| 1. |
- Bomba, Maros Suran, et al.
(författare)
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Somacoustics: Interactive body-as-instrument
- 2019
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Ingår i: Proceedings of the International Conference on New Interfaces for Musical Expression. - 2220-4792 .- 2220-4806. ; , s. 95-100
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Konferensbidrag (refereegranskat)abstract
- Visitors interact with a blindfolded artist’s body, the motions of which are tracked and translated into synthesized four-channel sound, surrounding the participants. Through social-physical and aural interactions, they play his instrument-body, in a mutual dance. Crucial for this work has been the motion-to-sound mapping design, and the investigations of bodily interaction with normal lay-people and with professional contact-improvisation dancers. The extra layer of social-physical interaction both constrains and inspires the participant-artist relation and the sonic exploration, and through this, his body is transformed into an instrument, and physical space is transformed into a sound-space. The project aims to explore the experience of interaction between human and technology and its impact on one’s bodily perception and embodiment, as well as the relation between body and space, departing from a set of existing theories on embodiment. In the paper, its underlying aesthetics are described and discussed, as well as the sensitive motion research process behind it, and the technical implementation of the work. It is evaluated based on participant behavior and experiences and analysis of its premiere exhibition in 2018.
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| 2. |
- Dahlstedt, Palle, 1971
(författare)
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Circle Squared and Circle Keys – Performing on and with an Unstable Live Algorithm for the Disklavier
- 2014
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Ingår i: Proceedings of the Internationational Conference on New Interfaces for Musical Expression, NIME 2014. - 2220-4792 .- 2220-4806. - 9781906897291 ; , s. 114-117
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Konferensbidrag (refereegranskat)abstract
- Two related versions of an unstable live algorithm for the Disklavier player piano are presented. The underlying gen- erative feedback system consists of four virtual musicians, listening to each other in a circular configuration. There is no temporal form, and all parameters of the system are controlled by the performer through an intricate but direct mapping, in an attempt to combine the experienced mu- sician’s physical control of gesture and phrasing, with the structural complexities and richness of generative music. In the first version, Circle Squared, the interface is an array of pressure sensors, and the performer performs on the sys- tem without participating directly, like a puppet master. In the second version, control parameters are derived directly from playing on the same piano that performs the output of the system. Here, the performer both plays with and on the system in an intricate dance with the unpredictable output of the unstable virtual ensemble. The underlying mapping strategies are presented, together with the struc- ture of the generative system. Experiences from a series of performances are discussed, primarily from the perspective of the improvising musician.
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| 3. |
- Dahlstedt, Palle, 1971, et al.
(författare)
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YouHero – Making an Expressive Concert Instrument from the GuitarHero Controller
- 2014
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Ingår i: Proceedings of the Internation Conference on New Interfaces for Musical Expression, NIME 2014. - 2220-4792 .- 2220-4806. - 9781906897291 ; , s. 403-406
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Konferensbidrag (refereegranskat)abstract
- The idea behind the YouHero was two-fold. First, to make an expressive instrument out of the computer game toy guitar controller from the famous game GuitarHero. With its limited amount of control parameters, this was a challenge. Second, through this instrument we wanted to provide an alternative to the view that you become a hero by perfect imitation of your idols. Instead, play yourself. You are the hero. In this paper, we describe the design of the instrument, including its novel mapping approach based on switched timbre vectors scaled by accellerometer data, unconventional sound engines and the sound and mapping editing features, including manual editing of individual vectors. The instrument is evaluated through its practical applications during the whole project, with workshops with teenagers, a set of state-funded commissions from professional composers, and the development of considerable skill by the key performers.
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| 4. |
- Dahlstedt, Palle, 1971
(författare)
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Mapping Strategies and Sound Engine Design for an Augmented Hybrid Piano
- 2015
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Ingår i: Proceedings of International Conference on New Interfaces for Musical Expression (NIME), Baton Rouge, May 31 - June 3, 2015. - 2220-4806.
