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4th International Conference on Live Interfaces Inspiration, Performance, Emancipation ICLI 2018 4th International Conference on Live Interfaces Inspiration, Performance, Emancipation Dates 14-16 June 2018 Location Casa da Música & Passos Manuel, Porto, Portugal Website www.liveinterfaces.org Edited by José Alberto Gomes Miguel Carvalhais Rui Penha Design Michelle Martins ISBN 978-989-746-170-5 Published by Universidade do Porto Praça Gomes Teixeira 4099-002 Porto Portugal Contents 11 Foreword Keynotes 14 Rajele Jain From the Natyashastra 16 Andrew McPherson Comparative Musical Instrument Design Papers 19 Vincent Goudard Gestural Ergonomics of Visual Interfaces: The MP.TUI Library for Max 27 Raul Masu, Nuno N. Correia Penguin: Design of a Screen Score Interactive System 34 Raffaella Folgieri, Maria Elide Vanutelli, Paola Maria Sala, Ludovico Dei Cas, Dario Dei Cas, Claudio Lucchiari The Creative Mind: DRACLE Further Development 45 Henrique Portovedo, Paulo Ferreira-Lopes, Ricardo Mendes HASGS: The Repertoire as an Approach to Prototype Augmentation 52 Tiago Ângelo, Rui Penha, José Alberto Gomes, Pedro Rebelo Actuated Musical Instruments: a State of the Art 62 Visda Goudarzi, Enrique 151 Koichi Samuels, Hadi Bastani Tomás, Artemi-Maria Gioti Digital Media, Live Interfaces Collaborative Design Methods and Inclusion: ethnographic towards Evaluation of perspectives a Tangible Interface 160 Jung In Jung 71 Alex McLean, Dave Griffiths, Bridging Abstract Sound and Dance Ellen Harlizius-Klück Ideas with Technology: Interactive Digital Art: A Long History Dance Composition as Practice- Based Research 78 Thor Magnusson Ergomimesis: Towards 173 Renick Bell, Joana Chicau a Language Describing A Trans-Disciplinary Tool for Instrumental Transductions Collaborative, Choreographed, and Embodied Audio-Visual 86 Marije Baalman, Simon Live Coding Emmerson, Øyvind Brandtsegg Instrumentality, Perception 181 Joanne Armitage, Shelly Knotts and Listening in Crossadaptive Vibez: A Small Sense of Presence at Performance a Distance 96 Michael Rottmann Performances Before Ink Starts to Blink: Scripts and Diagrams on Paper 191 Joana Chicau, Renick Bell as Interfaces for Machines and Círculo e Meio Humans (in Creative Processes 196 Ryan Kirkbride, Lucy Cheesman, 110 Ricardo Melo, Miguel Carvalhais Laurie Johnson The Interactor Cedes Control: Fingerprints An Heuristic for Planned Serendipity in Interactive Systems 197 Masato Kakinoki Act: Study 117 Thanos Polymeneas Liontiris, Subject: History Thor Magnusson, Chris Kiefer, Topic: _ Alice Eldridge The Ensemble as Expanded 198 Filipe Lopes, Gilberto Bernardes, Interface: Sympoetic Performance Clara Cardoso in the Brain Dead Ensemble Variações sobre Espaço #6 126 Cécile Chevalier, Chris Kiefer 199 Marcin Pietruszewski Listening Mirrors: Prototyping formulae si:v for a Hybrid Audio Augmented Reality Installation 200 Alice Eldridge, Chris Kiefer, Thor Magnusson, Thanos 133 Paul Granjon, Patrick Hénaff, Polymeneas Liontiris Alain Dutech Brain Dead Ensemble: Guido and Am I Robot? Case Study An Acoustically Networked of Two Robotic Artworks Operating Feedback Quartet in Public Spaces 202 Henrique Portovedo 234 Terhi Marttila Music for HASGS Playful Readings and Deeper Meanings 204 Joe Watson The Thing Breathed 237 Francisca Gonçalves Acoustic Ecology as Tool for 209 Amy Alexander, Curt Miller Environmental Awareness: The A performance of PIGS: Ocean Soundscape Percussive Image Gestural System 213 Lee Westwood, Danny Bright Noise Peddler: A live exploration of the pedalboard as performance interface 216 Alexandra Tibbitts, John Sullivan, Ólafur Bogason, Brice Gatinet A Method for