| A Digital Emulator of the Photosonic Instrument | | BIBAK | PDF | 1-4 | |
| Daniel Arfib; Jacques Dudon | |||
| In this paper we describe the digital emulation of a optical photosonic
instrument. First we briefly describe the optical instrument which is the basis
of this emulation. Then we give a musical description of the instrument
implementation and its musical use and we conclude with the "duo" possibility
of such an emulation. Keywords: Photosonic synthesis, digital emulation, Max-Msp, gestural devices | |||
| Interdisciplinary Applications of New Instruments | | BIBAK | PDF | 5-9 | |
| Alain Baumann; Rosa Sanchez | |||
| In this paper we will have a short overview of some of the systems we have
been developing as an independent company over the last years. We will focus
especially on our latest experiments in developing wireless gestural systems
using the camera as an interactive tool to generate 2D and 3D visuals and
music. Keywords: Mixed media instruments; Interdisciplinary applications of new instruments | |||
| Experimental Controllers for Live Electronic Music Performance (vs.Copyright) | | BIBAK | PDF | 10-11 | |
| David Bernard | |||
| This paper describes the design and development of several musical
instruments and MIDI controllers built by David Bernard (as part of The Sound
Surgery project: www.thesoundsurgery.co.uk) and used in club performances
around Glasgow during 1995-2002. It argues that changing technologies and
copyright are shifting our understanding of music from "live art" to "recorded
medium" whilst blurring the boundaries between sound and visual production. Keywords: Live electronic music, experimental instruments, MIDI controllers,
audio-visual synchronisation, copyright, SKINS digital hand drum Note: Demonstration | |||
| JAM-O-WORLD: Evolution of the Jam-O-Drum into the Jam-O-Whirl Gaming Interface | | BIBAK | PDF | 12-17 | |
| Tina Blaine; Clifton Forlines | |||
| This paper discusses the Jam-O-Drum multi-player musical controller and its
adaptation into a gaming controller interface known as the Jam-O-Whirl. The
Jam-O-World project positioned these two controller devices in a dedicated
projection environment that enabled novice players to participate in immersive
musical gaming experiences. Players' actions, detected via embedded sensors in
an integrated tabletop surface, control game play, real-time computer graphics
and musical interaction. Jam-O-World requires physical and social interaction
as well as collaboration among players. Keywords: Collaboration, computer graphics, embedded sensors, gaming controller,
immersive musical gaming experiences, musical controller, multi-player, novice,
social interaction | |||
| A Structured Instrument Design Approach: The Video-Organ | | BIBA | PDF | 18-23 | |
| Bert Bongers; Yolanda Harris | |||
| The Video-Organ is an instrument for the live performance of audio-visual material. To design an interface we apply a modular approach, in an attempt to split up the complex task of finding physical interfaces and mappings to control sound and video as generated by the computer. Generally, most modules, or instrumentlets as they are called, consist of a human interface element mapped to a certain effect. To describe the instrumentlets a design space is used consisting of the parameters degrees of freedom, range and precision. This paper is addressing the notion that traditional approaches to composition are challenged and changed in this situation, where the material is both audio and visual, and where the design and development of an instrument becomes involved in the process of performing and composing. | |||
| Noisegate 67 for Metasaxophone: Composition and Performance Considerations of a New Computer Music Controller | | BIBA | PDF | 24-29 | |
| Matthew Burtner | |||
| Noisegate 67 was the first fully interactive composition written for the Computer Metasaxophone, a new computer controller interface for electroacoustic music. The Metasaxophone is an acoustic tenor saxophone retrofitted with an onboard computer microprocessor and an array of sensors that convert performance data into MIDI control messages. While maintaining full acoustic functionality the Metasaxophone is a versatile MIDI controller. This paper discusses the compositionally driven technical and aesthetic concerns that went into building the Metasaxophone, and the resulting aesthetic implementations in Noisegate 67. By juxtaposing the compositional approach to the saxophone before and after the electronic enhancements an attempt is made to expose working paradigms of composition for metainstruments. | |||
| Interactive Systems Design: A KANSEI based Approach | | BIBA | PDF | 30-37 | |
| Antonio Camurri; Riccardo Trocca; Gualtiero Volpe | |||
| This paper presents some our recent research on computational models and algorithms for real-time analysis of full-body human movement. The focus here is on techniques to extract in real-time expressive cues relevant to KANSEI and emotional content in human expressive gesture, e.g., in dance and music performances. Expressive gesture can contribute to new perspectives for the design of interactive systems. The EyesWeb open software platform is a main concrete result from our research work. EyesWeb is used in interactive applications, including music and other artistic productions, museum interactive exhibits, therapy and rehabilitation, based on the paradigm of expressive gesture. EyesWeb is freely available from www.eyesweb.org. | |||
| The Limitations of Mapping and a Structural Descriptive in Electronic Instruments | | BIBAK | PDF | 38-42 | |
| Joel Chadabe | |||
| Mapping, which describes the way a performer's controls are connected to
sound variables, is a useful concept when applied to the structure of
electronic instruments modelled after traditional acoustic instruments. But
mapping is a less useful concept when applied to the structure of complex and
interactive instruments in which algorithms generate control information.
