19:00 – Concert 3
Frederick Loewe Theater, NYU

• PercusBot Study No. 1
  Troy Rogers
• Cyber Kendang
  Noichi Yagashima
• Digital Sankirna
  Ajay Kapur, Eric Singer
• Desconcierto pt2
  Gregory Kowalski, Andrea Pensado
• Things In An Open Field (for Laser Koto)
  Miya Masaoka
• Six Axioms
  Randy Jones
• the electronic unicorn
  Georg Holzmann
• Them and the Others
  Tom Mays

New Works for Commissioned Performers
Kathleen Supové, piano
Todd Reynolds, violin

• Music For Sextet and Computer
  Cort Lippe

Kathleen Supové

• Private Lesson
  Eric Lyon
• Landmine
  Dafna Naphtali

Delta Space
Lukas Ligeti

–>

• Digits
  Neil Rolnick

Todd Reynolds

Grande Étude Symphonique
Phil Kline

–>

• Beginner’s Mind
  Todd Reynolds
• September Canons
  Ingram Marshall
• For Reynolds
  Andreas Weixler, Se-Lien Chuang
• Three Pieces to End One Half of a Concert
  Todd Reynolds

Requiem
Todd Reynolds

–>

• Lasso and Corral: Variations on an Ill-Formed Meter
  Dan Trueman, Ken Thomson on Bass Clarinet

Arduino is an open-source physical computing platform based on a simple i/o board, and a development environment for writing Arduino software. The Arduino programming language is an implementation of the language used by Wiring, while the Arduino environment is based on Processing. Arduino can be used to develop interactive objects, taking inputs from a variety of switches or sensors, and controlling a variety of lights, motors, and other outputs. Arduino projects can be stand-alone, or they can be communicate with software running on your computer (e.g. Flash, Processing, MaxMSP). Arduino received an Honory Mention in the Digital Communities section of the 2006 Ars Electronica Prix.

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

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panelists: Trimpin, Godfried-Willem Raes, Gordon Monahan, en Jaques Remus
http://www.gordonmonahan.com/
http://en.wikipedia.org/wiki/Trimpin
http://www.mecamusique.com/
http://en.wikipedia.org/wiki/Godfried-Willem_Raes

Q: Is musical robotics a novelty or something really serious?
JR – gives you a orchestra without paying musicians
- it’s about making acoustic music with electronics
- it’s about building interfaces for real instruments, not synthesizers and computer music.
- To have pure acoustic sound: music made for machines but that no loudspeaker can reproduce and no people can make
GWR – It’s not something new but what is new is the programmability: this is a real novilty
GM – we’re inventors that other musician pick up,.. there is a fine line then between us and the other musicians
T – All composers composed for machines but it was not accepted and it never came to the public. But all composers composed for it.
Q: there is a current explosion of interest, at least here in NY,.. s this shortlived or the future?
GWR – I don’t feel an explosion: there are few people doing serious work in this field. There is a lot o amateurism: In order for somthing to be a robot it must have some form of sensor. either of it’s internal state, or more advanced: a sensor for there environment in which they ‘live’. That makes it into a robot. It’s not just something mechanical.
Q: well there is artbot etc and some more teaching in the field
GWR: I’m sure it’s gonna grow
JR – We’re a lot of things at the time: multidimensional artists: time (music), space (visual), performers (stage)
T – interdisciplinary institutions in the university failed because the different departments didn’t understand each other.
Q: tips to get started
GWR – get the book “the art of electronics”, also get a good workshop
T – start simple,.. with small things and then grow,.. do it all yourself, get nothing “off the shelf”, be patient
JR – first a dream, then the tools
GM – you can also buy things of the shelf,.. for me it works
GWR: get the tool for the purpose in stead of turning the tool into the purpose
Q: How do you make it so human?
QWR: there is nothing as human as a machine

