For the last two decades, there has been a growing interest in the study of sound from a Human-Computer Interaction (HCI) perspective. This coincides with the shift to a third wave of HCI towards applications in broader cultural contexts. In the last few years, researchers have paid special attention to the integration of other sensory modalities with sound. In this context, the first Sound, Image and Interaction Doctoral Symposium (SIIDS) aims to address emerging issues in research related to the creation of interactive sonic experiences, particularly focusing on the role that image plays in these scenarios.
The one-day Symposium (4/October) will be hosted by M-ITI – Madeira Interactive Technologies Institute (Funchal, Portugal), and will have two tracks: poster (with oral presentation) and performance. There will also be a keynote presentation by Prof. Atau Tanaka (Goldsmiths, U. London). Participation is open to all international PhD students conducting research on computer-based systems for interactive sound, in particular combined with image.
Photos from SIIDS 2018 (more media in the Performances section):
Programme
4/October/2018
9:30 Keynote
- Prof. Atau Tanaka – Third Wave HCI Research Enabling Interactive Music and Immersive Media Practice
11-18:00 Poster track
11:00 Presentation session 1 (Score and Notation)
Session chair: Florian Hecker
- Daniel Ross – An Interactive and Performative Approach to Computer-Aided Composition
- Daniela Fantechi – (re) presenting an altered interactive system. On a “et ego”, a piece for classical guitar, two piezo-electric microphones and electronics
- Raul Masu – Scoring NIMEs: an overview of the use of score and notation in the NIME community
14:00 Presentation session 2 (Performance-oriented Technology)
Session chair: Fabio Morreale
- Diogo Cocharro – Content-based recreation of loops for Music Performance
- Niccolò Granieri – Reach – Designing keyboard instruments with pianists in mind
- Marcin Pietruszewski – Integrating Xenakian ‘sieve’ with the new pulsar generator.
16:30 Presentation session 3 (Data and Visualization)
Session chair: Nuno N. Correia
- Luís Aly – Performative Sound Design: bio-control metaphors for sound design in performance art
- Lynette Quek – Utilising obsolete technology to create a contemporary audiovisual performance
- Sara Lenzi – Experiencing Data. The Added Value of Sound in Making Sense of Complex Phenomena.
21:00-23:00 Performances
Related event – 3/October, 14:30h, Talk, M-ITI Classroom
- Fabio Morreale: A holistic approach to the design of digital musical instruments
- More information: https://www.m-iti.org/content/holistic-approach-design-digital-musical-instruments
Keynote
Third Wave HCI Research Enabling Interactive Music and Immersive Media Practice
Prof. Atau Tanaka
Abstract: Research methods from human-computer interaction have become increasingly adopted in music technology and other creative disciplines like audiovisual performance. This talk presents several projects from the EAVI group at Goldsmiths that look at embodied interaction for gestural music and a/v performance, haptic interfaces, and immersive media. In particular, we draw upon trends in Third Wave HCI as ways to look connect artistic research to scientific method, to accommodate qualitative measures of experience while avoiding strictly personal subjectivities. These methods, grouped under the broad rubric of User-Centred Design include ethnographic observation, critical incident technique, structured brainstorming, storyboarding, and various types of sketching exercise. I present a family of projects that used this family of methods, resulting in muscle-based musical instruments, A/V software, accessibility devices, and surround projection spaces.
Bio: Atau Tanaka (UK/US) bridges the fields of experimental music, media art, and scientific research in embodied human-computer interaction. He is widely known for his pioneering works for sensor-based instruments and bio-signals, mobile infrastructures, and democratized digital forms. His first inspirations came upon meeting John Cage during his Norton Lectures at Harvard. Atau then studied at CCRMA Stanford, and conducted research in Paris at IRCAM, Centre Pompidou. He formed Sensorband with Zbigniew Karkowski and Edwin van der Heide and then worked in Japan, performing with Merzbow, Otomo, and KK Null. He re-staged Cage’s Variations VII with Matt Wand and :zoviet*france:. His work has been presented at NTT/ICC Tokyo, Ars Electronica, ZKM, Transmediale, Eyebeam, Wood Street Gallery, SFMOMA, and the Southbank Centre, and has had CD releases on labels such as Sub Rosa, Bip-hop, Caipirinha Music, Touch/Ash, Sonoris, Sirr-records. He has been researcher at Sony Computer Science Laboratory Paris and Artistic Co-Director of STEIM. He is Professor of Media Computing at Goldsmiths, University of London.
Performances
4/Oct/2018, 21h, Barreirinha Bar Café, Funchal
Sound Synthesis / Machine Listening / Electroacoustic / Embodied
Marcin Pietruszewski – /siv/
The work spans out from my ongoing artistic research practice focused on reinterpretation and dramatisation of a historical sound synthesis technique called pulsar synthesis [Roads and de Campo] . Featuring novel digital instrument design and machine listening techniques seamlessly integrated with a sieve algorithm as first introduced by Iannis Xenakis, the work probes the material, symbolic and conceptual aspects of the synthetic medium.
Bio: Marcin Pietruszewski is a researcher and composer of computer music based in Edinburgh. He has collaborated extensively – e.g., Curtis Roads (nuPG), Marcus Schmickler (Demos) and Florian Hecker (Normification, FAVN) and presented his works internationally at CTM/Transmediale Festival, ICA in London, IMMA in Dublin and MUMUTH in Graz. He works across performance, multimedia installation and radio productions probing the dynamics between formalism of synthetic sound and its material realisation.
Website: www.marcinpietruszewski.com
Daniel James Ross – King Canute: Eat Your Heart Out!
