Using evolving physical models for musical creation in the GENESIS environment

International audiencePhysical modelling schemes are well known for their ability to generate plausible sounds, i.e. sounds that are perceived as being produced by physical objects. As a result, a large part of physical modelling research is devoted to the realistic synthesis of real-world sounds and has a strong link with instrumental acoustics. However, we have shown that physical modelling not only addresses sound synthesis, but also musical composition. In particular, mass-interaction physical modelling has been presented as enabling the musician to work both on sound production (i.e. microstructure) and events organization (i.e. macrostructure). This article presents a method for building mass-interaction models whose physical structure evolves during the simulation. Structural evolution is implemented in a physically consistent manner, by using nonlinear interactions that set temporary viscoelastic links between independent models. This yields new possibilities for music creation, particularly for the generation of complex sound sequences that exhibit an intimate articulation between the micro- and the macrostructure

Generation of complex sounds sequences using physical models with dynamical structures

International audienceMass-interaction physical modeling is one of the few formalisms that can unify the work on music composition and sound synthesis. It allows generating sound sequences that exhibit, for example, some of the qualities of instrumental performance. This article introduces a method for building mass-interaction models whose physical structure changes during the simulation. Structural evolution is implemented in a physically consistent manner, by using nonlinear interactions that set temporary viscoelastic links between simulated objects. We present in details a model built with this method. It produces a wide range of complex sound sequences, the user having a control over global aspects of its behavior. This example shows that evolving models are particularly useful for the generation of macrotemporal musical forms

3D printing for cyclonic spray chambers in ICP spectrometry

International audienceAdditive manufacturing (AM) or 3D-printing is an increasingly widespread technique which is often described as a source for rapid prototyping whereas it is a manufacturing process in itself. It is a new tool for instrumental research laboratories which can now easily manufacture by themselves a large variety of devices. This article describes its application to ICP introduction system spray chambers. We undertake to print and study cyclone spray chambers by combining and comparing for the first time 3 different AM processes, 5 materials and 8 designs. The analytical performances of these spray chambers are compared with commercial glass and PFA chambers in terms of signal intensity, stability, oxide ratio, LOD and wash-out time. LODs measured with polymer printed chambers are in the range or even outperform those measured with the glass chamber even though 3D-printed chambers provide lower results in terms of sensitivity than glass. Compared to PFA chambers, the printed chambers are superior in terms of LOD. At low temperature, the printed chambers' efficiency depends on both AM process and manufacturing material. SLA and FDM printers give lower results in terms of sensitivity but not in LOD than the Polyjet printer. This study also illustrates the influence of the inner shape of the side arm nebulizer and confirms the importance of a free aerosol recirculation current around the nebulizer tip. Transfer tube efficiency is also questioned; it is found to be weakly detrimental to the sensitivity to light elements but shows no influence on heavy ones as well as on the stability or oxide ratio, whatever the element

Instruments and Sounds as Objects of Improvisation in Collective Computer Music Practice

International audienceThis paper presents the authors' first attempt at a new (and unexpected) exercise: that of observing, contextualising and problema-tising their own collective Computer Music experiences. After two years practising emergent collective improvisation in private and public settings , which has led the authors to fundamentally reconsider both individual and collective musical creation, came the desire to methodologi-cally deconstruct this process-one that they never anticipated and, until now, had never formalised. By starting from the very notions or performance and improvisation in the context of Computer Music, and crossing prolific literature on these topics with humble observations from their own experience, the authors then elaborate on what appears to them as the most enticing perspective of this creative context: the systematic improvisation of both their tools and sounds in an unique flow

Sound algorithms

International audienceWe call sound algorithms the categories of algorithms that deal with digital sound signal. Sound algorithms appeared in the very infancy of computer. Sound algorithms present strong specificities that are the consequence of two dual considerations: the properties of the digital sound signal itself and its uses, and the properties of auditory perception

Le groupe ACROE-ICA : recherche et formation en art, sciences et technologies

International audienceLe groupe ACROE-laboratoire ICA est reconnu dans le monde scientifique et dans le monde artistique pour être à l'origine de plusieurs concepts et techniques fondateurs et innovants sur la manière d'aborder le rôle de l'ordinateur et plus généralement les technologies numériques dans la création artistique. Depuis 30 ans, le groupe mène et soutient ses activités de recherche, de création et de formation au cøeur de l'interdisciplinarité Arts, Sciences, et Technologies