Gestural Control of Augmented Harp Performance 219 Adriana Sá, John Klima CityStrings 220 Joanne Armitage and Shelly Knotts Vibez 221 Alex McLean Yaxu: Feedforward Doctoral Symposium 224 Luís Aly Performative Sound Design: A Bio-signal Control Metaphor for Performative Sound Design 228 Jack Armitage Supporting Live Craft Process in Digital Musical Instrument Design 231 Raul Masu DMIs Design: Fostering Authorship of Composers and Creativity of Performers Scientific Adriana Sá University of Coimbra Committee Águeda Simó University of Beira Interior Alex McLean Deutsches Museum, Munich / Access Space, Sheffield Alice Eldridge Emute Lab / University of Sussex Amy Alexander University of California, San Diego André Rangel CITAR Andrew McPherson Centre for Digital Music, Queen Mary University of London António de Sousa Dias Faculdade de Belas Artes, Universidade de Lisboa Atau Tanaka EAVI / Goldsmiths, University of London Carla Montez Fernandes Universidade NOVA de Lisboa - FCSH Carlos Caires Escola Superior de Musica de Lisboa / CESEM Carlos Guedes NYU Abu Dhabi Cécile Chevalier Ivo Teixeira Emute Lab / University of Sussex UT Austin|Portugal Universidade do Porto Chris Kiefer Jeff Snyder Emute Lab / University of Sussex Princeton University Cristina Sá Jennifer Parker Universidade Católica Portuguesa UCSC OpenLab, University of California Santa Cruz Curt Miller UCSD and Independent Artist João Beira University of Texas, Austin / Daniel Jones Independent Artist Independent José Alberto Gomes David Ogborn Digitópia Casa da Música McMaster University Kate Sicchio Diemo Schwarz New York University Ircam, ISMM Sound–Music– Movement Interaction Team Koray Tahiroglu Department of Media, Aalto University Edwin van der Heide School of Arts, Design, Architecture Leiden University & Royal Conservatoire Hague Luísa Ribas ID+ / CIEBA / Faculty of Fine Arts, Emma Cocker University of Lisbon Nottingham Trent University Luís Gustavo Martins Enrique Hurtado Mendieta Universidade Católica Portuguesa Fine Arts, Universidad del Pais Vasco / Euskal Herriko Unibertsitatea, Bilbao Luís Leite ESMAD / IT - Instituto de Filipe Lopes Telecomunicações University of Aveiro Marco Conceição Franziska Schroeder Escola Superior de Música e Artes do School of Arts, English and Languages, Espetáculo do P. Porto | i2ADS | NIMAE Queen’s University Belfast Marije Baalman Gilberto Bernardes Instrument Inventors Initiative and INESC TEC independent artist Halldór Úlfarsson Martin Kaltenbrunner Department of Music, ICL / University of Art and Design Linz University of Sussex Martin Zeilinger Rui Penha Dept. of English & Media, Anglia INESC TEC / Faculty of Engineering, Ruskin University University of Porto Matthew Davies Ryan Ross Smith INESC TEC State University of New York at Oneonta Michael Lyons Sally Jane Norman Ritsumeikan University New Zealand School of Music – Te Kōkī, Victoria University Wellington Miguel Carvalhais INESC TEC / i2ADS / Faculty of Fine Arts, Thor Magnusson University of Porto Emute Lab / University of Sussex Nuno Correia Vítor Joaquim DI and NOVA LINCS, Faculdade de Ciências CITAR, Universidade Católica Portuguesa e Tecnologia, Universidade Nova de Lisboa Ollie Bown Interactive Media Lab, UNSW Art & Design Paul Granjon Fine-Art, Cardiff School of Art and Design, Cardiff Metropolitan University Pedro Cardoso INESC TEC Pedro Duarte Pestana School of the Arts, UCP Pedro Rebelo Sonic Arts Research Centre, Queen’s University Belfast Pete Furniss Goldsmiths, University of London Ricardo Climent NOVARS / University of Manchester Rob Hamilton Department of the Arts, Rensselaer Polytechnic Institute Rodrigo Carvalho FEUP / UT Austin-Portugal CoLab Organising Francisca