An early prototype of the augmented PsychoPhone

Abstract In this poster we present the early prototype of the augmented Psychophone -a saxophone with various applied sensors, allowing the saxophone player to attach effects like pitch shifting, wah-wah and ring modulation to the saxophone, simply by moving the saxophone as one would do when really being enthusiastic and involved in the performance. The possibility of scratching on the previously recorded sound is also possible directly on the saxophone. Keywords: Augmented saxophone, Physical computing, hyper instruments, mapping. Introduction In this poster we present the early prototype of an augmented saxophone, aiming to emphasize the effect of the natural gestures of the saxophone player, as well as transform the saxophone into a multi instrument and sequencer. The aim of this project was to create an early prototype of an augmented saxophone with a predefined mapping system. One of the most important motivations behind the design of the mapping system, was to do an attempt to copy the most vivid gestures of an average expressive saxophone player, and attach a relevant effect to the most noticeable expressive movements. An example of this could be when a saxophonist is tilting the saxophone up in the air in the middle of a solo. This is often done when the player is blowing extraordinary hard, playing a very high pitch, or when expressing himself in a more aggressive manner. Another important motivation for this project was to implement an interface allowing the saxophone to be the sole instrument on the stage -playing and controlling all the different aspects of a musical performance -instead of being a simple wind instrument. Applied sound effects Four different effect were applied to the saxophone. These effect were chosen in an attempt to make four very audible different effects. 2.1 A wah-wah bandpass filter effect The wah-wah effect is very successful for playing rhythmic and almost percussive phrases on the saxophone. 2.2 A ring modulation effect In order to implement a distorted bold saxophone solo sound, a ring modulation effect has been employed. 2.3 A pitch shifter effect In order to play bass-like, low-frequency sounds, a pitch shifter was used -only passing the lower octave of the original sound. 2.4 Scratching on the recorded sound As a last effect, it was decided to implement the possibility to scratch on a recorded sound. This would give the user a very percussive and rhythmic sound to play with

Divine Darkness, Legal Darkness: Apophasis, Cataphasis and The Making of Legal Cultures of the First Millennium

The article explores the long lost synthesis between apophatic and cataphatic theological strategies and early legal systematizations which shaped the Christian, Jewish and Islamic legal collections in the twelfth century. It argues that the theological possibilities to achieve Divine knowledge have reached out to all normative forms of human existence including law. It focuses specifically on a Christian context where imagining the law involves complex scales of cataphasis and apophasis and parallels other normative forms such as ritual and ascetic practices. The text only hints that parallel trends appear via very different routes but in a very similar ways in the Jewish and the Islamic legal projects and proposes that a comparative interreligious study of the twelfth century legal collections and their hermeneutic strategies is long overdue and critically important

Blender2faust: from drawn 3d objects to physically based sound models

International audienceFinite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor