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Demo Schedule - Daily, May 26-28, 13:30-15:00
FSC1611: Demo Room 1: Composition & Tools
- Cycling '74, Industrial Exhibitor: Cycling '74 creates and distributes
Mac OS and Windows software for audio, video, and multimedia innovators.
Products include the Max/MSP/Jitter graphical programming environment, the
Pluggo collections of Max/MSP-based audio plug-ins, the Radial loop-based
composition and performance system, and the interactive algorithmic composition
program M. Cycling '74 also releases creative musical and multimedia works
through their c74 recording label and audio source libraries for musicians,
sound designers and media producers through its Cycles series. http://www.cycling74.com.
- Infusion Systems, Inc., Industrial Exhibitor: Infusion Systems develops
and markets the I-CubeX, a line of products that comprise a sensor toolkit
for creating and researching responsive environments, interactive objects
such as musical instruments, dance-driven multimedia shows and more. http://www.infusionsystems.com.
- Perry R. Cook, Real-Time Performance Controllers for Synthesized Singing
- David Kim-Boyle, Musical Score Generation in Valses and Etudes
- Kevin C. Baird, Real-Time Generation of Music Notation via Audience Interaction Using Python and GNU Lilypond
FSC1613: Demo Room 2: Motion and Sound
- Jesse Fox and Jennifer Carlile, SoniMime: Movement Sonification for Real-Time Timbre Shaping
- Robert Huott, Precise Control on Compound Curves
- Damondrick Jack and Robert Lugo, Beat Boxing: Expressive Control for Electronic Music Performance and Musical Applications
- Ivan Franco, The Airstick: A Free-Gesture ControllerUsing Infrared Sensing
- Jennifer Carlile and Björn Hartmann, OROBORO: A Collaborative Bi-Manual Controller with Interpersonal Haptic Feedback
- David Rodriguez and Ivan Rodriguez, VIFE _alpha v.01 Real-time Visual Sound Installation performed by Glove-Gesture
FSC1615: Demo Room 3: Haptics and Music
- David Hindman and Spencer Kiser, Sonictroller
- William Verplank, Haptic Music Exercises
- Angelo Fraietta, Smart Controller / Bell Garden Demo
- Derek Wang, Bubbaboard and Mommaspeaker: Creating Digital Tonal Sounds from an Acoustic Percussive Instrument
- Mauricio Melo and Doria Fan, Swayway MIDI Chimes
FSC1617: Demo Room 4: Low Noise
- Emmanuel Flety, The WiSe Box : a Multi-performer Wireless Sensor Interface using WiFi and OSC
- Adam Bowen, Soundstone: A 3-d wireless music controller
- Ayako Kataoka, Klingeln: an interactive sound installation
- Impromptu Demo 1
- Impromptu Demo 2
Interactive Sound Installation Schedule
Installation Session 1: May 26, 09:00-17:00
- Intrium: Alain Guisan, www.b-polar.com, ICICS Atrium
- Contemplace: Eric Socolofsky, www.transmote.com, ICICS x615
Installation Session 2: May 27, 09:00-17:00
- Mocean: Maia Marinelli, Jared Lamenzo and Liubo Borissov, ITP, New York University, ICICS Atrium
- HotStepJunk: Saiichiro Matsumura, Graduate School of Interdisciplinary Information Studies, University of Tokyo, ICICS x615
Installation Session 3: May 28, 09:00-17:00
- Echology: Meghan Deutscher, Reynald Hoskinson, Sachiyo Takahashi,
Sidney Fels, Dept. of ECE and MAGIC, University of British Columbia, ICICS
Atrium
- Hexagon of Interferences: Dave Carter and Joe Watson, ICICS x615
Keynote Speakers
May 26, Thursday, 09:00-10:00
Don Buchla
P.O.Box 10205, Berkeley, CA 94709
Mr. Buchla will be presenting and showing some of the fascinating musical
instruments that he has created since 1965. We are privileged to have the
actual instruments available to see and hear on loan courtesy of David Kean
and the Audities Foundation. The instruments that will be shown include:
- Thunder (1990)
- Wind (1994)
- Lightning II (1996)
- Marimba Lumina (2000)
- 200e (2004)
- 400 (1982)
- Sili con cello (ca.1975)
- Magic flute (1965)
Educated in physics, physiology, and music, Don Buchla's multi-faceted
creativity has been applied to fields as diverse as space biophysics research,
musical instrument design, and multi-media composition. Much of his work
has centered on the refinement of communication channels between man and
machine, notably the invention of mobility aids for the visually handicapped,
the development of instrumentation for bio-feedback and physiological telemetry,
and the design of interactive electronic musical instruments and performance-oriented
music languages.