This paper relates the functioning and benefits of different types of electronic instruments to the structural principles on which they are based. Structural models of various instruments will be discussed and musical examples played. Keywords: mapping fly-by-wire algorithmic network interactivity instrument
deterministic indeterministic Note: Keynote | |||
| A Scanned Synthesis virtual instrument | | BIBAK | PDF | 43-45 | |
| Jean-Michel Couturier | |||
| This paper describes a virtual musical instrument based on the scanned
synthesis technique and implemented in Max-Msp. The device is composed of a
computer and three gesture sensors. The timbre of the produced sound is rich
and changing. The instrument proposes an intuitive and expressive control of
the sound thanks to a complex mapping between gesture and sound. Keywords: Scanned Synthesis, graphics tablet, multi-touch tactile surface,
meta-parameters Note: Demonstration | |||
| Creating a Context for Musical Innovation: A NIME Curriculum | | BIBAK | PDF | 46-49 | |
| Gideon D'Arcangelo | |||
| This paper presents the approaches and expectations of a recently launched
course at New York University (NYU) in the design and development of musical
controllers. The framework for the course, which is also entitled "New
Interfaces for Musical Expression," is largely based on the proceedings of the
first NIME workshop held in Seattle, WA in April 2001. Keywords: Musical controllers, creative expression, input devices, courses | |||
| Tooka: Exploration of Two Person Instruments | | BIBAK | PDF | 50-55 | |
| Sidney Fels; Florian Vogt | |||
| In this paper we describe three new music controllers, each designed to be
played by two players. As the intimacy between two people increases so does
their ability to anticipate and predict the other's actions. We hypothesize
that this intimacy between two people can be used as a basis for new
controllers for musical expression. Looking at ways people communicate
non-verbally, we are developing three new instruments based on different
communication channels. The Tooka is a hollow tube with a pressure sensor and
buttons for each player. Players place opposite ends in their mouths and
modulate the pressure in the tube with their tongues and lungs, controlling
sound. Coordinated button presses control the music as well. The Pushka, yet to
be built, is a semirigid rod with strain gauges and position sensors to track
the rod's position. Each player holds opposite ends of the rod and manipulates
it together. Bend, end point position, velocity and acceleration and torque are
mapped to musical parameters. The Pullka, yet to be built, is simply a string
attached at both ends with two bridges. Tension is measured with strain gauges.
Players manipulate the string tension at each end together to modulate sound.
