A Wireless Future: performance art, interaction and the brain-computer interfaces

Although the use of Brain-Computer Interfaces (BCIs) in the arts originates in the 1960s, there is a limited number of known applications in the context of real-time audio-visual and mixed-media performances and accordingly the knowledge base of this area has not been developed sufficiently. Among the reasons are the difficulties and the unknown parameters involved in the design and implementation of the BCIs. However today, with the dissemination of the new wireless devices, the field is rapidly growing and changing. In this frame, we examine a selection of representative works and artists, in comparison to the current scientific evidence. We identify important performative and neuroscientific aspects, issues and challenges. A model of possible interactions between the performers and the audience is discussed and future trends regarding liveness and interconnectivity are suggested

PIWeCS: enhancing human/machine agency in an interactive composition system

This paper focuses on the infrastructure and aesthetic approach used in PIWeCS: a Public Space Interactive Web-based Composition System. The concern was to increase the sense of dialogue between human and machine agency in an interactive work by adapting Paine's (2002) notion of a conversational model of interaction as a ‘complex system’. The machine implementation of PIWeCS is achieved through integrating intelligent agent programming with MAX/MSP. Human input is through a web infrastructure. The conversation is initiated and continued by participants through arrangements and composition based on short performed samples of traditional New Zealand Maori instruments. The system allows the extension of a composition through the electroacoustic manipulation of the source material

A Wireless Future: performance art, interaction and the brain-computer interfaces

Although the use of Brain-Computer Interfaces (BCIs) in the arts originates in the 1960s, there is a limited number of known applications in the context of real-time audio-visual and mixed-media performances and accordingly the knowledge base of this area has not been developed sufficiently. Among the reasons are the difficulties and the unknown parameters involved in the design and implementation of the BCIs. However today, with the dissemination of the new wireless devices, the field is rapidly growing and changing. In this frame, we examine a selection of representative works and artists, in comparison to the current scientific evidence. We identify important performative and neuroscientific aspects, issues and challenges. A model of possible interactions between the performers and the audience is discussed and future trends regarding liveness and interconnectivity are suggested

The Implementation of Augmented Reality and Low Latency Protocols in Musical Instrumental Collaborations

Past projects involving musical software have been completely virtual, while these software do well in entertainment and education, there is the question of whether these software are playable to the same extent as physical musical instruments. The software presented in this paper, AR Jam , utilizes various software and hardware tools to form a networked mixed reality system for the users to play music on. The intention of this project is to seek new ways to explore more playable musical instruments in the digital world. The paper presents the software\u27s implementation, challenges such as optimization problems of the synthesizer, and the proposal of new ways to improve various aspects of this system in the future

Modelling the live-electronics in electroacoustic music using particle systems

Developing the live-electronics for a contemporary electroacoustic piece is a complex process that normally involves the transfer of artistic and aesthetic concepts between the composer and the musical assistant. Translating in technical terms the musical, artistic and aesthetic concepts by means of algorithms and mathematical parameters is seldom an easy and straightforward task. The use of a particle system to describe the dynamics and characteristics of compositional parameters can reveal an effective way for achieving a significant relationship between compositional aspects and their technical implementation. This paper describes a method for creating and modelling a particle system based on compositional parameters and how to map those parameters into digital audio processes. An implementation of this method is described, as well as the use of such a method for the development of the work O Farfalhar das Folhas (The rustling of leaves) (2010), for one flutist, one clarinetist, violin, violoncello, piano and live-electronics, by Flo Menezes.info:eu-repo/semantics/publishedVersio

Optical turntable as an interface for musical performance

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002."June 2002."Includes bibliographical references (leaves 80-82).This thesis proposes a model of creative activity on the computer incorporating the elements of programming, graphics, sound generation, and physical interaction. An interface for manipulating these elements is suggested, based on the concept of a disk-jockey turntable as a performance instrument. A system is developed around this idea, enabling optical pickup of visual information from physical media as input to processes on the computer. Software architecture(s) are discussed and examples are implemented, illustrating the potential uses of the interface for the purpose of creative expression in the virtual domain.Nikita Pashenkov.S.M

Flocking: A framework for declarative music-making on the Web

(Abstract to follow

Towards a Semantic Architecture for the Internet of Musical Things

The Internet of Musical Things is an emerging research area that relates to the network of Musical Things, which are computing devices embedded in physical objects dedicated to the production and/or reception of musical content. In this paper we propose a semantically-enriched Internet of Musical Things architecture which relies on a semantic audio server and edge computing techniques. Specifically, a SPARQL Event Processing Architecture is employed as an interoperability enabler allowing multiple heterogeneous Musical Things to cooperate, relying on a music-related ontology. We technically validate our architecture by implementing an ecosystem around it, where five Musical Thing prototypes communicate between each other

Designing interactive ambient multimedia applications: requirements and implementation challenges

Ambient intelligence opens new possibilities for interactive multimedia, leading towards applications where the selection, generation and playback of multimedia content can be directed and influenced by multiple users in an ambient sensor network. In this paper, we derive the basic requirements for a flexible infrastructure that can support the integration of multimedia and ambient intelligence, and enable rapid tailoring of interactive multimedia applications. We describe our implementation of the proposed infrastructure, and demonstrate its functionality through several prototype application