Don founded the alternative band, Fried Suck, was a founding member of
the 15 piece Arch Ensemble, and co-founded the Electric Weasel Ensemble,
and the Muse and the Fuse. He has collaborated with such luminaries as Ami
Radunskaya, David Rosenboom, Anthony Braxton, David Wessel, Susan Rawcliff,
Mark Goldstein, Morton Subotnick, Joel Davel, Wendy Reid, George Lewis, Peter
Apfelbaum, Roberto Morales, David Kean, Yasi, and his son, Ezra Buchla.
He has recently developed several exotic controllers that provide expressive
alternatives to traditional musical input devices; recent inventions include
Thunder, Lightning II, Wind, Rain, and the Marimba Lumina. He is currently
completing a major redesign of the 200 series modular synthesizer and contemplating
new projects. "...... cranking up the Buchla electronic music machine until it maneuvers
itself into the most incalculable sonic corner, the last turn in the soldered
circuit maze, and lets out a pure topologically measured scream. Ultima-time
with heavy-duty wiring, the works... The music suddenly submerges the room
from a million speakers ... a soprano tornado of it ... all-electric, the
Buchla screaming like a logical lunatic...."
- Tom Wolfe, The Electric Kool-aid Acid Test
May 27, Friday, 09:00-10:00
Golan Levin
Carnegie Mellon University
College of Fine Arts, CFA-300
5000 Forbes Avenue
Pittsburgh, PA, 15213 USA
A Personal Chronology of Audiovisual Systems Research
In this invited lecture, I present an informal overview of seven years'
research into the design of real-time systems for the creation, manipulation
and performance of simultaneous image and sound. This research explores the
intersection of abstract communication and interactivity, as part of a more
general inquiry into the formal languages of the responsive medium, and of
nonverbal communications protocols in cybernetic systems. I present a combination
of live demonstrations and video documentations in order to illustrate the
various systems, reveal some common threads, and propose some design desiderata.
May 28, Saturday, 09:00-10:00
Bill Buxton
Principal, Buxton Design,
Gallery 888
888 Queen St. East
Toronto, Ontario, Canada, M4M 1J3
Causality and Striking the Right Note
From the very beginning, for me, electroacoustic music was about
performance. Studio work certainly played an important role, but that role
was primarily to prepare material for the stage. I wanted, and therefore
built, instruments that were portable (well, at least as much so as an old
Altec-Lansing bass reflex speaker), and let me perform with others. And
by performance, I mean both "scored" material, as well as the ability to
improvise. This was both physical and emotional, where gesture, action,
and reaction were key.
But then, as now, I am frequently challenged by the nature of performance.
The question that repeatedly comes to mind is: why is this "live"? What
difference does it make? Is there anything being brought to the material
that I am listening to that would not have been there if it was just tape
playback? I must confess, that I have the same emotional and intellectual
response to watching someone huddled over a laptop as I did 20-30 years ago
when they were huddled over a Revox tape recorder. The more invisible the
gesture and the more tenuous my perception of the correlation between cause
and effect, the less relevant it is to me that a performance is "live".
Hence, I want to talk about instruments and design, and how design embodies
a philosophy of performance, as well as human perception.
Designing electroacoustic musical instruments informed my later career
in approaching the design of other types of devices. Coming full circle,
I will also speak about the ways in which my collective work experience has
brought new insights about the design of instruments.
Bill Buxton is an interaction designer and researcher, and Principal of the Toronto-based design and consulting firm, Buxton Design. During the spring of 2005, he is a Visiting Researcher at Microsoft Research, Cambridge, England.
