Most of the following articles are part of my forthcoming thesis.


Acoustic Localisation as an Alternative to Positioning Principles in Applications presented at NIME 2001-2013 NIME’14, June 30 – July 03, 2014, Goldsmiths, University of London, UK.

This paper provides a rationale for choosing acoustic local- isation techniques as an alternative to other principles to provide spatial positions in interactive locative audio ap- plications (ILAA). By comparing positioning technology in existing ILAAs to the expected performance of acoustic po- sitioning systems (APS), we can evaluate if APS would per- form equivalently in a particular application. In this paper, the titles of NIME conference proceedings from 2001 to 2013 were searched for presentations on ILAA using positioning technology. Over 80 relevant articles were found. For each of the systems we evaluated if and why APS would be a con- tender or not. The results showed that for over 73 percent of the reviewed applications, APS could possibly provide competitive alternatives and at very low cost. full article as pdf


Requirements on Kinaesthetic Interfaces for Spatially Interactive Sonic Art Audio Mostly 2016 October, 4 - 6, Norrköping Sweden

This paper documents the requirements on tracking technology for spatially interactive sonic arts. We do this by comparing our theorised notion of an ideal kinaesthetic interface to, firstly, the current results of an ongoing online survey and, secondly, the results of our ongoing Workshop on Music, Space & Interaction (MS&I). In MS&I we research the affordances of existing and hypothetical technology to enhance and facilitate spatial interactivity. We give both qualitative and quantitative recommendations for design. While underlining the specific requirements for sonic art in respect to its aural nature, we discuss how and why the requirements elicited from our research can be applied to spatial interactivity in general. full article as pdf


Acoustic Localisation for Spatial Reproduction of MovingSound Source: Application Scenarios & Proof of Concept NIME’16, July 11-15, 2016, Griffith University, Brisbane, Australia

Despite the near ubiquitous availability of interfaces for spatial interaction, standard audio spatialisation technology makes very little use of it. In fact, we find that audio technology often impedes spatial interaction. In our workshop on music, space and interaction we thus developed the idea of real-time panning whereby a moving sound source is reproduced as a virtual source on a panning trajectory. We define a series of application scenarios where we describe in detail what functionality is required to inform an implementation. In our earlier work we showed that acoustic localisation potentially can provide a pervasive technique for spatially interactive audio applications. Playing through the application scenarios with acoustic localisation in mind provides interesting approaches. For one scenario we show an example implementation as proof of concept. full article as pdf


Gestural Control for Musical Interaction using Acoustic Localisation TechniquesICLI 2016, Brighton UK

Acoustic Localisation principles for tracking technology are well researched and have many applications in medicine and industry. In creative technologies optical technologies are more prominent. For creative music technologies we know from our own research into the applicability of acoustic localisation techniques for audio in the frequency range of standard audio equipment, that acoustic localisation techniques are potentially a straightforward choice. We also know that the technology is scalable from tracking in large performance areas to smaller areas with lower latency, required for gestural tracking for real-time interaction. As a proof of concept we prototyped two implementation of the principles, using handheld microphones and standard, commercially available loudspeakers, firstly for a theremin-like pitch control interface and secondly, a spatial trigger for percussive sounds. full article as pdf


Acoustic Localisation Techniques for Interactive and Locative Audio Applicationswi Journalof Mobile Media, Audio Mobility, Locus Sonus 2015: Vol.9 No.2

Reviewing the literature on positioning systems using acoustic source localisation principles for Interactive and Locative Audio Applications (ILAA), it becomes clear that Acoustic Localisation and Positioning Systems (ALPS) implemented on ubiquitous devices can provide an alternative to Motion Capture systems (MoCap) wherever multiple speakers are part of an application. Providing background on and defining the notion of ILAA, this paper argues that, based on comparisons of recent applications in the literature, ALPS can provide competitive alternatives to MoCap, the system prevalently used in ILAA. full article as pdf


Carte Blanche, Right Now! Motion, Sound, Improvisation, and Experimental ResearchArts without Borders?, Hollo Symposium 2016 Helsinki

Workshopping the idea of sound in motion, moving sound and sound of moving provides a common ground for interdisciplinary exploration. The dynamic of movement as space over time is common to arguably all disciplines in the arts. On the one hand, movement is required in the making of sound, be it when we hit a drum, strike a string , or press a button. Also, the activity of moving a brush, taking a step back from the easel, creates a sound. On the other hand, we can move the sound source: this transforms a space, usually thought of as a static entity, into a dynamic shared instrument. And last, but not least, we, as participants, can move around inside this dynamic space, allowing for an experience which is constituted through the changing aural perspectives our trajectories through the space creates. This leads to an individual experience of the space, over the time period of the performance: Space becomes a participant's individual narrative. full article as pdf


Call to composers, musicians and multimedia artists to participate in a survey establishing user requirements on local positioning systems for spatially interactive applications. Musiikin Suunta, 2012, No.2, Suomen etnomusikologinen seura

Integrating spatiality into music is not new, and historical examples are many, from the cori spezzati of the 17th Century, to marching bands or Schönbergs Helicopter String Qaurtet. Recent developments in (digital) technology in indoors and local positioning systems (I/LPS) allow for spatiality to become an interactive aspect of multimedia applications (the Nintendo wii being an example of the gaming world) and open new creative possibilities to spatial composers and multimedia artists and game developers alike. Be it to enhance immersion in video games, or as a means to track the movement of a dancer to control audio content, or interactive spatial compositions or installations, all these applications require location awareness in one way or other. Despite the fact that there are many local positioning systems using various technologies, (RSSI, WiFi fingerprinting, video tracking, etc.) there is very little data available to the engineering world as to the requirements of these systems for creative multimedia applications. As part of my MSc Thesis in Audio Production at UWE Bristol, UK, which researches the availability and suitability of I/LPS for interactive audio applications The author is calling upon composers and musicians and multimedia artists to participate in a survey to establish these user requirements. full article as pdf


Survey on Indoor Positioning Systemsieee Pervasive Computing, 2012, Works in Progress, Editor Anthony Joseph

abstractfull article as pdf