Sound and music computing
Lloyd has a wealth of knowledge and models of the auditory processing system. Real-time visualizations and all. And some of it might actually be part of your smartphone. Come to CCRMA to find out more.
Lloyd Watts founded Audience in 2000 as a spin-off from Interval Research, with the mission to commercialize Auditory Neuroscience, producing chip products for PCs and cellphones.FREE Open to the Public
Dirty Electronics will resume regular activities at De Montfort University, Leicester every Thursday evening 6:00 – 8:00, PACE Building, Studio 1. The first session will be Thursday, 10 October. Participation is open to all. Information on a selection of previous concerts and events can be found at: www.dirtyelectronics.org
If you have any questions email John Richards: firstname.lastname@example.org
PERSPECTIVES ON MULTICHANNEL LIVE CODING
04.10.2013 - 19:30hSala Polivalent UPF Poblenou
C/ Roc Boronat 138
Free admission In live coding, many resources of computer music tools become available for real time improvisation. One of them is playing with the spatial dimension. In this concert, 16 loudspeakers will be controlled in real time by the performers from their respective language interpreters. PERFORMERS: Graham Coleman Alex McLean Miquel Parera Gerard Roma Anna Xambó
with the support of:Generalitat de Catalunya: Departament de Cultura
Ajuntament de Barcelona: Barcelona Cultura
Universitat Pompeu Fabra SGAE Fundación Autor Technical resources: El Sindicato de Altavoces de Pablo Fredes
Flyer Programa_04.10.13_Livecoding.pdf Category:
EDGE OF WRONG 2013 presents first found, then lost, a residency / tour from Oslo via Bergen to Reykjavik, with the South African artist Josh Ginsburg and the Norwegian musician Morten Minothi Kristiansen. BEK is one of several supporters of the project and organize a workshop with a performance on Tuesday 8 October.
Josh Ginsburg about the project:
‘Since then, experience has taught me, and a host of writers have confirmed, that getting lost is not always a bad thing. One might even consider misdirecting a stranger for his own good.’ – Ivan Vladislavic in Portrait with Keys.
The proposed project stages Morten Kristiansen and myself as ‘misdirected strangers’, adrift in the cities of Oslo, Bergen and Reykjavik. Exploring the sense of being lost, we will seek out ambiguous, transitory spaces, the margins of the city, and locations of flux, disorder and uncertainty. Through a rigorous process of digital collection, a highly networked digital archive of audio and video fragments will be assembled. A performance of live instrumentation and digital projection sourced from the archive will conclude each city’s exploration.
EDGE OF WRONG 2013 runs from 1. – 16 oktober and is presented to the audience:
5. October at Deichmanske library in Oslo
8. October at BEK in Bergen
16. October at the Sláturtíð Festival in Reykjavik
A short presentation of Josh Ginsburgs work that ”First found, then lost” is based on:
TED Talk by Josh Ginsburg: How I digitally mapped my own memory
A snapshot of Morten Minothi Kristiansens music:
Soundcloud/Minothi/Making Use of Pain 2
The project is coordinated by EDGE OF WRONG in cooperation with PNEK in Oslo, BEK in Bergen, Sláturtíð in Reykjavik, Music Norway and Norsk Jazzforum.
Contact: Morten Minothi Kristiansen +4798025571 / email@example.comTime and place:
- BEK - workshop - 06/10/2013 to 08/10/2013
- BEK - performance - 08/10/2013 20:00
In the October issue of the magazine Life and technology Matevž Pesek and Ciril Bohak from Laboratory for Computer Graphics and Multimedia published an article on the theme of acquiring information from music.
Les appels à candidatures sont ouverts : ateliers de composition, master classes, atelier d'interprétation du répertoire électroacoustique
- en podcast à télécharger sur l'application gratuite iOS Webmedia Ina GRM
- ou à écouter directement : Laurent Dailleau - Présences électronique 2013 ( 15'13)
son dernier concert à Présences Electronique 2013....lentement le bruit des nuages...
