Digital Musical Interactions: Performer-System Relationships and their Perception by Spectators

This article adopts an ecological view of digital musical interactions, first considering the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study suggesting that spectators may not perceive such interactions in the same way as performances with musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.

Dramaturgy in the Network

This article addresses challenges and opportunities posed by the design and production of network performance from the point of view of collaborative creative work. It examines strategies that, while referring to the network as a new medium for performance, make use of concepts from dramaturgy to better understand the relationships between artists, audiences and media. The author characterises three distinct models for dramaturgy, particularly from the point of view of collaboration, authorship, presence and environment.

Notating the Unpredictable

Notation can be seen to sit comfortably between theory and practice as it symbolizes practice, generates and implements theory, and produces practice. Historically, its presence changes in significance across the development of activities such as music or architecture. From design tool to canonic text, notational artefacts both solidify and formalize practice, as will be expanded below. How, then, does the role and function of notation change with specific contemporary practices, which are by definition ill-defined and feed off fluidity and change? What is the nature of notation in distributed and collaborative practices such as improvised music or network music performance?

Interview with Paul DeMarinis

Since the early 1970s, the American electronic media artist Paul DeMarinis (b. 1948, Cleveland, Ohio, USA) has created works that re-imagine modes of communication and reinvent the technologies that enable communication. His works (see Table 1) have taken shape as recordings, performances, electronic inventions, and site-specific and interactive installations; many are considered landmarks in the histories of electronic music and media art. Paul DeMarinis pioneered live performance with computers, collaborated on landmark works with artists like David Tudor and Robert Ashley, undertook several tours with the Merce Cunningham Dance Company, and brought to life obscure technologies such as the flame loudspeaker (featured in his 2004 sculpture Firebirds). His interactive installation The Music Room (1982), commissioned by Frank Oppenheimer for the Exploratorium in San Francisco, was the first automatic music work to reach a significant audience. His album Music As A Second Language (1991) marks one of the most extensive explorations of the synthesized voice and speech melodies to date. Installations like The Edison Effect (1989-1993), in which lasers scan ancient recordings to produce music, and The Messenger (1998/2005), in which electronic mail messages are displayed on alphabetic telegraph receivers, illustrate a creative process that Douglas Kahn (1994) has called "reinventing invention." [etc]

Autobiography and Invention: Towards a Critical Understanding of Identity, Dialogue and Resistance in Improvised Musics

In this article I will argue that acts of improvisation are not productively understood in opposition to other practices which form our wider musical culture. Improvisation might be better understood as both rooted in, but not limited by, personal and cultural memory. Improvisational activities are legible to the performer and audience through a shared understanding of social norms, but only become a singular instance of improvisation through unique performative actions. This tension between experience and invention is played out in a dialogue between performer and listener, demanding a response that crucially takes the form of self-articulation, or autobiography. Finally, I contend that it is from this position that improvisation offers the possibility to transgress established personal and cultural identities.

A Framework for the Evaluation of Digital Musical Instruments

At the outset of a discussion of evaluating digital musical instruments, that is to say instruments whose sound generators are digital and separable though not necessarily separate from their control interfaces (Malloch, 2006), it is reasonable to ask what the term evaluation in this context really means. After all, there may be many perspectives from which to view the effectiveness or otherwise of the instruments we build. For most performers, performance on an instrument becomes a means of evaluating how well it functions in the context of live music making, and their measure of success is the response of the audience to their performance. Audiences evaluate performances on the basis of how engaged they feel they have been by what they have seen and heard. When questioned, they are likely to describe good performances as “exciting,” “skillful,” “musical.” Bad performances are “boring,” and those which are marred by technical malfunction are often dismissed out of hand. If performance is considered to be a valid means of evaluating a musical instrument, then it follows that, for the field of DMI design, a much broader definition of the term “evaluation” than that typically used in human-computer interaction (HCI) is required to reflect the fact that there are a number of stakeholders involved in the design and evaluation of DMIs. In addition to players and audiences, there are also composers, instrument builders, component manufacturers, and perhaps even customers, each of whom will have a different concept of what is meant by “evaluation.”

