Mood Mapping Technologies within Hybrid Design

with Lisbeth W. Lorentzen and Jens Arnspang.

“Contemporary audio design and performance systems aim at creating a world by using technology for immersion beyond the state of art of virtual reality. Such new technology might use multi sensory audio scene capture, interactive rendering of audio scenes, agent emotion algorithms, mood mapping and other system components, aiming at new design and performance tools. We would like to report research of this type. New technological development allows the audio scene designer to play much more freely when creating the narrative for a storyline. New technology makes it possibility to evoke inner moods and inner worlds to a much larger degree than before because the imagination is free of physical constrains. Mood mapping becomes a new and challenging tool allowing the audio designer to immerse the audience into a perceptive situation using a palette of new technical possibilities. Examples are hybrid designs, involving “fabulating” spaces, “electronic soundscapes”, and “interactive and adaptive audio scenes”. This becomes possible by using audio augmentations, sensor technology, tracking algorithms, and software technology for hybrid design. Based on our ongoing European projects and our new interactive designs, we would like to present such considerations and technology for mood mapping, interactive performance and audio design.”

Presented at International Conference on Scenography, ICS 2005. Amsterdam, Holland, May 11-15 2005.

My main areas of research is advanced music composition, real-time music technology and music cognition. I am particularly interested in the relationship between core emotions and score notation and performance features, as well as novel methods for generative real-time performance that are founded in non-expert music cognition.

Some years ago I was involved in the Nordic SUM project – Systematic Understanding of Music – and a large part of the project concerned the implementation into computer code of concepts from probabilistic melody generation for real-time performance.

This work has since found its way into several commercial releases and is today a constant presence in my live laptop performances, either in duo or small group formats with a variety of instrumentalists or as a solo performer.