We are looking at different musical mappings appropriate for two players. Keywords: Two person musical instruments, intimacy, human-human communication,
cooperative music, passive haptic interface | |||
| The Musical Box Garden | | BIBAK | PDF | 56-58 | |
| Kieran Ferris; Liam J. Bannon | |||
| The Cardboard Box Garden (CBG) originated from a dissatisfaction with
current computer technology as it is presented to children. This paper shall
briefly review the process involved in the creation of this installation, from
motivation through to design and subsequent implementation and user experience
with the CBG. Through the augmentation of an everyday artefact, namely the
standard cardboard box, a simple yet powerful interactive environment was
created that has achieved its goal of stirring children's imagination --
judging from the experience of our users. Keywords: Education, play, augmented reality, pervasive computing, disappearing
computer, assembly, cardboard box Note: Demonstration | |||
| AtoMIC Pro: A Multiple Sensor Acquisition Device | | BIBAK | PDF | 59-64 | |
| Emmanuel Fléty | |||
| Research and musical creation with gestural-oriented interfaces have
recently seen a renewal of interest and activity at Ircam [1][2]. In the course
of several musical projects, undertaken by young composers attending the
one-year Course in Composition and Computer Music or by guests artists, Ircam
Education and Creation departments have proposed various solutions for
gesture-controlled sound synthesis and processing. In this article, we describe
the technical aspects of AtoMIC Pro, an Analog to MIDI converter proposed as a
re-usable solution for digitizing several sensors in different contexts such as
interactive sound installation or virtual instruments. The main direction of
our researches, and of this one in particular, is to create tools that can be
fully integrated into an artistic project as a real part of the composition and
performance processes. Keywords: Gestural controller, Sensor, MIDI, Music | |||
| MetaMuse: Metaphors for Expressive Instruments | | BIBAK | PDF | 65-70 | |
| Ashley Gadd; Sidney Fels | |||
| We explore the role that metaphor plays in developing expressive devices by
examining the MetaMuse system. MetaMuse is a prop-based system that uses the
metaphor of rainfall to make the process of granular synthesis understandable.
We discuss MetaMuse within a framework we call "transparency" that can be used
as a predictor of the expressivity of musical devices. Metaphor depends on a
literature, or cultural basis, which forms the basis for making transparent
device mappings. In this context we evaluate the effect of metaphor in the
MetaMuse system. Keywords: Expressive interface, transparency, metaphor, prop-based controller,
granular synthesis | |||
| Circles and Seeds: Adapting Kpelle ideas about music performance for collaborative Digital Music performance | | BIBAK | PDF | 71-72 | |
| Niall Griffith; Ed Hammond; Sean O'Leary; M. Sile O'Modhrain; Donagh O'Shea | |||
| The use of free gesture in making music has usually been confined to
instruments that use direct mappings between movement and sound space. Here we
demonstrate the use of categories of gesture as the basis of musical learning
and performance collaboration. These are used in a system that reinterprets the
approach to learning through performance that is found in many musical cultures
and discussed here through the example of Kpelle music. Keywords: Collaboration, Performance, Metaphor, Gesture Note: Demonstration | |||
| Cutaneous Grooves: Composing for the Sense of Touch | | BIBAK | PDF | 73-79 | |
| Eric Gunther; Glorianna Davenport; M. Sile O'Modhrain | |||
| This paper presents a novel coupling of haptics technology and music,
introducing the notion of tactile composition or aesthetic composition for the
sense of touch. A system that facilitates the composition and perception of
intricate, musically structured spatio-temporal patterns of vibration on the
surface of the body is described. An initial test of the system in a
performance context is discussed. The fundamental building blocks of a
compositional language for touch are considered. Keywords: tactile composition, vibrotactile, music, multi-modal | |||
| Circular Optical Object Locator | | BIBAK | PDF | 80-81 | |
| Tim Hankins; David Merrill; Jocelyn Robert | |||
| The Circular Optical Object Locator is a collaborative and cooperative
music-making device. It uses an inexpensive digital video camera to observe a
