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CMMR2015 is now over! We hope all who came enjoyed the experience.

A video documentary of CMMR 2015 is available on the media pages.

Electronic proceedings are now available on the downloads pages.



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Keynote speakers


The keynote speakers for CMMR2015 are:

Tuesday 16th: Keynote from Hugues Vinet (Director of Research and Development, IRCAM)

Wednesday 17th: Keynote from David Rosenboom (Professor of Music and Dean of the School of Music at California Institute of the Arts)

Thursday 18th: Closing keynote from Eduardo Miranda (Professor of Computer Music and Director of ICCMR)

Full keynote abstracts and biographies are provided below.

Tuesday 16th: Keynote from Hugues Vinet (Director of Research and Development, IRCAM)

Hugues Vinet has been IRCAM’s Scientific Director since 1994, where he is in charge of IRCAM’s R&D Department. He founded and has been co-Director (1995-98), Director (1999-2010) and Deputy-Director (since 2011) of the STMS (Science and Technology of Music and Sound) joint lab with Centre National de la Recherche Scientifique (CNRS) and Université Pierre et Marie Curie (UPMC - Sorbonne Université). He has been Coordinator of many R&D projects at EU and French national levels including FP5 CUIDADO (Content-based Unified Interfaces and Descriptors for Audio/music Databases available Online) and FP6 SemanticHIFI. His fields of activity have successively included real-time systems, digital audio signal processing, man-machine interfaces, cognitive technologies applied to musical information, and more generally speaking interdisciplinary syntheses on the relationships between scientific research, technological development and musical production.

After a scientific and musical education, he previously worked at the Musical Research Group of the National Institute of Audiovisual (Ina-GRM). He headed, from 1987 to 1994, the GRM R&D activities, and supervised in particular the design of the first versions of the GRM Tools and Acousmographe applications.

He participates in various scientific and expert advisory boards, e.g. as Vice President of the Content Commission of the Cap Digital Technology Cluster in Paris (since 2006) or Vice President Europe (2006-13) of the International Computer Music Association (ICMA).

http://www.ircam.fr/recherche.html


Keynote 1: (Some) Trends for Future Musical Research


Abstract:

This talk will propose an interdisciplinary synthesis of the state-of-the-art of music technology aiming at exhibiting major trends for current and future research. The addressed topics, which will be illustrated by examples from ongoing research at IRCAM, will include content-based sound processing, the evolution of implementation supports, spatial audio, new instruments and interactive music systems.

Wednesday 17th: Keynote from David Rosenboom (Professor of Music and Dean of the School of Music at California Institute of the Arts)

David Rosenboom is a composer, performer, conductor, interdisciplinary artist, author and educator. Since the 1960s he has explored the spontaneous evolution of musical forms, languages for improvisation, new techniques in scoring for ensembles, multi-disciplinary composition and performance, cross-cultural collaborations, performance art and literature, interactive multi-media and new instrument technologies, generative algorithmic systems, art-science research and philosophy, and extended musical interface with the human nervous system. His work is widely distributed and presented around the world, and he is known as a pioneer in American experimental music.

David Rosenboom holds the Richard Seaver Distinguished Chair in Music in The Herb Alpert School of Music at California Institute of the Arts, where he has been Dean of the School of Music since 1990, a conductor with the New Century Players, Co­-Director of the Center for Experiments in Art, Information and Technology, and member of the Center for New Performance. In 2011 he also served as Acting Co-President for CalArts. He taught at Mills College from 1979 to 1990, held the Darius Milhaud Chair, was Professor of Music, Head of the Music Department, and Director of the Center for Contemporary Music. His independent career outside institutions has spanned international performance and composition, consulting, recording, writing, instrument design, interdisciplinary research, and multi-media production


http://www.davidrosenboom.com/


Keynote 2: Deviant Resonances: Nature's Creative Challenge to Absolute Mappings of Biological Phenomena in Music


