NIME Music Track Concert 3 & 4 Transcript of captions and on screen text: Introduction Welcome to the third night of music, and tonight we have two sets in store for you. The first set features a collection of performances with novel interfaces and environments: a physical modelled space, in which drawn boundaries affect the propagation of sound; a gestural system for audiovisual performance; a handheld touch and movement controller; a system which distributes a performance between onstage musicians and audience; and a performance with novel stethoscope mics, or stethophones, amplifying performers’ heartbeats. Black Space Oren Ronen, Victor Zappi Hello, my name is Oren Ronen, and today I will be showcasing my piece, Black Space, on the Hyper Drum Head. The Hyper Drum Head is a digital musical instrument designed to target expressive control through the audiovisual manipulation of sound waves. Unfortunately, due to the current situation, and my lack of access to the instrument, this piece was performed and filmed in its early stages of development. Nevertheless, I hope you enjoy. Black Space Performed by Oren Ronen The Air Sticks - An Audio Visual Gestural Instrument Alon A Ilsar Sensilab, Monash University Melbourne, Australia Matthew Hughes Animal Logic Academy University of Technology Sydney, Australia The AirSticks allow the open air triggering and manipulation of sound and visuals. Utilising these virtual-reality gaming controllers, we built custom software that takes data from the controllers and spits out MIDI and OSC over a network to a musical application and also a real-time visualisation system built by my colleague Matt Hughes. My name is Alon Ilsar, and these are the AirSticks. ‘One Five Nine’ Music composed by Alon Ilsar and Greg Seiler ’Sining’ Alon Ilsar ‘Computer Rain’ Music composed by Alon Ilsar and Greg Seiler Playing the nUFO Isak Han NIME2020 The Airborne Instruments nUFO (nontrivial/new flying object) is a new movement based Digital Music Instrument designed for maximal motional freedom of the performer. This frees players from distracting technical concerns, and empowers them to focus on playing by listening and intuitive motion. During the past 3 years, I was developing this instrument. Thor Magnusson’s recent book “Sonic Writing” poses pointed questions about societal and cultural implications of NIMEs, which perfectly apply to me as the creator of the nUFO. The composition process for the performance started with rendering my private answers to Thor's questions with computer voices as a concrete sound source. Interacting with the nUFO, these sounds can be played back at intelligible rate, or get gradually granulated to become purely sonic, at times rhythmical, textures. 
 A choice of complex, internal- feedback-based synthesis algorithms serves as accompaniment to this quasi-human voice, and nUFO’s rich interaction affordances leave plenty of space for ad-hoc decisions about the flow of the piece. Gravity | Density Jesse Allison, Anthony T Marasco Documentation: gravity.emdm.io Gravity | Density is a distributed performance created in collaboration with the audience. When performed live, you may join in from gravity.emdm.io Marasco and Allison perform on computers, mobile devices, 2 cyber-hacked Sony Discman, and a cyber-hacked guitar fuzz-pedal. Glitch music and sampled sounds immerse the audience and play across their mobile devices. The audience may also sample and manipulate what they hear with their device. This performance is from the Rockheim Museum in Trondheim, Norway, at the 2019 Web Audio Conference. Embody Barbara Nerness Hi, my name is Barbara Nerness and you're going to see a piece today called Embody, it was performed last year at Bing Concert Hall at Stanford where I am a PhD student, and it uses the Stethophone, which is just a hacked stethoscope with a microphone in the end. So, the audio is in binaural and it would be best if you wore headphones. Alright, enjoy thank you. Pre-Break Message As ever, a massive thanks to the artists featured here, and we’ll be back after a short break Second Set Intro Welcome back! This next set is themed around language, games and rules: where we see music arising from its boundary with language; music inspired by ancient poetry; music within a game-like space; tango-dancing translated into and leading sound; ensemble interactions with a responsive graphic score system; and the sonification of data from the Large Hadron Collider through live code. Membranes Nicola Leonard Hein, Lukas Truniger Exploring the boundaries where music and language overlap, Nicola L. Hein and Lukas Truniger use hybrid text-sound instruments as Devices to turn written texts into pulses of light and percussive sound. Following historical archetypes of musical communication instruments, such as talking drums, and seeking to create a speculative interaction space, the instruments form a network, sharing and transforming text, building up an altogether new kind of post-digital form of