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Skyvelære, by Ellen Røed

2015-10-26

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Skyvelære, the critical reflection that Ellen Røed delivered as part of her artistic research project, has now been published as a book by Bergen Academy of Arts and Design. Grab it while you can!

Music Tech Days Norway 2015

2015-10-23

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Musikkteknologidagene is a national meeting and symposium for researchers, developers, educators, musicians and artists that work with music technology. This year it is hosted by the Music Conservatory at the University of Tromsø, in cooperation with Insomnia Festival.

The keynote is by Chris Chafer from CCRMA , Stanford, and the Insomnia festival features among others Torus (B) , Hildur Gudnadottir (IS) , Paranoid London (UK) and Farao (N). The scientific program also offers discussions and a series of presentations by participants. I gave a presentation yesterday where I discussed recent development of Jamoma, and how larger artistic projects realised using Cycling’74 Max may benefit from the use of Jamoma.

 

What can Jamoma do for you?

As your Max patchers for stage, music performances or sound installations grow in size, it becomes increasingly important that they do not run wild. Jamoma for Max is a package of externals and patchers that helps YOU to stay in control of your patch. Each section of your patch is neatly turned into a model. You gain a new sense of freedom with respect to how interfaces can be designed, and it is a relief to discover that the patch can be instantiated in a predictable and reliable way. At any moment you can ask your patch how it is currently configured, and use this to build presets and cues for future performances. How do you want interactions to operate? Mapping between parameters is a breeze, and invites playful experimentation. Advanced mappings with interpolations recreate long missed sound effect processes from the discontinued Hipno plugin suite. Many models are available for spatial audio, and AudioGraph turns your patch cord into an audio snake cable, carrying many channels.

Lokalt 2015

2015-09-23

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I’m participating in a group exhibition with fellow Bergen artists. The exhibition takes place at Gamle Bergen Kretsfengsel (the old jail building in Bergen), and opens coming Friday. The exhibition will be up for 2 weeks.

More info forthcoming.

Workshop – La spatialisation sonore

2015-09-13

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Comming Tuesday I’m contributing to a workshop at LABRI.

 

http://scrime.labri.fr/blog/workshop-la-spatialisation-sonore/

Ce mardi 15 septembre de 14h à 18h au LaBRI, en salle Hémicyclia aura lieu un workshop consacré à la spatialisation.

Ce premier workshop de l’année débute par une thématique qui prend de l’importance dans les arts et la recherche sonores, la spatialisation. Deux intervenants viendront présenter leur travaux respectifs sous deux angles différents et complémentaires. Tout d’abord Trond Lossius, artiste-développeur norvégien en résidence actuellement au SCRIME, puis Sylvain Marchand, enseignant-chercheur à l’IUT informatique de l’Université de la Rochelle. Autant destiné aux connaisseurs qu’aux curieux, cet après-midi permettra de mettre à jour cette technique aussi bien utile en concert électroacoustique, qu’en sonification de phénomènes nanoscopiques.

 

Trond Lossius

Lors de ce workshop, Trond Lossius parlera de son utilisation d’enregistrements sonores de terrain (field recording) en surround pour des installations sonores. La présentation traitera de ses questions et intérêts esthétiques, et sa fascination pour l’écoute attentive des paysages sonores courants des banlieues. Il partagera également son expérience dans le développement de méthodes de travail efficaces concernant l’enregistrement de terrain et la reproduction de ceux-ci, ainsi que sa recherche constante de la manière avec laquelle ce type de prises de son peut être utilisé comme matériau maléable dans des circonstances artistiques et compositionnelles. Cela inclus une présentation d’outils de spatialisation développés en Max et Jamoma, ainsi que l’ « Ambisonic Tookit for Reaper », une collection de plugins pour encoder, décoder et transformer de manière spatiale des sons ambisoniques dans Reaper. De plus, l’artiste norvégien exposera des documents à propos de ses installations et de ses projets récents. Il sera possible d’écouter certains de ses field recordings reproduit sur un dispositif de 16 haut-parleurs installé en salle Hémicyclia où il est en résidence.

