Composition for Ubiquitous Responsive Sound Environments

International Computer Music Conference, ICMC Proceedings

Volumn , Issue , 2004, Pages

  Livingstone, Dan ^a   Miranda, Eduardo ^a  

^a UNIVERSITY OF PLYMOUTH   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

REAL TIME SYSTEMS;

CASE-STUDIES; EMERGENT BEHAVIOURS; HARDWARE TECHNOLOGY; HARDWARE/SOFTWARE; MOTION TRACKING; NEW FORMS; SOCIAL INTERACTIONS; SOFTWARE TECHNOLOGY; SOUND ENVIRONMENT; UBIQUITOUS TECHNOLOGY;

INTERACTIVE COMPUTER SYSTEMS;

EID: 77953508660     PISSN: 22233881     EISSN: None     Source Type: Conference Proceeding    
DOI: None     Document Type: Conference Paper

References (9)

1. Camurri, A. (2000) “Artificial Intelligence Architectures for composition and performance environment”. In Miranda, E. R. Readings in Music and Artificial Intelligence (Contemporary Music Studies) Routeledge pp.163-188
2. Costa, Manzolli, Vershure (2003) “Constructing Sonic Structures with Visual Roboser”. In Proceedings of the IX Brazilian Symposium on Computer Music, SBC pp131-136
3. Lippe, C (2002) “Real time Interaction Among Composers, Performers, and Computer Systems” Information Processing Society of Japan SIG Notes, Volume 2002, Number 123, pp. 1-6.
4. Livingstone D. (2003) “Emergent Behavior in the context of Reactive Compositional Environments”. In Proceedings of the IX Brazilian Symposium on Computer Music, SBC pp235-240
5. Livingstone D. (1998) “The Space between the Assumed Real and The Digital Virtual”. In Ascott, R. Reframing Consciousness – art, mind & technology Intellect Books pp138-143
6. Mack, A. Rock, R. (2000) Inattentional Blindness (Cognitive Psychology) MIT Press pp.215-255
7. Rowe, R (1993) Interactive Music Systems: Machine Listening and Composing, Cambridge, The MIT Press.
8. Styger, T. & Keller, E. (1994). “Formant Synthesis”. In E. Keller (ed.), Fundamentals of Speech Synthesis and Speech Recognition: Basic Concepts, State of the Art, and Future Challenges Chichester: John Wiley. pp. 109-128
9. A perceptual construct in this context is a series of spatial relationships created by an individual manipulating sound objects as reference points in relation to physical space using the mental model of a wire frame cube to enhance spatial perception of sound objects, positional coordinates for each diffused sound are captured and compared with the users description or individual mental model of ‘their’ cube in relation to the physical environment and cubes of other people.