Australasian Computer Music Association Conference 2004

Home , Paul Lansky, RAC (musician), Sonic Arts Network

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 was chaired by Sergi Jorda` and in- mudi: ‘‘The Decentralized Pianola: Musical Instrument.’’ Poster Session cluded presentations by Roger B. Evolving Mechanical Music Instru- 2 included presentations by David Dannenberg: ‘‘Aura II: Making Real- ments Using a Genetic Algorithm’’; Gerhard, Daryl Hepting, and Mat- Time Systems Safe for Music’’; Ge and James Mandelis and Phil Hus- thew McKague: ‘‘Exploration of the Wang and Perry R. Cook: ‘‘On-the-fly bands: ‘‘Don’t Just Play it, Grow it!: Correspondence Between Visual and Programming: Using Code as an Ex- Breeding Sound Synthesis and Perfor- Acoustic Parameter Spaces’’; Chan- pressive Musical Instrument’’; and mance Mappings.’’ Report Session 2 drasekhar Ramakrishnan, Jason Free- Michael Lew: ‘‘Live Cinema: Design-

6 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 ing an Instrument for Cinema Edit- chi, Tadashi Kinukawa) Chase sical Instrument ‘Le SuperPolm’ and ing as a Live Performance.’’ Report performed by Tadashi Kinukawa; Ur- Gesture Controller ‘BodySuit’.’’ Session 4 was chaired by Keiji Hirata ico Fujii’s Orga[ni]sm, formula for and included reports by Cornelius orgasm between human and technol- Poepel: ‘‘Synthesized Strings for ogy, presented with HairDNA, Sonic String Players’’ and Atau Tanaka: Skin, and Samsara; and Hisashi Oka- Sonic Arts Network ‘‘Mobile Music Making.’’ Poster Ses- moto’s The first sailing with Limber- sion 3 included presentations by Em- Row. The NIME04 Club Concert SoundCircus manuel Fle´ty: ‘‘Versatile sensor included Sinan Bokesoy and Stefan Sonic Arts Network and De Mont- acquisition system utilizing Net- Tiedje’s Ruins A39; Jordan Wynny- fort University (DMU), in conjunc- work Technology’’; Lalya Gaye and chuk’s Dr. Dentist and the Oral Sa- tion with Phoenix Arts Leicester, Lars Erik Holmquist: ‘‘In Duet with tisfactors; and Ge Wang and Perry presented SoundCircus on 11–14 Everyday Urban Settings: A User Cook’s On-the-fly Counterpoint. June 2004, with over 60 artists pre- Study of Sonic City’’; Enrique This was followed by a Farewell senting at the event, including Adaa- Franco, Niall J. L. Griffith, and Mi- NIME04 DJ/VJ Party featuring vokoi dat, BEAST, Codec/X, Peter Cusack, kael Fernstr: ‘‘Issues for Designing a kazunovski, Mutsutoshi Muraoka John Levack Drever, Iris Garrelfs, Flexible Expressive Audiovisual Sys- and Shin-Show, yu-go, and VM Ma- Jonty Harrison, Modified Toy Or- tem for Real-Time Performance and chine. chestra, Adrian Moore, Pippa Mur- Composition’’; Gamhewage C. de Demo Sessions were held during phy, Seed Records, Daniel Schachter, Silva, Tamara Smyth, and Michael J. the afternoons on all three days. Volcano the Bear, and David Zicar- Lyons: ‘‘A Novel Face-Tracking They included Jean-Marc Pelletier: elli. SoundCircus focused on new Mouth Controller and its Applica- ‘‘A Shape-Based Approach to Com- cultural trends and aimed to high- tion to Interacting with Bioacoustic puter Vision Musical Performance light the broad range of approaches Models’’; Yoichi Nagashima: ‘‘Mea- Systems’’; Stephen Hughes, Cormac and thinking that surrounds the surement of Latency in Interactive Cannon, and Sile O Modhrain: sonic arts through a variety of perfor- Multimedia Art’’; and Katsuhisa Ish- ‘‘Epipe: A Novel Electronic Wood- mances, installations, and research ida, Tetsuro Kitahara, and Masayuki wind Controller’’; Geoffrey C. Mor- presentations. Takeda: ‘‘ism: Improvisation Sup- ris, Sasha Leitman, and Marina Day 1 featured an evening concert porting System based on Melody Kassianidou: ‘‘SillyTone Squish Fac- at the Union Bar, DMU, which in- Correction.’’ Report Session 5 was tory’’; Hans-Christoph Steiner: cluded the 5-piece electro-improv chaired by Gideon D’Arcangelo and ‘‘StickMusic: Using Haptic Feedback group *paul; Ardisson and Doubtful included reports by Eric Singer, Jeff with a Phase Vocoder’’; Thierry Cod- Guest, presented by Seed Records; Feddersen, Chad Redmon, and Bil uys, Cyrille Henry, and Arshia Cont: Ommm, presented by Adaadat; mul- Bowen: ‘‘LEMUR’s Musical Robots’’; ‘‘TOASTER and KROONDE: High- tichannel noise group Asbestos; the Anthony Hornof and Linda Sato: Resolution and High-Speed Real- circuit-bending Modified Toy Or- ‘‘EyeMusic: Making Music with the Time Sensor Interfaces’’; Sook Young chestra, and avant-post rock/jazz/ Eyes’’; Mark Argo: ‘‘The Slidepipe: A Won, Humane Chan, and Jeremy folk improvisers Volcano the Bear. Timeline-Based Controller for Real- Liu: ‘‘Light Pipes: A Light Controlled Day 2 featured multichannel elec- Time Sample Manipulation’’; and MIDI Instrument’’; Takuro Mizuta troacoustic concerts as well as pre- Matthew Burtner: ‘‘A Theory of Lippit: ‘‘Realtime Sample System for concert talks at the DMU Black Box Modulated Objects for New Sha- the Turntablist version 2: 16padjoys- and Phoenix Art Centre. Being manic Controller Design.’’ The eve- tickcontroller’’; Tomoko Hashida, Heard, a multi-speaker sound instal- ning Concert 2 included Peter Yasuaki Kakehi, and Takeshi Nae- lation featuring the voices of the Dowling’s ice9, with system designer mura: ‘‘Ensemble System with i- people of Leicester, compiled by John Frieder Weiss, choreographer Robert trace’’; Michael Eyal Sharon: ‘‘The Richards and Simon Atkinson, ran in Wechsler, and dancers Robert Stranglophone: Enhancing Expres- the foyer throughout the afternoon. Wechsler, Helena Zwiauer, and Em- siveness in Live Electronic Music’’; Pre-concert talks included David Zi- ily Fernandez; Sachiyo Takahashi and Suguru Goto and Takahiko Su- carelli: ‘‘Incremental, Interactive, and Linda Kaastra’s You and Me; zuki: ‘‘The Case Study of Applica- and Incomplete’’ and Daniel Schach- Vola’s (Ryoho Kobayashi, Naoaki Ko- tion of Advanced Gesture Interface ter: ‘‘Towards New Models for the jima, Yuta Uozumi, Takuya Yamau- and Mapping Interface—Virtual Mu- Construction of Interactive Electro-

