May 26-28 2005 | Vancouver, Canada

Demo Schedule - Daily, May 26-28, 13:30-15:00

FSC1611: Demo Room 1: Composition & Tools

  1. Cycling '74, Industrial Exhibitor: Cycling '74 creates and distributes Mac OS and Windows software for audio, video, and multimedia innovators. Products include the Max/MSP/Jitter graphical programming environment, the Pluggo collections of Max/MSP-based audio plug-ins, the Radial loop-based composition and performance system, and the interactive algorithmic composition program M. Cycling '74 also releases creative musical and multimedia works through their c74 recording label and audio source libraries for musicians, sound designers and media producers through its Cycles series.
  2. Infusion Systems, Inc., Industrial Exhibitor: Infusion Systems develops and markets the I-CubeX, a line of products that comprise a sensor toolkit for creating and researching responsive environments, interactive objects such as musical instruments, dance-driven multimedia shows and more.
  3. Perry R. Cook, Real-Time Performance Controllers for Synthesized Singing
  4. David Kim-Boyle, Musical Score Generation in Valses and Etudes
  5. Kevin C. Baird, Real-Time Generation of Music Notation via Audience Interaction Using Python and GNU Lilypond

FSC1613: Demo Room 2: Motion and Sound

  1. Jesse Fox and Jennifer Carlile, SoniMime: Movement Sonification for Real-Time Timbre Shaping
  2. Robert Huott, Precise Control on Compound Curves
  3. Damondrick Jack and Robert Lugo, Beat Boxing: Expressive Control for Electronic Music Performance and Musical Applications
  4. Ivan Franco, The Airstick: A Free-Gesture ControllerUsing Infrared Sensing
  5. Jennifer Carlile and Björn Hartmann, OROBORO: A Collaborative Bi-Manual Controller with Interpersonal Haptic Feedback
  6. David Rodriguez and Ivan Rodriguez, VIFE _alpha v.01 Real-time Visual Sound Installation performed by Glove-Gesture

FSC1615: Demo Room 3: Haptics and Music

  1. David Hindman and Spencer Kiser, Sonictroller
  2. William Verplank, Haptic Music Exercises
  3. Angelo Fraietta, Smart Controller / Bell Garden Demo
  4. Derek Wang, Bubbaboard and Mommaspeaker: Creating Digital Tonal Sounds from an Acoustic Percussive Instrument
  5. Mauricio Melo and Doria Fan, Swayway MIDI Chimes

FSC1617: Demo Room 4: Low Noise

  1. Emmanuel Flety, The WiSe Box : a Multi-performer Wireless Sensor Interface using WiFi and OSC
  2. Adam Bowen, Soundstone: A 3-d wireless music controller
  3. Impromptu Demo 1
  4. Impromptu Demo 2

Interactive Sound Installation Schedule

Installation Session 1: May 26, 09:00-17:00

  1. Mocean: Maia Marinelli, Jared Lamenzo and Liubo Borissov, ITP, New York University, ICICS Atrium
  2. Contemplace: Eric Socolofsky,, ICICS x615

Installation Session 2: May 27, 09:00-17:00

  1. Intrium: Alain Guisan,, ICICS Atrium
  2. HotStepJunk: Saiichiro Matsumura, Graduate School of Interdisciplinary Information Studies, University of Tokyo, ICICS x615

Installation Session 3: May 28, 09:00-17:00

  1. Echology: Meghan Deutscher, Reynald Hoskinson, Sachiyo Takahashi, Sidney Fels, Dept. of ECE and MAGIC, University of British Columbia, ICICS Atrium

Keynote Speakers

May 26, Thursday, 09:00-10:00

Don Buchla
P.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:

  • Thunder (1990)
  • Wind (1994)
  • Lightning II (1996)
  • Marimba Lumina (2000)
  • 200e (2004)
  • 400 (1982)
  • Sili con cello (ca.1975)
  • Magic flute (1965)

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, 09:00-10:00

Golan Levin
Carnegie 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, 09:00-10:00

Bill Buxton
Principal, 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:

Paper and Report Sessions

Session 1: May 26, Thursday, 10:30-12:05, FSC1005

Concepts, philosophy, ideology, aesthetics (4 research papers + 1 report)
  • John Bowers and Phil Archer. Not Hyper, Not Meta, Not Cyber but Infra-Instruments
  • Teemu Mäki-Patola, Aki Kanerva, Juha Laitinen and Tapio Takala. Experiments with Virtual Reality Instruments
  • Gil Weinberg and Scott Driscoll ."iltur" - Connecting Novices and Experts Through Collaborative Improvisation
  • Sergi Jordà. Multi-user Instruments: Models, Examples and Promises
  • Tina Blaine. The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment

Session 2: May 26, Thursday, 15:30-17:05, FSC1005

NIME implementations (5 reports and 1 paper)
  • Dan Overholt. The Overtone Violin
  • Juan Pablo Cáceres, Gautham J. Mysore and Jeffrey Treviño. SCUBA: The Self-Contained Unified Bass Augmenter
  • Golan Levin and Zachary Lieberman. Sounds from Shapes: Audiovisual Performance with Hand Silhouette Contours in The Manual Input Sessions
  • Angelo Fraietta. The Smart Controller Workbench
  • Eric Singer. A Large-Scale Networked Robotic Musical Instrument Installation (115).
  • Jesse T. Allison and Timothy A. Place. Teabox: A Sensor Data Interface System. (96).

