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bernhard

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ist led

to co

ntinued exchang

e and d

iscussions ab

out p

o-

tential collab

orative p

rojects, culm

inating in the id

ea b

y lalya’s do

ctoral sup

ervisor, lars e

rik ho

lmq

uist, to

org

anize a wo

rkshop

. the idea w

as to b

ring to

-g

ether the research arianna w

as cond

ucting at M

e-d

ialab e

urop

e, that atau w

as do

ing at so

ny Csl

paris, and that lalya w

as do

ing at the v

iktoria insti-

tute, and to

op

en things up

to the research co

mm

u-nity at larg

e, and to

make ties w

ith industry. u

nder

lars erik’s initiative, the first W

orksho

p o

n Mo

bile

Music techno

log

ies too

k place o

n the 10th and 11th

of June, 2004 in g

oteb

org

, swed

en.

the first wo

rkshop

was a sco

ping

event, an event to

bring

tog

ether the beg

innings o

f a young

com

mu-

nity and to

define a new

research field. it is interest-

ing to

note that the d

ate of the first M

MW

preced

ed

the euro

pean launch o

f ap

ple’s itunes M

usic store

by 5 d

ays! do

wnlo

adab

le music w

as as yet far from

b

eing a co

mm

ercially viable reality. n

apster had

al-read

y been shut d

ow

n, but k

azaa was still the p

re-d

om

inant peer-to

-peer file sharing

system. it w

as in this co

ntext that the first wo

rkshop

soug

ht to situate

the place o

f music in the land

scape o

f rapid

ly devel-

op

ing m

ob

ile com

puting

technolo

gies.

from

lalya’s notes o

f the first wo

rkshop

:M

ob

ile music is a new

med

ia relying o

n the use of

mo

bile co

mp

uting. This m

edia is characterised

by

a tension b

etween p

lace and m

usic creation, listen-

ing o

r sharing. This tensio

n is created b

y its mo

bile

nature and results fro

m the fact that m

ob

ile music

devices can b

e used anyw

here but at the sam

e time

have an awareness o

f place. W

hen beco

ming

mo

-b

ile, the med

ia is disp

laced fro

m a p

articular loca-

tion to

the mo

vements o

f a particular user, p

rovid

-ing

a sound

track to her life as the So

ny Walkm

an™

once d

id, b

ut with ad

ditio

nal pro

perties such as

netwo

rking cap

abilities (enab

ling m

usic sharing w

ith strang

ers in pub

lic space), o

r context-aw

areness (en-ab

ling certain fo

rms o

f mo

bile m

usic making

).

the first wo

rkshop

had an o

pen call, and

attracted

fifteen particip

ants. asid

e from

the pro

jects already

mentio

ned, no

table co

ntributio

ns came fro

m M

at-tias ö

stergren in w

hat is to this d

ay the only w

orking

car-o

riented system

presented

at the wo

rkshop

s, C

hris salter’s contrib

ution o

n notio

ns of p

lay, and a

po

ster on m

ob

ile sound

art by frauke b

ehrendt w

ho

was to

go

on to

org

anize the 3rd w

orksho

p. sum

-m

aries from

these and o

ther pro

jects app

ear later in this catalo

gue.

2nd m

mW

- Vancouver

the second

wo

rkshop

was o

rganised

in May 2005

as part o

f the niM

e 2005 co

nference in vancouver,

Canad

a. by no

w, the co

mm

unity was b

etter defined

, and

the wo

rkshop

time w

as shared b

etween p

resen-tatio

ns of new

pro

jects, dem

os, in d

epth-d

iscussions

and hand

s-on b

rainstorm

ing activities. it attracted

18 external p

articipants.

presented p

rojects rang

ed fro

m so

larcoustics, a d

e-vice that enab

led its user to

manip

ulate sound

s and

create music b

ased o

n amb

ient lighting

cond

itions,

to a m

ob

ile user-interface platfo

rm fo

r mo

bile m

usic m

aking b

ased o

n a perso

nal area netwo

rk (pan

), to

locatio

n33, a pro

ject that transform

ed m

usic album

s

into narratives sp

read acro

ss geo

grap

hical space.

other p

resentations reflected

on artistic ap

pro

aches to

mo

bile m

usic and so

cio-cultural im

pacts o

f mo

-b

ility, music co

nsump

tion and

urban culture.

this editio

n of the w

orksho

p includ

ed hand

s-on ac-

tivities that focused

on “b

od

ystorm

ing” o

f mo

bile

music ap

plicatio

ns and scenario

s. With this m

ethod

o

f structured b

rainstorm

ing, p

articipants exp

lored

vario

us mo

bile m

usic themes, d

evelop

ed sim

ple

app

lication id

eas, and p

hysically enacted scenario

s o

f use in ord

er to g

et an emb

od

ied und

erstanding

o

f desig

n challenges and

op

po

rtunities specific to

m

ob

ile music. e

nacting scenario

s stimulated

dis-

cussions o

n mo

bile w

ays of sharing

and p

rojecting

m

usic in pub

lic space, and

of so

cial meaning

and

adeq

uacy.

sigg

raph 2005

the Mo

bile M

usic com

munity b

road

ened its ho

ri-zo

ns in aug

ust of that year b

y org

anizing a p

anel d

iscussion o

n ub

iquito

us Music at a

CM

sigg

ra

ph

in los a

ngeles. a

s the largest internatio

nal confer-

ence on d

igital m

edia and

emerg

ing techno

log

ies, the sig

gr

aph

panel und

erscored

the pertinence

of m

ob

ility and m

usical interaction to

a wid

er field.

presentations includ

ed tho

se by p

articipants o

f the first tw

o w

orksho

ps, includ

ing g

ideo

n d’a

rcangelo

, a w

ell know

n am

erican radio

journalist.

With the title “ub

iquito

us music,” w

e soug

ht to

maintain the o

pen-end

ed creativity and

research o

rientation o

f the com

munity, in a tim

e when the

term “m

ob

ile music” w

as being

rapid

ly co-o

pted

b

y industry to

pro

mo

te use of m

ob

ile pho

nes as ba-

sic Mp3 p

layers. sigg

raph w

as an environm

ent that rep

resented the intersectio

n of co

nference, festival, and

industry trad

e show

, at once creative, acad

emic,

and co

mm

ercial.

3rd m

mW

- brig

hton

the third ed

ition o

f the wo

rkshop

too

k place in

March 2006 at the u

niversity of sussex, b

righto

n, u

k. it g

athered nearly 30 p

articipants and

focused

o

n the locative m

edia asp

ect of m

ob

ile music. the

pro

gram

consisted

of a keyno

te by “pro

fessor ipo

d”

Michael b

ull, critical discussio

ns, hands-o

n activities, and

break-o

ut sessions w

here particip

ants received

feedb

ack on their w

ork-in-p

rog

ress pro

jects. in

77

thes

e se

ssio

ns, u

nco

mp

lete

d y

et o

n-g

oin

g p

roje

cts

rece

ived

crit

ical

revi

ew a

nd s

upp

ort

by

pee

rs in

clud

-in

g a

tau,

lar

s e

rik, a

nd M

aria

håk

anss

on.

pro

ject

s in

clud

ed m

ob

ile m

usic

sys

tem

s an

d e

nab

ling

tech

-no

log

ies,

inte

rfac

e d

esig

n, a

rt p

iece

s, a

nd p

hilo

-so

phi

cal a

pp

roac

hes

to m

ob

ile m

usic

. the

pro

ject

s w

ere

gro

uped

acc

ord

ing

to th

ree

key

them

es: M

o-

bile

co

llab

ora

tive

mus

ic m

akin

g, s

oun

dsc

apes

&

mo

bile

mus

ic li

sten

ing

, hC

i in

mo

bile

mus

ic a

nd

use

s o

f mus

ic in

mo

bile

set

ting

.

dur

ing

a h

and

s-o

n se

ssio

n, p

artic

ipan

ts g

ot d

irect

ex

per

ienc

e w

ith c

uttin

g-e

dg

e m

ob

ile m

usic

and

lo

cativ

e au

dio

tech

nolo

gy.

the

tuto

rials

wer

e fo

l-lo

wed

by

bo

dys

torm

ing

ses

sio

ns w

here

par

ticip

ants

sk

etch

ed a

pp

licat

ion

idea

s fo

r mo

bile

mus

ic u

sing

th

e p

rese

nted

tech

nolo

gy

as w

ell a

s si

mp

le a

udio

d

evic

es a

s p

rop

s.

nIm

e 2

006

like

it h

ad a

t sig

gra

ph,

the

MM

W in

200

6 re

ache

d

out

bey

ond

the

dis

cip

line

to p

rese

nt a

rep

ort

on

the

emer

gin

g fi

eld

at t

he n

ew in

terf

aces

for M

usic

al

exp

ress

ion

(niM

e) c

onf

eren

ce. t

he c

onn

ectio

n to

n

iMe

is p

artic

ular

ly re

leva

nt to

MM

W -

the

notio

n o

f re

al ti

me

inte

ract

ion

in m

usic

thro

ugh

sens

ors

, net

-w

ork

s, a

nd o

ther

inp

uts

are

a co

re c

onc

ern

of n

iMe

th

at M

MW

dra

ws

heav

ily u

po

n to

ext

end

the

notio

n o

f mo

bile

mus

ic b

eyo

nd th

e si

mp

le d

ow

nlo

ad-p

lay

met

apho

r. th

is w

as u

nder

lined

by

hold

ing

the

seco

nd w

ork

sho

p d

urin

g n

iMe

’05

in v

anco

uver

, m

uch

in th

e w

ay th

at th

e fir

st n

iMe

too

k p

lace

as

a w

ork

sho

p w

ithin

the

aC

M c

onf

eren

ce o

n C

om

put

er

hum

an in

tera

ctio

n (C

hi’0

1). M

eanw

hile

rese

arch

q

uest

ions

that

the

MM

W w

as c

onf

ront

ing

, inc

lud

-in

g is

sues

of c

reat

ive

eng

agem

ent a

s im

ple

men

ted

an

d d

eplo

yed

on

cons

umer

dev

ices

, wer

e in

crea

s-in

gly

per

tinen

t to

niM

e a

s st

uden

ts a

nd re

sear

cher

s in

crea

sing

ly b

ecam

e in

tere

sted

in m

inia

turiz

ed, p

or-

tab

le e

lect

roni

cs.

4th

mm

W –

am

ster

dam

the

MM

W w

ent t

o a

mst

erd

am in

May

200

7, c

o-

org

aniz

ed b

y st

eiM

(stu

dio

for e

lect

ro-in

stru

men

-ta

l Mus

ic) a

nd th

e W

aag

so

ciet

y fo

r old

and

new

M

edia

. kris

tina

and

erse

n an

d r

ona

ld l

enz

wer

e th

e o

rgan

izer

s o

f thi

s ed

itio

n o

f the

wo

rksh

op

, and

rep

-re

sent

ed th

e co

llab

ora

tion

bet

wee

n o

ne o

f the

orig

-in

al s

tud

ios

in e

xper

imen

tal e

lect

roni

c m

usic

and

a

new

er re

sear

ch a

nd d

evel

op

men

t ins

titut

e ac

tive

in

the

field

s o

f net

wo

rked

art

, ed

ucat

ion

and

cre

ativ

e in

dus

trie

s.

key

note

pre

sent

atio

ns a

t the

4th

MM

W u

nder

-sc

ore

d th

is b

read

th. a

mer

ican

art

ist t

eri r

ueb

re-

trac

ed a

cul

tura

l ap

pro

ach

to m

app

ing

out

a lo

ca-

tion-

sens

itive

aud

io w

ork

. ste

iM’s

Mic

hel W

aisv

isz

reco

unte

d a

per

sona

l mus

ical

his

tory

that

incl

uded

d

ism

antli

ng p

iano

s in

chi

ldho

od

, to

cre

atin

g a

na-

log

ue li

ve s

amp

lers

with

ped

al-c

ont

rolle

d r

evo

x o

pen

reel

reco

rder

s, to

co

ncei

ving

one

of t

he fi

rst

trul

y m

ob

ile m

usic

al in

stru

men

ts, t

he C

rack

leb

ox.

fi-

nally

, reg

ine

deb

atty

, the

ind

efat

igab

le a

rt b

log

ger

, sh

ared

her

insi

ght

s o

n he

r co

ntin

uous

ly e

volv

ing

vi-

sio

ns o

f the

cre

ativ

e p

ote

ntia

l of t

echn

olo

gic

al, b

io-

log

ical

, and

cul

tura

l fo

rms,

and

put

theo

ry in

to p

rac-

tice

thro

ugh

activ

e co

vera

ge

of t

he w

ork

sho

p o

n he

r b

log

, We

Mak

e M

one

y n

ot a

rt.

ho

ldin

g th

e w

ork

sho

p a

cro

ss tw

o lo

catio

ns in

the

vib

rant

city

of a

mst

erd

am p

erm

itted

a re

al e

ngag

e-m

ent w

ith th

e ur

ban

env

ironm

ent.

Cat

hy v

an e

ck’s

hea

ring

sire

ns le

d w

ork

sho

p p

artic

ipan

ts li

ke a

pie

d

pip

er th

roug

h th

e st

reet

s an

d c

anal

s o

f am

ster

dam

in

a s

oni

c w

alk

fro

m W

aag

to s

teiM

. With

Cra

v-in

g, b

ernh

ard

gar

nicn

ig a

nd g

ott

frie

d h

aid

er fr

om

sp

at_l

ab u

sed

loca

tion

and

orie

ntat

ion

sens

ing

to

situ

ate

a th

eatr

e w

ork

of s

arah

kan

e in

the

pla

za

out

sid

e o

f nie

wm

arkt

. the

han

dy

dan

dy

cap

ture

d

the

atte

ntio

n o

f a lo

cal n

ewsp

aper

by

stag

ing

a ro

ck

ban

d o

f air

gui

tars

on

blu

eto

oth

mo

bile

pho

nes.

it

was

this

gro

up o

f six

, sp

read

acr

oss

two

pro

ject

s an

d

led

by

nic

ola

j kiri

sits

, tha

t wo

uld

form

the

org

aniz

-in

g te

am o

f thi

s ye

ar’s

MM

W.

co

nflux

200

7

in s

epte

mb

er 2

007,

the

wo

rksh

op

ser

ies

was

pre

-se

nted

to th

e n

ort

h a

mer

ican

co

mm

unity

at t

he

Co

nflux

fest

ival

. Co

nflux

is a

new

yo

rk fe

stiv

al o

f co

ntem

po

rary

psy

cho

geo

gra

phy

whe

re p

roje

cts

inve

stig

ate

“eve

ryd

ay u

rban

life

thro

ugh

emer

g-

ing

art

istic

, tec

hno

log

ical

and

so

cial

pra

ctic

e.”

the

urb

an/p

ublic

/gue

rrill

a ar

t co

ntex

t pro

ved

to b

e a

very

frui

tful

one

for m

ob

ile m

usic

. it w

as a

gat

herin

g

of t

he u

.s. l

oca

tive

med

ia s

cene

that

incl

uded

loca

l g

rass

roo

ts p

roje

cts,

and

pre

sent

atio

ns b

y cu

rato

rs a

t r

hizo

me

and

the

Whi

tney

Mus

eum

of a

mer

ican

art

. th

e p

sych

og

eog

rap

hy c

onc

ept w

as n

ot u

nfam

iliar

to

the

MM

W c

om

mun

ity, a

s o

ne o

f the

art

ists

usi

ng

the

ban

ner w

as M

ark

shep

ard

, who

had

pre

sent

-ed

tac

tical

so

und

gar

den

at t

he 3

rd M

MW

. fra

uke

mad

e th

e tr

ip to

bro

okl

yn to

giv

e th

e p

rese

ntat

ion,

m

ake

cont

act w

ith th

e n

ew y

ork

sce

ne, a

nd to

rais

e in

tere

st in

brin

gin

g th

e M

MW

bac

k to

no

rth

am

eri-

ca fo

r a fu

ture

ed

itio

n.

5th

mm

W –

Vie

nna

the

wo

rksh

op

s ha

ve d

raw

n an

inte

rdis

cip

linar

y g

roup

of p

artic

ipan

ts in

clud

ing

art

ists

, mus

icia

ns,

des

igne

rs, i

ndus

try

rep

rese

ntat

ives

and

aca

dem

ics

fro

m u

biq

uito

us c

om

put

ing

, med

ia s

tud

ies

and

so

-ci

al s

cien

ces.

the

y ha

ve fe

atur

ed a

rang

e o

f act

ivi-

ties

that

go

bey

ond

the

typ

ical

co

nfer

ence

set

-up

, m

ost

no

tab

ly w

ith h

and

s-o

n, c

ritiq

ue, a

nd s

truc

ture

d

bra

inst

orm

ing

ses

sio

ns. t

his

year

’s w

ork

sho

p is

ho

st-

ed b

y th

e u

nive

rsity

of a

pp

lied

art

s v

ienn

a, a

nd e

x-te

nds

the

crea

tive

emp

hasi

s o

f the

MM

W fr

om

the

mus

ical

focu

s o

f ste

iM to

war

ds

the

visu

al a

rts

and

d

esig

n d

isci

plin

es. t

he a

ctiv

ities

of t

he s

pat

_lab

, in

tro

duc

ed b

y n

ico

laj k

irisi

ts a

nd d

escr

ibed

in th

is

volu

me,

are

co

nsis

tent

with

the

spiri

t of t

he M

MW

, an

d c

reat

ed th

e co

ntex

t fo

r the

200

8 p

artn

ersh

ip.

cre

ativ

e m

ob

ile m

usic

key

them

es o

n m

ob

ile m

usic

that

hav

e em

erg

ed

ove

r the

five

yea

rs o

f the

wo

rksh

op

incl

ude

crea

t-in

g, s

harin

g a

nd d

esig

n. M

ob

ile m

usic

is c

onc

erne

d

with

the

urb

an e

nviro

nmen

t as

mus

ical

inte

rfac

e,

for l

oca

tion-

awar

e so

und

art

, aud

io a

nno

tatio

n o

f p

hysi

cal s

pac

e, a

nd o

ther

cre

ativ

e ap

plic

atio

ns. n

ew

form

-fac

tors

and

co

nten

t fo

rmat

s ex

plo

re h

ow

mu-

sic

and

mo

bili

ty c

an b

e ad

dre

ssed

in d

esig

n m

eth-

od

s. W

ider

dis

cuss

ions

hav

e ad

dre

ssed

rela

tions

b

etw

een

the

bo

dy,

sp

ace

and

so

und

, syn

chro

nici

ty,

fore

gro

und

/bac

kgro

und

act

iviti

es, a

nd th

e so

cial

ac-

cep

tanc

e o

f new

beh

avio

rs in

pub

lic s

pac

e.

this

cat

alo

gue

sum

mar

izes

the

pro

ject

s, p

rese

nta-

tions

, and

per

form

ance

s fr

om

the

first

five

yea

rs o

f th

e M

ob

ile M

usic

Wo

rksh

op

. in

this

tim

e w

e ha

ve

defi

ned

a fi

eld

of r

esea

rch

and

art

istic

pra

ctic

e. a

co

mm

unity

has

form

ed a

roun

d th

is fi

eld

and

the

wo

rksh

op

. We

hop

e th

at th

is d

ocu

men

t will

ser

ve

to in

form

and

insp

ire fu

ture

wo

rk in

the

area

, and

lo

ok

forw

ard

to th

e ne

xt fi

ve y

ears

of c

reat

ive

mo

-b

ile m

usic

!

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 1

str

ana:

B

C M

Y K

99 12

2008

pa

pe

rs

a t

ypo

log

y fo

r li

sten

ing

pla

ce

ped

ro r

ebel

o, M

att g

reen

, flo

rian

hol

lerw

eger

ab

str

ac

t

soun

d te

chno

log

ies,

par

ticul

arly

mob

ile a

nd lo

cativ

e m

edia

tech

nolo

gie

s, c

an p

rovi

de

uniq

ue li

sten

ing

ex

per

ienc

es w

ithin

situ

atio

ns th

at a

re n

ot th

emse

lves

ex

clus

ive

zone

s fo

r son

ic p

roje

ctio

n, m

edita

tion

or

exp

lora

tion.

thi

s p

aper

see

ks to

con

trib

ute

to th

e un

der

stan

din

g o

f loc

ativ

e so

und

des

ign

by

pre

sent

-in

g a

fram

ewor

k co

nsis

ting

of t

hree

sp

atia

l arc

he-

typ

es: t

he t

heat

re, t

he M

useu

m a

nd th

e C

ity. t

hese

se

rve

as m

etap

hors

thro

ugh

whi

ch w

e ca

n ar

ticul

ate

diff

eren

t typ

es o

f rel

atio

ns b

etw

een

liste

ner,

soun

d

and

pla

ce. t

he M

obile

Mus

ic p

laye

r has

bee

n ch

o-se

n as

an

exam

ple

of a

list

enin

g c

ond

ition

that

bot

h ch

arac

teris

es a

nd tr

aver

ses

the

thea

tre,

the

Mus

eum

an

d th

e C

ity li

sten

ing

arc

hety

pes

.

bIo

ped

ro r

ebel

o is

a c

omp

oser

/dig

ital a

rtis

t wor

king

in

ele

ctro

acou

stic

mus

ic, d

igita

l med

ia a

nd in

stal

la-

tion.

his

ap

pro

ach

to m

usic

mak

ing

is in

form

ed b

y th

e us

e of

imp

rovi

satio

n an

d in

terd

isci

plin

ary

stru

c-tu

res.

he

has

bee

n in

volv

ed in

sev

eral

col

lab

orat

ive

pro

ject

s w

ith v

isua

l art

ists

and

has

cre

ated

a la

rge

bod

y of

wor

k ex

plo

ring

the

rela

tions

hip

s b

etw

een

arch

itect

ure

and

mus

ic in

cre

atin

g in

tera

ctiv

e p

erfo

r-m

ance

and

inst

alla

tion

envi

ronm

ents

. thi

s in

clud

es

a se

ries

of c

omm

issi

oned

pie

ces

for s

oloi

sts

and

liv

e-el

ectr

onic

s w

hich

take

as

a b

asis

the

inte

rpre

ta-

tion

of s

pec

ific

acou

stic

sp

aces

. in

the

duo

laut

with

sa

xop

honi

st f

ranz

iska

sch

roed

er h

e in

vest

igat

es th

e ex

tens

ion

of in

terf

aces

and

con

trol

in in

tera

ctiv

e p

er-

form

ance

pra

ctic

es. h

is e

lect

roac

oust

ic m

usic

is fe

a-tu

red

in v

ario

us C

d s

ets

(son

ic C

ircui

ts iv

, dis

cont

act

iii, e

xplo

rato

ry M

usic

from

por

tug

al, a

ria

da

).pe

dro

con

duc

ts re

sear

ch in

the

field

of d

igita

l med

ia,

inte

ract

ive

soun

d a

nd c

omp

ositi

on. h

is w

ritin

gs

re-

flect

his

ap

pro

ach

to d

esig

n an

d c

omp

ositi

on b

y ar

-tic

ulat

ing

cre

ativ

e p

ract

ice

in a

wid

er u

nder

stan

din

g

of c

ultu

ral t

heor

y.pe

dro

has

bee

n aw

ard

ed a

phd

in c

omp

ositi

on fr

om

the

uni

vers

ity o

f ed

inb

urg

h an

d is

cur

rent

ly d

irec-

tor o

f res

earc

h at

the

soni

c a

rts

rese

arch

Cen

tre,

Q

ueen

’s u

nive

rsity

bel

fast

.

at p

rese

nt M

att g

reen

is p

arta

king

in a

phd

stu

-d

ents

hip

at t

he s

onic

art

s re

sear

ch C

entr

e (s

arC

), Q

ueen

’s u

nive

rsity

, bel

fast

, uk

. thi

s re

sear

ch re

p-

rese

nts

a p

artn

ersh

ip b

etw

een

the

scho

ol a

nd th

e h

ewle

tt-p

acka

rd M

edia

lab

s, b

risto

l, u

k. t

he p

hd

rese

arch

focu

ses

on th

e si

tuat

ed s

ound

sen

sitiv

e sy

s-te

ms;

that

is p

erva

sive

tech

nolo

gie

s p

ositi

oned

in

spac

e th

at s

ymp

athi

ze w

ith th

e su

rrou

ndin

g s

ound

fie

ld a

s a

mea

ns to

und

erst

and

, pre

serv

e, d

evel

op

or d

isto

rt o

ur s

onic

exp

erie

nces

with

in c

erta

in p

lace

s.a

s p

art o

f, or

sep

arat

e to

, his

stu

die

s M

att g

reen

has

p

arta

ken

in s

ever

al s

ound

art

com

mis

sion

s. t

hese

in-

clud

e a

per

man

ent i

nter

activ

e so

nic

entr

ance

sp

ace

in th

e pe

rth

Con

cert

hal

l, sc

otla

nd, u

k (2

005)

and

a

per

vasi

ve n

etw

orke

d e

xplo

ratio

n at

the

futu

re s

onic

fe

stiv

al, M

anch

este

r, u

k (2

006)

title

d ‘b

ump

!’. v

ery

rece

ntly

his

pro

pos

al “

in h

ear,

out

ther

e” w

as s

e-le

cted

for t

he in

clus

iva.

net l

ocat

ive

med

ia w

orks

hop

(2

008)

hel

d a

t the

Med

iala

b-p

rad

o in

Mad

rid, s

pai

n.

flor

ian

hol

lerw

eger

was

bor

n in

198

0 in

lin

z, a

us-

tria

. he

wor

ks a

s a

soun

d a

rtis

t, p

rog

ram

mer

, sou

nd

eng

inee

r, an

d p

erfo

rmer

and

has

per

form

ed h

is o

wn

pie

ces

as w

ell a

s co

llab

orat

ive

wor

ks w

ith ‘p

d~

gra

z’

and

oth

ers

in th

e u

nite

d s

tate

s, C

anad

a, a

nd v

ario

us

coun

trie

s ac

ross

eur

ope.

flo

rian

has

stud

ied

ele

c-tr

onic

and

com

put

er m

usic

in a

ustr

ia, C

alifo

rnia

, and

cu

rren

tly a

t the

son

ic a

rts

rese

arch

Cen

tre

in b

elfa

st,

nor

ther

n ire

land

, whe

re h

e is

inve

stig

atin

g s

trat

egie

s fo

r the

des

ign

of s

ocia

l lis

teni

ng e

nviro

nmen

ts.

20

08 p

ap

er

s 1

3

som

e c

halle

nges

rel

ated

to

mus

ic a

nd

mo

vem

ent

in m

ob

ile m

usic

tec

hno

log

y

ale

xand

er r

efsu

m J

ense

nius

ab

str

ac

t

Mo

bile

mus

ic t

echn

olo

gy

op

ens

man

y ne

w o

pp

or-

tuni

ties

in t

erm

s o

f lo

catio

n-aw

are

syst

ems,

so

cial

in

tera

ctio

n et

c., b

ut w

e sh

oul

d n

ot

forg

et t

hat

man

y ch

alle

nges

face

d in

”im

mo

bile

” m

usic

tec

hno

log

y re

sear

ch a

re a

lso

ap

par

ent

in m

ob

ile c

om

put

ing

. th

is p

aper

pre

sent

s an

ove

rvie

w o

f so

me

chal

leng

-es

rela

ted

to

the

des

ign

of a

ctio

n-so

und

rela

tion-

ship

s an

d m

usic

-mo

vem

ent

corr

esp

ond

ence

s, a

nd

sug

ges

ts h

ow

the

se c

an b

e st

udie

d a

nd t

este

d in

m

ob

ile d

evic

es.

bIo

ale

xand

er r

efsu

m J

ense

nius

(ba

, Ma

, Msc

, phd

) is

a m

usic

rese

arch

er a

nd re

sear

ch m

usic

ian

wo

rk-

ing

in t

he fi

eld

s o

f em

bo

die

d m

usic

co

gni

tion

and

ne

w in

terf

aces

for

mus

ical

exp

ress

ion

(niM

e) a

t th

e u

nive

rsity

of o

slo

and

at

the

no

rweg

ian

aca

dem

y o

f Mus

ic. h

e st

udie

d p

hysi

cs, i

nfo

rmat

ics,

mat

h-em

atic

s, m

usic

olo

gy,

mus

ic p

erfo

rman

ce a

nd m

usic

te

chno

log

y at

the

uni

vers

ity o

f osl

o a

nd C

halm

ers

inst

itute

of t

echn

olo

gy,

and

has

bee

n a

visi

ting

re-

sear

cher

at

uC

ber

kele

y an

d M

cgill

.

16 2008 pa

pe

rs

caressing

the skin: mo

bile d

evices and

bo

dily eng

agem

ent

franziska schroed

er

ab

stra

ct

this text examines m

ob

ile devices b

y loo

king at the

tactile interaction o

f the human b

od

y with the tech-

nolo

gical d

evice. i show

that the bo

dy is rend

ered

perfo

rmative b

y engag

ing w

ith a device and

i draw

o

n a perfo

rmer’s interactio

n with a m

usical instru-m

ent to sup

po

rt this argum

ent. this tactile interac-tio

n also exp

oses the tensio

n betw

een the bo

dily

intimate, as exp

erienced thro

ugh the skin, and

the m

ore d

istant, as represented

by the techno

log

i-cal d

evice. i argue that recent d

esign aesthetics are

driven b

y the urge to

bring

the device clo

ser to the

bo

dily intim

ate, closer to

the skin.

i show

that the com

plexities o

f the human to

uch as fro

nted b

y the skin that allow

the human b

od

y to

navigate the w

orld

in intricate ways b

ecom

e cen-tral to

these desig

n aesthetics. for this arg

ument

i examine to

uch by lo

oking

closely at the skin and

at the w

ays that the skin has been und

erstoo

d o

ver several centuries. the skin w

ill be exam

ined w

ith view

to its essential p

ositio

n to the p

erceptio

n of

self, aided

by the p

sycho-analytical interp

retation

develo

ped

by d

aniel anzieu. it w

ill beco

me clear

that, historically, the skin w

as mainly seen as a co

v-ering

that kept the b

od

y tog

ether. it was then ex-

po

sed in the M

edieval p

eriod

as an org

an of inter-

change, m

ore akin to

a perm

eable m

emb

rane. With

the release of the tab

oo

of cutting

the skin in the e

urop

ean renaissance the p

erceptio

n of the skin

alters imm

ensely, and the skin is finally exp

osed

as an entire enviro

nment, as a m

eeting p

lace for the

other senses.

in this pap

er i highlig

ht that the multi-to

uch inter-faces o

f recent mo

bile d

evices allow

for the m

ulti-p

lying functio

ns of the skin to

com

e into b

eing b

y eng

aging

the bo

dy in vario

us gestural m

oves, b

y p

rovid

ing co

nditio

ns for p

articipatio

n, rather than b

y simp

ly presenting

functions o

f contro

l that are still hig

hly characteristic of m

any desig

n aesthetics.

bIo

franziska schroed

er is a perfo

rmer o

f saxop

hone

and live-electro

nic music, an im

pro

viser and theo

-rist. she is the fo

under o

f the dig

ital med

ia collec-

tive l a u t with co

mp

oser/p

ianist pedro

reb

elo.

franziska plays in the free im

pro

visation trio

“faint” w

ith percussio

nist steve davis and

pianist ped

ro

reb

elo. the trio

has recently released their first re-

cord

ing o

n the Creative so

urce reco

rding

s label.

in 2006 franziska w

as award

ed her phd

by the

schoo

l of a

rts, Culture and

enviro

nment at the u

ni-versity o

f ed

inburg

h, uk

. her current research in-

terests include the intersectio

n of p

hiloso

phy and

p

erform

ance in technolo

gy-info

rmed

environm

ents, in p

articular the role o

f the bo

dy in the ag

e of tech-

nolo

gical chang

e. franziska has written fo

r many in-

ternational jo

urnals. she has guest-ed

ited a d

oub

le issue fo

r the Co

ntemp

orary M

usic review

Journal

(ro

utledg

e) and is o

n the edito

rial bo

ard fo

r the a

ria

da

(ad

vanced r

esearch in aesthetics in the

dig

ital arts) o

nline journal, u

k.

franziska p

erform

s with im

pro

visers from

the uk

and

euro

pe in actual and

virtual wo

rlds. she lead

s an avatarist existence in seco

ndlife.

since a

pril 2007 franziska has b

een based

at the so

nic arts r

esearch Centre in b

elfast studying

real-

tim

e perform

ance in virtual W

orld

s. she is funded

b

y the uk

’s arts and

hum

anities research C

ouncil

fellow

ship schem

e.http

://ww

w.lautnet.net

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 2

str

ana:

A

C M

Y K

mo

Gm

i: m

ob

ile G

estu

re m

usic

ins

trum

ent

am

non

dek

el, g

illy

dek

el

ab

str

ac

t

the

Mo

gM

i pro

ject

tha

t ex

plo

res

way

s o

f ena

blin

g

the

mo

bile

pho

ne t

o b

eco

me

a m

usic

al in

stru

men

t fo

r na

ïve

user

s. u

sing

the

3 d

imen

sio

nal a

ccel

er-

om

eter

on

the

no

kia

n95

use

rs c

an re

cord

mus

i-ca

l pie

ces

usin

g p

hysi

cal g

estu

res.

We

dev

elo

ped

an

ap

plic

atio

n th

at a

llow

ed t

hem

to

sel

ect

one

to

th

ree

mus

ical

inst

rum

ents

and

cre

ate

mus

ic w

ith

them

. an

add

itio

nal a

pp

licat

ion

lets

use

rs p

lay

a d

rum

-set

. thi

s in

itial

stu

dy

exp

lore

s w

hich

acc

eler

-o

met

er a

xis

map

pin

g m

od

el is

pre

ferr

ed b

y us

ers.

d

o t

hey

pre

fer

a m

od

el in

whi

ch e

ach

of t

he m

otio

n ax

es a

re m

app

ed t

o a

diff

eren

t in

stru

men

t o

r o

ne in

w

hich

the

mo

tion

affe

cts

volu

me,

pitc

h an

d a

ttac

k o

f a s

ing

le in

stru

men

t. r

esul

ts s

how

tha

t su

bje

cts

pre

ferr

ed t

he t

hree

axi

s m

od

el in

whi

ch e

very

axi

s is

m

app

ed t

o a

diff

eren

t d

imen

sio

n o

f mus

ic g

ener

a-tio

n (a

ttac

k, a

mp

litud

e, a

nd p

itch)

. thi

s m

app

ing

w

as d

eem

ed b

ette

r b

y su

bje

cts

ove

r si

mp

ler

or

mo

re c

om

plic

ated

map

pin

g m

od

els

in t

hree

of fi

ve

dim

ensi

ons

(eas

ier

to le

arn,

pro

duc

es ‘’

nice

r’’ m

u-si

c, a

nd in

ho

w e

asy

it is

to

und

erst

and

the

rela

tion-

ship

bet

wee

n g

estu

res

per

form

ed a

nd t

he m

usic

th

at is

sub

seq

uent

ly g

ener

ated

).

bIo

am

non

dek

el t

hriv

es a

t th

e in

ters

ectio

n p

oin

t o

f fo

ur d

isci

plin

es: r

esea

rch

in n

ove

l hum

an c

om

put

er

inte

ract

ion,

info

rmat

ion

tech

nolo

gy,

dig

ital m

edia

an

d u

nive

rsity

leve

l lec

turin

g. t

he t

wen

ty fi

ve y

ears

si

nce

am

non

pro

gra

mm

ed h

is fi

rst

com

put

er (a

Zx

-80

) hav

e b

een

spen

t b

y hi

m in

stu

dyi

ng c

om

put

er

scie

nce,

bei

ng a

n a

ir tr

affic

Co

ntro

ller,

get

ting

a

ba

and

an

Ma

deg

ree

in c

og

nitiv

e p

sych

olo

gy,

an

Mps

deg

ree

in in

tera

ctiv

e te

leco

mm

unic

atio

ns,

pro

duc

ing

aw

ard

win

ning

and

pul

itzer

no

min

ated

w

eb s

ites,

des

igni

ng a

nd d

evel

op

ing

des

kto

p a

nd

web

bas

ed a

pp

licat

ions

, dev

elo

pin

g in

tera

ctiv

e d

ig-

ital a

rt in

stal

latio

ns, t

each

ing

, ind

ustr

y co

nsul

ting

, co

-fo

und

ing

an

ao

l fu

nded

inte

rnet

sta

rtup

(ear

th-

nois

e.co

m) w

hich

was

a p

ione

er in

vid

eo s

harin

g

(5 y

ears

to

o e

arly

!), a

nd a

s o

f 200

5, w

ork

ing

on

his

phd

in C

om

put

er s

cien

ce (f

ocu

sing

on

mer

gin

g t

he

phy

sica

l wo

rld w

ith t

he w

orld

of d

igita

l inf

orm

atio

n ne

two

rks)

.

