Archive for November, 2007

November 14th, 2007

Rehearsal

Thanks to those who could make it for the first rehearsal. We managed to cover the first 5 of 14 odd sounds, showing that it is a feasible project. Next time we will need more people, but I will give more advance warning of time & date.

November 4th, 2007

EMS 08

The call for the next EMS conference (in Paris, next June; deadline January) is here.

The conference themes seem up our collective street:

The main topic for the EMS08 will be the relationship between sound and music

– Inventing new sounds for music: how do composers approach the production of sounds for their musical works, which methods and procedures they used?
– Influence of tools on music: Is the music the result of invention, or do tools determine the final result?
– Relations between sound and structure: what relationships exist between the sounds and the structure of the work? Are there significant trends in this domain?
– Sound terminology: is a physical or the morphological description efficient for characterising sounds? Has a need for new terminology appeared in any way?

(The second point is mirrored in a this call for a forthcoming issue of Organised Sound, and happens to be something I’ve been researching recently, so I’ll be hoping to get a paper together for both…)

November 4th, 2007

More realization resources…

Christopher Burns has also done some work on realizing various repertoire pieces:

  • Burns, C. 2002. “Realizing Lucier and Stockhausen: Case studies in the performance practice of electroacoustic music.” Journal of New Music Research 31(1), pp. 59-68.
  • Burns, C. 2004. “Designing for Emergent Behavior: a John Cage realization.” Proceedings, International Computer Music Conference 2004, pp. 193-196.
November 3rd, 2007

Searching sound with Sound; creating sonic structures from sound libraries

Abstract:
This work emerged from a musical collaboration with trombonist John Kenny called ET (Extended Trombone). I generated a sound library of some of Kenny’s extended playing techniques between 2005 and 2006 and have since been examining ways to access this data in order to create sonic structures for offline and real-time performance situations.
Curtis Roads provided an excellent introduction to the concept of Microsound in 2001. In this work Roads presents an overview of the experience of sound with Macro, Meso and Micro regions. Our work is not concerned with granular sound elements (micro level) but somewhere between the micro and meso period, a region that is particularly relevant to sound design and musical composition where sound libraries are involved. The system allows an exploration of the sound library with queries to the database being submitted from live sound input. This gives access to unpredicted sonic structures that are none the less related to a live sound stream. Access to the sound library is achieved via bespoke software created with Cycling 74’s Max MSP. It was useful to concentrate on three sound parameter definitions; estimated pitch, duration and mean amplitude. While other elements could also be included such as noisiness or brightness, these have so far been considered less pertinent parameters in the Meso-Macro time-scales currently under investigation.

The development of the sound library was supported by the University of Edinburgh’s Development Trust Research Fund (DTRF).

This work was presented at the VDT (Verband Deutscher Tonmeister) symposium on Sound Design, 31-10-07 to 02-11-07, Ludwigsberg, Germany.

November 3rd, 2007

The Reconstruction of Stria

This article could provide a useful reference for this project as it un-picks the creation/composition of Chowning’s Stria (1977).   It can be found in the current issue of the Computer Music Review which is dedicated to the piece.  Another good reference could be the Summer 2000 issue of the Computer Music Review, where the journal tackled “New Implementations of Electroacoustic Classics”

Full title

Zattra, Laura ” The Assembling of Stria by John Chowning: A Philological Investigation”.

Computer Music Journal, Volume 31, Number 3, Fall 2007. Berkely, California.

November 1st, 2007

WHOLE BODY INTERACTION: THE FUTURE OF THE HUMAN BODY

// Unfortunately I am not going to be at this conference despite the strong relation to my work and research, since I had already booked tickets to travel to Greece for the International Film Festival. If anyone from the group is interested to participate it would be wise to book a place as soon as possible since there is a limited number of participants.(40) .

In case someone, even not from our group is interested to go, please let me know so to meet after the conference and discuss all about it. //


Liverpool John Moores University, 22 – 23 November 2007

The aim of this workshop is to promote critical discussion over virtual, mixed and augmented reality and provide attendees with a critical framework for tackling issues.

Bill Buxton¹ mused on what future archaeologist would make of today’s humans extrapolating from our current computer technology and came up with a being with one eye, a dominant hand and two ears but lacking legs, and a sense of smell or touch. He argued for greater involvement in the whole person and their senses in human-computer interaction. Artists have responded to this challenge by exploiting the various technologies that fall under the general banner of virtual reality, and support whole body interaction. Goldberg² has also considered how performers are not just concerned with the body and bodily actions but also the relationship between performer and audience.

Programme

The first day of the workshop will include short presentations from EPSRC and AHRC researchers that aim to promote discussion. These talks will present the underpinning technologies and conceptual frameworks of whole body interaction. There will also be demonstrations of relevant technologies and art works, based on motion capture and camera vision.

The second day will be small group discussions, leading on from ideas from day one, aimed at delivering a framework for critical analysis and thinking on whole body interaction. Delegates will be asked to bring along their own examples of whole body art works to help initiate discussion.

November 1st, 2007

AHRC Methods Network and the Digital Arts & Humanities

It seems that our idea for this research group reflects a general trend where internet services aim to bring together researchers from relative disciplines. The AHRC Methods network is the main Arts and Humanities on-line research centre, while the brand new Digital Arts and Humanities is the new board for discussion and exchange of ideas between researches in Arts and Humanities, aiming to create a big database for the past and the current research on a broad selection of fields.

After registering somebody can join several groups of discussions, explore or contribute content, contact other researchers and get informed of forthcoming events and conferences.

I found them extremely useful tools and I would strongly recommend subscription and participation.


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