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Paper Session 12: Studio Reports II & Immersive Media

May 16 @ 11:00 am - 12:30 pm
Session Chair: Konstantina Orlandatou
Note: Two studio reports and one paper will be presented.

Paper abstracts

Hefang Ma, Jingyu Luo, Paul Francis, Mara Helmuth, Sangbong Nam and Wei-Huai Chen: “Studio Report: Center for Computer Music 026″
The Center for Computer Music continues to function as an active site for research, composition, performance, and pedagogy in computer music. During the current period, research at the Center has focused on algorithmic and AI-assisted composition systems, real-time sonification and data-driven sound synthesis, beat tracking and performance synchronization, and music programming environments developed by faculty and students. These projects emphasize structured workflows, probabilistic processes, real-time analysis, and their application with- in compositional and interactive performance contexts. Creative output includes electroacoustic works, live electronics, spatialized sound, and multimedia performances presented at CCM as well as at national and international venues.
Pedro Rebelo and Craig Jackson: “SARC Studio Report”

We outline recent developments at SARC, Queen’s University Belfast following its re-formation on the occasion of its 20th anniversary as SARC: Centre for Interdisciplinary Research in Sound and Music. This transition prompted a re-evaluation of research scope alongside significant investment in technologies and facilities. This studio report summarises the rationale for these changes and presents current state-of-the-art facilities supporting research in immersive sound, composition, performance, improvisation, inclusive music making, instrument and interaction design, virtual acoustic instruments, ecological sound, participatory practice, and music scholarship.

Guilherme Coelho: “Latent Music: Emergent Sonic Forms and Sonic Liminality in Text-to-Audio Systems”

This paper introduces the concept of hyper-environment — an additional spatial layer superimposed on the choreographic space, where physical movement becomes a means of navigating and activating pre-analyzed sound materials. The work examines Dancing Cabiria, a reenactment in four scenes from Giovanni Pastrone’s silent film Cabiria (1914), as a case study to explore performative hyper-environments that employ corpus-based synthesis techniques within a virtual reality framework. Through the use of motion-tracking suits, four choreographies are performed, each one by four dancers whose movements are translated into sound via audio corpora distributed throughout the virtual space surrounding each performer. Each choreography outlines different uses and configurations of this hyper-environment, and allow for the discussion of compositional and instrumental issues such as the scale and density of the corpora, the relationship that emerges between movements width, corpus dimensions, and virtual space volume, and the role of real-time feedback in the design of hybrid instruments for performers.

 

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