9 research outputs found

    Proceedings of the 7th Sound and Music Computing Conference

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    Proceedings of the SMC2010 - 7th Sound and Music Computing Conference, July 21st - July 24th 2010

    Computer Mediated Music Production: a Study of Abstraction and Activity

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    Human Computer Interaction research has a unique challenge in understanding the activity systems of creative professionals, and designing the user-interfaces to support their work. In these activities, the user is involved in the process of building and editing complex digital artefacts through a process of continued refinement, as is seen in computer aided architecture, design, animation, movie-making, 3D modelling, interactive media (such as shockwave-flash), as well as audio and music production. This thesis examines the ways in which abstraction mechanisms present in music production systems interplay with producers' activity through a collective case study of seventeen professional producers. From the basis of detailed observations and interviews we examine common abstractions provided by the ubiquitous multitrack-mixing metaphor and present design implications for future systems

    Musical Acts and Musical Agents: theory, implementation and practice

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    Centre for Intelligent Systems and their ApplicationsMusical Agents are an emerging technology, designed to provide a range of new musical opportunities to human musicians and composers. Current systems in this area lack certain features which are necessary for a high quality musician; in particular, they lack the ability to structure their output in terms of a communicative dialogue, and reason about the responses of their partners. In order to address these issues, this thesis develops Musical Act Theory (MAT). This is a novel theory, which models musical interactions between agents, allowing a dialogue oriented analysis of music, and an exploration of intention and communication in the context of musical performance. The work here can be separated into four main contributions: a specification for a Musical Middleware system, which can be implemented computationally, and allows distributed agents to collaborate on music in real-time; a computational model of musical interaction, which allows musical agents to analyse the playing of others as part of a communicative process, and formalises the workings of the Musical Middleware system; MAMA, a musical agent system which embodies this theory, and which can function in a variety of Musical Middleware applications; a pilot experiment which explores the use of MAMA and the utility of MAT under controlled conditions. It is found that the Musical Middleware architecture is computationally implementable, and allows for a system which can respond to both direct musical communi- cation and extramusical inputs, including the use of a custom-built tangible interface. MAT is found to capture certain aspects of music which are of interest — an intuitive notion of performative actions in music, and an existing model of musical interaction. Finally, the fact that a number of different levels — theory, architecture and implementation — are tied together gives a coherent model which can be applied to many computational musical situations

    Sonifying Urban Rhythms: Towards the spatio-temporal composition of the urban environment

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    This thesis is concerned with the composition of the urban rhythms generated by urban design and planning. It recognises the temporal limitations of the graphic urban masterplan, with its tendency of being static and singular in the composition of urban experience. Thus it proposes the integration of rhythm into the urban design and planning process, with the aim to improve the temporal quality of urban design. In order to represent these urban rhythms, as designed in the graphic masterplan, we propose their sonification. A Sonified Urban Masterplan (SUM) tool was developed, allowing the sonification of multiple layers of maps (raster or vector images) along a number of paths of interest. An urban sonic code was then developed in order to map the relevant graphic urban parameters into sound parameters. This sonification strategy was applied to the city of Paris as a case study, producing a sonified set of maps whose composition could be ‘listened’ to over time. Temporal issues concerning human movement, transport infrastructure, activity distribution, and the structuring of urban form and design elements could be represented and heard. We then investigated the potential of the SUM tool as a design and planning tool. We explored how sound could be used to inform the composition of urban form in both time and space, in order to generate the urban rhythms we may desire to experience. Thus through the integration of sonification in urban design and planning, this thesis permits the spatio-­‐temporal representation and composition of urban form. It allows urban designers and planners to compose future urban rhythms and improve the temporal quality of our urban environments. Furthermore, the potential of this tool in other fields has also be recognized, for example in music and the composition of multi-­‐layered open graphic scores

    Evaluation of the availability and applicability of computational approaches in the safety assessment of nanomaterials: Final report of the Nanocomput project

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    This is the final report of the Nanocomput project, the main aims of which were to review the current status of computational methods that are potentially useful for predicting the properties of engineered nanomaterials, and to assess their applicability in order to provide advice on the use of these approaches for the purposes of the REACH regulation. Since computational methods cover a broad range of models and tools, emphasis was placed on Quantitative Structure-Property Relationship (QSPR) and Quantitative Structure-Activity Relationship (QSAR) models, and their potential role in predicting NM properties. In addition, the status of a diverse array of compartment-based mathematical models was assessed. These models comprised toxicokinetic (TK), toxicodynamic (TD), in vitro and in vivo dosimetry, and environmental fate models. Finally, based on systematic reviews of the scientific literature, as well as the outputs of the EU-funded research projects, recommendations for further research and development were also made. The Nanocomput project was carried out by the European Commission’s Joint Research Centre (JRC) for the Directorate-General (DG) for Internal Market, Industry, Entrepreneurship and SMEs (DG GROW) under the terms of an Administrative Arrangement between JRC and DG GROW. The project lasted 39 months, from January 2014 to March 2017, and was supported by a steering group with representatives from DG GROW, DG Environment and the European Chemicals Agency (ECHA).JRC.F.3-Chemicals Safety and Alternative Method

