This creative project is a visual and sonic exploration of emotion in a video game format. The game is a 2D side-scroller created using PyGame and Python that focuses on a character who uses "emotions" to navigate their increasingly unrecognizable world. This project was taken on to explore the ways in which technologically-created media can relate to the human experience of emotion, and the ways in which emotions are like software to the human body's hardware. Additionally, this project conceptually comments on and rejects the idea that human situations always require a specific "appropriate" human emotion in response. Credit for the music in this game goes to Markus Rennemann.

The fashion industry dubs couture as high fashion, yet couture never reaches the finish line when it comes to comfort. Most of the brand name high heels on the market are too painful to wear for long periods of time. For this project, I have developed 3D printed high heels with detachable insoles that will relieve tired feet based on the principle of reflexology. The product integrates traditional flexible insoles with Arduino computing and the result is a functional surface that can ease the pain of the wearer. This paper introduces the product and with it, under-explored opportunities to customize your own high heels at home. Essentially, each consumer will have the ability to personalize and switch out their style without sacrificing comfort. Soon, a consumer will be a designer.

The fundamental concept that I have developed and applied throughout my college career is to try to discover innovative ways to combine the experimental production techniques that I learned in my classes with more traditional songwriting structures. In doing so, I explore the line that distinguishes the two from each other and instill a foreign, yet familiar feeling within the listener. With this approach in mind, I created audio for a variety of media and attempted to push myself in terms of genre and production, ultimately allowing myself to survey a multitude of instruments and audio effects outside of what I learned in my classes. In my portfolio, I have an organized layout of my audio work within the categories of film soundtracks, game audio, and original music, along with how to contact me and information about the licensing of my music. In learning how to create a professional online portfolio, I learned more about the business side of music and where I stand regarding how people listen to my music or use it within their own projects. The process of creating my portfolio taught me a lot about the relationships that I want to pursue with artists that I work with in the future. My portfolio can be found at: markusrennemann.weebly.com

Several music players have evolved in multi-dimensional and surround sound systems. The audio players are implemented as software applications for different audio hardware systems. Digital formats and wireless networks allow for audio content to be readily accessible on smart networked devices. Therefore, different audio output platforms ranging from multispeaker high-end surround systems to single unit Bluetooth speakers have been developed. A large body of research has been carried out in audio processing, beamforming, sound fields etc. and new formats are developed to create realistic audio experiences.

An emerging trend is seen towards high definition AV systems, virtual reality gears as well as gaming applications with multidimensional audio. Next generation media technology is concentrating around Virtual reality experience and devices. It has applications not only in gaming but all other fields including medical, entertainment, engineering, and education. All such systems also require realistic audio corresponding with the visuals.

In the project presented in this thesis, a new portable audio hardware system is designed and developed along with a dedicated mobile android application to render immersive surround sound experiences with real-time audio effects. The tablet and mobile phone allow the user to control or “play” with sound directionality and implement various audio effects including sound rotation, spatialization, and other immersive experiences. The thesis describes the hardware and software design, provides the theory of the sound effects, and presents demonstrations of the sound application that was created.

The increased risk of falling and the worse ability to perform other daily physical activities in the elderly cause concern about monitoring and correcting basic everyday movement. In this thesis, a Kinect-based system was designed to assess one of the most important factors in balance control of human body when doing Sit-to-Stand (STS) movement: the postural symmetry in mediolateral direction. A symmetry score, calculated by the data obtained from a Kinect RGB-D camera, was proposed to reflect the mediolateral postural symmetry degree and was used to drive a real-time audio feedback designed in MAX/MSP to help users adjust themselves to perform their movement in a more symmetrical way during STS. The symmetry score was verified by calculating the Spearman correlation coefficient with the data obtained from Inertial Measurement Unit (IMU) sensor and got an average value at 0.732. Five healthy adults, four males and one female, with normal balance abilities and with no musculoskeletal disorders, were selected to participate in the experiment and the results showed that the low-cost Kinect-based system has the potential to train users to perform a more symmetrical movement in mediolateral direction during STS movement.