1010

2008

pa

pe

rs

11

develop

ments and

challeng

es turning m

o-b

ile phones into Generic m

usic performance

platfo

rms

georg

essl, ge W

ang, M

ichael rohs

ab

stra

ct

there has been an ong

oing effort to turn m

obile

phones into g

eneric platform

s or musical exp

ression. b

y generic w

e mean useab

le in a wid

e range of ex-

pressive setting

s, where the enab

ling technolog

y has m

inimal influence on the core artistic exp

ression itself. W

e describ

e what has b

een achieved so far and

out-line a num

ber of op

en challenges.

bIo

georg

essl is a senior research scientist at the d

eutsche telekom lab

oratories at the technical uni-

versity of berlin in g

ermany d

oing research in hum

an com

puter interaction (m

obile interactions, tang

ible

& p

hysical interactions) and sound

synthesis (physical

and m

athematical m

odels). b

efore coming

to ber-

lin, he worked

as a post-d

octoral researcher at Mit’s

Med

ialab europ

e with sile o

’Mod

hrain on tangib

le interactions. peb

bleb

ox, a tactile interface for sonic p

erformance joint w

ith sile o’M

odhrain and

and

y b

rady w

as invited to the touch M

e exhibition at vic-

toria and a

lbert M

useum, lond

on in 2005. While at

Med

ia lab europ

e, he particip

ated in the enactive eu-

ropean n

etwork of excellence, w

hich studies the role

of action in interaction desig

n. betw

een 2002-2003 i w

as assistant professor in C

omp

uter and inform

ation science and

engineering

at the university of florid

a, w

here he taught sig

nal processing

and synthesis of

sound and

dig

ital prod

uction. he g

ot my ph.d

. in C

omp

uter science from princeton u

niversity in 2002 w

orking w

ith perry Cook on p

hysical simulation of

musical instrum

ents. he is a m

emb

er of the ieee, the a

coustical society of am

erica (asa

), the interna-tional C

omp

uter Music a

ssociation (iCM

a), and

the a

merican M

athematical society (a

Ms). h

e has been

technical chair for the international Com

puter M

usic C

onference in 2004 and 2006. C

urrently he serve as research C

oordinator of the international C

omp

uter M

usic association.

ge W

ang received

his b.s. in C

omp

uter science in 2000 from

duke u

niversity, phd (soon) in C

omp

uter science (ad

visor perry Cook) in 2008 from

princeton

university, and

is currently an assistant professor at

stanford u

niversity in the Center for C

omp

uter re-search in M

usic and a

coustics (CC

rMa

). his research

interests include interactive softw

are systems (of all

sizes) for comp

uter music, p

rogram

ming

languag

-es, sound

synthesis and analysis, m

usic information

retrieval, new p

erformance ensem

bles (e.g

., laptop

orchestra) and

parad

igm

s (e.g., live cod

ing), visual-

ization, interfaces for human-com

puter interaction, in-

teractive audio over netw

orks, and m

ethodolog

ies for ed

ucation at the intersection of comp

uter science and

music. g

e is the chief architect of the Chuck

audio

p

rogram

ming

languag

e and the a

udicle environm

ent. h

e was a found

ing d

eveloper and

co-director of the

princeton laptop

orchestra (plo

rk), the founder and

d

irector of the stanford lap

top o

rchestra (slork),

and a co-creator of the ta

pestrea sound

desig

n environm

ent. ge com

poses and

perform

s via vari-ous electro-acoustic and

comp

uter-med

iated m

eans, includ

ing w

ith plork/slo

rk, with perry as a live cod

-ing

duo, and

with princeton g

raduate stud

ent and

comrad

e rebecca fieb

rink in a duo exp

loring new

p

erformance p

aradig

ms, cool aud

io software, and

g

reat food.

Michael rohs is a senior research scientist w

ith d

eutsche telekom lab

oratories at tu b

erlin. his re-

search interests are in mob

ile and p

ervasive interac-tion and

comp

rise interfaces at different scales, rang

-ing

from hand

held d

evice screens to large p

ublic

disp

lays, the integration of p

hysical and virtual asp

ects of the user’s environm

ent, and sensor-b

ased m

obile

interaction. his research currently focuses on sm

all-d

isplay interaction, in p

articular navigation and

visu-alization techniq

ues for spatially aw

are disp

lays. an

examp

le is using cam

era phones as m

agic lenses for

large-scale p

aper m

aps in ord

er to overlay personal-

ized, up

-to-date inform

ation. as p

art of his doctoral

dissertation he d

eveloped

camera-b

ased interaction

techniques for m

obile d

evices, like optical flow

con-trol for larg

e pub

lic disp

lays and a m

arker recognition

system for cam

era phones that uses d

evice orienta-tion as an inp

ut param

eter. his hom

epag

e is available

at http://ww

w.deutsche-telekom

-laboratories.de/~rohs

2008 pa

pe

rs

1114

2008 pap

er

s

real-tim

e synaesthetic sonifi

cation o

f traveling

landscap

es

tim

pohle, peter k

nees

ab

stra

ct

When traveling

on a train, m

any peo

ple enjo

y loo

k-ing

out o

f the wind

ow

at the landscap

e passing

by.

We p

resent an app

lication that translates the p

er-ceived

mo

vement o

f the landscap

e and o

ther oc-

curring events such as p

assing trains into

music.

the continuo

usly changing

view o

utside the w

in-d

ow

is captured

with a cam

era and translated

into

mid

i events that are replayed

instantaneously. this

allow

s for a reflectio

n of the visual im

pressio

n, add

-ing

a sound

dim

ension to

the visual experience and

d

eepening

the state of co

ntemp

lation. the ap

plica-

tion can b

oth b

e run on m

ob

ile pho

nes (with b

uilt-in cam

era) and o

n lapto

ps (w

ith a connected

Web

-cam

). several techniques to

transfer the captured

im

ages to

audio

are po

ssible. M

ost interesting

and

pleasuring

results were achieved

by an ap

pro

ach that utilizes a to

ne-to-co

lor m

app

ing like the o

ne o

f the “Clavier à lum

ières” by r

ussian com

po

ser and

pianist and

self-claimed

synaesthete alexand

er n

ikolajew

itsch skrjabin. d

ue to a stead

y capturing

rate o

f seven frames p

er second

, there is a clearly no

ticeable b

asic rhythm p

attern in the music, w

hich the listener m

ay associate w

ith the steady p

rog

res-sio

n of the train. d

epend

ing o

n the landscap

e, no

tes in som

e band

s are played

in fast repetitio

n or

mo

vements, w

hile in other b

ands they so

und o

nly sp

orad

ic. also

, a changing

landscap

e is reflected

in the resulting m

usic, while the o

verall feeling re-

mains the sam

e.g

enerating p

anoram

ic pictures fro

m the cap

tured

landscap

es exhibits so

me interesting

effects caused

by the m

ovem

ent of the train. since fram

e rate and

po

sition o

f the camera are b

oth static, p

roxim

ity of

ob

jects and slo

pe and

velocity o

f the train result in characteristic visual effects. fo

r examp

le, ob

jects that “m

ove” at hig

h speed

s are disp

layed very nar-

row

, whereas o

bjects film

ed at lo

w sp

eeds ap

pear

stretched.

bIo

tim

pohle w

as bo

rn in linz, germ

any. he has stud

-ied

musico

log

y and g

raduated

in com

puter sci-

ence. over the years, he p

layed a num

ber o

f clas-sical and

mo

dern instrum

ents, and w

as mem

ber in

various ind

ie-po

p b

ands. C

urrently, he is writing

his ph.d

. thesis in linz, austria in the field

of M

usic in-fo

rmatio

n retrieval.

http://w

ww

.cp.jku.at/p

eop

le/po

hle

peter knees w

as bo

rn in vienna, a

ustria. in January 2005, he g

raduated

in com

puter science fro

m v

ien-na u

niversity of techno

log

y. since february 2005 he

has been w

orking

as a project a

ssistant at the de-

partm

ent of C

om

putatio

nal perceptio

n at the Jo-

hannes kep

ler university linz w

here he perfo

rms

research tow

ards a d

octo

ral thesis with a fo

cus on

Music info

rmatio

n retrieval. o

ther research inter-ests includ

e Multim

edia and

artificial intellig

ence. since 2004 he has b

een studying

psycholo

gy at the

university o

f vienna.

http://w

ww

.cp.jku.at/p

eop

le/knees

15

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 2

str

ana:

B

C M

Y K

underso

und and

the ab

ove G

round

arianna b

assoli, Jo

hanna brew

er, karen M

artin, iaco

po

Carreras &

david

tacconi

ab

stra

ct

underso

und is a new

type o

f experience, an ap

pli-

cation fo

r mo

bile p

hones d

esigned

for a sp

ecific situatio

n, traveling b

y the lond

on u

nderg

round

. und

ersound

is a way o

f listening to

, distrib

uting

and affecting

the flow

of m

usic in the und

ergro

und

that go

es beyo

nd just the m

usic itself. it is meant

to allo

w p

eop

le to see their jo

urneys, the peo

ple

around

them, and

the und

ergro

und in a new

light.

underso

und is d

esigned

to b

e spatially d

istributed

thro

ugho

ut all the und

ergro

und netw

ork. M

usi-cians can ad

d C

reative Co

mm

ons-licensed

song

s to

the system at up

load

po

ints in the ticket halls, and

com

muters can d

ow

nload

song

s on the p

latform

s. e

ach song

is then tagg

ed w

ith its place o

f orig

in and

this inform

ation is visib

le as the track is being

p

layed. this m

ay trigg

er mem

ories and

musing

s aro

und p

eop

le’s perso

nal relationship

to that p

lace. W

hile in the carriages o

f the und

ergro

und, p

eop

le can b

row

se underso

und m

usic of o

ther peo

ple in

range. b

ecause the system is m

eant to keep

track o

f song

s’ spread

within the netw

ork and

the num-

ber o

f times they have b

een played

, peo

ple can see

all this inform

ation w

hen they loo

k at each other’s

music. peo

ple can then d

ow

nload

music fro

m o

th-ers in p

roxim

ity; when this hap

pens, an alert m

es-sag

e tells users that som

eone has g

rabb

ed a so

ng

from

them. this co

nstitutes a subtle fo

rm o

f com

-m

unication ab

le to p

rovid

e social aw

areness but

not to

disclo

se peo

ple’s id

entity or lo

cation. e

ach o

f users’ interactions then co

ntribute to

a bro

ader

trend; every tim

e peo

ple listen to

a song

, dro

p o

ne o

ff at transfer po

int or d

ow

nload

music fro

m so

me-

one else, there is an effect o

n the overall state o

f the system

. this inform

ation is inco

rpo

rated into

p

ublic d

isplays that are m

eant to b

e installed in

each of the statio

ns. these disp

lays serve to co

nvey the m

ost recent state o

f the underso

und netw

ork,

and functio

n as visual representatio

ns of the sum

of

all the individ

ual actions shap

ing that netw

ork.

bIo

arianna b

assoli ho

lds an M

sc in Co

mm

unication

sciences from

the university o

f siena, italy, where

she specialized

in mass m

edia. she then w

orked

as a research fello

w at M

edia lab

euro

pe fo

r three years, m

ainly focusing

on the ap

plicatio

n side o

f m

ob

ile peer-to

-peer and

ad-ho

c netwo

rks. she is currently a phd

candid

ate at the lond

on scho

ol o

f e

cono

mics and

political science, u

k, in the d

epart-

ment o

f inform

ation system

s and inno

vation g

roup

. she is interested

in interaction d

esign, urb

an com

-p

uting, and

the desig

n of m

ob

ile pro

ximity-b

ased

app

lications, techno

log

ies that supp

ort co

mm

u-nicatio

n and d

ata sharing am

ong

co-lo

cated p

eo-

ple. a

rianna is also a research assistant at the lse

, w

orking

on the e

u-fund

ed p

roject b

ion

ets, w

hich lo

oks into

the future of w

ireless netwo

rks.http

://ww

w.karm

anet-desig

n.com

/

Johanna b

rewer is a phd

candid

ate in the inform

at-ics d

epartm

ent at the university o

f Califo

rnia, irvine w

orking

with paul d

ourish. she also

hold

s an Ma

in C

om

puter science as w

ell as ba

’s in Co

mp

uter science and

philoso

phy, all fro

m b

osto

n universi-

ty. she is interested is urb

an com

puting

, particu-

larly in the desig

n of techno

log

ies which can fo

rge

new typ

es of co

nnections b

etween p

eop

le and

transform

or reinfo

rce old

ones. h

er dissertatio

n re-search centers aro

und ho

w an exam

ination o

f mo

-b

ility in urban sp

aces, specifically the lo

ndo

n un-

derg

round

and the o

range C

ounty transit system

s, m

ight help

to info

rm these d

esigns.

karen M

artin is an eng

d cand

idate at u

niversity C

olleg

e lond

on, currently investig

ating the articu-

lation b

etween so

cial, spatial and

telecom

munica-

tions netw

orks in urb

an environm

ents, and d

evel-o

ping

metho

ds fo

r desig

ning fo

r mo

bility in the city.

her b

ackgro

und is initially in interactive arts and

she o

btained

an Msc v

irtual enviro

nments fro

m the

bartlett scho

ol o

f architecture in 2003.

17

2008 po

ster

s 17 20

20

08 p

ost

er

s

soun

dfi

shin

g

Cla

udio

Mid

olo

ab

str

ac

t

the

soun

dfi

shin

g in

terf

ace

is a

po

rtab

le d

igita

l de-

vice

ab

le t

o a

naly

ze t

he s

oni

c en

viro

nmen

t su

r-ro

und

ing

the

use

r an

d, b

ased

on

cert

ain

rule

s, a

u-to

nom

ous

ly c

aptu

re s

oun

d s

nap

sho

ts o

ut o

f it.

th

inki

ng a

bo

ut t

he v

isua

l and

so

nic

hum

an s

am-

plin

g a

ctiv

ity it

is c

lear

tha

t a

hug

e g

ap e

xist

s b

e-tw

een

the

two

pra

ctic

es a

s th

e fir

st is

imm

ense

ly

mo

re p

op

ular

and

infla

ctio

nate

d c

om

par

ed t

o t

he

seco

nd. t

his

situ

atio

n p

rob

ably

em

erg

es fr

om

the

se

nso

rial p

rom

inen

ce o

f sig

ht o

ver

hea

ring

and

the

fir

st c

ons

eque

nce

that

tak

es p

lace

is a

sev

ere

loss

in

the

form

of s

oni

c m

emo

ries.

the

so

und

fish

ing

pro

j-ec

t tr

ies

to s

ugg

est

a p

oss

ible

so

lutio

n to

thi

s is

-su

e, in

the

form

of a

dev

ice

able

to

sav

e th

ese

son-

ic fr

agm

ents

fro

m o

bliv

ion

and

pre

sent

the

m t

o t

he

user

, stim

ulat

ing

its

curio

sity

to

war

ds

thes

e ,o

ther

-w

ise

lost

, per

cep

tions

. the

pro

po

sed

use

r sc

enar

io

sees

the

inte

rfac

e b

eing

firs

t co

nfig

ured

by

the

user

w

ho s

ets

a ru

le w

hich

will

co

ntro

l the

reco

rdin

g a

c-tiv

ity. t

hen

the

dev

ice

is c

arrie

d a

roun

d b

y th

e us

er

for

the

rest

of t

he d

ay, l

eft

alo

ne li

sten

ing

to

the

au-

ral s

trea

m o

f the

use

r’s li

fe. o

nce

bac

k ho

me

agai

n th

e us

er w

oul

d li

sten

to

the

co

llect

ed s

oun

ds

whi

ch

mat

ched

the

rul

e se

t at

the

beg

inni

ng. t

he fi

rst,

si

mp

liest

out

put

wo

uld

be

an u

nco

nsci

ous

ly fi

lled

so

nic

dia

ry, i

llust

ratin

g v

ario

us a

ural

eve

nts

whi

ch

too

k p

lace

dur

ing

the

co

urse

of t

he d

ay. t

his

soun

d

colle

ctio

n w

oul

d a

lso

stim

ulat

e cu

riosi

ty a

s it

cap

-tu

res

and

sho

ws

the

richn

ess

of v

arie

ty o

f po

ssib

ili-

ties

that

live

with

in t

he s

oni

c la

yer

usal

ly is

tak

en fo

r g

rant

ed. t

hese

cap

ture

d fr

agm

ents

of s

oun

d c

an

then

be

valu

able

als

o t

o o

ther

peo

ple

suc

h as

mus

i-ci

ans

and

aud

io p

rod

ucer

s, w

ho c

an u

se a

nd s

hare

th

em a

s cr

eativ

e as

sets

. in

conc

lusi

on

the

key

to re

-al

ly g

rab

the

ess

ence

of t

his

pro

ject

is h

eld

by

the

conc

ept

of c

urio

sity

, a v

irtue

tha

t ca

n tu

rn s

om

e-th

ing

usu

al a

nd u

sele

ss in

to s

om

ethi

ng u

niq

ue a

nd

mea

ning

ful,

a p

ow

erfu

l ent

ity t

hat

can

op

en t

he

do

or

of k

now

led

ge

to a

ll o

f us.

bIo

ed

ucat

ion

2007

/200

8g

rad

uate

Mfa

des

ign

and

tec

hno

log

y st

uden

t at

pa

rso

ns, t

he n

ew s

cho

ol,

new

yo

rk C

ity.

aca

dem

ic h

ono

r -

gra

dua

te d

ean’

s sc

hola

rshi

p.

2004

/200

7u

nder

gra

dua

te d

igita

l des

ign

stud

ent

at is

titut

o

eur

op

eo d

i des

ign

in M

ilan.

to

p m

arks

100

/100

cum

laud

e.

thes

is: w

iiwiiw

iiwii

- aud

io/v

isua

l mus

ical

inst

rum

ent.

aca

dem

ic h

onor

- C

reat

ive

lab

teac

hing

ass

istan

tshi

p.

1998

/200

3h

igh

scho

ol d

iplo

ma

in s

cien

ces

fro

m l

iceo

g.b

. g

rass

i in

saro

nno

to

p m

arks

100

/100

.

sum

mer

200

6 su

mm

er c

our

ses

stud

ent

at n

ew y

ork

uni

vers

ity

tis

ch i.

t.p.

Wo

rks

Cre

ativ

e la

bo

rato

ry a

ssis

tant

at

istit

uto

eur

op

eo d

i d

esig

n.

2007

fr

eela

nce

med

ia d

esig

n.

2005

/200

7 g

rap

hic

des

ign

at g

enes

io in

stitu

te in

Mila

n.

2005

exh

ibiti

ons

ap

ril 2

008

invi

ted

and

per

form

ed a

t n

od

e08

fest

i-va

l with

wiiw

iiwiiw

ii p

roje

ct ,

fran

kfur

t.

2124

2008 pe

rfo

rm

an

ce

s

collab

orative musical G

ames w

ith phoneplay

Josh k

now

les

ab

stra

ct

phoneplay is a system

of so

ftware d

esigned

and

develo

ped

by Jo

sh kno

wles w

hich allow

s many

peo

ple to

interact with a sing

le screen and so

und

system at the sam

e time. u

sers call a pho

ne num-

ber using

any telepho

ne and p

ush numb

ers on their

pho

ne to interact w

ith the phoneplay g

ame in real

time. a

series of m

usical gam

es have been d

evel-o

ped

using pho

neplay which allo

w the aud

ience to

interact with a p

erform

ance using sim

ple g

ame-like

contro

ls. this has pro

ven to b

e a very fun and entic-

ing p

roject that has b

een disp

layed and

perfo

rmed

aro

und the w

orld

.

phoneplay (http

://go

pho

neplay.co

m) w

as orig

i-nally d

evelop

ed b

y Josh k

now

les as a part o

f his thesis at n

ew yo

rk university’s interactive teleco

m-

municatio

ns prog

ram in 2007. b

uilt entirely on o

pen

source so

ftware, pho

neplay runs on any M

ac, Win-

do

ws, o

r linux com

puter and

numero

us peo

ple at

once to

call into a p

hone num

ber and

interact with

the system in real tim

e using the b

uttons o

n their p

hones. n

o sp

ecial mo

bile p

hone so

ftware is re-

quired

and it w

orks o

n 100% o

f pho

nes.

Josh has a b

ackgro

und in electro

nic musical p

er-fo

rmance stretching

back o

ver a decad

e. finding

new

ways to

interact with and

involve the aud

ience in live m

usical perfo

rmance has b

een one o

f his lo

ng-stand

ing g

oals. pho

neplay has mad

e truly di-

rect gro

up aud

ience interaction w

ith electronic m

u-sic p

ossib

le.

tw

o m

usical gam

es have been d

evelop

ed using

this system

and w

ill be d

isplayed

at the Mo

bile M

u-sic W

orksho

p.

“3001” w

as desig

ned b

y Josh k

now

les and Jo

o

youn paek at n

yu. it is a p

add

le-style gam

e. balls

dro

p fro

m the to

p o

f the screen and each p

layer g

ets their ow

n pad

dle to

contro

l when they call

in. dep

ending

on ho

w the p

add

les and the b

alls b

ounce and

interact, different so

unds are m

ade.

this piece w

as first perfo

rmed

at the new

inter-faces fo

r Musical e

xpressio

n conference in n

ew

york C

ity in 2007. for m

ore info

rmatio

n and vid

eo,

please see: http

://go

pho

neplay.co

m/nim

e/

“blo

cks” was d

esigned

and d

evelop

ed b

y Josh

kno

wles fo

r a pub

lic installation o

n the front o

f the w

orld

headq

uarters of d

igium

, the com

pany

that develo

ps a

sterisk, the op

en source telep

hony

platfo

rm at the heart o

f phoneplay. in this m

usical g

ame, each p

layer calls in and co

ntrols a “hand

” w

hich can dro

p d

ifferent sorts o

f blo

cks do

wn to

the b

otto

m o

f the screen in piles. d

epend

ing o

n ho

w these b

locks fall and

are arranged

, different

musical events o

ccur. for exam

ple, a tall stack o

f b

locks w

ould

cause an arpeg

giatio

n of no

tes to o

c-cur. a

shorter p

ile wo

uld cause cho

rds and

other

short seq

uences to o

ccur. for m

ore info

rmatio

n, p

lease see: http://g

op

honep

lay.com

/dig

ium/

bIo

Josh k

now

les is a recent grad

uate of n

ew yo

rk uni-

versity’s interactive telecom

municatio

ns prog

ram.

befo

re earning his M

aster’s at itp, Josh w

orked

as a so

ftware d

evelop

er and ran frescher-so

uthern, a live electro

nic music and

video

events org

aniza-tio

n in austin, texas. h

e is also a fo

rmer d

irector at

the austin M

useum o

f dig

ital art and

hold

s a plan ii h

ono

rs (literature, philo

sop

hy, creative writing

) und

ergrad

uate deg

ree from

the university o

f texas. C

urrently Josh w

orks as a so

cial softw

are develo

per

and g

ame d

esigner w

ith a variety of o

rganizatio

ns includ

ing n

yC-b

ased a

rea/Co

de g

ames. Jo

sh cur-rently lives in b

roo

klyn, new

york.

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 3

str

ana:

A

C M

Y K

an

au

gm

en

ted

re

alit

y f

ram

ew

ork

fo

r w

irel

ess

mo

bile

per

form

ance

Mik

e W

ozn

iew

ski &

nic

ola

s b

oui

llot,

Zac

k se

ttel

, Je

rem

y r

. Co

op

erst

ock

ab

str

ac

t

We

dem

ons

trat

e th

at m

usic

al p

erfo

rman

ce c

an t

ake

pla

ce in

a la

rge-

scal

e au

gm

ente

d re

ality

set

ting

. W

ith t

he u

se o

f mo

bile

co

mp

uter

s eq

uip

ped

with

g

ps re

ceiv

ers,

we

allo

w a

per

form

er t

o n

avig

ate

thro

ugh

an o

utd

oo

r sp

ace

whi

le in

tera

ctin

g w

ith

an o

verla

id v

irtua

l aud

io e

nviro

nmen

t. t

he s

cene

is

seg

reg

ated

into

zo

nes,

with

att

ract

ive

forc

es t

hat

keep

the

virt

ual r

epre

sent

atio

n o

f the

per

form

er

lock

ed in

pla

ce, t

hus

ove

rco

min

g t

he in

accu

raci

es

of g

ps t

echn

olo

gy.

eac

h zo

ne is

des

igne

d w

ith p

ar-

ticul

ar m

usic

al p

ote

ntia

l, p

rovi

ded

by

a sp

atia

l ar-

rang

emen

t o

f int

erac

tive

aud

io e

lem

ents

tha

t su

r-ro

und

the

use

r in

tha

t lo

catio

n. a

sub

ject

ive

3-d

au

dio

rend

erin

g is

pro

vid

ed v

ia h

ead

pho

nes,

and

us

ers

are

able

to

inp

ut a

udio

at

thei

r lo

catio

ns,

stee

ring

the

ir so

und

to

war

ds

soun

d e

ffect

s o

f int

er-

est.

an

ob

ject

ive

3-d

rend

erin

g o

f the

ent

ire s

cene

ca

n b

e p

rovi

ded

to

an

aud

ienc

e in

a c

onc

ert

hall

or

gal

lery

sp

ace

near

by.

bIo

Mik

e W

ozn

iew

ski i

s a

free

lanc

e re

sear

cher

, with

a

focu

s o

n re

al-t

ime

inte

ract

ive

syst

ems,

imm

ersi

ve

envi

ronm

ents

, hum

an m

otio

n tr

acki

ng, s

enso

r in

ter-

face

s, a

nd 3

d a

udio

/gra

phi

cs. C

urre

ntly

, he

wo

rks

with

inst

itutio

ns s

uch

as t

he C

entr

e fo

r in

telli

gen

t M

achi

nes

at M

cgill

uni

vers

ity, a

nd t

he s

oci

ety

for

art

s an

d t

echn

olo

gy

[sa

t] in

Mo

ntre

al. r

ecen

t p

roj-

ects

(see

ww

w.m

ikew

oz.

com

) inv

olv

e m

etho

ds

for

mo

del

ling

and

co

ntro

lling

3d

aud

io in

virt

ual e

nvi-

ronm

ents

, as

wel

l as

rese

arch

in la

rge-

scal

e m

ob

ile

aud

io a

pp

licat

ions

and

mul

ti-us

er s

oun

d in

stal

la-

tions

.

1818

2008

po

ste

rs

mo

bile

tang

ible

inte

rfaces as G

estu

ral in

strum

en

ts

fares kayali, M

artin pichlmair, petr k

otik

ab

stra

ct

in this pap

er we d

escribe g

estures for the inter-

action w

ith tangib

le mo

bile interfaces. fro

m the

strumm

ing o

f a guitar’s string

s to the b

eating o

f a d

rum’s d

ecks, traditio

nal musical instrum

ents are p

layed b

y perfo

rming

gestures shap

ed b

y the p

hysical representatio

n of the instrum

ent. since the m

usical oup

ut of d

igital instrum

ents is not d

efined

by their p

hysical app

earance, their interface can be

structured m

ore freely. tang

ible interfaces p

ut this kind

of flexib

ility into p

ractice.in o

rder to

explo

re gestures fo

r musical interac-

tion w

e pro

ceeded

explo

ratively. the describ

ed

gestures w

ere derived

from

three pro

totyp

e instru-m

ents featuring d

istinct musical enviro

nments w

e d

evelop

ed o

ver the last year. they were im

plem

ent-ed

for the n

intendo

ds p

latform

and o

ffer different

app

roaches to

gestural interactio

n with m

usic. the first p

roto

type is a very sim

plified

guitar. strum

-m

ing and

grab

bing

chord

s are abstracted

to a

single g

esture. the player strum

s the individ

ual frets o

f the guitar w

ith the ds’ stylus, trig

gering

p

re-record

ed cho

rds. the seco

nd p

roto

type is a

synthesiser instrument that is alm

ost so

lely played

w

ith the stylus. the touchscreen is used

as playing

field

. the player p

lays the instrument b

y either tap-

ping

the screen for ind

ividual to

nes or b

y sweep

ing

across it to

pro

duce co

ntinuous so

unds. in the third

p

roto

type, thum

btack, the p

layer acts in a playful

musical enviro

nment. fo

ur mo

ving w

idg

ets (sound

ag

ents) can be p

layed w

ith using the stylus to

hold

, d

rag and

throw

them aro

und. the w

idg

ets ob

ey sim

ple p

hysical rules. each o

f them has a uniq

ue so

nic characteristic. every co

llision am

ong

the wid

-g

ets or w

ith the bo

rder o

f the playing

field trig

gers

a distinct so

und. the p

layer is thereby enticed

into

playfully creating

lasting rhythm

ical patterns.

our research resulted

in a numb

er of suitab

le ges-

tures for m

usical expressio

n with m

ob

ile tangib

le interfaces.b

Io

fares kayali is a viennese artist and

researcher fo-

cusing o

n gam

e studies and

interactivity with m

u-sic. h

e used his aud

io-visual p

erform

ance softw

are so

nic~im

age fo

r various live p

erform

ances in aus-

tria and ab

road

. further pro

jects include interac-

tive med

ia installations and

video

art. his scientific

wo

rk as a pro

ject associate and

ph.d. stud

ent at the institute o

f desig

n and a

ssessment o

f technolo

gy

at the vienna u

niversity of techno

log

y centers on

playful m

usical interaction in vid

eo g

ames.

Martin pichlm

air is a med

ia artist living and

wo

rking

in vienna, a

ustria. since he received his d

octo

ral d

egree in info

rmatics he w

orks as assistant p

rofes-

sor at the institute o

f desig

n and a

ssessment o

f techno

log

y at the vienna u

niversity of techno

l-o

gy. h

is art pieces w

ere show

n at various m

edia

art festivals and exhib

itions. r

ecent show

s includ-

ing the a

rs electro

nica festival, isea

, transmed

iale and

the Micro

wave internatio

nal festival for n

ew

Med

ia art. in his research and

pub

lications, he fo

-cuses o

n theory and

practise o

f interactive art and

desig

n - from

gam

e desig

n and p

hysical interfaces to

op

en source d

evelop

ment m

od

els and co

mm

u-nity m

edia.

19

2008 po

ster

s 19

22 2008 p

er

for

ma

nc

es

“rahmenb

eding

ung”- so

nification o

f the p

oetic act o

f cycling

klaus filip_nico

laj kirisits_noid

_silvia faessler

ab

stra

ct

a bicycle eq

uipp

ed w

ith sensors and

connect-

ed to

a sound

-com

puter via w

ireless device fo

rms

the perso

nal musical interface o

f each perfo

rmer.

the org

anic data-stream

of p

arameters like d

irec-tio

n, speed

, acceleration, p

edal-sp

eed, p

edal ro

ta-tio

n etc. is bo

und to

the inner log

ic of rid

ing a b

ike - hence w

e do

n’t want to

fall do

wn. the o

uter log

ic is the architectural d

eterminatio

n of the sp

ace, the bi-

cycle path, as w

ell as the po

sition o

f the audience.

these general co

nditio

ns structure the music, o

n the o

ther hand w

e will rid

e the bike in a m

usical way

which d

efines our m

ovem

ents in space and

evokes

a choreo

grap

hy.

http://to

.sonance.net/rahm

enbed

ingung

bIo

klaus filip

http://llo

op

p.kling

t.org

/plo

ne/lloo

pp

/

alm

ost all o

f klaus filip

’s art pro

jects have been

driven b

y technolo

gical p

ossib

ilities and the so

cial need

to chang

e structures. am

ong

them sub

voice

(an underg

round

tapem

agazine), sig

is brud

er (ear-ly electro

nic song

s tog

ether with sing

er sigi e

cker), C

hristof k

urzmann’s o

rchester 33 1/3, Zentrifuge,

music fo

r short film

s, theatre, dance, so

und-instal-

lations. h

e is the musical and

electro-m

echanic fa-ther o

f big

bab

y, an outstand

ing interm

edial p

roject

around

a sculpture b

uild b

y red

White and

bro

ught

to life b

y the mo

vements o

f Cynthia schw

ertsik.

filip is the invento

r and never sleep

ing d

evelop

er o

f the op

en-source so

ftware llo

op

p (http

://lloo

pp

.kling

t.org

), a musical instrum

ent on the co

mp

uter to

pro

vide o

pen structures fo

r live-imp

rovisatio

n, used

by m

any well-kno

wn electro

nic musicians.

nicolaj kirisits

architect com

po

ser dig

ital artistlives and

wo

rks in vienna / casablanca

teaches at the university of ap

plied

arts vienna

noid

/aka arno

ld h

aberl, *1970, living

in vienna

http://no

id.kling

t.org

/

wo

rking as a co

mp

oser, p

erform

er and im

pro

visor in

various co

nstellations

with his m

usic he tries to und

erstand the reality o

f so

und w

e live in. of co

urse this reality is including

im

aginatio

ns, wishes, d

reams and

acoustical halluzi-

nations as w

ell as the sound

of the fan o

f his lapto

p

or the w

olf-to

ne of his cello

.

his sensual app

roach, o

nce in a while assisted

by

structural concep

ts, can have a wid

e range o

f con-

tradicto

ry outco

me, that is alw

ays to b

e understo

od

as a co

ncentrate (essence), leaving o

ut irrelevant p

oints. it’s up

to the listener to

extract a dig

estable

do

se.

silvia fässlerhttp

://gnu.kling

t.org

/03_releases/00_skylla.html

Wo

rks as grap

hic desig

ner/musician in v

ienna. in the 1990s, she sw

itched fro

m d

rums (the ro

ck trio, 8

finnen) to electro

nic music. the m

any festivals and

venues she has perfo

rmed

at include Zeitfluss festi-

val / salzburg

, unlim

ited/W

els, porg

y & b

ess / vien-

na as well as so

lo o

r duo

perfo

rmances w

ith “silly” (b

illy ro

isz). she has also co

llabo

rated w

ith Co

rdula

bö

sze, klaus filip

, oto

mo

yoshid

e, arno

ld h

aberl,

to nam

e a few.

