Revised 10 November 2013

Final Program with Photos and Video

12 Sept 2013, Thursday

 

14:00 Kyma Open Lab & InterFaceOff Warm Up — ISIB 3rd Floor

La Médiathèque, Point Culture: Kyma Beginners Workshop, Carla Scaletti & Ludovic Laffineur

Torso, Umbrella, Hat, Sky: Kyma Open Lab, Kurt Hebel, Pete Johnston, Bruno Liberda, Scott Miller: Bring your Kyma questions and consult with the experts

15:30 Coffee Break, ISIB Foyer -1

Torso, Umbrella, Hat, Sky: Kyma Open Lab, Kurt Hebel, Pete Johnston, Bruno Liberda, Scott Miller, Carla Scaletti: Bring your Kyma questions and consult with the experts

Moon: InterFaceOff Warm Up & InterfaceZ, Cécile Guigny

18:00 Opening Ceremony — ISIB Big Hall

Zero Crossing, Harmonic Laboratory (Brad Garner, Jeremy Schropp, John Park, Jon Bellona), Brad Garner, choreographer & dancer: (Watch Video)  Zero Crossing explores different facets of the self through dance, electronic music and projection mapped experimental animation. Dancers are re-projected back into the space onto a 3D screen, and the viewer interfaces with the identity of the body through the physical and digital representations in space. The politics of touch relegate our connection with others through the body politic. Video and experimental animation act as the interface through which a viewer accepts the segmentation of human connection. Music and textual reading stutters, dancers reach out through and across an imagined center plane, the zero-crossing, displaying our many attempts to touch, and ultimately connect with, another body, another human being.

Improvisations 2013, Michael Wittgraf & Malcolm Lynn Baker: Improvisations 2013 is a collaborative series of free improvisations that arose from a partially funded 2011 University of North Dakota Arts, Humanities, and Social Sciences Grant. The grant enabled the purchase of key equipment and modes of travel so that Baker and Wittgraf could work together in the long term. Exchange of ideas and computer files took place through the internet, airplane travel, and motorcycle travel. This series is the beginning of a journey of discovery where cause and effect between composer, performer, and technology becomes blurred. All musicians in all group settings influence each other through action, reaction, and careful listening. Can the same thing happen when technology is introduced? Can a composer or improviser truly be influenced by circuitry and speakers in a meaningful way? Or vice versa? What happens when one performer’s “instrument” involves the manipulation of another performer’s sound? Microphones, speakers, computers, saxophones, remote controls, software, sound processing, acoustics, feedback, and electricity all come together to influence the outcome of a given performance, none of which can ever be reproduced once they have happened.

Welcome from President and Director of ISIB

20:00 Dinner together (no host) — Fantastico (Italian restaurant)

13 Sept 2013, Friday

 08:30 Welcome Coffee — Galileo

9:00 Presentations — Galileo

Welcome from the Organizers, Rudi Giot, Jacques Tichon & Carla Scaletti: Watch Video

Keynote: Morphisms, Maps, Meaning and Magritte, Carla Scaletti: Watch Video

10:15 Coffee Break

No Interface, Bruno Liberda: (Watch Video) The story of the old Roman god Janus serves as metaphor to describe the many ways I see the term “interface”: a going forth and back in time and space; leading me at the end to the interfacing of Kyma with an analogue system.

Tone Tone Semitone, Pete Johnston: (Watch Video) Both signals in the real world and the synthesized world often start as a source tone or noise passed through a filter. We will look at how these two both have importance on what we hear, and how humans seem to be able to separate the two in a way that most analysis struggles. Can we manipulate the formant and the sources independently in a way to create real world sounds which were never recorded in the real world?

Speed Dating, ISIB students: (Watch Video) Each presenter has two minutes to deliver an “elevator speech” describing their afternoon workshop

13:00 Lunch, ISIB Big Hall

14:00 Workshops and Demonstrations — ISIB 3rd Floor

Torso: Unity and Kyma, Abraham Hatcheu: Play sound with collision

Umbrella: Sonify your Network Traffic with Kyma, Nicolas Pochet: Watch Video

Hat: PixelSense your Kyma, Eric Schayes: (Watch Video) Interfacing Microsoft PixelSense to Kyma.

Moon: InterFaceOff

ISIB Little Hall: The Listening Room, Christian Frisson: Watch Video

15:15 Coffee Break, ISIB Big Hall

Torso: ZedBoard and Kyma, Mohamed ElBrouzi

Umbrella: Copperlan and Kyma, Eric Lukac & Alexis Rochette

Hat: Interfacing Sphero with Kyma, Christophe Godichal: (Watch Video) Control Kyma with the Sphero ball via Bluetooth and OSC. The source code allows an evolution according to your imagination.