Electroacoustic Music Beyond Concert Performance
INTERNATIONAL CONFERENCE EMS14
10 – 14 June 2014 | Berlin | Germany
Deadline for proposals is 3 January 2014.
The concert work is still considered to be the epitome of electroacoustic music. During a work’s performance the relationships between composition and audience in time and space are defined as homogeneous – just as in the Aristotelian drama. However, since the 1960s, specific forms of electroacoustic music that challenge the possibility (or conception) of an absolute and exclusive reception have gained substantially in importance. This development resulted in concert forms of extended duration, as well as sound art and music in the media offering the listener opportunities to arrange the perceived sounds in new individual arrangements or to explore the aural space of one piece in various ways. The aesthetical positions and the practical consequences for electroacoustic music that have emerged from these specific environments shall be considered at EMS14 conference.
This EMS conference aims to discuss a number of relevant questions concerning electroacoustic music beyond concert performance among musicologists, composers and sound artists. Musicological studies in this field still lack consistent, rigorous research. Therefore, we explicitly invite papers that focus on aesthetics, history, analysis and practical issues of electroacoustic music of Extended Duration, as Sound Art/Sound Installation, as Media Music, as Conceptual Music, as Participatory Music, in the context of Happenings or extended Concert Forms.
The conference is also open to other topics relevant to histories and/or contemporary practices of electroacoustic music. Submission of papers relating to any aspect of the field would be appreciated as well, including, but not limited, to: analysis, perception, listening, terminology, composition, performance, cultural issues and education (cf. detailed call at www.ak.tu-berlin.de/ems2014).
The conference is hosted by Universität der Künste Berlin, Masterstudiengang Sound Studies in cooperation with Technische Universität Berlin, Fachgebiet Audiokommunikation and Freie Universität Berlin.
The deadline for receipt of proposals of papers is Friday, 3 January 2014 midnight EST. The duration of a paper presentation should be 20 minutes followed by a question period of 5 minutes. Conference languages are English and French.
Submissions can be made by uploading a zipped folder and providing the download link, or by direct email to: ems2014.berlin[at]gmail.com
A submission should consist of one pdf-document and the same as word-, odt-, or rtf-document in English with the following parts:
- the paper abstract in English (500 up to 1,000 words), headed with author name(s) and title (if any), organisation affiliation (if any), contact address, telephone, email address
- a curriculum vitae (1 page maximum)
- a list of publications (1 page maximum)
- a brief bio (up to150 words).
Further information available at www.ems-network.org and www.ak.tu-berlin.de/ems2014
Organisation Committee: Fabian Czolbe (Berlin) | Dr. Julia H. Schröder (FU Berlin) | Volker Straebel (TU Berlin) | Prof. Dr. Martin Supper (UdK Berlin)
In addition to the freshmen welcome, another big event took place in the afternoon at the Faculty of Computer and Information Science: when the network goes silent or how the digital lamb jumps in the clouds. The computer communication laboratory once again provided interesting lecturers, and sponsors took care of the refreshments.
Concert présenté dans le cadre du projet de recherche SOR2 financé par l'ANR. 23 octobre, CnsmdpConcert création Carine Bonnefoy, Large Ensemble
Élève en Doctorat d'interprète de la musique, issue du département jazz et musiques improvisées, Carine Bonnefoy mène une recherche pour et à travers l'interprétation de répertoires hybrides entre musique symphonique et jazz.
Cette recherche rejoint celle menée à l'Ircam sur l'apprentissage par répertoire où l'on cherche à simuler par une machine des modèles d'apprentissages musicaux.
Carine Bonnefoy présente ici une nouvelle création pour dix-huit musiciens qui s'inscrit dans le prolongement de Tribal, œuvre précédente dans laquelle la compositrice explore ses racines polynésiennes, une exploration de l'imaginaire collectif et de sa rencontre avec d'autres sources d'inspiration musicale. Cette prestation est une étape avant la soutenance de sa thèse qui aura lieu en octobre 2014.