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- What exactly is musical expression? It really depends on your point of view. As a classical musician you’d think about great artists. What do great artists do that is directly communicative? To express emotions. It has all to do with emotion (and also personality, but more emotion).
- Depending on the conductor a piece can be difficult or easy to play: it has to do with gestures and emotional expression, even on the face. Some conductors have a particular magic that can lift up the orchestra. This idea is the core of musical expression. It is about shaping the expression.
- The other aspect about musical expression and emotion is about being able to connect with an emotion that is inside of you. You’ve got to have something to express. (example of how after 9/11 her father started singing 7 days a week instead of 2)
- Music as a form of communication. Start with Claude Shannon’s ” A mathematical theory of communication” (1948) –> information source, transmitter, signal, noise source, received signal, receiver, message, destination. Source as a carries wave and the transmitter as a modulation to think of this in a musical model.
- Theories of emotion and music: Plato and Aristotle, Leonard Meyer, Leonard Bernstein, Marvin Minsky, Manfred Clynes, David Huron, Daniel Levitin.
- Promising Quantitative Methods: used to verify our theories. Analysis f Herbert von Karajan’s pulse rate while conducting and while piloting a jet aircraft. Heartbeat seems to be connected to emotional arousal.
- Dan Machover’s Brain Opera (with Paradiso) –> the digital baton
- Then built the device called the “Conductor Jacket” (1997 – 2000) with R. Picard (het dissertation about this is available online)
- Research collaboration with Levitin and McAdams with the Boston Symphony Orchestra as a follow-up to the conductor’s jacket.
- Also analysis of vertical position of conducting gestures
- development of a conducting system for education applications (Conducting Jacket)
- Application for entertainment: Boston Children’s music exhibition: “You are the Conductor”
- Nintendo Wii Orchestra: promotional video shows the face of the players and video’s of the system in use shows only the program and a moving hand.
- The digital orchestra League: www.digitalorchestraleague.com. Turing test for the orchestra machine. David Smith: “We are 5% there… does Moore’s Law apply to digital orchestras”
- Future Goals: Research on emotional contagion and microexpression (Ekman and Condon). Also more collaborations with orchestras and classical musicians

Trimpin, a sound sculptor, composer, inventor, is one of the most stimulating one-man forces in music today. A specialist in interfacing computers with traditional acoustic instruments, he has developed a myriad of methods for playing, trombones, cymbals, pianos, and so forth with Macintosh computers. He has collaborated frequently with Conlon Nancarrow, realizing the composer’s piano roll compositions through various media. At the 1989 Composer-to-Composer conference in Telluride, Colorado, Trimpin created a Macintosh-controlled device that allowed one of Nancarrow’s short studies for player piano to be performed by mallets striking 100 Dutch wooden shoes arranged in a horseshoe from the edge of the balcony at the Sheridan Opera House. He also prepared a performance of Nancarrow’s studies at the Brooklyn Academy of Music for New Music America in 1989.

Trimpin was born in southwestern Germany, near the Black Forest. His early musical training began at the age of eight, learning woodwinds and brass instruments. In later years he developed an allergic reaction to metal which prevented him from pursuing a career in music, so he turned to electro-mechanical engineering. Afterwards, he spent several years living and studying in Berlin where he received his Master’s Degree from the University of Berlin.

Eventually he became interested in acoustical sets while working in theater productions with Samuel Beckett and Rick Cluchey, director of the San Quentin Drama Workshop. From 1985-87 he co-chaired the Electronic Music Department of the Sweelinck Conservatory in Amsterdam.