Bill is one of the pioneers in computer music, and has played an important
role in the development of computer-based tools for film, industrial design,
graphics and animation. As a researcher, he has had a long history with
XeroxÕ Palo Alto Research Center and the University of Toronto (where he
is still an Associate Professor in the Department of Computer Science, and
Visiting Professor at the Knowledge Media Design Institute). As well, during the fall of 2004, he was a lecturer in the Department of Industrial Design at the Ontario College of Art and Design.
From 1994 until December 2002, he was Chief Scientist of Alias|Wavefront,
and from 1995, its parent company SGI Inc. In 2001, the Hollywood Reporter named him one of the 10 most influential innovators in Hollywood. In 2002 Time Magazine named him one of the top 5 designers in Canada, and he was elected to the ACM's CHI Academy.
More information on Buxton and his work can be found at: www.billbuxton.com
Paper and Report Sessions
Session 1: May 26, Thursday, 10:30-12:05, FSC1005
Concepts, philosophy, ideology, aesthetics (4 research papers + 1 report)
- John Bowers and Phil Archer. Not Hyper, Not Meta, Not Cyber but Infra-Instruments
- Teemu Mäki-Patola, Aki Kanerva, Juha Laitinen and Tapio Takala. Experiments with Virtual Reality Instruments
- Gil Weinberg and Scott Driscoll ."iltur" - Connecting Novices and Experts Through Collaborative Improvisation
- Sergi Jordà. Multi-user Instruments: Models, Examples and Promises
- Tina Blaine. The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment
Session 2: May 26, Thursday, 15:30-17:05, FSC1005
NIME implementations (5 reports and 1 paper)
- Dan Overholt. The Overtone Violin
- Juan Pablo Cáceres, Gautham J. Mysore and Jeffrey Treviño. SCUBA: The Self-Contained Unified Bass Augmenter
- Golan Levin and Zachary Lieberman. Sounds from Shapes: Audiovisual
Performance with Hand Silhouette Contours in The Manual Input Sessions
- Angelo Fraietta. The Smart Controller Workbench
- Eric Singer. A Large-Scale Networked Robotic Musical Instrument Installation (115).
- Jesse T. Allison and Timothy A. Place. Teabox: A Sensor Data Interface System. (96).
Session 3: May 27, Friday, 10:30-12:10, FSC1005
Pot-pourri (5 research papers)
- Sageev Oore. Learning Advanced Skills on New Instruments (or: practising scales and arpeggios on your NIME)
- Dan Livingstone and Eduardo Miranda. Orb3 - Adaptive Interface for
Realtime Sound Synthesis & Diffusion within Socially Mediated Spaces
- Georg Essl and Sile O'Modhrain. Scrubber: An Interface for Friction-induced Sounds
- Peter Swendsen and David Topper. Wireless Dance Control: PAIR and WISEAR
- Roger B. Dannenberg, Ben Brown, Garth Zeglin and Ron Lupish. McBlare: A Robotic Bagpipe Player
Session 4: May 27, Friday, 15:30-17:00, FSC1005
Mapping for NIME (6 reports)
- Frederic Bevilacqua, Remy Muller and Norbert Schnell. MnM: a Max/MSP mapping toolbox
- Jean-Marc Pelletier. A Graphical Interface for Intuitive Signal Routing (95).
