Mapping and Meaning: Embodied Metaphors and Non–localized Structures in Performance System Design Ricky Graham 1 , Brian Bridges 2 1 Stevens Institute of Technology, Hoboken, New Jersey, USA rgraham1@stevens.edu 2 University Of Ulster, Magee campus Derry/Londonderry, Northern Ireland, UK bd.bridges@ulster.ac.uk Abstract. This paper explores the application of gestural structures and embodied image schemas in the design of control mappings and interpretative layers for a spatial music performance system. In doing so, it advances a design that maps structural features derived from musical performance gestures to various aspects of spatial and timbral sound processing. An analysis of a system by one of the co-authors will be undertaken, in addition to discussion of wider implications for performance system designs based upon these theoretical perspectives. The importance of image schemas in such a model is their potential utility in contributing to the development of richer, yet coherent, mappings that go beyond simpler localized transduction–based models to encompass a variety of less localized output modalities. 1 Introduction: Tight and Loose Coupling and Simple and Complex Mappings Digital signal processing (DSP) techniques may extend the musical palette of the instrumental performer beyond the conventional, permitting the creation of novel and intricate sound structures. However, musicians may experience difficulty in attaining the same level of intimate performance control (control intimacy) within hyper–instrumental 1 practice as may be found with conventional instruments [1, p.399]. Control intimacy is sometimes equated with what might be termed the tight coupling of input to output. For example, it is notable that the formative priorities of the digital musical instrument (DMI) and performance systems design field have frequently centered upon streamlining source–cause 1 A hyper–instrument is typically an existing acoustic or semi–acoustic instrument that has been technologically augmented to allow the performer a more expressive role in sonic transformations, whilst maintaining the instrument’s original character [2, p.47], [3, p.249].