marvit@HPLPM.HPL.HP.COM (Peter Marvit) (10/10/90)
Music-Research Digest Thu, 4 Oct 90 Volume 5 : Issue 85
Today's Topics:
call for papers - Man-Machine Interaction in Live Performance
ICMC reaction
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Date: Mon, 01 Oct 90 11:20:09 MET
From: Leonello Tarabella <MUSIC5@IT.CNR.CNUCE.ICNUCEVM>
Subject: call for papers - Man-Machine Interaction in Live Performance
To: MUSIC-RESEARCH@prg
Computer Music Dept. of CNUCE/CNR, Pisa
Signal and Image Proc. Dept. of IEI/CNR, Pisa
Anvanced Robotics Technology and System Lab - Scuola S.Anna, Pisa
AIMI (Italian Computer Music Association)
C A L L F O R P A P E R S
INTERNATIONAL WORKSHOP ON
MAN-MACHINE INTERACTION IN LIVE PERFORMANCE
COMPUTER MUSIC, COMPUTER GRAPHICS, ROBOT DANCE,....
7-8 JUNE 1991 - PISA, ITALY
The emphasis of the workshop will be on Man-Machine realtime interaction
in Computer Music, Computer Graphics and Robot Art, in order to regain
human sensitivity during the live performance
------------------------------------------------------------------------
Topics of interest include, but not limited to:
1 - Special sensing devices: distance/velocity/presence sensors,
hand/body/brain activity sensors....
2 - Software for interaction: methodologies and/or formalized software
for interaction
3 - Interaction in Live Performance: videos of actual performances
4 - Philosophy of gesture
------------------------------------------------------------------------
Schedule: 1 March 1991: Abstract+Final report & video cassette deadline
15 APRIL 1991: communication of acceptance or rejection
Format : <=10 pages : Title, abstract, names(s), address+Fax, script
and figures in camera ready A4 forms
(2 copies and disk)
if (topic #3) then Abstract+Final report and
Video Cassette <= 10 minutes (1 copy)
mail to:
Leonello Tarabella Tel 39-50-593276
Computer Music Dept. of CNUCE/CNR Fax 39-50-576751
via S.Maria 36 - 56126 Pisa, Italy e.m MUSIC5@ICNUCEVM.CNUCE.CNR.IT
------------------------------------------------------------------------
Video of performances in terms of devices, software, artistic elements,
will be also presented by the author(s) during paper session #3:
furthermore, a special non-stop video session will be active during the
workshop.
Dia, transparencies, and VHS-PAL projectors are provided during paper
sessions.
Macintosh Word4 (or PageMaker) or MS-DOS Word4 (or Windows) files are
welcome and encouraged
------------------------------------------------------------------------
Programme Committe: C.Cadoz(ACROE), J.Chadabe(ICMS), A.Camurri(DIST)
G.Depoli(AIMI), P.DiGiugno(IRIS), M.Puckette (IRCAM)
S.Pope (CMJ), L.Tarabella (CNUCE) M.Waisvicz (STEIM)
Organizing Committe: G.Buttazzo (ARTS Lab), P.Carosi, A.Belfiore L.Tara-
bella (CNUCE) G.Bertini (IEI)
Official Language: English
------------------------------------------------------------------------
------------------------------
Date: 28 Sep 90 16:25:41 GMT
From: Keith Kothman <kkothman%weber%network.ucsd.edu@edu.ucsd>
Subject: ICMC reaction
To: music-research@prg
Message-ID: <3002@network.ucsd.edu>
In article <15134@venera.isi.edu> smoliar@vaxa.isi.edu (Stephen Smoliar) writes:
>[stuff deleted]
>Having said all that, let me venture forth with some potentially dangerous
>remarks about computer music. While we would like to think of computer music
>as a fresh discipline as exciting as Artificial Life, the true is that is has
>become quite established. The mere fact that there is this organization which
>encourages membership in order to participate is a sign of such establishment.
>I would even venture a guess that the discipline first began to become
>established when a critical mass of practitioners started trying to take
>the work which had come out of Bell Laboratories (primarily from Max Mathews)
>and make a standard out of it. Standards beget establishment, and
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>establishment saps excitement.
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
>=========================================================================
>
>USPS: Stephen Smoliar
> USC Information Sciences Institute
> 4676 Admiralty Way Suite 1001
> Marina del Rey, California 90292-6695
>
>Internet: smoliar@vaxa.isi.edu
>
>"It's only words . . . unless they're true."--David Mamet
Let me offer a different view of what standards beget. Standards
beget freedom from those who control access. In the beginning,
if you wanted to do computer music you had to be at Bell Labs.
Until very recently, you had to be at one of the handful of
institutions that had a workable computer music studio, mostly
academic, mostly controlled by a handful of people. To work at
such a place you had to submit to being a student or guest
researcher, but you definitely had to SUBMIT. Because of standards
and the establishment i can now go out and but a relatively low-cost
NeXT machine with DAC, download Csound and other popular software
synthesis packages via anonymous ftp, hook up whatever MIDI gear
that i might like to also use, and work independently from the
major institutions.
I've heard the argument before that using tools of the establishment
makes creates a dangerous relationship between artist and
establishment, but it's usually made by people who have access
to whatever they need or want--usually huge, proprietary
systems that, while maybe "exciting," are unavailable to over 90%
of the people actually working in the discipline.
Remember that tools are tools, whether created by the establishment
or the fringe. If they are useful--fine. But if they're unavailabe
to me, don't tell me i'm doing the wrong thing by turning to the
establishment to find something to use.
Keith Kothman
UCSD Dept. of Music
--the day job just pays the bills
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End of Music-Research Digest