4,546 research outputs found

    Ambient Gestures

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    We present Ambient Gestures, a novel gesture-based system designed to support ubiquitous ‘in the environment’ interactions with everyday computing technology. Hand gestures and audio feedback allow users to control computer applications without reliance on a graphical user interface, and without having to switch from the context of a non-computer task to the context of the computer. The Ambient Gestures system is composed of a vision recognition software application, a set of gestures to be processed by a scripting application and a navigation and selection application that is controlled by the gestures. This system allows us to explore gestures as the primary means of interaction within a multimodal, multimedia environment. In this paper we describe the Ambient Gestures system, define the gestures and the interactions that can be achieved in this environment and present a formative study of the system. We conclude with a discussion of our findings and future applications of Ambient Gestures in ubiquitous computing

    Thinking Inside the Box: A New Integrated Approach to Mixed Music Composition and Performance

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    The Thinking Inside the Box project (TItB) seeks to address pragmatic concerns inherent to mixed music performance, and proposes ways to better consider the sound of the acoustic reality of the concert space at studio composition time. This is achieved through empirical investigation into subversive use of recent developments in hardware and software technologies. The primary concerns are (1) optimising the integration of live instruments and electroacoustic sound in the concert hall environment for both the performers and the public, by carefully choosing loudspeaker types and placement at commission time, and by avoiding sound reinforcement; (2) minimizing for studio composers the insitu trauma of the first live rendition of the piece, by bringing the concert hall acoustic environment into the studio composition process, using convolution reverb to reproduce in the studio the given loudspeaker setup through its impulse responses. This paper presents the conclusions of the project's early experiments in the form of three case study sets, and describes how this approach will be of use for any composer of mixed music

    Alea III, 13th International Composition Competition for Young Composers, September 27, 1995

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    This is the concert program of the Alea III, 13th International Composition Competition for Young Composers performance on Wednesday, September 27, 1995 at 7:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were The Shamen bk. 1 by James Boznos, The Dance of the Maenades by David Charles Martin, Reaction for 12 Instruments by Jongwoo Yim, Meng-Long by Joan Huang, Mirroring by Evangelia Kikou, Triptych by Ian J. Crutchley, The Deathwatch Beetle by Thomas Whitman, and Chamber Concerto by Laura Elise Schwendinger. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

    Experimental Approaches to the Composition of Interactive Video Game Music

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    This project explores experimental approaches and strategies to the composition of interactive music for the medium of video games. Whilst music in video games has not enjoyed the technological progress that other aspects of the software have received, budgets expand and incomes from releases grow. Music is now arguably less interactive than it was in the 1990’s, and whilst graphics occupy large amounts of resources and development time, audio does not garner the same attention. This portfolio develops strategies and audio engines, creating music using the techniques of aleatoric composition, real-time remixing of existing work, and generative synthesisers. The project created music for three ‘open-form’ games : an example of the racing genre (Kart Racing Pro); an arena-based first-person shooter (Counter-Strike : Source); and a real-time strategy title (0 A.D.). These games represent a cross-section of ‘sandbox’- type games on the market, as well as all being examples of games with open-ended or open-source code

    Electronic Locator of Vertical Interval Successions (ELVIS): The first large data-driven research project on musical style

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    The ELVIS project had three locally based teams (in Canada, at McGill, in Scotland, at Aberdeen, and in New England, USA, divided between MIT, the lead, and Yale), each of which focused on a different aspect of the overall research program: using computers to understand musical style. The central unifying concept of the ELVIS project was to study counterpoint: the way combinations of voices in polyphonic music (e.g. the soprano and bass voices in a hymn, or the viola and cello in a string quartet, as well as combinations of more than two voices) interact: i.e. what are the permissible vertical intervals (notes from two voices sounding at the same time) for a particular period, genre, or style. These vertical intervals, connected by melodic motions in individual voices, constitute Vertical Interval Successions. In more modern terms, this could be described as harmonic progressions of chords, but what made ELVIS particularly flexible was its ability to bridge the gap to earlier, contrapuntally-conceived music by using the diad (a two-note combination) rather than the triad (a combination of three notes in particular arrangements) as a basis (since triads and beyond may be expressed as sums of diads)

    Synthesizers : the assimilation of the monsters of film music = SynthĂ©tiseurs : l’assimilation des monstres de la musique de film