rotating platter. Opaque objects placed on the platter are detected by the
camera during rotation. The locations of the objects passing under the camera
are used to generate music. Keywords: Input devices, music controllers, collaborative, real-time score
manipulation Note: Demonstration | |||
| The Termenova: A Hybrid Free-Gesture Interface | | BIBAK | PDF | 82-87 | |
| Leila Hasan; Nicholas Yu; Joseph A. Paradiso | |||
| We have created a new electronic musical instrument, referred to as the
Termenova (Russian for "daughter of Theremin") that combines a free-gesture
capacitive-sensing device with an optical sensing system that detects the
reflection of a hand when it intersects a beam of an array of red lasers. The
laser beams, which are made visible by a thin layer of theatrical mist, provide
visual feedback and guidance to the performer to alleviate the difficulties of
using a non-contact interface as well as adding an interesting component for
the audience to observe. The system uses capacitive sensing to detect the
proximity of the player's hands; this distance is mapped to pitch, volume, or
other continuous effect. The laser guide positions are calibrated before play
with position-controlled servo motors interfaced to a main controller board;
the location of each beam corresponds to the position where the performer
should move his or her hand to achieve a pre-specified pitch and/or effect. The
optical system senses the distance of the player's hands from the source of
each laser beam, providing an additional dimension of musical control. Keywords: Theremin, gesture interface, capacitive sensing, laser harp, optical
proximity sensing, servo control, musical controller | |||
| The Importance of Parameter Mapping in Electronic Instrument Design | | BIBAK | PDF | 88-93 | |
| Andy Hunt; Marcelo M. Wanderley; Matthew Paradis | |||
| In this paper we challenge the assumption that an electronic instrument
consists solely of an interface and a sound generator. We emphasise the
importance of the mapping between input parameters and system parameters, and
claim that this can define the very essence of an instrument. Keywords: Mapping Strategies, Electronic Musical Instruments, Human-Computer
Interaction | |||
| An Interface for Precise Musical Control | | BIBAK | PDF | 94-98 | |
| Robert Huott | |||
| This paper is a design report on a prototype musical controller based on
fiberoptic sensing pads from Tactex Controls [8]. It will discuss elements of
form factor, technical design, and tuning/sound generation systems tested while
building the device I have dubbed 'the Ski'. The goal is the creation of a fine
musical instrument with which a skilled performer can play music from standard
repertoire as well as break sonic ground in modern forms. Keywords: musical controller, Tactex, tactile interface, tuning systems | |||
| IXI Software | | BIBA | PDF | 101 | |
| We are interested in exhibiting our programs at your demo section at the
conference. We believe that the subject of your conference is precisely what we
are experimenting with in our musical software.
Further info on our website: http://www.ixi-software.net | |||
| Afasia: The Ultimate Homeric One-Man-Multimedia-Band | | BIBAK | PDF | 102-107 | |
| Sergi Jordà | |||
| In this paper we present Afasia, an interactive multimedia performance based
in Homer's Odyssey [2]. Afasia is a one-man digital theater play in which a
lone performer fitted with a sensor-suit conducts, like Homer, the whole show
by himself, controlling 2D animations, DVD video and conducting the music
mechanically performed by a robot quartet. After contextualizing the piece, all
of its technical elements, starting with the hardware input and output
components, are described. A special emphasis is given to the interactivity
strategies and the subsequent software design. Since its first version
premiered in Barcelona in 1998, Afasia has been performed in many European and
American countries and has received several international awards. Keywords: Multimedia interaction, musical robots, real-time musical systems | |||
| The Electronic Tabla Controller | | BIBAK | PDF | 108-112 | |
| Ajay Kapur; Georg Essl; Philip Davidson; Perry R. Cook | |||
| This paper describes the design of an electronic Tabla controller. The
E-Tabla controls both sound and graphics simultaneously. It allows for a
variety of traditional Tabla strokes and new performance techniques. Graphical
feedback allows for artistical display and pedagogical feedback. Keywords: Electronic Tabla, Indian Drum Controller, Physical Models, Graphical