- Date : Mercredi 23 octobre à 19h
- Lieu : Cnsmdp - Espace Maurice-Fleuret
- Accès : Entrée libre dans la limite des places disponibles
Ce concert est présenté à la fois dans le cadre du projet de recherche Sample Orchestrator 2 - coordonné par l'Ircam et financé par l'Agence Nationale de la Recherche - et dans le cadre des saisons Afrique du Sud - France 2012 et 2013.
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4. Job Board Update
5. AES Journal September Issue
This is very preliminary work, no final results, so I expect this will evolve into a general discussion of EEG and auditory perception.FREE Open to the Public
14th International Conference on New Interfaces for Musical Expression (NIME)
June 30 * July 3, 2014
Goldsmiths University of London
Call for ParticipationINTRODUCTION
NIME (New Interfaces for Musical Expression) is the premier conference in designing human-computer interfaces and interactions for musical performance. NIME gathers researchers and practitioners around lectures, installations, concerts, and workshops. We are delighted to host NIME 2014 at Goldsmiths, University of London, bringing NIME for the first time to London and situating the conference within highly developed UK research networks in music computing, media, design, and HCI, and connecting NIME research to a thriving local music scene, art, and interaction design communities.
In its second decade, one can say that NIME, as a field, has “arrived.” Sensing technology is ubiquitous in consumer products like smart-phones and video game controllers. Computer-based music performance is no longer contained in specialised genres, but has become the norm in a broad range of musical styles. The success of interactive music technologies puts in question the very need for NIME to even exist.
The take-up of NIME techniques in all music causes the technology to disappear and forces us to focus on the music. This represents a double-edged sword. While the focus on musical quality is paramount, it can only be built upon foundations of solid craft and excellent science. In order to avoid re-inventing the wheel, and worse yet, repeating mistakes, NIME needs to build a legacy of reproducible results, citable references, and transferrable methods and techniques that can be transmitted to students, broader groups of musicians, and amateurs eager to engage in richer musical experiences.
New instruments and interaction are at the heart of NIME. Lutherie and composition combine to create the means to deliver compelling live performances. This is an ideal, and is more often than not, assumed. In between the science of interaction and the art of music-making are the cultural and theoretical considerations about what comprises an exciting performance.
With the theme Liveness, we draw upon Philip Auslander’s reading of this seemingly simple word as a way to look at issues of authenticity, experience, and the role that theatricality and mediatization might play in reinforcing or detracting from a successful performer/audience dynamic.
We will build upon a productive history of collaboration between Goldsmiths and Brunel University in the Brunel Electronic and Analogue Music (BEAM) festival to bring added excitement to the NIME 2014 concert and exhibition programme. We will partner with high profile venues such as Café Oto and DIY communities like London Music Hackspace to open up the NIME artistic programme to the general public and connect our research community to the thriving music scene in London.CALL FOR PARTICIPATION
On behalf of the NIME 2014 Committee, we would like to invite you to be part of the 14th international conference on New Interfaces for Musical Expression.
We invite submission of new works in the following categories:
- Papers and Posters
- Performances and Installations
- Workshops and Tutorials
- Demonstrations and Demo-performances
- Artistic programme: Performances & Installation works
Submissions due: December 1, 2013
Review Notification: February 1, 2014
- Scientific programme: Papers, Workshops, Demonstrations:
Draft submission (mandatory): January 31, 2014
Final submission: February 7, 2014
Review notification: March 28, 2014
Camera-ready paper deadline: April 18, 2014
An online submission system will open on November 1st, 2013 and its address will be published here.
N.B. Please note that the art programme deadline this year does not coincide with the paper deadline.
