Here is a video of the piece Higher Order Gestalt Fromage for two soprano T-Sticks and 24 channel loudspeaker array, composed and performed by blablaTrains (Ana Dall’Ara-Majek and Takuto Fukuda). The piece was premiered in the live@CIRMMT concert series on 13 February 2020 at Music and Multimedia Room (MMR) at McGill University.
I love the way they played with the relationships between gesture and sound! Unfortunately those of who could attend in-person have to imagine the spatialization aspect of the performance since it can’t come across in the stereo audio here.
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).