Feedback | |||
| Bi-manual mapping experimentation, with angular fundamental frequency control and sound color navigation | | BIBAK | PDF | 113-114 | |
| Loïc Kessous | |||
| In this paper, we describe a computer-based solo musical instrument for live
performance. We have adapted a Wacom graphic tablet equipped with a stylus
transducer and a game joystick to use them as a solo expressive instrument. We
have used a formant-synthesis model that can produce a vowel-like singing
voice. This instrument allows multidimensional expressive fundamental frequency
control and vowel articulation. The fundamental frequency angular control used
here allows different mapping adjustments that correspond to different melodic
styles. Keywords: Bi-manual, off-the-shelf input devices, fundamental frequency control, sound
color navigation, mapping Note: Demonstration | |||
| Instruments, Interactivity, and Inevitability | | BIBA | PDF | 115 | |
| Tod Machover | |||
| So it might be a good time to question the "inevitability" of new
controllers and interactive music systems in a number of ways:
* How do we create controls and interactions that feel "inevitable" to expert
and amateur users? * How do we teach audiences to understand and appreciate the virtuosity and musicality of new instruments and interactions, and the "inevitability" of their design? * How do we create new music, which grows "inevitably" out of the controllers and instruments that produce and perform it, feeling fresh and alive rather than arbitrary and contrived? * And how do we create interactive situations that stimulate rather than placate, leading the participant beyond the surface and into thoughtful consideration of rich, expressive, meaningful experiences? Note: Keynote | |||
| Adaptive Hyperinstruments: Applying Evolutionary Techniques to Sound Synthesis and Performance | | BIBAK | PDF | 116-117 | |
| James Mandelis | |||
| This paper describes the Genophone [2], a hyperinstrument developed for
Sound-Performance-Design using the evolutionary paradigm of selective breeding
as the driving process. Keywords: Adaptive Interfaces, Artificial Life, Selective Breeding, Expressivity,
Motion-to-Sound Mapping, Hyperinstruments, Sound Meta-synthesis, Live
Performance Note: Demonstration | |||
| The Virtual Bodhran -- The Vodhran | | BIBAK | PDF | 118-119 | |
| Mark T. Marshall; Matthias Rath; Breege Moynihan | |||
| This paper introduces a subtle interface, which evolved from the design of
an alternative gestural controller in the development of a performance
interface. The conceptual idea used is based on that of the traditional Bodhran
instrument, an Irish frame drum. The design process was user-centered and
involved professional Bodhran players and through prototyping and user-testing
the resulting Vodhran emerged. Keywords: Virtual instrument, sound modeling, gesture, user-centered design Note: Demonstration | |||
| Playing on Heart-Strings: Experiences with the 2Hearts system | | BIBAK | PDF | 120-125 | |
| Graeme McCaig; Sidney Fels | |||
| Here we present 2Hearts, a music system controlled by the heartbeats of two
people. As the players speak and touch, 2Hearts extracts meaningful variables
from their heartbeat signals. These variables are mapped to musical parameters,
conveying the changing patterns of tension and relaxation in the players'
relationship. We describe the motivation for creating 2Hearts, observations
from the prototypes that have been built, and principles learnt in the ongoing
development process. Keywords: Heart Rate, Biosensor, Interactive Music, Non-Verbal Communication,
Affective Computing, Ambient Display | |||
| 'PegLegs in Music' -- Processing the Effort Generated by Levels of Expressive Gesturing in Music | | BIBAK | PDF | 126-130 | |
| Lisa McElligott; Edward Dixon; Michelle Dillon | |||
| In this paper we discuss the possibility of augmenting existing musical
performance by using a novel sensing device termed 'PegLeg'. This device
interprets the movements and motions of a musician during play by allowing the
musician to manipulate a sensor in three dimensions. A force sensitive surface
allows us to detect, interpret and interface the subtle but integral element of
physical "effort" in music playing. This device is designed to extend the
musicians control over any given instrument, granting an additional means of
'playing' that would previously have been impossible -- granting an additional
