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Acmc2015 - Make! ACMC2015 - MAKE! Proceedings of the Annual Conference of the Australasian Computer Music Association Hosted by the Faculty of Arts and Social Sciences University of Technology Sydney Wednesday 18th- Saturday 21st November 2015 Proceedings of the 2015 Conference of the Australasian Computer Music Association ISSN 1448-7780 ACMC2105 MAKE! Proceedings of the 2015 Annual Conference of the Australasian Computer Music Association Sydney Australia 18th – 21st November 2015 Keynote Speaker: Published by: Associate Professor Cat Hope The Australasian Computer Music Association Paper Review Committee: Roger Alsop http://acma.asn.au Stephen Barrass November 2015 Ross Bencina Rodney Berry ISSN 1448-7780 Daniel Blinkhorn Andrew Brown All copyright remains with the Noel Burgess authors Warren Burt Paul Doornbusch Proceedings edited by Ian Stevenson Christian Haines Lawrence Harvey All correspondence with authors David Hirst should be sent directly to the authors. Cat Hope David Kim-Boyle General correspondence for ACMA Eve Klein should be sent to [email protected] Somaya Langley Terumi Narushima The peer review process applied to full Michael Norris papers published in these proceedings Tim Opie involved impartial and independent Lindsay Vickery assessment and review of the papers Ian Whalley before publication, conducted by independent, qualified experts as Music Review Panel: required by section 6.5 of the 2015 Jon Drummond Higher Education Research Data Donna Hewitt Collection Specifications of the Sophea Lerner Australian Government Department of Education and Training. Conference Organisers: Jon Drummond Donna Hewitt Sophea Lerner Ian Stevenson Page 2 Proceedings of the 2015 Conference of the Australasian Computer Music Association ISSN 1448-7780 ACMC2105 MAKE! TABLE OF CONTENTS FULL PAPERS Ros Bandt 5 CREATING SOUNDING SPACES- THE WHY? FACTOR Rodney Berry, Ernest Edmonds, Andrew Johnston 13 UNFINISHED BUSINESS- SOME REFLECTIONS ON ADOPTING A PRACTICE-BASED APPROACH TO TECHNOLOGICAL RESEARCH AS AN ARTIST Colin Black 19 EXPLORING A DISEMBODIED VOICE IN SURROUND SOUND MEDIA SPACE Brigid Bourke 26 ESCAPEE GLOSS-A SYMPHONY OF POLYMEDIA Benedict Eris Carey, John R. Taylor, Damian Barbeler 34 AN INTERACTIVE, MULTIMODAL INSTALLATION USING REAL-TIME SPECTRAL ANALYSIS Paul Dunham, Bridget Johnson 40 A FRACTURED EARTH- SONIFICATION AND SPATIALISATION OF SEISMIC DATA WITH MAX:MSP AND SPEAKER MOTION Tim Gilchrist, Meg Travers, Tara Surry, SKoT McDonald, Morgan Strong, Craig Wale 45 THE SONIC BOLLART Vincent Giles 50 SCORING FOR GRID CONTROLLERS – PRELIMINARY CONSIDERATIONS OF ACTION, GESTURE, FUNCTIONALITY, AND LIMITATIONS Nigel Helyer 57 A DIFFERENT ENGINE Cat Hope, Meg Travers 64 WHO WANTS A TRAUTONIUM MUST BUILD ONE James Humberstone, John R. Taylor 69 MAKING MUSIC LEARNING FUN- DESIGNING AN INTERACTIVE IBOOK FOR INFORMAL LEARNING Blake Johnston, Michael Norris 75 CARME- A MULTI-TOUCH CONTROLLER FOR REAL-TIME SPATIALISATION OF GESTURAL BEHAVIOUR Mary Mainsbridge 81 CRACEA-GESTURAL PERFORMANCE Charles Martin, Henry Gardner, Ben Swift, Michael Martin 85 MUSIC OF 18 PERFORMANCES- EVALUATING APPS AND AGENTS WITH FREE IMPROVISATION SKoT McDonald 95 BFDLAC, A FAST LOSSLESS AUDIO COMPRESSION ALGORITHM FOR DRUM SOUNDS OR SIZE ISN’T EVERYTHING Mark Pedersen, Prue Lang 101 GLACIER MELT- EMBODIED KNOWLEDGE AND THE COMPOSITION OF CHOREOGRAPHIC SOUNDSCAPES Ian Stevenson 108 PERFORMATIVITY AND INTERACTIVITY-CONCEPTS FOR FRAMING THE PEDAGOGY OF MAKING Page 3 Proceedings of the 2015 Conference of the Australasian Computer Music Association ISSN 1448-7780 Michael Terren, Cat Hope ACMC2105 MAKE! 112 MAP-MAKING TOWARDS AN ONTO-CARTOGRAPHY OF THE DIGITAL AUDIO WORKSTATION Lindsay Vickery, Talisha Goh 119 MUSIC SCREEN-READING-INDICATIVE RESULTS FROM TWO PILOT STUDIES Lindsay Vickery 160 THROUGH THE EYE OF THE NEEDLE-COMPOSITIONAL APPLICATIONS FOR VISUAL-SONIC INTERPLAY ABSTRACTS Liam Bray and Oliver Bown 135 LUDIC HUMAN COMPUTER CO-CREATION Ben Byrne 135 SOUND AS MULTIPLICITY IN EXPERIMENTAL MUSIC: LISTENING WITH THOREAU, CAGE AND SERRES Luke Harrald 135 ACOUSMATIC COMPOSITION IN A BLENDED WORLD Charles Martin 136 GESTURE STUDY AND CORRESPONDENCES: COMPOSING FOR PERCUSSIVE IPAD APPS Terumi Narushima, Kraig Grady, Matthew Dabin, Christian Ritz, Stephen Beirne 136 3D PRINTING MICROTONAL FLUTES Michelle Stead 137 WRITING THE WRONGS OF HISTORY: LISTENING AND THE DISCOURSE OF GENDER IN ELECTROACOUSTIC MUSIC ARTIST TALKS Roger Alsop and Brigid Burke 139 GREEN SKIES…. MOMENTS-ARTIST TALK Andrew Brown 143 IMITATION AND AUTONOMY AS A BASIS FOR MUSICAL AGENCY-ARTIST TALK Warren Burt 144 “A PLETHORA OF POLYS” – A LIVE ALGORITHMIC MICROTONAL IMPROVISATIONAL COMPOSITION FOR IPAD-ARTIST TALK Damian Castaldi 149 PLAY ONGAKU-ARTIST TALK Keith Halpin 151 SONIC