That Syncing Feeling: Networked Strategies for Enabling Ensemble Creativity in iPad Musicians

The group experience of synchronisation is a key aspect of ensemble musical performance. This paper presents a number of strategies for syncing performance information across networked iPad-instruments to enable creativity among an ensemble of improvising musicians. Acoustic instrumentalists sync without mechanical intervention. Electronic instruments frequently synchronise rhythm using MIDI or OSC connections. In contrast, our system syncs other aspects of performance, such as tonality, instrument functions, and gesture classifications, to support and enhance improvised performance. Over a number of performances with an iPad and percussion group, Ensemble Metatone, various syncing scenarios have been explored that support, extend, and disrupt ensemble creativity

Innermost Echoes: Integrating Real-Time Physiology into Live Music Performances

In this paper, we propose a method for utilizing musical artifacts and physiological data as a means for creating a new form of live music experience that is rooted in the physiology of the perform- ers and audience members. By utilizing physiological data (namely Electrodermal Activity (EDA) and Heart Rate Variability (HRV)) and applying this data to musical artifacts including a robotic koto (a traditional 13-string Japanese instrument fitted with solenoids and linear actuators), a Eurorack synthesizer, and Max/MSP software, we aim to develop a new form of semi-improvisational and signif- icantly indeterminate performance practice. It has since evolved into a multi-modal methodology which honors improvisational performance practices and utilizes physiological data which of- fers both performers and audiences an ever-changing and intimate experience. In our first exploratory phase, we focused on the development of a means for controlling a bespoke robotic koto in conjunction with a Eurorack synthesizer system and Max/MSP software for controlling the incoming data. We integrated a reliance on physiological data to infuse a more directly human elements into this artifact system. This allows a significant portion of the decision-making to be directly controlled by the incoming physiological data in real-time, thereby affording a sense of performativity within this non-living system. Our aim is to continue the development of this method to strike a novel balance between intentionality and impromptu performative results

Integrating an autonomous robot on a dance and new technologies festival

This paper presents the results of a project to integrate an autonomous mobile robot into a modern dance performance at a dance and new technologies festival. The main goal is to integrate a simple low cost mobile robot into the dance performance, in order to study the possibilities that this kind of platforms can offer to the artists. First, this work explains the process and design to embed the robotic platform into the choreography theme. Another contribution described in this work is the system architecture proposed and built to make the robot behaviours match the artists requirements: precise, synchronized and robust robot movements. Finally, we discuss the main issues and lessons learned for this kind of robotics and arts applications and summarize the results obtained, including the successful final live performance results

Una Orquesta Sinfónica como Ejemplo de Aplicación de un Sistema Empotrado Distribuido

El presente artículo trata sobre el diseño e implementación de una orquesta sinfónica distribuida haciendo uso del paquete de Lego Mindstorms, como proyecto final enmarcado dentro de la asignatura Sistemas Empotrados Distribuidos. En esta contribución se aplican los conocimientos obtenidos en dicha asignatura, en la que se fomenta la aplicación de los mismos para la realización de proyectos novedosos. En este artículo se describen el diseño, las diversas tecnologías evaluadas y la implementación final.This paper discusses the design and implementation of a distributed symphony orchestra using the Lego Mindstorms package, as a final project belonging to the Distributed Embedded Systems subject. In this contribution, the knowledge achieved during the subject is applied. It must be noted that the application of the studied contents to create novel projects is greatly encouraged. In this paper the design, the evaluation of several technologies, as well as the final implementation, are presented.Universidad de Granada: Departamento de Arquitectura y Tecnología de Computadores; Vicerrectorado para la Garantía de la Calidad