Trimpin now resides in Seattle where numerous instruments that defy description adorn his amazing studio. In describing his work, Trimpin sums it up as “extending the traditional boundaries of instruments and the sounds they’re capable of producing by mechanically operating them. Although they’re computer-driven, they’re still real instruments making real sounds, but with another dimension added, that of spatial distribution. What I’m trying to do is go beyond human physical limitations to play instruments in such a way that no matter how complex the composition of the timing, it can be pushed over the limits.” source

Trimpin on Wikipedia

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 Interfaces for Popular Music Performance
Roger Dannenberg
- using computers to augment music performance: tape music, click tracks, computer accompaniment, interactive improvisation systems, new instruments, popular music is relatively unexplored: too common? too technical? huge potential market, some very challenging problems.
- Popular music: characteristics: general a steady tempo, generally fixed score, somewhat flexible structure, drums, guitar, keyboards are not playing fixed parts. This genre is interesting because: there is enough structure to be predictable and understandable, there is enough variation to require realtime interaction.
- How can computers augment performance of popular music: play additional parts, assist performers with technical parts, create new musical material, assist with rehearsals, assist with sound reinforcement and digital audio effects.
- Research framework: where is the beat? beat tapping interfaces, tempo and phase estimation, merging multiple sources of information. Also data preparation: editing, mixing, annotation of scores with performance info. Also: Where are we in the song? listening to chord changes, melody spotting, interfaces to cue score location, visual display integrated with musical notation. Sound generation: realtime time stretching for synchronization, sound synthesis from scores and lead-sheets, computer assisted sound reinforcement/mixing.
- Online adaptation: coordination of note attack times, learning beat phase relationships, dynamics / balance /mixing, learning charts from rehearsal
- Prototype: Goal: to augment horn section in rock band, demands: control by one musician, high quality, time scaling for tempo adaptation, tap interface to get tempo, extra taps to get phase and cue entrances.

* Towards Rhythmic Analysis of Human Motion using Acceleration-Onset Times
Eric Lee, Urs Enke, Leo de Jong
- Motivation: music is a rhythmitization of sound: whether this is true or not, rhythm is at least important
- Rhythm pattern: a repeating series of accentuated impulses separated by time intervals.
- Goal: attach accelerometers to people and extract rhythmic notions from the input data
- Related work: dance-movement analysis: Paradiso’s “DanceShoe”, Griffith’s “LifeFoot”, automatic beat detection tools.
- We try to extract beat information from accelerometers, so no audio data analysis for beat extraction. We want to do this all in real time.
- The Algorithm: sensor signal, movement detection, impulse sequence generation from movement detection, interval analysis, frequency analysis –> data fusion from the two analyses, impulse folding from impulse sequence and pattern structure, impulse clustering –> rhythm

* nJam user experiments: enabling NMP (networked music performance) from milliseconds to seconds
Nicolas Bouillot
In the remote real-time musical interaction domain, the end- to-end latency is a well known problem. Today, the main explored approach is to keep it below the musician perception threshold. In this paper, we experiment another approach, where end-to-end delays rise to several seconds but computed in a controlled (and synchronized) way depending on the musical pieces structure. We implement a prototype called nJam and perform user experiments to show how this new kind of interactivity breaks the actual end-to-end latency bounds while being user friendly.

* Ashitaka: an audiovisual instrument
Niall Moody, Dr. Nick Fells, Dr. Nicholas Bailey
project website
- Aim is to create an audiovisual instrument whose output is perceived as an audiovisual whole, with audio and visuals not easily separated
- based on Michel Chion’s AudioVision: sound on screen” (synchresis)
- synchresis is based on motion: objects that we can see that are moving mostly make a sound.
- metaphor based mappings and perception based mappings
- sound and image influence each other
- performer’s gestures are mapped to the audiovisual parameters
- X3D is a virtual world file format, the successor to VRML
- interface is based on claw-based gestures
- sensors: stretch, twist, 4x force sensors, accelerometers
- visual: a system of gravity objects
- audio: Tao physical modeling language, single string model as primary synthesis method

* Percussion instruments using realtime convolution: Physical controllers
Roberto Aimi
- Physical controllers: drum pad, frame drum, brushes, bass drum, cymbals
- convolution latency overcome by increasing FFT window size –> effective delay of eg 64 samples
- Using real modified percussion instruments as controllers for other sounds
- using non-linear waveshaping in order to emulate for example the non-linear properties of a real cymbal

