We are pleased to announce that I-CubeX are sponsoring CMMR2015, providing prizes for the best student paper awards which will be announced on Friday 19th June.
All early-bird registration and paper revisions are now complete and the program is going to press. A preliminary electronic program has been released online.
For late registrations, please note that the boat trip is now fully booked, but places on the banquet dinner are still available.
Each day of the conference will host a unique installation as part of this years music programme.
These installations will allow delegates to interact in a way which would not be possible with traditional concert programming. Each installation offers a unique opportunity to experience cutting edge interactivity in the context of contemporary computer music.
Tuesday: Alexander Thumm, Pallas of Vines. Venue: The House Foyer
Wednesday: Guido Kramann, KIBA - Composing Together with C.P.E. Bach. Venue: The House, Foyer
Thursday: Claudia Robles, SKIN. Venue: Roland Levinsky Building Jill Craigie Cinema
Friday: Joanne Armitage, Enclosed, an installation for sound and haptics. Venue: The House, Theatre Annexe
My name is Alexander Thumm, a PhD Candidate at the University of Adelaide’s Sonic Arts Department, and game designer. I have a 15 year history of creating and performing electronic music, software instruments, visual art, and video games, and I’m passionate about a deep synthesis of musical and visual performance.
Pallas of Vines is a unique and innovative game designed for live performance. It is a lush open world that encourages players to tell their own meaningful personal stories through solo or collaborative gameplay. Using the resources of the game world players expressively create their own music, visuals, and narratives as they play. At its furthest extent, Pallas can enable players to improvise stories in a performative way, as expressively as if they were playing a musical instrument, but with the added cinematic aspects of visual and narrative performance also. Skilled players could become virtuoso storytellers, able to improvise emotionally engaging stories to a live audience. In this context as an installation, the audience is invited to be part of the storytelling, collaborating in performances using smartphones as wireless controllers that allow them to gesturally improvise in the creative dynamics of the game world through in-depth audio, visual, and dialogue controls. As an instrument, Pallas is open to many styles of playing, offering traditional synthesis, sample-based granular synthesis, DSP effects chains, in-game MIDI note and CC mapping, a unique multi-avatar, multi-listener system, and much more. It takes cues from, and expands the creative possibilities of innovative performance interfaces such as the Reactable and Chris Carlson’s Borderlands, and bridges the gap between software instrument/interface and video games, illustrating the great creative potential for a dialogue and synthesis of those mediums. As a game it presents no narrative trajectory and no explicit objectives. As such, it openly poses the question of whether it is actually a game, what the relationship between performance and game play is, and what the relationship between performer intention and objective is: how does the player/performer’s intention transform the objectives presented by a composer or game designer?
Guido Kramann was born 1968 in Cologne, Germany.
He studied Technical Cybernetics at the University of Stuttgart and
made a doctoral thesis in the field of numerical simulation of biomechanics.
Composing music and also algorithmic composition is an important theme
in his life since his school days.
Since 2012 he is professor for mechatronics at the University for
Applied Sciences of Brandenburg, where he also teaches sound
installation in the Digital Media Master's degree program.
Colored, transparent chips are put on a luminary table by the visitors of the exhibition.
The horizontal and vertical position of a chip is interpreted as time and pitch
of a key event. The actual chip-configuration on the table corresponds to a repetitive phrase performed immediately using sampled sounds. KIBA – The letters stand for three ways to use the composition-station: Kirnberger, Individual, Bach.
The second name of the Bach-son Carl Philipp Emanuel was taken from
another musician who was familar with the Bach-family: Johann Philipp Kirnberger.
Kirnberger invented a composition game where pre-composed bars could be freely
combined and were selected by dices. In KIBA the dices are replaced by the vertical
position of the chips.
By placing colored chips on the luminary table a repetitive phrase can be formed which
consists of pentatonic (Orff-) keys. A minimal-music-like composition originates.
There were brought several music pieces of Carl Philipp Emanuel Bach in a data base.
So, when a minimum number of chips lie on the table an algorithm tries automatically
to find a suitable phrase from the opus of Bach to accompany the phrase of the visitor.
So the visitor gets the impression that Bach helps him in composing his piece.
Visitors can take away their compositions on a memory-stick they brought with them.
More about KIBA (in German):
Try out the Android-App to compose like with KIBA:
Claudia Robles-Angel is an audiovisual artist born in Bogotá-Colombia, currently living in Cologne-Germany and active worldwide. Her work and research cover different aspects of visual and sonic art, which extend from audiovisual fixed-media compositions to performances interacting with bio-data via the usage of interfaces e.g. the EEG or GSR (measuring brain waves or electrodermal activity).
SKIN is an interactive work using bio-data, which exists in two versions.
The first version is a performance, in which a performer interacts with sounds and images using a GSR (Galvanic Skin Response) interface, which measures their skin's moisture, to create an audiovisual environment. The performance is a reflection about metamorphosis, in this case, inspired by the natural moulting process of skin change. While the visual environment is created by close-up and microscopic images from the performer's skin recorded in real-time, the sound environment is transformed by the performer’s emotional state measured through her skin's moisture values with the GSR interface.
The second version is an interactive installation, in which visitors have the opportunity to use the GSR interface. The variations of the values of measuring their skin's moisture are an indication of psychological or physiological arousal, such as, for example, the appearance of stress or relaxation. The values received from the GSR are further transmitted to a computer in order to transform the sound and the images of the interactive space. Visitors are therefore invited to participate in order to make an impact on the audiovisual environment through their own emotions and physiological reactions.
The immersive audiovisual environment comprises surround sound (octophonic) and video projected on up to three screens.
The first version of the installation was conceived during an artist in residence invitation in Romania (Cluj-Napoca) during the ''Liquid spaces – dynamic models of space in art and technology" event in October 2012. The second and extended version introduces octophonic sound and was presented for the first time at Harvestworks- Digital Media Art Center in New York City in June 2014.
For the CMMR 2015 only the installation version will be featured.
The presentation of SKIN at the CMMR 2015 has been possible due to the kind support of M.A.R.E - Media Art Collection.
Joanne is a composer, improviser and researcher based at the Interdisciplinary Centre for Scientific Research (ICSRiM), School of Music, University of Leeds. As a PhD candidate, her compositional work explores the use of audience based vibrating, or haptic technologies as immersive and expressive interfaces.
As the ears hear sound the body feels it. Enclosed explores the directionality of sound through an augmented tactile experience. A haptic interface, attached to a chair, renders the somatic element, producing vibrations that follow the trajectory of the accompanying sound. Using binaural processing techniques, a fixed media audio file is spatialised in real-time, mapped to haptic controls and rendered on the listener’s back by an array of 16 eccentric rotating mass (ERM) motors. The audio itself is generated from an algorithmic composition that uses swirling MIDI SysEx commands to create timbral texture, recorded on an analogue synthesizer.
Enclosed forms part of a larger body of research that uses relationships between the haptic and auditory sensory systems to create installations and compositions. Throughout this work, the haptic communication channel is considered as both an instrument and/or as a purely expressive medium. Forthcoming workshops and installations include, ‘Unheard’ sounds, V&A Digital Futures (July 2015) and ON/OFF, a collaboration with percussionist Greta Eacott, Rytmisk Musikkonservatorium, Copenhagen.
This installation embraces the multidisciplinary and exploratory nature of composition as a method to evaluate designs, and analyse research questions from engineering to art. This installation is linked to a paper at the CMMR conference, ‘Feeling Sound: Exploring a haptic-audio relationship,’ Joanne Armitage and Kia Ng.