News 7

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 acoustic Music Discourse.’’ Musical Green, Jonathon Manton, Nick Me- Salome´ Voegelin: ‘‘Techno Pleasure’’; performances included Chetan Pan- lia, Tom Simmons, and Bill Vine; and John Levack Drever, Geraint choli’s The East Africa Gujarati Pete Batchelor’s Studies on Canvas, Wiggins, and Andre´s Melo: ‘‘Elec- Company (acousmatic); Nigel a new Sonic Arts Network multi- tronic Music Performance Interfaces Pease’s Ascendance II (computer ar- channel screen and sound; Iain Arm- that Learn from Their Users.’’ ray, percussion, flute and sax audio/ strong and Jayne West’s Forgotten visual); Tom Williams’s Three Points Fairytales, a sound and image docu- of Dislocation (acousmatic); LRS Im- mentation of Northamptonshire’s provised Performance (guitars, elec- gay community; Simon Longo’s Po- International Conference on tric piano, effects); Tim Howle’s lar Wind (laptop performance); Rod- Auditory Display 2004 Open Circuits (audio/visual); Robert rigo Sigal’s Friction of Things in Dow’s Extended Riff (acousmatic); Other Places (acousmatic); Ben Thig- The Tenth International Conference Andrew Hugill Nicholas’s Through pen’s Incandescence (acousmatic); on Auditory Display (ICAD 2004) the Mist (acousmatic); Peter de Spon-G’s Live Performance (Max/ was held 6–10 July 2004 in Sydney, Moncy’s Conegliano Trangulation MSP, voice); James Mooney’s Graffiti Australia. ICAD is the premiere fo- (live performance); Quartet Electron- 2 (5.1 surround sound); Mark Pilking- rum for research on the use of sound Hydro ische sampler ensemble; David Bere- ton’s (audio/visual); Stelios to display data, monitor systems, and zan’s Cyclo (acousmatic); Paul Giannoulakis’s Rainwater (acous- to enhance user interfaces for com- Rudy’s Love Song (acousmatic); IMP matic); Coryn Smethurst’s The Late puters and virtual reality systems. In Improvised Performance (flute, didg- Turners (audio/visual); Rick Nance’s addition to the usual keynotes and eridoo, VCS3, guitars, cello, Max/ Cross Country Runner (acousmatic); technical papers, the conference in- MSP); Pippa Murphy’s Kamala Adrian Moore’s Resonant Image (au- cluded the first Sonification Concert Kantha (acousmatic); Daniel Barri- dio/visual); Iris Garrelfs’s Of Dual at the Sydney Opera House. ero’s Interfereˆncias (live, Max/MSP, Nature (audio/visual); Candice Ja- Day 1, on the topic of Sonifica- Ellen Fallowfield—cello); Nikos Stav- cobs’s Contact Experiments (sound tion, began with the Tenth ICAD ropoulos’s Atropos (5.1 surround installation); Kirsty Stansfield’s Ingot Opening Keynote by Gregory Kra- sound); David Shepherd’s Madhu- (sound installation) with thanks to mer, President Clarity and Chair vanti (electroacoustic and voice, Ella Vivid; Codec/X’s A Selection of Brit- Emeritus ICAD, followed by four Roberts—voice); Daniel Schachter’s ish Sound and Video Art; Bernard technical sessions. The session on FlaX (flute, real time processing and Loibner’s Breaking News; Panayiotis Science was chaired by Tony Stock- EA sounds, Rob Mckay—flute); Di- Kokoras’s Slida; Charlie Pulford’s man and included papers by Bruce N. ego Garro’s Pointes Prećaires (audio/ Microscopic Stories; Jane Sherratt’s Walker and Lisa M. Mauney: ‘‘Indi- visual); Luke Styles’s Room 101.1 Snow and Pink Roses; Mark Hor- vidual Differences, Cognitive Abili- (amplified bass); Jonty Harrison’s rocks’s Paternoster (last movement); ties, and the Interpretation of Rock ’n’ Roll (8-channel); Rajmil Ruth Duckworth’s Osmosis; and Ju- Auditory Graphs’’; Bruce N. Walker, Fischmann’s Targilim Belvrit Shimu- lio Escrivan’s Noronqui. Jeff Lindsay, and J.Godfrey: ‘‘The Au- shit (electroacoustic and voice, Etty Day 4, at De Montfort University, dio Abacus: Representing a Wide Ben-Zaken—voice); and Daniel was devoted to papers on the theme Range of Values with Accuracy and Schachter’s Efecto Tango (acous- ‘‘The Sound-Image,’’ including Precision’’; and Derek Brock, James matic). The day concluded with a Simon Atkinson: ‘‘Some Initial A. Ballas, Janet L. Stroup, and Brian specially commissioned performance Thoughts on the Notion of Sonic Im- McClimens: ‘‘The Design of Mixed by electronic improviser Kaffe Mat- agery’’; Peter Cusack: ‘‘Sonic Photog- Use, Virtual Auditory Displays: Re- thews, Played Bare. raphy: Issues Raised by the Art of cent Findings with a Dual-Task Para- Day 3 offered a mixed program of Field Recording’’; Gerard Mermoz: digm.’’ The session on Interaction moving image and sound works, im- ‘‘Sonic Postcards from Istanbul’’; was chaired by Mitchell Whitelaw provised performance, and concert Pippa Murphy: ‘‘Theatre, Sound and and included papers by Andy Hunt music and sound installation: UEA Sensors in Iran’’; Daniel Schachter: and Thomas Hermann: ‘‘The Impor- extravaganza, recent interactive and ‘‘Sonoima´genes (image-sounds), an tance of Interaction In Sonification’’; electroacoustic work from Norwich, Event in the Path Between Acous- Sandra Pauletto and Andy Hunt: A including work by Shigeto Wada, matic and Video Languages’’; Paul Toolkit for Interactive Sonification’’; Phil Archer, Stef Edwards, Adam Rudy: ‘‘Morphological Imprints’’; and Niklas Roeber and Maic Mas-