musical language. Nicola L. Hein & Lukas Truniger 2017-2019 Camera Elodie Croquet / Matcha Marie Marcon Lukas Truniger Video editing Lukas Truniger Scenographic advisor Marie Lelouche “Yunzhong Jun”-For human voice, Max and real-time interactive electroacoustis Weiming Song Yunzhong Jun is a real-time interactive music for human voice and Max/MSP it is inspired by the Lord Within the Clouds in Nine Songs, Chinese name, Jiu Ge, which is an ancient Chinese poem series written by Qu Yuan. The gesture and movement of the performer over the ultrasonic sensors generate the data for controlling parameters in the Max/MSP patch, and for manipulating the voice of the performer as well. Yunzhong Jun Composer: Weiming Song Performer: Qiang Yi Terrain Study Christof Ressi, Szilard Benes Hi, my name is Christof Ressi, I'm a composer, sound artist and software developer based in Graz Austria. What you will hear now is a short excerpt of a live performance of my piece Terrain Study for a solo performer and virtual reality system. Please listen with headphones, Enjoy TERRAIN STUDY By Christof Ressi Realised as part of the artistic research project, GAPPP, funded by the Austrian Science Fund, FWF, as AR364-G34 Performed by Szillárd Benes Machine Tango Courtney D Brown Argentine tango is grounded in the relation between two moving bodies, the leader and the follower, and the music. Lacking a basic step set a specified rhythm, dancers improvise movement response to musical structures. Connection is the part of the Argentine tango technique allowing two dancers to move spontaneously together as one in response to the music. Machine tango inverts this relation between dancers and music, enabling tango dancers to drive musical outcomes. This work grows out of a desire to combine a background in experimental electroacoustic music composition, with Argentine tango dance. Machine Tango Performed by: Courtney Brown and Brent Brimhall, dancers Sonic Cultures Se-Lien Chuang, Atelier Avant Austria Andreas Weixler, MDW Vienna, ABPU Linz, Atelier Avant Austria Sonic Cultures is an immersive realtime audiovisual compositional environment with interactive generative score (iScore) for multiple computer and open ensemble. An open acoustic instruments ensemble including electronic devices using digital interfaces (laptops etc.) serves as mutual media for score conducting, reading and interpreting. In concert it is performed within an combination of audiovisual realtime processing and improvisation conducted by interactive graphic scores on individual screens/computer driven by virtuoso random functions and intentional choices of a digital conductor/composer, which underline the visual and graphic components that are linked to and experienced by the musical sound environments. The conducted improvisation is completed by an audio realtime signal processing by fft controlled freeze reverb, classic ring modulation as well as spectral delay by a computer performer in mutual inducement with the instrumental player. performer and composer process an interactive score and exert mutual influence on it: • chooses page of a graphic score (including traditional notes) • by the wave of a hand (gesture of turning page)
• Each computer can act independently but also as a swarm
• each computer can send actual & favorite score-page one or more conductor/composer The essence of this compositional environment is to entice and to express the musical ideas by offering the visual and graphic incentive within the personal and individual spontaneity of the performer and the composer. Further it aims to crosslink the aural and visual environments for the performer and especially for the audience by fulfilling the audiovisual realtime processing through the multichannel audio processing and sound spatialization on the one hand, on the other hand the large-size projection of the visual transformation.
An interactive score turns the concert into live-event of a very special kind:
the score is assembled within an algorithmic/random realtime process
on stage based on mainly graphic notation. This video shows the concert of the related conceived piece “Momentum ACCAD” premier on the 23rd September 2019, with the Sonic Arts Ensemble at Motion Lab, AACAD OSU - Advanced Computing Center for the Arts and Design at The Ohio State University in Columbus in the framework of “Virtuoso Chances” - Portrait Se-Lien Chuang & Andreas Weixler Credits: The OSU Sonic Arts Ensemble (Marc Ainger and Federico Camara Halac, co-directors) Jacob Kopcienski - Saxophone Samantha Burgess - violin Yildiz Guvernturk - percussion Federico Camara Halac - thornblower Se-Lien Chuang - realtime video processing Andreas Weixler - realtime audio processing & iScore conducting Dark Matter (live coding) Scott Wilson, Konstantinos Vasilakos, Tsun Winston Yeung, Emma Margetson, Erik Nyström Closing Message A massive thanks to everyone who contributed to the sets tonight, and we’re back with one final lunchtime concert tomorrow. See you then!