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    Le regard de la sociĂ©tĂ© sur les avancĂ©es technologiques a Ă©tĂ© la cible de multiples remises en question. Des premiers synthĂ©tiseurs aux allures monstrueuses et presque grotesques aux instruments virtuels, les compositeurs de musique de film ont souvent port. un regard curieux sur cet instrument Ă©nigmatique, aussi singulier que versatile. Un synthĂ©tiseur est un appareil musical Ă©lectronique ou un logiciel utilisĂ© pour gĂ©nĂ©rer et combiner des signaux audio par des processus analogiques ou numĂ©riques . (traduit de Devine, 2013). Par un processus d’expĂ©rimentation, certains compositeurs ont relevĂ© le dĂ©fi musical d’utiliser le synthĂ©tiseur dans la musique de film. Avec le temps, ils ont trouvĂ© en lui un outil irremplaçable.Society's view of technological advances has been the target of many questionings. From the first monstrous and almost grotesque looking synthesizers to virtual instruments, composers of film music have often taken a curious look at this enigmatic instrument, as singular as it is versatile. A synthesizer is an "electronic musical device or software used to generate and combine audio signals through analog or digital processes" (translated from Devine, 2013). Through a process of experimentation, some composers have taken on the musical challenge of using the synthesizer in film music. Over time, they have found in it an irreplaceable tool

    Numerical study of circle fractal grid perforated plate as a turbulent generator in combustion chamber

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    Fractal grids can be used to design turbulent flows with low power losses and high turbulence intensities for intense yet economic mixing over a region of designed length and location. The introducing circle grid perforated plate is the main aim of this present paper. In this numerical work, we want to ascertain a new approach in turbulence generators on the structure of premixes flames using perforated plate fractal-grids pattern. In this paper, we compared circle grid perforated plate by varies using its diameters, spacing and number of holes on the plate. The result showed good perceptivity of the fractal generated turbulence and the fractal flow physics. The turbulent intensity can be increased by a grid with higher blockage ratio

    BabelBox: un systÚme dédié aux partitions distribuées sur Raspberry Pi, avec INScore, SmartVox et Babelscores

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    International audienceThe slow but steady shift away from printed text into digital media has not yet modified the working habits of chamber music practitioners. If most instrumentalists still heavily rely on printed scores, audiences increasingly access notated music online, with printed scores synced to an audio recording on youtube for instance. This paper proposes to guide the listener and/or the performer with a cursor scrolling on the page with INScore, in order to examine the consequences of representing time in this way as opposed to traditional bars and beats notation. In addition to its score following interest for pedagogy and analysis, the networking possibilities of today's ubiquitous technologies reveal interesting potentials for works in which the presence of a conductor is required for synchronization between performers and/or with fixed media (film or tape). A Raspberry Pi-embedded prototype for animated/distributed notation is presented here as a score player (such as the Decibel ScorePlayer, or SmartVox), in order to send and synchronize mp4 scores to any browser capable device connected to the same WIFI network. The corpus will concern pieces edited at BabelScores, an online library for contemporary classical music. The BabelScores pdf works, composed in standard engraving softwares, will be animated using INScore and video editors, in order to find strategies for animation or dynamic display of the unfolding of time, originally represented statically on the page.L'abandon lent mais certain du texte imprimĂ© au profit des mĂ©dias numĂ©riques n'a pas encore modifiĂ© les habitudes de travail des instrumentistes en musique de chambre. Si la plupart s'appuie encore fortement sur les partitions imprimĂ©es, le public a de plus en plus accĂšs aux partitions en ligne, synchronisĂ©es sur un enregistrement audio sur youtube par exemple. Cet article propose de guider l'auditeur et/ou l'interprĂšte Ă  l'aide d'un curseur dĂ©filant sur la page (avec INScore), afin d'examiner ce qu'implique de reprĂ©senter le temps de cette maniĂšre, par opposition Ă  la notation traditionnelle des mesures rythmiques du solfĂšge. Outre son intĂ©rĂȘt pour la pĂ©dagogie et l'analyse, les possibilitĂ©s de mise en rĂ©seau des technologies omniprĂ©sentes d'aujourd'hui rĂ©vĂšlent des potentiels intĂ©ressants pour des Ɠuvres dans lesquelles la prĂ©sence d'un chef d'orchestre est requise pour la synchronisation entre interprĂštes et/ou avec des supports fixes (film ou bande). Un prototype pour la notation animĂ©e/distribuĂ©e intĂ©grĂ© sur Raspberry Pi est prĂ©sentĂ© ici comme lecteur de partition (tel que le Decibel ScorePlayer ou SmartVox), afin d’envoyer et de synchroniser les partitions mp4 Ă  n’importe quel appareil compatible avec un navigateur connectĂ© au mĂȘme rĂ©seau WIFI. Le corpus concernera des piĂšces Ă©ditĂ©es sur BabelScores, une bibliothĂšque en ligne de musique classique contemporaine. Les Ɠuvres pdf de BabelScores, composĂ©es de logiciels de gravure standard, seront animĂ©es Ă  l'aide d'Ă©diteurs INScore et vidĂ©o, afin de trouver des stratĂ©gies d'animation ou d'affichage dynamique du dĂ©roulement du temps, initialement reprĂ©sentĂ©es de maniĂšre statique sur la page
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