8 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 uch: ‘‘Interacting With Sound: An In- cluded papers by Keith V. Nesbitt: Polli. The afternoon was devoted to teraction Paradigm for Virtual ‘‘Comparing and Reusing Visualiza- papers by Paul Vickers: ‘‘Sonification Auditory Worlds.’’ The session on tion and Sonification Designs Using and Visualization of Narrative: Get- Sonifying the Body Electric was the MS-Taxonomy’’; Haixia Zhao, ting Computing Students to Think chaired by Gregory Kramer and in- Catherine Plaisant, Ben Shneider- Aurally and Visually Rather Than cluded papers by Gerold Baier and man, and Ramani Duraiswami: Audio-Visually’’; Brad S. Mauney and Thomas Hermann: ‘‘The Sonification ‘‘Sonification of Geo-Referenced Bruce N. Walker: ‘‘Creating Func- of Rhythms in Human Electroen- Data for Auditory Information Seek- tional and Livable Soundscapes for cephalogram’’; Meredith Walsh: ‘‘Au- ing: Design Principle and Pilot Peripheral Monitoring of Dynamic ral Maps. Neural Futures’’; R. J. Study’’; Christopher Frauenberger, Data’’; and Thilo Hinterberger, Ger- Cassidy, Jonathan Berger, and Kyogu Robert Ho¨ ldrich, and Alberto de old Baier, J. Mellinger, and Niels Bir- Lee: ‘‘Auditory Display of Hyper- Campo: ‘‘A Generic, Semantically baumer: ‘‘Auditory Feedback of spectral Colon Tissue Images Using Based Design Approach for Spatial Human EEG for Direct Brain- Vocal Synthesis Models.’’ The ses- Auditory Computer Displays’’; and Computer Communication’’; a panel sion on Aesthetics was chaired by James Sheridan, Gaurav Sood, on ‘‘Auditory Information and Dis- Ros Bandt and included papers by Thomas Jacob, Henry Gardner, and plays for the Visually Impaired and Gregory Leplaˆtre and Iain McGregor: Stephen Barrass: ‘‘Soundstudio4D—A Blind’’ with Shirin Hassan, Gayle ‘‘How to Tackle Auditory Interface VR Interface for Gestural Composi- Clarke, and Caolyn Palmer; and a Aesthetics? Discussion and Case tion of Spatial Soundscapes.’’ The keynote ‘‘Sounding Public Pace: Study’’; Andrea Polli: ‘‘Atmospher- session on Perception was chaired by Sound Artists in the Public Domain’’ ics/Weather Works: A Multi- Janet Anderson and included papers by Ros Bandt. The evening program Channel Storm Sonification Project’’; by Catherine Stevens, David Brenna, titled ‘‘Listening to the Mind Listen- Paul Vickers: ‘‘External Auditory and Simon Parker: ‘‘Simultaneous ing’’ began with the keynote ‘‘The Representations of Programs: Past, Manipulation of Parameters of Audi- Ultimate Symphony: The Human Present, and Future An Aesthetic tory Icons to Convey Direction, Size, Brain’’ by Evian Gordon, CEO Brain Perspective’’; and Garth Paine: and Distance: Effects on Recognition Resources Company, and concluded ‘‘Reeds: A Responsive Sound Instal- and Interpretation’’; David K. Mc- with a program of Concert Sonifica- lation.’’ Gookin and Stephen Brewster: tions including Guillame Potard and Day 2, on the topics Design and ‘‘Space, the Final Frontearcon: The Greg Schiemer’s Neural Dialogues; Perception, began with the CSIRO Identification of Concurrently Pre- Gordon Monro’s What Are You Re- Keynote by Paul Doornbusch: ‘‘CSI- sented Earcons in a Synthetic Spa- ally Thinking?; Hans Van Raaij’s Lis- RAC—World’s First Computer To tialized Auditory Environment’’; tening to the Mind Listening; Tim Play Music,’’ followed by three tech- Barbara Shinn-Cunningham, Antje Barrass’s Untidy Mind; John A. Dri- nical sessions and the Tenth ICAD Ihlefeld, and Matthew Schoolmaster: bus’s The Other Ear; David Payling’s Celebratory Banquet. The session ti- ‘‘Selective and Divided Attention: Listen (Awakening); Roger Dean, tled ‘‘Roll Over CSIRAC (Tell Bee- Extracting Information From Simul- Greg White, and David Worrall’s thoven the News)’’ was chaired by taneous Sound Sources’’; and Marie Mind Your Body; John Sanderson and Paul Doornbusch and included pa- Rivenez, Chris Darwin, and Anne Tom Heuzenroeder’s Perceptions in pers by Petr Janata and Edward Guillaume: ‘‘Perception of Unat- C; Thomas Hermann, Gerold Baier, Childs: ‘‘Marketbuzz: Sonification of tended Speech.’’ and Markus Mu¨ ller’s Polyrhythm in Real-Time Financial Data’’; Federico Day 3 was open to the public and the Human Brain; and Greg Hooper’s Avanzini, Davide Rocchesso, and was devoted to the Sonif(y) Festival, EEG Sonification. The musical Stefania Serafin: ‘‘Friction Sounds for held at the Sidney Opera House at pieces in the concert were sonifica- Sensorial Substitution’’; Kees van Circular Quay. The morning featured tions composed from the neural ac- den Doel: ‘‘Physically-Based Models two sound installations, ASX Voices tivity of a person listening to a piece for Liquid Sounds’’; and Zhiyun Li, by Fabio C. Ciardi and Sound Map- of music. A data set containing a re- Ramani Duraiswami, and Nail A. ping by Iain Mott; the Sonif(y) Key- cording of neural activity was avail- Gumerov: ‘‘Capture and Recreation note by Gregory Kramer; and a panel able for download from the ICAD of Higher Order 3D Sound Fields Via on Data Aesthetics, with Mitchell Web site, and this was used as the Reciprocity.’’ The session on Design Whitelaw, Fabio C. Ciarid, Thomas basis for the ten pieces presented in was chaired by Paul Vickers and in- Hermann, Garth Paine, and Andrea the concert. The concert sound sys-

