The MINT Forum 2018 is devoted to the advancement of music through new technologies. How can advances in new technologies change the experience of making music (from the musician’s perspective) and listening to music (from the audience’s perspective)? What are the musical and performative implications and applications of the vast array of new technologies that are now emerging?WHERE: University of Kings College, Halifax, NSWHEN: 16–18 November, 2018
Dec 9-10, 2016. See the symposium website for more information and for registration.
Though haptics research in music is a very active research field, it seems presently dominated by tactile interfaces, due in part to the widespread availability of vibrotactile feedback in portable devices. Though not recent—with some of its early contributions dating back to the end of the 70s—research on force-feedback in musical applications has traditionally suffered from exogenous issues such as hardware cost, as well as the lack of community-wide accessibility to software and hardware platforms for prototyping musical applications. Despite this situation, in recent years several works have addressed this topic proposing software platforms and simulation models.
This symposium will discuss the current state of research and future trends on force-feedback and music (FF&M).
- Bret Battey, De Montfort University, England
- Edgar Berdahl, Louisiana State University, USA
- Christian Frisson, Inria Lille, France
- Alexandros Kontogeorgakopoulos, Cardiff School of Art and Design, Wales [on career break]
- James Leonard, Grenoble, France
- Joseph Malloch, Dalhousie University, Canada
- Julian Neri, McGill University, Canada
- Thomas Pietrzak, Université Lille 1, France
- Ian Sinclair, MPB Technologies Inc, Canada
- Stephen Sinclair, Inria, Chile
- Marcelo Wanderley, IDMIL/CIRMMT, McGill University, Canada
Last week I was back in Berlin for an exhibition, concert and international symposium on Design, Development, and Dissemination of New Musical Instruments (3DMIN). The symposium was titled “Musical Instruments in the 21st Century — Identities, Configurations, Practices” and included a range of interesting speakers from the 3DMIN project itself and invitees like myself. The other speakers included:
- Alberto de Campo (3DMIN), Dominik Hildebrand Marques Lopes (3DMIN), Hannes Hölzl (UdK Berlin)
- Amelie Hinrichsen (3DMIN)
- Atau Tanaka (EAVI, Goldsmiths University)
- Dafna Naphtali
- Hans Tammen (School of Visual Arts, NY)
- Marije Baalman
- Sarah-Indriyati Hardjowirogo (3DMIN)
- Till Bovermann (3DMIN)
- Andreas Pysiewicz (3DMIN)
- Caroline Cance (Université d’Orléans)
- Deniz Peters (University of Music and Dramatic Arts Graz)
- Gina Emerson (3DMIN)
- Jin Hyun Kim (HU Berlin), Uwe Seifert (Universität Köln)
- Kai Siedenburg (Carl von Ossietzky University Oldenburg)
- Song Hui Chon (Rochester Institute of Technology)
- What counts as success in musical instrument design? — A panel discussion with Alberto de Campo (3DMIN), Atau Tanaka (Goldsmiths University), Florian Grote (Native Instruments), Jin Hyun Kim (Humbold University Berlin), Mark Zadel (Ableton), and Stefan Weinzierl (3DMIN).
I recently had the pleasure of participating as a panelist in Ableton’s Loop Summit in Berlin. Our panel was titled “New Instruments and Evolving Performance Practices”, and was organised by Mark Zadel – a colleague from graduate studies at McGill and now an Ableton employee.
The summit was one of the most interesting, enjoyable conference I have ever attended. It was extremely well organised – despite the fact that there were parallel presentations and activities, it was easy to jump between them and try to catch a bit of everything since almost everything ran exactly on schedule.
Some of my favourite sessions:
- Thor Magnusson – “Sight and sound: visualizing music in software instruments”
- Norbert Schnell – “All Together Now: Interactive Music Making on the Mobile Web”