23

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 3

str

ana:

B

C M

Y K

25 28

2008

pe

rfo

rm

an

ce

s

imp

ro

ve

ric

hard

Wid

erb

erg

, Zee

nath

has

an

ab

str

ac

t

the

ever

yday

so

und

s th

at w

e ex

per

ienc

e ar

e p

ro-

duc

ed o

utsi

de

of o

ur o

wn

volit

ion.

the

cap

acity

to

ca

ptu

re s

oun

ds,

ho

wev

er, w

as n

ot

po

ssib

le t

ill t

he

inve

ntio

n o

f ele

ctro

-mag

netic

reco

rdin

g d

evic

es in

th

e ea

rly t

wen

tieth

cen

tury

. sin

ce t

hen,

the

sep

a-ra

tion

of s

oun

d fr

om

its

sour

ce, a

nd t

he c

apab

il-ity

to

pla

y it

bac

k, h

as m

ade

it p

oss

ible

to

list

en t

o

soun

ds

out

sid

e o

f its

orig

inal

co

ntex

t. t

he m

ob

ile

pho

ne is

als

o a

med

ium

thr

oug

h w

hich

so

und

s ar

e he

ard

out

sid

e o

f the

ir o

rigin

al c

ont

ext.

ho

wev

er,

the

norm

ativ

e d

efini

tion

of t

he m

ob

ile p

hone

as

a m

ediu

m fo

r co

mm

unic

atio

n ha

s re

stric

ted

its

po

-te

ntia

l as

a m

ediu

m fo

r so

und

s th

at e

xist

out

sid

e o

f th

e im

med

iate

tel

e-co

mm

unic

atio

n. iM

pro

ve is

a

des

ign

and

rese

arch

pro

ject

tha

t ex

plo

res

the

po

-te

ntia

l of t

he m

ob

ile p

hone

as

a m

ediu

m o

f co

m-

mun

icat

ion

bey

ond

its

curr

ently

do

min

ant

role

as

a tr

ansm

itter

of s

oun

ds.

the

pro

ject

pro

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http

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ww

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act

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dån

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s at

uni

vers

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f art

an

d d

esig

n h

elsi

nki,

2006

. tea

chin

g.

pub

licat

ions

“the

mo

bile

pho

ne a

s a

med

ium

for

heig

hten

ed

soni

c p

erce

ptio

n”. p

ublis

hed

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rnat

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l C

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erie

s; v

ol.

159:

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gs

of t

he 8

th c

onf

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uman

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mp

uter

in-

tera

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ith m

ob

ile d

evic

es a

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ervi

ces

Zeen

ath

has

anph

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and

idat

eht

tp:/

/web

zone

.k3.

mah

.se/

k3Z

eh

a

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ies

Med

iatin

g b

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edia

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cep

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alo

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qua

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can

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ate

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om

mun

icat

ions

. sc

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l of a

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and

Co

mm

unic

atio

n . M

alm

ö .

swe-

den

. 1s

t se

mes

ter

. Ma

new

Med

ia .

uni

vers

ity o

f art

and

des

ign

. h

elsi

nki .

fin

land

. 20

07. M

sc C

om

mun

icat

ion

. Man

ipal

insi

tute

of C

om

mu-

nica

tion

. Man

ipal

. k

arna

taka

. in

dia

. 20

00

gra

nts

. Wah

lgre

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und

atio

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hola

rshi

p fo

r d

oct

ora

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s . 2

007

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rts

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rant

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nt fo

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aste

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ct .

2005

2932

2008 co

nc

er

ts

iftaf - institute for transaco

ustic researchtranslecture

niko

laus gansterer, M

atthias Meinharter, Jö

rg

piringer, e

rnst reiterm

aier

ab

stra

ct

a fastfo

rward

sonic/aud

io/visual crash co

urse into

transacoustics b

y the translinguistic theo

ry jockey,

with live m

indm

app

ing d

rawing

s accom

panied

b

y experim

ental electronic m

usic. the aim is to

act w

ithin the crosso

ver of ling

uistic, acoustic and

g

raphic intersectio

ns. the transacoustic answ

er to

old

-schoo

l scientific lectures.

transacoustic research carries o

ut science by m

eans o

f art and art b

y means o

f science. the antiquated

d

ifferentiation o

f these two

areas is rejected and

m

ethod

s and setting

s from

bo

th areas are com

-b

ined to

arrive at unique lines o

f connectio

n and

divisio

n.transaco

ustic research is concerned

with the p

e-rip

heral effects and tang

ential areas of aco

ustics, w

ith their bo

rders to

other areas o

f research. the co

ntours and

definitio

nal bo

rders are necessarily

blurred

and vag

ue. transacoustics p

resents som

e-thing

which is b

asically, nothing

. it can and sho

uld

not b

e defined

in the sense of so

mething

laid d

ow

n in w

riting.

transacoustics as such, d

oes no

t exist; there is only

transacoustic research, w

hich constantly circles its

imag

inary core and

thereby arrives at the m

ost d

i-verse results and

realizations.

the questio

n of the essence o

f transacoustics is as

imp

ossib

le to answ

er as the questio

n of art o

r phi-

loso

phy’s essence. the success, p

rod

uctivity and

efficiency of transaco

ustic research do

not d

epend

o

n finding

an answer to

this questio

n. the institute fo

r transacoustic research w

as found

ed in 1998 in

vienna to

define and

research transacoustics. iftaf

uses structures which co

rrelate with tho

se of a sci-

entific institute. it is divid

ed into

several dep

art-m

ents wo

rking w

ith various them

atic emp

hases in-clud

ing: aud

itive pheno

meno

log

y, social aco

ustics, veg

etable so

und research, transling

uistics, visual m

usic, experim

ental instrument skills, b

io-aco

ustics, d

emo

grap

hy, and klep

to-aco

ustics.

ww

w.iftaf.o

rgw

ww

.transacoustic-research.co

m

bIo

niko

laus gansterer

bo

rn in 1974. studied

experim

ental med

ia-desig

n at the university o

f app

lied arts /vienna. w

orks w

ith vario

us materials, so

und-installatio

n, video

-pro

duc-

tions, installatio

n-art, grap

hics,...

Matthias M

einharter b

orn 1971, stud

ied ethno

log

y and d

esign at the

university for ap

plied

arts in vienna, involved

in vari-o

us pro

jects (including

experim

ental music, d

esign,

fashion a.o

.)

Jörg

piringer

bo

rn in 1974. student at the schule für d

ichtung in

wien (curd

duca, sainkho

namtchylak, etc). m

aster d

egree in co

mp

uter science. radio

artist. sound

p

oet. m

usician.

ernst r

eitermaier

bo

rn in 1974. studied

philo

sop

hy, music and

cultural m

anagem

ent in vienna. various p

rojects in the field

o

f experim

ental music and

radio

art.

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 4

str

ana:

A

C M

Y K

26

2008

pe

rfo

rm

an

ce

s

tang

o i

nter

vent

ion,

vie

nna

ro

ber

t la

wre

nce

ab

str

ac

t

eve

ry c

ity h

as it

s hi

dd

en h

isto

ries.

„ta

ngo

inte

rven

-tio

n, v

ienn

a“ u

ses

loca

tive

tech

nolo

gy,

gps

cel

l p

hone

s, t

he in

tern

et, a

gg

ress

ivel

y re

mix

ed a

rgen

-tin

e ta

ngo

mus

ic a

nd p

ublic

dan

ce in

terv

entio

ns t

o

reve

al h

idd

en s

torie

s an

d h

isto

ries

alo

ng a

nar

row

p

ath

thro

ugh

vie

nna.

the

bea

utifu

l sp

ecta

cle

of

coup

les

dan

cing

to

arg

entin

e ta

ngo

in u

nexp

ecte

d

pub

lic p

lace

s is

the

pub

lic‘s

ent

ry in

to t

his

laye

red

m

edia

tion

on

the

mea

ning

of m

usic

al t

rad

itio

n,

pla

ce, h

isto

ry, m

igra

tion

and

iden

tity.

firs

t en

coun

-te

red

by

the

pub

lic a

s a

rom

antic

, and

so

mew

hat

absu

rd g

estu

re, t

his

mus

ical

inte

rven

tion

take

s o

n a

very

diff

eren

t m

eani

ng w

hen

peo

ple

go

to

the

„tan

go

inte

rven

tion“

web

site

or

call

the

pho

ne

num

ber

and

list

en t

o t

he g

ps t

rigg

ered

mes

sag

es

ther

e. t

he p

hone

mes

sag

es a

nd t

he w

ebsi

te

criti

cally

reco

ntex

tual

ize

the

seem

ing

ly t

imel

ess

dan

ce p

erfo

rman

ce in

ver

y sp

ecifi

c hi

sto

ries

of t

he

loca

tions

in v

ienn

a in

whi

ch t

he t

ang

o in

terv

entio

n is

tak

ing

pla

ce.

the

colo

nial

, po

st-c

olo

nial

and

ne

o-c

olo

nial

his

tory

of a

rgen

tine

tang

o m

usic

is

rem

ixed

and

use

d a

s a

lens

to

exa

min

e hi

dd

en h

is-

torie

s in

the

str

eets

of v

ienn

a. b

y m

akin

g a

pub

lic

spec

tacl

e o

f the

intim

ate

soci

al d

ance

tan

go

, and

co

mb

inin

g t

his

with

sp

ecifi

c lo

cal h

isto

ries,

all

in a

co

ntex

t in

whi

ch p

eop

le c

an c

ont

ribut

e th

eir

ow

n st

orie

s an

d h

isto

ries,

the

wo

rk c

reat

es a

n in

tera

ctiv

e m

edita

tion

on

priv

ate

and

pub

lic, t

he h

isto

rical

and

th

e tim

eles

s, a

nd o

n th

e m

eani

ng o

f mus

ical

tra

di-

tion

and

‚p

lace

‘ in

a g

eo-m

app

ed a

ge.

http

://w

ww

.tan

go

inte

rven

tion.

org

bIo

law

renc

e‘s

inte

rdis

cip

linar

y w

ork

co

mb

ines

ele

-m

ents

in t

he p

hysi

cal w

orld

and

virt

ual e

lem

ents

on

the

inte

rnet

to

exa

min

e th

e w

ay li

fe is

no

w li

ved

in

two

real

ms

of t

he re

al a

nd t

he v

irtua

l. h

e re

ceiv

ed

his

Mfa

fro

m t

he u

nive

rsity

of C

alifo

rnia

at

san

die

go

. his

wo

rk h

as b

een

exhi

bite

d in

tern

atio

n-al

ly, a

nd h

e ha

s re

ceiv

ed n

umer

ous

fello

wsh

ips

and

aw

ard

s in

clud

ing

: ful

brig

ht 1

0 M

ont

h r

esea

rch

and

te

achi

ng f

ello

wsh

ip, n

ea

/ro

ckef

elle

r g

rant

for

inte

rdis

cip

linar

y pr

oje

cts,

bus

h fo

und

atio

n a

rtis

ts

fello

wsh

ip, i

nter

med

ia a

rts

Mck

nig

ht f

oun

dat

ion

fello

wsh

ip, J

ero

me

foun

dat

ion

gra

nts

for

bo

ok

art

s an

d fo

r M

edia

art

s in

stal

latio

ns, a

nd f

ilm in

the

C

ities

reg

iona

l gra

nts

for

film

/vid

eo. l

awre

nce

is

ass

oci

ate

pro

fess

or

and

Mfa

Co

ord

inat

or

in t

he

scho

ol o

f art

and

art

his

tory

at

the

uni

vers

ity o

f so

uth

flo

rida.

2730

2008 co

nc

er

ts

taus

klaus filip

, lloo

pp

tim

blechm

ann, nova/sup

ercollid

er

ab

stra

ct

taus is the duo

collab

oratio

n betw

een tim

blech-

mann and

klaus filip

. tim

’s music is b

ased o

n algo

-rithm

ically generated

noise textures, w

hich offer an am

orp

hous fund

a-m

ent for k

laus’s carefully wo

ven sine waves. so

und-

scapes are evo

lving,

which are co

ntinuously red

efined.

bIo

tim

blechm

ann http

://tim.kling

t.org

tim

’s music is fo

cused o

n static noise textures, that

are dig

itally generated

and sp

acial pro

jected in re-

altime. h

is pieces are very slo

w p

aced, having

a low

vo

lume clo

se to the b

ackgro

und am

bience. fo

r live p

erform

ances, his preferred

lineup is the d

uo w

ith ano

ther imp

rovising

musicians.

in 2004 he fo

unded

‘plattfo

rm fuer freie m

usic’, a co

ncert series for im

pro

vised m

usic in stuttgart, cur-

rently he is co-o

rganizing

the concert series v’elak-

gala.

a

fter studying

physics in tüb

ingen and

stuttgart,

he mo

ved to

vienna in 2005, in o

rder to

study co

m-

puter sciences, d

igital arts and

electroaco

ustic mu-

sic (with W

olfg

ang M

usil).

pro

jects:- d

uo w

ith go

h lee kw

ang (p

repared

mixer)

- taus - duo

with k

laus filip (llo

op

p)

- duo

with M

anuel knap

p (analo

g electro

nics)- p

dt - trio

with d

aniel lercher & peter lutin (lap

-to

ps)

com

po

sitions:

- sound

track for ‘la vo

ix et le pheno

mene i’ b

y ma-

laysian film-m

aker lau mun leng

(2005)- vinyl p

layback, m

usic for vinyl b

ased o

n a duo

im-

pro

visation w

ith mattin (2007)

- rr, com

puter m

usic (2006-2007)- m

attin/malfatti rem

ix, tape m

usic (2007)- rrrr (2008)

disco

grap

hy:- so

lo: s_n, m

oka b

ar (2004)- d

uo w

ith go

h lee kwang

: dro

ne, no lab

el (2005)- so

lo: M

, herbal reco

rds (2005)

- solo

: re-reading

, freesoftw

areseries (2007)- taus: the o

rgan o

f Co

rti, l’innom

able (2007)

- solo

: rrrr, mo

ka bar (2008)

klaus filip

http://llo

op

p.kling

t.org

/

(see also 2008 p

er

for

ma

nc

es

)

Co

llabo

rations w

ith rad

u Malfatti, W

erner dafel-

decker, d

ieb13, C

hristof k

urzmann, b

oris h

auf, C

hristian fennesz, Jason k

ahn, John b

utcher, sa-b

ine Marte, g

illes aub

ry, noid

, Co

rdula b

ösze, sil-

via faessler, taku unam

i, taku sugim

oto

,toshim

aru n

akamura, a

rnold

“noid

” hab

erl, tim

blechm

ann, ivan palacky.

current pro

jects:~

los g

lissandino

s (with kai fag

aschinski)~

lloo

pp

(op

en source free- &

softw

are for m

usi-cians)~

tripp

le duo

(so far w

ith ob

laat, noid

, bo

ris hauf)~

big

bab

y (with red

white and

cynthia schwertsik)

~ ease (w

ith noid

)~

duo

with co

rdula b

ösze

~ taus (w

ith tim b

lechmann)

~ so

lo

record

ings:

~ sig

is brud

er “leftovers” (klaus filip / sig

i ecker) trost 1994~

orchester 33 1/3, plag

dich nicht 1996

~ “m

aschine brennt” orchester 33 1/3, charhizma 1999

~ “b

uilding

excess” (klaus filip

/ radu M

alfatti / Mat-

tin / dean rob

erts) grob

651, ~

los glissandinos: stand clear (creative sources, lisboa 06/2005)~

“aluk” (klaus filip

/ toshimaru n

akamura): aluk (ja-

panim

prov/tokyo/2006)

~ taus: “the o

rgan of Corti” (l’innom

able, ljubljana 2007)

31

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 4

str

ana:

B

C M

Y K

33 sun

run

sun

yola

nde

har

ris

ab

str

ac

t

sun

run

sun

’ cha

rts

a p

ath

bet

wee

n en

viro

nmen

tal

awar

enes

s an

d t

echn

olo

gic

al d

evel

op

men

t, u

sing

so

und

as

the

med

ium

to

enh

ance

bo

th. t

he p

roje

ct

inve

stig

ates

the

sp

lit b

etw

een

the

emb

od

ied

exp

e-rie

nce

of l

oca

tion

and

the

cal

cula

ted

dat

a o

f po

si-

tion,

exp

lorin

g t

he in

div

idua

l exp

erie

nce

of c

urre

nt

loca

tion

tech

nolo

gie

s th

roug

h a

per

sona

l exp

eri-

ence

of s

oun

d. i

t se

eks

to (r

e)es

tab

lish

a se

nse

of

conn

ecte

dne

ss t

o o

ne’s

envi

ronm

ent,

and

to

(re)

ne-

go

tiate

thi

s th

roug

h an

inve

stig

atio

n in

to o

ld, n

ew,

futu

re a

nd a

nim

al n

avig

atio

n us

ing

so

und

.

this

pro

ject

co

nsis

ts o

f tw

o d

iffer

ent

par

ts, a

so

und

in

stal

latio

n an

d a

ser

ies

of p

ort

able

inst

rum

ents

to

tak

e o

n a

wal

k th

roug

h th

e ci

ty. i

n th

e in

stal

la-

tion

‘dea

d r

ecko

ning

’ yo

land

e h

arris

reve

als

the

pat

tern

s o

f orb

iting

sat

ellit

es c

om

ing

in a

nd o

ut o

f ra

nge

and

inco

nsis

tenc

ies

in h

ow

gps

tec

hno

log

y lo

cate

s th

e se

lf in

a lo

ngitu

de/

latit

ude

grid

. the

m

ob

ile ‘s

atel

lite

soun

der

s’ t

rans

form

the

live

sat

el-

lite

dat

a d

irect

ly in

to a

so

nic

com

po

sitio

n lis

tene

d

to o

n he

adp

hone

s as

one

wal

ks t

hro

ugh

the

city

. li

ve s

igna

ls fr

om

sat

ellit

es in

orb

it, t

og

ethe

r w

ith

the

per

form

er’s

coo

rdin

ates

on

eart

h, g

ener

ate

a co

ntin

uous

ly t

rans

form

ing

ele

ctro

nic

soun

dsc

ape.

yo

land

e h

arris

’s so

und

scap

e q

uest

ions

wha

t is

in-

sid

e an

d w

hat

is o

utsi

de,

wha

t it

mea

ns t

o b

e lo

cat-

ed a

nd w

hat

it m

eans

to

be

lost

.

3636

2008

ha

nd

s-o

n s

ess

ion

37

20

08 h

an

ds-

on

se

ssio

n

37

co

ntr

oll

ing

au

dio

ap

pli

cati

on

s u

sin

g

pyt

hon

for

seri

es 6

0

ric

hard

Wid

erb

erg

ab

str

ac

t

for

the

hand

s-o

n se

ssio

n r

icha

rd W

ider

ber

g w

ill

sho

w h

ow

to

use

a m

ob

ile p

hone

to

co

ntro

l rea

l-tim

e au

dio

ap

plic

atio

ns o

n a

com

put

er u

sing

blu

-et

oo

th a

nd in

tern

et c

onn

ectio

n. f

or

the

pur

po

se

he w

ill u

se p

ytho

n fo

r se

ries

60 m

ob

ile p

hone

s th

at

conn

ects

to

pur

e d

ata

and

Max

/Msp

on

a co

m-

put

er.

http

://w

ww

.riw

id.n

et/m

mw

40 spa

t_lab

- un

ive

rsitY

of a

pp

lied

ar

ts

spat_lab

nicolaj k

irisits

the Mobile M

usic Workshop’s collaboration w

ith the u

niversity of app

lied a

rts beg

an with sp

at_lab’s re-

cent projects. spat_lab w

as founded by m

e at the university’s d

epartm

ent of dig

ital art. since then, it

has organized research-oriented

artistic projects (con-cep

ts and id

eas: klaus filip and n

icolaj kirisits). the artists d

eveloped

and im

plem

ented their projects by

the following tw

o basic g

uidelines: the use of tech-

nological artifacts for purp

oses foreign to them

, and

the expansion of the concept of b

ody in architecture.

Com

bining both asp

ects with sound

design is among

sp

at_lab’s main interests. technological artifacts are

converted into m

usical interfaces and the characteris-

tics of sounding b

odies used to expand

the definition of corp

oreality. What is m

eant here by sounding b

ody

are resonances found in architectural space, that is,

spectromorp

hological content restricted

1 to a volume

in the euclidian system

which m

ay not be visible and

yet contain all other defining qualities of corp

oreal-ity (“a b

ody w

ith length, bread

th and depth”

2) in a geom

etric sense. this definition of the sounding b

ody

must be distinguished from

that of a vibrating

body, or resonator. the resonator is a visible tectonic bod

y in geograp

hical space whose physicality d

oes not owe to

sound b

ut to wood

, or metal, for instance. in contrast,

the sounding bod

y, however, is invisible, its m

aterial is sound

itself. althoug

h architecture is comprised of

bodies, yet each of these bod

ies is not necessarily an architectural elem

ent. spat_lab

defines architecture as a sp

atial notation of socially relevant processes. a

m

aterial body in g

eographical sp

ace, therefore, be-com

es an architectural element the very m

oment it as-

sumes social relevance. sound that is naturally located

in sp

ace, i.e., already p

resent without any technical

aid and is in itself a natural body, is barely effective ar-

chitecturally, apart from a few

exceptions, like church bells. from

an aesthetic or formal point of view

, natu-ral sound

is a precursor (or exceptional case) of local-

based

services (lbs), w

hich certainly bear the potential of being

architectural elements. in the case of these

lbs, dig

ital information is placed

at selected spots

in geog

raphical space w

ith the help of gps d

evices. this inform

ation is just as invisible and

process-based

as sound

ing bod

ies but, d

ue to its significance in hu-

man com

munication, this very act of p

lacing turns it into architectural bod

ies. in architecture, in addition to

three b

asic forms of ag

ency, that is, the tectonic body

3,

the body of the in-betw

een4, and architectural sp

ace5,

there are the time-based “d

ata bodies,” whose m

ate-riality com

prises in visible d

igital data.

one of the aim

s of the spat_lab projects is to find

new

ways of config

uring these data bodies w

ith the help of new

insights gained from investigating

sound-ing

bodies. h

owever, this ap

proach can also be de-scribed

as a process in w

hich media-related contents

are placed in geog

raphic space as sound that is inau-d

ible. this d

eliberate misinterpretation aim

s to make

the potentials for configuring these new architectural

elements b

etter comprehensib

le.

it can be said

that deliberate m

isinterpretation is the leitm

otiv of the lab, especially when w

orking w

ith tech-nical eq

uipm

ent. sound is once again the comm

on d

enominator in all projects realized thus far. interfaces

for making

music w

ere created by intentional w

rong

usage. in the course of their investigations, the p

artici-p

ants removed

devices from

their social context and

placed

them in d

ifferent contexts after making the

smallest p

ossible changes to them. this opened a vast

potential for new

meaning

s that would

either remain

totally invisible or b

ecome only p

artially visible should

the devices be used as intended by the m

anufacturers.

Currently, these tw

o guiding princip

les of spat_lab are

interdigitated

because w

e are mainly concerned

with

the ubiquitous com

puter and

tracking technologies

(gps) as w

ell as with d

iverse sensory interfaces (mobile

telephones, Wii rem

ote controllers, etc). our long-

term aim

, however, is to gain end

uring insig

hts. spon-taneous absurdities and conscious attem

pts at g

etting

things w

rong serve us to prob

e limits, w

hereas sound

(in the sense of musique concrete), electronic m

usic and

configurating

new form

s in geographic sp

ace, or in architecture, can alw

ays be seen as contractors for the ind

ividual p

rojects.

the above m

entioned approaches have led

to artistic p

rojects dealing w

ith sound and m

obile technologies, alb

eit the emphasis is not so m

uch on their societal, sociological aspects, nor w

ith new field

s of activity con-cerned

with the recep

tion of music but rather on the

time- and p

rocess-based asp

ects of the corporeality

and architecture that thus em

erge. to us this appears to b

e a major outcom

e of mobility. M

obility in technol-og

y is the logical consequence of a develop

ment in

which m

ore and m

ore functions are packed into ever-tinier b

odies, w

hich people can carry ab

out on them.

a d

ecisive impulse for this developm

ent toward ar-

chitecture came from

the breakdow

n of the virtual, or rather from

the failure of the virtuality hype to attain its m

ain aim of replacing

geog

raphic space as the sphere

of social activity. Mobility, as the consequence of m

ini-aturization, only m

akes sense when geographic space

is intentionally seen as not merely an ab

stract euclid-ian sp

ace but also as a field of social activity. Mobility is

therefore to be clearly d

istinguished from

virtuality—even w

hen the geosp

atial network of m

obile end user devices lets a form

of mixed reality em

erge.

our ow

n body has alw

ays been a p

art of geographic space. virtuality has not succeed

ed in dissolving the

significance of this space for hum

an action. Music that

employs m

obile technologies autom

atically turns the focus on hum

an body desig

n and, consequently, also

on the geographic sp

ace in which the hum

an being

exists. digital art can no longer deny the ubiquitari-

ness of technological developments and is becom

-ing

“body art” in geog

raphic space. the perform

ative character of g

eograp

hic space must therefore alw

ays rem

ain part of the artistic cod

e. also, and especially,

digital art takes mobile technology seriously as a m

ar-ginal condition of hum

an achievement. such tech-

nological limits influence prod

uction and reception, both of w

hich have always been part of an expanded

definition of art. the recip

ient who alw

ays carries mu-

sic around with him

, who d

eposits it in certain places, collects it or passes it on, becom

es an agent, and

designer in this case, not merely of the m

usical con-text w

ith all its “mobile” aspects such as spontane-

ous network m

usic, music d

istribution, etc. as investi-gated in the M

MW

series, but also—

and this seems

to be the d

irection from w

hich spat_lab approaches these them

e—of the architectural bod

y in geographic space. M

obility is that technology which allow

s virtual-ity to be understood as the m

ateriality of a new archi-

tectural body.

1 davis sm

alley, Spectom

orpholog

y: Explaining

Sound-Shap

es in Org

anised

Sound 2 (2), C

amb

ridg

e: Cam

brid

ge u

niversity press, 1997, 107

2 euclid q

uoted in O

stwald

s Klassiker d

er Exakten Wissenschaften, B

and

235—D

ie Elemente, verlag

harri d

eutsch, 2005, xi, 314

3 vitruvius, transl. fensterbusch in d

r. Curt, Zehn B

ücher über A

rchitektur, W

issenschaftliche buchg

esellschaft darm

stadt, 1976

4 gottfried

semp

er, Der Stil in d

en technischen und tektonischen K

ünste, 1860, rep

rinted in fritz n

eumeyer, Q

uellentexte zur Architekturtheorie,

prestel 2002

5 aug

ust schmarsow

, das W

esen der architektonischen schöp

fung, in fritz

neum

eyer Quellentexte zur A

rchitekturtheorie, prestel 2002.

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 5

str

ana:

A

C M

Y K

the

spri

ngfi

eld

rv

l-0

03

Jan

pers

chy,

ro

ber

t M

athy

, Mer

lin W

ysch

ka a

bst

ra

ct

The

Sprin

gfie

ld R

VL-

003

is a

ban

d fo

und

ed in

the

ye

ar 2

007,

bas

ed o

n a

soun

din

stru

men

t na

med

„b

reat

h co

ntro

l“ b

y Ja

n pe

rsch

y.

this

inst

rum

ent,

co

nsis

ting

of a

Wii-

rem

ote

, tha

t is

p

lace

d in

fro

nt o

f a s

pea

ker,

mo

unte

d w

ith s

prin

gs.

e

very

thin

g p

ut o

n a

mic

rop

hone

trip

od

and

up

it

go

es.

by

hitt

ing

, shi

ftin

g, a

nd v

ariin

g t

he p

osi

tion

of t

he

rem

ote

the

ban

dm

emb

er c

an m

od

ify t

he fo

r hi

m

ind

ivid

ual s

oun

d. t

his

pla

yed

so

und

will

be

pla

yed

b

ack

of t

he re

sona

nce

bo

dy,

the

sp

eake

r.

the

trip

od

will

be

used

as

a m

oun

ting

, the

join

ts

are

a si

mul

ated

co

ord

inat

e sy

stem

in t

he re

al e

nvi-

ronm

ent,

and

so

the

po

sitio

n o

f the

rem

ote

and

the

p

osi

tion

of t

he s

pea

ker

and

out

of t

his

the

„fiel

d o

f so

und

“ ca

n b

e m

anip

ulat

ed. s

o t

he p

laye

r ca

n w

in

the

roo

m a

nd fi

ll it

with

so

und

.

eve

ry m

emb

er c

hoo

ses

his

ow

n so

und

sam

ple

.

3434

2008

co

nc

er

ts

muio

interface

steve symo

ns

ab

stra

ct

beyo

nd the m

ouse: p

ain free alternative com

puter

interfaces

Many artists and

musicians w

ant to exp

lore alterna-

tives to the m

ouse/keyb

oard

parad

igm

.

alternatives includ

e sensors that d

etect light, heat

or d

istance; or even the accelero

meter p

op

ularised

by the W

ii.

there are a gro

wing

numb

er of to

ols availab

le for

interfacing co

mp

uters to the real w

orld

, especially

at the op

en-source, lo

w techno

log

ical level end o

f the sp

ectrum and

desp

ite the efforts o

f the gro

ups

involved

the aspiring

interface hacker must learn an

add

ed layer o

f electronics and

pro

gram

ming

in ad-

ditio

n to the m

edia and

concep

tual skills required

.

the muio

interface offers a rad

ical alternative. the m

uio’s b

asic minim

al parts (o

ne chip, three co

mp

o-

nents, a usb cab

le and, if yo

u really have to have

the security of kno

wing

the interface is draw

ing

po

wer fro

m the u

sb p

ort then, a le

d) are all read

ily b

uyable o

nline and d

o no

t need p

rog

ramm

ing, just

plug

ging

tog

ether.

by rem

oving

the pain fro

m creating

alternative in-terfaces the m

uio seeks to

focus attentio

n away

from

the technolo

gy o

f build

ing, to

the imp

ortant

issue of ho

w d

oes an interface relate to

the user’s exp

erience?

this hands-o

n session w

ill- exp

lore a rang

e of senso

rs, how

they wo

rk and

what actio

n they afford

.- d

emo

nstrate (in a practical w

ay) how

to b

uild and

custo

mise a m

uio interface

- discuss (in a p

ractical way) so

ftware that artists

and m

usicians mig

ht like to use the m

uio w

ith (such as M

ax

/Msp, p

rocessing

, superC

ollid

er (raw co

de,

ixiQuarks) and

c++

/op

enframew

orks)

- allow

particip

ants to exp

lore their creative sid

es, p

ossib

ly ending

in an imp

rovised

sonic exp

erience (eq

uipm

ent and p

articipants allo

wing

!)

Wo

rkshop

leader: steve sym

ons

http://m

uio.o

rg

as w

ell as being

an experienced

wo

rkshop

leader,

steve symo

ns is an artist explo

ring so

und and

tech-no

log

ically med

iated interactio

n. as an active o

wl

project m

emb

er ( http://w

ww

.ow

lpro

ject.com

) he also

perfo

rms, d

oes his o

wn p

rog

ramm

ing, so

lder-

ing and

wo

od

wo

rk.

3535

2008 h

an

ds-o

n se

ssion

35

38 spa

t_lab

- un

ive

rsitY

of a

pp

lied

ar

ts

spat _la

b: M

MW

’08 ho

sts

39

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 5

str

ana:

B

C M

Y K

41 44

2006

spa

t_la

b p

ro

jec

ts

tran

sit

kla

us f

ilip

, nic

ola

j kiri

sits

ber

nhar

d b

auch

, phi

lipp

lam

mer

ab

str

ac

t

Tran

sit8 w

as a

n at

tem

pt a

t cre

atin

g a

scu

lptu

re

with

no

thin

g b

ut th

e b

od

ies

of d

ata

pre

vio

usly

de-

scrib

ed. T

rans

it em

plo

ys s

trat

egie

s fo

r the

sp

eed

y se

ttle

men

t of n

ew la

nd u

sed

sin

ce th

e d

ays

of h

ip-

po

dam

us v

on

Mile

t; th

is s

ettle

men

t of g

eog

rap

hic

spac

e w

ith b

od

ies

of d

ata

can

be

com

par

ed w

ith

the

dev

elo

pm

ent o

f new

land

. a b

asic

ele

men

t (a

cub

e m

easu

ring

1m

x 1

m x

1m

) was

use

d to

cre

ate

a 20

m lo

ng, 2

0 m

wid

e an

d 2

0 m

hig

h g

rid. t

here

w

as, h

ow

ever

, no

mas

ter p

lan;

onl

y th

e co

nstr

uctio

n ru

les

wer

e p

red

efine

d —

the

scul

ptu

re w

as b

ased

o

n th

ese

rule

s, th

e vo

lum

e av

aila

ble

and

the

con-

tent

pro

duc

ed b

y th

e se

ttle

rs. e

ach

sett

ler w

as g

iven

ei

ght

cub

es a

nd h

ad th

e fr

eed

om

to s

elec

t a s

ite fo

r th

em. t

wen

ty p

erce

nt o

f the

vo

lum

e co

uld

be

fille

d

com

mun

ally

or a

ltere

d a

s d

esire

d b

y th

e se

ttle

r. th

e re

st o

f the

vo

lum

e ha

d to

rem

ain

free

; the

aim

was

to

leav

e 60

% o

f the

are

a un

dev

elo

ped

. eac

h cu

be

coul

d b

e fil

led

with

text

, so

und

, vid

eo m

ater

ial o

r si

mp

ly p

rog

ram

co

des

. nei

ghb

orin

g c

ubes

co

uld

ne

two

rk w

ith e

ach

oth

er, e

xcha

nge

dat

a o

r fo

rwar

d

it. f

illin

g th

e cu

bes

wo

rked

as

follo

ws:

eac

h d

igita

l ar

tist,

equi

pp

ed w

ith a

co

mp

uter

and

a g

ps d

evic

e,

coul

d g

o to

the

site

of t

he c

ube

and

“lo

ad”

his

/he

r co

nten

t int

o it

. in

this

way

, the

art

ists

wo

rked

on

thei

r dig

ital c

onc

epts

in g

eog

rap

hic

spac

e th

e w

ay

a sc

ulp

tor w

oul

d. r

ecip

ient

s co

uld

exp

erie

nce

thes

e d

igita

l scu

lptu

res

pro

duc

ed w

ith th

e he

lp o

f gps

d

evic

es in

the

cour

se o

f set

tlem

ent;

thei

r pla

ybac

k d

evic

es w

ere

fille

d w

ith d

igita

l co

nten

t at o

ne o

f the

m

any

po

ints

whe

re th

e co

nten

t had

bee

n p

revi

ous

ly

po

sitio

ned

. in

cont

rast

to th

e se

ttle

rs, t

he re

cip

ient

s w

ere

not p

erm

itted

to a

lter t

he s

culp

ture

.

the

pro

ject

was

mad

e p

oss

ible

thro

ugh

the

finan

cial

su

pp

ort

of p

od

spo

t (pr

of.

tom

für

stne

r).

pres

enta

tion

of t

he p

roje

ct a

t the

Mo

bile

Mus

ic

Wo

rksh

op

200

8.

the

follo

win

g a

rtis

ts w

ere

invi

ted

as

sett

lers

:a

lev

özd

emir

and

reas

hai

der

ber

nhar

d b

auch

ber

nhar

d l

utz

ber

nhar

d g

arni

cnig

dan

iel k

auer

ella

kra

mp

lg

eorg

no

votn

yg

ord

an s

avic

icg

ott

frie

d h

aid

erJu

lian

pala

czJu

lia s

taud

ach

kat

hrin

dö

rfler

leo

pes

chta

luca

s C

zjze

klu

c g

ross

Mar

io f

isch

erM

isch

an g

holiz

adeh

to

osa

rani

Milo

s pa

ripo

vic

nin

a k

atae

vape

rkto

ld M

artin

pete

r sch

arm

ülle

rpe

ter t

ilgph

ilip

p l

amm

erso

phi

e W

agne

r

8 Tra

nsit,

kle

yleh

of,

2006

(kla

us f

ilip

& n

ico

laj k

irisi

ts).