News 9

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 tem allowed 32 channels of sonified Schubert: ‘‘Emotionface: Prototype topic ‘‘One Year After: Notable Li- audio derived from the source data to Facial Expression Display of Emotion nux Audio Development in 2003.’’ be diffused through a 15.1-speaker in Music’’; Sami Ronkainen, Jonna Session I, on the topic ‘‘Linux Audio system. Ha¨kkila¨, and Rene´ Hexel: ‘‘Speech Development,’’ included papers by Day 4, on the topics Size, Shape, Assisted Mobile Text Entry’’; and Jaroslav Kysela: ‘‘ALSA Project—The Place, Face, included three technical Jim Barbour: ‘‘Analytic Listening: A Past Year’’; Takashi Iwai: ‘‘ALSA sessions. The session on Size was Case Study of Radio Production.’’ Sucks?—Trouble Shooting for Your chaired by Catherine Stevens and in- ICAD 2004 Papers can be down- Healthy Music Life’’; Paul Davis: cluded papers by Densil Cabrera, loaded from www.icad.org/ ‘‘Adding MIDI to a Digital Audio Andy Nguyen, and Young-Ji Choi: websiteV2.0/Conferences/ Workstation’’; Bob Ham ‘‘LASH’’; ‘‘Auditory Versus Visual Spatial Im- ICAD2004/program.ht. Fernando Pablo Lopez-Lezcano: pression: A Study of Two Auditoria’’; ‘‘Translating Lots of Insipid Silly Pa- William L. Martens: ‘‘Decoupled rentheses Into Noise: Sound Synthe- Loudness and Range Control for a sis Techniques and Algorithmic Source Located Within a Small Vir- Second International Linux Composition’’; Thomas Grill: tual Acoustic Environment’’; Guil- Audio Conference ‘‘Flext—A Uniform Programming In- laume Potard and Ian Burnett: terface for Extending Max/MSP and ‘‘Control and Measurement of Ap- The Second International Linux Au- PD.’’ Concert I included works by parent Sound Source Width and Its dio Conference was held from 29 Fernando Pablo Lopez-Lezcano, Orm Applications to Sonification and Vir- April–2 May 2004 at the Center for Finnendahl, Michael Edwards, and tual Auditory Displays’’; and John G. Arts and Media Technology (ZKM) Ludger Bru¨ mmer. Neuhoff and Tamara Heckel: ‘‘Sex in Karlsruhe, Germany. Developers Day 2 featured four paper sessions. Differences in Perceiving Loudness from around the world presented free Session II, on the topic ‘‘Synthesis Change and Auditory Looming.’’ The and open-source software from di- and Composition, Part I,’’ included session on Shape and Place was verse areas, including hard-disk re- papers by Orm Finnendahl: ‘‘Pd chaired by Simon Carlisle and in- cording, software sound synthesis, Demo with Musicians’’; Frank Bar- cluded papers by Matti Groehn, sampling, and score editing. Several knecht: ‘‘Rapid and Reuseable Audio Tapio Lokki, and Tapio Takala: ‘‘An concerts and a sound installation Development with Pd’’; Ivica Ico Orientation Experiment Using Audi- demonstrated how this software can Bukvic: ‘‘Unlocking the Full Poten- tory Artificial Horizon’’; Bruce N. be used for composition and produc- tial of RTMix Real-Time Interactive Walker and Jeff Lindsay: ‘‘Auditory tion. In order to help visitors set up Multimedia Art Performance, Com- Navigation Performance is Affected their own computer-based audio sys- position, and Coaching Interface’’; by Waypoint Capture Radius’’; Doug- tems, experts were available to give Matthew Burtner and David Topper: las Brungart, Brian Simpson, Richard advice and useful hints. Among the ‘‘Recombinant Spatialization for McKinley, Alexander J. Kordik, Ron- speakers were the team leaders of Ecoacoustic Immersive Environ- ald C. Dallman, and David A. Oven- two Linux audio distributions, Planet ments.’’ Session III, on the topic ‘‘In- shire: ‘‘The Interaction Between CCRMA and AGNULA. Also, a CD- struments’’ included papers by Head-Tracker Latency, Source Dura- bootable Live Linux audio system Matthias Nagorni: ‘‘AlsaModular- tion, and Response Time in the Lo- was developed to help newcomers Synth—An Instrument for the Elec- calization of Virtual Sound Sources’’; evaluate Linux’s suitability. The end trified Virtuoso’’; Fons Adriaensen: and Russell L. Martin, Ken I. Mc- of the conference was marked by a ‘‘AEOLUS—A Church Organ in Your Anally, and J. P. Watt: ‘‘Localization panel discussion about the future of PC’’; and Benno Senoner: ‘‘Linux- of Multiple Sounds as a Function of libre audio software under Linux. Sampler.’’ Session IV, on the topic the Duration of the Inter-Sound During the conference the new Lion- ‘‘Synthesis and Composition, Part Gap.’’ The session on Shape, Face stracs Mediastation was demon- II,’’ included papers by Martin Ru- was chaired by Andrea Polli and in- strated. This keyboard, targeted at mori: ‘‘Once Again Text and Paren- cluded papers by K. van den Doel, D. music production, is based almost theses: Sound Synthesis With ‘foo’’’; Smilek, A. Bodnar, C. Chita, R. Cor- completely on free Linux software. Yann Orlarey: ‘‘The Faust Audio Pro- bett, D. Nekrasovski, and J. Mc- Day 1 featured a keynote, a paper gramming Language’’; Han-Wen Grenere: ‘‘Geometric Shape session, and a concert. The keynote Nienhuys: ‘‘Music Notation with Detection with Soundview’’; Emery address by Dave Phillips was on the Lily Pond’’; and Orm Finnendahl:

