JUST TYPED ALONG WITH THE SESSION SO EVERYTHING IS STILL PRETTY MESSY, NO LINKS INCLUDED AND POSSIBLE FAULTS ARE MY OWN RATHER THAN THE SPEAKERS,…
* New Musical Interfaces in Context: Sonic Interaction Design in the Urban Setting
Karmen Franinovic, Yon Visell
- recorded sounds are played back by spinning black dishes
- work in public space,.. ot’s about interaction design
- social listening, exploration about what such a system is about, negotiate with strangers about what is the soundscape
- interactive installation in public space: various users, platforms for discovery of public space, turning production and consumption into a more creative space, people discover new and unintended experiences
- design by discovery (urban probes)
- these instruments are an alternative media to let passers by appropriate public space
- expanded performance
- social and political questions: it’s about sociallity as expanded (musical) performance
- see also situationists movements: citizen is pushed into a creative environment
- If you want a lot of people make something that is visually striking
- Questions of context: sound is an ecologically sensitive medium, performance, sensory perception, timbre perception are cultural acts, musicology offers cultural settings for this type of art
* Extended Applications of the Wireless Sensor Array (WISEAR)
David Topper, Virginia Center for Computer Music
- genreal idea: using Linux based SBCs in performance, robotics, etc.
- linux is close to OS X
- linux is open source
- Desire for something more flexible / universal /easier to use than BASIC stamps & PIC chips
- first generation WISEAR: built on TS-5500 board from technologis Systems (www.embeddedarm.com
- second generation board: less power hungry: 6 sensors, data transmission via off the shelf wireless
- But still too many problems: now we’re moving to Gumstix (www.gumstix.com)
- Gumstix: built in audio, ADC, DIO, GPIO, modular platform with extensive features: usb, bluetooth, ct, etc; 600mhz, wiki docs, better user base, very small
* CELERITAS: Wearable Wireless System
Giuseppe Torre, Mikael Fernstrom, Brendan O’Flynn
- a wearable wireless sensor unit for the purpose of live dance performance
- main tasks: low latency (-15ms with eight nodes), low costs, allowing solo and group performances, usability (programmable by composer and choreographer), reliability (last through a whole performance)
- signal path: 25 mm WIMU, base station, serial port, computer (driver), max/msp object (external),mapping, av output
- measures: 50 x 25 x 25 mm, weight 30g, 3.4 volt lithium-ion rechargeable battery (approx 3h life)
- FIFO: first in, first out
- driver is compiled for win and apple and runs with max/msp and pd
- objective: user friendly interface
- to create a 3d virtual interface instrument around he body of the dancer. For this we need the exact position of each node, now they only relative position.
- Negative: strong jitter which is solved by averaging in max/msp
- results: acceleration, speed, distance, orientation, angles, quaternion, etc.
* Defining a control standard for easily integrating haptic virtual environments with existing audio / visual systems
Stephen Sinclair, Marcelo Wanderley (input devices and music interaction laboratory, McGill University, Montreal)
- opening up the ability in order to easily play with haptic systems (force feedback systems)
- force feedback haptics, virtual environments, communication
- sensors: force-feedback using motors = sense of tough (feels as if you can feel the touch of an object in virtual space)
- haptic devices: SensAble Phantom Omni, Force Dimension Omega, Novint Falcon (now approx $200!!!!!) , ERGOS, MPBT Freedom 6S
- previous works: virtual instruments: ANCROE: CORDIS ANIMA, Mulder er al: virtual musical instruments, Verplank: The Plank; Gillespie, etc
- Integrating VR with Audio: many libraries support graphics but not sound
- ideal: physical object of an object and then extract audio output
- should be realistic and accurate, energy preserving, computationally demanding, difficult to integrate, impose a synthesis model
- Asyncronous Architecture: phsical dynamics, haptic device, audio synthesis, audio output (haptic rate ~100Hz)
- DIMPLE: Dynamically Interactive Musically Physical Environment (download url is in the paper) = opensource
* Chroma Palette: Chromatic Maps of Sound As Granular Synthesis Interface
Justin Donaldson, Ian Knopke, Chris Raphael (Indiana University School of Informatics)
- Chromapalate: granular synthesis interface
- Granular Synthesis: Gabor, Roads, Truax, Xenakis
- selection of grains, density, pitch, length, envelope, combine and re-synthesis
- grains form 1-50ms
- nwe way to sort out the sounds: Chromatic characteristics of the individual grains (what pitch do they represent?)
- use of FFT analysis and Aygmented Chroma
- Converting the Chroma dat into a 2d space
- Now you can use the maps for granular synthesis (for grain selection)
- Client side: interface is coded in Flash, only grain index and onset information need to be sent to the synthesis engine
- issues: MDS can involve error in the representation, it can only handle a few thousand grains per map
