Been there, done that too (between 1990 and 2001). Using light beams,
infrared distance sensors, motion detection with cameras, even
microphones as accelerometers... They were more theatrical
than musical devices. Triggering events and sequences was the only way
to be "musical".

Another idea: I would like to use my Kinect for head tracking to check
if a listener's head is outside the "ambisonic sweet spot", or to adjust
the decoding parameters according to the head position.

Marc

Dave Malham <dave.mal...@york.ac.uk> a écrit :

> Been there, done that - albeit with other sensing technologies like
> the earlier Polyhemus Tracker.  Then, of course, there was Jacques
> Poulin's Potentiometre d'Espace  which was used to project
> Schaeffer's musique concrete into space back in the early 50's - and
> even I am too young to have actually heard that!  What I have found
> is that the movement of sounds (particularly in towards the centre)
> just based on sonic perception - i.e. without any visual feedback -
> is very difficult to control properly because muscle memory is not
> good enough without a lot of rehearsal.
> 
>    Dave
> 
> On 5 May 2013 02:57, Iain Mott <m...@reverberant.com> wrote:
> 
> > Em Sáb, 2013-05-04 às 17:46 -0400, Matthew Palmer escreveu:
> > > http://vimeo.com/65229978#at=5
> > >
> > > imagine using the oculus & a kinect to be able to assign 3
> > > directional information to sounds to make music, virtual speakers
> > > corresponding to
> > real
> > > ones, hand is a brush
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