Identification of a Second Kindred with Familial Hypocalciuric Hypercalcemia Type 3 (FHH3) Narrows Localization to a

Context: Familial hypocalciuric hypercalcemia (FHH) is a genetically heterogenous disorder that consists of three defined types, FHH1, FHH2, and FHH3 whose chromosomal locations are 3q21.1, 19p, and 19q13, respectively. FHH1, caused by mutations of the calcium-sensing receptor (CASR), occurs in more than 65% of patients, whereas the abnormalities underlying FHH2 and FHH3, which have each been described in single North American kindreds, are unknown.

Preliminary Development and Evaluation of Fiber-Optic Chemical Sensors

This paper could be consider seminal in the Civil Engineering field as it describes the first application of these sensors to a complex durability and management issue. For this reason it is potentially controversial as it requires Civil Engineers to re-evaluate the nature and scale of durability testing.

Levels of Neonatal Thyroid Hormone in Preterm Infants and Neurodevelopmental Outcome at 51/2 Years: Millennium Cohort Study

Context: Transient hypothyroxinemia is the commonest thyroid dysfunction of premature infants, and recent studies have found adverse associations with neurodevelopment. The validity of these associations is unclear because the studies adjusted for a differing range of factors likely to influence neurodevelopment. Objective: The aim was to describe the association of transient hypothyroxinemia with neurodevelopment at 5.5 yr corrected age. Design: We conducted a follow-up study of a cohort of infants born in Scotland from 1999 to 2001 =34 wk gestation. Main Outcome Measures: We measured scores on the McCarthy scale adjusted for 26 influences of neurodevelopment including parental intellect, home environment, breast or formula fed, growth retardation, and use of postnatal drugs. Results: A total of 442 infants =34 wk gestation who had serum T4 measurements on postnatal d 7, 14, or 28 and 100 term infants who had serum T4 measured in cord blood were followed up at 5.5 yr. Infants with hypothyroxinemia (T4 level = 10th percentile on d 7, 14, or 28 corrected for gestational age) scored significantly lower than euthyroid infants (T4 level greater than the 10th percentile and less than the 90th percentile on all days) on all McCarthy scales, except the quantitative. After adjustment for confounders of neurodevelopment, hypothyroxinemic infants scored significantly lower than euthyroid infants on the general cognitive and verbal scales. Conclusions: Our findings do not support the view that the hypothyroxinemic state, in the context of this analysis, is harmless in preterm infants. Many factors contribute both to the etiology of hypothyroxinemia and neurodevelopment; strategies for correction of hypothyroxinemia should acknowledge its complex etiology and not rely solely on one approach.

Evocative Listening : Mediated Practices in Everyday Life

The history of sonic arts is charged with transgressive practices that seek to expose the social, aural and cultural thresholds across various listening experiences, posing new questions in terms of the dialogue between listener and place. Recent work in sonic art exposes the need for an experiential understanding of listening that foregrounds the use of new personal technologies, environmental philosophy and the subject–object relationship. This paper aims to create a vocabulary that better contextualises recent installations and performances produced within the context of everyday life, by researchers and artists at the Sonic Arts Research Centre at Queen's University Belfast.

Chemical evolution in the circumstellar structure of B5 IRS1

The B5 dark cloud has been identified as a site of low-mass star formation. We report a survey of a selection of the molecular species modelled by the B5 dynamical and chemical model of Charnley et al. at the positions of circumstellar HCN clumps in B5 IRS1. All of the key species observed yield either abundances or upper limits to abundances below both the standard and the predicted values, appearing to show evidence of depletion and/or destruction if the transitions observed are thermalized. Our results are not in good agreement with the model, and they bring into question the interpretation of the structure of B5 IRS1 proposed by Fuller et al. It was expected that HCN clump C might exhibit a higher excitation than HCN clump A, since it appeared to be located within the blueshifted molecular outflow. However, there is no significant difference observed between the two clumps, suggesting that the near-infrared and optical nebulosity is evidence of a reflection nebula rather than shocked material in the outflow. Finally, it is observed that our results are more consistent with gas-grain models than with those models excluding gas-grain interaction.