4548

2007 spat_la

b p

ro

jec

ts

go

ttfried h

aider

Im n

ebelm

eer über P

locica /

sea of fo

g o

ver Plo

cica

starting p

oint fo

r the investigatio

n was the striking

ab

sence of the island

we w

ere abo

ut to set fo

ot o

n, fro

m g

oo

gle e

arth satellite imag

inary. this defi-

ciency was initially m

et by flying

a camera-eq

uipp

ed

helium b

alloo

n over this rem

ote isle.

the ballo

on, attached

by a string

to the artist,

form

ed a p

rosthetic extensio

n of his b

od

y in a p

hysical as well as senso

ry sense, as the camera im

-ag

es were also

instantly transmitted

to the g

round

. W

alking a p

reconceived

path this w

ay, the tiny strip

of land

gained

an unexpected

orb

ital dim

ension.

but also

the joining

with the b

alloo

n itself, the rhythm

of its tum

bling

mo

tion and

inert shift of g

aze d

evelop

ed a surp

rising d

ynamics in the co

urse of

the perfo

rmance.

back o

n land, the vid

eo fo

otag

e ob

tained this w

ay is b

eing used

to claim

land b

y means o

f a pro

jection

device. this is archived

by translating

the imag

es into

a spherical co

ord

inate system, thus co

nnecting

back to

the log

ic of g

oo

gle e

arth.1: - - -2: - - -

Claud

ia larcher472 (fig

. b, C

, d)

temp

orary installatio

nW

hite ballo

ons

the numb

er 472, also the title o

f the installation

reflects the numb

er of b

alloo

ns used b

y the artist as m

aterial for her interventio

n in the landscap

e. the artist filled

the ballo

ons w

ith either air or w

ater and

carefully placed

them in the crevices and

holes

in the rocks. in o

rder to

ensure that every gap

was

filled she had

to treat each b

alloo

n differently so

that it fitted

perfectly.

this seamless lining

of cracks and

crevices in the ro

cks with b

alloo

ns form

ed a w

hite line, like a fine d

rawing

in the landscap

e that was rem

iniscent of

the conto

urs or traces o

f an unknow

n, unidentifiab

le creature.1: n

43.02835° - e 16.82132°

2: n 43.02845° - e

16.82133°3: n

43.02842° - e 16.82143°

4: n 43.02837° - e

16.82138°

ro

bert M

athyP

lIng

! (fig. a

)

a fo

und sto

ne/picked

up o

n the shore/ w

as d

rop

ped

every 20 meters fro

m the sam

e height

abo

ve sea level. this pro

cedure w

as repeated

until the area w

as covered

com

pletely. the g

rid o

f sound

sam

ples resulting

from

the acoustic reco

rding

s m

ade d

uring each step

of the p

rocess served

as a p

ositio

ning m

ap fo

r a mo

tor-o

perated

loud

speaker,

which reflected

each sound

at its respective p

osi-

tion.

the terrain’s top

olo

gy led

to variatio

ns in the length

of the reco

rding

s while aco

ustic differences w

ere caused

by the surface o

f the gro

und. the aim

was

to insp

ire the recipient to

imag

ine the cond

itions at

the record

ing site.

1: n 43.02954° - e

16.81932°2: n

43.02957° - e 16.81931°

3: n 43.02958° - e

16.81922°4: n

43.02952° - e 16.81920°

Jan perschyrand

om

walk

interpreting

the structure and characteristics o

f the g

round

throug

h one’s o

wn enviro

nment insp

ired

me to

press this reco

rd. the p

iece of w

oo

d sw

irling

throug

h the stones and

thereby altering

the gro

und

of the claim

is a basic m

easure; it is also the unit o

f m

easure in my survey. the reco

rd o

f a mo

ment in

time m

ade in this m

anner was reinterp

reted and

g

iven form

throug

h my o

wn sub

jective imp

ressions.

the gro

und as d

ata med

ium is sto

red o

n disc w

ith the help

of a p

ersonal co

dec.

values inscribed

on the reco

rd, layered

over the

sound

pro

duced

by it, allo

w it to

interpret itself.

1: n 43.02948° - e

16.81839°2: n

43.02944° - e 16.81842°

3: n 43.02948° - e

16.81851°4: n

43.02950° - e 16.81852°

M : n

43.02945° - e 16.81842°

leo peschta

Wavesynth 1.0 (fig

. a, b

, C)

the coastal area is a co

nstantly changing

environ-

ment. e

very mo

ment is the arrang

ement o

f stones

and w

ater in it differently, never the sam

e. by the

force o

f the imp

act of w

ater on the b

anks a wid

e set o

f different so

unds is g

enerated.

for the installatio

n “Wavesynth” relevant areas o

f the b

ay (op

tical: where is w

ater when; aco

ustical: w

here do

es the it sound

interesting) have b

een eq

uipp

ed w

ith sensors. in the w

ater there was a

small current initiated

(5v, 20ma

). every tim

e it go

t in to

uch with o

ne of the senso

rs, the current level of

the sensors o

utput w

as changed

. as senso

rs tense resistance w

ires have been used

, which p

rod

uce d

ifferent values dep

ending

on the p

ositio

n in which

they get in co

ntact with electrical charg

ed w

ater.

a co

mp

uter continuo

usly measured

this values and

routed

this data to

an audio

app

lication, w

hich used

it to reinterp

reted the real tim

e sound

of the b

ay.the transfo

rmed

sound

s have been p

layed b

ack o

n-site vis speakers and

therefore m

ixed fo

r the listener w

ith the amb

ient sound

of the island

.1: n

43.03156° - e 16.81580°

2: n 43.03163° - e

16.81582°

peter scharmüller

plo

cica – grenzg

ang//uferd

iskussion

[walking

the line//shore d

iscussion]

this representatio

nal video

by the m

edia artist

peter scharmüller raises the o

mnip

resent questio

n ab

out the sw

itch betw

een med

ia. try to im

agine

the masses o

f water and

rocks incessantly crashing

ag

ainst each other. e

ach wave is a reaso

n for rem

ov-

ing every ro

ck that pro

trudes fro

m the w

ater. the so

lidity o

f the rock is the antithesis, co

rrosio

n b

eing the m

anifestation o

f synthesis.W

hen the gaze sw

itches from

one m

edium

to the

other, the m

ass of air so

lidifies into

a quicksilver m

ir-ro

r that hurls the spind

rift back into

the water.

1: n 43.03061° - e

16.81645°2: n

43.02772° - missing

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 6

str

ana:

A

C M

Y K

4242

2005

– s

pat_

lab

pr

oje

cts

the

han

dyd

and

y

the

blu

eto

oth

rock

‘n’ r

oll

ban

d T

he H

and

ydan

dy

(b. b

auch

, l. J

. gro

ss, n

. kiri

sits

, g. s

avci

s, J

. sta

u-d

ach,

f. W

ald

ner),

foun

ded

in 2

0056 ,

is a

n ex

amp

le

for t

he w

ay th

is p

rinci

ple

was

ap

plie

d. h

ere,

thei

r st

artin

g p

oin

t fo

r art

istic

act

ion

was

to u

se m

ob

ile

pho

nes

as m

usic

al in

stru

men

ts. t

he m

ob

ile p

hone

w

as re

inve

nted

as

inte

rfac

e fo

r a m

usic

per

form

-an

ce w

here

by

its b

are

tech

nica

l str

uctu

re (b

luet

oo

th,

keys

, etc

) and

no

t the

so

und

gen

erat

ion

op

tions

im-

plie

d b

y th

e p

rod

ucer

s w

ere

used

. Que

stio

ns a

bo

ut

app

licat

ion,

whi

ch w

ere

neve

r rai

sed

orig

inal

ly, n

ow

su

rfac

ed. a

new

gen

re o

f art

, blu

eto

oth

ro

ck ‘n

’ r

oll,

was

bo

rn, t

rigg

erin

g a

deb

ate

abo

ut w

irele

ss

mus

ic in

terf

aces

, the

so

cial

sig

nific

ance

of m

ob

ile

tele

pho

nes,

and

form

s o

f per

form

ance

. Th

e H

and

ydan

dy

was

par

t of n

iMe

06

(irca

m, p

aris

) an

d M

MW

200

7 (s

teim

), am

ong

st o

ther

s.

6 Sp

eake

rs, k

leyl

eho

f, 20

05 (k

laus

fili

p &

nic

ola

j kiri

sits

). the sp

ringfi

eld r

vl-0

03

yet another exam

ple o

f spat_lab

’s activity is the b

and Sp

ringfield

RV

L-003, found

ed in the co

urse o

f a wo

rkshop

in 20077. Jan perschy d

evelop

ed an

instrument w

ith a Wii rem

ote co

ntroller d

uring the

wo

rkshop

and later evo

lved a m

usical concep

t for it

with r

ob

ert Mathy and

Merlin W

yschka. Spring

field

RV

L-003 will b

e part o

f this year’s MM

W 2008 co

n-cert p

rog

ram.

7 Ferngesteuert [r

emo

tecontro

lled], k

leylehof, 2007

(klaus filip

& n

icolaj k

irisits).

43

2007– spa

t_lab

pr

oje

cts

46 2007 spa

t_lab

pr

oje

cts

dig

ital claim

ing

Med

ia rush in 20 geo

-tagg

ed claim

s on plo

cica is-land

(Cro

atia)

Dig

ital Claim

ing9 is sp

at_lab’s m

ost recent p

roject.

the Cro

atian isle of plo

cica, with no

other b

uilding

o

n it but a lig

hthouse, w

as rented fo

r the pro

ject fo

r a week. tw

enty artists were invited

to m

ark their C

laims o

n the island w

ith the help o

f gps d

evices.“a

Mining

Claim

is the claim o

f the right to

extract m

inerals from

a tract of p

ublic land

. in the united

states, the p

ractice beg

an with the C

alifornia g

old

rush o

f 1849. in the absence o

f effective go

vern-m

ent, the miners in each new

mining

camp

mad

e up

their ow

n rules, and cho

se to essentially ad

op

t M

exican mining

law then in effect in C

alifornia. the

Mexican law

gave the rig

ht to m

ine to the first o

ne to

disco

ver the mineral d

epo

sit and b

egin m

ining it.

the area that could

be claim

ed b

y one p

erson w

as lim

ited to

that which co

uld b

e mined

by a sing

le in-d

ividual o

r a small g

roup

.”10

the material fo

und in each C

laim (aco

ustic, visual, hap

tic, bo

dy-tim

e, etc) served as raw

material fo

r linear/no

n-linear and/o

r algo

rithmic co

mp

ositio

ns. pieces co

mp

osed

with aud

io, co

des, o

r film m

ate-rial w

ere “tagg

ed” w

ith the site. in these Claim

s the task w

as not ab

out d

igg

ing fo

r tangib

le spatial b

od

-ies in the sense o

f go

ld o

r other m

etals but rather

for o

bjects that b

ecom

e corp

oreal b

ecause they rep

resent a site (length, b

readth, heig

ht).W

hat emerg

ed in the p

rocess w

as a geo

grap

hy o

f transform

ations, land

surveyed b

y pro

ducing

its tim

e-based

representatives. the p

erceptio

n of

space b

ased o

n data co

llected b

y precisely m

eas-uring

and reco

rding

within the C

artesian system is

hence replaced

by a typ

olo

gy o

f interpretatio

ns. the m

ap o

f the island d

rawn o

ut in the course o

f this p

roject co

mp

rised a series o

f individ

ual installa-tio

ns and unveils the d

iscrepancy b

etween a seem

-ing

ob

jectivity and the unq

uestionab

le suprem

acy o

f earth survey via mo

bile g

lob

al positio

ning sys-

tems (g

ps), and p

rocess and

time-b

ased entities o

f b

od

y and sp

ace.

the wo

rks will b

e presented

at the Mo

bile M

usic W

orksho

p 2008.

9 Dig

ital Claim

ing, plo

cica, Cro

atia 2007 (klaus filip

& n

icolaj k

irisits).

10 Wikip

edia, h

yper

link

“http://en.w

ikiped

ia.org

/wiki/land

_claims”

http://en.w

ikiped

ia.org

/wiki/land

_claims

tim

blechm

annU

ntitled

the prim

ary source m

aterial for m

y Claim

was the

rushing so

und o

f water, w

hich i record

ed at d

ifferent p

laces and at d

ifferent times. these field

record

ings

were m

ade to

underg

o several transfo

rmatio

ns in o

rder to

disso

lve temp

oral structures.

this altered m

aterial is the basis fo

r a three-channel vid

eo installatio

n with a so

unding

floo

r. an aco

ustic enviro

nment w

as to b

e created via ind

irect sound

, w

hich resemb

led the sho

res of m

y Claim

on plo

cica.this p

iece is an acoustic sketch o

f the installation.

1: n 43.03067° - e

16.81772°2: n

43.03065° - e 16.81765°

3: n 43.03102° - e

16.81710°4: n

43.03105° - e 16.81713°

kathrin d

örfler

Untitled

(fig. a

)

“the com

po

ser beco

mes a carto

grap

her if he lets him

self be g

uided

. if one w

ants to allo

w to

nes and

stillness time then the task o

f the com

po

ser no

long

er lies in searching fo

r their expressio

n but

rather in allow

ing them

“to b

e” what they are […

] this is w

hy i mean that stillness is a state that is free

of intentio

ns.” (daniel C

harles on Jo

hn Cag

e)

a taut co

rd runs alo

ng the interstices b

etween the

blo

cks of sto

ne at the shores o

f plocica. the crevices

form

various reso

nance spaces in w

hich bino

ral m

icrop

hones are p

laced at several p

oints fo

r record

-ing

the sound

s. the d

ifferent resonance sp

aces corresp

ond

with the

different filtered

sound

s. the sound

scapes in these

in-betw

een spaces ultim

ately beco

me so

unding

b

od

ies, which p

rod

uce a multi-p

erspectival p

rojec-

tion o

f the incessantly breaking

waves.

1: n 43.03098° - e

16.81578°2: n

43.03099° - e 16.81589°

klaus filip

sono

plo

cica

imp

ressions o

f the stony surface o

n a/my “claim

” o

n plo

cica, a coup

le of p

lants, a coup

le of anim

als, so

me w

ater. the pho

tos w

ere arranged

in the chron

olo

gical o

rder o

f the time w

hen they were taken.

the analysis of the im

age p

rod

uces the sound

em

erges, w

hereby the m

app

ings o

f the frequencies

of a sinus b

ank are encod

ed o

ver the imag

e matrix.

the volum

e of each p

artial tone is d

efined b

y the b

rightness o

f a pixel; p

lay at med

ium vo

lume.

1: n 43.02962° - e

16.81925°2: n

43.02970° - e 16.81951°

3: n 43.03002° - e

16.81868°4: n

43.02992° - e 16.81852°

and

reas haid

erK

langb

ild [so

und P

attern] (fig. b

)

klang

bild

is the attemp

t at dep

icting so

unding

b

od

ies visually. in acoustic sp

ace, it is only p

ossib

le to

hear bo

dies that either p

rod

uce sound

or reflect

it. sound

is the prereq

uisite for aco

ustic percep

tion

just as light is fo

r visual percep

tion.

When so

und is ab

sent, no aco

ustic imag

e or so

und

pattern o

f a space can em

erge. the fact that w

e d

escribe even aco

ustic experiences in im

ages

pro

ves how

visually do

minated

our p

erceptio

n is, a p

henom

enon that k

langb

ild exam

ines and q

ues-tio

ns. if visual percep

tion is ab

sent and w

e can only

perceive o

ur wo

rld aco

ustically, the mind

conjures

corresp

ond

ing ho

mo

geneo

us imag

es of so

und,

bo

dy and

space. these are visual rep

resentations o

f aco

ustic percep

tion.

the sound

patterns o

f waves o

n a stony sho

re are exam

ined w

ith the help o

f an audio

visual com

po

si-tio

n for w

hich hydro

pho

nes were installed

on ro

cks at the key p

oints o

f wave refractio

n and reco

rded

synchro

nously w

ith the imag

e. in the com

po

si-tio

n, the levels of the reco

rded

sound

s determ

ine the level o

f visibility o

f each sound

imag

e (waves,

rocks). the hig

her the sound

energy p

rod

uced b

y a so

und o

bject, the m

ore co

ncrete and clear its visual

representatio

n. the visual p

art of the w

ork is a co

mp

ositio

n and

interpretatio

n of the visual d

ata. the p

erceivable aco

ustic space is variab

le and

dep

endent o

n the user, who

can “sound

surf” in via self-navig

ated p

ositio

ning. this can b

e do

ne by

selecting vario

us sound

tracks —three p

ositio

ns are p

ossib

le within the setting

and three o

utside it.

1: n 43.03221° - e

16.81570°2: n

43.03184° - e 16.81573°

3: n 43.03199° - e

16.81602°

47

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spa

t_la

b p

ro

jec

ts

cra

ving

ber

nhar

d g

arni

cnig

, got

tfrie

d h

aid

er

C

ravi

ng11

is in

fact

a s

pec

ial c

ase

bec

ause

it w

as n

ot

mad

e d

urin

g th

e sp

at_l

ab w

orks

hop

(but

at t

he d

e-p

artm

ent o

f dig

ital a

rt, u

nive

rsity

of a

pp

lied

art

s v

ienn

a), b

ut it

mus

t be

seen

as

a p

art o

f it b

ecau

se o

f th

e th

eme

it ad

dre

ssed

.

the

final

ver

sion

of C

ravi

ng c

an b

e h

eard

at i

ts

orig

inal

site

at M

MW

200

8.

Intr

od

Uc

tIo

n

in C

ravi

ng b

ernh

ard

gar

nicn

ig a

nd g

ottf

ried

hai

der

au

rally

sta

ge

a te

xt in

spire

d b

y th

e la

te s

arah

kan

e’s

pla

y C

rave

in p

ublic

sp

ace.

it u

nfol

ds

whi

le m

em-

ber

s of

the

aud

ienc

e in

div

idua

lly w

and

er a

hig

h-ris

e ar

ea, w

earin

g h

ead

pho

nes

and

a m

obile

com

put

-in

g d

evic

e.

Pro

ces

s

the

aud

ienc

e is

esc

orte

d fr

om th

e M

obile

Mus

ic

Wor

ksho

p v

enue

in v

ienn

a’s

city

cen

ter t

o th

e si

te

of th

e p

rod

uctio

n. o

nce

arriv

ed, t

hey

have

the

op-

por

tuni

ty to

exp

lore

the

loca

tion

two

at a

tim

e.

equi

pp

ed w

ith a

Wea

rab

le C

omp

uter

and

hea

d-

pho

nes

the

reci

pie

nt is

imm

erse

d in

sou

nd s

urro

und

-in

gs

he c

an p

hysi

cally

nav

igat

e. t

he p

ath

they

cho

se

is in

no

way

- au

dito

ry o

r vis

ually

- p

red

eter

min

ed,

ther

eby

allo

win

g th

e au

die

nce

to le

t the

mse

lves

be

gui

ded

by

asp

ects

of t

he p

lace

itse

lf su

ch a

s its

arc

hi-

tect

ure

whi

le e

xper

ienc

ing

the

pro

duc

tion.

tex

t

the

text

use

d in

Cra

ving

dra

ws

on C

rave

, a p

lay

by

brit

ish

dra

mat

ist s

arah

kan

e (1

971

- 199

9). i

n it,

four

sp

arse

ly d

raw

n ch

arac

ters

wea

ve a

tap

estr

y m

ade

up

of q

uota

tions

and

frag

men

ts, t

he c

loth

of w

hich

are

th

eir i

ndiv

idua

l tra

umas

, lov

es, g

rieve

s an

d re

sig

na-

tions

. plo

t and

sig

ns in

dic

atin

g te

mp

oral

dev

elop

-m

ents

are

red

uced

to a

min

imum

. it i

s in

rep

etiti

on

and

the

final

def

eat o

f com

mun

icat

ion

of in

tern

al

land

scap

es th

at w

e co

me

full

circ

le to

the

urb

ane

Wüs

te (t

he u

rban

des

ert)

in b

etw

een

the

tow

ers

of

the

don

aust

adt.

kan

e’s

text

, whi

ch is

fille

d w

ith e

lem

ents

of s

ubje

ctiv

e m

edita

tions

on

urb

an s

urro

und

ing

s, b

ut d

evoi

d o

f

stag

e d

irect

ions

has

bee

n re

arra

nged

and

exp

and

ed

usin

g p

iece

s of

eve

ryd

ay c

onve

rsat

ions

to w

ork

with

in

div

idua

l clu

ster

s ac

cord

ing

to th

e d

eman

ds

of c

er-

tain

pla

ces.

met

Ho

d

the

sele

ctio

n an

d s

pat

ial a

nd te

mp

oral

dis

trib

utio

n of

sou

nd e

lem

ents

req

uire

a d

etai

led

stu

dy

of te

xt

and

con

diti

ons

of th

e sp

ace

such

as

arch

itect

ure,

flo

w o

f mov

emen

ts a

nd rh

ythm

s. t

he te

chno

log

y (g

ps, e

tc.)

fram

ing

the

pro

duc

tion

obvi

ousl

y p

lays

an

othe

r, ve

ry im

por

tant

role

.

as

envi

ronm

enta

l infl

uenc

es s

uch

as w

eath

er o

r so

cial

inte

ract

ion

surr

ound

ing

the

par

ticip

ants

or

thei

r per

sona

l mov

emen

t pat

tern

s ca

nnot

be

fore

-se

en, t

he s

ound

des

ign

is n

ot g

eare

d to

war

ds

con-

stru

ctin

g a

line

ar n

arra

tive.

it a

ims,

rath

er, t

o cr

eate

in

div

idua

l, b

ut lo

osel

y-co

nnec

ted

sce

nes.

to

arch

ive

this

, aco

ustic

ele

men

ts a

re p

lace

d o

n st

reet

cor

ners

, on

wid

e, o

pen

sp

aces

or i

n liv

ely

pas

sag

e w

ays

as

they

rela

te to

a s

ensa

tion

and

mea

ning

cre

ated

by

thei

r arc

hite

ctur

e or

the

hum

an b

eing

s in

hab

iting

it.

in o

rder

to d

o th

is th

e ar

tists

hav

e d

evel

oped

a s

oft-

war

e, w

hich

ena

ble

s a

com

pos

ition

of t

emp

oral

ly

and

sp

atia

lly d

ynam

ic a

cous

tic s

cene

s.

soun

d fr

agm

ents

suc

h as

sp

oken

lang

uag

e or

m

usic

are

gro

uped

tog

ethe

r, fo

llow

ing

an

inte

rnal

te

mp

oral

log

ic. t

hese

gro

ups

are

dis

trib

uted

all

over

th

e ar

ea a

nd li

nked

thro

ugh

the

reci

pie

nt’s

per

cep

-tio

n as

he

mov

es th

roug

h th

e sp

ace.

a

pp

lyin

g th

eir o

ther

sen

ses

and

thei

r fee

ling

for

the

spec

ific

pla

ce th

e p

artic

ipan

ts th

en p

ut th

e p

er-

ceiv

ed s

ensa

tions

into

a la

rger

con

text

. thi

s ab

ility

to

free

ly a

ssoc

iate

inte

ntio

nal d

esig

n el

emen

ts th

roug

h re

flect

ion

acce

pts

the

spec

tato

r in

the

tem

por

al a

nd

spat

ial c

omp

lexi

ty o

f his

cog

nitio

n.

tec

Hn

olo

gy

the

par

ticip

ant i

s eq

uip

ped

with

a w

eara

ble

com

put

-er

and

hea

dp

hone

s. C

usto

m s

oftw

are

det

erm

ines

his

p

ositi

on v

ia g

ps, t

rack

s hi

s he

ad- a

nd b

ody

mov

e-m

ents

thro

ugh

a m

agne

tom

eter

. bas

ed o

n th

eir r

e-su

lts th

e co

mp

uter

rend

ers

the

aud

io c

omp

ositi

on

in re

al-t

ime.

thr

oug

h a

sim

ulat

ion

of b

inau

ral h

ear-

ing

, sou

nds

pre

viou

sly

affil

iate

d to

cer

tain

pla

ces

now

bec

ome

aud

ible

from

thei

r sp

ecifi

c d

irect

ion.

th

e so

ftw

are

inco

rpor

ates

a re

al-t

ime

virt

ual a

cous

tic

envi

ronm

ent r

end

erin

g e

ngin

e. it

is b

ased

on

head

-re

late

d tr

ansf

er fu

nctio

n (h

rtf

), d

escr

ibin

g h

ow a

giv

en s

ound

inp

ut (p

aram

eter

ized

as

freq

uenc

y an

d

sour

ce lo

catio

n) is

filte

red

by

the

diff

ract

ion

and

re-

flect

ion

pro

per

ties

of th

e to

rso,

hea

d a

nd p

inna

b

efor

e re

achi

ng th

e ea

rdru

m a

nd in

ner e

ar. t

hese

lo

catio

n-sp

ecifi

c fil

ter e

ffect

s p

rovi

de

the

hum

an

neur

al s

yste

m w

ith e

noug

h cu

es to

pro

per

ly lo

cate

a

soun

d’s

sour

ce. t

hrou

gh

the

real

istic

sim

ulat

ion

of

thes

e ef

fect

s it

is n

ow p

ossi

ble

to p

lace

sou

nd e

mit-

ting

“p

rop

s” in

to th

e lis

tene

r’s e

nviro

nmen

t.

sIte

Cra

ving

was

env

isio

ned

for p

rod

uctio

n in

vie

nna

dC

, a

mod

ern

com

ple

x of

com

mer

cial

and

resi

den

tial

bui

ldin

gs

in th

e ci

ty’s

don

aust

adt d

istr

ict.

this

mos

t p

reem

inen

t are

a is

defi

ned

by

a b

ranc

h of

the

river

d

anub

e in

the

sout

h an

d th

e u

nite

d n

atio

ns b

uild

-in

g in

the

nort

h. v

ienn

a d

C w

as c

once

ived

ent

irely

on

the

dra

win

g b

oard

aft

er p

lans

for a

Wor

ld f

air

in th

is lo

catio

n ha

d b

een

veto

ed in

a re

fere

ndum

in

that

sam

e ye

ar o

f 199

1. n

ever

thel

ess,

ten

year

s af

ter

its o

pen

ing

, the

are

a is

stil

l urb

anity

in p

rog

ress

, as

vario

us v

acan

t lot

s cr

eate

a la

yere

d s

urfa

ce, w

hose

he

aps

of d

irt c

ontr

ast w

ith th

e sp

otle

ss fa

cad

es o

th-

erw

ise

dom

inat

ing

the

view

. vie

nna

dC

hou

ses

nu-

mer

ous

mul

tinat

iona

l cor

por

atio

ns a

nd in

form

atio

n te

chno

log

y fir

ms

in o

ffice

sky

scra

per

s, b

ut th

ere

are

also

viv

id re

sid

entia

l zon

es in

bet

wee

n. o

ne c

an li

t-er

ally

wal

k ar

ound

a c

orne

r to

see

the

num

ber

of

suits

dim

inis

hed

and

peo

ple

lead

ing

thei

r liv

es in

a

slow

er a

nd m

ore

info

rmal

way

. the

re is

a b

izar

re

city

with

in, w

hose

4.0

00 in

hab

itant

s ha

ve a

dop

ted

to

the

giv

en s

yste

m o

f op

en s

pac

es a

nd th

e sp

atia

l lo

gic

of t

he c

omp

lex.

for

them

the

arch

itect

s en

vi-

sion

ed a

chu

rch,

a m

useu

m e

xhib

iting

wor

ks o

f an

aus

tria

n sc

ulp

tor,

a b

iling

ual s

choo

l and

kin

der

gar

-te

n, a

sup

erm

arke

t, a

num

ber

of c

afés

loca

ted

in

the

lob

bie

s of

sky

scra

per

s, a

nd a

rest

aura

nt. o

ther

un

ique

arc

hite

ctur

al fe

atur

es a

lso

stro

ngly

influ

ence

th

e w

ay in

whi

ch th

e sp

ace

is p

erce

ived

: a w

ide

flig

ht

of s

tairs

lead

ing

up

to n

othi

ng, s

urve

illan

ce c

amer

as

pla

ces

at e

ye le

vel,

des

erte

d c

hild

ren’

s p

layg

roun

ds,

a

vast

em

pty

sp

ace

who

se fl

oor i

s co

vere

d in

gla

ring

w

hite

pai

nt. t

his

mic

roco

sm a

llow

s th

e ar

tists

to u

se

the

spac

e’s

emot

iona

l tec

toni

cs a

nd p

ossi

ble

ass

o-ci

atio

ns w

hile

bre

akin

g w

ith th

e no

rmal

pat

tern

s of

m

ovem

ent,

per

cep

tion

and

inte

ract

ion

with

the

envi

-ro

nmen

t and

oth

er p

eop

le.

11 C

ravi

ng, b

ernh

ard

gar

nicn

ig &

go

ttfr

ied

hai

der

5356

2007 Ke

Yn

ote

s

Keynote a

dd

ress 07 may

michel w

aisvisz

excerp

ts from

rég

ine deb

atty’s blo

g entry o

nhttp

://ww

w.w

e-make-m

oney-no

t-art.com

one o

f the directo

rs of ste

iM, co

-host o

f MM

W

2007, Michel W

aisvisz is a com

po

ser/perfo

rmer o

f live electro

nic music, w

ho has invented

new w

ays to

achieve physical to

uch with electro

nic music instru-

ments, fo

r examp

le by literally to

uching the elec-

tricity inside the instrum

ents…

he illustrated

his quest to

find and

develo

p p

hysical relatio

nships w

ith electronic m

usical instruments b

y p

erform

ing a sho

rt imp

rovisatio

n on the h

ands, an

interface he conceived

in the early 1980s…

in the ‘60s, when he w

as a teenager he w

ould

do

m

usical experim

ents with his b

rother: p

utting a p

ia-no

upsid

e do

wn and

playing

the instrument just b

y to

uching his string

s…

he sho

wed

us a fantastic picture o

f him b

ecom

-ing

literally a tape read

ing m

achine using “the ta-

pepuller” instrum

ent (imag

e on the rig

ht). he w

as live sam

pling

, scratching 2 tap

e heads using

foo

t-p

edals. h

e’d p

ull one fo

rward

with a fo

ot to

create m

usic while rew

inding

the other tap

e with the o

ther fo

ot, unheard

of the p

ublic.

he d

iscussed his fascinatio

n for the v

C3, a syn-

thesizer that can be used

witho

ut a keybo

ard. h

e b

oug

ht a vC

3, op

ened its b

ack and p

ut his fingers

inside. h

e thus used the b

od

y to extend

the cir-cuitry and

mo

dified

the sound

in ways he fo

und in-

teresting. the m

anipulatio

ns gave him

the feeling

that the sound

was flo

ating in the ro

om

and that he

could

grab

it. he d

ecided

that instead o

f op

ening

the instrument b

ack he should

better custo

mize it.

this was the insp

iration fo

r what later b

ecame the

Crackleb

ox. h

e was fascinated

by the id

ea of a hu-

man b

eing w

ho is turned

into a variab

le electrical co

nducto

r/resistor, and

a thinking [w

et] element o

f the m

usical instrument.

in 1973, Waisvisz arrived

at steiM

and w

orked

on

the Crackleb

ox, a hand

held instrum

ent based

on

the same p

rinciple o

f bo

dy co

nductivity…

all so

rts of C

rackle ob

jects could

be m

anipulated

b

y children…

am

ong

the artefacts (som

e of w

hich are re-invented

by yo

ung interactio

n desig

ners and

show

n tod

ay at events such as the Milan furniture

fair) show

n were p

hones that d

istort yo

ur voice ac-

cord

ing to

the strength yo

u use to sq

ueeze the receiver; a m

usical bike w

here the generato

r was

connected

to sp

eakers instead o

f a headlig

ht; a se-ries o

f connected

Crackleb

oxes that m

akes melo

-d

ies when yo

u po

ur som

e tea in the cups; a cucko

o

clock p

rod

ucing scratchy so

unds, etc.

ano

ther of W

aisvisz’s famo

us pro

jects is the Web

w

here each thread in the sp

iderw

eb-like instru-

ment is a senso

r. peop

le can play it and

manip

u-late the tim

bre in a very intuitive w

ay by g

rabb

ing

the strings.

he m

entioned

several pro

jects that investigate this

(still under-d

evelop

ed) p

hysical relationship

with

musical instrum

ents: Jon r

ose’s h

yperstring

bo

w;

nico

las Co

llins’ trom

bo

ne-prop

elled e

lectronics,

and the lad

y’s glo

ve by laetitia so

nami.

a last w

ork he m

entioned

is kristina a

ndersen’s en-

semb

le, a suitcase full of so

unds and

clothes. sen-

sors are fitted

on the g

arments in such a w

ay that the functio

n of the senso

r is concep

tually supp

ort-

ed b

y the form

-factor o

f the garm

ent.

licensed und

er Creative C

om

mo

ns 1.0http

://ww

w.creativeco

mm

ons.o

rg

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 7

str

ana:

A

C M

Y K

50

2007

spa

t_la

b p

ro

jec

ts

laur

a sk

oce

k d

usk

daw

n /

Isla

nd m

aps

(fig

. a, b

, C)

serie

s o

f pho

tog

rap

hsM

ove

men

ts o

n 3

pla

teau

s o

n pl

oci

ca w

ere

ob

serv

ed

and

sna

p-s

hots

of t

he is

land

wer

e re

com

po

sed

into

a

seq

uenc

e.

the

serie

s is

land

-Map

s w

as ta

ken

fro

m th

ree

dif-

fere

nt p

osi

tions

. the

se p

hoto

gra

phs

wer

e p

iece

d

tog

ethe

r int

o th

ree

map

s, th

e p

hoto

gra

phe

r bei

ng

the

cent

er. a

“fa

lse”

imag

e o

f plo

cica

’s g

eog

rap

hy

thus

em

erg

es fr

om

the

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ject

ive

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ntat

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o

f the

brie

f vis

itor o

n th

e is

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arb

itrar

y d

ivis

ion

of z

one

s.

nin

a to

mm

asi

Imag

inar

y fu

sio

n o

f aco

ustic

loca

tion

(fig

. d, e

, f)

the

mai

n id

ea w

as to

mak

e a

site

co

mp

rehe

nsi-

ble

as

a d

ynam

ic n

etw

ork

of s

oun

d o

bje

cts.

(the

d

efini

tion

of t

his

fusi

on

bet

wee

n in

terd

epen

d-

ent c

orp

ore

aliti

es c

an o

nly

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pre

hend

ed a

s p

roce

ss-b

ased

; it d

efies

a p

riori

tota

l rep

rese

ntat

ion

bec

ause

of i

ts c

om

ple

xity

. th

e su

rvey

, the

tim

e o

f day

whe

n th

is is

car

ried

out

an

d th

e p

roce

ss it

self

of s

urve

ying

are

use

d fo

r d

elib

erat

ely

red

ucin

g a

nd m

anip

ulat

ing

the

site

’s co

mp

lexi

ty. i

n th

is w

ay, t

he c

ond

itio

ns o

f the

site

are

re

org

aniz

ed in

ord

er to

per

ceiv

e th

e w

hole

site

in a

d

iffer

ent l

ight

alto

get

her.

this

red

uctio

n ai

med

at p

rod

ucin

g a

dd

ed c

om

po

-si

tiona

l val

ue, w

hich

wo

uld

mak

e th

e si

te p

erce

iv-

able

by

mea

ns o

f aud

iovi

sual

imp

ress

ions

of i

t and

p

roce

ssua

l cha

nges

to it

and

ther

eby

gen

erat

e ne

w

po

ssib

ilitie

s o

f rep

rese

ntat

ion.

th

e su

rvey

pro

ced

ure

is n

ot b

e se

en a

s th

e re

cord

o

f geo

gra

phi

c-te

cto

nic

dat

a in

a p

reci

se C

arte

sian

sy

stem

of c

oo

rdin

ates

but

rath

er a

s a

kind

of “

nes-

tling

” ag

ains

t the

form

, so

to s

pea

k.W

hile

co

rds

mar

ked

the

rock

s an

d p

rod

uced

new

ar

chite

ctur

al s

pac

es/p

oin

ts o

f ref

eren

ce fo

r the

so

und

reco

rdin

gs,

this

geo

met

ric e

xpan

sio

n o

f the

si

te a

nd it

s su

bje

ctiv

e se

nso

ry p

erce

ptio

n le

nt th

e si

te a

n im

man

ently

cha

ngea

ble

ind

ivid

ualit

y.

the

tect

oni

c, v

isib

le b

od

y, a

long

with

all

its p

ecul

i-ar

ities

, was

var

ious

ly li

nked

with

oth

er s

urro

und

ing

“b

od

ies”

whi

ch, a

nalo

go

us to

the

cord

s, “

nest

led

” ag

ains

t it,

form

ed a

nd d

efine

d it

and

its

in-b

etw

een

spac

es.

imp

ort

ant c

ons

tant

s th

at le

nt th

e si

te it

s in

div

idua

l-ity

and

gen

erat

ed th

e p

oss

ibili

ties

of r

eco

gni

zing

it,

such

as

soun

din

g b

od

ies

or “

win

d b

od

ies,

” o

rigi-

nate

d fr

om

pla

ces

out

sid

e th

e st

aked

out

cla

im.

this

bo

dy/

site

/ob

ject

can

onl

y b

e se

en in

the

con-

text

of i

ts g

eog

rap

hic

surr

oun

din

gs

and

the

po

int a

t w

hich

eac

h re

spec

tive

bo

dy

is li

nked

with

the

oth

er.

soun

d re

cord

ing

s w

ere

mad

e al

ong

the

fixed

line

, re

pre

sent

ing

the

“po

ints

of r

efer

ence

” fo

r the

oth

er

“co

rpo

real

ities

” su

rro

und

ing

the

rock

s.

alth

oug

h th

e co

nten

t of t

hese

so

und

file

s se

rved

as

refe

renc

e to

the

geo

met

ric s

pac

e an

d fo

r the

mo

-m

ent i

n tim

e w

hen

it w

as s

urve

yed

, the

mo

rphi

ng

spec

trum

of s

oun

d tu

rned

the

site

into

a c

ons

tant

ly

chan

gin

g “

sett

ing

.”1:

n 4

3.03

097°

- e

16.

