Hydraulophone design considerations: absement, displacement, and velocity-sensitive music keyboard in which each key is a water jet

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<h1><a href=../acmmm2006presement_as_published.pdf>Hydraulophone design
   considerations: <a href=examples.htm>absement</a>,
   displacement, and velocity-sensitive music
   keyboard in which each key is a water jet</a></h1>

   International Multimedia Conference
   <p>
   Proceedings of the 14th annual ACM international conference on Multimedia
   <p>
   Santa Barbara, CA, USA
   <p>
   SESSION: Arts session 3: tools for creativity and art analysis
   <p>
   Pages: 519 - 528
   <p>
   Year of Publication: 2006
   <p>
   ISBN:1-59593-447-2
   <p>
   Authors
   <ul>
     <li>Steve Mann   University of Toronto, Toronto, Ontario, Canada
     <li>Ryan Janzen  University of Toronto, Toronto, Ontario, Canada
     <li>Mark Post    University of Toronto, Toronto, Ontario, Canada
</ul>
   ACM: Association for Computing Machinery<br>
   SIGMULTIMEDIA: ACM Special Interest Group on Multimedia
   <p>
   Publisher<br>
   ACM Press   New York, NY, USA

<h2>ABSTRACT</h2>
   We present a musical keyboard that is not only velocity-sensitive, but
   in fact responds to absement (presement), displacement (placement),
   velocity, acceleration, jerk, jounce, etc. (i.e. to all the
   derivatives, as well as the integral, of displacement).Moreover,
   unlike a piano keyboard in which the keys reach a point of maximal
   displacement, our keys are essentially infinite in length, and thus
   never reach an end to their key travel. Our infinite length keys are
   achieved by using water jet streams that continue to flow past the
   fingers of a person playing the instrument. The instrument takes the
   form of a pipe with a row of holes, in which water flows out of each
   hole, while a user is invited to play the instrument by interfering
   with the flow of water coming out of the holes. The instrument
   resembles a large flute, but, unlike a flute, there is no complicated
   fingering pattern. Instead, each hole (each water jet) corresponds to
   one note (as with a piano or pipe organ). Therefore, unlike a flute,
   chords can be played by blocking more than one water jet hole at the
   same time. Because each note corresponds to only one hole, different
   fingers of the musician can be inserted into, onto, around, or near
   several of the instrument's many water jet holes, in a variety of
   different ways, resulting in an ability to independently control the
   way in which each note in a chord sounds.Thus the hydraulophone
   combines the intricate embouchure control of woodwind instruments with
   the polyphony of keyboard instruments.Various forms of our instrument
   include totally acoustic, totally electronic, as well as hybrid
   instruments that are acoustic but also include an interface to a
   multimedia computer to produce a mixture of sounds that are produced
   by the acoustic properties of water screeching through orific plates,
   as well as synthesized sounds.

<h2>REFERENCES</h2>
<ol>
<li>
   M. B. Alonso and D. V. Keyson. MusicCube: making digital music
   tangible. ACM CHI, 2005.
<li>
   H. Ishii. Bottles: A transparent interface as a tribute to mark
   weiser. IEICE Transactions on Information and Systems, pages Vol.
   E87--D, No. 6, pp. 1299--1311, June 2004.
<li>
   H. Ishii and M. Kobayashi. Clearboard: A seamless media for
   shared drawing and conversation with eye-contact. In Proceedings of
   Conferenceon Human Factors in Computing Systems (CHI '92), pages
   525--532. ACM SIGCHI, May 3-7 1992.
<li>
   S. Mann. "fluid streams": fountains that are keyboards with
   nozzle spray as keys that give rich tactile feedback and are more
   expressive and more fun than plastic keys. In Proceedings of the 13th
   annual ACM international conference on Multimedia, pages 181 -- 190,
   Hilton, Singapore, 2005.
<li>
   P. Richards. Exploratorium,
   http://www.exploratorium.edu/visit/wave organ.html, 2005.
<li>
   Steve Mann, Ahmedullah Sharifi, Mike Hung, and Russell
   Verbeeten. The hydraulophone: Instrumentation for tactile feedback
   from fluid streams as a new multimedia interface. ICME, 2006.
   Proceedings., pages 409-412, July 9-12, Toronto, Ontario, Canada,
   2006.
<li>
   K. van Mensvoort. DATAFOUNTAIN: MONEY TRANSLATED TO WATER.
   http://www.koert.com/work/datafountain/, 2005.
<li>
   R. Vertegaal and T. Ungvary. Tangible bits and malleable atoms
   in the design of a computer music instrument. In CHI '01: CHI '01
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</ol>

Primary Classification:
<ul>
   <li>H. Information Systems
<ul>
   <li>H.5 INFORMATION INTERFACES AND PRESENTATION (I.7)
<ul>
   <li>H.5.2 User Interfaces (D.2.2, H.1.2, I.3.6)
</ul>
</ul>
</ul>

Additional Classification:
<ul>
     <li>H. Information Systems
     <ul>
      <li>H.5 INFORMATION INTERFACES AND PRESENTATION (I.7)
      <ul>
       <li>H.5.5 Sound and Music Computing
      </ul>
     </ul>
     <li>J. Computer Applications
     <ul>
      <li>J.5 ARTS AND HUMANITIES
     </ul>
</ul>

   General Terms:
<ul>
   <li>Design,
   <li>Experimentation,
   <li>Human Factors,
   <li>Measurement,
   <li>Performance,
   <li>Theory
</ul>

   Keywords:
<ul>
   <li>FUNtain,
   <li>direct user interface,
   <li>duringtouch,
   <li>fluid-user-interface,
   <li>haptic surface,
   <li>harmelodica,
   <li>harmelotron (harmellotron),
   <li>hydraulic-action,
   <li>hydraulophone,
   <li>pneumatophone,
   <li>tangible user interface,
   <li>tracker-action,
   <li>underwater musical instrument,
   <li>water-based immersive multimedia
</ul>