Distributed Networks of Listening and Sounding: 20 Years of Telematic Musicking

This paper traces a twenty-year arc of my performance and compositional practice in the medium of telematic music, focusing on a distinct approach to fostering interdependence and emergence through the integration of listening strategies, electroacoustic improvisation, pre-composed structures, blended real/virtual acoustics, networked mutual-influence, shared signal transformations, gesture-concepts and machine agencies. Communities of collaboration and exchange over this time period are discussed, which span both pre- and post-pandemic approaches to the medium that range from metaphors of immersion and dispersion to diffraction

Mapping, in digital musical instruments

International audienceA digital musical instrument (DMI) can be defined as an instrument that contains a control surface (also referred to as a performance controller, or hardware interface, an input or gesture device, the latest being more used outside the strict field of Computer Music) and a sound generation unit. Both units are independent modules related to each other by mapping strategies

A Material Computation Perspective on Audio Mosaicing and Gestural Conditioning

ABSTRACT This paper discusses an approach to instrument conception that is based on a careful consideration of the coupling of tactile and sonic gestural action across the layers of physical and computational material in coordinated dynamical variation. To this end we propose a design approach that not only considers the materiality of the instrument, but leverages it as a central part of the conception of the sonic quality, the control structure, and what generally falls under the umbrella of "mapping". This extended computational matter perspective scaffolds a holistic approach to understanding an "instrument" as gestural engagement through physical material, sonic variation, and somatic activity. We present some concrete musical and installation performances that have benefited from this approach to instrument design

The LoM Mapping Toolbox for Max/MSP/Jitter

This paper presents the Library of Maps 1 toolbox to aid in the mapping of control parameters to sound synthesis parameters via strategies that result from a geometric representation of control. A set of objects have been created for Max/MSP and Jitter that allow the user to map arbitrary high-dimensional data from control to sound parameter space, and to visualize this through the use of Jitter and OpenGL. The mapping implementations are discussed and related to existing work

Control Strategies for Navigation of Complex Sonic Spaces

This paper describes musical experiments aimed at designing control structures for navigating complex and continuous sonic spaces. The focus is on sound processing techniques which contain a high number of control parameters, and which exhibit subtle and interesting micro-variations and textural qualities when controlled properly. The examples all use a simple low-dimensional controller- a standard graphics tablet- and the task of initimate and subtle textural manipulations is left to the design of proper mappings, created using a custom toolbox of mapping functions. This work further acts to contextualize past theoretical results by the given musical presentations, and arrives at some conclusions about the interplay between musical intention, control strategies and the process of their design