8157

6°2:

n 4

3.03

094°

- e

16.

8159

0°

sop

hie

Wag

ner

brz

ina

hod

anja

(fig

. g)

equi

pp

ed w

ith m

y ac

tionc

am i

mo

ved

alo

ng th

e b

ord

ers

of m

y cl

aim

, cap

turin

g im

ages

and

so

und

s ab

ove

and

und

er th

e w

ater

. th

e rh

ythm

of t

he im

ages

was

det

erm

ined

by

the

cond

itio

ns o

f the

cla

im, s

uch

as th

e m

ove

men

ts o

f m

y flo

at o

r of a

stu

nt k

ite.

each

seq

uenc

e is

an

inst

rum

ent f

or t

he m

usic

ban

d

for w

hich

the

visi

tor c

an c

om

po

se n

ew p

iece

s o

f m

usic

usi

ng th

e so

und

s i g

athe

red

on

my

wal

ks

alo

ng b

ord

ers.

1:

n 4

3.03

118°

- e

16.

8158

2°2:

n 4

3.03

106°

- e

16.

8157

9°3:

n 4

3.03

112°

- e

16.

8157

0°4:

n 4

3.03

117°

- e

16.

8157

0°

flo

rian

Wal

dne

rW

ave

land

s

the

sto

nes

on

the

plo

cica

isla

nd s

how

pat

tern

s th

at a

re fo

rmed

by

the

tide

ove

r a lo

ng p

erio

d o

f tim

e. p

hoto

gra

phs

of t

hese

pat

tern

s ar

e re

duc

ed to

tw

o-d

imen

sio

nal g

rap

hica

l lin

es. a

udio

reco

rdin

gs

take

n at

the

sam

e p

lace

are

ana

lyze

d c

onc

erni

ng

thei

r sp

ectr

al c

om

po

sitio

n. t

he d

ata

resu

lting

fro

m

that

ana

lysi

s is

use

d to

ani

mat

e th

e g

rap

hica

l lin

es

in th

ree

dim

ensi

ona

l sp

ace.

suc

h th

at m

ove

men

t of

the

abst

ract

ed p

atte

rns

is d

epen

den

t on

the

soun

d

of t

he s

ea.

1: n

43.

0309

3° -

e 1

6.81

575°

2: n

43.

0309

4° -

e 1

6.81

591

51

de

f

aC

bg

54 2007 a

mste

rd

am

, steim

institu

te a

nd

wa

aG

soc

ietY, n

eth

er

lan

ds

4th M

ob

ile Mu

siC W

ork

sho

p

5555

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 7

str

ana:

B

C M

Y K

5757 60

2007

Ke

Yn

ote

s

Key

note

ad

dre

ss 0

8 m

ay

rég

ine

deb

atty

rég

ine

deb

atty

, blo

gg

er fr

om

We

Mak

e M

one

y n

ot

art

, gav

e th

e cl

osi

ng k

eyno

te a

dd

ress

at M

MW

2007

. a

s p

art o

f her

key

note

pre

par

atio

ns, s

he h

ad b

een

cove

ring

the

wo

rksh

op

live

on

her b

log

, rep

ort

ing

o

n th

e w

ork

s an

d ta

lks

as th

ey w

ere

bei

ng p

rese

nt-

ed a

t ste

iM a

nd W

aag

. in

her t

alk

at W

aag

’s th

e-at

rum

ana

tom

icum

at n

ieuw

mar

kt, r

eg c

hang

ed

role

s, fr

om

that

of o

bse

rver

, to

take

the

po

diu

m to

d

escr

ibe

her p

rese

nt in

tere

sts

and

pre

occ

upat

ions

.

she

retr

aced

her

ste

ps

to d

escr

ibe

how

she

go

t int

o

her f

ull t

ime

activ

ity o

f blo

gg

ing

the

art,

cultu

ral,

and

d

esig

n w

orld

s. ir

oni

cally

she

em

bar

ked

on

this

no

-m

adic

, ver

y m

ob

ile w

ork

at a

des

k jo

b fo

r the

eur

o-

pea

n C

om

mis

sio

n in

tur

in. b

ore

d w

ith h

er jo

b, b

ut

insp

ired

by

the

artw

ork

she

saw

aro

und

her

, inc

lud

-in

g th

at o

f her

cur

rent

par

tner

, she

foun

d th

at h

er

des

ire to

des

crib

e w

hat s

he p

erce

ived

, in

her o

wn

non-

spec

ialis

t ter

ms,

co

uld

inte

rest

oth

ers.

this

ap

pro

ach

of f

ollo

win

g o

ne’s

nose

, bei

ng g

uid

ed

by

one

’s o

wn

inte

rest

s, a

nd w

ritin

g in

an

dis

arm

ing

, ac

cess

ible

way

was

a p

erfe

ct m

atch

for t

he b

log

as

med

ium

. ini

tially

inte

rest

ed b

y th

e ar

ea o

f med

ia a

rt

– w

ork

s ta

cklin

g q

uest

ions

of t

echn

olo

gy

and

cul

-tu

re, s

he w

ent o

n to

co

ver d

esig

n ev

ents

wo

rldw

ide.

h

er in

tere

sts

at th

e tim

e o

f the

key

note

had

shi

fted

to b

io-a

rt, f

ocu

sing

on

artis

ts, c

urat

ors

, and

exh

ibi-

tions

bro

achi

ng a

esth

etic

and

eth

ical

que

stio

ns o

n b

iote

chno

log

y an

d p

hysi

olo

gy.

she

has

sin

ce k

ept

mo

ving

, co

verin

g th

e co

ntem

po

rary

art

wo

rld in

her

ch

aris

mat

ic a

nd p

erso

nab

le s

tyle

.

thro

ugho

ut th

is s

hift

ing

land

scap

e o

f int

eres

ts, r

é-g

ine

mai

ntai

ns a

n in

tere

st in

art

and

tech

nolo

gy,

her

fo

cus

driv

en b

y th

e p

erso

nal a

nd h

uman

effo

rts

be-

hind

pro

ject

s. W

hile

her

itin

erar

y co

ntin

ues

to b

e se

t b

y he

r int

eres

ts, s

he a

dm

itted

with

the

succ

ess

of

her b

log

bei

ng s

olic

ited

to c

ove

r eve

nts,

chu

cklin

g

at th

e ap

par

ent m

isun

der

stan

din

g o

f cer

tain

org

a-ni

zers

who

tho

ught

WM

Mn

a w

as a

gia

nt m

achi

ne

or w

hole

offi

ce. r

eg is

a fr

ee a

gen

t, b

oo

king

her

o

wn

trav

el, d

ecid

ing

her

des

tinat

ions

.

in th

e ar

ea o

f lo

cativ

e m

edia

, one

of t

hose

des

tina-

tions

has

bee

n th

e C

onfl

ux fe

stiv

al o

f psy

cho

-geo

g-

rap

hy in

bro

okl

yn, n

y. s

he w

as n

ot p

aid

, sp

ons

ore

d,

nor s

ubsi

diz

ed to

co

ver t

his

artis

t run

eve

nt –

it w

as

the

top

ic, t

he p

eop

le, a

nd th

e fe

elin

g th

at m

otiv

ate

her t

o g

o. i

t is

this

pro

fess

iona

l sp

irit,

this

bro

ad v

iew

o

f the

sce

ne, a

nd in

cisi

ve k

now

led

ge

of s

pec

ific

gra

ssro

ots

initi

ativ

es, t

hat m

ade

reg

the

per

fect

set

o

f eye

s an

d e

ars

to fo

llow

, int

erac

t with

, and

be

par

t o

f the

MM

W20

07. (

Ed

s.)

616164

2007 pe

rfo

rm

an

ce

s

the hand

ydand

y

„ In French it is called le p

ortab

le. In Arab

ic it is so

metim

es called sayaar o

r makhm

ul. In Thailand it

is a mo

to. B

ut here in Nickelsd

orf there’s o

nly one

reference, which is no

other than “the hand

ydan-

dy”.....

......a handy is a hend

i is a handy“

ing. Zap

fl, nickelsd

orf 2006

ab

stra

ct

the hand

ydand

y were a b

luetoo

th-rock and

noise

gro

up fro

m v

ienna, austria / lo

s ang

eles, Califo

r-nia. they are o

ne of the m

ost co

mm

ercially success-ful and

critically acclaimed

band

s in the history o

f p

op

ular music. the b

and’s p

rincipal m

emb

ers were

bernhard

bauch, luc g

ross, n

icolaj k

irisits, go

rdan

savicic, florian W

aldner and

tschuli staudach-Jef-

ferson.

in austria, the h

andyd

andy released

mo

re than 40 d

ifferent singles, alb

ums, and

eps that reached

num

ber o

ne. this com

mercial success w

as repeat-

ed in m

any other co

untries; their record

com

pany,

eM

i, estimated

that by 20055 they had

sold

over

one b

illion reco

rds w

orld

wid

e. the hand

ydand

y are the b

est-selling m

usical act of all tim

e in the united

states, acco

rding

to the r

ecord

ing ind

ustry asso

-ciatio

n of a

merica.

in 2006, ro

lling sto

ne mag

azine ranked the h

andy-

dand

y #1 on its list o

f 100 greatest a

rtists of a

ll t

ime. a

ccord

ing to

that same m

agazine, their in-

novative m

usic and cultural im

pact help

ed d

efine the 2000s and

their influence on p

op

culture is still evid

ent tod

ay.

the hand

ydand

y led the m

id-2000s m

usical “blue-

too

th invasion” into

the united

states and w

orld

-w

ide. a

lthoug

h their initial musical style w

as roo

ted

in 1950s rock and

roll and

hom

egro

wn skiffle, the

gro

up exp

lored

genres rang

ing fro

m Jo

hnny Cag

e to

psyched

elic blueto

oth-ro

ck. their clothes, styles,

and statem

ents mad

e them trend

-setters, while

their gro

wing

social aw

areness saw their influence

extend into

the social and

cultural revolutio

ns of

the 1990s.

the hand

ydand

y is a wireless rhizo

m. a

real-time

rock axio

m b

ased o

n asymm

etrical netwo

rk mu-

sic synthesis. “the handyd

andy” are first o

f all stars w

ithin an upco

ming

and never em

erging

mu-

sic scene, namely the b

luetoo

th rock’n’ro

ll. their b

od

y perfo

rmance im

plies p

ow

erful and energ

et-ic electro

-acoustic co

mp

uter music. each o

f their co

ncerts are site-specific artw

orks them

selves. the m

ain concep

t is an human-o

pp

osed

com

puter net-

wo

rk based

on real-tim

e patches. the g

roup

itself p

erform

s on m

isused hyb

rid-m

edia artefacts, also

kno

wn as m

ob

ile pho

nes in the latter 20th century. C

ardb

oard

flying-v

s, pim

ped

violins and

sonified

g

ti-trubad

ors are just b

rief examp

les of their never-

ending

musical interface rep

ertoire. the hand

ydan-

dy is a slap

in your face, after w

hich you still w

anna sm

ile. they live and w

ork in m

iami/u

s.

http://thehand

ydand

y.yugo

.at/

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 8

str

ana:

A

C M

Y K

58

2007

Ke

Yn

ote

s

net

wo

rk l

and

scap

es:

land

scap

e, p

ublic

sp

ace

& m

ob

ile m

usic

…m

ole

cule

s?

te

ri r

ueb

Whe

n i a

rriv

ed fo

r th

e w

ork

sho

p y

este

rday

the

ne

ighb

orh

oo

d w

as fi

lled

with

the

so

und

s o

f a p

ublic

o

utd

oo

r co

ncer

t. M

eanw

hile

, ind

oo

rs m

y ac

ous

-tic

land

scap

e sh

ifted

fro

m b

udd

y h

olly

to

ro

y o

r-b

iso

n to

Jo

hnny

Cas

h as

a b

eaut

ifully

pre

serv

ed

1950

s ju

keb

ox

pul

sed

with

the

last

no

stal

gic

sel

ec-

tion

mad

e b

y a

stra

nger

. r

egar

dle

ss o

f my

mus

ical

p

refe

renc

e, t

hese

mo

men

ts h

eld

mea

ning

for

me

on

a d

eep

er le

vel a

s th

ey s

igna

led

so

met

hing

im-

po

rtan

t ab

out

so

und

and

pub

lic s

pac

e. t

he m

es-

sag

e w

as in

the

med

ium

, no

t ju

st t

he c

ont

ent

of

the

soun

ds.

the

act

of s

oci

al g

athe

ring

for

shar

ed

liste

ning

, ind

ivid

uals

sus

pen

ded

in t

he c

onn

ectiv

e tis

sue

of s

oun

d–w

heth

er in

div

idua

lly o

r co

llect

ivel

y p

rog

ram

med

–ser

ves

as a

po

wer

ful c

atal

yst

in t

he

form

atio

n o

f po

litic

al id

entit

y an

d t

he c

laim

ing

of

pub

lic s

pac

e. a

pub

lic li

ve p

erfo

rman

ce o

ffere

d a

s a

free

co

ncer

t co

nstit

utes

a m

ob

ile lo

catio

n-b

ased

ne

two

rked

tec

hno

log

y q

uite

diff

eren

t fr

om

the

mo

-b

ile s

oun

d p

latf

orm

s th

at h

ave

bec

om

e th

e d

efau

lt te

chno

log

y re

ferr

ed t

o a

nd u

sed

in a

rtis

tic p

ract

ice

and

cul

tura

l stu

die

s in

mo

bile

so

und

.

Whe

re d

oes

thi

s sh

ared

pub

lic s

pac

e g

o w

hen

we

ado

pt

the

per

sona

lized

sp

ace

of m

ob

ile m

usic

in-

terf

aces

to

the

city

? W

hat

are

the

cons

eque

nces

o

f the

sp

read

of m

ob

ile m

usic

dev

ices

tha

t w

oul

d

insc

ribe

us w

ithin

per

sona

lized

bub

ble

s o

f so

und

?

is t

his

kind

of s

harin

g a

form

of p

erso

nal o

r co

llec-

tive

exp

ress

ion,

or

are

we

mer

ely

conf

orm

ing

to

a

syst

em o

f so

cial

inte

ract

ion

and

exc

hang

e th

at h

as

bec

om

e an

eve

n m

ore

inte

nsifi

ed in

terio

rizat

ion

of

cont

rol s

pac

e? W

hat

is t

he s

pac

e o

f co

mp

rom

ise

and

neg

otia

tion

of m

eani

ng a

kin

to “

pub

lic s

pac

e”

in t

his

mo

men

t o

f dua

l mo

vem

ent

bet

wee

n g

lob

al

hom

og

eniz

atio

n an

d e

xpan

ded

co

smo

po

litan

ism

?

hav

e w

e ab

and

one

d t

he c

ons

tant

ly s

hift

ing

land

-sc

ape

that

wo

uld

tak

e us

out

sid

e o

r b

eyo

nd t

he

com

fort

zo

ne o

f our

fact

iona

lized

co

hort

? a

s cu

l-tu

ral p

rod

ucer

s, c

ritic

s an

d c

ons

umer

s –

as c

itize

ns

- w

e ha

ve a

n o

blig

atio

n to

que

stio

n “o

ff th

e sh

elf”

te

chno

log

ies

that

ap

pea

r as

“na

tura

l” o

r “l

iber

at-

ing

”.

if w

e b

rush

ag

ains

t th

e g

rain

of m

ob

ile m

edia

fo

rms,

wha

t m

ight

we

dis

cove

r as

the

und

ersi

de

of

this

co

nditi

on

and

ho

w w

ill w

e re

spo

nd?

as

a so

ci-

ety

we

have

bec

om

e at

om

ized

, but

the

que

stio

n re

-m

ains

“C

an w

e fo

rm m

ole

cule

s?”1

, and

wha

t m

ight

th

ey lo

ok

like?

as

ind

ivid

uals

link

ed t

hro

ugh

mo

bile

tec

hno

lo-

gie

s w

e ha

ve b

eco

me

mo

bile

no

des

in a

co

mp

lex

netw

ork

in fl

ux.

bey

ond

the

cla

ssic

al fi

gur

e in

a

land

scap

e, w

e ha

ve b

eco

me

the

very

mat

eria

l fro

m

whi

ch t

his

“net

wo

rk la

ndsc

ape”

2 em

erg

es a

s th

e in

tera

ctio

n o

f nat

ural

, so

cial

, tec

hno

log

ical

and

bio

-lo

gic

al n

etw

ork

s.

J.b

. Jac

kso

n, t

he g

reat

his

toria

n o

f the

ver

nacu

lar

land

scap

e, a

rgue

d t

hat

we

mus

t se

e la

ndsc

ape

ulti-

mat

ely

as a

“sh

ared

thr

ee-d

imen

sio

nal r

ealit

y” a

nd

ther

efo

re a

que

stio

n o

f pub

lic s

pac

e. t

his

app

eal

mus

t al

so b

e m

ade

in li

ght

of h

ow

we

und

erst

and

th

e “n

etw

ork

land

scap

e” o

f mo

bile

net

wo

rk s

oci

ety.

a

s ac

tors

in t

his

land

scap

e, h

ow

can

we

resi

st b

eing

fr

amed

as

pas

sive

co

nsum

ers

or

cont

rolle

d a

nd s

ur-

veill

ed s

ubje

cts,

and

inst

ead

em

bra

ce o

ur a

gen

cy

as c

reat

ors

and

par

ticip

ants

in t

he s

hap

ing

of t

his

new

pub

lic s

phe

re?

rat

her

than

cho

osi

ng t

o c

reat

e ne

two

rk la

ndsc

apes

th

at fo

ster

esc

ape

or

def

erra

l of t

his

chal

leng

e, w

e m

ust

seek

to

cre

ate

ever

mo

re c

harg

ed s

pac

es o

f so

cial

ly, t

echn

olo

gic

ally

and

eco

log

ical

ly m

edia

ted

en

coun

ter.

the

var

ious

wo

rks

i will

sha

re in

thi

s ta

lk

trac

e a

ten-

year

exp

lora

tion

aro

und

the

que

stio

n o

f lan

dsc

ape,

pub

lic s

pac

e, id

entit

y an

d n

etw

ork

–in

par

ticul

ar, t

he c

yber

netic

land

scap

e as

pro

duc

ed

thro

ugh

and

fram

ed b

y so

und

.

1 Jo

hn r

. stil

go

e p

ose

d t

he q

uest

ion

“Can

we

mak

e m

ole

cule

s?”

in

refe

renc

e to

the

ato

miz

atio

n o

f the

pub

lic s

phe

re in

the

co

ntex

t o

f his

se

min

ar “

Mo

der

niza

tion

of t

he n

ort

h a

mer

ican

bui

lt e

nviro

nmen

t”

taug

ht a

t h

arva

rd u

nive

rsity

in s

prin

g 2

007.

2 si

nce

2006

i ha

ve a

dva

nced

the

ter

m “

netw

ork

land

scap

es”

to in

-d

icat

e th

e ex

tend

ed la

ndsc

ape

of n

atur

al, s

oci

al a

nd t

echn

olo

gic

al

netw

ork

s th

at c

om

bin

e to

form

the

gro

und

of a

new

land

scap

e co

ndi-

tion

that

i ar

gue

is p

ecul

iar

to m

ob

ile n

etw

ork

so

ciet

y. t

his

conc

eptio

n b

uild

s o

n J.

b. J

acks

on’

s et

ymo

log

y o

f the

wo

rd “

land

scap

e” a

s lin

ked

to

th

e m

edie

val g

erm

an la

ndsc

haft

, fro

m w

hich

he

pro

po

ses

the

defi

nitio

n “m

an-m

ade

syst

ems

ove

rlaid

up

on

the

land

” (d

isco

verin

g t

he v

erna

cu-

lar

land

scap

e, 1

986)

. a

cco

rdin

gly

, i a

rgue

tha

t w

irele

ss n

etw

ork

s co

n-st

itute

a c

om

po

nent

of t

he m

agne

tosp

here

tha

t is

sha

ped

by

man

as

a sy

stem

ove

rlaid

up

on

the

land

.

bIo

rue

b’s

larg

e-sc

ale

resp

ons

ive

spac

es a

nd lo

catio

n-aw

are

inst

alla

tions

exp

lore

issu

es o

f arc

hite

ctur

e an

d u

rban

ism

, lan

dsc

ape

and

the

bo

dy,

and

so

nic

and

aco

ustic

sp

ace.

in 1

999

she

pio

neer

ed g

ps-

bas

ed in

tera

ctiv

e so

und

wal

ks w

ith “

trac

e”, s

et

alo

ng a

net

wo

rk o

f hik

ing

tra

ils in

the

Can

adia

n r

ock

ies

(fund

ed b

y th

e b

anff

Cen

tre

for

the

art

s).

she

lect

ures

and

exh

ibits

wo

rld w

ide

at v

enue

s in

-cl

udin

g t

rans

med

iale

(ber

lin, 2

004)

, sig

gr

aph

(s

an a

nto

nio

, 200

2), t

he in

tern

atio

nal s

ymp

osi

um

on

ele

ctro

nic

art

s (n

ago

ya, 2

002;

par

is, 2

000;

hel

-si

nki,

2004

), C

ons

cio

usne

ss r

efra

med

(per

th, 2

002)

, th

e n

ew M

useu

m o

f Co

ntem

po

rary

art

(new

yo

rk),

the

Co

rco

ran

gal

lery

of a

rt (W

ashi

ngto

n d

.C.),

the

b

anff

Cen

tre

for

the

art

s (b

anff)

, bel

l lab

ora

to-

ries

(ho

lmd

el),

inte

rval

res

earc

h C

orp

ora

tion

(pal

o

alto

), an

d t

he f

raun

hoef

er in

stitu

te/g

Md

(ir

Ca

M,

paris

, 200

2; g

lasg

ow

, 200

1).

she

has

rece

ived

gra

nts

and

co

mm

issi

ons

fro

m t

he

iCa

bo

sto

n /

vita

bre

vis,

le

f fo

und

atio

n, a

rtsl

ink,

tu

rbul

ence

, and

var

ious

sta

te a

rts

coun

cils

. rue

b’s

wo

rk h

as b

een

feat

ured

and

revi

ewed

in d

iver

se

pub

licat

ions

incl

udin

g “

seco

nd p

erso

n: s

tory

tell-

ing

and

gam

es in

pla

yab

le M

edia

” (e

dite

d b

y pa

t h

arrig

an a

nd n

oah

War

drip

-fui

n, M

it p

ress

, 200

6)

and

“in

form

atio

n a

rts:

inte

rsec

tions

of a

rt, s

cien

ce

and

tec

hno

log

y”, (

edite

d b

y st

ephe

n W

ilso

n, M

it

pres

s, 2

001)

. she

ho

lds

a b

.f.a

. in

art

and

lite

rary

an

d C

ultu

ral s

tud

ies

fro

m C

arne

gie

Mel

lon

uni

ver-

sity

and

a m

aste

r’s d

egre

e in

inte

ract

ive

tele

com

-m

unic

atio

ns fr

om

the

tis

ch s

cho

ol o

f the

art

s, n

ew

york

uni

vers

ity. r

ueb

is a

n as

soci

ate

pro

fess

or

in

the

gra

dua

te d

epar

tmen

t o

f dig

ital M

edia

at

the

rho

de

isla

nd s

cho

ol o

f des

ign.

rue

b is

als

o p

ursu

-in

g d

oct

ora

l res

earc

h at

har

vard

gra

dua

te s

cho

ol

of d

esig

n an

d is

foun

der

and

prin

cip

al o

f op

en a

ir st

udio

, Cam

brid

ge,

Mas

sach

uset

ts.

fIg

Ur

e

teri

rue

b’s

“Co

re s

amp

le”,

par

t o

f the

exh

ibiti

on

“art

on

the

har

bo

r is

land

s” w

ith t

he b

ost

on

inst

i-tu

te o

f Co

ntem

po

rary

art

, 200

7

59595962

2007 pe

rfo

rm

an

ce

s

Hearing

sirensa

perform

ance for mp

3 players and

portab

le ho

rnloud

speakers

Cathy van E

ck

Ab

strA

ct

Reversing

the Philoso

phy o

f Head

pho

nesA

usual fashion to

hear music no

wad

ays is throug

h head

pho

nes. The mp

3-player m

ade m

ore m

usic transp

ortab

le than ever befo

re and p

ublic sp

aces are cro

wd

ed no

wad

ays with p

eop

le, living in their

ow

n acoustic w

orld

. My p

roject is ab

out reversing

this situatio

n. I am w

alking aro

und the city, p

laying

music fro

m an m

p3-p

layer, this time no

t for creating

p

rivate music, b

ut for d

iffusing it o

ut of tw

o b

ig yel-

low

hornlo

udsp

eakers, radiating

the sound

to the

environm

ent.

The Aco

ustic and V

isual Desig

n: Greek Siren and

E

merg

ency SirenThe siren is b

oth a m

ytholo

gical w

om

an, having the

bo

dy o

f a bird

and the head

of a w

om

an as a noise

maker, used

to w

arn in emerg

ency cases. The sirens as b

ird-w

om

en were kno

wn in A

ntiquity fo

r their b

eautyful singing

. It was unab

le to resist them

and

mo

st of the m

en who

heard them

did

not survive.

The emerg

ency siren is a noisem

aker and can b

e seen as a survival to

ol. I used

bo

th as an acoustic,

visual and co

nceptual starting

-po

int for the p

roject

Hearing

Sirens.C

onstructio

nThe p

ortab

le hornlo

udsp

eakers consist o

f a small

mp

3 player, a b

ox w

ith an amp

lifier and b

attery, and

two

loud

speakers in tw

o b

ig yello

w ho

rns. The co

nstruction is m

ade to

be w

orn o

n the back o

f the p

erform

er.

Aco

ustical Characteristics

The specific co

nstruction o

f the horns and

the fact that they are p

ortab

le give them

special aco

ustic p

ossib

ilities. Due to

the big

horns, the so

und is d

if-fused

very directio

nal. Therefore the aud

ience can o

ften hear the early reflections b

efore the d

irect so

und. In this w

ay, the hornlo

udsp

eakers reveals the aco

ustical characteristics of the enviro

nment. B

y a sm

all mo

vement o

f the perfo

rmer, the p

attern of

the reflections can chang

e enorm

ously. The so

unds

diffused

by the sirens are m

ade w

ith physical m

od

-els o

f sirens.

bIO

Cathy van E

ck (1979 The Netherland

s/Belg

ium) is

a com

po

ser and so

und artist. H

er wo

rk includes

com

po

sitions fo

r instruments and

live- electron-

ics as well as p

erform

ances with (selfm

ade) so

und

ob

jects.B

esides w

orking

at her different artistic p

rojects and

collab

oratio

ns, she is currently teaching at the M

u-sic and

Med

ia Art Faculty in B

ern.

http://w

ww

.cathyvaneck.net/

6363

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 8

str

ana:

B

C M

Y K

6565 mo

som

uso

: mo

bile

so

cial

mus

ic s

oft

war

e

ata

u ta

naka

, gui

llaum

e va

lad

on, a

lex

kum

mer

man

ab

str

ac

t

Mo

soM

uso

(Mob

ile s

ocia

l Mus

ic s

oftw

are)

was

a

colla

bor

ativ

e re

sear

ch p

roje

ct fu

nded

by

the

fren

ch

Min

istr

y of

res

earc

h. it

bro

ught

tog

ethe

r mob

ile

star

tup

, Clic

mob

ile, w

ith re

sear

ch p

artn

ers

sony

C

omp

uter

sci

ence

lab

orat

ory

paris

, and

the

lip6

ne

twor

k la

b a

t uni

vers

ité d

e pa

ris 6

. the

pre

sent

a-tio

n at

MM

W’0

7 co

vere

d tw

o as

pec

ts o

f Mos

omus

o,

“soc

ial M

obile

Mus

ic n

avig

atio

n u

sing

the

Com

-p

ass”

and

the

loca

tive

med

ia w

ork,

“n

et_d

ériv

e”,

real

ized

on

the

Mos

omus

o in

fras

truc

ture

.

ther

e is

an

incr

easi

ng te

nden

cy to

con

verg

e fu

nc-

tions

of s

ever

al c

onsu

mer

ele

ctro

nics

dev

ices

(a p

er-

sona

l mus

ic p

laye

r, m

obile

pho

ne, s

atel

lite

navi

-g

atio

n, d

igita

l cam

era)

o in

to a

sin

gle

dev

ice.

the

C

omp

ass

uses

mas

s-m

arke

t mob

ile p

hone

s in

an

in-

teg

rate

d lo

catio

n-aw

are,

net

wor

ked

mus

ical

nav

iga-

tion

and

exc

hang

e ap

plic

atio

n. t

he C

omp

ass

is a

to

ol to

stu

dy

and

exp

erim

ent m

obile

mus

ic n

avig

a-tio

n. W

e us

e a

sing

le in

tera

ctio

n m

etap

hor,

that

of a

co

mp

ass,

to g

uid

e th

e us

er to

sea

rch,

find

, and

nav

i-g

ate

clos

er to

frie

nds,

sty

les

of m

usic

, or p

lace

s of

in-

tere

st. u

sing

the

loca

tion

info

rmat

ion

retr

ieve

d fr

om

the

serv

er w

ith th

e p

hone

’s d

ata

link,

use

rs o

nce

in

pro

xmiti

y ar

e ab

le to

boo

tstr

ap a

d-h

oc n

etw

orks

to

allo

w s

pon

tane

ous

mus

ic e

xcha

nge.

net

_dér

ive

was

pre

mie

red

at t

he M

aiso

n ro

uge

in

paris

in 2

006.

to

per

form

the

wor

k, p

artic

ipan

ts w

ear

scar

f con

tain

ing

two

mob

ile p

hone

s an

d a

gps

uni

t to

exp

lore

the

neig

hbor

hood

sur

roun

din

g th

e g

al-

lery

. one

pho

nes

take

s p

ictu

res

ever

y 20

sec

ond

s up

load

ing

geo

tag

ged

imag

es a

nd u

pst

ream

s au

dio

to

the

serv

er. t

he o

ther

pho

ne s

erve

s as

dis

pla

y re

-ce

ivin

g a

udio

/vis

ual s

trea

ms

from

the

gal

lery

sp

ace.

th

is c

reat

es a

n in

terp

lay

of s

ound

and

imag

e, a

n ex

-ch

ang

e b

etw

een

par

ticip

ants

in th

e st

reet

s, a

nd th

e cr

eatio

n of

an

abst

ract

nar

rativ

e fr

om s

onifi

catio

n an

d v

isua

lizat

ion

of lo

cativ

e in

form

atio

n. t

he a

bst

ract

vi

sual

s an

d s

ound

scap

es s

een

in th

e g

alle

ry a

nd

stre

amed

to th

e m

obile

use

rs re

crea

te a

situ

atio

nist

d

eriv

e us

ing

mob

ile te

chno

log

y, a

city

-as-

inst

rum

ent.