limb to extend their playing potential -- a PegLeg... Keywords: Gesture, weight distribution, effort, expression, intent, movement, 3D
sensing pressure, force, sensor, resolution, control device, sound, music,
input | |||
| Interactive Gesture Music Performance Interface | | BIBAK | PDF | 131-132 | |
| Kia Ng | |||
| This paper briefly describes a number of performance interfaces under the
broad theme of Interactive Gesture Music (IGM). With a short introduction, this
paper discusses the main components of a Trans-Domain Mapping (TDM) framework,
and presents various prototypes developed under this framework, to translate
meaningful activities from one creative domain onto another, to provide
real-time control of musical events with physical movements. Keywords: Gesture, Motion, Interactive, Performance, Music Note: Demonstration | |||
| The vBow: Development of a Virtual Violin Bow Controller Haptic Human-Computer Interface | | BIBAK | PDF | 133-136 | |
| Charles Nichols | |||
| This paper describes the development of a virtual violin bow haptic
human-computer interface, which senses bow position with encoders, to drive
bowed-string physical model synthesis, while engaging servomotors, to simulate
the haptic feedback of a violin bow on a string. Construction of the hardware
and programming of the software are discussed, as well as the motivation for
building the instrument, and its planned uses. Keywords: Violin, Bow, Controller, Haptic, HCI, Interface | |||
| Multi-instrument virtual keyboard -- the MIKEY project | | BIBAK | PDF | 137-142 | |
| Roberto Oboe; Giovanni De Poli | |||
| The design of a virtual keyboard, capable of reproducing the tactile
feedback of several musical instruments is reported. The key is driven by a
direct drive motor, which allows friction free operations. The force to be
generated by the motor is calculated in real time by a dynamic simulator, which
contains the model of mechanisms' components and constraints. Each model is
tuned on the basis of measurements performed on the real system. So far, grand
piano action, harpsichord and Hammond organ have been implemented successfully
on the system presented here. Keywords: Virtual mechanisms, dynamic simulation | |||
| 'Gestation' Installation | | BIBA | PDF | 143-144 | |
| Garth Paine | |||
| Interactivity has become a major consideration in the development of a
contemporary art practice that engages with the proliferation of computer based
technologies. Note: Demonstration | |||
| Musical Navigatrics: New Musical Interactions with Passive Magnetic Tags | | BIBAK | PDF | 145-147 | |
| Laurel Pardue; Joseph A. Paradiso | |||
| Passive RF Tagging can provide an attractive medium for development of
free-gesture musical interfaces. This was initially explored in our Musical
Trinkets installation, which used magnetically-coupled resonant LC circuits to
identify and track the position of multiple objects in real-time. Manipulation
of these objects in free space over a read coil triggered simple musical
interactions. Musical Navigatrics builds upon this success with new more
sensitive and stable sensing, multi-dimensional response, and vastly more
intricate musical mappings that enable full musical exploration of free space
through the dynamic use and control of arpeggiatiation and effects. The
addition of basic sequencing abilities also allows for the building of complex,
layered musical interactions in a uniquely easy and intuitive manner. Keywords: passive tag, position tracking, music sequencer interface Note: Demonstration | |||
| Audiopad: A Tag-based Interface for Musical Performance | | BIBAK | PDF | 148-153 | |
| James Patten; Ben Recht; Hiroshi Ishii | |||
| We present Audiopad, an interface for musical performance that aims to
combine the modularity of knob based controllers with the expressive character
of multidimensional tracking interfaces. The performer's manipulations of
physical pucks on a tabletop control a real-time synthesis process. The pucks
are embedded with LC tags that the system tracks in two dimensions with a
series of specially shaped antennae. The system projects graphical information
on and around the pucks to give the performer sophisticated control over the
synthesis process. Keywords: RF tagging, MIDI, tangible interfaces, musical controllers, object tracking | |||
| sutoolz 1.0 alpha: 3D software music interface | | BIBAK | PDF | 154-155 | |
| Jordan Wynnychuk; Richard Porcher; Luka Brajovic; Marko Brajovic; Nacho Platas | |||
| The demo sutoolz 1.0 alpha is a 3D software interface for music performance.