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Konferensbidrag (refereegranskat)abstract
- Based on a combination of novel mapping techniques and carefully designed sound engines, I present an augmented hybrid piano specifically designed for improvisation. The mapping technique, originally developed for other control interfaces but here adapted to the piano keyboard, is based on a dynamic vectorization of control parameters, allowing both wild sonic exploration and minute intimate expression. The original piano sound is used as the sole sound source, subjected to processing techniques such as virtual resonance strings, dynamic buffer shuffling, and acoustic and virtual feedback. Thanks to speaker and microphone placement, the acoustic and processed sounds interact in both directions and blend into one new instrument. This also allows for unorthodox playing (knocking, plucking, shouting). Processing parameters are controlled from the keyboard playing alone, allowing intuitive control of complex processing by ear, integrating expressive musical playing with sonic exploration. The instrument is not random, but somewhat unpredictable. This feeds into the improvisation, defining a particular idiomatics of the instruments. Hence, the instrument itself is an essential part of the musical work. Performances include concerts in UK, Japan, Singapore, Australia and Sweden, in solos and ensembles, performed by several pianists. Variations of this hybrid instrument for digital keyboards are also presented.
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| 5. |
- Dahlstedt, Palle, 1971, et al.
(författare)
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The Bucket System - a computer mediated signalling system for group improvisation
- 2015
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Ingår i: Proceedings of International Conference on New Interfaces for Musical Expression (NIME), Baton Rouge, May 31 - June 3, 2015. - 2220-4806. ; 2015, s. 317-318
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Konferensbidrag (refereegranskat)abstract
- The Bucket System is a new system for computer-mediated ensemble improvisation, designed by improvisers for improvisers. Coming from a tradition of structured free ensemble improvisation practices (comprovisation), influenced by post-WW2 experimental music practices, it is a signaling system implemented with a set of McMillen QuNeo controllers as input and output interfaces, powered by custom software. It allows for a new kind of on-stage compositional/improvisation interaction.
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| 6. |
- Diapoulis, Georgios, 1981, et al.
(författare)
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Bottom-up live coding: Analysis of continuous interactions towards predicting programming behaviours
- 2022
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Ingår i: NIME proceedings. - : PubPub. - 2220-4806.
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Konferensbidrag (refereegranskat)abstract
- This paper explores a minimalist approach to live coding using a single input parameter to manipulate the graph structure of a finite state machine through a stream of bits. This constitutes an example of bottom-up live coding, which operates on a low level language to generate a high level structure output. Here we examine systematically how to apply mappings of continuous gestural interactions to develop a bottom-up system for predicting programming behaviours. We conducted a statistical analysis based on a controlled data generation procedure. The findings concur with the subjective experience of the behavior of the system when the user modulates the sampling frequency of a variable clock using a knob as an input device. This suggests that a sequential predictive model may be applied towards the development of a tactically predictive system according to Tanimoto’s hierarchy of liveness. The code is provided in a git repository.
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| 7. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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OtoKin: Mapping for Sound Space Exploration through Dance Improvisation
- 2019
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Ingår i: NIME Proceedings. - 2220-4806.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT We present a work where a space of realtime synthesized sounds is explored through ear (Oto) and movement (Kinesis) by one or two dancers. Movement is tracked and mapped through extensive pre-processing to a high-dimensional acoustic space, using a many-to-many mapping, so that every small body movement matters. Designed for improvised exploration, it works as both performance and installation. Through this re-translation of bodily action, position, and posture into infinitedimensional sound texture and timbre, the performers are invited to re-think and re-learn position and posture as sound, effort as gesture, and timbre as a bodily construction. The sound space can be shared by two people, with added modes of presence, proximity and interaction. The aesthetic background and technical implementation of the system are described, and the system is evaluated based on a number of performances, workshops and installation exhibits. Finally, the aesthetic and choreographic motivations behind the performance narrative are explained, and discussed in the light of the design of the sonification.
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