Moon: InterFaceOff

ISIB Little Hall: The Listening Room, Christian Frisson

18:00 Pre-concert Keynote — Espace Senghor

A dialog between Elizabeth Anderson and Annette Vande Gorne

19:00 Intermission

19:30 Concert — Espace Senghor

Wetware Fantasy #1, John Mantegna: (Watch Video) This piece is a sonification of a meditation session where Kyma is controlled by signals from a solo performer wearing the Emotiv “EEG neuroheadset”.  These signals include 14 channels of raw EEG data and head gestures.  Rather than using higher level abstractions of mental states as defined by Emotiv, the raw signals are sent directly to the Pacarana in real-time and manipulated by the composer using Capytalk expressions.  This approach enables arbitrary, low-latency, use of EEG signals to control, generate, or modify a sonic landscape designed to reflect the dynamic nature of human brainwaves.

This Strange Fine-Tuning of our Universe, Scott Miller: (Watch Video) The title is from an interview I heard with a scientist who was commenting on how the standard model of cosmology is constructed of variables that seem fine-tuned to support our existence; if they were to deviate a little one way or the other, the physical universe as we know it wouldn’t exist, and neither could we. In this light, we can understand ecosystemic compositions both as creating a sonic universe for us, but also as depending upon the physical behavior of sound in a space in order to exist at all, that is to say, sound as they do. The performance of this piece will be subject to the variables of the performance space, which will mediate the performers sonic input, and the composition’s ultimate existence as sound will be determined by the sonic influence of the space on the musical decisions of the performers.

Casting, Jon Bellona: Casting is a real-time composition for a solo performer using the Microsoft Kinect and Kyma. The piece embodies both the programmatic and the magical use of the term. By utilizing gestures to conjure sound and visual elements, a body’s movement becomes intertwined with the visceral. The performer’s body ‘casts’ and controls sound, enabling the viewer to perceive sound as transfigured by motion. In this way, music becomes defined by the human mold of the performer and listener.

Explosion of Prosaism, Sungmin Kim: I demonstrate how everyday objects can transcend from ordinary to extraordinary. In this piece I use chopsticks, flip flop sandals, an assortment of coins, music stands, a broken piano, and my own voice. All sounds were recorded on the same day in the same room. My music should resonate to most anyone who listens to popular music but also bring in new elements that should pique the listeners’ interests and change their idea of what music really is. As a composer, I explore and expand on the idea of sound design and film scores and the use of common objects to compose and write a variety of musical styles to produce a new style of music.

Deconstruction, Andrea Young; Andrea Young, vocals & Kyma; Michael Yr. Jeannouxa Day, prepared turntables: This piece was created as an experiment to use the microphone and the voice as an interface for live electronic sound control. Research into voice and electronics has revealed that this technique is not widely used and offers a potential hands-free way of having multiple and simultaneous controllers within the solo voice. In this work, frequency, amplitude, brightness, vibrato rate and vibrato depth are used as extracted features sent to SoundToGlobalControllers and then embedded within the synthesis designs. The synthesis designs explore different ways of making and controlling noise, from grain clouds to thousands of oscillators spanning the audible frequency range, and accentuate the extremes of the physical listening experience. The vocal techniques used for controlling the different parameters of the voice as independent data streams can occasionally be heard acoustically when the electronic sound subsides.

where we meet (séance intime nr.2) for 3 foley artists on sensible surfaces & live-electronics, Bruno Liberda: As an agogical hint, the score has an embedded remark of Gustav Mahler’s 7.Symphony : “Wieder wie vorher (plötzlich)” {again as before (suddenly)}; all further comments would destabilize the piece – or: Parfois, les noms ècrit dans un tableau désignent des choses précises, et les images des choses vagues; ou bien le contraire (Renè Magritte)

21:00 Dinner together (no host) — Chez Antoine, Place Jourdan

14 Sept 2013, Saturday

 08:30 Welcome Coffee — Galileo

09:00 Presentations — Galileo

Wetware Fantasy #1 Revealed, John Mantegna: This presentation will elucidate the creation of a composition using EEG data as input to Kyma.  The implementation discussed uses the Emotiv Research headset and SDK, with a simple program to map EEG and gyro data to OSC messages which are sent to the Pacarana.  These OSC messages become a stream of “hot values”, serving as an engine to drive the composition via Capytalk expressions. This approach enables arbitrary, low-latency, use of EEG signals to control, generate, or modify a sonic landscape designed to reflect the dynamic nature of human brainwaves.