Investigation on localisation accuracy for first and higher order ambisonics reproduced sound sources

Ambisonics and higher order ambisonics (HOA) technologies aim at reproducing sound field either synthesised or previously recorded with dedicated microphones. Based on a spherical harmonic decomposition, the sound field is more precisely described when higher-order components are used. The presented study evaluated the perceptual and objective localisation accuracy of the sound field encoded with four microphones of order one to four and decoded over a ring of loudspeakers. A perceptual test showed an improvement of the localisation with higher order ambisonic microphones. Reproduced localisation indices were estimated for the four microphones and the respective synthetic systems of order one to four. The perceptual and objective analysis revealed the same conclusions. The localisation accuracy depends on the ambisonic order as well as the source incidence. Furthermore, impairments linked to the microphones were highlighted.

Christian Gottlob Neefe and the Bonn National Theatre, with New Light on the Beethoven Family

When the Bonn stage was closed after the death of Elector Max Friedrich in 1784, the director of its theatre company, Gustav Friedrich Wilhelm Großmann, decided to leave the city to further his career elsewhere in the Rhinelands. During the next few years, he was kept informed about developments in Bonn by two of his erstwhile colleagues, Christian Gottlob Neefe and Nikolaus Simrock, whose correspondence paints a vivid picture of musical life in the city during the later 1780s. The new Elector, Maximilian Franz, permitted a visiting troupe to perform during Carnival each year, but repeatedly delayed the decision to re-establish a resident troupe. In 1787 Christoph Brandt, a singer in the Bonn Hofkapelle, attempted a home-grown initiative, perhaps to test the market for a new permanent company. Although this failed almost immediately, a single, well-attended public rehearsal of Monsigny’s Le Déserteur was given, in which Johann van Beethoven made what was probably his last stage appearance. In a letter dated 14 May 1787, Simrock rated his performance ‘zimlich gut’. In the event, a new Bonn troupe was not recruited until 1789, when it featured the young singer Magdalena Willmann. Neefe and his musical colleagues were relieved finally to be able to resume their theatrical careers.

SUPERNOVA 1996cr: SN 1987A's WILD COUSIN?

We report on new VLT optical spectroscopic and multiwavelength archival observations of SN 1996cr, a previously identified ultraluminous X-ray source known as Circinus galaxy X-2. Our optical spectrum confirms SN 1996cr as a bona fide Type IIn supernova, while archival imaging from the Anglo-Australian Telescope archive isolates the explosion date to between 1995 February 28 and 1996 March 16. SN 1996cr is one of the closest SNe (approximate to 3.8 Mpc) in the last several decades, and in terms of flux ranks among the brightest radio and X-ray SNe ever detected. The wealth of optical, X-ray, and radio observations that exist for this source provide relatively detailed constraints on its postexplosion expansion and progenitor history, including a preliminary angular size constraint from VLBI. Archival X-ray and radio data imply that the progenitor of SN 1996cr evacuated a large cavity just prior to exploding: the blast wave likely spent similar to 1-2 yr in relatively uninhibited expansion before eventually striking the dense circumstellar material which surrounds SN 1996cr. The X-ray and radio emission, which trace the progenitor mass-loss rate, have respectively risen by a factor of greater than or similar to 2 and remained roughly constant over the past 7 years. This behavior is reminiscent of the late rise of SN 1987A, but 1000 times more luminous and much more rapid to onset. SN 1996cr may likewise provide us with a younger example of SN 1978K and SN 1979C, both of which exhibit flat X-ray evolution at late times. Complex oxygen line emission hints at a possible concentric shell or ringlike structure. The discovery of SN 1996cr suggests that a substantial fraction of the closest SNe observed in the last several decades have occurred in wind-blown bubbles, and argues for the phenomena being widespread.