The nature of human/instrument interaction is a long-standing area of study, drawing interest from fields as diverse as philosophy, cognitive sciences, anthropology, human–computer-interaction, and artistic creation. In particular, the case of the interaction between performer and musical instrument provides an enticing framework for studying the instrumental dynamics that allow for embodiment, skill acquisition and virtuosity with (electro-)acoustical instruments, and questioning how such notions may be transferred into the realm of digital music technologies and virtual instruments. This paper offers a study of concepts and technologies allowing for instrumental dynamics with Digital Musical Instruments, through an analysis of haptic-audio creation centred on (a) theoretical and conceptual frameworks, (b) technological components—namely physical modelling techniques for the design of virtual mechanical systems and force-feedback technologies allowing mechanical coupling with them, and (c) a corpus of artistic works based on this approach. Through this retrospective, we argue that artistic works created in this field over the last 20 years—and those yet to come—may be of significant importance to the haptics community as new objects that question physicality, tangibility, and creativity from a fresh and rather singular angle. Following which, we discuss the convergence of efforts in this field, challenges still ahead, and the possible emergence of a new transdisciplinary community focused on multisensory digital art forms.

中文翻译：

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多感官乐器动力学作为数字音乐创作的新兴范例

人机交互的性质是一个长期的研究领域，引起了哲学，认知科学，人类学，人机交互和艺术创作等领域的兴趣。尤其是，表演者与乐器之间的交互作用提供了一个诱人的框架，用于研究乐器动力学，从而可以体现（电子）声学乐器的具体表现，技能习得和技巧，并质疑如何将这些概念转移到领域中数字音乐技术和虚拟乐器。本文通过对以（a）理论和概念框架为中心的触觉音频创作的分析，对允许使用数字乐器进行乐器动力学的概念和技术进行了研究。（b）技术组件，即用于设计虚拟机械系统的物理建模技术和允许与其进行机械耦合的力反馈技术，以及（c）基于这种方法的艺术作品集。通过这次回顾，我们认为，过去20年及以后的这一领域创作的艺术作品可能对触觉界具有重要意义，因为它们是从崭新而又新奇的角度质疑物理性，有形性和创造力的新对象。奇异角。接下来，我们讨论在该领域的努力的融合，仍然面临的挑战以及以多感官数字艺术形式为重点的新的跨学科社区的出现。