Writing

The Murmurator: A Flocking Simulation-Driven Multi-Channel Software Instrument for Collaborative Improvisation (2018)

The Murmurator: A Flocking Simulation-Driven Multi-Channel Software Instrument for Collaborative Improvisation (2018)

This paper describes the Murmurator, a flocking simulation-driven software instrument created for use with multi-channel speaker configurations in a collaborative improvisation context. Building upon previous projects that use natural system models to distribute sound in space, the authors focus on the potentials of this paradigm for collaborative improvisation, allowing for performers to improvise both with each other and to adapt to performer-controllable levels of autonomy in the Murmurator. Further, the Murmurator’s facilitation of a dynamic relationship be-tween musical materials and spatialization (for example, having the resonance parameter of a filter applied to a sound being dependent on its location in space or velocity)is foregrounded as a design paradigm. The Murmurator’s collaborative genesis, relationship to improvisational and multi-channel acousmatic performance practices, software details, and future work are discussed.

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Investigating a Framework on Artistic Uses of Large-Scale Multi-Channel Audio and Video Technologies (2017)

Investigating a Framework on Artistic Uses of Large-Scale Multi-Channel Audio and Video Technologies (2017)

More and more academic and entertainment spaces are making use of high density loudspeaker arrays (HDLAs) and large scale, multiple screen video/projection environments. This paper concerns itself with the development of a shared language between artistic uses of these technologies, primarily within the fields of electroacoustic music and installation art. Both technologies engage with the immersive affordances of ultra-high resolution (in the auditory and visual domains, respectively) and much can be learned by comparing the strategies, successes, and failures of artists and technicians working with either or both technologies. My hope in investigating the interactions of these technologies in creative applications is to lead towards more informed, theoretically- and aesthetically-developed work using them. An historically-informed discussion of the current state and affordances of each technology is discussed, followed by examples of work that deeply engages with and/or bridges the divide between the technologies. Next, I present a shared language for the development of artistic works using these technologies, informed and contextualized by ecologically-driven media theories of Cook, Clarke, Jensen, and others. Lastly, future potentials of these technologies viewed through the lens of this shared language (including impacts on the fields of virtual and augmented reality, CAVE systems, and newly proliferating 360º video technologies) is presented.

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A Survey of Modern Music Software Ecosystems (2017)

A Survey of Modern Music Software Ecosystems (2017)

A survey of the design, functionality, various uses, and communities built around modern music software. Includes discussions of music software's role in the creative process, modes of engagement afforded by different softwares, a list of characteristics of music software, and a brief analysis of four music softwares (Super Collider, Renoise, Max, and Ocarina).

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Estilhaço 1 & 2: Conversations between Sound and Image in the Context of a Solo Percussion Concert (2016)

Estilhaço 1 & 2: Conversations between Sound and Image in the Context of a Solo Percussion Concert (2016)

This paper discusses the pieces Estilhaço 1 and 2, for percussion, live electronics, and interactive video created collaboratively by Fernando Rocha and Eli Stine. The conception of the pieces (including artistic goal and metaphor used), the context in which they were created, their formal structures and their relationship, the technologies used to create both their audio and visual components, and the relationships between the sound and corresponding images are discussed.

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