ART AS METAPHOR & MYTHOLOGY-ARTIST TALK STUDIO REPORTS Cat Hope, Lindsay Vickery, Jean-Michel Maujean 154 WEST AUSTRALIAN ACADEMY OF PERFORMING ARTS, COMPOSITION DEPARTMENT-STUDIO REPORT Timothy Opie 155 IMPLEMENTING THE NEW BACHELOR OF SOUND PRODUCTION AT BOX HILL INSTITUTE-STUDIO REPORT Meg Travers and SKoT McDonald 157 THE PERTH ARTIFACTORY-STUDIO REPORT Page 4 Proceedings of the 2015 Conference of the Australasian Computer Music Association ISSN 1448-7780 ACMC2105 MAKE! ACMC2015 – MAKE! REFEREED FULL PAPERS Page 5 Proceedings of the 2015 Conference of the Australasian Computer Music Association ISSN 1448-7780 ACMC2105 MAKE! CREATING SOUNDING SPACES: THE WHY? FACTOR Dr Ros Bandt International sound artist composer, performer, sound culture researcher, Director of the on-line Sound Design Project and Gallery, Faculty of Arts University of Melbourne www.rosbandt.com www.hearingplaces.com ABSTRACT be one of a number of internationally commissioned works for his ListenN festival in Arizona, 2014. The task Sound artist and composer Ros Bandt, reflects on was to create a work interpreting the ambisonic sound “Creating sounding spaces, the why factor?” with recordings of the environmental regions he is archiving reference to the complexities of approaching two recent of the biosphere in Arizona. The sounds recorded by international commissions, the six channel 2014 Raptor someone else (him or Leah Barclay ) had to be the focus for the ListenN festival, USA and a performance piece of the composition as the whole point of the for the German recorder Virtuoso Five Faces of Medea commissions was to make people aware of the biosphere Ulrike Volkhardt with 5 videos, surround sound and live data base they were creating as a continuing sound electronics. laboratory of the natural environment, a worthy task. 1.WHY DO IT? WHY MAKE WORK? Unlike most computer music composers, I have Thinking it through. always created my own sound palette and made my own air and hydrophone recordings and rarely used anyone In my studio I have a blank canvas. It beckons me with else’s samples despite encouragement from The West the question mark of empty space for each new work. Deutsche Rundfunk and the ABC to use their sound What do I want to create? For Whom, Where? For how libraries. An exception is the brutal horse race end of the long? Why do I want to do this? A commission? A Bacchylides movement in my Thrausmata Sonic dream? An invitation? A non–intention; something just Archeologies CD on Move Records. The act of listening growing up by itself? An experiment? Some novel and “being in place” is part of the integrity of field research and development collaboration? A challenge? A composition for me personally. Several days were spent computer aberration? The answers to all these questions listening to this environmental sound archive. I found the come together in unique ways which shape the creative on-line recordings very variable in quality and sonic outcome. I never sit down at the computer to just make a interest. For the most part as Garth described them they new piece of computer music because I can. Technical were low level ambient environments. possibilities are available to us, but as artists there has to At the time I had just spent a year in one be a much better reason. There’s a tango waiting to location documenting one sound habitat, the Goldfields happen, people in an acoustic space somewhere. box ironbark at my acoustic sanctuary making an online Two very recent international commissions, twelve month sonic calendar. Spending time to know Raptor and 5 faces of Medea are case studies for these country over the long term is a requirement in an ancient questions to be answered. They are two very different sung country such as this one for me personally. working models and outcomes. The complex roles of the See www.hearingjaarajaara2013.wordpress.com I had computers are totally subservient to the overall aesthetic been dealing with the disembodiment of sound on line in needs of each work, but both works rely heavily on them this project already. Technology would have to create a for the production of the ideas at every stage of the fictional and sonorous auditory landscape. musical process. There was also the problem of not being there, on site to understand the relationship of the sound to the habitat 2. CASE STUDY I : RAPTOR that generated it. Nor would I be able to hear the Raptor Ros Bandt 15 minutes premiere of the work or have knowledge of the acoustic 5.1 computer composition interpreting an international space it was going to be heard in despite being given environmental sound archive for an international speaker specs, 4 Meyer UPJ1 loudspeakers, 1 sub to be festival. augmented to 6 with 2 Genelec 8020s backup. The piece I received
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