The Human Voice as Interface: Vocal feature extraction algorithms for controlling Kyma sound synthesis, Andrea Young: By tracking the individual features of the human voice, it is possible to use these features as controllers of live variables in Kyma sound synthesis. The vocal feature extraction algorithms and the implementation of this data into the Kyma sound synthesis will be explained in detail. A demonstration of the potential musical advantage afforded by these techniques will be given. Vocal feature extraction used as a live electronic interface turns the act of singing into an experience comparable to an invisible puppeteer of sound control.

10:00 Coffee Break

Coupling Three, Shackle (Anne La Berge & Robert van Heumen): The nuts and bolts of Shackle’s self-designed cueing system that operates as an interactive third member. Shackle uses the acoustic flute, the joystick and other more conventional controllers in an unconventional context where their traditional roles are in some way transformed and expanded. Likewise, because the two computers in Shackle communicate over a network, the computers and the live players have multiple personalities in their musical relationships and can interact on many levels while seamlessly negotiating between improvisation and structure.

23.5 Important Aspects of Interfaces in Musical Performance Contexts, Jeffrey Stolet: The notion of “interface” in the context of music making has been extensively chronicled in terms of the technology employed. What has not been done (as extensively) is an analysis of these devices that arises from a musical perspective, and in particular, a perspective that has been informed by extensive musical performance. Such a musical approach yields vastly different insights and conclusions about how the interface functions in the context of data-driven instruments as compared to the results offered by many of the researchers centered in engineering and human-computer interaction. I will offer a way to describe these interface devices and how these interface devices relate to the complete data-driven instrument (composed of the interface, the software mapping layer, and the sound-synthesis algorithm). Among other ideas I will discuss are my perspectives about the function of data in data-driven instruments, 2) my call for a very different set of semantics regarding the concept of tracking, 3) my utter disagreement with the notion of gestural controllers, 4) and my redirection of the focus away from the technology used in interface-type devices and towards the data they produce.

12:30 Lunch, Galileo First Floor

14:00 Workshops and Demonstrations — ISIB 3rd Floor

Torso: Leap Motion and Kyma, Robin Godefroid: Watch Video

Umbrella: Raspberry Pi and Kyma, Houssem Laroussi: (Watch Video) Draw a picture or use potatoes to play music

Hat: Tobii and Kyma, Thibault Degroof: Watch Video

Moon: InterFaceOff

ISIB Big Hall: Musica Universalis (the Mantra of Creation), Marinos Giannoukakis & Weiwei Jin: (Watch Video) The Mantra of Creation is a real time cinema performance, narrating the story of the celestial bodies and the “universal harmony”, the harmony of the spheres as it is known. The story unfolds on 3 different levels, the macro level of planets and celestial bodies, the microcosm of the world of the molecules and atoms, and on our own level of existence. Using real time cinematic techniques and utilizing the 5 c’s of cinematography (camera angles, continuity, cutting, close-ups and composition), I am attempting to narrate an aesthetic story, creating a multiverse between the virtual world, the sound world and the actual 3d space. Immersion and multi stimuli are describing a non-linear narration and ‘play’ with perceptual expectancies. The virtual world is a 3d space consisted of “sacred geometry” topologies (created with the game engine procedurally in real time), the sound space consists of algorithmic composition and sound processing using data from radio telescopes and derived spectographs of celestial bodies and light, along with the supposed harmonic series as proposed in early “harmony of the spheres” assumptions about the sound of the universe. Different interfaces and controllers allow the real time control of the narration.

ISIB Little Hall: The Listening Room, Christian Frisson

La Médiathèque: Kelstone, Jan Van Kelst

16:00 Coffee Break, ISIB Big Hall

Torso: Make your own Impulse Responses for Kyma, Alexis Rochette

Umbrella: Active Board and Kyma, Yousri Slama

Hat: Interfacing Sifteos (Modular Synth) with Kyma, Simon Uyttenhove: Build the music brick after brick, controlling Sounds in Kyma via OSC.