Session 3: May 27, Friday, 10:30-12:10, FSC1005

Pot-pourri (5 research papers)
  • Sageev Oore. Learning Advanced Skills on New Instruments (or: practising scales and arpeggios on your NIME)
  • Dan Livingstone and Eduardo Miranda. Orb3 - Adaptive Interface for Realtime Sound Synthesis & Diffusion within Socially Mediated Spaces
  • Georg Essl and Sile O'Modhrain. Scrubber: An Interface for Friction-induced Sounds
  • Peter Swendsen and David Topper. Wireless Dance Control: PAIR and WISEAR
  • Roger B. Dannenberg, Ben Brown, Garth Zeglin and Ron Lupish. McBlare: A Robotic Bagpipe Player

Session 4: May 27, Friday, 15:30-17:00, FSC1005

Mapping for NIME (6 reports)
  • Frederic Bevilacqua, Remy Muller and Norbert Schnell. MnM: a Max/MSP mapping toolbox
  • Jean-Marc Pelletier. A Graphical Interface for Intuitive Signal Routing (95).
  • Gary Scavone and Andrey da Silva. Frequency Content of Breath Pressure and Implications for Use in Control
  • Alain Crevoisier and Pietro Polotti. Tangible Acoustic Interfaces and their Applications for the Design of New Musical Instruments
  • Ross Bencina. The Metasurface: Applying Natural Neighbour Interpolation to Two-to-Many Mapping
  • Andrey R. da Silva, Marcelo Wanderley and Gary Scavone. On the Use of Flute Air Jet as A Musical Control Variable

Session 5: May 28, Saturday, 10:30-12:05, FSC1005

Voice, Gestural control and Multimodality (4 research papers + 1 report)
  • Xavier Rodet, Jean-Philippe Lambert, Roland Cahen, Thomas Gaudy, Florian Gosselin, Fabrice Guedy and Pascal Mobuchon. Sound and music control using haptic and visual feedback in the PHASE installation
  • Elliot Sinyor and Marcelo M. Wanderley. Gyrotyre. A Hand-held Dynamic Computer-Music Controller Based on a Spinning Wheel
  • Tomoko Yonezawa, Noriko Suzuki, Kenji Mase and Kiyoshi Kogure. HandySinger: Expressive Singing Voice Morphing using Personified Hand-puppet Interface
  • Mathias Funk, Kazuhiro Kuwabara and Michael J. Lyons. Sonification of Facial Actions for Musical Expression
  • Jordi Janer. Voice-controlled plucked bass guitar through two synthesis techniques

Session 6: May 28, Saturday, 14:30-16:00, FSC1005

Learning, Tools + Connectivity (6 reports)
  • Paul D. Lehrman. Bridging the Gap Between Art and Science Education Through Teaching Electronic Musical Instrument Design
  • Hans-Christoph Steiner. The [hid] toolkit: a unified framework for instrument design
  • Teemu Mäki-Patola. User Interface Comparison for Virtual Drums
  • Arthur Clay, Thomas Frey and Jürg Gutknecht. GoingPublik: Using Realtime Global Score Synthesis
  • Ole Gregersen, Lars Pellarin, Jakob Olsen, Niels Böttcher, Michel Guglielmi and Stefania Serafin. Connecting strangers at a train station
  • Greg Schiemer and Mark Havryliv. Pocket Gamelan: a Pure Data interface for java phones

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 ATRIUM

NIME implementations
  • David Birchfield, David Lorig and Kelly Phillips. Sustainable: a dynamic, robotic, sound installation
  • Paulo Maria Rodrigues, Luís Miguel Girão and Rolf Gehlhaar. CyberSong
  • Jamie Allen. boomBox
  • Alex Loscos and Thomas Aussenac. The Wahwactor: A Voice Controlled Wah-Wah Pedal
  • William B. Carter and Leslie S. Liu. Location33: A Mobile Musical
  • Laszlo Bardos, Stefan Korinek, Eric Lee and Jan Borchers. Bangarama: Creating Music with Headbanging

Posters 2: May 27, Friday, 13:30-15:00, FSC ATRIUM

Mapping and Software
  • Alvaro Barbosa, Jorge Cardoso, Gunter Geiger. Network Latency Adaptive Tempo in the Public Sound Objects System
  • Nicolas Villar, Adam Lindsay, Hans Gellersen. Pin&Play&Perform: A rearrangeable tangible interface for musical composition and performance
  • D. Birnbaum, R. Fiebrink, J. Malloch, M. Wanderley. Towards a Dimension Space for Musical Artifacts
  • Ge Wang, Ananya Misra, Ajay Kapur, Perry R. Cook. Yeah, ChucK It! => Dynamic, Controllable Interface Mapping
  • Adam R. Tindale, Ajay Kapur, George Tzanetakis, Peter Driessen, Andrew Schloss. A Comparison of Sensor Strategies for Capturing Percussive Gestures
  • Eric Lee and Jan Borchers. The Role of Time in Engineering Computer Music Systems

Posters 3: May 28, Saturday, 13:30-15:00, FSC ATRIUM

  • Shigeru Kobayashi and Masayuki Akamatsu. Spinner: A Simple Approach to Reconfigurable User Interfaces
  • Thor Magnusson. ixi software: The Interface as Instrument
  • Eduardo Miranda and Andrew Brouse. Toward Direct Brain-Computer Musical Interfaces
  • Robyn Taylor, Daniel Torres and Pierre Boulanger. Using Music to Interact with a Virtual Character
  • Elaine Chew, Alexandre François, Jie Liu and Aaron Yang. ESP: A Driving Interface for Expression Synthesis
  • Cornelius Poepel. On Interface Expressivity: A Player-Based Study
  • Johnny Wingstedt, Mats Liljedahl, Stefan Lindberg and Jan Berg. REMUPP - An Interactive Tool for Investigating Musical Properties and Relations