6868

2007

pa

pe

rs

20

07 p

ap

er

s 69

flo

atin

g f

abul

ous

ness

: r

epre

sent

atio

n,

per

form

ativ

ity

and

id

enti

ty in

mus

ical

r

ing

tone

s

isab

ella

van

elfe

ren,

imar

de

vrie

s

ab

str

ac

t

in t

his

pap

er, w

e co

nsid

er m

usic

al r

ing

tone

s o

f mo

-b

ile p

hone

s to

act

as

virt

ual,

com

mun

icat

ive

and

cu

ltura

l per

form

ance

s. t

hey

app

ear

unp

red

icta

bly

, th

ey c

om

mun

icat

e si

gns

whi

ch a

re in

terp

rete

d b

y a

varie

gat

ed a

nd d

ynam

ic a

udie

nce,

and

est

ablis

h st

ages

up

on

whi

ch c

ultu

ral m

eani

ngs

are

po

rtra

yed

. W

e w

ill a

rgue

tha

t th

e m

usic

al r

ing

tone

func

tions

as

a m

usic

al m

adel

eine

in M

arce

l pro

ust’s

sen

se,

an in

volu

ntar

y m

nem

oni

c tr

igg

er o

f a c

om

ple

x w

eb

of i

ndiv

idua

l and

co

llect

ive

mem

orie

s. h

avin

g t

his

qua

lity,

the

rin

gto

ne le

nds

itsel

f per

fect

ly fo

r th

e p

erfo

rmat

ive

man

ifest

atio

n an

d d

isp

lay

of (

sub

)cul

-tu

ral i

den

titie

s in

the

pub

lic s

phe

re.

as

virt

ual,

com

mun

icat

ive

and

cul

tura

l per

form

anc-

es, m

usic

al r

ing

tone

s ha

ve t

he in

here

nt c

apac

ity

to fu

nctio

n as

pub

licly

dis

sem

inat

ed m

adel

eine

s,

whi

ch s

udd

enly

ann

oun

ce t

hem

selv

es a

nd d

isru

pt

ever

yday

so

cial

situ

atio

ns. f

or

this

reas

on,

rin

g-

tone

s ca

n b

e se

en a

s a

mea

ns t

o a

ctiv

ely

dis

pla

y an

d c

om

mun

icat

e a

loya

lty t

o fl

oat

ing

sub

cultu

res,

as

wel

l as

trig

ger

s fo

r cu

ltura

l per

form

ance

s w

ith-

in t

he s

pat

ial s

phe

re o

f the

rin

gto

ne’s

carr

ier.

the

flaun

ting

cha

ract

er o

f the

se p

erfo

rman

ces

lend

s it-

self

per

fect

ly fo

r th

e d

isp

lay

of f

abul

ous

ness

: hea

r-in

g a

rin

gto

ne w

ill in

duc

e m

nem

oni

c re

flect

ions

.o

ur fi

ndin

gs

conc

ern

mus

ical

rin

gto

nes

prim

ar-

ily. s

oun

d e

ffect

s o

r re

cord

ed s

pee

ch c

an e

qua

lly

invo

ke c

om

mun

icat

ive

and

cul

tura

l per

form

ance

s,

but

we

cons

ider

the

vas

t ar

ray

of i

ndiv

idua

l and

sh

ared

mus

ical

mem

orie

s to

be

mo

re p

ow

erfu

l in

invo

king

‘mad

elei

ne t

rails

’ and

in m

anife

stin

g (s

ub)

cultu

ral i

den

titie

s. t

his

do

es n

ot

mea

n th

at w

e th

ink

that

the

func

tioni

ng o

f rin

gto

nes

as c

om

mun

icat

ive

and

cul

tura

l per

form

ance

s is

onl

y es

tab

lishe

d w

hen

com

ple

te s

ong

s ar

e p

laye

d; e

ven

the

smal

lest

mu-

sica

l uni

t su

ch a

s, s

ay, a

bas

s lin

e o

r a

voca

l tim

bre

ca

n o

pen

up

a w

hole

arc

hive

of o

ther

so

ngs—

and

un

pac

k th

eir

(sub

)cul

tura

l lib

rarie

s.

bIo

isab

ella

van

elfe

ren

is a

rese

arch

er in

the

are

a o

f M

edia

stu

die

s an

d M

usic

olo

gy

at t

he u

nive

rsity

of

utr

echt

. her

cur

rent

rese

arch

focu

sses

on

cyb

er-

go

thic

sub

cultu

res

and

the

go

thic

asp

ects

of c

y-b

ersp

ace.

imar

de

vrie

s is

par

t o

f the

inst

itute

of M

edia

& r

e/p

rese

ntat

ion

at u

trec

ht u

nive

rsity

, net

herla

nds.

aud

io b

om

bing

: mag

netic cassette tap

e G

raffiti

Mike flem

ing, k

ang C

hang , k

yle Millns

ab

stra

ct

aud

io b

om

bing

is an alternative form

of g

raffiti that uses m

agnetic aud

iotap

e as its med

ium. d

raw-

ing fro

m hip

hop

and g

raffiti culture aud

io b

om

b-

ing starts w

ith a basic cassette tap

e. using

a tape

record

er you can reco

rd any info

rmatio

n you w

ant o

n to a cassette (m

usic, po

ems, p

hiloso

phy, sub

-versive literature, etc.). a

fter record

ing yo

u remo

ve the tap

e and cut o

ut the segm

ents that you w

ant to

use. then take your tap

e segm

ents and g

o tag

w

hatever you w

ant (build

ings, b

enches, po

sters, b

uses, etc.). using

the augm

ented p

layhead sp

ray can yo

u can listen to the tag

s by running

the play-

head o

ver the tape.

the intention o

f this pro

ject was to

create a new

form

of und

ergro

und exp

ression fro

m a m

edium

that is falling

out o

f use; reinventing

graffiti w

ith cassette tap

es which have a lo

ng histo

ry in hip

hop

culture. it is op

en to anyo

ne who

has a cas-sette tap

e to “aud

iob

om

b”. it just takes reco

rd-

ing w

hat you w

ant on cassette, cutting

the tape up

and

then tagg

ing it up

. Manifesting

audio

samp

les into

a physical and

mo

re visible fo

rm w

hile allow

-ing

for m

anipulatio

n of its p

layback echo

es som

e o

f the re-app

rop

riation o

f funk or d

isco b

eats seen in p

rod

uctions b

y dJs in early h

ip h

op

. it do

es not

require any skill in d

rawing

or trad

itional g

raffiti and

functions und

er the radar o

f mo

st suspicio

us au-tho

rities. since this m

edium

is less visually ob

trusive, being

o

nly a thin black line, it has an und

ercover versatility

which no

rmal g

raffiti do

es not. this sp

ecifically al-lo

ws it to

infiltrate spaces trad

itional g

raffiti can not,

such as office b

uilding

s, under tab

les, in elevators,

coffee sho

ps, scho

ols, and

tight sp

aces.the need

to p

hysically run a playhead

over the

mag

netic tape in o

rder to

hear the audio

tag m

akes the scenario

of read

ing so

meo

ne’s tag m

irror the

act of w

riting that tag

. this pro

ject questio

ns the ro

le of the read

er when taking

part in sub

versive co

mm

unication. in read

ing an aud

iob

om

b tag

the read

er is put in the sam

e po

sition as a trad

itional

graffiti w

riter instead o

f a traditio

nal (passive) aud

i-ence. the read

er needs to

actively engag

e with the

content to

receive the content o

f the tag.

bIo

Mike flem

ing is b

ased at the scho

ol o

f art +

de-

sign at the u

niversity of illino

is at urb

ana-Cham

-p

aign, u

sa.

kang

Chang

is based

at the dep

artment o

f natural

reso

urces and e

nvironm

ental sciences at the uni-

versity of illino

is at urb

ana-Cham

paig

n, usa

kyle M

illns is based

at the dep

artment o

f Co

m-

puter science at the u

niversity of illino

is at urb

ana-C

hamp

aign, u

sa

http://aud

iob

om

bing

.blo

gsp

ot.co

m/

7272 2007 p

oste

rs

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 9

str

ana:

A

C M

Y K

6666

2007

pe

rfo

rm

an

ce

s

tokt

ek

tom

ver

bru

gg

en

ab

str

ac

t

tokt

ek (t

om

ver

bru

gg

en) s

truc

ture

s th

e un

brid

led

cl

icks

and

cut

s o

f his

circ

uit

ben

d g

adg

ets

to a

frag

-ile

dis

turb

ance

. sam

plin

g w

ith a

joys

tick

tom

cre

-at

es u

nlo

gic

dyn

amic

co

mp

osi

tions

.

tom

’s w

ork

is a

bo

ut t

he c

om

mun

icat

ion

and

no

n-co

mm

unic

atio

n b

etw

een

elec

tro

nic

dev

ices

and

hu-

man

s, fo

cusi

ng p

artic

ular

ly o

n hi

s re

latio

nshi

p w

ith

such

dev

ices

. dra

win

g o

n hi

s fin

e ar

t b

ackg

roun

d,

his

wo

rk e

xplo

res

the

rela

tions

hip

s b

etw

een,

hum

an

touc

h, m

emo

ry a

nd e

very

day

ele

ctro

nic

ob

ject

s.

for

exam

ple

his

wo

rk “

Mo

eder

koek

”, w

hich

lite

rally

tr

ansl

ated

is m

oth

er-c

ake

but

refe

rs in

eng

lish

to

the

pla

ceb

o, t

om

per

form

s w

ith h

is m

oth

er a

nd s

he

bak

es a

cak

e, li

ke s

he u

sed

to

whe

n he

was

a y

oun

g

bo

y. in

the

co

ntem

po

rary

ver

sio

n, in

a s

elf-

asse

m-

ble

d k

itche

n, t

om

per

form

ers

with

his

mo

ther

, sam

-p

ling

her

bak

ing

and

the

so

und

s its

pro

duc

es in

re

altim

e. t

hese

so

und

s ar

e ar

rang

ed a

nd m

anip

u-la

ted

on

the

fly a

nd fo

rm a

n o

ngo

ing

, im

pro

vise

d

com

po

sitio

n. t

he p

erfo

rman

ce e

nds,

with

the

cak

e g

oin

g in

to t

he o

ven

and

the

sm

ell o

f bak

ing

filli

ng

the

roo

m. o

nce

it is

bak

ed, t

he c

ake

is s

erve

d t

o

the

aud

ienc

e.

tom

’s la

test

inve

ntio

n is

the

Cra

ckle

-Can

vas.

us-

ing

ste

iM c

rack

le b

ox

hard

war

e, t

om

has

cre

ated

p

aint

ing

s th

at p

rod

uce

soun

d. e

ach

pai

ntin

g c

an

pro

duc

e so

und

by

itsel

f but

whe

n co

nnec

ted

with

o

ther

pai

ntin

gs

form

s a

‘pai

ntin

g o

rche

stra

’. b

yco

nnec

ting

cab

les

bet

wee

n th

e p

aint

ing

s, t

he

soun

d c

hang

es, w

hile

the

cab

les

leng

th, c

olo

ur a

nd

form

, fo

rm a

dra

win

g o

n th

e w

all o

r in

the

sp

ace

the

pai

ntin

gs

are

hang

ing

.

http

://w

ww

.son

idog

ris.c

om/ h

ttp://

ww

w.lo

mec

hani

k.co

m

bIo

tom

’s w

ork

is a

bo

ut t

he c

om

mun

icat

ion

and

no

n-co

mm

unic

atio

n b

etw

een

elec

tro

nic

dev

ices

and

hu-

man

s, fo

cusi

ng p

artic

ular

ly o

n hi

s re

latio

nshi

p w

ith

such

dev

ices

. dra

win

g o

n hi

s fin

e ar

t b

ackg

roun

d,

his

wo

rk e

xplo

res

the

rela

tions

hip

s b

etw

een,

hum

an

touc

h, m

emo

ry a

nd e

very

day

ele

ctro

nic

ob

ject

s.

tom

ver

bru

gg

en is

par

t o

f the

new

inte

rfac

es fo

r pe

rfo

rman

ces

pro

gra

mm

e.

tra

tti - a n

oise m

aker for c

hildren

Martin pichlm

air, laura belo

ff

ab

stra

ct

in this pap

er, we d

escribe tr

atti, a characteris-

tic piece o

f device a

rt. it is a funnel shaped

bull-

horn to

be w

orn in fro

nt of the b

elly. Child

ren can w

alk around

with the tr

atti. first, they reco

rd

their voice into

the device. then, they can p

oint the

tra

tti anywhere they w

ant. the tra

tti constantly

snaps im

ages fro

m its surro

unding

s and p

lays back

the record

ed vo

ice samp

les manip

ulated thro

ugh

the imag

e, throug

h the environm

ent. tra

tti is techno

log

ically based

on m

ob

ile pho

ne technolo

gy

and it reflects a num

ber o

f key features of m

ob

ile p

hone techno

log

y. tra

tti is a loud

and d

isturbing

p

iece of real-tim

e art, a very perso

nal musical in-

strument p

laying the vo

ice of the m

usician, accord

-ing

to her stand

po

int in the wo

rld.

bIo

Martin pichlm

air (1977) is a med

ia artist living and

w

orking

in vienna, a

ustria. since he received his

do

ctoral d

egree in info

rmatics he w

orks as assistant

pro

fessor at the institute o

f desig

n and a

ssessment

of techno

log

y at the vienna u

niversity of techno

l-o

gy. h

is art pieces w

ere show

n at various m

edia

art festivals and exhib

itions. r

ecent show

s includ-

ing the a

rs electro

nica festival, isea

, transmed

iale and

the Micro

wave internatio

nal festival for n

ew

Med

ia art. in his research and

pub

lications, he fo

-cuses o

n theory and

practise o

f interactive art and

desig

n - from

gam

e desig

n and p

hysical interfaces to

op

en source d

evelop

ment m

od

els and co

mm

u-nity m

edia.

laura belo

ff’s (1964) interests deal w

ith individ

uals in the g

lob

al society ad

apting

to hig

hly com

plex

technolo

gically enhanced

wo

rld. h

er mo

bile, w

ear-ab

le ob

jects are exhibited

internationally in m

use-um

s, galleries, and

majo

r med

ia-festivals. she is fre-q

uently lecturing ab

out her research and

practice in

universities and co

nferences.1999: visiting

professo

r, linz art u

niversity, austria.

2002-2006: professo

r for m

edia arts, a

rt acad

emy

of o

slo, n

orw

ay. 2007-2011: 5-year artist-g

rant by

the finnish state. 2007>: lecturing

at the university

of a

rt and d

esign h

elsinki, finland

67

2007 pap

er

s 67

taking so

unding

s – investigating

co

astal n

avigatio

ns and o

rientations in so

und

yoland

e harris

ab

stra

ct

taking so

unding

s is a series of so

und art w

orks

emerg

ing fro

m an investig

ation into

landscap

e and

navigatio

n. the full pap

er describ

es the pro

cesses and

results of research und

ertaken during

a fellow

-ship

at the acad

emy o

f Med

ia arts (k

hM

) in Co

-lo

gne (2006), and

is based

on p

ractical and histo

ri-cal research into

coastal navig

ation techniq

ues and

the po

tential relationship

to so

und. b

y explo

ring

the technolo

gies o

f lightho

use and satellite navig

a-tio

n the wo

rk lays out so

me artistic strateg

ies for

mo

bile m

usic com

po

sition b

y loo

king at p

hysical m

otio

n, notatio

n in map

s charts and sco

res, spa-

tialisation and

orientatio

n during

navigatio

n and its

realisation in a so

und installatio

n, and the m

app

ing

of navig

ation d

ata to so

und.

the pro

ject stems fro

m m

y previo

us mo

bile artw

ork

in extreme lo

cations fo

r an absent o

r individ

ual au-d

ience. the sargasso

sail (1997) explo

red so

unds

and the p

sycholo

gical im

pact o

f a sailing jo

urney aw

ay from

land, navig

ating acro

ss the emp

tiness of

the berm

uda triang

le. the vid

eo-W

alker (2002-3), a p

ortab

le pro

jector w

ith sensors to

contro

l changes

in video

, played

with the interface b

etween real

and p

rojected

imag

e during

the act of w

alking, as a

po

werful exp

erience in hybrid

reality.

the taking so

unding

s installation and

perfo

r-m

ance turn data fro

m lig

hthouse sig

nals and g

ps into

sound

placed

in space. the technical set-up

co

nsists of a hand

held g

ps receiver read co

ntinu-o

usly by M

ax/Msp+

Jitter softw

are. this converts

the data into

electronic so

und, d

efines the spatiali-

sation o

ver sixteen speakers, and

contro

ls video

p

layback. the p

aper d

escribes d

ifferent choices o

f so

und sp

atialisation and

data m

app

ing to

sound

, and

show

s visual traces of g

ps error fro

m a fixed

receiver. e

xperim

ents with the sam

e set-up w

hilst d

riving in a car are d

escribed

, which sug

gests the

subseq

uent pro

ject sun run sun and

the satellite so

unders (2008).

bIo

und

erstanding

the relations b

etween so

und, im

age

and sp

ace throug

h technolo

gies o

f com

municatio

n and

navigatio

n, has been the central fo

cus of yo

lan-d

e’s wo

rk over the last ten years. she exp

lores the

intermed

iary role o

f the score, b

oth as p

ractical and

concep

tual too

l, and as an o

pen im

aginary situatio

n fo

r com

municatio

n. her sco

re spaces p

roject em

-p

loys a sp

atial app

roach to

com

po

sition and

has re-sulted

in numero

us audio

-visual perfo

rmances and

installatio

ns, including

the Meta-o

rchestra, theoret-

ical texts, such as inside o

ut instrument, and

wo

rk-sho

ps fo

r com

po

sers, sound

artists, architects and

desig

ners. her m

ost recent w

orks, taking

sound

-ing

s and sun r

un sun, emp

loy intuitive and

scientif-ic m

od

es of kno

wing

and jo

in ancient and co

ntem-

po

rary navigatio

n and o

rientation techniq

ues from

sextants to

gps, to

explo

re our ap

parently chang

-ing

relation to

land and

sea environm

ents in the ag

e of satellite and

mo

bile techno

log

ies.yo

lande has a d

egree in m

usic from

darting

ton

Co

llege o

f arts and

a Master o

f philoso

phy fro

m

the university o

f Cam

brid

ge in architecture and

the m

oving

imag

e. she has been resid

ent researcher at the Jan van e

yck acad

emy in M

aastricht, artistic fello

w at the a

cadem

y of M

edia a

rts Co

log

ne and

artist in residence at ste

iM and

the netherland

s institute fo

r Med

ia arts in a

msterd

am. she has

taught interactio

n desig

n at the technical univer-

sity of e

indho

ven, is guest lecturer at the r

ietveld

acad

emy d

esign lab

, and lectures o

n her wo

rk in-ternatio

nally. her w

ritings have b

een pub

lished in

the Co

ntemp

orary M

usic review

and Jo

urnal of o

r-g

anised so

und

http://w

ww

.yoland

eharris.nethttp

://sunrunsun.nimk.nl

7070 2007 pa

pe

rs

20

07 p

ost

er

s 71

eg

oto

ne |

gen

erat

ive

ring

tone

eng

ine.

irad

lee

ab

str

ac

t

eg

oto

ne is

a g

ener

ativ

e r

ing

tone

eng

ine

soft

war

e cu

rren

tly in

dev

elo

pm

ent,

tha

t is

des

igne

d t

o g

en-

erat

e in

tera

ctiv

e m

usic

co

mp

osi

tions

usi

ng m

ob

ile

dev

ice

dat

a. e

go

tone

tra

nsfo

rms

stat

istic

al d

ata

re-

trie

ved

fro

m a

mo

bile

dev

ice

into

dig

ital s

oun

d a

nd

arra

nges

it in

to a

mus

ical

co

mp

osi

tion

to b

e us

ed

as a

rin

gto

ne.

the

app

licat

ion

is b

ased

on

an a

lgo

rithm

tha

t co

n-ve

rts

stat

istic

al in

form

atio

n fr

om

a m

ob

ile d

evic

e in

to m

usic

al p

aram

eter

s, re

sulti

ng in

an

auto

mat

ic

gen

erat

ion

of a

cus

tom

-mad

e, c

op

yrig

ht-f

ree,

per

-so

naliz

ed r

ing

tone

with

a un

ique

mus

ical

form

and

so

und

.

the

conc

ept

of e

go

tone

is b

ased

on

the

assu

mp

-tio

n th

at s

imila

r p

eop

le, a

s us

ers

of i

nfo

rmat

ion

sto

rag

e d

evic

es, t

end

to

sha

re s

imila

r co

nten

ts, i

n w

hich

inte

rest

ing

pat

tern

s o

f beh

avio

rs c

an b

e re

-ve

aled

, suc

h as

the

mo

bile

dev

ice’

s o

wne

r id

entit

y an

d u

sers

’ usa

ge

pat

tern

s. e

go

tone

is a

ble

to

giv

e an

aud

ible

rep

rese

ntat

ion

to t

hese

rela

tions

, and

to

so

mew

hat

func

tion

as a

n au

dib

le m

irro

r o

f the

mo

-b

ile d

evic

e’s

ow

ner,

a g

roup

of p

eop

le, o

r a

soci

al

cro

ss-s

ectio

n.

bIo

irad

lee

is a

tel

avi

v b

orn

, am

ster

dam

-bas

ed c

ross

-m

edia

des

igne

r w

ork

ing

with

mo

bile

aud

io s

yste

ms

and

exp

erim

enta

l med

ia d

esig

n.

http

://i

rad

lee.

net

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 9

str

ana:

B

C M

Y K

73 cre

ativ

e u

ses

of

vir

tual

sti

cky

no

tes

in a

rt

- a

cri

tica

l int

erro

gat

ion

of

the

“bio

-tra

-ck

ing

” sm

art

pho

ne b

ased

exh

ibit

ion

ann

a d

umitr

iu

ab

str

ac

t

ann

a d

umitr

iu, l

ead

art

ist

on

the

bio

-tra

ckin

g p

roj-

ect

was

intr

od

uced

to

the

po

ssib

ilitie

s o

f usi

ng s

o-

cial

ight

dur

ing

a p

rese

ntat

ion

at t

he 2

006

Mo

bile

M

usic

Wo

rksh

op

. so

cial

ight

is a

lead

ing

-ed

ge

smar

t p

hone

so

ftw

are,

whi

ch e

nab

les

user

s to

po

st a

nd

acce

ss lo

catio

n sp

ecifi

c ‘v

irtua

l stic

ky n

ote

s’ in

the

fo

rm o

f pic

ture

, so

und

or

text

file

s. in

sep

tem

ber

200

6 vi

sito

rs t

o t

he in

tern

atio

n-al

brig

hto

n ph

oto

bie

nnia

l frin

ge

wer

e in

vite

d t

o

do

wnl

oad

so

cial

ight

and

vie

w “

bio

-tra

ckin

g”

an

exhi

biti

on

of d

igita

l pho

tog

rap

hs, s

oun

d w

ork

s an

d

text

mes

sag

es a

t no

ted

cul

tura

l lo

catio

ns a

roun

d

the

city

. ann

a d

umitr

iu s

amp

led

and

cul

ture

d m

i-cr

ob

es fr

om

the

loca

tions

, rev

ealin

g a

n in

cred

ible

, un

seen

and

sub

lime

wo

rld t

o u

s th

roug

h a

serie

s o

f enh

ance

d d

igita

l mic

rog

rap

hs. l

ucia

na h

aill,

ian

hel

liwel

l and

Jul

iet

kac

cre

ated

a s

erie

s o

f so

und

w

ork

s in

resp

ons

e to

the

imag

es, s

cien

tific

dat

a an

d

loca

tions

. Mic

rob

iolo

gis

t d

r Jo

hn p

aul w

rote

a s

e-rie

s o

f tex

t m

essa

ges

to

des

crib

e th

e m

icro

bes

sci

-en

tifica

lly.

the

pho

tog

rap

hic

imag

es c

reat

ed a

dia

lect

ic, f

us-

ing

the

pur

e em

otio

n o

f the

so

und

resp

ons

es a

nd

the

scie

ntifi

c an

alyt

ical

tex

ts. t

he p

hilo

sop

her

scho

-p

enha

uer

wro

te a

bo

ut m

usic

’s ab

ility

to

cap

ture

and

ex

pre

ss e

mo

tion

“as

an im

med

iate

ob

ject

ifica

tion

and

co

py

of t

he w

hole

will

as

the

wo

rld it

self”

. by

juxt

apo

sing

the

se re

spo

nses

the

pro

ject

so

ught

to

cr

eate

a s

ynth

esis

bet

wee

n ar

t an

d s

cien

ce.

the

use

of g

ps, i

n m

app

ing

the

loca

tions

whe

re

the

mic

rob

iolo

gic

al s

amp

les

wer

e ta

ken,

fuse

s th

e m

icro

sco

pic

and

the

mac

rosc

op

ic, d

raw

ing

a t

hrea

d

bet

wee

n sa

telli

tes

orb

iting

the

ear

th a

nd t

he b

acte

-ria

at

our

feet

.

‘virt

ual s

ticky

not

es’ a

re a

pow

erfu

l mea

ns o

f dis

sem

i-na

ting

son

ic a

nd v

isua

l art

wor

ks. t

he b

io-t

rack

ing

ex-

hib

ition

is a

dem

onst

ratio

n of

the

crea

tive

uses

of t

he

med

ium

and

suc

cess

fully

eng

aged

art

istic

ally

, con

-ce

ptu

ally

and

phi

loso

phi

cally

with

the

tech

nolo

gy.

7676

2007

po

ste

rs

an

inte

ract

ive

mus

ical

inst

alla

tio

n th

roug

h sp

atia

l sen

sing

taku

ya y

amau

chi a

nd t

oru

iwat

ake

ab

str

ac

t

this

pap

er d

escr

ibes

a s

oun

d in

stal

latio

n w

ork

sup

-p

ort

ed b

y sp

atia

l sen

sing

sys

tem

with

a p

erso

nal

are

a n

etw

ork

(pa

n),

whi

ch m

ay b

e ap

plic

able

for

such

are

as a

s d

ance

per

form

ance

s an

d m

ob

ile m

u-si

c. t

he in

tro

duc

tion

sect

ion

surv

eys

som

e o

f sp

atia

l te

chno

log

ies

that

tra

ck m

ovi

ng o

bje

cts

and

iden

tify

thes

e ag

ents

. the

sys

tem

des

ign

sect

ion

des

crib

es

the

arch

itect

ure

that

mak

es u

se o

f Ma

x/M

sp a

p-

plic

atio

n. t

he a

ctua

l ins

talla

tion

is s

upp

ort

ed b

y th

e sy

stem

. Whe

n w

e co

nsid

er e

mer

gin

g h

uman

beh

av-

iors

in a

new

aud

iovi

sual

sp

ace

with

pa

n o

r W

an

, it

bec

om

es im

po

rtan

t to

co

nsid

er t

he s

oci

al c

ont

exts

. in

the

“so

und

Jew

elry

” in

stal

latio

n, p

eop

le w

ith

“sen

der

s” w

alke

d a

roun

d t

he fl

oo

r in

a lo

catio

n sy

stem

zo

ne a

nd t

hey

reco

gni

zed

the

cha

nges

of

soun

ds

acco

rdin

g t

o t

he re

lativ

e d

ista

nce

bet

wee

n th

em. t

he a

ctua

l “so

und

Jew

elry

” tu

rned

out

to

b

e an

env

ironm

ent

that

co

nsis

ts o

f tw

o la

yers

of

soun

ds.

in t

he fo

reg

roun

d, “

mel

od

ies”

are

dyn

ami-

cally

gen

erat

ed b

y m

easu

ring

the

dis

tanc

es b

e-tw

een

the

par

ticip

ants

. in

the

bac

kgro

und

, am

bie

nt

soun

ds

are

auto

mat

ical

ly g

ener

ated

usi

ng t

he d

is-

tanc

e d

ata.

Whe

n m

any

peo

ple

mo

ve in

a 4

x6

m2

spac

e, t

he s

oun

d o

nly

chan

ges

bas

ed o

n th

e ne

ar-

est

rela

tive

dis

tanc

e. h

ow

ever

, as

the

num

ber

of

peo

ple

incr

ease

s, t

he s

oun

d c

hang

es b

eco

me

mo

re

com

ple

x. s

oun

d c

om

ple

xity

was

use

d a

s p

art

of t

he

inst

alla

tion.

use

rs re

cog

nize

d s

oun

d c

hang

es a

s th

ey m

ove

d in

real

tim

e in

the

sp

ace.

bIo

taku

ya y

amau

chi i

s p

art

of t

he “

Med

ia d

esig

n pr

o-

gra

m”

at t

he “

gra

dua

te s

cho

ol o

f Med

ia a

nd g

ov-

erna

nce”

at

kei

o u

nive

rsity

sfC

, Jap

an.

toru

iwat

ake

is p

rofe

sso

r at

the

“M

edia

des

ign

pro

-g

ram

” at

the

“g

rad

uate

sch

oo

l of M

edia

and

go

v-er

nanc

e” a

t k

eio

uni

vers

ity s

fC, J

apan

.

77

2007

po

ste

rs

77

rob

otco

wb

oy.

a h

uman-c

om

puter p

erform

ance system

dan W

ilcox

ab

stra

ct

this article presents the hum

an-com

puter m

ob

ile p

erform

ance pro

ject entitled “ro

bo

tcow

bo

y”. ro-

bo

tcow

bo

y consists o

f a “one-m

an band

” wear-

able co

mp

uter system d

ubb

ed “unit” co

mp

osed

of

a mo

bile co

mp

uter and vario

us input d

evices such as m

idi co

ntrollers, g

ame co

ntrollers, and

environ-

mental senso

rs.

rob

otco

wb

oy is a p

erform

ance pro

ject centered

around

using the p

ow

er of the co

mp

uter for active,

mo

bile exp

ression. the m

ain go

al of the p

roject is

mo

bility : p

erform

ers can use the system as an in-

strument - an extensio

n of them

selves. they are free to

roam

the stage, the street, and

the wo

rld

perfo

rming

com

puter-b

ased m

usic, beco

ming

“m

ore then an extra” to

the machine. in the vein o

f terre theim

litz smashing

a lapto

p o

n stage, it is an

attemp

t to challeng

e the nature of live co

mp

uter m

usic perfo

rmance.

rob

otco

wb

oy aim

s to b

e a human-co

mp

uter per-

form

ance system allo

wing

the user to p

rod

uce a d

ynamic aud

io-visual exp

erience for the aud

ience. there is a histo

ry of o

ne-man b

and acts and

per-

form

ance troup

es pro

ducing

music in the co

urse of

the exhibitio

ns, why no

t attemp

t to co

mb

ine bo

th using

wearab

le com

puter techno

log

y?

bIo

dan W

ilcox ho

lds a b

.s. in Co

mp

uter eng

ineer-ing

from

iow

a state university, u

sa and

an M.s.

art &

technolo

gy fro

m the it u

niversity / Chalm

ers, g

öteb

org

swed

en, where he also

wo

rked o

n the “interactive installatio

ns Co

urse” and as teaching

a

ssistant. in octo

ber 2007 he d

id a 2 W

eek artis-

tic resid

ency at the studio

for e

lectro-instrum

ental M

usic (steiM

) , am

sterdam

, nl.

8080 2007 d

em

os

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 10

st

rana

: A

C M

Y K

soni

c G

raffi

ti: s

pra

ying

and

rem

ixin

g m

usic

o

n th

e st

reet

Chi

a-yi

ng l

ee

ab

str

ac

t

soni

c g

raffi

ti is

a c

onc

ept

for

peo

ple

to

sp

ray

and

re

mix

mus

ic o

n th

e st

reet

. it

cont

ains

a s

yste

m o

f d

evic

es fo

r cr

eato

rs, i

nclu

din

g t

he s

oun

d c

ap, t

he

cont

rolle

r an

d t

he b

oo

m b

ox.

the

so

und

cap

is d

e-si

gne

d t

o b

e p

ut o

n th

e re

al s

pra

y ca

n, a

nd m

akes

th

e so

und

sam

ple

sp

ray

out

with

the

pai

nt. t

he

cont

rolle

r an

d t

he b

oo

m b

ox

serv

e as

ass

ist

dev

ic-

es d

urin

g t

he c

reat

ing

pro

cess

. Mus

ic is

co

mp

ose

d

by

ove

rlayi

ng p

aint

s. h

ence

the

gra

ffiti

is t

he v

isu-

aliz

atio

n o

f the

mus

ic, a

nd t

he m

usic

is t

he s

oun

d-

trac

k o

f the

gra

ffiti.

pas

seng

ers

can

liste

n to

the

mu-

sic

with

a s

oft

war

e p

laye

r in

stal

led

in t

heir

mo

bile

d

evic

es. M

usic

is s

trea

med

to

the

dev

ice

whe

n th

e p

asse

nger

co

me

clo

se t

o t

he g

raffi

ti.g

raffi

ti is

an

urb

an p

heno

men

on

with

its

ow

n p

rom

-in

ent

sub

cultu

re. W

ith t

he r

isin

g o

f lo

cativ

e m

edia

, th

e in

visi

ble

aud

io is

ab

le t

o b

e ta

gg

ed in

the

phy

si-

cal s

pac

e. h

ere

tag

gin

g t

echn

ical

ly m

eans

geo

-tag

-g

ing

, as

a p

roce

ss o

f dep

osi

ting

dig

ital c

ont

ent

in

a p

hysi

cal l

oca

tion.

thi

s p

roje

ct e

xplo

res

a co

ncep

t o

f ena

blin

g p

eop

le s

pra

y m

usic

on

the

stre

et a

nd

mak

e g

raffi

ti w

ith b

oth

vis

ual a

nd a

udio

ele

men

ts.

a s

yste

m o

f phy

sica

l dev

ices

is d

esig

ned

for

art-

ists

to

cre

ate

and

tag

mus

ic in

the

urb

an s

pac

e w

ith

real

sp

ray

cans

. fo

r g

ener

al v

iew

ers/

aud

ienc

es s

on-

ic g

raffi

ti p

rovi

des

a li

sten

ing

exp

erie

nce

giv

ing

a

sens

e o

f co

nnec

tion

with

the

env

ironm

ent.

Mus

ic is

ab

stra

ct t

o e

xpre

ss v

isua

lly. s

om

e g

raffi

ti ar

tists

dis

tort

lett

ers,

des

ign

pat

tern

s to

mak

e ab

-st

ract

wo

rks;

oth

ers

do

pic

ture

sque

pie

ces.

i am

in-

tere

sted

in in

vest

igat

ing

wha

t ne

w fo

rm o

f exp

res-

sio

n w

oul

d e

volv

e fr

om

the

ble

ndin

g o

f mus

ic a

nd

gra

ffiti.

the

cur

rent

des

ign

of s

oni

c g

raffi

ti le

aves

m

uch

free

do

m t

o a

rtis

ts fo

r d

evel

op

ing

the

ir o

wn

form

atio

n an

d v

isua

l lan

gua

ges

of m

usic

. the

y ca

n ad

op

t a

mo

re im

pro

visa

tiona

l att

itud

e o

r sk

etch

out

th

eir

wo

rk b

efo

re p

aint

ing

. the

resu

lts m

ay b

e sh

ort

so

und

sig

natu

res

or

epic

co

mp

osi

tions

.

bIo

Chi

a-yi

ng l

eech

iayi

ng.le

e@g

mai

l.co

m

7474

2007

po

ste

rs

mo

bile m

usic creatio

n using p

da

s and

smartp

hones

ashley e

lsdo

n

ab

stra

ct

this pap

er reviews the current state o

f available

mo

bile m

usic creating ap

plicatio

n softw

are for

pda

s and sm

artpho

nes. the pap

er explo

res de-

velop

er’s mo

tivations and

thoug

hts on the future o

f m

ob

ile music, and

the respo

nses of a few

users to

questio

ns abo

ut how

they use mo

bile m

usic tech-no

log

y, and d

raws co

nclusions reg

arding

the future o

f mo

bile m

usic making

.palm

sound

s (http://the-p

alm-so

und.b

log

spo

t.co

m/) is a b

log

devo

ted to

all form

s of m

ob

ile mu-

sic making

and techno

log

y. this pap

er is the first attem

pt at und

erstanding

user and d

evelop

er view

s and sug

gesting

po

ssible futures in the m

o-

bile m

usic space. the field

of m

ob

ile music m

aking

on pd

as and

smartp

hones is still relatively sm

all. there are o

nly a handful o

f app

lications availab

le in a m

arket for pd

a so

ftware that is co

mp

aratively very larg

e. altho

ugh the d

esktop

market fo

r music

softw

are is huge the hand

held m

arket has never ex-p

erienced the sam

e level of interest. this p

aper ex-

plo

res som

e of the current issues.

virtually all o

f the app

lications d

iscussed in this p

a-p

er have their roo

t functionality in d

esktop

orig

ins. they are in effect a translatio

n of d

esktop

technolo

-g

ies into a hand

held enviro

nment. h

ow

ever, if you

take the emerg

ence of ap

plicatio

ns like spinpad

and

axispad

as pro

of that there m

usical uses that co

uld b

e unique to

the handheld

environm

ent, then w

here do

es this naturally lead to

? has hand

held

hardw

are technolo

gy g

ot to

the po

int where inp

ut d

evices can be used

in new w

ays to enab

le the de-

vice to b

ecom

e much m

ore o

f an instrument rather

than just a translation o

f a deskto

p ap

plicatio

n?the ipho

ne’s sensor techno

log

y could

lead to

the use o

f sensors in m

usic handheld

music techno

log

y to

pro

vide a m

ore d

irectly manip

ulated and

sensi-tive interface w

ith the po

ssibility o

f gesture co

ntrol

and reco

gnitio

n. it is perhap

s a device o

f this na-ture w

hich could

extend the usag

e of m

ob

ile music

technolo

gies and

encourag

e mo

re users to exp

lore

the field.

75

2007 po

ster

s 75

extend

ed e

nviro-G

uitar

Co

lin black

ab

stra

ct

in this pap

er, i explo

re the initial research and d

e-velo

pm

ent regard

ing m

y mo

bile exp

erimental

“extend

ed e

nviro-g

uitar” (xe

g) instrum

ent/s as a typ

e of reso

nating aco

ustic pro

filing d

evice. it also

explo

res the po

ssibilities o

f using m

ultiple x

eg

s w

ithin site specific p

hysically spatialised

multi-in-

strument installatio

ns and the d

econstructio

n of this

abstract so

nic terrain via emerg

ing m

ob

ile tech-no

log

ies.

bIo

Co

mp

oser/so

und artist C

olin b

lack has been inter-

nationally reco

gnized

with the p

restigio

us prix italia a

ward

(2003) in the catego

ry ‘best M

usic rad

io -

Co

mp

osed

Wo

rk’ for co

mp

osing

and p

rod

ucing his

majo

r wo

rk ‘the ears o

utside M

y listening r

oo

m’.

bb

C rad

io 3 has d

escribed

this winning

wo

rk as “a haunting

evocatio

n of a

ustralia” while the n

ational

rad

io C

om

pany o

f ukraine invited

black to

help

adap

t this wo

rk for a u

krainian audience in 2004.

