FanRows is designed both as an artistic research instrument and as a creative tool for artists working with embodied sound interaction.
Instead of triggering sounds with gestures, participants navigate and reshape evolving sound environments through posture and movement.
The clip shows a short excerpt from a live FanRows session where body movement continuously reshapes the sound space.
You stand in front of a camera.
You slowly raise your arm.
The sound becomes brighter.
When you become still, the sound field stabilizes.
When you move differently, the atmosphere reorganizes.
In FanRows, movement does not trigger sounds.
It gradually reshapes a living sound environment.
Every change in posture or motion slightly alters the sound space.
Most interactive audio systems are event-based:
a gesture triggers a sound.
FanRows works differently.
Instead of triggering sounds, the system continuously interprets qualities of movement
— such as speed, stability, direction, and duration —
and uses them to reshape multiple layers of sound.
Sound is not executed.
It behaves like a dynamic field that continuously responds to the body.
FanRows operates as a continuous feedback system.
Body influences sound.
Sound influences perception.
Perception influences movement.
This creates a circular interaction process rather than a command-based interface.
Over time, the interaction can develop:
FanRows explores the idea that sound is not a fixed composition, but a space that can be navigated and shaped through movement.
For artists:
FanRows offers a continuous sound environment shaped by movement rather than discrete control.
For researchers:
The system provides a structured experimental environment for investigating embodied regulation, state transitions, and dynamic coupling in real time.
FanRows is an independent research-driven prototype exploring:
The system can also be understood as an applied second-order cybernetic feedback loop where body movement and sound continuously influence each other.
Early experiments investigate how stable interaction patterns emerge over time within this body–sound feedback system.
The technical structure and system architecture are documented here:
FanRows — Continuous Embodied Audio Interaction
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