This piece is an electroacoustic performance controlled by the Myo, a muscle-sensing device worn on the arm. The piece uses sonification of the body and gestural-controlled audio sample manipulations to create a contemporary answer to King Canute’s attempts at turning back the tide. Its original performance was scheduled at high tide on the beach as part of the Whitstable Biennial 2018. The sea had definitely changed direction by the end of my performance. King Canute, eat your heart out!
Bio: Daniel is an algorithmic electro-instrumental composer and performer based in London. He is a PhD candidate in composition at Goldsmiths University studying with Patricia Alessandrini, Roger Redgate and Michael Zbyszyński. He has recently had work premièred at the National Museum of Wales, Sounds Like This, and the Brighton Fringe. Daniel has had his music released on Classwar Karaoke, Noizemaschin!!, and NX Records. He improvises using custom built software with the bands Some Some Unicorn, Mega Trio, and Roddart, the latter having reached the finals of the Engine Room International Sound Art Competition 2015. Daniel presents Beethoven Was Wrong and other radio shows on Resonance FM and lectures at Morley College in several music and music technology subjects. Daniel co-organises Noizemaschin!! London (www.noizemaschin.com), a monthly experimental music concert series, and runs SEEM (www.seemlondon.wordpress.com) the south east London experimental music network committed to community music making and programming. Dan teaches music technology-related courses at Goldsmiths, UCA Farnham, and Morley College.
Website: www.vitruviandan.wordpress.com
Atau Tanaka – Le Loup, Lifting, Myogram
Three short pieces that look at different ways in which forearm muscle tension can be used to sculpt sound. A sensor system detects the electromyogram (EMG) signal, electrical impulses from the nervous system causing muscle tension, and renders a musical instrument the performer’s own body, allowing him to articulate sound through concentrated gesture.
Le Loup: A single short recorded sample of howling wolves are stretched and transposed, creating a continuous growling.
Lifting : Whistling oscillators are modulated in frequency and amplitude, recalling the classical Theremin.
Myogram: A direct sonification of muscle activity where we hear the neuron impulses of muscle exertion as data. Throughout the piece, the raw data is first heard, then filtered, then excite resonators and filters. This piece was created in collaboration with Miguel Ortiz.
Bio: Atau Tanaka (UK/US) bridges the fields of experimental music, media art, and scientific research in embodied human-computer interaction. He is widely known for his pioneering works for sensor-based instruments and bio-signals, mobile infrastructures, and democratized digital forms. His first inspirations came upon meeting John Cage during his Norton Lectures at Harvard. Atau then studied at CCRMA Stanford, and conducted research in Paris at IRCAM, Centre Pompidou. He formed Sensorband with Zbigniew Karkowski and Edwin van der Heide and then worked in Japan, performing with Merzbow, Otomo, and KK Null. He re-staged Cage’s Variations VII with Matt Wand and :zoviet*france:. His work has been presented at NTT/ICC Tokyo, Ars Electronica, ZKM, Transmediale, Eyebeam, Wood Street Gallery, SFMOMA, and the Southbank Centre, and has had CD releases on labels such as Sub Rosa, Bip-hop, Caipirinha Music, Touch/Ash, Sonoris, Sirr-records. He has been researcher at Sony Computer Science Laboratory Paris and Artistic Co-Director of STEIM. He is Professor of Media Computing at Goldsmiths, University of London.
Website: www.ataut.net
Submissions
* Submissions are now closed *
We are interested in submissions from doctoral students related to connections between sound, image and/or interaction, and the topics of interest listed bellow. SIIDS consists of two tracks: poster and performance. Submissions for both tracks should include a letter of support from the doctoral students’ supervisors with assessment of the current status of the research. All presenters will receive a certificate of attendance.
Important Dates
Deadline for submissions: 31/JulyNotification: 7/AugustDeadline for registration: 7/September- Symposium: 4/October
Submission categories
For the poster track, please submit an abstract (200 words maximum) containing:
- Purpose of the research and its importance to the field
- Description of the proposed approach
Format: Duration and format of the oral presentations will be announced. Following their presentation, students will receive feedback on their work in progress from established researchers and from other participants.
Poster submission link: [CLOSED].
Please submit letter of support of supervisor (PDF) using the field “Uploads Paper (…)”
For the performance track, please submit:
- an abstract (100 words maximum) describing the performance and connection to research
- a list of technical requirements
- a link to video (ideally) or (at least) audio documentation
Format: Duration of the performance should be between 15 and 25 minutes.
Performance submission link: [CLOSED].
Topics of Interest
- New interfaces for musical expression
- Design of digital musical instruments with a visual component
- Interactive audiovisual composition
- Interactive audiovisual installations
- Audiovisual improvisation
- Audiovisual systems for mobile and web
- Graphical interfaces for musical instruments
- The role of notation as graphical representation of music
- Live visuals for music performance
- Live coding
- Interaction design approaches and methods for sound and image
- Mapping strategies between sound, image and/or interaction
- Evaluation and user studies of performers
- Evaluation and user studies of audiences (performance and installation)
- other related topics
Contact
If you have any questions, please email siids [at] m-iti.org.
Committee
- Nuno N. Correia (U. Greenwich, Madeira-ITI) – General Chair
- Deborah Castro (Madeira-ITI) – Posters Chair
- Raul Masu (U. Nova de Lisboa, Madeira-ITI) – Performance Chair
- Atau Tanaka (Goldsmiths, University of London)
- Fabio Morreale (Queen Mary University of London)
- Florian Hecker (ECA, The University of Edinburgh)