Rocha Gonçalves Openfield Creative Lab / Faculty of Committee Engineering, University of Porto José Alberto Gomes Digitópia Casa da Música Miguel Carvalhais INESC TEC / i2ADS / Faculty of Fine Arts, University of Porto Rui Penha INESC TEC / Faculty of Engineering, University of Porto Local Andrés Torres C. Production Team Faculty of Fine Arts, University of Porto Nuno Loureiro Faculty of Engineering, University of Porto Michelle Martins Faculty of Fine Arts, University of Porto Paula Oliveira Casa da Música Steering Adriana Sá University of Coimbra Committee Alex McLean Deutsches Museum, Munich / Access Space, Sheffield Kate Sicchio New York University Maria Chatzichristodoulou London South Bank University Miguel Carvalhais INESC TEC / i2ADS / Faculty of Fine Arts, University of Porto Sally Jane Norman New Zealand School of Music – Te Kōkī, Victoria University Wellington Thor Magnusson Emute Lab / University of Sussex Foreword Every creative process starts from a given seminal idea, lying somewhere between abstract thinking and engagement with mate- rial objects: let’s call it the inspiration. The moment when ideas flow into and out of place, slowly building to become a cohesive whole. What are the problems we deal with in the early prototyping of interfaces for live performance? What technologies do we use and how do we choose them? How do these technologies inform and catalyse the creative process? How do we unlock their unique expressive potential? Inevitably, the time for the highly anticipated first performance arrives. What strategies do we use to combine the live interfaces within the performance? How do we cope with the technical difficulties of integrating various technologies? What is the unique aesthetic potential of each of these technologies? How do they transfigure the performance reception from the audience’s perspective? Eventually, each live interface has to find its own path towards an emancipation from its first performative use. How do we repurpose live interfaces? How do we maintain the underlying technologies so that we can reuse or repurpose them? How do we build a reper- toire for their use? How do we document and notate their technical and artistic aspects for future use?
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  • Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures

    Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures

    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/408 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] archive.today Saved from http://www.dancecult.net/bibliography.php search 3 Sep 2013 05:47:40 UTC webpage capture history All snapshots from host www.dancecult.net Linked from en.wikipedia.org » Talk:Trance (music genre)/Archive 1 Webpage Screenshot share download .zip report error or abuse Electronic dance music cultures bibliography Help expand this bibliography by submitting new references to dancecult! Complete list [sort by document type] [printable] [new entries] Abreu, Carolina. 2005. Raves: encontros e disputas. M.A. Thesis (Anthropology), University of São Paulo. [view online] Albiez, Sean and Pattie, David (eds.). 2010. Kraftwerk: Music Non Stop. New York / London: Continuum. [view online] Albiez, Sean. 2003. "'Strands of the Future: France and the birth of electronica'." Volume! 2003(2), 99-114. Albiez, Sean. 2003. "Sounds of Future Past: from Neu! to Numan." In Pop Sounds: Klangtexturen in der Pop- und Rockmusik, edited by Phleps, Thomas & von Appen, Ralf. Bielefeld: Transcript Verlag, 129-152. Albiez, Sean. 2005. "Post Soul Futurama: African American cultural politics and early Detroit Techno." European Journal of American Culture 24(2), 131-152.