Program

4/October/2018 – Program Overview

Poster track, M-ITI Classroom:

  • 8:30 Welcome coffee, poster setup
  • 9:30 Keynote: Prof. Atau Tanaka (Goldsmiths, U. London)
  • 10:45 Short break
  • 11:00 Presentation session 1
  • 12:30 Lunch break
  • 14:00 Presentation session 2
  • 15:30 Coffee break, poster session
  • 16:30 Presentation session 3
  • 18:00 End of poster track

Performance track, Barreirinha Bar Café (1st floor):

  • 21:00-23:00 Performances

4/October/2018 – Program Detail

9:30 Keynote:
Third Wave HCI Research Enabling Interactive Music and Immersive Media Practice
Prof. Atau Tanaka

Abstract: Research methods from human-computer interaction have become increasingly adopted in music technology and other creative disciplines like audiovisual performance. This talk presents several projects from the EAVI group at Goldsmiths that look at embodied interaction for gestural music and a/v performance, haptic interfaces, and immersive media. In particular, we draw upon trends in Third Wave HCI as ways to look connect artistic research to scientific method, to accommodate qualitative measures of experience while avoiding strictly personal subjectivities. These methods, grouped under the broad rubric of User-Centred Design include ethnographic observation, critical incident technique, structured brainstorming, storyboarding, and various types of sketching exercise. I present a family of projects that used this family of methods, resulting in muscle-based musical instruments, A/V software, accessibility devices, and surround projection spaces.

Bio: Atau Tanaka (UK/US) bridges the fields of experimental music, media art, and scientific research in embodied human-computer interaction. He is widely known for his pioneering works for sensor-based instruments and bio-signals, mobile infrastructures, and democratized digital forms. His first inspirations came upon meeting John Cage during his Norton Lectures at Harvard. Atau then studied at CCRMA Stanford, and conducted research in Paris at IRCAM, Centre Pompidou. He formed Sensorband with Zbigniew Karkowski and Edwin van der Heide and then worked in Japan, performing with Merzbow, Otomo, and KK Null. He re-staged Cage’s Variations VII with Matt Wand and :zoviet*france:. His work has been presented at NTT/ICC Tokyo, Ars Electronica, ZKM, Transmediale, Eyebeam, Wood Street Gallery, SFMOMA, and the Southbank Centre, and has had CD releases on labels such as Sub Rosa, Bip-hop, Caipirinha Music, Touch/Ash, Sonoris, Sirr-records. He has been researcher at Sony Computer Science Laboratory Paris and Artistic Co-Director of STEIM. He is Professor of Media Computing at Goldsmiths, University of London.

11-18:00 Poster track

11:00 Presentation session 1 (Score and Notation)

Session chair: Florian Hecker

  • Daniel Ross – An Interactive and Performative Approach to Computer-Aided Composition
  • Daniela Fantechi – (re) presenting an altered interactive system.  On a “et ego”, a piece for classical guitar, two piezo-electric microphones and electronics
  • Raul Masu – Scoring NIMEs: an overview of the use of score and notation in the NIME community

14:00 Presentation session 2 (Performance-oriented Technology)

Session chair: Fabio Morreale

  • Diogo Cocharro – Content-based recreation of loops for Music Performance
  • Niccolò Granieri – Reach – Designing keyboard instruments with pianists in mind
  • Marcin Pietruszewski – Integrating Xenakian ‘sieve’ with the new pulsar generator.

16:30 Presentation session 3 (Data and Visualization)

Session chair: Nuno N. Correia

  • Luís Aly – Performative Sound Design: bio-control metaphors for sound design in performance art
  • Lynette Quek – Utilising obsolete technology to create a contemporary audiovisual performance
  • Sara Lenzi – Experiencing Data. The Added Value of Sound in Making Sense of Complex Phenomena.

21:00-23:00 Performances

Marcin Pietruszewski – /siv/

  • The work spans out from my ongoing artistic research practice focused on reinterpretation and dramatisation of a historical sound synthesis technique called pulsar synthesis [Roads and de Campo] . Featuring novel digital instrument design and machine listening techniques seamlessly integrated with a sieve algorithm as first introduced by Iannis Xenakis, the work probes the material, symbolic and conceptual aspects of the synthetic medium.

Daniel Ross – King Canute: Eat Your Heart Out!

  • This piece is an electroacoustic performance controlled by the Myo, a muscle-sensing device worn on the arm. The piece uses sonification of the body and gestural-controlled audio sample manipulations to create a contemporary answer to King Canute’s attempts at turning back the tide. Its original performance was scheduled at high tide on the beach as part of the Whitstable Biennial 2018. The sea had definitely changed direction by the end of my performance. King Canute, eat your heart out!

Atau Tanaka – Le Loup, Lifting, Myogram

  • Three short pieces that look at different ways in which forearm muscle tension can be used to sculpt sound. A sensor system detects the electromyogram (EMG) signal, electrical impulses from the nervous system causing muscle tension, and renders a musical instrument the performer’s own body, allowing him to articulate sound through concentrated gesture.
    • Le Loup: A single short recorded sample of howling wolves are stretched and transposed, creating a continuous growling.
    • Lifting : Whistling oscillators are modulated in frequency and amplitude, recalling the classical Theremin.
    • Myogram: A direct sonification of muscle activity where we hear the neuron impulses of muscle exertion as data. Throughout the piece, the raw data is first heard, then filtered, then excite resonators and filters. This piece was created in collaboration with Miguel Ortiz.

Related event – 3/October, 14:30h, Talk, M-ITI Classroom