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* Erkki Kurenniemi’s Electronic Musical Instruments of the 1960’s and 1970’s
Mikko Ojanen, Jari Suominen, Titti Kallio
MISSED

* The Acoustic, the Digital and the Body: A Survey on Musical Instruments
Thor Magnusson, Enrike Hurtado Mendieta
- University of Sussex, Huddersfield University
- research of interactive modes in musical software
- free and opensource software is on the website
- propagating opensource software and the sharing of knowledge
- Research focus: dual semiotic stance of the user of the software
- designer of creative software has to be aware of this fact
- What does it mean to be a consumer of musical software
- does it make sense to talk about “software interpretation”?
- environment in supercollider: various instruments
- you have the ability to code in realtime
- interested in the software as the “neuro instrument” of the software
- people can create and modify their instruments
- what is a digital instrument? –> people have different opinions, here we did not try to define it
- focus: control interaction, instrument entropy, affordance and constraints, creativity: the epistemic tool as the prime mover
- phenomenological: based on experience
- Participants: mailing lists for audio programming languages, conservatories, universities and orchestras
- 210 replies of which 9 were female
- linux (45), osx (88), windows (105), average age 45(!)
- acoustic instruments positive: tactile feedback, limitations are inspiring, traditions and legacy, depth, instrument becomes 2nd nature, embodied experience, no latency, easy to express mood, extrovert state when playing
- acoustic instruments negative: lacking in range, no editing, no memory or intelligence, prone to cliche playing, too much tradition, no experimentation in design, inflexible, less microtonalities or tunings, no inharmonic spectra
- digital instruments positive: free from traditions, experimental, any sound and interface, freedom in mapping, designed for specific needs, automation and intelligence, good for composing, easier to get into, not as limited to tonal music
- digital instruments negative: lacking in substance no legacy, no haptic feedback, latency, disembodied experience, lacking social conventions, slave to the historic, limitation to the acoustic, introvert state when playing, no haptic feedback
- Conclusion: people work with the best of both worlds, design around the constraints of each, digital is playing and composition in once, the entropy of acoustic instruments is important, open-source: people express the importance in freedom in expression, open standards, etc etc…..

* Ten Years of Tablet Musical Interfaces
Michael Zbyszynski, Matthew Wright, Ali Momeni
- UC Berkeley Centre for new Music
- interfaces with a future, interfaces with a past: “towards a theoretical formulation of the Long New”
- What makes a good musical controller: advantages of standard controllers: low cost and availability, leading to,.. redundancy and replaceability / General characteristics: high resolution output data, fine temporal accuracy, multiple axes of control.
- Tactile reference: the player touches it (haptic feedback), spatial coordinates are absolute, leverages fine motor control and writing/drawing experience, leaves the other hand free to do something else
- Precedents: many, including: Xenakis UPIC Sstem, Boie/Mathews/Schloss Radio Drum
- opensoundcontrol.org (OSC wraper between controllers and sound maker processes. This facilitates a max patch to document this and opens up for a wrapper to change and remap things
- Matt Wright: interactive instruments, he makes performance templates from samples of recordings of real players
- Wacom objects for Max/MSP
- Ali Momeni: parameter interpolation space, multi-touch sensors (wacom and contact mic),
- temporal resolution and accuracy leaves something to be desired