10 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 ‘‘Linux as a Workstation for Com- Oliver: ‘‘3D Game Engines for Sound management (DRM) solutions inte- posers.’’ Session V, on the topic Synthesis.’’ Session IX, on the topic grated with sustainable business and ‘‘Spatial Techniques,’’ included pa- ‘‘Linux Audio—Present and Future,’’ transaction models. These technolo- pers by Christian Mu¨ hlethaler and included papers by Stephane Letz: gies impact on the production and Alexander Schuppisser: ‘‘How to ‘‘Jack Port and Integration on Mac modeling of cross-media content. Create a Client for SuperCollider3 to OSX’’; Andrea Glorioso: ‘‘AGNULA: WEDELMUSIC 2004 aimed to ex- Produce Sound in Realtime’’; and The Past, the Present, the Future’’; plore these major topics in the cross- Marije Baalman: ‘‘Application of Dave Phillips: ‘‘Still Nailing Jelly: media field, to address novel Wave Field Synthesis in Electronic An Update on Linux Audio Docu- approaches for distributing content Music and Sound Installations.’’ mentation Projects’’; Ivica Ico Buk- to larger audiences, providing wider Day 3 featured two paper sessions vic: ‘‘Hurdles and Benefits of access, and encouraging broader par- and three concerts. Session VI, on Introducing Linux as a Viable Digital ticipation. The impact of these de- the topic ‘‘Audio Signal Processing,’’ Audio Workstation in the Academic velopments on cultural heritage was included papers by Steve W. Harris Environment’’; and a panel discus- also considered, together with their and Jo¨ rn Nettingsmeier: ‘‘Audio En- sion, titled ‘‘Linux Audio, Present availability to people with limited gineering in a Nutshell’’; Victor Laz- and Future.’’ access to content. zarini: ‘‘Developing Spectral Signal The program and further informa- Day 1 included a keynote speech Processing Applications’’; and Fran- tion are available at www.zkm.de/ ‘‘‘La Central Digital’ Managing çois Dećhelle, Patrice Tisserand, and lad. Abundance’’ by Marc Gauvin, and Simon Schampijer: ‘‘Audio Network- four technical sessions. Session 1 on ing.’’ Session VII, on the topic ‘‘Mu- Audio Processing was chaired by sic Recording and Production,’’ Giorgio Zoia and included papers by included papers by Paul Davis: ‘‘Ar- WEDELMUSIC 2004 Pedro Cano, Markus Koppenberger, dour’’; Stefan Kersten: ‘‘Super- Sira Ferradans, Alvaro Martinez, Fa- Collider3 on Linux—A Status The Fourth International Conference bien Gouyon, Vegard Sandvold, Va- Report’’; Fons Adriaensen: ‘‘Using on Web Delivering of Music, WED- dim Tarasov, and Nicolas Wack: JAAA for Audio Measurements’’; Ju- ELMUSIC 2004, was held at Univer- ‘‘MTG-DB: A Test Environment for lien Patrick Claassen: ‘‘Linux Con- sitat Pompeu Fabra, Barcelona, Music Audio Processing’’; Ørtoft En- sole—A Textbased Studio’’; and Spain, on 13–14 September 2004. delt and Anders la Cour-Harbo: ‘‘A Steve W. Harris: ‘‘JACK, JAMin, Professor Jaime Delgado chaired the Study of Distributed Jam Session via Mastering.’’ Concert II included conference. Content Aggregation’’; Ikuo Kondo, works and demos by Julien Patrick Content distribution is no longer Katsunori Kojima, and Shinichi Claassen, Matthias Nagorni, and limited to music and is becoming Ueshima: ‘‘A Study of Distributed Fons Adriaensen. Concert III in- more cross-media oriented. New dis- Jam Session via Content Aggrega- cluded works by Torsten Anders, tribution models for old and new tion’’; and Marcos Alonso, Gu¨ nter Ludger Bru¨ mmer, Matthew Burtner, content formats are opening new Geiger, and Sergi Jorda`: ‘‘An Internet Ivica Ico Bukvic, Ramon Gonzalez- paths: i-TV, mobile phones, PDAs, Browser Plug-in for Real-time Audio Arroyo, and Panayiotis Kokoras. etc. The development of Internet Synthesis.’’ Session 2 on Music No- Concert IV included works and per- technologies introduces strong im- tation was chaired by Kia Ng and in- formances by Frank Barknecht, pact on system architectures and cluded papers by Michel Girer, Frank Neumann, Thomas Grill, business processes. New national Bernhard Gu¨ nther, Martin Krzysztof Gawlas, Malte Steiner, and international regulations, poli- Schmucker, and Francesco Spadoni: Greg Kellum, Eugene Kim, Julian Ol- cies, and market evolution are con- ‘‘MPEG-21 and Music Notation Ap- iver AKA delire, and Martin Howse/ straining the distribution plications’’; and P. Bellini, J. Barthe- Jonathan Kemp. mechanisms. Novel distribution lemy, P. Nesi, and G. Zoia: ‘‘A Day 4 featured two paper sessions models, development and application Proposal for the Integration of Sym- and a panel discussion. Session VIII, of pervasive computing, and multi- bolic Music Notation into Multime- on the topic ‘‘Graphical Audio Inter- media strongly influence this multi- dia Frameworks.’’ Session 3 on faces,’’ included papers by David disciplinary field. The need for Music Representation and Accessi- Topper: ‘‘GAIA—Graphical Audio content control and monitoring is bility was chaired by Enric Pei and Interface Application’’; and Julian demanding effective digital rights included papers by D. Crombie,

