"Convergence of Time and Space: The Practice of Visual Music from an Electroacoustic Music Perspective"[working title], with Rajmil Fischman (Keele University), in The Oxford Handbook of Music, Sound, and Image in the Fine Arts [working title]. Yael Kaduri, Editor. Under contract for publication online in 2013. Paper date TBD.
"Some Reflections on Autarkeia Aggregatum" and "From Shapes in the Moment to Shapes in Time: Pioneers in Musical Organization of the Visual" in Ear Sees, Eye Hears: On the Interconnections among Sound and Picture in Art, a proposed publication for Manges Publishers, Hebrew University, Jerusalem. [Translated into Hebrew.] Yael Kaduri, Editor. Proposed publication 2012.
Bézier Spline Modeling of Pitch-continuous Melodic Expression and Ornamentation
Abstract: A set of techniques is presented for analysis and computer rendering of melodies such as those found in Indian classical music, in which subtle control of the continuum between scale steps is fundamental to expression. Pitch, amplitude, and spectral centroid curves are extracted from a recorded performance. Critical inflection points on these curves are identified by psychoacoustic criterion. Constrained Bézier splines are fit to the data between those points using a non-linear solver with linear interpolation to estimate function values, eliminating the need to optimize parameterization. The model can be used for musicological analysis, or the data can be repurposed towards expressive computer rendering of custom melodic gestures and musical textures.
Musical Pattern Generation with Variable-Coupled Iterated Map Networks
Abstract: This paper introduces the concept of variable-coupled iterated map networks and explores its application to generation of musical textures. Such networks are comprised of one or more interlinked nodes. A node is an iterated map function with a time-delay factor that schedules successive iterations. The map state broadcast by a node can drive the variables and time-delay factor of any other nodes in the network, including itself. Lehmer's Linear Congruence Formula, an iterated map normally used for production of pseudo-random numbers, is explored for its own potential as a pattern generator and is used as the iterated map in the network nodes in the examples presented. The capacity of the networks to produce richly gestural behaviors and mid-term modulation of behavior is demonstrated.
Proceedings of the International Computer Music Conference, 2011, Huddersfield University, UK
Abstract: This paper introduces a method of sound synthesis that is based on the use of automatic gain control (AGC) in a time-delayed feedback loop. The approach, which the author calls "Compressed Feedback Synthesis" (CFS), can be conceptualized as a special expansion of a generalized comb filter, where feedback gain can be unity or greater. The system can be expanded with additional processing in the feedback loop to create a highly flexible and sensually engaging sound materials. The use of CFS in the author's audiovisual composition Sinus Aestum is discussed, including specific solutions to the challenging of controlling such a system compositionally.
Creative Process and Pedagogy with Interactive Dance, Music and Image
Kerry Francksen, Bret Battey, Jo Breslin
Proceedings of the Congress on Research in Dance, 2009, De Montfort University, Leicester, UK
Abstract: This lecture-demonstration reflects on a research-informed teaching project in which teaching staff in dance and music technology collaborated on technical and pedagogic research and artistic creation in interactive dance. Our primary aim was to throw light on how interactive technologies might challenge and develop the ways in which students in dance and music technology engage in creative practice through the exploration of a set of technologies and conceptual approaches the research has revealed very particular compositional structures and methods. Experimental sketches were developed with a particular focus on emergent behavior and richly behaviored audio-visual feedback systems that were both controlled by and influenced the dancers. The demonstration presents our approaches and offers methodologies and strategies for the use of new technologies in dance pedagogy.
Proceedings of the International Computer Music Conference, 2007, Copenhagen
Abstract: PICACS (Pitch Curve Analysis and Composition System) is a software prototype inspired in part by study of Indian classical music. The primary motivation of the system is to facilitate analysis, composition, and convincing computer rendering of music that is characterized by detailed, expressive shaping of the continuum between scale steps. The system creates models of pitch, amplitude, and spectral-centroid expression envelopes by utilizing nonlinear least-squares fitting of constrained Bézier spline curves. Details of the modeling system have been published elsewhere; this paper focuses on the unique challenges that arise in designing an editing system for such models to support compositional purposes. While some of the challenges are specific to the Bézier model, it is clear that many of the challenges would apply to any system that seeks to support modelling and editing of continuous expression using sets of linked curves and multiple layers of expression data.
Abstract: This paper describes the artistic and technical processes used in generating the visuals for the video music work Autarkeia Aggregatum. An algorithm is described that involves a grid of points extracted from a source image and submitted to rotational and Brownian noise movement schemes.
An Animation Extension to Common Music
Published: Proceedings of the Connecticut College Biennial Symposium on the Arts and Technology, 2001
Abstract: The Animation Extension to Common Music (AECM) version 1 is a set of extensions to the Common Music (CM) infrastructure. These extensions allow musical event algorithms authored in CM to also generate scripts to control a computer animation environment. The current version of AECM works with Common Music 1.4 and generates MaxScript, the scripting language for 3-D Studio Max 2.5. While facilitating the use of algorithmic methods for generation of both audio and visual events, it can encourage reconceptualization of relationships between sound and image mediums. Examples are provided from the author’s recent work Writing on the Surface for computer-realized sound and image.