Beneath the epidermis, the human body contains a vibrant and complex ecology of interwoven rhythms such the heartbeat, the breath, the division of cells, and complex brain activity. By repurposing emergent medical technology into real-time gestural sound controllers of electronic musical instruments, experimental musicians in the 1960s and 1970s – including David Rosenboom – began to realize the expressive potential of these biological sounds. Composers experimented with breath and heartbeat. They also used electroencephalography (EEG) sensors, which register various types of brain waves. Instead of using the sound of brain waves in fixed-media pieces, many composers took diverse approaches to the challenge of presenting this in live performance. Their performance practices suggest different notions of embodiment, a relationship in this music which has not been discussed in detail.

Rosenboom reflects extensively on this performance practice. He supports his EEG research with theory about the practice of biofeedback. Rosenboom’s work with EEG sensors spans several decades and continue today, which has allowed him to make use of advancing sensing and computing technologies. For instance, in his 1976 On Being Invisible, the culmination of his work with EEG, he makes use of analyzed EEG data to drive a co-improvising musical system.

In this thesis, I parse different notions of embodiment in the performance of EEG music. Through a critical analysis of examples from the discourse surrounding EEG music in its early years, I show that cultural perception of EEG sonification points to imaginative speculations about the practice’s potentials; these fantasies have fascinating ramifications on the role of the body in this music’s performance. Juxtaposing these with Rosenboom, I contend that he cultivated an embodied performance practice of the EEG. To show how this might be manifest in performance, I consider two recordings of On Being Invisible.

As few musicologists have investigated this particular strain of musical experimentalism, I hope to contextualize biofeedback musicianship by offering an embodied reading of this milestone work for EEG.

Parkinson's disease (PD) is a neurodegenerative disorder that produces a characteristic set of neuromotor deficits that sometimes includes reduced amplitude and velocity of movement. Several studies have shown that people with PD improved their motor performance when presented with external cues. Other work has demonstrated that high velocity and large amplitude exercises can increase the amplitude and velocity of movement in simple carryover tasks in the upper and lower extremities. Although the cause for these effects is not known, improvements due to cueing suggest that part of the neuromotor deficit in PD is in the integration of sensory feedback to produce motor commands. Previous studies have documented some somatosensory deficits, but only limited information is available regarding the nature and magnitude of sensorimotor deficits in the shoulder of people with PD. The goals of this research were to characterize the sensorimotor impairment in the shoulder joint of people with PD and to investigate the use of visual feedback and large amplitude/high velocity exercises to target PD-related motor deficits. Two systems were designed and developed to use visual feedback to assess the ability of participants to accurately adjust limb placement or limb movement velocity and to encourage improvements in performance of these tasks. Each system was tested on participants with PD, age-matched control subjects and young control subjects to characterize and compare limb placement and velocity control capabilities. Results demonstrated that participants with PD were less accurate at placing their limbs than age-matched or young control subjects, but that their performance improved over the course of the test session such that by the end, the participants with PD performed as well as controls. For the limb velocity feedback task, participants with PD and age-matched control subjects were less accurate than young control subjects, but at the end of the session, participants with PD and age-matched control subjects were as accurate as the young control subjects. This study demonstrates that people with PD were able to improve their movement patterns based on visual feedback of performance and suggests that this feedback paradigm may be useful in exercise programs for people with PD.

Although tremor, rigidity, and bradykinesia are cardinal symptoms of Parkinson's disease (PD), impairments of gait and balance significantly affect quality of life, especially as the disease progresses, and do not respond well to anti-parkinsonism medications. Many studies have shown that people with PD can walk better when appropriate cues are presented but, to the best of our knowledge, the effects of real-time feedback of step length and uprightness of posture on gait and posture have not been specifically investigated. If it can be demonstrated that real-time feedback can improve posture and gait, the resultant knowledge could be used to design effective rehabilitation strategies to improve quality of life in this population.

