29,146 research outputs found

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

    Get PDF
    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

    In Homage of Change

    Get PDF

    Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt

    Get PDF
    The analysis of the creative processes involved in electroacoustic music may to a large extent rely on the thorough study of the technological tools used for the realisation of a musical work, both on the composition and on the performance sides. Understanding the behaviour and potential range of aesthetic results of such tools enables the musicologist to approach the studied work much beyond its final form, as presented on tape or as performed on a particular occasion: gaining knowledge on a wider technological context leads to considering the actual artistic decisions in the perspective of the potential outcomes that the composer and performer could face but not necessarily adopt. Hence, analysing an electroacoustic work on the basis of the study of its creative context, technological tools and compositional methods may constitute a useful approach to a better understanding of its related creative processes. However, the implementation of such an approach, mainly based on the hardware or software elements used during the creation of a given work, is not straightforward. First, it implies that the considered technologies are still in use and have not be come irreversibly obsolete. In this matter, new performances of a work are good opportunities for such investigations, as they often provide a technical update and require a deep understanding of the composer’s intentions. The musicologist also needs to have access to the resources, which may not be available without a direct contact with the composer. Assuming these conditions are reached,the musicological and organological studies can encounter another issue, particularly in the digital domain: the sources are not always presented under forms that are directly readable by the analyst, for instance with a specific programming language. Despite all these possible difficulties, many cases of technological tools lean themselves to an in-depth investigation, leading to relevant conclusions on some of the creative processes appearing in the field of electroacoustic music. In the context of a common session of several analytical approaches to a same electroacoustic piece, Hans Tutschku’s Entwurzelt for six singers and electronics (2012), this article focuses on the investigation and modelling of tools and methods of the compositional stage of the realisation of the work. During a performance of Entwurzelt, the electronic materials are simply triggered as events by one of the singers, without further interactivity–thus, the essential part of the research on the electroacoustic realisation aims at exploring the processes used during the compositional stage itself. As the electronics are used as an extension of the live vocal expression by the means of harmonic amplification and complex texturing, the tools for generation and processing of both symbolic representations and audio explored. Since the software tools that constitute the primary sources for our research were not directly designed to be used beyond their creative purposes, this talk presents software modelling implemented by the two authors to demonstrate the technological context in which Tutschku could compose Entwurzelt, emphasizing his creative methods and the decisions he could make upon a wider range of possible materials and processing techniques

    New Media Art/ New Funding Models

    Get PDF
    Investigates the current state of funding for new media artists, with an emphasis on the support structures for innovative creative work that utilizes advanced technologies as the main vehicle for artistic practice

    HIEMPA: Hybrid Instruments from Electroacoustic Manipulation and Models of PĂŒtorino and Aquascape

    Get PDF
    The HIEMPA project combined a team of people with technical, artistic, environmental and cultural expertise towards an artistic outcome aiming to extend the New Zealand sonic art tradition. The work involved collecting audio samples from the aquascape of the Ruakuri Caves and Nature Reserve in Waitomo, South Waikato, New Zealand; and samples of a variety of pĂŒtorino – a New Zealand MĂ€ori wind instrument. Following a machine learning analysis of this audio material and an analysis of the performance material, hybrid digital instruments were built and mapped to suitable hardware triggers. The new instruments are playable in realtime, along with the electroacoustic manipulation of pĂŒtorino performances. The project takes into account the environmental and cultural significance of the source material, with the results to be released as a set of compositions. This paper discusses the background research and process of the project

    MindFluctuations: consideraciones Poéticas, Estéticas y Técnicas de un Espectåculo de Baile Explorando Conexiones Neuronales

    Get PDF
    In this era of co-evolution of humans and computers, we are witnessing a lot of fear that humanity will lose control and autonomy. This is a possibility. Another is the development of symbiotic systems among men and machines. To accomplish this goal, it is necessary to research ways to apply some key concepts that have a catalytic effect over such ideas. In the discussion of this hypothesis through the case study of the spectacle MindFluctuations— an experimental artwork exploring neural connections—we are looking for ways to develop them from conception to realization. The discussion also establishes a process of reflection on the design, development and production of this dance spectacle. This artwork uses a customized Java application, NumericVariations, to explore the quoted neural connections for spectacles, performances and site-specific installations. Its approach was made possible by recent neuroscience research and the development of a Brain Computer Interface (BCI) integrated with a virtual reality framework, which enable an experimental interactive virtual reality artwork to emerge. A neural helmet connected to the computer and entwined with mathematical procedures enabled a symbiosis of humans with computers.En esta era de co-evoluciĂłn de los seres humanos y las computadoras estamos presenciando mucho miedo de que la humanidad pierda el control y la autonomĂ­a. Esta es una posibilidad. Otro es el desarrollo de sistemas simbiĂłticos entre el hombre y las mĂĄquinas. Para lograr este objetivo es necesario investigar formas de aplicar algunos conceptos clave capaces de tener un efecto catalizador sobre tales ideas. Al discutir esta posibilidad a travĂ©s del estudio de caso del espectĂĄculo MindFluctuations, una obra experimental que explora las conexiones neuronales, estamos buscando formas de desarrollarlas discutiendo este caso particular desde su concepciĂłn hasta su realizaciĂłn. TambiĂ©n establece un proceso de reflexiĂłn sobre el diseño, desarrollo y producciĂłn de este espectĂĄculo de danza. Esta obra de arte utiliza una aplicaciĂłn personalizada, NumericVariations, para explorar las conexiones neuronales citadas para espectĂĄculos, actuaciones e instalaciones especĂ­ficas del sitio. Su enfoque fue posible gracias a la reciente investigaciĂłn en neurociencia y al desarrollo de una Interfaz de Computadora Cerebral (BCI) integrada con un marco de realidad virtual, que permitiĂł que surgiera una obra experimental de realidad virtual interactiva. Un casco neuronal, conectado a la computadora y entrelazado con procedimientos matemĂĄticos, propiciĂł una simbiosis de seres humanos con computadoras

    A view of computer music from New Zealand: Auckland, Waikato and the Asia/Pacific connection

    Get PDF
    Dealing predominantly with ‘art music’ aspects of electroacoustic music practice, this paper looks at cultural, aesthetic, environmental and technical influences on current and emerging practices from the upper half of the North Island of New Zealand. It also discusses the influences of Asian and Pacific cultures on the idiom locally. Rather than dwell on the similarities with current international styles, the focus is largely on some of the differences
    • 

    corecore