 

Sylvain Marchand – « Techniques de spatialisation et musique électroacoustique »

En organisant les sons au sein d’une pièce, le musicien joue avec des paramètres musicaux. La hauteur, la durée et l’intensité sont les paramètres notés classiquement sur une partition. Le timbre et la mise en espace (ou spatialisation) sont plus complexes. On pourrait ainsi croire que leur étude et leur utilisation sont très récentes, or il n’en est rien. En effet, la spatialisation est attestée pour la première fois au XVIe siècle dans la basilique Saint-Marc de Venise. Ensuite, Jean-Sébastien Bach l’utilisera pour en 1729 pour la Passion selon Saint Matthieu en faisant dialoguer deux choeurs. La spatialisation permet d’éviter l’écoute classique frontale (interprètes devant le public) et statique (sources sonores immobiles). Les résultats des travaux scientifiques en perception de l’espace et spatialisation au XXe siècle se retrouvent naturellement dans les oeuvres pionnières de compositeurs de musique électroacoustique. En fait, seulement 2 haut-parleurs suffisent pour spatialiser le son de manière parfaite pour un unique auditeur (2 oreilles), en utilisant les techniques binaurale (écoute au casque) ou transaurale. Mais pour un auditoire plus nombreux, il est nécessaire de multiplier le nombre de haut-parleurs, sur lesquels le son peut être réparti par diverses techniques (VBAP, HOA, WFS, etc.). Cet exposé à vocation arts et sciences présentera un bref historique de la spatialisation sonore, et fera une introduction à ces techniques de spatialisation, en les illustrant par des exemples sonores [ce dernier point sous réserve d’avoir un système octophonique, et un ingénieur du son assistant pour re-router les 8 voies si nécessaires.].

Residency at SCRIME in Bordeaux

2015-09-13

I’m currently enjoying a two week residency at SCRIME – Studio de Création et de Recherche en Informatique et Musique Electro-acoustique at Université de Bordeaux.

SCRIME and LaBRI are part of the French industrial research project OSSIA – Open Scenario System for Interactive Application, coordinated by GMEA in Albi. This project research and develop solutions for authoring of multimedia in interactive applications, such as stage productions, media installations, museum exhibitions, etc. The development and use of Jamoma is an integrated part of the project, with BEK as one of the international associated partners. Additionally a lot of research has gone into the development of i-score, an intermedia sequencer for scripting of interactive scenarios.

By the end of the residency I will have focused on four main tasks.

 

Changing how audio gain is described in Jamoma

Up until now we have used a custom MIDI range when describing audio gain values in Jamoma. This has been useful when interacting with sliders in onscreen interfaces, but has turned out to be suboptimal when dealing with scripts and mappings. Recently we decided that for the upcoming 1.0 release, we will instead use a [-96. dB, 12. dB] range. The refactoring started before I left for Bordeaux, but during the stay this task has been completed. This has been a geeky and dull task, but my recent experience will assisting Elin Vister and her installation “Røster – 3” proved once again how important it was to get this done.

 

Porting spatialisaiton models to 1.0

Most of the patchers that comes with the Jamoam distro has needed to be revamped for the upcoming release. We have fundamental changes to the names of externals as well as their functionality, mostly caused by the new support for model-view-controller separation. Many models are ported already, but the spatialisation models have been lagging behind. I’m making good progress on this currently. It’s not just a question of editing patchers, it is just as much a complete rethinking of the fundamental design of them. The good thing about this is that I can bring my experience with using them in numerous artistic projects to the table. Over the year there are certain issues that have been inconvenient, laborious or buggy, and now is the time to design the models so that we get a more convenient creative workflow.

I have started out with the DBAP= model, a model for distance-based amplitude panning. Above is a video demonstrating what it looks like currently. I believe this is coming along nicely.

 

Investigating i-score

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Jamoma for Max helps structuring your patchers so that they don’t get out of control. Rather, even as your patchers grow large and complex, you remain in control of your parameters and their values, interfaces, initialisation, presets, cues and unfolding events.

i-score is a separate application that can inspect your patch in order to see what parameters exist, and then monitor and control them remotely. Instant changes and unfolding events can be expressed graphically and scripted in a timeline canvas that outlines what happens over time. This timeline is not rigid and fixed, each event can be triggered at will. This way you have similar flexibility in performance as e.g. a light console provides, and the unfolding of events can be organically adjusted and timed to the rest of the performance.

i-score 0.3 is still in an early phase of development but during the stay at SCRIME I have been able to start investigate the program, and also helped the development by reporting a few bugs and requests.

I am not sure if I am ready to use i-score extensively right away, but this is for me a long-term investigation, an initialising research that I want to follow up on over the next several months and years, so that i-score gradually can become more mature and useful to me.

 

Preparing for an upcoming installation

The coming days I will increasingly turn my focus towards working on material for an installation that will happen in a few weeks time. More on that later….

 
 
 

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