    The generative, analytic and instructional capacities of sound in architecture : fundamentals, tools and evaluation of a design methodology

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    Premi extraordinari doctorat UPC curs 2017-2018, Àmbit d’Arquitectura, Urbanisme i EdificacióThe disciplines of space and time form two domains to which it is daring to compare, since it is obvious that they are of a different nature. Music happens in time, while architecture happens in space. However, from the first treatises on both architecture and music, repeated calls for comparison, complementarity and influence of both disciplines can be read, at least to the observation of certain common orders between the two domains. In this doctoral thesis we do not question this whole theoretical corpus that has been enriching the relationship between both disciplines. We received it and joined that stream of knowledge. What we do notice, however, is the almost impertinent question that follows: can sound help the architect in his daily tasks? And, therefore, what are the contributions of sound to the architect? To do this we must seek the connection in the principles of both arts, where we can detach ourselves from time and space, and approach the most universal of art forms. The architect, in his daily work, is faced with three particular tasks: the architectural project, the architectural analysis and the teaching of architecture. Each of the three tasks is connected with the other two tasks: the project is carried out again with the analysis and transmitted to the new architect; the analysis supports the project decisions and gives tools to the disciple; and the teaching has the project as its purpose and the analysis as its method. The thesis presented here shows what sound offers to the task of the project, to that of analysis and to that of teaching. These three tasks are approached from three premises: theoretical foundations, tools and evaluation. The interaction of the three tasks with the three premises gives rise to nine lines of work that articulate the chapters of the thesis. The first, fourth and seventh chapters approach the three tasks from the premise of theoretical foundations, foundations that perhaps because they are obvious, have been ignored or overlooked but which constitute the nature of both disciplines. The first shows, by the hand of two 20th century authors - the architect Dom Hans van der Laan and the composer Olivier Messiaen - that creation in both disciplines is of a systematic nature. The fourth one revaluates the analytical systems of representation of form both in architecture and in music which, starting with the basic characteristics of its elements, lead to a symbolic notation and a tool for the analysis of the work: the plan and the score. The seventh introduces the student of architecture to the growing separation between music and architecture that has been accentuated to this day. The second, fifth and eighth chapters approach the three particular tasks from the premise of tools, working tools that help to understand more directly the influence of architecture on sound. The second places virtual reality and auralization techniques at the service of the architectural and urban planning project, enhancing the sound experience in these projects. The fifth deals with the acoustic analysis of exterior spaces and their relationship with the urban configuration of these spaces. The eighth section presents the study of acoustic heritage as an educational tool. The third, sixth and ninth chapters deal with the three tasks from the premise of evaluation, a check that ensures the influence of sound on them through teaching experiments. The third argues and exemplifies that a sound landscape can be the engine and generator of an architectural design. The sixth one reviews the methods for evaluating the subjective and objective parameters of architectural acoustics. The ninth shows that in teaching sound to architects, "learning by listening" should be given