N.B. Please note the new system in the scientific programme for mandatory draft submission followed by full submission. We have implemented this new system to address the perennial deadline extensions. This year, we will not offer extensions. The Draft Submission deadline corresponds to previous years’ submission deadline. On this date, the author must be registered on the online submission system and have submitted a full draft manuscript of their paper. You will then have one week (the time of prior years’ extensions) to make minor edits to your manuscript.SCIENTIFIC PROGRAMME CALL FOR PAPERS
We welcome submissions of original research on scientific and artistic use of new interfaces for musical expression. A non-exhaustive list of NIME related topics is found below. This list is inclusive, and indicative. The thematic focus of this year’s edition is Liveness, and is described in the introduction above. We also encourage submissions that extend, stretch, or challenge the NIME topics and themes.
Acceptance criteria: The paper under consideration must propose an original contribution to NIME research; it must cite prior related work and should demonstrate rigorous research methodology.
There are three different paper submission categories:
- Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo)
- Short paper/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo)
- Demo paper (up to 2 pages in proceedings, demonstration)
Submitted papers will be subject to a peer review process by an international expert committee. All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools. A manuscript submitted for review cannot be already under review for publication elsewhere, or be submitted for a second review elsewhere while under review for NIME 2014. Authors of both full and short papers are greatly encouraged to submit a video in support of their paper. A video is mandatory for demonstration submission.
Review process detailed here
A best paper award will be presented to the individual(s) judged by the scientific committee to have written the best paper appearing in the conference proceedings.CALL FOR WORKSHOPS
We invite submissions for half-day (3 hours) or full-day (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.
Tutorial proposals should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration.ARTISTIC PROGRAMME CALL FOR PERFORMANCES & INSTALLATIONS
We invite submission of proposals for performances and installations. Proposed performances should have a clear connection with the substance of the NIME conference. We expand the notion of NIME in the performance programme, to include the exploration of existing interfaces into new sounds, new methods or new ways of being physical. These performances might re-insert the body into digital performance, or they might suggest new modes of performing and the presentation of live music that go beyond existing practices whilst exploiting the unique affordances of interfaces and technologies.
We encourage submissions that explore:
- Novel and exploratory use of interfaces in performance
- Both old and new interfaces
- Use of innovative, imaginative and creative methods.
We invite you to consider fully what a performance can be: you should go well beyond demonstrating the interface and we will consider any performance that is in the realm of live, electronically-produced sound, where an interface is central to the realisation of the music.
Submitted proposals will be reviewed by an expert committee. Preference will be given to submissions with strong evidence that the proposed performance has already been realized or is technically feasible and within the artists’ capabilities. We particularly invite premieres from performers with a track record, or with interfaces that have been well tested.CALL FOR DEMO-PERFORMANCES
This year, we introduce a hybrid zone between the artistic and scientific programme by creating a new category of demonstration-performance. This is particularly apt for new interfaces and performance sketches which are still in the testing or early artistic phase. A lively demo session will allow you to set up your piece or instrument and give short performances in an unstaged setting.TECHNICAL NOTES
- Performance proposals in conjunction with paper submissions are allowed, but each will be judged on its own merit.
- Typical NIME performance pieces last for 5-15 minutes, but shorter and longer performance proposals may exceptionally be taken into consideration.
- Within reasonable limits, we may be able to provide musicians to perform pieces but this would be negotiated on a piece-by-piece basis.
- Documentation of the performances will be available online after the conference unless this is impossible due to the nature of the performance.
You should submit a PDF document, maximum 4 pages. The proposal should include the following:
- Title and detailed description of the proposed performance.
- A link to one primary video documentation of an example performance with the relevant interface. (If video documentation is inappropriate for your performance, please explain why and instead send an audio file with accompanying photographs (these do not need to be to marketing standard, they are more for explanation of how your performance will look).
- Links to any relevant supplementary supporting media files (audio and video).
- Number of performers and the instruments and technologies that will be used.
- Names of all participants/submitters, with a short bio for each (100 words).
- Details of technical requirements for the venue. Diagrams of the preferred stage setup and signal routing are recommended.