News 11

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 R. Lenoir, and N. McKenzie: ‘‘Inte- Ursula Wolz, Michael Massimi, and each piece to be heard several times. grating Music Representations Eric Tarn: ‘‘r-MUSIC, A Collabora- Those composers who were present within MPEG Environments’’; and tive Music DJ for Ad Hoc Net- had the option of controlling the dif- G. Tummarello, C. Morbidoni, P. works’’; and Maite Lo´ pez-Sańchez, fusion of their own works. Puliti, A. F. Dragoni, and F. Piazza: Xavier Noria, Juan A. Rodrı´guez, N. Pieces presented in the Hall of the ‘‘From Multimedia to the Semantic Gilbert, and S. Schuster: ‘‘Multi- CCCB included: the opening concert, Web using MPEG-7 and Computa- Agent Simulation Applied to On- Sound postcards of Italy, with works tional Intelligence.’’ Session 4 on Line Music Distribution Market.’’ by Stefano Trevisi, Beatrice Lasio, DRM and Security (I) was chaired by Session 8 on New Business Models Clear Maria Cervelli, Massimo Fra- was chaired by Paolo Nesi and in- Christoph Busch and included papers gala`, and Musanti Robert; the loud- cluded papers by Cornelia Krueger, by Carlos Serraõ: ‘‘Open Secure In- speaker installation In the Paula M.C. Swatman, and Kornelia Agreement and the Conflict (contin- frastructure to Control User Access van der Beek: ‘‘E-Business Models in uous hearing); Sonoscop, a presenta- to Multimedia Content’’; and Eva the Online Music Sector—A Survey tion of special dossiers by Ame´lie Rodrı´guez, Silvia Llorente, and Jaime of 10 European Countries’’; Anders Agut (Sound Projects on the War) Delgado: ‘‘Use of Rights Expression Edstro¨ m Frejman: ‘‘Radio, Concerts and Enric Berenguer (The Radios of Languages for Protecting Multimedia and the Future of Music Distribu- Hatred: Messages of hatred in the Information.’’ tion’’; and Magali Dubosson-Torbay, days of war through the radio); Ar- Day 2 included four technical ses- Yves Pigneur, and Jean-Claude Usun- chaeology, with sound processing by sions. Session 5 on DRM and Secu- ier: ‘‘Business Models for Music Dis- Robert Iolini (continuous hearing); rity (II) was chaired by Ju¨ rgen Nu¨ tzel tribution after the P2P Revolution.’’ Andre´s Burbano Captive Audience: and included papers by Josep Polo, Wireless messages from the families Jose Prados, and Jaime Delgado: ‘‘In- of the kidnapped ones in Colombia; terworking of Rights Expression Lan- and Song of Crystal and Steel: Re- guages for Secure Music Zeppelin2004 on Anti-War cordings of ‘‘caceroladas’’ (literally Distribution’’; Antonio Sanmartino, Theme ‘‘protests by banging pots and pans’’) Xavier Perramon, and Jaime Delgado: in Barcelona during 2003. Stands of ‘‘Secure Representation of Multime- The Zeppelin2004 Seventh Festival Music, including Stand Arsonal: dia Content Licenses’’; and Nikolaos of Sound Projects was held 19–22 Publication selection of electroacous- Oikonomidis and Christoph Ruland: May 2004 in Barcelona, Spain, at the tic music; Stand G3G: Selection of ‘‘Identity Based Protocols for Secure Center for Contemporary Culture of experimental music; Stand Dis.baˆp: Electronic Content Distribution and Barcelona (CCCB) and CaixaFo` rum, Selection of music and experimental Licensing.’’ Session 6 on Music Anal- with the theme La Sonica del Otro/ publications; and the closing pro- ysis was chaired by Jerome Barthe- La Razo´ n del Otro [The Sound of the gram: Archaeology: Jam with Robert Iolini and friends. lemy and included papers by Other/The Reason of the Other]. The The auditorium of the CCCB was Dionysios Politis, Dimitrios Mar- festival program was repeated during devoted to the video installation Sky, gounakis, and Konstantinos Mokos: 7–19 September at the Case de los Everything Around: Soundscapes re- ‘‘Visualizing the Chromatic Index of Morlanes in Zaragoza. corded with camcorder, with refer- Music’’; Rudi Cilibrasi, Paul Vitańyi, In response to the call for sound pieces against the war in Iraq, the in- ence to the sky, including works of and Ronald de Wolf: ‘‘Algorithmic cluded works represented a wide Alexandra Gardner and Sesh Kannan, Clustering of Music’’; and Frank Sei- range of pieces that explored situa- Justin Bennet, Jorge Laferla, Juan fert: ‘‘Semantic Music Recognition— tions of conflict and agreement in Carlos de la Parra, Robert Iolini, An- Audio Identification Beyond human societies, from an interna- dres Burbano, Javier Garcıá, Camilo Fingerprinting.’’ Session 7 on Music tional group of artists. Most works Posada, Xavi Hurtado, and Leonel Distribution was chaired by Pierfran- were interpreted in the Hall of the Duarte. Locations included Leticia, cesco Bellini and included papers by CCCB through a semicircular system Amazonas, Colombia; Santo Do- Ju¨ rgen Nu¨ tzel and Matthias Kauf- of eight high-quality loudspeakers, mingo, Dominican Republic; Wash- mann: ‘‘Sharing Systems for Future which was in continuous operation ington, DC, USA; Lisbon, Portugal; HiFi Systems’’; John Ffitch and Jul- throughout the four days of the festi- Monte El Calvari, Spain; Jardıń de ian Padget: ‘‘Ride a Cock-horse. . .’’ val with scheduling that allowed Orquı´deas in San Cristo´ bal, Mexico;

12 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 Figure 1. Barry Vercoe.