Buddy - caixa de ritmos expandida

Este projeto, baptizado com o nome Buddy, trata da construção de uma caixa de ritmos robótica, inspirada e baseada no modelo convencional da caixa de ritmos digital. Concretamente, foi concebida uma bateria musical robótica pela implementação de um sistema de solenóides controlados em tempo real por interfaces MIDI. O robot permite desenvolver o mesmo tipo de trabalho que as caixas de ritmos convencionais possibilitam (e.g. interpretar padrões rítmicos pré-compostos), favorecendo contudo uma experiência sonora acústica e, por conseguinte, uma experiência musical e sonora mais estimulante. Além da abordagem convencional que esta bateria robótica possibilita (e.g. tocar padrões rítmicos), este projecto prevê outras abordagens que possibilitam uma exploração artística e musical mais abrangente, por exemplo, pela implementação de ideias que promovam a interactividade (e.g. controlo da performance do robot pela análise áudio da performance do músico, controlo do robot via internet). O desenvolvimento deste projecto teve como base a plataforma open-source Arduino e foi publicado e documentado online com acesso ao código fonte e aos esquemas electrónicos, permitindo assim que artistas e educadores sem formação em engenharia electrotécnica possam construir robots semelhantes para usar em contextos artísticos ou pedagógicos.This project, named Buddy, deals with the construction of a robotic rhythm box, inspired and based on a conventional model of a digital rhythm box. More specifically, a robotic musical drum set was conceived through the implementation of a real-time automatic system of solenoids controlled via MIDI interfaces. The robot allows the development of the same type of approach that traditional rhythm machines enable (e.g. to interpret pre-composed rhythm patterns), favouring, however, an acoustic sonic experience, and therefore, a more stimulating sound and musical experience. Besides the conventional approach that this robotic drums allows (e.g. to play rhythm patterns), this project foresees other approaches that can enable a wider artistic and musical exploration, for example, by implementing ideas that promote interactivity (e.g. robot performance controled by audio analysis of the musician’s performance, internet robot control). The development of this project was based on the Arduino open-source platform, and it was published and documented online with access to the source code and to the electronic schemes, allowing artists and educators without a formal education in electric and electronics engineering, to be able to build similar robots to use in artistic or pedagogical contexts

Expressive Musical Robots: Building, Evaluating, and Interfacing with an Ensemble of Mechatronic Instruments

An increase in the number of parameters of expression on musical robots can result in an increase in their expressivity as musical instruments. This thesis focuses on the design, construction, and implementation of four new robotic instruments, each designed to add more parametric control than is typical for the current state of the art of musical robotics. The principles followed in the building of the four new instruments are scalable and can be applied to musical robotics in general: the techniques exhibited in this thesis for the construction and use of musical robotics can be used by composers, musicians, and installation artists to add expressive depth to their own works with robotic instruments. Accompanying the increase in parametric depth applied to the musical robotics is an increase in difficulty in interfacing with them: robots with a greater number of actuators require more time to program. This document aims to address this problem in two ways: the use of closed-loop control for low-level adjustments of the robots and the use of a parametric encoding-equipped musical robot network to provide composers with intuitive musical commands for the robots. The musical robots introduced, described, and applied in this thesis were conceived of as musical instruments for performance and installation use by artists. This thesis closes with an exhibition of the performance and installation uses of these new robots and with a discussion of future research directions

The Many Worlds Of American Communism

This dissertation examines the American Communist movement between 1928 and 1957 by dividing up sources into worlds of activity, such as political work, labor organizing, and community organizing, and examining the multiple forms of engagement and experience by individuals’ part of a social movement. My research demonstrates that a social movement such as advocating radical political change in the United States can take on a wide variety of forms and can mean different things to different people based on where they came from, how they got involved in the movement and what they directly contributed to that movement. For example, examining the political side of communist work during this period, one finds a highly ideological and hierarchical movement with three primary points of entry: the Communist Party of the United States, the Communist League of America, and the Communist Party (Opposition). If one, however, examines the work of communists organizing in their communities against racism, they will find the ideological element is outweighed by the considerations of what grassroots organizers found practical and useful

Channelisation of Noise through a Rhythmic Grid: Brutalist Mechatronic Sound-sculpture

The aim of this thesis is to provide accessibility and appreciation for sounds that are conventionally perceived as non-musical or “noise”. Ordering the noise on a grid of metric rhythms, and underlining its materiality through an audiovisual mode of expression are the two main strategies employed. Using the medium of mechatronics, mechanically generated sonic by-products of technological developments are chosen as the focus sonic material. As a result, the output of this research extends what is known as glitch music outside the territory of amplified sound, to a realm where noise is created physically and acoustically. Based on these objectives, and following an investigation on the use of mechatronics in contemporary sound-based art, an ensemble of mechatronic sound-sculptures is designed and developed. Varying in terms of material, sound-generating mechanism, and sonic quality, the ensemble is divided into three different instrument-types, each of which is introduced, thoroughly described, and sonically evaluated. Next, three new audiovisual works are developed and realised utilising the mechatronic sound-sculptures, in order to turn into practice the ideas explored in this research. These compositions – which are all exhibited in competitive international symposiums – undertake the integration of mechatronics in three areas of sonic arts that are interconnected with the sound-sculptures. Furthermore, this thesis also establishes an aesthetic framework that formalises a significant body of contemporary sound art and music that, prior to this work, had suffered academic inattention. Probing the various parallels between the ideas developed in this thesis and Brutalist architecture, ‘sound-based brutalism’ is coined and formulated as an aesthetic underpinning for not only the academically marginalised works discussed, but also the work of the author. Lastly, two audiovisual projects (a performance and a series of ten installation pieces) are developed using the entire mechatronic sound-sculpture series in an effort to realise ‘sound-based brutalism’