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Demo Schedule - Daily, May 26-28, 13:30-15:00FSC1611: Demo Room 1: Composition & Tools
FSC1613: Demo Room 2: Motion and Sound
FSC1615: Demo Room 3: Haptics and Music
FSC1617: Demo Room 4: Low Noise
Interactive Sound Installation ScheduleInstallation Session 1: May 26, 09:00-17:00
Installation Session 2: May 27, 09:00-17:00
Installation Session 3: May 28, 09:00-17:00
Keynote SpeakersMay 26, Thursday, 09:00-10:00Don BuchlaP.O.Box 10205, Berkeley, CA 94709 A History of Buchla's Musical Instruments Mr. Buchla will be presenting and showing some of the fascinating musical instruments that he has created since 1965. We are privileged to have the actual instruments available to see and hear on loan courtesy of David Kean and the Audities Foundation. The instruments that will be shown include:
Educated in physics, physiology, and music, Don Buchla's multi-faceted creativity has been applied to fields as diverse as space biophysics research, musical instrument design, and multi-media composition. Much of his work has centered on the refinement of communication channels between man and machine, notably the invention of mobility aids for the visually handicapped, the development of instrumentation for bio-feedback and physiological telemetry, and the design of interactive electronic musical instruments and performance-oriented music languages. Don founded the alternative band, Fried Suck, was a founding member of the 15 piece Arch Ensemble, and co-founded the Electric Weasel Ensemble, and the Muse and the Fuse. He has collaborated with such luminaries as Ami Radunskaya, David Rosenboom, Anthony Braxton, David Wessel, Susan Rawcliff, Mark Goldstein, Morton Subotnick, Joel Davel, Wendy Reid, George Lewis, Peter Apfelbaum, Roberto Morales, David Kean, Yasi, and his son, Ezra Buchla. He has recently developed several exotic controllers that provide expressive alternatives to traditional musical input devices; recent inventions include Thunder, Lightning II, Wind, Rain, and the Marimba Lumina. He is currently completing a major redesign of the 200 series modular synthesizer and contemplating new projects. "...... cranking up the Buchla electronic music machine until it maneuvers itself into the most incalculable sonic corner, the last turn in the soldered circuit maze, and lets out a pure topologically measured scream. Ultima-time with heavy-duty wiring, the works... The music suddenly submerges the room from a million speakers ... a soprano tornado of it ... all-electric, the Buchla screaming like a logical lunatic...."- Tom Wolfe, The Electric Kool-aid Acid Test May 27, Friday, 09:00-10:00Golan LevinCarnegie Mellon University College of Fine Arts, CFA-300 5000 Forbes Avenue Pittsburgh, PA, 15213 USA A Personal Chronology of Audiovisual Systems Research In this invited lecture, I present an informal overview of seven years' research into the design of real-time systems for the creation, manipulation and performance of simultaneous image and sound. This research explores the intersection of abstract communication and interactivity, as part of a more general inquiry into the formal languages of the responsive medium, and of nonverbal communications protocols in cybernetic systems. I present a combination of live demonstrations and video documentations in order to illustrate the various systems, reveal some common threads, and propose some design desiderata. Golan Levin is an artist, composer, performer and engineer interested in developing artifacts and events which explore supple new modes of reactive expression. His work focuses on the design of systems for the creation, manipulation and performance of simultaneous image and sound, as part of a more general inquiry into the formal language of interactivity, and of nonverbal communications protocols in cybernetic systems. Through performances, digital artifacts, and virtual environments, often created with a variety of collaborators, Levin applies creative twists to digital technologies that highlight our relationship with machines, make visible our ways of interacting with each other, and explore the intersection of abstract communication and interactivity. Levin has exhibited widely in Europe, America and Asia. Levin's work combines equal measures of the whimsical, the provocative, and the sublime in a wide variety of online, installation and performance media. He is known for the conception and creation of Dialtones [2001], a concert whose sounds are wholly performed through the carefully choreographed dialing and ringing of the audience's own mobile phones, and for The Secret Lives of Numbers [2002], an interactive information visualization of global numeracy. Previously, Levin was granted an Award of Distinction in the Prix Ars Electronica for his Audiovisual Environment Suite [2000] interactive software and its accompanying audiovisual performance, Scribble [2000]. Most recently, Levin and