Co

lin black’s cred

its include the a

ustralia Co

uncil fo

r the arts n

ew M

edia arts r

esidency w

ith ‘the listening

ro

om

’, ab

C r

adio

in 2002, Musical d

irec-to

r for live tv

variety show

s, sound

tracks for feature

and sho

rt films, vid

eo, tv

and d

igital m

edia p

resen-tatio

ns and further ind

ustry award

s for b

est exp

eri-m

ental song

and b

est instrumental C

om

po

sition.

as a C

om

po

ser, he has been featured

on

deutschland

radio

’s kultur’s ‘k

langkunst’ p

rog

ram,

ab

C rad

io (a

ustralia), yle r

adio

(finland) and

his w

orks have b

een selected fo

r perfo

rmance at

events including

‘en r

ed o

2000’ music festival

barcelo

na spain, the festival synthese b

ourg

es france, r

encontres M

usiques n

ouvelles, lunel

france, 60x60 pacific basin r

egio

nal Co

ncert los

ang

eles usa

, Zèpp

elin 2004-festival de a

rte sono

-ro

barcelo

na, spain, h

iperso

nica 2004 in sao paulo

, b

razil, the literature sound

barrier 2002 in W

ien, a

ustria, sydney u

niversity’s live Wires co

ncerts ‘97, ‘98 and

Melb

ourne’s e

xtatic Co

ncert for the n

ext W

ave festival ’98.

black’s so

und installatio

ns include the ‘b

utter C

hurn’ sound

sculpture in lism

ore’s h

eritage park,

the parramatta h

eritage C

entre’s ‘parramatta: peo

-p

le & place’ exhib

ition w

hich is to run fo

r seven years. in 2002 b

lack created a d

ynamic m

ulti-site so

undscap

e and the starco

urt theatre space so

und

installation “flo

od

scape” fo

r the no

rpa

pro

duc-

tion o

f ‘the floo

d’. a

finalist in the australian n

a-tio

nal dig

ital arts a

ward

s ‘98, his experim

ental co

mp

ositio

n “118, 120 122” was exhib

ited at b

ris-b

ane’s institute of M

od

ern art.

he has p

resented research p

apers o

n radio

art and

sound

art practice at r

Mit u

niversity’s, schoo

l of

Creative M

edia (M

elbo

urne, australia) and

the 4th internatio

nal Mo

bile M

usic Wo

rkshop

hosted

by

steiM

(the studio

for e

lectro-instrum

ental Music)

and W

aag so

ciety in am

sterdam

, the netherland

s. b

lack has also b

een invited to

talk abo

ut radio

arts and

his wo

rk on lo

ndo

n’s reso

nance 104.4fM, at

the sibelius a

cadem

y in helsinki, technische u

ni-versität b

erlin and the v

ictoria u

niversity of W

el-ling

ton.

black’s w

ork has b

een selected fo

r bro

adcast and

p

od

cast on statio

ns including

deutschland

radio

k

ultur, the bb

C, yle

rad

io, sw

eden’s sverig

es ra-

dio

as well as m

any other e

urop

ean stations and

in so

uth africa, n

ew Zealand

and num

erous tim

es acro

ss australia.

for m

ore info

rmatio

n see http://users.tp

g.co

m.au/

users/cydo

nian/c_black.htm

l

7878 2007 p

oste

rs

79

po

cket

Gam

elan

: sw

ing

ing

pho

nes

and

ad

ho

c st

and

ard

s

gre

g s

chie

mer

, Mar

k h

avry

liv

ab

str

ac

t

in th

is p

aper

, we

dis

cuss

ho

w m

ob

ile p

hone

s ha

ve

bee

n us

ed a

s d

evic

es fo

r act

ive

mus

ic m

akin

g, h

ow

m

ob

ility

affe

cts

soun

d a

nd h

ow

co

mm

unic

atio

n b

e-tw

een

pho

nes

has

bee

n in

teg

rate

d in

to th

e fa

bric

of

a ne

w g

enre

of i

nter

activ

e p

erfo

rman

ce b

y g

roup

s o

f mus

icia

ns. W

e id

entif

y so

me

of t

he is

sues

that

st

oo

d in

the

way

of d

evel

op

ing

two

new

mus

ical

ap

-p

licat

ions

for m

ob

ile p

hone

s, d

iscu

ss a

spec

ts o

f per

-fo

rman

ce w

ork

s d

evel

op

ed s

o fa

r usi

ng th

is te

chno

l-o

gy

and

po

int t

he w

ay to

futu

re d

evel

op

men

t.C

om

put

er m

usic

has

had

two

per

sist

ent t

echn

olo

gi-

cal l

egac

ies.

one

is it

s d

epen

den

ce o

n p

erfo

rman

ce

inte

rfac

es d

esig

ned

aro

und

12

equa

l div

isio

ns o

f th

e o

ctav

e. t

he s

eco

nd is

the

des

kto

p c

om

put

ing

en

viro

nmen

t whe

re m

usic

al re

sour

ces

are

conc

en-

trat

ed in

the

hand

s o

f a s

ing

le u

ser.

as

tech

nolo

gic

al

dev

elo

pm

ent s

hift

s aw

ay fr

om

this

tow

ard

s m

ob

ile

com

put

ing

, new

co

mp

uter

per

form

ance

par

adig

ms

have

beg

un to

em

erg

e. t

he p

ock

et g

amel

an p

roj-

ect i

s m

otiv

ated

by

a d

esire

to e

xplo

re th

e fe

atur

es

of m

icro

tona

l int

erva

ls fo

und

in m

any

non-

Wes

tern

m

usic

al tr

aditi

ons

and

see

ks to

dev

elo

p a

pp

lica-

tions

that

allo

w m

icro

tona

l mus

ic to

be

com

po

sed

an

d p

erfo

rmed

usi

ng m

ob

ile p

hone

tech

nolo

gy.

the

co

mb

inat

ion

of fl

ying

so

und

so

urce

s an

d re

mo

te

cont

rolle

d s

oun

d u

sing

han

d-h

eld

tech

nolo

gy

has

resu

lted

in a

new

kin

d o

f int

erac

tive

per

form

ance

g

enre

in w

hich

mic

roto

nal i

nstr

umen

ts a

re e

asy

to

pla

y, q

uick

to le

arn

and

read

ily a

cces

sib

le to

larg

e nu

mb

ers

of p

eop

le. M

usic

al in

tera

ctio

n in

volv

es u

s-in

g s

oun

d s

our

ces

that

are

phy

sica

lly re

loca

tab

le

and

wire

less

co

mm

unic

atio

n th

at a

llow

s m

ovi

ng

soun

d s

our

ces

to b

e co

ntro

lled

usi

ng h

and

-hel

d

dev

ices

.in

per

form

ance

blu

eto

oth

-ena

ble

d m

ob

ile p

hone

s at

tach

ed to

a c

ord

are

sw

ung

in a

circ

ular

fash

ion

to

pro

duc

e d

op

ple

r shi

ft. p

hone

s ar

e us

ed e

ither

as

a fly

ing

so

und

so

urce

or a

s w

irele

ss h

and

-hel

d c

ont

rol-

ler t

o a

lter t

he b

ehav

iour

of o

ther

so

und

so

urce

s. b

y ap

pro

pria

ting

mo

bile

pho

ne te

chno

log

y as

a m

e-d

ium

for i

nter

activ

e m

usic

al p

erfo

rman

ce in

terf

ace

we

hop

e to

allo

w c

om

mun

ities

of n

on-

exp

ert p

er-

form

ers

to e

xper

ienc

e th

e ric

hnes

s an

d d

iver

sity

of

mic

roto

nal m

usic

.

bIo

gre

g s

chie

mer

is a

sso

ciat

e pr

ofe

sso

r at

the

fac

ulty

o

f fin

e a

rts,

uni

vers

ity o

f Wo

llong

ong

. Muc

h o

f his

w

ork

is a

sso

ciat

ed w

ith m

usic

al a

pp

licat

ions

of n

ew

tech

nolo

gy

sinc

e th

e ea

rly 1

970s

. gre

ag s

tud

ied

co

mp

osi

tion

with

pet

er s

culth

orp

e g

rad

uatin

g fr

om

sy

dne

y u

nive

rsity

with

bac

helo

r o

f Mus

ic in

197

2.

aft

er a

per

iod

wo

rkin

g fo

r d

igita

l eq

uip

men

t a

us-

tral

ia, h

e le

ctur

ed in

ele

ctro

nic

com

po

sitio

n at

the

C

anb

erra

sch

oo

l of M

usic

(198

3-85

) and

the

syd

ney

Co

nser

vato

rium

of M

usic

(198

6-20

02).

20

07 p

ost

er

s 79

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 10

st

rana

: B

C M

Y K

81

work in p

rog

ress dem

onstratio

n of c

raving:

a sp

atial aud

io n

arrative

bernhard

garnicnig

, go

ttfried h

aider

ab

stra

ct

While the aud

itory co

mp

ositio

n Craving

(see also

spat_la

b p

ro

jec

ts) w

as specifically d

e-sig

ned fo

r vienna d

C, a site in the a

ustrian capi-

tal, the dem

onstratio

n in am

sterdam

pro

vided

a g

limp

se into the p

ossib

ilities the technolo

gy o

ffers to

create audio

visual experiences b

y linking sp

ecific p

laces with so

und structured

into sp

ace and tim

e.sim

ple aco

ustic scenes were estab

lished in the

wo

rkshop

’s venues, a small p

ark next to ste

iM and

the n

ieuwm

arkt around

the Waag

build

ing. so

und

fragm

ents and structures sp

ecific to the p

rod

uction

in vienna w

ere left out in favo

ur of larg

er areas of

atmo

spheric so

und and

brief tem

po

rally-structured

voice scenes. it w

as the first pub

lic presentatio

n at this stag

e in the life of the p

roject and

resulted in

new insig

hts into the p

erceptio

n and interp

retation

of the w

ork b

y the wo

rkshop

particip

ants.

bIo

go

ttfried h

aider, b

orn 1985 in v

ienna, is interested

in urban so

und scap

e theory and

currently research-ing

on the interd

epend

encies of the alg

orithm

ic acq

uisition o

f space, its co

existent manip

ulation

and num

erolo

gy. h

e lives and w

orks in v

ienna and

ro

tterdam

.

exhib

itions (selectio

n):2008 particip

ation transm

ediale08, b

erlin / de

2007 exhib

ition (m

is)used M

edia, v

ienna / at

2007 exhib

ition etc17, v

ienna / at

2007 participatio

n Mo

bile M

usic Wo

rkshop

, am

-sterd

am / n

l2004 a

ward

of d

istinction prix a

rs electro

nica - u19, linz / a

t

bernhard

garnicnig

, bo

rn 1983 in breg

enz, austria,

studies d

igital a

rts at the university fo

r ap

plied

arts in v

ienna, austria. h

e is a found

ing m

emb

er of

the atelier c17 o

ffspace in v

ienna and active in the

field o

f imp

rovised

turntable d

étournem

ent.

selected e

xhibitio

ns and perfo

rmances

2008 albért b

ernàrd - d

as mysterieux p

roject, c17,

vienna / a

t2008 exhib

ition kunstraum

engländ

erbau, vad

uz / li2007 e

xhibitio

n (mis)used

Med

ia, vienna / a

t2007 particip

ation M

ob

ile Music W

orksho

p, a

m-

sterdam

/ nl

2005 perform

ance 22. kasseler d

okum

entar-, film-

und v

ideo

fest, kassel / d

e

2007 d

em

os

81 so

un

d m

ove

s, i

po

d c

ult

ure

an

d u

rban

e

xper

ienc

e

mic

hael

bul

l

in t

his

lect

ure

i p

rese

nt w

ork

on

the

so

cial

na

-tu

re a

nd m

eani

ng o

f ip

od

use

. the

mat

eria

l d

e-riv

es f

rom

a l

arg

e sc

ale

inte

rnat

iona

l sur

vey

of

user

s c

ond

ucte

d i

n 2

004.

the

ipo

d is

use

d a

s a

pris

m t

hro

ugh

whi

ch t

o u

n-d

erst

and

the

nat

ure

of t

he p

ublic

wo

rld in

whi

ch

we

live.

so

und

pla

ys a

cen

tral

role

in h

ow

the

urb

an

citiz

en b

eco

mes

roo

ted

in m

ob

ile u

rban

sp

ace,

of

how

the

y ac

qui

re t

heir

‘bei

ng in

the

wo

rld’ t

hro

ugh

the

crea

tion

of p

rivat

ized

so

und

atm

osp

here

s. ip

od

cu

lture

po

sses

ses

its o

wn

pro

cess

es o

f a

udito

ry

gat

ing

and

filte

ring

tha

t em

bo

die

s th

e ur

ban

wo

rld

that

mo

st o

f us

inha

bit.

i a

rgue

tha

t th

e ro

le o

f so

und

bas

ed t

echn

olo

gie

s re

qui

re i

nves

tigat

ion

in o

rder

fo

r u

s to

rea

ch a

n un

der

stan

din

g o

f ho

w

we

com

e to

sha

re s

oci

al s

pac

e w

ith o

ther

s in

ur

-b

an c

ultu

re.

ipo

d u

sers

ap

pea

r to

live

in a

wo

rld o

f m

edia

ted

w

e-ne

ss in

whi

ch s

oun

d p

rovi

des

bo

th t

he d

ream

s an

d t

he c

hain

s fo

r th

e ur

ban

sub

ject

. Med

iate

d

aura

l pro

xim

ity c

ons

titut

ed s

tate

s o

f ‘w

e-ne

ss’

whe

reb

y ‘d

irect

’ exp

erie

nce

is e

ither

sub

stitu

ted

or

tran

sfo

rmed

by

a m

edia

ted

, tec

hno

log

ical

form

o

f au

ral e

xper

ienc

e. a

dia

lect

ical

ana

lysi

s o

f ipo

d u

se

po

ints

to

a d

isju

nctio

n b

etw

een

the

ob

ject

ive

and

th

e su

bje

ctiv

e m

om

ent

of c

ultu

re in

whi

ch ip

od

us-

ers

atte

mp

t to

tra

nsce

nd t

he s

oci

al

pre

cise

ly b

y im

mer

sing

the

mse

lves

in

it. it

is

a w

orld

in

whi

ch

the

aud

itory

sel

f of i

pod

cul

ture

per

ceiv

es t

he w

orld

in

crea

sing

ly a

s in

hab

ited

aco

ustic

sp

ace.

use

rs b

oth

m

ove

to

so

und

and

are

sim

ulta

neo

usly

mo

ved

by

soun

d. s

oun

d it

self

is n

orm

ativ

e, m

edia

ting

and

re-

flect

ing

the

cul

tura

l pre

dis

po

sitio

ns o

f the

list

ener

w

ho ‘g

ates

’ exp

erie

nce.

the

man

ner

of t

his

aud

ito-

ry s

cree

ning

is n

ot

mer

ely

dep

end

ent

upo

n th

e va

l-ue

s o

f the

sub

ject

, but

als

o u

po

n th

e te

chno

log

ies

them

selv

es. n

ot

onl

y d

o w

e g

et t

he t

echn

olo

gie

s th

at w

e d

eser

ve, w

e al

so g

et t

he o

nes

we

des

ire.

bIo

Mic

hael

bul

l is

a r

ead

er in

Med

ia a

nd f

ilm a

t th

e

uni

vers

ity o

f sus

sex

and

has

writ

ten

wid

ely

on

soun

d,

mus

ic a

nd t

echn

olo

gy.

he

is t

he a

utho

r

of

soun

din

g o

ut t

he C

ity. p

erso

nal s

tere

os

and

th

e M

anag

emen

t o

f e

very

day

life

(ber

g 2

000)

, so

und

Mo

ves:

ipo

d C

ultu

re a

nd u

rban

exp

erie

nce

(ro

utle

dg

e 20

07) a

nd i

s c

o-e

dito

r o

f th

e a

udito

ry

Cul

ture

rea

der

(ber

g 2

003)

. he

is a

lso

the

foun

d-

ing

ed

itor

of t

he s

ense

s an

d s

oci

ety

Jour

nal p

ub-

lishe

d b

y b

erg

. he

was

unt

il re

cent

ly a

co

nsul

tant

to

po

rtal

pla

yer,

Cal

iforn

ia a

nd i

s a

core

mem

ber

of

new

tre

nds

foru

m,

a e

uro

pea

n th

inkt

ank

fund

ed

by

ban

kint

er, s

pai

n.

8484

2006

Ke

Yn

ote

2006

inv

ite

d s

pe

aK

er

s a

nd

tu

tor

ials

85

cre

ate

wit

h m

inim

ixa

tim

Co

le

ab

str

ac

t

ba

fta

-win

ning

min

iMix

a w

as a

po

wer

ful m

ob

ile

mus

ic m

ixin

g a

nd p

erfo

rman

ce a

pp

licat

ion

de-

velo

ped

by

tim

and

pet

e C

ole

(no

w fo

und

ers

of

inte

rmo

rphi

c.co

m, d

evel

op

er o

f to

ols

for

nurt

urin

g

idea

s).

the

pre

sent

atio

n d

iscu

ssed

the

wid

er m

arke

t o

pp

ort

uniti

es fo

r m

ob

ile c

reat

ivity

ap

plic

atio

ns,

on-

dev

ice

crea

ted

so

cial

med

ia (u

ser

gen

erat

ed

cont

ent)

and

ho

w re

cord

co

mp

anie

s ne

eded

to

b

e o

pen

in c

ons

ider

ing

new

op

po

rtun

ities

. tim

o

utlin

ed h

is fi

rm b

elie

f tha

t m

ob

ile d

evic

es h

ave

an

imp

ort

ant

futu

re a

s cr

eativ

e to

ols

, hen

ce p

rese

ntin

g

the

conc

ept

mus

ikfo

ne a

s “t

he m

ob

ile p

hone

is

the

next

ele

ctric

gui

tar”

. he

pre

sag

ed a

tim

e w

hen

man

y m

ore

hig

hly

cap

able

mo

bile

pho

nes

wo

uld

b

e ca

pab

le o

f run

ning

ad

vanc

ed c

reat

ivity

ap

plic

a-tio

ns s

uch

as m

iniM

ixa

.

12-t

rack

min

iMix

a v

2 w

as d

emo

nstr

ated

, sho

win

g

how

eas

y it

was

for

a d

J-lik

e p

erfo

rman

ce t

o b

e cr

eate

d a

nd g

iven

fro

m a

mo

bile

dev

ice.

in t

his

case

, the

pho

ne w

e b

eing

use

d m

ore

like

an

ster

eo

inst

rum

ent

whe

re li

ve s

tud

io-li

ke f

x s

ettin

gs

such

as

reve

rb, c

horu

s, d

elay

, filte

r an

d e

Q e

tc c

oul

d a

ll b

e se

lect

ed a

nd c

hang

ed in

real

tim

e o

n a

per

-tra

ck o

r g

lob

al b

asis

. thi

s w

as in

ad

diti

on

to b

eing

ab

le t

o

on-

the-

fly s

elec

t an

d a

dd

in m

ulti-

bar

aud

io lo

op

s (in

clud

ing

use

r’s o

wn)

, Mid

i riff

s, u

ser

mic

rop

hone

re

cord

ing

s et

c.

min

iMix

a a

lso

co

ntai

ned

a p

ow

erfu

l mo

dul

ar

soft

war

e sy

nthe

sise

r w

ith a

ho

st o

f cap

abili

ties,

an

d it

was

sho

wn

how

so

und

s g

ener

ated

fro

m t

his

coul

d a

lso

be

wo

rked

into

the

mix

. bo

th m

iniM

ixa

cr

eatio

n m

od

es w

ere

sho

wn

and

exp

lain

ed, t

he

sim

ple

r m

od

e b

eing

whe

re k

ey-p

ress

es (o

r sc

reen

-ta

p o

n to

uch

scre

en d

evic

es) c

oul

d e

.g t

urn

loo

ps

on/

off

and

the

oth

er “

cell

mix

” m

od

e w

here

the

re

wer

e 4

diff

eren

ce m

ix s

ectio

ns.

follo

win

g t

he p

rese

ntat

ion

del

egat

es w

ere

pro

vid

-ed

with

dev

ices

whe

re t

hey

coul

d t

ry o

ut m

iniM

ixa

fo

r th

emse

lves

.

bIo

inte

rmo

rphi

c lt

d, e

stab

lishe

d in

200

7, is

the

late

st

com

pan

y fr

om

mul

timed

ia a

rtis

t an

d s

ong

writ

er t

im

Co

le (a

ka c

ola

rtz)

and

his

bro

ther

pet

e C

ole

, with

w

hom

he

has

wo

rked

for

ove

r 18

yea

rs o

n d

evel

op

-in

g g

ener

ativ

e m

usic

sys

tem

s an

d p

rod

ucts

and

te

chno

log

ies

for

mo

bile

mus

ic m

akin

g. i

nter

mo

r-p

hic

crea

tes

too

ls fo

r nu

rtur

ing

idea

s, s

uch

as t

he

tran

s-g

ener

ativ

e m

usic

sys

tem

, hyp

er-in

stru

men

t an

d fl

uxer

“/n

oat

ikl/

“, a

nd c

ut-u

p ly

ric g

ener

ato

r “/

liptik

l/”.

in 1

990

the

Co

les

foun

ded

sse

yo t

o d

evel

op

the

g

ener

ativ

e m

usic

sys

tem

, “k

oan

”, w

hich

wen

t o

n to

b

e us

ed b

y b

rian

eno

in 1

995/

6 to

cre

ate

“gen

era-

tive

Mus

ic 1

”. b

y 19

96 k

oan

had

bec

om

e th

e fir

st

eur

op

ean

dev

elo

ped

plu

gin

for

net

scap

e an

d in

19

98 t

im c

reat

ed t

he fi

rst

onl

ine

colla

bo

rativ

e vi

r-tu

al g

ener

ativ

e co

mp

osi

tion,

ko

an^

oas

is, a

nd g

ave

a ke

yno

te s

pee

ch a

t is

ea

. sse

yo r

aise

d s

ever

al

roun

ds

of f

und

ing

and

wen

t o

n to

win

a b

aft

a fo

r te

chni

cal i

nno

vatio

n in

200

1.

by

2002

sse

yo h

ad b

eco

me

a w

holly

ow

ned

sub

-si

dia

ry o

f tao

gro

up, w

here

the

Co

les

dev

elo

ped

th

e 20

05 b

aft

a-w

inni

ng m

ob

ile m

usic

mak

ing

ap

plic

atio

n “m

iniM

ixa

”.

in 2

007,

and

prio

r to

the

imm

inen

t re

leas

e o

f m

iniM

ixa

v3,

the

Co

les

par

ted

with

tao

gro

up a

nd

foun

ded

inte

rmo

rphi

c, w

here

the

y ar

e us

ing

the

ir m

any

year

s o

f exp

erie

nce

to d

evel

op

new

, fun

and

in

tere

stin

g c

reat

ivity

to

ols

for

des

kto

p a

nd m

ob

ile.

see:

htt

p:/

/ww

w.in

term

orp

hic.

com

<ht

tp:/

/ww

w.

inte

rmo

rphi

c.co

m/>

and

htt

p:/

/ww

w.c

ola

rtz.

com

<

http

://w

ww

.co

lart

z.co

m/>

live

mix

mad

e w

ith m

iniM

ixa

v3:

htt

p:/

/yo

utub

e.co

m/w

atch

?v=

ubp9

7nw

g4n

u <

http

://u

k.yo

utub

e.co

m/w

atch

?v=

ubp9

7nw

g4n

u>

<ht

tp:/

/yo

utub

e.co

m/w

atch

?v=

vxtr

eM

ur

o8u

>sy

pC M

ob

ile M

ashu

p w

ith m

iniM

ixa

: htt

p:/

/yo

u-tu

be.

com

/wat

ch?v

=q

-nq

tef3

j30

sequencer4

04

david

Jimiso

n, travis thatcher a

bstr

ac

t

sequencer404 is a m

ob

ile pho

ne softw

are app

lica-tio

n that enables m

ultiple users to

particip

ate in m

usic generatio

n. users eng

age in the o

rchestra-tio

n of a 16 step

4-measure co

ntinual com

po

sition,

similar to

those fo

und in o

lder synthesis/seq

uenc-ing

systems, such as r

oland

’s tr-808. u

p to

four us-

ers select instruments (p

ercussion, p

iano, o

rchestral hit, etc.) w

hich determ

ine the samp

les available.

Co

nnections b

etween p

hones are m

ade either via

central server, or, in 2 p

erson m

od

e, throug

h blu-

etoo

th.

once co

nnections are estab

lished, users trig

ger

sound

samp

les by p

ressing the num

eric key pad

on

their pho

ne. keys ‘1-9’ trig

ger either no

tes in the C

m scale, o

r different tim

ber p

ercussion. u

sers re-p

lace existing no

tes, or erase them

by p

ressing the

‘0’ key. pressing the ‘*’ and

‘#’ keys tog

gle o

ctaves in the instrum

entation.

key p

resses are registered

by the central server,

which co

mb

ines the data into

a notatio

nal structure co

ntaining all users’ m

usic, which in turn, is read

b

y each mo

bile d

evice. this structure enables ind

i-vid

ual users to b

e out o

f sequence w

ith each other,

while facilitating

a near real-time co

llabo

ration. e

v-ery 16 step

s, the new no

tational structure is lo

aded

fro

m the server, and

used to

trigg

er the app

rop

riate so

unds o

n the pho

ne. new

notes are ad

ded

upo

n their event to

the server notatio

n, enabling

them to

b

e heard b

y other users d

uring the next m

easure. a

s a repetitive m

usical structure, users can antici-p

ate the variations fro

m the o

ther users.

bIo

david

Jimiso

n is a phd cand

idate in the d

igital M

e-d

ia pro

gram

at geo

rgia institute o

f technolo

gy.

his research interests are in urb

an com

puting

. he

is currently a fellow

at eyeb

eam a

rt & techno

log

y C

enter.

travis thatcher has been invo

lved in research in

human co

mp

uter interaction fo

r live perfo

rmance

and interactive so

nification.h

e has perfo

rmed

as an electro

nic com

po

ser and m

usician for the last seven

years and as a saxo

pho

nist for the last tw

elve years. thatcher received

a bachelo

rs in Co

mp

uter science fro

m g

eorg

ia tech in spring

2005, and a M

asters 

deg

ree in science, with co

ncentration in m

usic techno

log

y in May 2007.

8888 2006 m

ob

ile c

olla

bo

ra

tive

mu

sic m

aK

inG

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 11

st

rana

: A

C M

Y K

82

2006

un

ive

rsi

tY o

f su

sse

x,

un

ite

d K

inG

do

m

3rd M

ob

ile

Mu

siC

Wo

rksh

op

83

socialig

ht

Michael sharo

n

socialig

ht is a content p

latform

that lets any pub

-lisher o

r perso

n create and d

iscover m

edia and

info

rmatio

n placed

in physical lo

cations such as

schoo

ls, shop

s, and p

arks around

the wo

rld. a

ny-o

ne can find the co

ntent, whether o

n their mo

bile

pho

ne when nearb

y or b

y bro

wsing

a map

on the

web

. With so

cialight, w

e’ve created an entirely new

m

edia channel that’s p

lace-based

. the sticky n

ote

the basic b

uilding

blo

ck of so

cialight is the sticky

no

te- similar to

a yellow

post-it no

te that you find

at the o

ffice, except that it can co

ntain text, imag

es, aud

io and

even video

! sticky no

tes can be stuck to

any lo

cation in the w

orld

and yo

u can choo

se who

can see yo

urs...so

cialight M

ob

ilethe b

est part ab

out so

cialight is using

it on yo

ur cell p

hone. this lets yo

u disco

ver all kinds o

f things

that are actually near to yo

u! you can also

make

com

ments and

rate the things yo

u find as w

ell as stick yo

ur ow

n notes. W

e can also no

tify you ab

out

the things that interest yo

u so yo

u never walk p

ast so

mething

coo

l again!

What yo

u see is relevant to:

* where yo

u are * w

ho yo

ur friends are

* the channels you sub

scribe to

it’s like having a g

uideb

oo

k written b

y your friend

s and

the peo

ple yo

u trust. you can also

rate, tag and

leave co

mm

ents on the thing

s you find

. you never

get spa

M b

ecause we o

nly notify yo

u abo

ut the thing

s you w

ant. you can set yo

ur notificatio

n pref-

erences here.W

e pro

vide a W

ap versio

n that wo

rks on alm

ost ev-

ery pho

ne as well as a Ja

va versio

n that wo

rks on

certain handsets and

has coo

l features like gps in-

tegratio

n and a slicker interface.

socialig

ht online

you can exp

lore so

cialight w

ith nice big

map

s and

bro

adb

and juiciness no

t po

ssible o

n mo

bile

pho

nes. so w

e encourag

e you to

loo

k around

, join

som

e channels, make friend

s and create so

me

sticky no

tes! then check your m

ob

ile preferenc-

es are set up co

rrectly and start enjo

ying the sam

e g

reat stuff on yo

ur pho

ne!

bIo

Michael is a m

edia artist, w

riter and p

rog

ramm

er w

hose w

ork runs the g

amut fro

m m

ob

ile social so

ft-w

are to g

estural music interfaces to

big

gam

es and

everything in b

etween. h

e is the co-fo

under and

C

to o

f socialig

ht, a new

york-b

ased co

mp

any de-

velop

ing so

cial med

ia too

ls for m

ob

ile devices. h

e is an a

djunct a

ssistant professo

r at Co

lumb

ia uni-

versity’s gsa

pp co-teaching

a class in big

urb

an g

ames. h

e is an ad

junct professo

r at new

york u

ni-versity’s interactive teleco

mm

unications pro

gram

, teaching

a class called M

ob

ile ap

plicatio

n desig

n.

868686 2006 in

vite

d sp

ea

Ke

rs a

nd

tuto

ria

ls87

2006

inv

ite

d s

pe

aK

er

s a

nd

tu

tor

ials

87

imp

ro

ve

ric

hard

Wid

erb

erg

, Zee

nath

has

an

ab

str

ac

t

(see

als

o p

. 40)

the

ever

yday

so

und

s th

at w

e ex

per

ienc

e ar

e p

ro-

duc

ed o

utsi

de

of o

ur o

wn

volit

ion.

the

cap

acity

to

ca

ptu

re s

oun

ds,

ho

wev

er, w

as n

ot

po

ssib

le t

ill t

he

inve

ntio

n o

f ele

ctro

-mag

netic

reco

rdin

g d

evic

es in

th

e ea

rly t

wen

tieth

cen

tury

. sin

ce t

hen,

the

sep

a-ra

tion

of s

oun

d fr

om

its

sour

ce, a

nd t

he c

apab

il-ity

to

pla

y it

bac

k, h

as m

ade

it p

oss

ible

to

list

en t

o

soun

ds

out

sid

e o

f its

orig

inal

co

ntex

t. t

he m

ob

ile

pho

ne is

als

o a

med

ium

thr

oug

h w

hich

so

und

s ar

e he

ard

out

sid

e o

f the

ir o

rigin

al c

ont

ext.

ho

wev

er,

the

norm

ativ

e d

efini

tion

of t

he m

ob

ile p

hone

as

a m

ediu

m fo

r co

mm

unic

atio

n ha

s re

stric

ted

its

po

-te

ntia

l as

a m

ediu

m fo

r so

und

s th

at e

xist

out

sid

e o

f th

e im

med

iate

tel

e-co

mm

unic

atio

n. iM

pro

ve is

a

des

ign

and

rese

arch

pro

ject

tha

t ex

plo

res

the

po

-te

ntia

l of t

he m

ob

ile p

hone

as

a m

ediu

m o

f co

m-

mun

icat

ion

bey

ond

its

curr

ently

do

min

ant

role

as

a tr

ansm

itter

of s

oun

ds.

the

pro

ject

pro

po

ses

the

des

ign

of t

he m

ob

ile p

hone

as

a m

ediu

m fo

r th

e ex

chan

ge

of e

very

day

so

und

s w

ithin

co

mm

uniti

es

and

acr

oss

so

cio

-cul

tura

l co

ntex

ts b

y m

ob

ilizi

ng t

he

po

tent

ial o

f the

mo

bile

pho

ne a

s a

too

l fo

r th

e p

ro-

duc

tion

of e

very

day

so

und

s. t

o li

sten

car

eful

ly t

o

the

envi

ronm

ent

is s

om

ethi

ng w

e w

ant

to e

mp

ha-

size

in o

ur d

esig

n. W

e b

elie

ve t

hat

whe

n th

e p

os-

sib

ility

to

reco

rd a

nd w

ork

cre

ativ

ely

with

the

so

nic

envi

ronm

ent

exis

ts, t

hen

a hi

ghe

r aw

aren

ess

of o

ur

envi

ronm

ent

is a

chie

ved

. nee

dle

ss t

o s

ay, t

he p

lay-

bac

k o

f the

reco

rded

so

nic

envi

ronm

ent

is o

nly

a re

pre

sent

atio

n o

f it.

but

to

wo

rk c

ons

cio

usly

with

th

is re

pre

sent

atio

n is

wha

t, w

e b

elie

ve, h

eig

hten

s o

ur a

war

enes

s o

f our

so

nic

envi

ronm

ent.

http

://w

ww

.riw

id.n

et/i

mp

rove

/

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 11

st

rana

: B

C M

Y K

ce

llph

on

ia: in the n

ews

steve bull, sco

t gresham

-lancaster & t

im perkis

ab

stra

ct

Cellp

honia: in the n

ews is an o

pen so

urce cell p

hone karao

ke op

era with a m

ixed final p

erfor-

mance d

elivered to

the particip

ant as a po

dcast

and o

nline as a web

based

mp

3. the ever-changing

current state o

f the op

era will b

e continuo

usly avail-ab

le as an online stream

-cast.

Cellp

honia: in the n

ews is an o

pen so

urce loca-

tion-b

ased karao

ke cell pho

ne op

era that uses a lib

retto g

enerated fro

m r

ss news feed

s. the music

is bo

th pre-co

mp

osed

and alg

orithm

ically gener-

ated b

y news feed

s. the full op

era is com

prised

o

f many callers’ vo

ices mixed

with aud

ioenhance-

ment to

ols and

delivered

by co

ntinuous internet

audio

stream-cast. the fresh ad

ditio

n of new

caller vo

ices and evo

lving m

usic creates a never-repeat-

ed stream

ing 24/7 o

pera. ind

ividual so

ngs fro

m the

op

era are available as m

p3 files that can b

e do

wn-

load

ed o

r retrieved as a p

od

cast. With C

ellpho

nia, a p

otential w

orld

wid

e gro

up o

f users is pro

vided

w

ith a means o

f unique so

cial interaction that refers

to a centuries o

ld trad

ition, o

pera, in a new

con-

text that leverages the b

road

ening w

ireless tech-no

log

ical base in a sim

ple, fam

iliar, and accessib

le m

anner. in Cellp

honia, the artist is b

oth co

der and

co

mp

oser, w

hile the caller is bo

th perfo

rmer and

aud

ience.

http://cellp

hone.el.net/n

iMe

/http

://cellpho

ne.el.net/listen/

bIo

steve bull o

ffers a po

rtfolio

of assets fro

m his last

seven years as found

er of C

utlass, a com

pany w

hich sp

ecializes in mo

bile lo

cative med

ia and art w

ith ap

plicatio

ns running o

n 02, verizon W

ireless, te-

lus M

ob

ility, and o

range. in 2006 his h

ot-n-C

old

w

as a na

vte

Q lb

s Challeng

e finalist, he launched

his new

-york h

istorical so

ciety slavery tour o

n vo

dcast, p

od

cast and v

oip, and

the ny t

imes re-

viewed

the prem

iere of his C

ellpho

nia: san Jose, an

op

era at isea

Zeroo

ne festival. after co

mp

leting

nyu

’s interactive telecom

municatio

ns prog

ram, he

wo

rked as a senio

r inform

ation architect and

pro

to-

type d

esigner/d

evelop

er for interval r

esearch. he

also w

on m

any award

s for his m

edia p

rod

uctions

bo

th national and

international and

is a mem

ber o

f the d

irectors g

uild o

f am

erica.