- Gary Scavone and Andrey da Silva. Frequency Content of Breath Pressure and Implications for Use in Control
- Alain Crevoisier and Pietro Polotti. Tangible Acoustic Interfaces
and their Applications for the Design of New Musical Instruments
- Ross Bencina. The Metasurface: Applying Natural Neighbour Interpolation to Two-to-Many Mapping
- Andrey R. da Silva, Marcelo Wanderley and Gary Scavone. On the Use of Flute Air Jet as A Musical Control Variable
Session 5: May 28, Saturday, 10:30-12:05, FSC1005
Voice, Gestural control and Multimodality (4 research papers + 1 report)
- Xavier Rodet, Jean-Philippe Lambert, Roland Cahen, Thomas Gaudy, Florian
Gosselin, Fabrice Guedy and Pascal Mobuchon. Sound and music control using
haptic and visual feedback in the PHASE installation
- Elliot Sinyor and Marcelo M. Wanderley. Gyrotyre. A Hand-held Dynamic Computer-Music Controller Based on a Spinning Wheel
- Tomoko Yonezawa, Noriko Suzuki, Kenji Mase and Kiyoshi Kogure. HandySinger:
Expressive Singing Voice Morphing using Personified Hand-puppet Interface
- Mathias Funk, Kazuhiro Kuwabara and Michael J. Lyons. Sonification of Facial Actions for Musical Expression
- Jordi Janer. Voice-controlled plucked bass guitar through two synthesis techniques
Session 6: May 28, Saturday, 14:30-16:00, FSC1005
Learning, Tools + Connectivity (6 reports)
- Paul D. Lehrman. Bridging the Gap Between Art and Science Education Through Teaching Electronic Musical Instrument Design
- Hans-Christoph Steiner. The [hid] toolkit: a unified framework for instrument design
- Teemu Mäki-Patola. User Interface Comparison for Virtual Drums
- Arthur Clay, Thomas Frey and Jürg Gutknecht. GoingPublik: Using Realtime Global Score Synthesis
- Ole Gregersen, Lars Pellarin, Jakob Olsen, Niels Böttcher, Michel
Guglielmi and Stefania Serafin. Connecting strangers at a train station
- Greg Schiemer and Mark Havryliv. Pocket Gamelan: a Pure Data interface for java phones
Posters (ALL IN FSC ATRIUM, 13:30-15:00)
All posters will be up everyday during the posters session period. Poster
presenters listed below are expected to be at their poster during the assigned
time.
Posters 1: May 26, Thursday, 13:30-15:00, FSC ATRIUM
NIME implementations
- David Birchfield, David Lorig and Kelly Phillips. Sustainable: a dynamic, robotic, sound installation
- Paulo Maria Rodrigues, Luís Miguel Girão and Rolf Gehlhaar. CyberSong
- Jamie Allen. boomBox
- Alex Loscos and Thomas Aussenac. The Wahwactor: A Voice Controlled Wah-Wah Pedal
- William B. Carter and Leslie S. Liu. Location33: A Mobile Musical
- Laszlo Bardos, Stefan Korinek, Eric Lee and Jan Borchers. Bangarama: Creating Music with Headbanging
Posters 2: May 27, Friday, 13:30-15:00, FSC ATRIUM
Mapping and Software
- Alvaro Barbosa, Jorge Cardoso, Gunter Geiger. Network Latency Adaptive Tempo in the Public Sound Objects System
- Nicolas Villar, Adam Lindsay, Hans Gellersen. Pin&Play&Perform:
A rearrangeable tangible interface for musical composition and performance
- D. Birnbaum, R. Fiebrink, J. Malloch, M. Wanderley. Towards a Dimension Space for Musical Artifacts
- Ge Wang, Ananya Misra, Ajay Kapur, Perry R. Cook. Yeah, ChucK It! => Dynamic, Controllable Interface Mapping
- Adam R. Tindale, Ajay Kapur, George Tzanetakis, Peter Driessen,
Andrew Schloss. A Comparison of Sensor Strategies for Capturing Percussive
Gestures
- Eric Lee and Jan Borchers. The Role of Time in Engineering Computer Music Systems
Posters 3: May 28, Saturday, 13:30-15:00, FSC ATRIUM
Interfaces
- Shigeru Kobayashi and Masayuki Akamatsu. Spinner: A Simple Approach to Reconfigurable User Interfaces
- Thor Magnusson. ixi software: The Interface as Instrument
- Eduardo Miranda and Andrew Brouse. Toward Direct Brain-Computer Musical Interfaces
- Robyn Taylor, Daniel Torres and Pierre Boulanger. Using Music to Interact with a Virtual Character
- Elaine Chew, Alexandre François, Jie Liu and Aaron Yang. ESP: A Driving Interface for Expression Synthesis
- Cornelius Poepel. On Interface Expressivity: A Player-Based Study
- Johnny Wingstedt, Mats Liljedahl, Stefan Lindberg and Jan Berg.
REMUPP - An Interactive Tool for Investigating Musical Properties and Relations
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