* Expression and Its Discontents: Toward an Ecology of Musical Creation
Michael Gurevich, Jeffrey Treviño
- dominant model of creation –> ecological model of creation
The Dominant model of creation in the NIME discourse:
- Defining creation through expression: “deviation” and ” deformation”: implied determinate artistic content. Is there something else that needs to be expressed through music than sounds? Composer: creation, performer: expression. Where is the interpretation.
- Are there expressive interfaces? In the NIME discourse we are locating expression in the interface / quantifying expression. Is expression a unified flow of quantities.
- “Performance communicate musical expression to listeners by a process of coding. Listeners receive musical expression by decoding” (Poepel)
- Experimentalism as non-expressive creation “the shortest path between two people is not a straight line” (Earle Brown)
- The medium as active participant
- Relationships between composers, performance and listeners: any form of configuration may exist. It’s also about context and surrounding elements and influences, economics, authorship, etc. Of paramount importance is that expression is an option.
- Applications: imitation of expression by machines, interfaces/mappings to facilitate traditional expression, develop new expressive cues within the text/act model. We should question expression as the goal.

* Live Coding Practice
Nick Collins (Click Nollins?)
- makes powerpoint presentation on the fly,.. not using: he uses supercollider instead to generate a clock for how much time he has left. Then generates a random numberin order to show how many quotes he will give. What is live coding? defenition: when musicians and artists can express themselves immediately through a program. “Humans make dynamic cogs within the threads of rule systems which rewrite themselves”
- online live coding performance video: “Study in Keith”
- www.toplap.org
- In the paper he goes through pedagogical issues and suggest practice and exercises.
- What about live coding together with live musicians? Live Coding cards can inform musicians what to do.
- Is live coding a scene by now?
- skill acquisition of violin: 3 hours a day for 10 years,… how much do you have to practice to become a live coder?
- ” Teach yourself programming in 10 years” = website
- question: where do you draw the line between what you’ll prepare at home and what you do live? What is considered cheating in the scene?

* Natural Interfaces for Musical Expression: Physiphones as primordial Infra-Instruments
Steve Mann
- Hydraulophones as Physiphones
- organolog (ethnomusicology): strings, percussion, wind: strings and percussion are more similar to each other than to wind)
- Geaphones make sound from matter in its solid state, wind: make sound from matter in gas-like sound
- idiophone (3d solid), membranophone (2d solid), chordophone (1d solid), Aerophone (gas), Electrophone (informatic), note again that the first three are more similar to each other than the last two.
- there also can be a physics based organology: solid (1, 2 and 3d), liquid, gas, plasma, informatic: Greek names correspond to earth, water, wind, fire and Quintessence (idea)
- So what is the complete orchestra?
- presents the “self-cleaning keyboard” a water-based flute in a public park
- presents the “global village fountain and immersive multimedia”: physiphones, electric xylophones, hyper-hydraulophone, cyborg instruments.
- presents “splash page”: a waterfall musical instrument
- The KEY to good music is to PLAY in the water

* Wireless sensor interface and gesture-follower for music pedagogy
Frederic Bevilacqua, Fabrice Guedy, Emmanuel Flety, Nicolas Leroy, Norbert Schnell
- Wireless Interface: requirements: compact size and weight, handheld interfaces, augmented string interfaces
- Custum XBee digitizer: 6 inputs, 10bits, 5ms / Ethernet receiver/base untit / OSC compliant data / Li-Po battery
- 5 output sensor (sparkfun combo board)
- Parallel use of units is possible
- Examples: dance (it’s wearable), augmented instruments
- gesture follower: analyze data in real time and compare it to already learned gestures,.. the device learns these gestures (you’ll need a “training fase”)
- The program reacts only on gestural changes so ths means you can do a particular gesture slower or faster and possibly speeding a coupled sound up or down.,… or control any other parameter
- This device can be used for training conductors
- Preliminary studies encouraging: scenarios stimulating the interaction between theory and practice, etc.
- gesture follower: free download at http://ftm.ircam.fr

