical passages consistently and marked the build-up and drop as particularly pleasurable and motivational in terms of dancing. Self-reports demonstrated that the presence and activity of other participants were also important in the shaping of one’s own experience, thus supporting the idea of clubbing as an intersubjectively embodied experience.