Unpublished Conference Papers
Inquiries towards Fluid Audiovisual Counterpoint
Seeing Sound: Visual Music Symposium, Bath Spa University, 2011
Abstract: This paper explores the question of what would constitute a 'fluid audiovisual counterpoint'. The question is approached by considering fundamental principles implicit in species counterpoint, identifying limitations and strengths of this traditional pedagogical approach. It is proposed that the limits and strengths of the counterpoint idea can be best adapted to at least some audiovisual composition and analysis by pursuing the idea of a 'counterpoint of gestures', which would entail the management of alignment/nonalignment of gestural primary goal points and sub goal points. Fluid audiovisual counterpoint, then, would entail minimal occurrence of primary goal points, as a metaphorical extension of the principles of 4th-species counterpoint. This idea is explored with reference to the author's audiovisual work Clonal Colonies and gesture during North Indian classical vocal performance.
Isomorphism of Complex Gestalts: The Audiovisual Composition Autarkeia Aggregatum
Abstract: This paper provides a perception- and practice-based analytical perspective on the relationship between abstract moving image and sound in the context of the author's composition Autarkeia Aggregatum. In particular, it investigates the challenge of understanding and developing audio-visual relationships comprised of extended, continuous isomorphism between mediums, formed with careful attention to higher-order, emergent dynamics of each medium in relationship to rhetorical unfolding. To this end, it investigates the applicability of selected conceptual frameworks and analytical approaches arising from electroacoustic music studies. The approach promotes the idea of relating the two mediums, not by mapping one to the other, but by considering both as manifestations of underlying temporal dynamics (tensions, implications, and rhetorical relationships) that are not, in their essence, either sonic nor visual.
Modulated Feedback: The Audio-Visual Composition Mercurius
SIGGRAPH, 2009, New Orleans
Archetypes of Dissolution: the Luna Series of Audio-Visual Compositions
Seeing Sound: Visual Music Symposium, Bath Spa University, 2009
Abstract: This paper addressed aesthetic and technical aspects of the author's Luna Series of audiovisual compositions. Particular attention is paid to the parallel unfolding of complex audio and visual streams ('Isomorphism of Complex Gestalts') and on an algorithmic process for the visuals (Brownian Dispersal Filter) that entails compounded rotational schemes in 3D space which are collapsed back into a 2D image.
Book Review: Perry R. Cook (Ed.), Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics
Oberlin Conservatory — September, 2011 Seminar, Master Class, Solo Concert
Juilliard School of Music — September, 2011 Seminar
New York University — September, 2011 Seminar
Durham University, UK — February, 2011 Audiovisual Composition with Complex Gestalts(The Luna Series)
University of the Arts, Berlin — January, 2011 Seminar and Lecture: Audiovisual Composition with Complex Gestalts(The Luna Series)
Visible Bits, Audible Bytes Symposium, De Montfort University/Phoenix Square, Leicester — October, 2010 Matching Complex Audio and Visual Gestalts
Digital Arts Symposium — Phoenix Square Film and Digital Media, Leicester — November, 2009 cMatrix12 background and technique
Stanford University CCRMA/School of Music — April, 2009 Graduate seminar
University of the Pacific, Stockton, California — April, 2009 Seminar
Center for Digital Arts and Experimental Media, University of Washington, Seattle — April, 2009 Graduate seminar
University of Hull at Scarborough, UK, Creative Music Technology — 2008 Visual Music in the Digital Age
Sonic Arts Network Expo 2007, Plymouth University — 2007 Computer Analysis and Composition with Bézier Spline Expression Curve Models
Practice as Research Symposium, Bath Spa University — 2007
Visual Music in the Digital Age
Guest Lecturer Series, Nottingham University School of Music — 2007
Visual Music in the Digital Age
Research Seminar, MTI, De Montfort University — 2007
Computer Modeling of Pitch and Expression Curves in Indian Classical Music
Artistic Process Symposium, MTI, De Montfort University — 2006
Retrospective Thoughts on Creativity and Metacreativity
Daniel D. McCracken Computational Sciences Seminar Series, Central Washington University — 2004 Computer Modeling of Expression Curves in Hindustani Classical Music
Animation Arts Guest Lecture Series, University of Washington — 2002 Form and Expression
Machine Design Group, University of Washington — 2003 Computer Modeling of Hindustani Melodic Ornament
Washington Composers Forum — 2002 An American Computer Musician in India
Lalit Kala Kendra and Inter-University Institute for Astronomy and Astrophysics, University of Pune, India — 2002 Computer Music: The Fusing of Artistic and Technical Creation
Indian Institute of Technology, Mumbai, India — 2002 Computer Music: The Fusing of Artistic and Technical Creation
Indian Institute of Technology, Kanpur, India — 2002 Computer Music: The Fusing of Artistic and Technical Creation
Indian Statistical Institute, Kolkata, India — 2002 Computer Music: The Fusing of Artistic and Technical Creation
Indian Institute of Information Technology Management, Kerala, India — 2002 Computer Music: The Fusing of Artistic and Technical Creation
Indian Institute of Science, Bangalore, India — 2002 Computer Music: The Fusing of Artistic and Technical Creation
CARTAH Lecture Series, University of Washington, Seattle — 2000 Digital Music: Integration of Algorithmic Music and Animation
New Music Northwest, Evergreen State College, Washington — 1999 Chaotic Networks for Algorithmic Pattern Generation
Microsoft Advanced Technology Group, Redmond — 1994 Behind the Juggling Jukebox (with James Jay)
The Pernerstorfer Circle(1999) A hypermedia exploration of the tremendous confluence of arts and ideas in Vienna circa 1900 -- as embodied by the Pernerstorfer Circle -- with emphasis on Gustav Mahler. Part of the University of Washington's Vienna 1900 web site.