Frederick Loewe Theater, NYU

Disparate Bodies – Pedro Rebelo, Alain Renaud, Tom Davis
Disparate Bodies is a network performance that explores multi-modal remote presence. The performance happens simultaneously in three sites (Belfast, NY and Stanford, California). The stage performance in NY features a laptop musicians and two Remote.bots. These are robotic entities that host the physical and musical gestures which are performed by the remote participants in the various locations. They consist of reflective elements which move according to the analysis of each audio stream and project glimpses of 3D rendered imagery around the performance space. The performance is based on the notion of performance entities as reflected by telepresence, robotics and sound systems. As such, each performer (local and remote) has a specific sound diffusion set up and a chosen 3D avatar which consists of abstract representations of movement and gesture. The performance is improvised with reference to strategies that intend to explore the relationship between sound and movement. The performance uses high quality audio streaming software developed by CCRMA and gesture, robotic and 3D rendering technologies developed at SARC. Instrumentation: Saxophones (Franziska Schroeder), Moustrap (Mark Applebaum), Piano/Computer (Pedro Rebelo), Remote.bot (Tom Davis) and Frequencyliator (Alain Renaud).
EyeMusic v1.0 – Anthony Hornof, Troy Rogers, Tim Halverson
EyeMusic is a project that explores how eye movements can be sonified to show where a person is looking using sound, and how this sonification can be used in real time to create music. An eye tracking device (the LC Technologies Eyegaze Communication System, http://www.eyegaze.com/) reports where the performer is looking on the computer screen, as well as other parameters pertaining to the status of the eyes. The eye tracker reports these data in real time to a computer program (written using Max/MSP/Jitter). The computer program generates and modifies sounds and images based on these data. While the eye is, in ordinary human usage, an organ of perception, EyeMusic allows for it to be a manipulator as well. EyeMusic creates an unusual feedback loop. The performer may be motivated to look at a physical location either to process it visually (the usual motivation for an eye movement) or to create a sound (a new motivation). These two motivations can work together to achieve perceptual-motor harmony and also to create music along the way. The two motivations can also generate some conflict, though, as when the gaze must move close to an object without looking directly at it, to set up a specific sonic or visual effect. Through it all, EyeMusic explores how the eyes can be used to directly perform a musical composition.
“Let’s Just See What Happens” for Long Tube and gestural interface – Brenda Hutchinson
website

Ménagerie Imaginaire – Zach Settel, Mike Wozniewski, Jeremy Cooperstock
http://www.electrocd.com/bio.e/settel_za.html
http://www.cim.mcgill.ca/~mikewoz/
http://www.cim.mcgill.ca/~jer/
Cyberdidj Australis – Garth Paine, Michael Atherton
For a recently designed telescopic didjeridu, Capybara and Wacom interface. The work explores the shifting fundamentals and overtones of the didjeridu and the possibilities of interactive synthesis. Traditional playing techniques are extended and morphed by and in response to electronic elaboration. The performers explore shifting dronal material, vocalisations, and additive rhythmic patterns to create dramatic shifts in timbre, density and pulse.
“NYZ” by Zanana – Monique Buzzarté, Kristin Norderval
http://www.zanana.org/

KARMA/live – Kurt Hentschlager
http://www.hentschlager.info/
KARMA is a “living” environment, a procedurally changing audiovisual installation. KARMA follows a non-linear progression in which moments of commotion are followed by periods of meditative peace. The installation comes alive via humanoid 3D figures suspended, often seemingly unwell, trembling and oscillating. Their movements emanate a drone-like sound-scape. The 3D characters are presented as puppets on strings, instilling them with a familiar yet ambiguous sense of human life, resulting in an indefinite dance of the almost living dead. Karma is incidentally the name of the physics simulation unit within Unreal Tournament, a multi player computer game. Karma in UT or similar “3D real-time engines” describes the simulation of physical laws like gravity & kinetic forces. In KARMA / cell, the motions and actions of the 3D characters synthesize through an additional sound software, a dynamic sound-track composed on the fly. The characters each are a discrete musical instrument and become, through their “motions and emotions,” part of a symphonic, multilayered body of sound. Both the realtime synthesis of the characters motions and their sounds build, within the scripted frame defined by the artist, an endlessly changing variety of emotional expressions.