By navigating through a 3D virtual architecture the musician uses a set of 3D
tools to interact with the virtual environment: gameplay zones, speaker
volumes, speaker volume membranes, speaker navigation volumes and 3D multi-band
FFT visualization systems. Keywords: 3D music interface, video game navigation, audio visualization, hybrid
environments, digital architecture, 3D sound, audio localization, analogue
input controllers Note: Demonstration | |||
| Introducing Composed Instruments: Technical and Musicological Implications | | BIBAK | PDF | 156-160 | |
| Norbert Schnell; Marc Battier | |||
| In this paper, we develop the concept of "composed instruments". We will
look at this idea from two perspectives: the design of computer systems in the
context of live performed music and musicological considerations. A historical
context is developed. Examples will be drawn from recent compositions. Finally
basic concepts from computer science will be examined for their relation ship
to this concept. Keywords: Instruments, musicology, composed instrument, Theremin, Martenot,
interaction, streams, MAX | |||
| Creating Sustained Tones with the Cicada's Rapid Sequential Buckling Mechanism | | BIBAK | PDF | 161-164 | |
| Tamara Smyth; Julius O. Smith | |||
| The cicada uses a rapid sequence of buckling ribs to initiate and sustain
vibrations in its tymbal plate (the primary mechanical resonator in the
cicada's sound production system). The tymbalimba, a music controller based on
this same mechanism, has a row of 4 convex aluminum ribs (as on the cicada's
tymbal) arranged much like the keys on a calimba. Each rib is spring loaded and
capable of snapping down into a V-shape (a motion referred to as buckling),
under the downward force of the user's finger. This energy generated by the
buckling motion is measured by an accelerometer located under each rib and used
as the input to a physical model. Keywords: Bioacoustics, Physical Modeling, Controllers, Cicada, Buckling mechanism | |||
| Amorphoscapes & Soundtoys | | BIBA | PDF | 165-166 | |
| Amorphoscapes by Stanza are interactive, generative, audio visual, digital
paintings and drawings created specifically for the internet. This is
interactive art on the Internet, incorporating generative sounds and 3D
imaging. Note: Demonstration | |||
| A low-cost Sonar Interface for Unobtrusive Man-Machine Interfacing | | BIBAK | PDF | 167-170 | |
| Johannes Taelman | |||
| This paper describes the hardware and the software of a computer-based
doppler-sonar system for movement detection. The design is focused on
simplicity and low-cost do-it-yourself construction. Keywords: sonar | |||
| Multimodal Interaction in Music Using the Electromyogram and Relative Position Sensing | | BIBAK | PDF | 171-176 | |
| Atau Tanaka; R. Benjamin Knapp | |||
| ABSTRACT This paper describes a technique of multimodal, multichannel
control of electronic musical devices using two control methodologies, the
Electromyogram (EMG) and relative position sensing. Requirements for the
application of multimodal interaction theory in the musical domain are
discussed. We introduce the concept of bidirectional complementarity to
characterize the relationship between the component sensing technologies. Each
control can be used independently, but together they are mutually
complementary. This reveals a fundamental difference from orthogonal systems.
The creation of a concert piece based on this system is given as example. Keywords: Human Computer Interaction, Musical Controllers, Electromyogram, Position
Sensing, Sensor Instruments | |||
| The PLANK: Designing a simple Haptic Controller | | BIBAK | PDF | 177-180 | |
| Bill Verplank; Michael Gurevich; Max Mathews | |||
| Active force-feedback holds the potential for precise and rapid controls. A
high performance device can be built from a surplus disk drive and controlled
from an inexpensive microcontroller. Our new design, The Plank, has only one
axis of force-feedback with limited range of motion. It is being used to
explore methods of feeling and directly manipulating sound waves and spectra
suitable for live performance of computer music. Keywords: Haptics, music controllers, scanned synthesis | |||
| Tongue 'n' Groove | | BIBAK | PDF | 181-185 | |
| Florian Vogt; Graeme McCaig; Mir Adnan Ali; Sidney Fels | |||
| Here we propose a novel musical controller which acquires imaging data of
the tongue with a two-dimensional medical ultrasound scanner. A computer vision
algorithm extracts from the image a discrete tongue shape to control, in
realtime, a musical synthesizer and musical effects. We evaluate the mapping
space between tongue shape and controller parameters and its expressive
characteristics. Keywords: Tongue model, ultrasound, real-time, music synthesis, speech interface | |||
| The Beatbug Network: A Rhythmic System for Interdependent Group Collaboration | | BIBAK | PDF | 186-191 | |
| Gil Weinberg; Roberto Aimi; Kevin Jennings | |||
| The Beatbugs are hand-held percussive instruments that allow the creation,
manipulation, and sharing of rhythmic motifs through a simple interface. When
multiple Beatbugs are connected in a network, players can form large-scale
collaborative compositions by interdependently sharing and developing each
other's motifs. Each Beatbug player can enter a motif that is then sent through
a stochastic computerized "Nerve Center" to other players in the network.