Abstract: Exercises in linking complex self-organizing systems to each other via mappings in multi-modal stimulus domains can pose fascinating challenges to our notions about predictive model building. Fortuitously, these challenges can also quickly reveal fertile territories from which to mine potential realizations in the creative arts and to examine for the purposes of advancing research paradigms. This is an endeavor in which art and science can meet in deep theoretical territory, artscience. What might we discover if we ask, “What happens when two forms of intelligence—presumably with brains—attempt to initiate co-communication with each other, while neither possess an a priori model describing the range and scope of manners in which intelligence can be manifested or has palpable experience with the potential scales of energy-matter-time-space (EMTS) over which forms of intelligence might operate?” Will they recognize each other? What predictive models can they use to search for something for which neither has a clear pre-definition? In advanced forms of BCI in the arts we also try to imagine and implement links among complex self-organizing systems—like brains or multi-person hyper-brains—with forms of synthetic intelligence—possibly imbedded in musical instruments—, which we try to endow with some faculty for self-organization and perhaps even what we now call deep learning (DL).To build these realizations, we may posit propositional models. They are propositional, because we, too, often operate with limited pre-definitions, and frequently with declared intentions to do so. Furthermore, nature operates with myriad forms of uncertainty at fundamental levels, and ironically, from that uncertainty emerges order, deviant resonances. Achieving absolutely predictable, quasi-deterministic mappings of biological phenomena, such as brain signals, onto multi-arts synthesis machines is bounded by fundamental limits born of these imbedded uncertainties in natural phenomena. In the arts—for this presentation especially music—, we have license to freely explore the nature of these limits and discover how valuable such uncertainties can often be in unveiling new creative directions and deepening our theoretical understandings. If we seriously examine the deviant resonances that can show up in BCMI when we try to implement absolute mappings, we can often reap rich rewards. What surprising insights might emerge if we try to untangle all the hidden assumptions in a statement like, “What is the size and complexity of the algorithm required for me to always know that my thoughts of raspberry gelato will eternally map to Eb-Major, and why do I care?” In this light, we will tour selected historical and very recent examples of propositional music employing extended musical interface with the human nervous system and speculate about new directions now appearing on the horizon.


Thursday 18th: Closing keynote from Eduardo Miranda (Professor of Computer Music and Director of ICCMR)

Eduardo R. Miranda holds a degree in Music Technology from the University of York and a PhD on the topic of Music with Artificial Intelligence from the University of Edinburgh. Currently, he is Professor of Computer Music at Plymouth University where he heads the Interdisciplinary Centre for Computer Music Research.


Prof Miranda has received a number of awards, including the John Simon Guggenheim Memorial Foundation Fellowship, New York, and most recently the Vice-Chancellor's World Class Research Award at Plymouth University for his outstanding contribution to scientific research internationally. His work into brain-computer music interfacing has been reported in Nature and was hailed as 'making medical history' by The Independent.  


His music, which includes compositions for symphonic orchestras, chamber groups and solo instruments, with and without live electronics, has been performed by renowned ensembles such as Bergersen String Quartet, Leo String Quartet (from the City of Birmingham Symphony Orchestra), Sond'Ar-te Electric Ensemble, Scottish Chamber Orchestra, BBC Concert Orchestra and Ten Tors Orchestra. The inside story of his acclaimed choral symphony, Sound to Sea, is revealed in the book Thinking Music, published by University of Plymouth Press (ISBN 978-1-84102-3-601). The publication includes the full score and a CD with the recording of the premiere.


http://neuromusic.soc.plymouth.ac.uk/



Keynote 3 - Experiments in Musical Unconventional Computing: Towards New Kinds of Processors for Computer Music


Abstract:

The emerging field of Unconventional Computing is developing new algorithms and computing architectures inspired by or implemented in biological, physical and chemical systems.


Over the course of the last 60 years or so, digital computing technology has played a pivotal part in the development of the music industry. Advances in Computer Science have had a significant impact on the way we produce and consume music. As such, the music industry is likely to continue progressing in tandem with the development of new computing technologies. Hence our interest in contributing to the development of new computers for music.


After a brief introduction to the field of Unconventional Computing and initiatives towards musical applications, this talk will focus on research that is being conducted at ICCMR into harnessing the behaviour of an organism called Physarum polycephalum to build new kinds of living biological musical processors. The ICCMR team has successfully harnessed the organism to build an interactive bioprocessor that can listen and produce musical responses in real-time. Research into exploring the signal processing abilities of the organism to implement a musical sequencer and a granular sound synthesizer will also be reported.




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Design adapted from original ideas by Céline Bokobza / boubokdesign 2011