Moon: InterFaceOff

ISIB Big Hall: Musica Universalis (the Mantra of Creation), Marinos Giannoukakis & Weiwei Jin

ISIB Little Hall: The Listening Room, Christian Frisson

La Médiathèque: Kelstone, Jan Van Kelst

19:00 Concert — Espace Senghor

Head Spaces, Allison Goodman & Lowell Pickett: Head Spaces takes inspiration from two paintings by René Magritte: II-Telescopio — a painting of sky painted windows looking out onto darkness, and the Liaison — in which a woman is turning simultaneously towards and away from the viewer. The piece uses Kyma to generate and spatialize sound in response to signals collected from a neuro-headset. This is worn by a solo performer who has trained to recall a set of mental states, thus conducting and interacting with a personalized sonic environment. The resulting audio reflects the interplay of non sequitor, juxtaposing images, and a play with preconceived notions and the familiar, presented in an emotional landscape that serves as a view inside the performer’s mind. There, we find a painting of walls covered in sky that can be heard and felt but not seen. “Invoking mysteries of the self, we beg the question but ask nothing.”

Shackle, Shackle (Anne La Berge & Robert van Heumen): shackle |Àà sh ak…ôl| 1. used in reference to something that restrains or impedes. 2. a metal link, typically U-shaped, closed by a bolt, used to secure a chain or rope to something. ORIGIN Old English of Germanic origin; related to Dutch schakel ‘link, coupling’. Shackle is Anne La Berge on flute & electronics and Robert van Heumen on laptop-instrument. Their aim is to explicitly and subtly exploit shackling in both concept and material. At the heart of their duo is a self-designed, digital cueing system which operates as a sometimes visible third member. Both prodding and reactive, the Shackle system suggests musical directions and textures to guide sonic choices for La Berge and van Heumen to play with and against. The Shackle communication system involves aspects of restriction, either in sound material, timing, dynamics or other musical parameters. Shackle is online at http://shackle.eu.

Mallard’s Rest, Theo Lipfert: Mallard’s Rest is a short poetic film with multi-channel sound that uses Magritte’s juxtaposition of everyday objects and unfamiliar places to explore the differences between what we hear, what we see, and what we know. The piece is performed as a work of “live cinema” with Kyma controlling both sound and picture.

Sound Motion, Chi Wang: Sound Motion is a multichannel interactive composition that utilizes the X-box 360 Kinect, Processing and the Symbolic Sound Kyma. Using Processing to analyze data captured from the user’s movement in space, the sound as well as pre-recorded voices are generated and modified in real time.

Shin no Shin, Simon Hutchinson: In his essay on Japanese Aesthetics, Donald Richie explains a three-part formula for classifying the arts, shin-gyou-sou: “The first term, shin, indicates things formal, slow, symmetrical, imposing. The third is sou and is applied to things informal, fast asymmetrical, relaxed, the second is gyou and it describes everything in between the extremes of the two.” These three divisions, though, can also all be subdivided in threes, such as shin no sou (the more sou end of shin), shin no gyou (medium-shin), and shin no shin (the highest level of shin).

La trahison des images, Silvia Matheus, sound composition; Eliane Lima & Silvia Matheus, video: La trahison des images is a structural-improvisation for voice, video and live sound diffusion. It is inspired by Magritte’s works and brings together the elements of acousmatic, synthetic sounds and images. Its soundscape provides a disjunctive splattering of nature sounds against a harsh wall of synthetic sounds, creating a dissonant cacophonies of order, space and time. The audio and acoustic space dissonances created in this piece illustrates Magritte’s way of working with images.

La Reproduction Interdite – for extended guitar and electronics, Hector Bravo Benard: This is a piece for classical guitar and electronics. It uses unorthodox playing techniques along with signal processing in Kyma to expand the possibilities of the instrument, resulting in a sound world that is very different from what is traditionally associated with the guitar. The instrument is also extended through the use of an audio-range transducer attached to its backplate, in order to route processed sounds from Kyma to the guitar’s resonance box. This makes it possible to produce feedback in order to excite the guitar strings through sympathetic vibration, and it allows processed  sounds to be projected through the body of the guitar itself, resulting in an acoustic mix of live and processed gestures that gives the physical instrument a strong live presence. Sound is also projected through a multi-channel set up, making it possible to create shadows and spatial counterpoint with the extended instrument on stage. Through the use of different kinds of feedback, the piece also plays with the boundaries of what is perceived as a live sound vs. what is reproduced, exploring sound behaviours that are only possible through the interaction of these two modes in a complex processing network. 

20:30 Dinner together (no host) — Le Schieve Lavabo

15 Sept 2013, Sunday

 08:30 Welcome Coffee — Galileo

9:00 Presentations — Galileo

Inter-Facial Morphing, Theo Lipfert: One of the most impressive features of Kyma is the ability to morph between two (or more) audio samples. In this presentation, I will briefly demonstrate how morphing works within the Kyma language. Then, I will show a visual parallel: first, the morphing of faces between two still images, and second, morphing between two sections of video. Using Adobe After Effects software with additional plug-ins, I will show the basic procedures for creating believable visual morphs. Along the way I will point out some common pitfalls and ways to avoid unsatisfactory results. Finally, I will discuss how aural and visual morphs can be combined in sync. I will provide documentation so conference participants can morph on their own once the conference is completed.

