Architecture

FanRows is an architecture for embodied resonance rooms.

Movement is not reduced to button-like triggers. It continuously shapes sound, space and atmosphere.

A FanRows room is not a song, not a game level and not a visual scene. It is a responsive sound environment that changes through bodily presence, motion energy, posture, timing and stillness.

Body movement shaping a responsive sound environment.

Embodied Resonance Rooms

FanRows treats the body as a source of continuous musical information.

The system observes motion qualities such as posture, limb angles, velocity, movement energy and temporal stability. These signals are not used for identity, emotion recognition or biometric classification.

They are used as creative input for real-time sound and spatial response:

• A raised arm is not simply a command.
• Stillness is not the absence of interaction.
• A shift in energy is not just a threshold crossing.
• The room listens to changing bodily qualities and turns them into audible relationships.

Motion is treated as a continuous signal, not as gesture control.

Studio V2

Studio V2 is the working environment for building resonance rooms.

It is not a DAW and not a visual scene editor. It is closer to a room-building instrument: a place where relationships between body, sound and atmosphere are shaped.

Studio V2 connects sound material, motion signals, mappings, signal presets, response recipes and runtime preview into one room-building environment.

The purpose is simple:

Studio shapes the room.
Runtime plays the room.

Architecture Overview

At the center of FanRows is the resonance room model. Studio V2 shapes the room, while Runtime plays it through motion, sound and visual output.

FanRows separates room design, domain logic and live runtime execution.

From Studio to Runtime

FanRows separates editing from experience.

Studio V2 works with editable room configuration. Runtime receives a projected session state and turns it into real-time motion, audio and visual behavior.

This follows a CQRS-inspired principle: the write side and the experience side have different responsibilities.

Preview exists between both sides. It allows testing without turning temporary editor changes into the truth of the room.

Domain Model

FanRows is developed around a domain-driven model.

Core concepts such as Resonance Room, Session, Scene, Signal Preset, Response Recipe, Loop, Catalog, Mapping, Studio, Runtime and Audio Engine are treated as explicit domain objects.

This matters because FanRows is not mainly a collection of React components. The interface is one adapter around a deeper model of embodied sound interaction.

The domain language keeps new features connected to the central purpose: building responsive sound spaces rather than accumulating unrelated controls.

Ports and Adapters

FanRows follows a hexagonal architecture.

The core room model is kept separate from specific technologies such as webcam tracking, Tone.js, React components, JSON files, visual rendering or future AI components.

Motion input, audio output, catalog access, session storage, visual feedback and Studio controls act as adapters around the domain core.

Today, the main input is webcam-based pose tracking and the main output is browser-based sound and visual feedback. Later, the same room model can support other signals and outputs.

Signal Presets and Response Recipes

Studio V2 introduces reusable structures for room building.

Signal Presets describe motion inputs such as movement energy, arm openness, stillness, angular change or directional motion.

Response Recipes describe sonic behaviors such as gentle opening, spatial widening, rhythmic density, fragile texture, slow brightness or atmospheric depth.

Together, they move FanRows from technical mapping toward artistic room composition.

Instead of wiring every mapping from scratch, a room can combine a bodily quality with a musical response pattern and then refine the relationship until it feels right.

Sound Catalog

FanRows uses a catalog-driven approach for sound material.

Loops and sound sources are not only files. They carry metadata such as role, source, type, key and manually refined tags.

The catalog turns sound files into searchable room material through roles, metadata and manually refined tags.

This helps Studio V2 build rooms from meaningful sound roles: drones, pulses, textures, noise layers, harmonic beds, fragile details or spatial accents.

Over time, the catalog becomes part of FanRows’ creative memory.

Visuals

Visuals in FanRows support the resonance room.

They can make motion visible, show that the room is responding, and strengthen the atmosphere of an experience.

But visuals are not the center of the system.

FanRows is not an avatar creator, an anime generator, a story-game engine or a visual performance tool. Narrative elements, symbolic scenes or text fragments may appear in selected experiments, but they remain optional expressive layers above the resonance-room architecture.

The foundation remains the relation between body, sound, timing and space.

Visuals should clarify resonance, not distract from it.

Local-First Execution

FanRows currently runs locally in the browser.

Motion analysis and sound rendering happen on the client side. Video frames and pose data do not need to be transmitted to an external server for the core experience.

This supports low-latency feedback, keeps the interaction private and makes the system easier to test as a self-contained experiential environment.

Built for Embodied Sound Spaces

FanRows is built to explore a simple but demanding question:

What happens when bodily presence becomes part of the architecture of sound?

The system brings together motion tracking, sound material, mappings, response structures, visual feedback and runtime behavior into one coherent environment.

Its purpose is not to add another control interface to music software, but to create rooms that can be entered, felt and shaped through movement.

FanRows — Embodied Resonance Rooms