- Evidence of the feasibility of the performance. Include documentation and listings of past performances or related works that demonstrate the submitter’s capabilities to implement the proposed performance.
- A list of any equipment that needs to be provided by the conference organizers.
- Any instrumental performers that would need to be provided by the organizers. Note that the conference organizers may not be able to accommodate your request. Please also note that the organizers cannot provide funding to support performers’ travel or accommodation at the conference.
Core topics central to NIME include the following. In addition to submissions that address specific themes of this year’s edition of the conference, original contributions are encouraged in, but not limited to, the following topics:
- Novel controllers and interfaces for musical expression
- Novel musical instruments
- Augmented/hyper instruments
- Novel controllers for collaborative performance
- Sensor and actuator technologies
- Haptic and force feedback devices
- Motion, gesture and music
- Interfaces for dance and physical expression
- Multimodal expressive interfaces
- Interfaces for musical expression for hearing or visually impaired people
- Interactive game music
- NIME intersecting with game design
- Robotic music
- Mobile music technology and performance paradigms
- Biological and bio-inspired systems
- Musical mapping strategies
- Interactive sound and multimedia installations
- Musical human-computer interaction
- Interaction design and software tools
- Interface protocols and data formats
- Sonic interaction design
- Perceptual and cognitive issues
- Performance analysis
- Performance rendering and generative algorithms
- Machine learning in musical performance
- Experiences with novel interfaces in live performance and composition
- Surveys of past work and stimulating ideas for future research
- Historical studies in twentieth-century instrument design
- Artistic, cultural, and social impact of NIME technology
- Novel interfaces in music education and entertainment
- Reports on student projects in the framework of NIME related courses
- Practice-based research approaches/methodologies/criticism
- User studies/evaluations of NIME
- Language and state in live interaction
- Musicianship of new musical interfaces
Atau Tanaka (Goldsmiths)
Rebecca Fiebrink (Goldsmiths)
Baptiste Caramiaux (Goldsmiths)
Koray Tahiroğlu (Aalto University, Helsinki)
Sarah Nicolls (Brunel University)
Adam Parkinson (Goldsmiths)
Posters and demos co-chairs
Marco Donnarumma (Goldsmiths)
Alessandro Altavilla (Goldsmiths)
Special Sessions co-chairs
Marco Gillies (Goldsmiths)
Alex McLean (University of Leeds)
Jean-Baptiste Thiebaut (ROLI/Music Hackspace)
Student Volunteer Coordinators
Peter Mackenzie (Goldsmiths)
Anna Weisling (Goldsmiths)
Stephanie Horak (Goldsmiths)
We hope the new academic year will be successful, interesting, and full of new ideas and challenges! There was a great deal of positive energy during the freshman welcome and we hope that the energy and optimism will carry us through the whole year.
Leicester Media School - Music, Technology and Innovation New Media Events 2013-2014 - Launch Party Events
Wednesday October 9th, 2013 7.00pmPACE Building, Studio 1, Richmond St., LeicesterPete Batchelor Kaleidoscope: Cycle - Pulse + Fuse (8 channel surround sound)Louise Rossiter SiO2 (8 channel surround sound)Louise Rossiter/Andrew Connor Teahouse Memories (audio-visual) John Young 5 Versions of Reality (multi-speaker diffusion)
Wednesday October 23rd, 2013 7.00pmPACE Building, Studio 1, Richmond St., LeicesterSimon Atkinson Three Modulations for Mute Synth II (multi-speaker diffusion)Amit D Patel aka Dushume-Svaramaya Bass In The Pace.... (bespoke instruments create noise beneath the surface)Ben Ramsay Flinch-Rest (multi-speaker diffusion)John Richards Mute Synth live (with Dirty Electronics)
Interactive sonification of motion - Design, implementation and control of expressive auditory feedback with mobile devices
Time: Fri 2013-09-27 13.30 - 16.00
Location: F3PhD defense. Respondent: Gaël Dubus