Byron Bay, Australia; Plaza San Mar- vise Vidolin, direction of sound and tıń, Retiro, and Torre de los Ingleses live electronics, as well as the semi- in Buenos Aires, Argentina; and Os- nar ‘‘Acoustic Ecology: Ethics and nabru¨ ck, Germany. Aesthetics in the Soundscape’’ with Elsewhere throughout the CCCB Carme Pardo, John Levack Drever, facility the following were presented: Sabine Breitsameter, Gabriele Proy, Sonic Viewpoints: Shouts of Agree- Ray Gallon, and Josep Manuel Beren- ment, an exhibition of collective guer. sonic manifestations in human cul- tures by Sandra Anitua, Arnau Fi- guerola, Clear Garı´, Javier Garcıá, Juan Carlos de la Parra, and Dafnis First Festival of Acousmatic Casado, with the collaboration of Manuel Delgado and Jaume Ayats. Music in Cagliari, Sardinia Musical Viewpoints (continuous hearing) including presentations The Association of the Friends of from three groups: International Music of Cagliari presented the First Competition of Electroacoustic Mu- Festival of Acousmatic Music in sic and Sonic Art of Bourges (IMEB) Cagliari on the island of Sardinia, with pieces by Mario Mary and Am- Italy, on 28–30 May 2004. President brose Fields; International Confeder- of the Association was Lucia Aval- ation of Electroacoustic Music (CIM/ lone and the Artistic Director was UNESCO, FeBeMe) with pieces by Sergio Perticaroli. Sound interpreta- Annette Van de Gorne, Stephen tion of the works in each of the six ´ concerts was by a different guest Le beau corps d’Ether; and Petri Ku- Dunkelman, Dimitri Coppe, Bald liuntausta: ‘2997: Deep Blue’. Con- Charo, Todor Todoroff, Ingrid Drese, artist. Concert 1, with interpretation by cert 5, with interpretation by and Aliocha Van der Avoort; Sound- Giovanni Cospito, included works by scapes (Simon Frazer University) Elio Martusciello, included works by tu m’: nine songs (2002); Ralf We- Arne Nordheim: Pace (1970); Ric- with pieces by Darren Copeland, Pe- cardo Bianchini: Canciones para las ter Manning, Ben Wilson, Barry howsky: Strictly Untitled (1995); estrellas; Luigi Ceccarelli and Nevio Truax, Hildegard Westerkamp, John Michel Chion: Gloria (1994); Gio- Spadoni: L’amore di Alcina (2000); Levack Drever, Ray Gallon, Jon vanni Cospito: Teogonia ellitticaIII and Bernard Fort: Silence radieux. Christopher Nelson, and Gabriele (2004); and massimo: mort aux Concert 6, with interpretation by Proy. The installation Sound Post- vaches (2001). Concert 2, with inter- Petri Kuljuntausta, included works cards from Italy (described above). pretation by Francesco Giomi, in- by Patrick Kosk: Plastique sans titre The sound installation Speeches and cluded works by Luciano Berio: (1994); Jo Thomas: Dark Noise Harangues: Speeches in the days of Chants paralleles (1975); Andrea Fer- (2000); Jukka Ruohoma¨ki: Scratches conflict, with the recorded voices of rara: Disperazione (2003); Ivana (1995); Francesco Giomi: con brio Nixon, Kennedy, MacArthur, Pin- Busu: Naufragi (2002); Stefano Trev- (2003); Rodrigo Sigal: Friction of ochet, Hitler, Allende, and others isi: Tabula irrasa (2004); Kilian things in other places (2002); and (with the collaboration of Federico Schwoon: Umbrische fenster (2001); Ryoji Ikeda: Matrix 10 (for rooms, Schumacher, Xavier Maristany, and and Lucio Garau: Trasformazioni 1999–2000). Ana Carrizosa). (2003). Concert 3, with interpreta- The auditorium of the Caixa- tion by Lucio Garau, included works Fo` rum hosted a concert for eight by Ake Parmerud: Les flutes en feu loudspeakers: Alvise Vidolin Inter- (1999); Theodor Lotis: la mer; Marco prets Works of Luigi Nono including Dibeltulu: contrasti armonici (2002); Barry Vercoe Receives SEAMUS the pieces Omaggio a Vedova (1960), and Elio Martusciello: Presenti suc- Lifetime Achievement Award Ricorda cosa ti hanno fatto in cessive (2003). Concert 4, with inter- Auschwitz (1966), Musiche per pretation by Bernard Fort, included Barry Vercoe (see Figure 1), Professor Manzu` (1969), and Contrappunto di- works by François Bayle: Tremble- of Music and Professor of Media Arts alettico alla mente (1968), with Al- ment de terre tre`s doux; Marc Favre: and Sciences at MIT, and Associate