Donkey Bridges: On the Creative and Technical Process Behind “Eselbrücke”, Cristian Vogel: “Eselsbrücke” is a collection of 10 pieces of computer music, composed and recorded in Berlin over a period of 6 months, and soon to be released on Sub Rosa of Brussels. The talk covers some of the compositional process, with an aim to share a composers point of view on the technical and creative challenges which shaped the music. The story touches on the responsibility inherent in decision making, on clock complications in additive dimensions and the nature of interface between non-sonic forms and musical significance.

10:00 Coffee Break

What’s New in Kyma, Carla Scaletti

12:30 Lunch, Galileo First Floor

14:00 Workshops and Demonstrations — ISIB 3rd Floor

Torso: Kelstone and Kyma, Jan Van Kelst & Eckard Vossas: Watch Video 1 / Watch Video 2

Umbrella: The Guitar as an Extended Instrument in La Reproduction Interdite, Hector Bravo Benard

Hat: The Use of EEG & Kyma in Head Spaces, Allison Goodman & Lowell Pickett: Watch Video

Moon: InterFaceOff

ISIB Little Hall: The Listening Room, Christian Frisson

15:30 Coffee Break, ISIB Foyer -1

Torso: FaceOSC and Kyma, Nicolas Boucquey

Umbrella: From Kyma to Dolby Surround 5.1, Theo Lipfert: This demonstration will show how to encode a multi-channel Kyma composition into Dolby Digital Surround (AC-3) for playback on consumer 5.1 home theater systems. The example will include step-by-step instructions for authoring a DVD or Blu Ray disc with Dolby encoded 5.1 sound in sync with video. The demonstration will walk through the entire process from recording multi-channel Kyma output, two methods of encoding Dolby-licensed AC-3 files, strategies for manipulating the surround pans outside of Kyma, and authoring a disc that will play on any consumer system. The demonstration will be performed on a Mac, but instructions for PC will also be covered.

Hat: Using the Kinect as an Interface to Kyma, Jon Bellona & Chi Wang: The Microsoft Kinect is a motion sensing device for the XBox 360, a special video camera that can track a user’s position in space. By calculating the 3D position of up to 15 joints of the human body (head, neck, torso, shoulders, elbows, hands, hips, knees, and feet), we can capture body poses and simulate gestures, all in real time. The Kinect enables us to use the body itself as a controller, a body that has power over musical parameters, like the pitch of a note, the triggering and speed of audio playback, or the panning of sound in space. Wang Chi and Jon Bellona’s presentation deconstructs the Kinect camera, and demonstrates how the Kinect can be utilized as an interface to Kyma. We will also discuss the challenges we encountered while designing Kinect as a “non-haptic” musical instrument, as well as sharing the solutions we found.

Sky: Kinect, Processing and Kyma, Yousri Slama

Moon: InterFaceOff

ISIB Little Hall: The Listening Room, Christian Frisson

17:30 Closing Ceremony — Moon Room & ISIB Big Hall

Informal Concert with InterFaceOff Orchestra (in Moon Room)

The Lovers (2013), Craig Vear & Sally Doughty: The Lovers (2013) is a hypermedia performance for dancer and musician. Magritte’s ‘The Lovers’ asks of us to consider the feel of a kiss through a material interface. We have taken this intermedial ‘connection’ as a theme with which to explore a hyper-performance composition. Here a dancer and a musician ‘connect’ through digital technology with in a Kyma Sound, mixing the touch of music with the feel of image. Only here it is the dancer’s movement that connects sound to our ears and the musician’s gestures that expose the visual image.

19:00 Dinner together (no host)

20:30 Club Concert — Rock Classic

Ceci n’est pas un piano: Improvisation for Kyma System, Continuum and Instrument, Eckard Vossas with Jan Van Kelst: A ready-made sound construct with several interlaced interfaces is the starting point for a spontaneous, unpredictable improvisation. This starting point consists of synthetic sources combined with electronically transmogrified samples (in this case: taken from sound aspects of a piano), which are additionally transformed internally. In the course of the improvisation this sound construct interfaces with sounds and controller data derived from an external instrument (in this case: a Kelstone, which is a kind of string instrument).

Cristian Vogel – DJ, Cristian Vogel: Hear some of the “Eselsbrücke” sound world and more!

Fin