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Interactive Electroacoustics Interactive Electroacoustics Submitted for the degree of Doctor of Philosophy by Jon Robert Drummond B.Mus M.Sc (Hons) June 2007 School of Communication Arts University of Western Sydney Acknowledgements Page I would like to thank my principal supervisor Dr Garth Paine for his direction, support and patience through this journey. I would also like to thank my associate supervisors Ian Stevenson and Sarah Waterson. I would also like to thank Dr Greg Schiemer and Richard Vella for their ongoing counsel and faith. Finally, I would like to thank my family, my beautiful partner Emma Milne and my two beautiful daughters Amelia Milne and Demeter Milne for all their support and encouragement. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. …………………………………………… Table of Contents TABLE OF CONTENTS ..................................................................................................................I LIST OF TABLES..........................................................................................................................VI LIST OF FIGURES AND ILLUSTRATIONS............................................................................ VII ABSTRACT..................................................................................................................................... X CHAPTER ONE: INTRODUCTION.............................................................................................. 1 1.1 POTENTIALS AND POSSIBILITIES ................................................................................................ 1 1.2 HAVE WE REALISED THE POTENTIALS OF INTERACTIVE SYSTEMS?.............................................. 2 1.3 STRUCTURE OF THE THESIS ....................................................................................................... 3 1.4 TECHNOLOGY CONVERGENCE................................................................................................... 4 1.5 DESCRIBING INTERACTIVE SYSTEMS ......................................................................................... 5 1.6 CONTEXT.................................................................................................................................. 6 1.6.1 Interactive Sound Installations.......................................................................................... 6 1.6.1.1 Myron Krueger and Responsive Environments .............................................................................. 6 1.6.1.2 Jeffrey Shaw–Points of View ........................................................................................................... 7 1.6.1.3 David Rokeby–Very Nervous System.............................................................................................. 8 1.6.1.4 Rod Berry–Models of Artificial Life and Listening Sky................................................................. 9 1.6.1.5 Sarah Waterson and Kate Richards–Data Mapping and sub_scapeBALTIC ............................... 10 1.6.1.6 George Khut–Bio-sensing and Cardiomorphologies.................................................................... 11 1.6.1.7 Garth Paine–Interacting with the Environment............................................................................. 11 1.6.1.8 Felix Hess–Emergent Behaviour and Moving Sound Creatures.................................................. 12 1.6.2 Performing with Interactive Systems and Designing New Instruments............................ 13 1.6.2.1 Remote Sensing Interfaces............................................................................................................. 14 1.6.2.1.1 Joel Chadabe–Solo................................................................................................................. 15 1.6.2.1.2 Rolf Gehlhaar–SOUND=SPACE.......................................................................................... 15 1.6.2.1.3 Leonello Tarabella–Exploded Instruments........................................................................... 15 1.6.2.1.4 Jon Drummond–Spiral and Sheet ......................................................................................... 16 1.6.2.2 Physical Interfaces, Designing New Instruments.......................................................................... 17 1.6.2.2.1 Michel Waisvisz–The Hands................................................................................................. 18 1.6.2.2.2 Hyperinstruments................................................................................................................... 19 1.6.2.3 Interactive System as Autonomous Agent .................................................................................... 20 1.6.2.3.1 Musical Accompaniment: Risset’s Duet for One Pianist .................................................... 20 1.6.2.3.2 Score Following: Cort Lippe’s Music for Clarinet and ISPW............................................. 21 1.6.2.3.3 Interactive System as an Independent Performer: Lewis’ Voyager..................................... 22 1.7 SUMMARY .............................................................................................................................. 22 i CHAPTER TWO: OVERVIEW OF INTERACTIVE ELECTROACOUSTIC ART PRACTICE PART 1 ........................................................................................................................................... 25 2.1 LIVE-ELECTRONIC MUSIC BEGINNINGS–1950S AND 1960S...................................................... 25 2.1.1 John Cage....................................................................................................................... 26 2.1.1.1 Imaginary Landscape No. 4........................................................................................................... 26 2.1.1.2 Cartridge Music ............................................................................................................................. 28 2.1.1.3 Variations V.................................................................................................................................... 30 2.1.2 Karlheinz Stockhausen–Mikrophonie I ........................................................................... 32 2.1.3 David Tudor–Rainforest IV............................................................................................. 34 2.1.4 Alvin Lucier–Music for Solo Performer.......................................................................... 37 2.1.5 Gordon Mumma–Hornpipe............................................................................................. 38 2.2 PROGRAMMABLE INTERACTIVE COMPUTER MUSIC–1970S ...................................................... 41 2.2.1 Salvatore Martirano–SalMar Construction...................................................................... 41 2.2.2 Joel Chadabe .................................................................................................................. 43 2.2.2.1 CEMS System ................................................................................................................................ 43 2.2.2.2 Solo ................................................................................................................................................. 44 2.2.3 Max Mathews–GROOVE and the Conductor Programme............................................... 45 2.3 FIRST COMMERCIAL INTERACTIVE MUSIC SOFTWARE–1980S.................................................. 47 2.3.1 Music Mouse.................................................................................................................. 47 2.3.2 M and Jam Factory ......................................................................................................... 49 2.4 NETWORKED ENSEMBLES ....................................................................................................... 50 2.4.1 The League of Automatic Music Composers .................................................................. 50 2.4.2 The Hub ......................................................................................................................... 54 2.4.3 austraLYSIS electroband ................................................................................................ 56 2.4.4 HyperSense Complex ..................................................................................................... 60 CHAPTER THREE: OVERVIEW OF INTERACTIVE ELECTROACOUSTIC ART PRACTICE PART 2 ...................................................................................................................... 65 3.1 INTERFACES–MAPPING GESTURE TO SOUND ........................................................................... 65 3.1.1 Michel Waisvisz–The Hands .......................................................................................... 66 3.1.2 Laetitia Sonami–Lady’s Glove........................................................................................ 69 3.1.3 Donna Hewitt–E-mic ...................................................................................................... 70 3.1.4 Sensorband–Soundnet..................................................................................................... 73 3.1.5 Greg Schiemer–Spectral Dance...................................................................................... 75 3.2 INSTALLATION
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