priority over "passive learning".Las disciplinas del espacio y del tiempo forman dos dominios a los que resulta atrevido comparar, pues es obvio que son de naturaleza distinta. La música ocurre en el tiempo, mientras que la arquitectura en el espacio. No obstante, desde los primeros tratados tanto de arquitectura como de música, se pueden leer repetidas llamadas a la comparación, al complemento y a la influencia de ambas disciplinas, cuanto menos a la constatación de ciertos órdenes comunes entre ambos dominios. En esta tesis doctoral no ponemos en cuestión todo este corpus teórico que ha venido enriqueciendo la relación entre ambas disciplinas. La recibimos y nos unimos a esa corriente de conocimiento. En lo que sí reparamos, en cambio, es en la pregunta casi impertinente que surge seguidamente: ¿puede el sonido ayudar al arquitecto en sus tareas diarias? Y, por tanto, ¿cuáles son las contribuciones del sonido para el arquitecto? Para ello debemos buscar la conexión en los principios de ambas artes, allí donde podemos despegarnos del tiempo y del espacio, y acercarnos a la más universal de las formas de arte. El arquitecto, en su tarea diaria, se enfrenta a tres tareas particulares: el proyecto arquitectónico, el análisis arquitectónico y la enseñanza de la arquitectura. Cada una de las tres tareas está conectada con las otras dos: el proyecto se reconduce con el análisis y se transmite al nuevo arquitecto; el análisis soporta las decisiones de proyecto y da herramientas al discípulo; y la enseñanza tiene como fin el proyecto y como método el análisis. La tesis aquí presentada pone de manifiesto lo que el sonido ofrece a la tarea del proyecto, a la del análisis y a la de la enseñanza. Estas tres tareas son abordadas desde tres premisas: los fundamentos teóricos, las herramientas y la evaluación. La interacción de las tres tareas con las tres premisas da lugar a nueve líneas de trabajo que articulan los capítulos de la tesis. Los capítulos primero, cuarto y séptimo abordan las tres tareas desde la premisa de los fundamentos teóricos, fundamentos que quizá por ser obvios, se han obviado o pasado por alto pero que constituyen la naturaleza de ambas disciplinas. El primero muestra, de la mano de dos autores del siglo XX -el arquitecto Dom Hans van der Laan y el compositor Olivier Messiaen- que la creación en ambas disciplinas es de naturaleza sistemática. El cuarto revaloriza los sistemas analíticos de representación de la forma tanto en arquitectura como en música que, empezando por las características básicas de sus elementos, conducen a una notación simbólica y una herramienta de análisis de la obra: el plano y la partitura. El séptimo presenta al estudiante de arquitectura la creciente separación entre la música y la arquitectura que se ha venido acentuando hasta nuestros días. Los capítulos segundo, quinto y octavo abordan las tres tareas particulares desde la premisa de las herramientas, útiles de trabajo que ayudan a comprender de modo más directo la influencia de la arquitectura en el sonido. El segundo sitúa la realidad virtual y las técnicas de auralización al servicio del proyecto de arquitectura y urbanismo, potenciando la experiencia sonora en estos proyectos. El quinto aborda el análisis acústico de espacios exteriores y su relación con la configuración urbana de estos espacios. El octavo presenta el estudio del patrimonio acústico como herramienta pedagógica. Los capítulos tercero, sexto y noveno abordan las tres tareas desde la premisa de la evaluación, comprobación que asegura mediante experimentos docentes la influencia del sonido en ellas. El tercero argumenta y ejemplifica que un paisaje sonoro puede ser el motor y generador de un diseño arquitectónico. El sexto realiza una revisión de los métodos de evaluación de los parámetros subjetivos y objetivos de la acústica arquitectónica. El noveno muestra que en la enseñanza del sonido para los arquitectos debe priorizarse "aprender escuchando" antes que el "aprendizaje pasivo".Award-winningPostprint (published version