News 13

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 Academic Head of the Program in pendent Publishers ‘‘Edita 2004’’ in vided between morning Super- Media Arts and Sciences, was Huelva. Collider sessions and afternoon LiSa awarded the 2004 SEAMUS Lifetime The winner was Vincenzo Gualti- sessions. The workshops were hands- Achievement Award on 24 April eri for Field. The other pieces se- on, and both workshops were offered 2004 by the Society for Electro- lected for the competition were Mike for various levels: SuperCollider had Acoustic Music in the United States. McFerron: 9/17/2003; Gintas Krap- sessions on 12–15 July: Beginners’ Every year the Board of Directors tavicius: 9Dub; Iain Armstrong: symposia, a very open-armed ap- selects the recipient of the SEAMUS Dirty grooves 2003; Gustavo Alcaraz: proach focusing on basic concepts; Award, in recognition of lifetime 16 and 19–20 July: Intermediate sym- Escrarcha; Juan Sorrentino: Extra- achievement and contribution to the posia, focusing on more advanced now 3.30; Rubeń Hinojosa: FX1050; art and craft of electroacoustic mu- concepts, real life applications, GUI Wang Jing: Hereandthere; Peter V. sic. The award is presented at the development, and live performance Preparations No 1 SEAMUS National Conference. The Swendsen: ; Elsa use with MIDI controllers; 21–22 16 previous award winners were Vla- Justel: Primpilipansa; Yamil Burgue- July: Network symposia, for interme- dimir Ussachevsky, Les Paul, Mario ner: Sal Shio; Edson E. Zampronha: diate and advanced users, culminat- Davidovsky, Otto Luening, Robert Sampling; and Se´bastien Beranger: ing in a piece for realtime Moog, John Chowning, Max Ma- Schizo a 120 Shorty. performance connecting Tokyo, Am- thews, Milton Babbitt, Charles sterdam, and California; and 23 July: Dodge, Louis (posthumous) and Bebe Performance day and last-minute Barron, Morton Subotnick, Pauline STEIM’s Open Days questions. LiSa X had sessions on Oliveros, Paul Lansky, Herbert Bru¨n, STEIM (Amsterdam’s studio for 12–13 July: Beginners; 14–16 and 19– Don Buchla, and Jon Appleton. 20 July: Advanced LiSa—looking electro-instrumental music, special- more closely into patterns, modula- izing in the development of physical tors, realtime effects; 21–22 July: Ex- interfaces for sound) held an open pert features—two afternoons with house on 5–6 June 2004. During expert users showing their setups Winner of the Electroacoustic these two days STEIM collaborators and giving some historic background Miniatures International held a live electro-jam with musical on LiSa; and 23 July: Performance instruments developed at STEIM. Contest day and last-minute questions. The Guests were welcome to take part, LiSa workshop was given by Robert provided that their instruments were van Heumen and Frank Balde´. The The winner of the Second Electro- more or less self-designed. There was expert day featured Daniel Schorno acoustic Miniatures International also a hardware hackers’ workshop and Michel Waisvisz. The Super- Contest was announced on 11 May within the framework of the Open- Collider workshop was given by 2004 at the festival Confluences: Art It-Kit (OIK) project. and the OIK pro- Roddy Schrock. and Technology at the Edge of the ject builds on the tradition of Millennium. The aim of the contest is the creation of sound miniatures circuit-bending and other musical using the language of electroacoustic ‘‘hacks.’’ By modifying USB game music. Only works of two to five controllers and using the software CCRMA@Banff Programs 2004 minutes duration were considered el- program JunXion, the data from a de- igible. Confluences is a project of the vice can be translated into MIDI, in The Center for Computer Research Cultural Council of la Junta de An- order to control any software that ac- in Music and Acoustics (CCRMA) at dalusia, with the collaboration of the cepts MIDI as input. Stanford University conducted its Center for the Diffusion of Contem- summer program at the Banff Centre porary Music of the INAEM, the El in Banff, Alberta, Canada, during July Monte Foundation, and the Delega- LiSa X/SuperCollider and August 2004. In six intensive tion of Huelva. Thirteen works were Summerschool 2004 at STEIM programs, top educators and re- selected for jury selection, out of 155 searchers from the fields of music, submissions from 39 countries. The STEIM hosted a LiSa X/Super- engineering, and computer science public audition was on 7 May during Collider Summer Workshop from presented a detailed study of special- the International Encounter of Inde- 12–23 July 2004. The days were di- ized subjects, set among the Cana-

14 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021 dian Rockies. The courses included: 2004 at the School of Media Art and UGens for SuperCollider. Fredrik ‘‘Physical Interaction Design for Mu- Design, University of Westminster Olofsson is an audio, installation, sic’’ with Scott Wilson, Michael Gur- Harrow Campus in London, with tu- and visual artist, a prominent evich, and Bill Verplank; ‘‘Haptic tors Fredrik Olofsson and Nick Col- SuperCollider and MAX/MSP user Musical Devices’’ with Charles lins. This five-day course introduced and author of the NATO/Jitter bridge Nichols and Perry Cook; ‘‘Digital participants to the SuperCollider objects. Signal Processing I: Spectral and Server (SC3) language and applica- Physical Models’’ with Perry Cook tion on Mac OSX. The workshop and Xavier Serra; ‘‘Perceptual Audio was practical, with an emphasis on Coding’’ with Marina Bosi and Rich- getting individual projects underway. ard Goldberg; ‘‘Digital Signal Pro- Material covered the SuperCollider The Audio Foundation Is cessing II: Digital Audio Effects’’ language, the server implementation, Launched with Jonathan Abel, Dave Berners, and specific features such as sound and Julius O. Smith; and ‘‘ANET: synthesis and processing, scheduling, The Audio Foundation is a network- High Quality Audio over Networks soundfile manipulation including ing and resource database hub for the Summit’’ with Chris Chafe and The- ‘‘bbcut,’’ interaction via custom built representation, facilitation, support, resa Leonard. graphical user interfaces, and live and promotion of innovative and ex- coding techniques for performance. perimental artistic development in Nick Collins and Fredrik Olofsson New Zealand audio culture. The aim play together as klipp av, an ‘‘audio- of the foundation is to provide an on- IDM04 SuperCollider 3 Summer visual generative cutting algorithm’’ line hub to help refine, explore and School in London duo (www.klippav.org). In addition extend both the scope and meaning to doing laptop performance and of this art form and to facilitate and The Interactive Dance Music Sum- computer music research, Nick Col- represent the audio community. mer School 2004 (IDM04) Super- lins is the author of the ‘‘bbcut’’ ex- For more information, visit Collider 3 course was held 5–9 July tension set and a number of plug-in audiofoundation.org.nz.

News 15

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0148926042728458 by guest on 27 September 2021