Receiving players can decide whether to develop the motif further (by
continuously manipulating pitch, timbre, and rhythmic elements using two bend
sensor antennae) or to keep it in their personal instrument (by entering and
sending their own new motifs to the group.) The tension between the system's
stochastic routing scheme and the players' improvised real-time decisions leads
to an interdependent, dynamic, and constantly evolving musical experience. A
musical composition entitled "Nerve" was written for the system by author Gil
Weinberg. It was premiered on February 2002 as part of Tod Machover's Toy
Symphony [1] in a concert with the Deutsches Symphonie Orchester Berlin,
conducted by Kent Nagano. The paper concludes with a short evaluative
discussion of the concert and the week-long workshops that led to it. Keywords: Interdependent Musical Networks, group playing, percussive controllers | |||
| Intimate Musical Control of Computers with a Variety of Controllers and Gesture Mapping Metaphors | | BIBAK | PDF | 192-194 | |
| David Wessel; Matthew Wright; John Schott | |||
| In this demonstration we will show a variety of computer-based musical
instruments designed for live performance. Our design criteria include initial
ease of use coupled with a long term potential for virtuosity, minimal and low
variance latency, and clear and simple strategies for programming the
relationship between gesture and musical result. We present custom controllers
and unique adaptations of standard gestural interfaces, a programmable
connectivity processor, a communications protocol called Open Sound Control
(OSC), and a variety of metaphors for musical control. Keywords: Expressive control, mapping gestures to acoustic results, metaphors for
musical control, Tactex, Buchla Thunder, digitizing tablets Note: Demonstration | |||
| The Mutha Rubboard Contoller: Interactive Heritage | | BIBAK | PDF | 195-198 | |
| Carr Wilkerson; Carmen Ng; Stefania Serafin | |||
| The Mutha Rubboard is a musical controller based on the rubboard, washboard
or frottoir metaphor commonly used in the Zydeco music genre of South
Louisiana. It is not only a metamorphosis of a traditional instrument, but a
modern bridge of exploration into a rich musical heritage. It uses capacitive
and piezo sensing technology to output MIDI and raw audio data.
This new controller reads the key placement in two parallel planes by using radio capacitive sensing circuitry expanding greatly on the standard corrugated metal playing surface. The percussive output normally associated with the rubboard is captured through piezo contact sensors mounted directly on the keys (the playing implements). Additionally, mode functionality is controlled by discrete switching on the keys. This new instrument is meant to be easily played by both experienced players and those new to the rubboard. It lends itself to an expressive freedom by placing the control surface on the chest and allowing the hands to move uninhibited about it or by playing it in the usual way, preserving its musical heritage. Keywords: MIDI controllers, computer music, Zydeco music, interactive music,
electronic musical instrument, human computer interface, Louisiana heritage,
physical modeling, bowl resonators | |||
| Fusing Movement, Sound, and Video in Falling Up, an Interactive Dance/Theatre Production | | BIBAK | PDF | 199-200 | |
| Todd Winkler | |||
| Falling Up is an evening-length performance incorporating dance and theatre
with movement-controlled audio/video playback and processing. The solo show is
a collaboration between Cindy Cummings (performance) and Todd Winkler (sound,
video), first performed at the Dublin Fringe Festival, 2001. Each thematic
section of the work shows a different type of interactive relationship between
movement, video and sound. This demonstration explains the various technical
configurations and aesthetic thinking behind aspects of the work. Keywords: Dance, Video processing, Movement sensor, VNS, Very Nervous System Note: Demonstration | |||
| The Hyperbow Controller: Real-Time Dynamics Measurement of Violin Performance | | BIBAK | PDF | 201-206 | |
| Diana Young | |||
| In this paper, the design and construction of a new violin interface, the
Hyperbow, is discussed. The motivation driving the research of this instrument
was the desire to create a violin bow capable of measuring the most intricate
aspects of violin technique -- the subtle elements of physical gesture that
immediately and directly impact the sound of the instrument while playing. In
order to provide this insight into the subtleties of bow articulation, a
sensing system has been integrated into a commercial carbon fiber bow to
measure changes in position, acceleration, and the downward and lateral strains
of the bow stick. The sensors were fashioned using an electromagnetic field
sensing technique, commercial MEMS accelerometers, and foil strain gauges. The
measurement techniques used in this work were found to be quite sensitive and
yielded sensors that were easily controllable by a player using traditional
right hand bowing technique. Keywords: Hyperbow, Hyperviolin, Hyperinstrument, violin, bow, position sensor,
accelerometer, strain sensor | |||