University of Plymouth
206 Smeaton Building
Drake Circus
Plymouth PL4 8AA
United Kingdom
Tel: +44 (0)1752 232579
Seminars (2011/2012)
Seminars presented by vistors and by members of the Computer Music Research team. Each seminar will be followed by an informal discussion open to the audience. Members of the University's academic community, partner colleges and collaborating institutions are welcome. For more information contact Alexis Kirke.
Note: the programme may change, so please consult this web site regularly for updates.
TERM 1
06 October 2011
Topic: Advancing Concatenative Sound Synthesis Technology
Speaker: Noris Mohd Norowi
Venue: Babbage, top floor Plym Room
Time: 14:00 – 15:30
Abstract: Concatenative Sound Synthesis is a data-driven sound synthesis method that uses large corpus of source sounds, and through stages such as feature extraction and segment selection, best matched sounds are found and synthesized. Factors that affect the distance of the match, such as the combination, order and weight of the features are studied and presented. A robust method to automatically assign consistent weights to all features through the use of Analytic Hierarchy Process is also described.
20 October 2011
Topic: Pulsed Melodic Processing - Using Music for natural Affective Computation and increased Processing Transparency
Speaker: Alexis Kirke
Venue: Babbage, top floor Plym Room
Time: 14:00 – 15:30
Abstract: Pulsed Melodic Processing (PMP) is a computation protocol useable at multiple levels in data processing systems. For example at the level of spikes in an artificial spiking neural network or a pulse processing system, or at the level of exchanged messages and internal processing communication between modules in a multi-agent system or a multi-robot system. The approach utilizes musically-based pulse sets (“melodies”) for processing – capable of representing the arousal and valence of affective states. Affective processing and affective input/output is now considered to be a key tool in artificial intelligence and computing. In the designing of processing elements (e.g. bits, bytes, floats, etc), engineers have primarily focused on the processing efficiency and power. Having defined these elements, they then go on to investigate ways of making them perceivable by the user/engineer. However the extremely active and productive area of Human-Computer Interaction - and the increasing complexity and pervasiveness of computation in our daily lives – supports the idea of a complementary approach in which computational efficiency and power are more balanced with understandability to the user/engineer. PMP provides the potential for a person to tap into the affective processing path to hear a sample of what is going on in that computation, as well as providing a simpler way to interface with affective input/output systems. This comes at a cost of developing new approaches to processing and interfacing PMP-based modules - this cost being part of the compromise of efficiency/power versus user-transparency and interfacing. In this chapter we introduce and develop PMP; and demonstrate and examine the approach using three example applications: a military robot team simulation with an affective subsystem, a text affective-content estimation system, and a stock market tracking tool.
03 November 2011
Topic: Writing Machine
Speaker: Hanns Holger Rutz
Venue: Roland Levinsky, 206
Time: 14:00 – 15:30
Abstract: The seminar develops ideas attached to my recent sound installation "Writing Machine" and tape piece "Leere Null", and functions as a progress report of my research. Writing as a generic operation of differentiation has been proposed by Jacques Derrida in his Grammatology: Here, the grapheme is the manifestation of the process of writing-as-trace, an infinite chain of signification (and an absence of "presence" or re-presence of an original signified). What I am interested in is to consider both the process of composition of a sound piece and its algorithmic unfolding (either while composing or in a real-time performance) as two interrelated forms of recursive writing-as-decision-making. And also to see this writing as an ever ongoing gesture with boundaries -- the delimitation of what "a" piece is -- that can only be established from an observer's viewpoint. Finally, writing machine as a description of the computer-based composer, of programming the music. Pro-gram, writing-before-the-letter, and the algorithm's execution as writing-after-the-letter.
17 November 2011
Topic: The Warren: A BCMI Composition
Speaker: Joel Eaton
Venue: Robbins SR3
Time: 14:00 – 15:30
Abstract: This seminar will present the unique Brain-Computer Music Interface (BCMI) that allows users to control music using information read from the brain, combining medical and creative music technologies. The Warren is a piece written specifically for the BCMI.
01 December 2011
Topic: Cellular Automata Sound Synthesis
Speakers: Jaime Serquera
Venue: Roland Levinsky, 209
Time: 14:00 – 15:30
Abstract: In this seminar I will present Histogram Mapping Synthesis (HMS), a sound synthesis technique based on Cellular Automata that I have developed in my PhD. I will firstly establish a framework for my research and state my research problem. Then, I will present HMS and its capabilities for sound design. To that end, I will describe a mechanism for controlling over time an automaton based on a DSP monitoring of the automaton¹s evolution. Such dynamic control will be suitable to design sounds with dynamic spectrum and controlled complexity. Finally, I will present a new textural concept based on dynamic and complex sound beats.
15 December 2011
Topic: The techniques of string instruments
Speakers: Christian Dimpker
Venue: Roland Levinsky, 209
Time: 14:00 – 15:30
Abstract: Strings are versatile instruments since numerous extended playing techniques can be executed on them. For some of these techniques a conventional method of notation has been established, but most articulations are notated in varying ways. As a composer one is hence forced to choose his own methods of depiction when willing to employ augmented techniques. In the seminar a coherent method of notation for these articulations will be presented by using the example of the work »Tatsachen in zwei Sätzen« for violin alone. The piece may be described as the implementation of previous theoretic developments. An insight into this research will be given by demonstrating the utilised notation systems and playing a recording of the work.
TERM 2
12 January 2012
Topic: Subatomic Musical Instrument
Speaker: Alexis Kirke
Venue: Roland Levinsky 208
Time: 14:00 – 15:30
Abstract: A piece of physical apparatus called a Cloud Chamber is saturated with ethanol and cooled by liquid nitrogen. The subatomic particle tracks in the cosmic radiation bombarding us from space are made visible by this cloud chamber, and a camera above the chamber will follow some of the particle tracks, converting them into synthesized music which accompanies a violin. The image from the camera is also magnified onto a screen for the audience to see. An advanced visual recognition to sound interface called the Cloud Catcher will track subatomic particle trails and use them to drive certain control “knobs” on a digital sound synthesizer in real time. To create more of a duet, an amplified violin sound to also be sent to an electrically-generated field system positioned near the visible cosmic rays. Thus the violin will create a variable force field in the chamber influencing the way the ionized particle tracks behave; and during the performance – with the violinist’s playing will sometimes be influenced by the sounds that particle tracks make as well. This is all designed to create a dynamic musical interaction between the violin and the particle tracks.
26 January 2012
Topic: CANCELLED
09 February 2012
Topic: Dynamic Convolution Modelling Synthesis
Speaker: David Bessell
Venue: Roland Levinsky 209
Time: 14:00 – 15:30
Abstract: TBA
23 February 2012
Topic: Shakuhachi as a noise and technology interface
Speaker: Mike McInerney
Venue: Roland Levinsky 303
Time: 14:00 – 15:30
Abstract: TBA
08 March 2012
Topic: Jamming with a slime mould
Speaker: Eduardo Miranda
Venue: Fitzroy Building 210
Time: 14:00 – 15:30
Abstract: TBA
22 March 2012
Topic: Extended Music Notation Project: Progress Report
Speaker: Christian Dimpker
Venue: Babbage Building 214
Time: 14:00 – 15:30
Abstract: TBA
Details of the seminars in:
- 2010/2011 academic year.
- 2009/2010 academic year.
- 2007–2009 academic years.
- 2006/2007 academic
year.
- 2005/2006 academic year.
- 2004/2005 academic year.