collaborator Zachary Lieberman have presented RE:mark [2002], Messa di Voce [2003], and The Manual Input Sessions [2004], a series of interactive systems which use augmented-reality technologies to create multi-person, real-time visualizations of their participants' speech and gestures. Levin is now in the preliminary research phase of a new body of work, which centers about interactive robotics, machine vision, and the theme of gaze as a primary new mode for human-machine communication. Levin received undergraduate and graduate degrees from the MIT Media Laboratory, where he studied with John Maeda in the Aesthetics and Computation Group. Between degrees, he worked for four years as an interaction designer and research scientist at Interval Research Corporation. Presently Levin is Assistant Professor of Electronic Time-Based Art at Carnegie Mellon University; his work is represented by the bitforms gallery, New York City. May 28, Saturday, 09:00-10:00Bill BuxtonPrincipal, Buxton Design, Gallery 888 888 Queen St. East Toronto, Ontario, Canada, M4M 1J3 Causality and Striking the Right Note From the very beginning, for me, electroacoustic music was about performance. Studio work certainly played an important role, but that role was primarily to prepare material for the stage. I wanted, and therefore built, instruments that were portable (well, at least as much so as an old Altec-Lansing bass reflex speaker), and let me perform with others. And by performance, I mean both "scored" material, as well as the ability to improvise. This was both physical and emotional, where gesture, action, and reaction were key. But then, as now, I am frequently challenged by the nature of performance. The question that repeatedly comes to mind is: why is this "live"? What difference does it make? Is there anything being brought to the material that I am listening to that would not have been there if it was just tape playback? I must confess, that I have the same emotional and intellectual response to watching someone huddled over a laptop as I did 20-30 years ago when they were huddled over a Revox tape recorder. The more invisible the gesture and the more tenuous my perception of the correlation between cause and effect, the less relevant it is to me that a performance is "live". Hence, I want to talk about instruments and design, and how design embodies a philosophy of performance, as well as human perception. Designing electroacoustic musical instruments informed my later career in approaching the design of other types of devices. Coming full circle, I will also speak about the ways in which my collective work experience has brought new insights about the design of instruments. Bill Buxton is an interaction designer and researcher, and Principal of the Toronto-based design and consulting firm, Buxton Design. During the spring of 2005, he is a Visiting Researcher at Microsoft Research, Cambridge, England. Bill is one of the pioneers in computer music, and has played an important role in the development of computer-based tools for film, industrial design, graphics and animation. As a researcher, he has had a long history with Xerox’ Palo Alto Research Center and the University of Toronto (where he is still an Associate Professor in the Department of Computer Science, and Visiting Professor at the Knowledge Media Design Institute). As well, during the fall of 2004, he was a lecturer in the Department of Industrial Design at the Ontario College of Art and Design. From 1994 until December 2002, he was Chief Scientist of Alias|Wavefront, and from 1995, its parent company SGI Inc. In 2001, the Hollywood Reporter named him one of the 10 most influential innovators in Hollywood. In 2002 Time Magazine named him one of the top 5 designers in Canada, and he was elected to the ACM's CHI Academy. More information on Buxton and his work can be found at: www.billbuxton.com Paper and Report SessionsSession 1: May 26, Thursday, 10:30-12:05, FSC1005Concepts, philosophy, ideology, aesthetics (4 research papers + 1 report)
Session 2: May 26, Thursday, 15:30-17:05, FSC1005NIME implementations (5 reports and 1 paper)
Session 3: May 27, Friday, 10:30-12:10, FSC1005Pot-pourri (5 research papers)
Session 4: May 27, Friday, 15:30-17:00, FSC1005Mapping for NIME (6 reports)
Session 5: May 28, Saturday, 10:30-12:05, FSC1005Voice, Gestural control and Multimodality (4 research papers + 1 report)
Session 6: May 28, Saturday, 14:30-16:00, FSC1005Learning, Tools + Connectivity (6 reports)
Posters (ALL IN FSC ATRIUM, 13:30-15:00)All posters will be up everyday during the posters session period. Poster presenters listed below are expected to be at their poster during the assigned time. Posters 1: May 26, Thursday, 13:30-15:00, FSC ATRIUMNIME implementations
Posters 2: May 27, Friday, 13:30-15:00, FSC ATRIUMMapping and Software
Posters 3: May 28, Saturday, 13:30-15:00, FSC ATRIUMInterfaces
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