    The generative, analytic and instructional capacities of sound in architecture : fundamentals, tools and evaluation of a design methodology

    Get PDF
    The disciplines of space and time form two domains to which it is daring to compare, since it is obvious that they are of a different nature. Music happens in time, while architecture happens in space. However, from the first treatises on both architecture and music, repeated calls for comparison, complementarity and influence of both disciplines can be read, at least to the observation of certain common orders between the two domains. In this doctoral thesis we do not question this whole theoretical corpus that has been enriching the relationship between both disciplines. We received it and joined that stream of knowledge. What we do notice, however, is the almost impertinent question that follows: can sound help the architect in his daily tasks? And, therefore, what are the contributions of sound to the architect? To do this we must seek the connection in the principles of both arts, where we can detach ourselves from time and space, and approach the most universal of art forms. The architect, in his daily work, is faced with three particular tasks: the architectural project, the architectural analysis and the teaching of architecture. Each of the three tasks is connected with the other two tasks: the project is carried out again with the analysis and transmitted to the new architect; the analysis supports the project decisions and gives tools to the disciple; and the teaching has the project as its purpose and the analysis as its method. The thesis presented here shows what sound offers to the task of the project, to that of analysis and to that of teaching. These three tasks are approached from three premises: theoretical foundations, tools and evaluation. The interaction of the three tasks with the three premises gives rise to nine lines of work that articulate the chapters of the thesis. The first, fourth and seventh chapters approach the three tasks from the premise of theoretical foundations, foundations that perhaps because they are obvious, have been ignored or overlooked but which constitute the nature of both disciplines. The first shows, by the hand of two 20th century authors - the architect Dom Hans van der Laan and the composer Olivier Messiaen - that creation in both disciplines is of a systematic nature. The fourth one revaluates the analytical systems of representation of form both in architecture and in music which, starting with the basic characteristics of its elements, lead to a symbolic notation and a tool for the analysis of the work: the plan and the score. The seventh introduces the student of architecture to the growing separation between music and architecture that has been accentuated to this day. The second, fifth and eighth chapters approach the three particular tasks from the premise of tools, working tools that help to understand more directly the influence of architecture on sound. The second places virtual reality and auralization techniques at the service of the architectural and urban planning project, enhancing the sound experience in these projects. The fifth deals with the acoustic analysis of exterior spaces and their relationship with the urban configuration of these spaces. The eighth section presents the study of acoustic heritage as an educational tool. The third, sixth and ninth chapters deal with the three tasks from the premise of evaluation, a check that ensures the influence of sound on them through teaching experiments. The third argues and exemplifies that a sound landscape can be the engine and generator of an architectural design. The sixth one reviews the methods for evaluating the subjective and objective parameters of architectural acoustics. The ninth shows that in teaching sound to architects, "learning by listening" should be given priority over "passive learning".Las disciplinas del espacio y del tiempo forman dos dominios a los que resulta atrevido comparar, pues es obvio que son de naturaleza distinta. La música ocurre en el tiempo, mientras que la arquitectura en el espacio. No obstante, desde los primeros tratados tanto de arquitectura como de música, se pueden leer repetidas llamadas a la comparación, al complemento y a la influencia de ambas disciplinas, cuanto menos a la constatación de ciertos órdenes comunes entre ambos dominios. En esta tesis doctoral no ponemos en cuestión todo este corpus teórico que ha venido enriqueciendo la relación entre ambas disciplinas. La recibimos y nos unimos a esa corriente de conocimiento. En lo que sí reparamos, en cambio, es en la pregunta casi impertinente que surge seguidamente: ¿puede el sonido ayudar al arquitecto en sus tareas diarias? Y, por tanto, ¿cuáles son las contribuciones del sonido para el arquitecto? Para ello debemos buscar la conexión en los principios de ambas artes, allí donde podemos despegarnos del tiempo y del espacio, y acercarnos a la más universal de las formas de arte. El arquitecto, en su tarea diaria, se enfrenta a tres tareas particulares: el proyecto arquitectónico, el análisis arquitectónico y la enseñanza de la arquitectura. Cada una de las tres tareas está conectada con las otras dos: el proyecto se reconduce con el análisis y se transmite al nuevo arquitecto; el análisis soporta las decisiones de proyecto y da herramientas al discípulo; y la enseñanza tiene como fin el proyecto y como método el análisis. La tesis aquí presentada pone de manifiesto lo que el sonido ofrece a la tarea del proyecto, a la del análisis y a la de la enseñanza. Estas tres tareas son abordadas desde tres premisas: los fundamentos teóricos, las herramientas y la evaluación. La interacción de las tres tareas con las tres premisas da lugar a nueve líneas de trabajo que articulan los capítulos de la tesis. Los capítulos primero, cuarto y séptimo abordan las tres tareas desde la premisa de los fundamentos teóricos, fundamentos que quizá por ser obvios, se han obviado o pasado por alto pero que constituyen la naturaleza de ambas disciplinas. El primero muestra, de la mano de dos autores del siglo XX ?el arquitecto Dom Hans van der Laan y el compositor Olivier Messiaen- que la creación en ambas disciplinas es de naturaleza sistemática. El cuarto revaloriza los sistemas analíticos de representación de la forma tanto en arquitectura como en música que, empezando por las características básicas de sus elementos, conducen a una notación simbólica y una herramienta de análisis de la obra: el plano y la partitura. El séptimo presenta al estudiante de arquitectura la creciente separación entre la música y la arquitectura que se ha venido acentuando hasta nuestros días. Los capítulos segundo, quinto y octavo abordan las tres tareas particulares desde la premisa de las herramientas, útiles de trabajo que ayudan a comprender de modo más directo la influencia de la arquitectura en el sonido. El segundo sitúa la realidad virtual y las técnicas de auralización al servicio del proyecto de arquitectura y urbanismo, potenciando la experiencia sonora en estos proyectos. El quinto aborda el análisis acústico de espacios exteriores y su relación con la configuración urbana de estos espacios. El octavo presenta el estudio del patrimonio acústico como herramienta pedagógica. Los capítulos tercero, sexto y noveno abordan las tres tareas desde la premisa de la evaluación, comprobación que asegura mediante experimentos docentes la influencia del sonido en ellas. El tercero argumenta y ejemplifica que un paisaje sonoro puede ser el motor y generador de un diseño arquitectónico. El sexto realiza una revisión de los métodos de evaluación de los parámetros subjetivos y objetivos de la acústica arquitectónica. El noveno muestra que en la enseñanza del sonido para los arquitectos debe priorizarse "aprender escuchando" antes que el "aprendizaje pasivo"

    « Extending interactivity ». Atti del XXI CIM - Colloquio di Informatica Musicale

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