Transforming sound by Cordis-anima physical models

Since the early days of computer music, a variety of algorithms have been developed and dedicated to the processing of musical signal thus providing an important workbench for musicians. Although most of them were inspired from natural phenomena like the delay effect from the reflections on a cliff or the variant filtering effect from the modification of the vocal tract when we pronounce different vowels, they were designed using techniques based on signal manipulation with mathematical operations as the domain of signal processing claims.This divergence from the physical phenomenon and the simulation algorithm may be a barrier for the conception of new effects and mostly for their efficient control. Based on this remark, we were motivated to explore the simulation universe CORDIS-ANIMA, a physical modelling language dedicated to reproductions of physical objects of the real world, for a research in the domain of digital audio effects. This article introduces some elementary mathematical operations and several classical signal processing models for filtering designed with the CORDIS-ANIMA formalism: a high pass filter, a band pass filter and a time variant band pass filter. Furthermore some general concepts concerning their control will be presented

CONCEPTION D'UN INSTRUMENTARIUM POUR LA CREATION MUSICALE A L'AIDE DES MODELES PHYSIQUES CORDIS-ANIMA

CORDIS-ANIMA is a general system for designing and simulating physical models made of modules that represent simple material elements and physical interactions. This system is implemented in a software environment for musical creation, GENESIS, which addresses sound synthesis as well as musical composition. In this thesis, we propose a general organization of musical CORDIS-ANIMA models, by identifying the elementary functions that are realized within a model, the types of physical components associated to these functions, and the main modelling techniques, which enable to obtain musically relevant physical behaviours. This work forms the conceptual basis of an Instrumentarium for musical creation using CORDIS-ANIMA, i.e. a structured and consistent view of modelling with the system, which aims at helping users to learn and master it, particulary in the GENESIS environment.CORDIS-ANIMA est un système permettant de construire et de simuler les mouvements de modèles physiques, composés de modules représentant des éléments matériels et des interactions physiques simples. Mis en œuvre dans un environnement informatique pour la création musicale, GENESIS, il permet aussi bien d’aborder la synthèse sonore que la composition proprement dite. Nous proposons dans cette thèse une organisation générale des modèles musicaux CORDIS-ANIMA, en identifiant les fonctions élémentaires réalisées en leur sein, les différents types de composants physiques associés et les principales techniques de modélisation permettant d’obtenir des comportements pertinents d’un point de vue sonore et musical. Nous établissons ainsi les bases conceptuelles d’un Instrumentarium pour la création musicale avec CORDIS-ANIMA, c’est-à-dire d’une vision structurée et cohérente de la modélisation avec ce système, destinée à accompagner son apprentissage et son utilisation, en particulier dans l’environnement GENESIS

Vers un instrumentarium pour les modèles musicaux CORDIS-ANIMA

Session: "Plates-formes pour la diffusion et pour la creation"National audienceLa modélisation physique propose un changement de paradigme dans l'Informatique Musicale, en se concentrant sur la modélisation de corps sonores virtuels plutôt que sur la modélisation des sons eux-mêmes. Elle conduit à reconsidérer en profondeur la relation entre le musicien et l'ordinateur, aussi bien au niveau conceptuel que pratique, en particulier lorsqu'il s'agit pour le musicien ou le compositeur de pratiquer la création de modèles. Des changements aussi importants nécessitent la mise à disposition d'outils d'apprentissage adaptés, prenant en compte les spécificités de la modélisation physique et allant plus loin que les concepts de bibliothèque de modèles et de tutorial qui sont souvent mis en pratique dans les environnements d'Informatique Musicale. Cet article introduit un cadre théorique et pratique, l'Instrumentarium, répondant à cette problématique dans le contexte du système de modélisation et de simulation CORDIS-ANIMA et dont l'objectif est de représenter de façon complète et structurée les possibilités offertes par ce formalisme. L'Instrumentarium comporte en particulier une ontologie des modèles musicaux CORDIS-ANIMA, s'appuyant sur une analyse fonctionnelle que nous présentons ici. Ces résultats pourraient être élargis afin de proposer une ontologie générale des modèles construits avec d'autres méthodes de modélisation