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News Australasian Computer Music the Universidad Nacional de Tres de Synthesizer’’; Tim Opie: ‘‘Granular Association Conference 2004 Febrero, Buenos Aires, Argentina. Synthesis: Conception and Continu- Friday’s concerts included a num- ity’’; and Dave Burraston and Ernest ber of works for 5.1 surround sound Edmonds: ‘‘Global Dynamics Ap- The twelfth Australasian Computer as well as for a variety of perfor- proach to Generative Music: Experi- Music Association Conference was mance control systems. Concert 4 ments with One Dimensional held in Wellington, New Zealand, on included Jeremy Yuille’s human be- Cellular Automata.’’ Session 3 in- 1–3 July 2004, with the theme Ghost ings are animals too; Brigid Burke’s cluded Lindsay Vickery: ‘‘Interactive in the Machine: Performance Prac- Gesturing on the Move; David control of higher order musical struc- tice in Electronic Music. Topics for Hirst’s La Vie Naturelle; Panayiotis tures’’; David Hirst: ‘‘Fission Or Fu- the sessions included performance Kokoras’s Response; Robert Sazdov’s sion: Analyzing The Acousmatic practice, electronic media, software Mesecina; and Michael Parsons’s Reaction’’; Greg Schiemer, Stephen development, interfaces and interac- Skitter. Concert 5 included Gordon Ingham, John Scott, Aaron Hull, Da- tivity, synthesis, spatialization, re- Monro’s What are you really think- mien Lock, Didier Balez, Gareth Jen- cording methodology, virtual ing?; Warren Burt’s Poems of Rewi kins, Ian Burnett, Guillaume Potard, instruments, analysis, audio repro- Alley; Robin Maconie Measures; and Mark O’Dwyer: ‘‘Configurable duction, traditional/non-traditional Aviary Hemisphere Environment for Spatial- applications—generative music, and Catherine Schieve’s ; and ized Sound’’; Jim Barbour: ‘‘Explora- the ArMaDillo. Greg Schiemer’s A Dekany in Me- tion of the Height Dimension in The audiovisual installation Cin- moriam. Concert 6 included John Audio Reproduction’’; Robin Ma- ema for the Ears by keynote speaker Rimmer and Richard Nunns’s Cos- conie: ‘‘Performance Theory and John Cousins ran throughout the mic Winds; Ivan Zavada’s Mirage; Practice in Stockhausen’s Kontakte’’; conference, featuring an acousmatic Robin Fox’s Backscatter; Donna Miriama Young, Artist Talk: ‘‘Titli- ‘‘tent’’ and surrounding octophonic Hewitt’s Dystonia; and Miriama pur’’; and Ryan Cockburn, Artist speaker array. Images projected upon Young’s Titlipur. Talk: ‘‘Lissa Meridan Studio Report: a black screen created audiovisual On Saturday, Concert 7 included The ArMaDillo.’’ Session 4 included balance and the acoustic space be- David Downes’s Noise (theme and Greg Schiemer and Mark Havryliv: came an instrument enclosing an au- variations); Jim Barbour’s Outback; ‘‘Wearable Firmware: The Singing dience of nine persons at a time. Lydia Ayers’s Nostalgia Strata; Jacket’’ and Rene Wooller: ‘‘Develop- Eight concerts were held during af- Kyung Mee Choi’s Sublimation (Ra- ing a Software Meta-Instrument for ternoons and evenings. On Thursday, chel Jefferies on marimba); Mike Live Electronic Dance Music.’’ Concert 1 included Paul Doornbusch Norris’s In:flection; and Guiseppe On Saturday, Session 5 included and Philip Brownlee’s Ex Machina; Rapisada’s Artico. Concert 8 con- Caleb Stuart: ‘‘The Object of Perfor- Stephen Gard’s mBu; Andrew Brown sisted of the program WYWS (While mance: Performativity in Contempo- and Greg Jenkins’s IDSS02; and Fa- You Were Sleeping), featuring Ryan rary Japanese ‘Onkyo’ Music’’; Ivan bio Cifariello Ciardi’s Limens Lim- Cockburn on live turntables, Emile Zavada: ‘‘Quadraloop: Real-Time Au- ine. Concert 2 was a special CD De La Rey on live electronics, Noo- dio Looping Software’’; Colin Hem- launch program of Douglas Lilburn’s dle Spider by Simulus, AirEarth by mingsen and Leigh Jackson, Artist complete electronic works in associ- Joseph Waters and Joel Bluestone, Talk: ‘‘The Use of MIDI Instruments ation with Atoll Records. Lilburn is and Signer on guitar and live elec- as Performance Tools in Jazz and Fu- regarded as New Zealand’s ‘‘father of tronics with VJs from the While You sion Improvisation’’; David Sanders, electronic music,’’and established Were Sleeping collective. Artist Talk: ‘‘Song of the Kokako’’; the first electroacoustic music studio Five paper sessions were held. On Alejandro Iglesias Rossi: ‘‘An Experi- in the southern hemisphere, in Thursday morning Session 1 con- ence of Synergy of Latin American 1966. Concert 3 by the group UN- sisted of Warren Burt: ‘‘Picking up Indigenous Instruments and Elec- TREF Fronteras del Silencio con- the Threads of a History More Exten- tronic Live Media’’; and Lydia Ayers sisted of a program of works for sive than Previously Known: Percy and Andrew Horner: ‘‘Synthesis of South American indigenous instru- Grainger’s Work with Music Tech- Chinese Dizi Ornaments.’’ ments (maracas, tarka, and yacui) nology.’’ and tape performed by composer Ale- On Friday, Session 2 included An- jandro Iglesias-Rossi and students of drew R. Brown and Greg Jenkins: the Electronic Arts Department of ‘‘The Interactive Dynamic Stochastic News 5 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 New Interfaces for Musical was chaired by Kia Ng and included man, Kristjan Varnik, David Expression 2004 reports by Judith Shatinand David Birchfield, Phil Burk, and Max Neu- Topper: ‘‘Tree Music: Composing haus: ‘‘The Architecture of Auracle: with GAIA’’; Gideon D’Arcangelo: A Real-Time, Distributed, Collabora- The New Interfaces for Musical Ex- ‘‘Recycling Music, Answering Back: tive Instrument’’; Homei Miyashita pression 2004 conference (NIME04) Toward an Oral Tradition of Elec- and Kazushi Nishimoto: ‘‘Thermo- was held 3–5 June at Shizuoka Uni- tronic Music’’; Sergi Jorda`: ‘‘Digital score: A New-Type Musical Score versity of Art and Culture in Hama- Instruments and Players: Part I—Effi- with Temperature Sensation’’; Ste- matsu, Japan. ciency and Apprenticeship’’; and Ni- fania Serafin and Diana Young: ‘‘To- Day 1 consisted of three technical kita Pashenkov: ‘‘A New Mix of ward a Generalized Friction sessions, a welcome performance, Forgotten Technology: Sound Gener- Controller: From the Bowed String to and two keynote talks. Paper Session ation, Sequencing and Performance Unusual Musical Instruments’’; Phi- 1 was chaired by Joe Paradiso and in- Using an Optical Turntable.’’ The lippe S. Zaborowski: ‘‘ThumbTec: A cluded presentations by Sidney Fels, evening session began with a Wel- New Handheld Input Device’’; and Linda Kaastra, Sachiyo Takahashi, come Performance by Yoichi Na- Ryan H. Torchia and Cort Lippe: Graeme McCaig: ‘‘Evolving Tooka: gashima and Tamami Ton: MOYA ‘‘Techniques for Multi-Channel From Experiment to Instrument’’; Ajay Kapur, Ari J. Lazier, Philip Da- III. This was followed by keynote Real-Time Spatial Distribution Us- vidson, R. Scott Wilson, and Perry R. talks by Toshio Iwai: ‘‘Images, Music ing Frequency-Domain Processing.’’ Cook: ‘‘The Electronic Sitar Control- and Interactivity—The Trace of Me- The Rencon Session was chaired by ler’’; and Masami Takahata, Kensuke dia Art’’ and Robert A. Moog: ‘‘How Rumi Hiraga and included presenta- Shiraki, Yutaka Sakane, and Yoichi Do Performers Interact with Their tions by Rumi Hiraga, Roberto Bre- Takebayashi: ‘‘Sound Feedback for Instruments?’’ sin, Keiji Hirata, and Haruhiro Powerful Karate Training.’’ Report Day 2 included three technical Katayose: ‘‘Rencon 2004: Turing Session 1 was chaired by Tine Blaine sessions, the Rencon session, and an Test for Musical Expression’’; Haru- and included reports by M. Kalten- evening concert. Paper Session 2 was hiro Katayose, Keita Okudaira: ‘‘Us- brunner, G. Geiger, and S. Jorda`: chaired by Perry Cook and included ing an Expressive Performance ‘‘Dynamic Patching for Live Musical presentations by Eric Lee, Teresa Template in a Music Conducting In- Performance’’; and Diana Young and Marrin Nakra, and Jan Borchers: terface’’; and Hideki Kawahara, Hi- Ichiro Fujinaga: ‘‘Aobachi: A New In- ‘‘You’re The Conductor: A Realistic deki Banno, and Masanori Morise: terface for Japanese Drumming.’’ Interactive Conducting System for ‘‘A Cappella Synthesis Demonstra- Poster Session 1 included presen- Children’’; Sile O’Modhrain and tions Using RWC Music Database.’’ tations by N. Bryan-Kinns and Georg Essl: ‘‘PebbleBox and The Friday evening Concert 1 in- P. G. T. Healey: ‘‘Daisyphone: Sup- CrumbleBag: Tactile Interfaces for cluded Jeffrey Stolet’s Tokyo Lick; port for Remote Music Collabora- Granular Synthesis’’; and Garth Clay Chaplin’s ‘Stupid Thing’ Impro- tion’’; Christophe HAVEL and Paine: ‘‘Gesture and Musical Interac- visation; Ajay Kapur, Phil Davidson, Myriam Desainte-Catherine: ‘‘Mod- tion: Interactive Engagement Ari Lazier Saraswati’s Electro-Magic eling an Air Percussion for Composi- Through Dynamic Morphology.’’ Re- performed by Ajay Kapur (ESitar) and tion and Performance’’; Mark Nelson port Session 3 was chaired by Sid Phil Davidson (audio visualizations); and Belinda Thom: ‘‘A Survey of Fels and included reports by Doug Kanta Horio’s particle; and Mari Ki- Real-Time MIDI Performance’’; Ar- Van Nort, Marcelo M. Wanderley, mura’s GuitarBotana. shia Cont, Thierry Coduys, and Cy- and Philippe Depalle: ‘‘On the Day 3 consisted of four technical rille Henry: ‘‘Real-Time Gesture Choice of Mappings Based on Geo- sessions, a concert, and a pair of late Mapping in Pd Environment Using metric Properties’’; and Brian Shee- nightclub events. Paper Session 3 Neural Networks’’; Assaf K. Tal- han: ‘‘The Squiggle: A Digital
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