In this feasibility study, we have developed a treadmill-based experimental paradigm to provide feedback of step length and upright posture in real-time. Ten subjects (mean age 65.9 ± 7.6 years) with mild to moderate PD (Hoehn and Yahr stage III or below) were evaluated in their ability to successfully utilize real-time feedback presented during quiet standing and treadmill walking tasks during a single data collection session in their medication-on state. During quiet standing tasks in which back angle feedback was provided, subjects were asked to utilize the feedback to maintain upright posture. During treadmill walking tasks, subjects walked at their self-selected speed for five minutes without feedback, with feedback of back angle, or with feedback of step length. During walking tasks with back angle feedback, subjects were asked to utilize the feedback to maintain upright posture. During walking tasks with step length feedback, subjects were asked to utilize the feedback to walk with increased step length. During quiet standing tasks, measurements of back angle were obtained; during walking tasks, measurements of back angle, step length, and step time were obtained.

Subjects stood and walked with significantly increased upright posture during the tasks with real-time back angle feedback compared to tasks without feedback. Similarly, subjects walked with significantly increased step length during tasks with real-time step length feedback compared to tasks without feedback. These results demonstrate that people with PD can utilize real-time feedback to improve upright posture and gait.

Stroke is a leading cause of disability with varying effects across stroke survivors necessitating comprehensive approaches to rehabilitation. Interactive neurorehabilitation (INR) systems represent promising technological solutions that can provide an array of sensing, feedback and analysis tools which hold the potential to maximize clinical therapy as well as extend therapy to the home. Currently, there are a variety of approaches to INR design, which coupled with minimal large-scale clinical data, has led to a lack of cohesion in INR design. INR design presents an inherently complex space as these systems have multiple users including stroke survivors, therapists and designers, each with their own user experience needs. This dissertation proposes that comprehensive INR design, which can address this complex user space, requires and benefits from the application of interdisciplinary research that spans motor learning and interactive learning. A methodology for integrated and iterative design approaches to INR task experience, assessment, hardware, software and interactive training protocol design is proposed within the comprehensive example of design and implementation of a mixed reality rehabilitation system for minimally supervised environments. This system was tested with eight stroke survivors who showed promising results in both functional and movement quality improvement. The results of testing the system with stroke survivors as well as observing user experiences will be presented along with suggested improvements to the proposed design methodology. This integrative design methodology is proposed to have benefit for not only comprehensive INR design but also complex interactive system design in general.

I am interested in performance that includes multiple artistic media. I am looking for a way to communicate with other artists that can clearly express the meaning of an artistic gesture that they can interpret for their medium. I wish to make transmedia performance art with a meaning that is clear to an audience. That meaning can be abstract. Sometimes we call art "abstract" to imply that it has no perceivable meaning. However, everything has meaning. Even if a piece of art does not have narrative meaning, we can still perceive a structure. That is thanks to our imagination. Imagination is our way of making sense of our experience. I believe that if I can identify some of the imaginative structures through which I perceive and understand my own work, I can use those structures to annotate or organize scores for improvised performance pieces. I am interested in how we understand art. One theory of understanding, which comes from Mark Johnson, involves "image schemata." Image schemata (sing. schema) are basic, abstract structures that we develop based on what we perceive from our physical interactions with the environment. We project these structures that come from a physical domain onto the mental domain. Johnson calls this process "metaphorical projection," and he calls our ability to do this "imagination." By metaphorically projecting image schemata from one domain to another, we form meaning of our experiences, and thus contribute to our understanding of the world. I believe that I can use image schemata to explain the meanings inherent in the art I make and to explain the connections in meaning between one artistic medium to another. I wish to apply this in a transmedia performance setting. First, I will analyze previous transmedia works in terms of image schemata. Second, I will make a score using image schemata for an improvised performance. Third, I will reflect on the results of attempting to rehearse that score.