89

2006 mo

bile

co

llab

or

ativ

e m

usic

ma

Kin

G

89 92

2006

so

un

dsc

ap

es

& m

ob

ile

lis

ten

inG

tact

ical

so

und

Gar

den

[ts

G]

too

lkit

Mar

k sh

epar

d

ab

str

ac

t

the

tact

ical

so

und

gar

den

[tsg

] to

olk

it is

an

op

en s

our

ce s

oft

war

e p

latf

orm

for

culti

vatin

g p

ub-

lic “

soun

d g

ard

ens”

with

in c

ont

emp

ora

ry c

ities

. it

dra

ws

on

the

cultu

re o

f urb

an c

om

mun

ity g

ard

en-

ing

to

po

sit

an in

fras

truc

ture

for

new

sp

atia

l pra

c-tic

es fo

r so

cial

inte

ract

ion

with

in t

echn

olo

gic

ally

m

edia

ted

env

ironm

ents

. ad

dre

ssin

g t

he im

pac

t o

f m

ob

ile a

udio

dev

ices

like

the

ipo

d, t

he p

roje

ct e

x-am

ines

gra

dat

ions

of p

rivac

y an

d p

ublic

ity w

ithin

co

ntem

po

rary

pub

lic s

pac

e.

the

too

lkit

enab

les

anyo

ne li

ving

with

in d

ense

80

2.11

wire

less

(Wif

i) “h

ot

zone

s” t

o in

stal

l a

“so

und

gar

den

” fo

r p

ublic

use

. usi

ng a

Wif

i en-

able

d m

ob

ile d

evic

e (p

da

, lap

top

, mo

bile

pho

ne),

par

ticip

ants

“p

lant

” so

und

s w

ithin

a p

osi

tiona

l au-

dio

env

ironm

ent.

the

se p

lant

ing

s ar

e m

app

ed o

nto

th

e co

ord

inat

es o

f a p

hysi

cal l

oca

tion

by

a 3d

aud

io

eng

ine

com

mo

n to

gam

ing

env

ironm

ents

- o

verla

y-in

g a

pub

licly

co

nstr

ucte

d s

oun

dsc

ape

ont

o a

sp

e-ci

fic u

rban

pla

ce. W

earin

g h

ead

pho

nes

conn

ecte

d

to a

Wif

i ena

ble

d d

evic

e, p

artic

ipan

ts d

rift

tho

ugh

virt

ual s

oun

d g

ard

ens

as t

hey

mo

ve t

hro

ugho

ut

the

city

.

the

too

lkit

is a

par

asiti

c te

chno

log

y. it

feed

s o

n th

e p

rop

agat

ion

of W

ifi a

cces

s p

oin

ts in

den

se u

rban

en

viro

nmen

ts a

s a

free

, rea

dy-

mad

e, lo

cativ

e in

fra-

stru

ctur

e fo

r cu

ltiva

ting

co

mm

unity

so

und

gar

den

s in

co

ntem

po

rary

pub

lic s

pac

e. a

cces

s p

oin

ts p

ro-

duc

ing

the

Wif

i sig

nals

use

d t

o d

eter

min

e th

e lo

-ca

tion

of a

par

ticip

ant

may

be

op

en o

r en

cryp

ted

, an

d n

eed

no

t b

e “o

wne

d”

by

tho

se d

eplo

ying

the

ts

g s

yste

m. a

s th

e ha

rdw

are

com

po

nent

of t

he in

-fr

astr

uctu

re is

tie

d t

o t

he p

rop

agat

ion

of W

ifi n

et-

wo

rks,

the

ext

ent

of t

he g

ard

ens

is c

ast

in a

par

-as

itica

l rel

atio

nshi

p t

o t

hat

of a

sp

ecifi

c w

irele

ss

pro

toco

l. W

here

the

pre

senc

e o

f acc

ess

nod

es is

m

inim

al, g

ard

ens

cons

ist

of p

lant

ing

s al

ong

a s

ide-

wal

k. W

here

a lo

cal d

ensi

ty o

f no

des

exi

st, g

ard

ens

po

tent

ially

tak

e th

e sc

ale

of a

nei

ghb

orh

oo

d. i

n ci

t-ie

s w

here

wire

less

net

wo

rks

are

ubiq

uito

us, g

ard

ens

exte

nd t

hro

ugho

ut t

he e

ntire

city

.

bIo

Mar

k sh

epar

d is

an

artis

t, a

rchi

tect

and

rese

arch

er

who

se c

ross

-dis

cip

linar

y p

ract

ice

exp

lore

s ne

w s

o-

cial

sp

aces

and

sig

nify

ing

str

uctu

res

of c

ont

emp

o-

rary

net

wo

rk c

ultu

res.

his

rese

arch

inve

stig

ates

the

im

plic

atio

ns o

f mo

bile

and

per

vasi

ve m

edia

, co

m-

mun

icat

ion

and

info

rmat

ion

tech

nolo

gie

s fo

r ar

chi-

tect

ure

and

urb

anis

m.

his

rece

nt p

roje

ct, t

he t

actic

al s

oun

d g

ard

en

[tsg

] to

olk

it, is

an

op

en s

our

ce s

oft

war

e p

latf

orm

fo

r cu

ltiva

ting

virt

ual s

oun

d g

ard

ens

in u

rban

pub

-lic

sp

ace.

it h

as b

een

pre

sent

ed a

t m

useu

ms,

fes-

tival

s an

d a

rts

even

ts in

tern

atio

nally

, inc

lud

ing

the

C

ont

emp

ora

ry M

useu

m, b

altim

ore

, Mar

ylan

d; C

on-

flux

2006

; bro

okl

yn, n

ew y

ork

; ise

a 2

006,

san

Jo

se,

Cal

iforn

ia; s

igg

ra

ph 2

007,

san

die

go

, Cal

iforn

ia;

futu

reso

nic,

Man

ches

ter,

uk

; so

nar

fest

ival

, bar

-ce

lona

, sp

ain;

the

ele

ctro

nic

lang

uag

e in

tern

a-tio

nal f

estiv

al –

fil

e 2

007,

são

pao

lo, b

razi

l; an

d

the

art

e.M

ov

fest

ival

for

Mo

bile

Med

ia, b

elo

ho

ri-zo

nte,

bra

zil.

he

is c

o-e

dito

r o

f the

situ

ated

tec

hno

log

ies

pam

-p

hlet

ser

ies,

pub

lishe

d b

y th

e a

rchi

tect

ural

lea

gue

o

f new

yo

rk a

nd c

o-a

utho

r o

f “u

rban

Co

mp

utin

g

and

its

dis

cont

ents

” w

ith a

dam

gre

enfie

ld. o

th-

er p

ublic

atio

ns in

clud

e “s

ituat

ing

the

dev

ice”

and

“w

ork

ing

titl

e: in

dus

tria

n pi

lz”,

in s

hark

, a J

our

nal

of p

oet

ics

and

art

Crit

icis

m, v

.1 &

2; a

nd “

tact

ical

so

und

gar

den

[tsg

] to

olk

it”, i

n 30

6090

v.9

- r

e-g

ard

ing

pub

lic s

pac

e, p

ublis

hed

by

prin

ceto

n a

r-ch

itect

ural

pre

ss.

he

is c

urre

ntly

an

ass

ista

nt p

rofe

sso

r o

f arc

hite

c-tu

re a

nd M

edia

stu

dy

at t

he u

nive

rsity

at

buf

falo

, st

ate

uni

vers

ity o

f new

yo

rk, w

here

he

co-d

irect

s th

e C

ente

r fo

r v

irtua

l arc

hite

ctur

e.

939396

2006 hc

i in m

ob

ile m

usic

& u

ses o

f mu

sic in

mo

bile

settin

Gs

sonicp

ulse – explo

ring a shared

music

space

akseli a

nttila

ab

stra

ct

in this pap

er we p

resent a desig

n for a so

cial music

app

lication fo

r mo

bile d

evices. the desig

n allow

s users to

passively m

onito

r a shared m

usic space, o

r actively lo

ok fo

r other users o

f the system. the user

can furthermo

re engag

e in shared m

usic use. the p

rop

osed

desig

n can be used

to investig

ate the q

uestion o

f user willing

ness to eng

age in p

layful m

usic sharing, and

metho

ds w

hich allow

bo

th local

and rem

ote exp

erience sharing.

in this pap

er we p

resent a desig

n for a so

cial music

app

lication fo

r mo

bile d

evices. the desig

n allow

s users to

passively m

onito

r a shared m

usic space, o

r actively lo

ok fo

r other users o

f the system. the user

can furthermo

re engag

e in shared m

usic use. the p

rop

osed

desig

n can be used

to investig

ate the q

uestion o

f user willing

ness to eng

age in p

layful m

usic sharing, and

metho

ds w

hich allow

bo

th local

and rem

ote exp

erience sharing.

in active scanning the user can send

out a p

ing, a

perso

nal audio

snipp

et. the ping

is reflected fro

m

other users as an echo

, a sound

describ

ing the na-

ture of the d

iscovered

user. the users can send

specific m

usic files or d

istinct sound

s to o

thers, de-

noting

e.g. a w

illingness to

start a shared sessio

n. thus ab

stract dialo

gue can lead

to m

usical sharing,

colistening

and taking

turns as dJs. the p

rop

osed

system

and the results o

f a field evaluatio

n will p

ro-

vide insig

ht to the value o

f a musical co

mm

unica-tio

n system in a m

ob

ile context. the m

ain research q

uestions co

ncern the musical and

social asp

ects of

the desig

n. a third

questio

n concerns the feasib

ility o

f the desig

n for p

roto

typing

and im

plem

entation.

bIo

akseli a

nttila is a do

ctoral stud

ent (music m

eets m

ediated

com

municatio

n) and a d

esigner at n

okia,

wo

rking m

ostly w

ith med

ia app

lications. h

e wo

rks at the n

okia r

esearch Centre in finland

. he started

at u

iah

film d

epartm

ent (cinemato

grap

hy), mo

ved

to p

re-med

ialab iM

i (3d anim

ation and

Cg

i), and

hold

s a Ma

from

Med

ia lab h

elsinki (online co

m-

munities).

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 12

st

rana

: A

C M

Y K

90

2006

mo

bil

e c

oll

ab

or

ati

ve

mu

sic

ma

Kin

G

chi

na G

ates

a

dig

ital

art

wee

ks m

ob

ile m

usic

pro

ject

art

Cla

y

ab

str

ac

t

the

wo

rk C

hina

gat

es is

tec

hnic

ally

bas

ed o

n p

os-

sib

ilitie

s o

f syn

chro

nizi

ng a

gro

up o

f per

form

ers

usin

g t

he c

lock

pul

se e

mitt

ed fr

om

gps

sat

el-

lites

. aes

thet

ical

ly, C

hina

gat

es is

roo

ted

in w

ork

s fo

r o

pen

pub

lic s

pac

e an

d b

elo

ngs

to a

gen

re o

f w

ork

s, w

hich

cel

ebra

te t

he u

se o

f inn

ova

tive

mo

bile

te

chno

log

ies

to e

xplo

re p

ublic

sp

ace

and

pub

lic

aud

ienc

e. t

he p

erfo

rman

ce t

akes

pla

ce in

a li

m-

ited

city

are

a su

ch a

s a

city

sq

uare

, a p

ark

and

op

en

cour

tyar

d.

a s

erie

s o

f tun

ed g

ong

s is

use

d. t

he n

umb

er o

f g

ong

s is

gre

ater

tha

n th

e nu

mb

er o

f per

form

ers

par

ticip

atin

g. t

uned

to

an

eas

tern

mus

ical

sca

le,

thes

e g

ong

s g

ive

the

pie

ce a

to

uch

of t

he o

rient

on

the

horiz

ont

al, m

elo

dic

sid

e an

d a

wes

tern

typ

e d

is-

sona

nce

on

the

vert

ical

, cho

rd s

truc

ture

sid

e. t

he

go

ngs

are

circ

ulat

ed a

mo

ngst

the

pla

yers

by

an e

x-ch

ang

e p

roce

ss s

o t

hat

an o

n g

oin

g c

hang

e in

har

-m

oni

es c

an b

e ac

hiev

ed.

eac

h o

f the

pla

yers

wan

der

s th

roug

h th

e p

erfo

r-m

ance

sp

ace

free

ly. a

cus

tom

bui

lt g

ps in

terf

ace

on

the

wris

t re

gis

ters

the

pla

yer’s

po

sitio

n an

d d

e-te

rmin

es t

o g

eog

rap

hica

l co

ord

inat

es w

hen

to p

lay

the

go

ng. b

y us

ing

a d

elay

bet

wee

n th

e sa

telli

te

clo

ck p

ulse

and

the

le

d t

hat

ind

icat

es w

hen

to

strik

e th

e g

ong

, a h

arm

olo

dic

effe

ct is

ob

tain

ed a

s th

e p

laye

rs g

rad

ually

shi

ft fr

om

a c

hord

al t

o a

me-

lod

ic s

truc

ture

dep

end

ent

on

geo

gra

phi

cal c

oo

rdi-

nate

s. in

gen

eral

, eac

h p

laye

r tr

ies

to m

ove

whe

n an

oth

er is

no

t, s

o t

hat

a “c

hore

og

rap

hic

coun

ter-

po

int”

resu

lts t

hat

allo

ws

for

a rh

ythm

ic-m

elo

dic

co

lorin

g c

ause

d b

y th

e ve

rtic

al t

o h

oriz

ont

al u

n-fo

ldin

g o

f the

str

uck

go

ng c

hord

. the

per

form

ance

en

ds

for

each

pla

yer

at t

he re

turn

to

the

sta

rt p

oin

t.

the

inte

rfac

e th

eref

ore

act

s as

a “

cond

ucto

r”, i

n-d

icat

ing

whe

n th

e g

ong

s ar

e to

be

hit

and

ho

w t

he

mus

ic a

s a

who

le w

ill s

oun

d in

the

end

.

bIo

soun

d a

rtis

t a

rt C

lay

(bo

rn in

new

yo

rk, l

ives

in b

a-se

l, sw

itzer

land

) has

wo

rked

in M

usic

, vid

eo &

per

-fo

rman

ce. h

e is

a s

pec

ialis

t in

the

per

form

ance

of

self

crea

ted

wo

rks

with

the

use

of i

nter

med

ia. a

p-

pea

ranc

es a

t in

tern

atio

nal f

estiv

als,

on

rad

io a

nd

tele

visi

on

in e

uro

pe,

usa

and

Jap

an. e

xten

sive

co

mp

osi

tions

for

aco

ustic

and

ele

ctro

nic

med

ium

s in

man

y g

enre

incl

udin

g d

ance

, per

form

ance

and

th

eate

r. a

rt C

lay

also

dire

cts

the

‘dig

ital a

rt W

eeks

’ pr

og

ram

hel

d y

early

at

the

eth

in Z

uric

h. r

ecen

tly,

his

wo

rk h

as fo

cuse

d o

n la

rge-

scal

e p

erfo

rmat

ive

mus

ic-t

heat

er w

ork

s an

d p

ublic

art

sp

ecta

cles

us-

ing

mo

bile

dev

ices

. h

e ha

s w

on

awar

ds

for

mus

ic

com

po

sitio

n, p

erfo

rman

ce, a

nd n

ew m

edia

art

. he

teac

hes

at v

ario

us a

rt in

stitu

tes

in e

uro

pe

incl

udin

g

the

Zuric

h u

nive

rsity

of t

he a

rts.

919194

2006 sou

nd

sca

pe

s & m

ob

ile liste

nin

G

co

mp

osing

the sound

scape:

re-eng

aging

with p

lace

antho

ny phillips

ab

stra

ct

ho

w d

oes so

und shap

e the everyday exp

erience of

our enviro

nment? b

efore aud

io techno

log

y and the

now

ubiq

uitous use o

f mo

bile d

evices that incorp

o-

rate sound

our natural o

r acoustic so

undscap

e pro

-vid

ed us w

ith meaning

ful interaction. so

unds held

b

oth p

ersonal and

collective m

eanings, articulat-

ing a sense o

f com

munity, p

lace and aesthetic value

to the ind

ividual. a

coustic eco

log

y has show

n how

so

undscap

es have changed

over tim

e, from

the w

ell defined

acoustic p

rofiles o

f the rural environ-

ment to

the mechanical and

med

ia rich environ-

ments o

f the mo

dern d

ay city. in the city significant

sound

s are increasingly hid

den in a ho

mo

geneo

us so

undscap

e of m

ediated

sound

and urb

an noise in

which m

eaningful interactio

n with the aud

itory envi-

ronm

ent is replaced

by a ‘tuning

out’. M

ob

ile audio

techno

log

ies further perp

etuate this sense of d

e-tachm

ent throug

h the creation o

f multip

le spaces

bo

th virtual and p

hysical that the user has to o

ccu-p

y and neg

otiate. these techno

log

ies encourag

e a typ

e of d

istracted listening

that i refer to as ‘m

ob

ile m

ediated

listening’.

draw

ing o

n 20th century com

po

sitional p

rac-tices and

in particular so

undscap

e com

po

sition

and aco

usmatic m

usic my research extend

s exist-ing

wo

rk on m

eaning and

representatio

n in musi-

cal com

po

sition. W

ithin audito

ry desig

n there has b

een a preo

ccupatio

n with ‘so

und as info

rmatio

n’ rather than so

und as ‘an aesthetic exp

erience’. M

usic pro

vides an alternative in w

hich aesthetic resp

onse d

etermines the p

ersonal sig

nificance of

our exp

erience. go

ing fo

rward

in my research tw

o

questio

ns are key: what affect d

o d

ifferent types o

f so

unds have o

n the ësignificance o

f our exp

erienceí and

is it po

ssible to

catego

rize aesthetic respo

nse b

ased o

n different typ

es of so

unds? the latter

questio

n raises an issue that i wo

uld like to

discuss

at the wo

rkshop

i.e. metho

ds o

f measuring

aesthet-ic resp

onse to

sound

in contexts that are b

oth tran-

sitory and

pub

lic.

bIo

at the tim

e of this research, a

nthony phillip

s was

wo

rking as p

art of the e

quato

r pro

ject at the inter-act lab

, university o

f sussex, brig

hton, u

k. a

nthony

is interested in an interd

isciplinary ap

pro

ach to ‘m

e-d

iated sp

ace’ with p

articular reference to co

existent interactio

ns. prior to

starting his d

phil antho

ny’s b

ackgro

und w

as in Music and

Multim

edia system

s.

blu

etun

a

aria

nna

bas

soli

ab

str

ac

t

blu

etun

a is

an

app

licat

ion

runn

ing

on

blu

eto

oth

-en

able

d m

ob

ile p

hone

s th

at a

llow

s us

ers

to s

hare

in

form

atio

n ab

out

the

ir fa

vour

ite m

usic

with

oth

ers

near

by.

With

blu

etun

a p

eop

le fi

rst

crea

te a

list

of

favo

urite

art

ists

or

song

s, w

hich

can

be

do

ne m

anu-

ally

or

auto

mat

ical

ly b

ased

on

the

Mp3

s al

read

y up

load

ed o

n th

eir

mo

bile

pho

ne. t

hen

they

are

ab

le t

o s

ee w

ho e

lse

in p

roxi

mity

has

sim

ilar

tast

e in

g

ener

al, o

r th

ey c

an s

earc

h fo

r p

eop

le w

ho s

hare

a

com

mo

n in

tere

st in

a s

pec

ific

artis

t. t

his

sear

ch c

an

auto

mat

ical

ly b

e re

pea

ted

per

iod

ical

ly if

use

rs p

re-

sele

ct a

key

wo

rd s

earc

h lis

t, o

r cu

sto

m s

earc

hes

can

be

mad

e at

any

tim

e a

user

like

s. W

hen

a us

er e

n-co

unte

rs s

om

eone

with

sim

ilar

tast

e, t

hey

are

able

to

exc

hang

e m

essa

ges

with

eac

h o

ther

ove

r b

lu-

eto

oth

. fur

ther

, blu

etun

a is

inte

gra

ted

with

las

t.fm

, al

low

ing

use

rs t

o a

uto

mat

ical

ly d

ow

nlo

ad t

heir

last

.fm

pro

file

to t

he b

luet

una

sys

tem

, and

ob

tain

ad

-d

itio

nal m

usic

reco

mm

end

atio

ns. t

o fu

rthe

r en

rich

the

blu

etun

a e

xper

ienc

e, p

eop

le c

an in

tera

ct w

ith

each

oth

er t

hro

ugh

thei

r m

ob

ile p

hone

s w

hile

sit-

ting

in c

afes

by

acce

ssin

g b

luet

una

ho

tsp

ots

whi

ch

pro

vid

e a

wid

er r

ang

e o

f mus

ic s

harin

g o

ptio

ns.

With

blu

etun

a w

e ha

ve in

vest

igat

ed t

he o

pp

ort

u-ni

ty t

o c

reat

e a

light

wei

ght

ap

plic

atio

n fo

r ex

ist-

ing

and

co

mm

onl

y us

ed t

echn

olo

gie

s (e

.g. m

ob

ile

pho

nes

and

blu

eto

oth

) ab

le t

o p

rovi

de

an a

war

e-ne

ss o

f the

sur

roun

din

g p

op

ulat

ion

and

a fu

n w

ay

to g

et m

usic

reco

mm

end

atio

ns.

bIo

aria

nna

bas

soli

hold

s an

Msc

in C

om

mun

icat

ion

scie

nces

fro

m t

he u

nive

rsity

of s

iena

, ita

ly, w

here

sh

e sp

ecia

lized

in m

ass

med

ia. s

he t

hen

wo

rked

as

a re

sear

ch fe

llow

at

Med

ia l

ab e

uro

pe

for

thre

e ye

ars,

mai

nly

focu

sing

on

the

app

licat

ion

sid

e o

f m

ob

ile p

eer-

to-p

eer

and

ad

-ho

c ne

two

rks.

she

is

curr

ently

a p

hd c

and

idat

e at

the

lo

ndo

n sc

hoo

l of

eco

nom

ics

and

po

litic

al s

cien

ce, u

k, i

n th

e d

epar

t-m

ent

of i

nfo

rmat

ion

syst

ems

and

inno

vatio

n g

roup

. sh

e is

inte

rest

ed in

inte

ract

ion

des

ign,

urb

an c

om

-p

utin

g, a

nd t

he d

esig

n o

f mo

bile

pro

xim

ity-b

ased

ap

plic

atio

ns, t

echn

olo

gie

s th

at s

upp

ort

co

mm

uni-

catio

n an

d d

ata

shar

ing

am

ong

co

-loca

ted

pea

o-

ple

. aria

nna

is a

lso

a re

sear

ch a

ssis

tant

at

the

lse

, w

ork

ing

on

the

eu

-fun

ded

pro

ject

bio

ne

ts, w

hich

lo

oks

into

the

futu

re o

f wire

less

net

wo

rks.

http

://w

ww

.kar

man

et-d

esig

n.co

m/

95

20

06 s

ou

nd

sca

pe

s &

mo

bil

e l

iste

nin

G

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 12

st

rana

: B

C M

Y K

2006 h

ci in

mo

bile

mu

sic &

use

s of m

usic

in m

ob

ile se

ttinG

s 97

minim

al attentio

n navig

ation via a

dap

ted

music

rachael h

unt, Mark a

pp

erley, sally Jo C

unningham

, b

ill ro

gers &

Matt Jo

nes

ab

stra

ct

navig

ating using

subtle cues fro

m the aud

io track

you are listening

to m

ay make yo

ur journey as en-

joyab

le as the destinatio

n. in this pro

ject, we are

investigating

enjoyab

le ways o

f pro

viding

ped

estri-ans w

ith navigatio

n supp

ort, sp

ecifically by allo

wing

them

to navig

ate to m

usic.

Many o

f the navigatio

n aides availab

le to p

edestri-

ans require their full attentio

n; for exam

ple, to

use a m

ap yo

u must sto

p and

study it clo

sely, reducing

eng

agem

ent with the surro

unding

s. Walking

with

a guid

e is much b

etter — yo

u pay alm

ost no

atten-tio

n to the task o

f navigatio

n, but are still d

irected

to yo

ur destinatio

n. aud

io-b

ased interfaces have

som

e of these ad

vantages; sp

ecifically, they leave the visual sense unim

paired

.

Currently, system

s have been d

evelop

ed using

three aud

io ap

pro

aches: spo

ken cues, audio

icons

(non-sp

eech cues), and ad

apted

stereo sig

nals. o

ur wo

rk focuses o

n further investigating

minim

al attentio

n audio

user interfaces. there are a range

of alternatives fo

r adap

ting m

usic. ho

w m

uch al-teratio

n (of favo

red m

usic) will listeners allo

w? d

oes

the type o

f navigatio

n cue affect the user’s mental

load

? Will this typ

e of sub

tle navigatio

n system b

e as effective as o

ther mo

re traditio

nal navigatio

n aid

es? What typ

e of d

irection d

o users p

refer, and

which is the m

ost efficient? d

o the user’s o

bjectives

alter the style of g

uidance that they req

uire?a

n initial experim

ent was carried

out to

measure

the cog

nitive burd

en of d

ifferent cue types. W

e co

mp

ared sp

eech cues, audio

icons, and

adap

ted

stereo ag

ainst walking

with a friend

. users listened

to

a spo

ken audio

track while navig

ating, eng

aging

them

and leaving

navigatio

n as a second

ary (low

at-tentio

n) activity. Co

gnitive b

urden w

as measured

by

evaluating users’ m

emo

ry of the aud

io track, and

thro

ugh q

uestionnaires. the next step

is to further

investigate ad

apted

music navig

ation cues. W

hen listening

to a m

usic track of cho

ice, what typ

es of

cues are noticeab

le, and d

o they affect the listening

exp

erience?

bIo

rachael h

unt wo

rks at the hC

i gro

up at the u

ni-versity o

f Waikato

, new

Zealand. r

achael is inves-tig

ating lo

w co

gnitive w

eight navig

ation system

s. sp

ecifically, she is examining

how

audito

ry changes

in music m

ay be used

to g

uide b

oth to

urists and

locals to

places o

f particular interest. the tw

o m

ain g

oals o

f this research are assessing w

hether music

can be used

for navig

ation, and

whether this is a

lightw

eight, fun w

ay to navig

ate.

100

2005

va

nc

ou

ve

r,

ca

na

da

in

ass

oc

iati

on

wit

h n

ime

20

05

2nd M

ob

ile

Mu

siC

Wo

rksh

op

101

101104

2005 pap

er

s

from

calling a clo

ud to

find

ing the m

is-sing

track: artistic ap

pro

aches to m

ob

ile m

usic

frauke behrend

t

ab

stra

ct

this pap

er is challenging

the com

mo

n understand

-ing

of m

ob

ile music as ‘ring

tones and

i-po

ds’ b

y analyzing

artistic app

roaches to

it and b

y offering

new

catego

ries to co

ntextualize these pro

jects in a m

ove to

ward

s a taxono

my o

f mo

bile m

usic. eig

ht artw

orks fro

m the rap

idly exp

anding

field o

f Mo

bile

art w

ill be d

escribed

and set into

context. M

ost

pro

jects do

not lab

el themselves as m

ob

ile music,

but analysing

these artwo

rks as mo

bile m

usic p

rovid

es a fruitful context fo

r discussing

these w

orks. “sky e

ar”, “track-the-trackers”, “bub

l sp

ace”, “telenono

”, “schminky”, “sim

pletext”,

“surface patterns” and

“urb

an tapestries” illustrate

the variety of so

unds in m

ob

ile music: sp

oken text

messag

es, missing

tracks that need to

be id

entified

on a m

ob

ile platfo

rm, the crackers and

whistlers

of the electro

mag

netic sphere, kno

cking so

unds

‘attached’ to

surveillance cameras, o

ther peo

ples

favourite so

ngs fixed

to a sp

ecific urban p

lace – and

on the far o

ther end o

f po

ssibilities: silence

pro

duced

by a rad

iation-p

roo

f bo

x or b

y jamm

ing

pho

ne signals in clo

se pro

ximity.

the analyzed artw

orks are p

resented in tw

o

catego

ries: the first part o

f this pap

er focuses o

n the so

cial context o

f mo

bile m

usic explo

ring new

fo

rms o

f audience p

articipatio

n and co

llabo

rative m

ob

ile music. in the seco

nd p

art the focus shifts

to the techno

log

ical context o

f mo

bile m

usic by

“listening to

the invisible”. o

verall, the artist offer

a new and

unexpected

view o

f the urban sp

ace w

here peo

ples’ m

ovem

ents and the co

llabo

rative so

undtrack they cho

ose o

r pro

duce fo

r their urban

journeys rep

resent the city in as much as p

hysical b

uilding

s or the g

rid o

f the streets. analysing

these exam

ples b

y focussing

on the relatio

nship

of g

eog

raphical, so

cial and techno

log

ical context

of m

ob

ility mig

ht pro

ve a helpful fram

ewo

rk for

understand

ing the artw

orks, a first m

ove to

ward

s a taxo

nom

y of m

ob

ile art and m

usic.

bIo

frauke behrend

t cond

ucts research into the exp

e-rience o

f urban sp

ace via mo

bile m

edia; fo

cussing

on interactive art, m

usic and so

und p

rojects that

experim

ent with this exp

erience. she is currently finalising

her phd (d

aa

d fund

ed) at the d

epart-

ment o

f Med

ia and film

studies at the u

niversity o

f sussex, (uk

), is on the steering

com

mittee o

f the internatio

nal Mo

bile M

usic Wo

rkshop

and g

er-m

an deleg

ate for the e

urop

ean actio

n on so

nic interactio

n desig

n (sid). h

er bo

ok “h

andym

usik. k

langkunst und

‘mo

bile d

evices’” (“Mo

bile pho

ne M

usic. sound

art and

Mo

bile d

evices”) has been

pub

lished in 2004. frauke’s research is p

ublished

in e

nglish and

germ

an, and has b

een presented

at vario

us international co

nferences such as niM

e and

ise

a. she is a m

emb

er of the “C

entre for M

aterial d

igital C

ulture” and o

f richard

sennett’s “nylo

n

Culture and

society” sem

inar.

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 13

st

rana

: A

C M

Y K

98

2006

hc

i in

mo

bil

e m

usi

c &

use

s o

f m

usi

c i

n m

ob

ile

se

ttin

Gs

mus

ic m

oo

d w

heel

– e

ar-b

ased

int

erfa

ces

for

mo

bile

mus

ic d

evic

es

and

reja

and

ric, p

ierr

e-lo

uis

xec

h a

bst

ra

ct

Whe

n w

e b

row

se o

ur m

usic

co

llect

ion

on

any

mo

-b

ile d

evic

e, w

e ac

tual

ly m

ove

insi

de

a tr

ee o

f tex

-tu

al o

ptio

ns t

hat

refe

r to

the

mus

ical

met

adat

a. W

e se

arch

mus

ic b

y tit

le, a

utho

r, g

enre

, art

ist,

yea

r, et

c.

but

wha

t if

we

cann

ot

reca

ll th

e na

me

of t

he s

ong

th

at e

xact

ly m

atch

es t

hat

par

ticul

ar m

elan

cho

lic

mo

od

we

are

in t

od

ay?

Wha

t if,

ad

diti

ona

lly, w

e ha

ve w

rong

or

inco

mp

lete

met

adat

a, w

hich

hap

-p

ens

oft

en in

priv

ate

mus

ic c

olle

ctio

ns?

With

tho

u-sa

nds

of s

ong

s o

n o

ur ip

od

or

ipho

ne, m

usic

sea

rch

bec

om

es a

real

cha

lleng

e. in

ad

diti

on,

man

y ev

ery-

day

situ

atio

ns in

whi

ch m

ob

ile m

usic

dev

ices

are

us

ed, f

or

exam

ple

driv

ing

a c

ar, o

r w

ork

ing

out

, do

no

t p

erm

it w

astin

g t

oo

muc

h tim

e an

d a

tten

tion

on

cho

osi

ng m

usic

.

in o

ur a

pp

roac

h, w

e sh

ift fr

om

the

“tr

ee o

f op

-tio

ns”

par

adig

m t

o a

“se

arch

by

ear”

bro

wsi

ng

exp

erie

nce,

insp

ired

by

the

freq

uenc

y w

heel

on

old

-fas

hio

ned

rad

ios.

a s

erie

s o

f pro

toty

pes

, bas

ed

on

man

y lo

w le

vel f

eatu

res

auto

mat

ical

ly e

xtra

cted

fr

om

the

aud

io, w

as im

ple

men

ted

and

tes

ted

out

-d

oo

rs w

ith a

gro

up o

f 40

par

ticip

ants

. the

inte

rfac

-es

per

form

ed w

ell c

om

par

ed t

o t

wo

“o

ff th

e sh

elf”

re

fere

nces

: ap

ple

ipo

d a

nd s

amsu

ng p

ort

able

Me-

dia

Cen

ter.

our

firs

t p

roto

typ

e w

as w

itho

ut d

isp

lay

and

the

so

ng s

elec

tion

was

co

ntro

lled

by

a tr

ackb

all.

the

fi-na

l pro

toty

pe

was

dev

elo

ped

on

Win

do

ws

Mo

bile

5.

0 p

ow

ered

sm

artp

hone

, and

exh

ibite

d a

2d

map

o

f so

ngs.

in t

he w

ork

sho

p w

e ex

po

sed

the

less

ons

lear

ned

fr

om

our

firs

t ex

per

imen

tal s

tud

y an

d c

onf

ront

ed

our

“se

arch

by

ear

onl

y” d

esig

n p

atte

rn a

nd re

late

d

rese

arch

issu

es w

ith o

ther

par

ticip

ant

exp

erie

nces

an

d c

ont

ribut

ions

.

the

Mus

ic M

oo

d W

heel

pro

ject

evo

lved

fro

m m

id

2005

unt

il th

e en

d o

f 200

6. it

was

a c

olla

bo

ratio

n p

roje

ct b

etw

een

the

stat

e u

nive

rsity

of M

ilan,

Co

m-

put

er s

cien

ce a

nd C

om

mun

icat

ions

dep

artm

ent,

an

d M

icro

soft

res

earc

h C

amb

ridg

e, e

xter

nal r

e-se

arch

offi

ce, i

ntel

ligen

t e

nviro

nmen

ts g

roup

.

bIo

and

reja

and

ricb

orn

in Z

ajec

ar, s

erb

ia in

197

3. h

e o

bta

ined

a b

.sc

in e

lect

rical

eng

inee

ring

and

M.s

c. in

ai a

pp

li-ca

tions

in e

duc

atio

n fr

om

the

sch

oo

l of e

lect

ri-ca

l eng

inee

ring

, bel

gra

de

uni

vers

ity, s

erb

ia (f

or-

mer

yug

osl

avia

). b

y th

e en

d o

f 200

2 he

wo

n a

phd

sc

hola

rshi

p fr

om

Mila

n st

ate

uni

vers

ity in

ital

y, a

nd

sub

seq

uent

ly h

e m

ove

d t

here

. he

ob

tain

ed a

phd

in

co

mp

uter

mus

ic a

pp

licat

ions

in 2

006

and

co

n-tin

ued

to

wo

rk a

s a

rese

arch

ass

ista

nt o

n th

e sa

me

uni

vers

ity. h

is re

sear

ch p

roje

ct M

usic

Mo

od

Whe

el

has

wo

n a

rese

arch

gra

nt fr

om

Mic

roso

ft r

esea

rch

Cam

brid

ge,

on

thei

r o

pen

co

nco

urse

“C

reat

e, p

lay

and

lea

rn”

for

rese

arch

in c

om

put

er a

pp

licat

ions

w

ith s

oci

al a

nd c

ultu

ral v

alue

. fro

m 2

007

onw

ard

s,

he is

em

plo

yed

as

soft

war

e en

gin

eer

in p

arvi

s,

whe

re h

e w

ork

s o

n co

mp

uter

-vis

ion

syst

ems

for

au-

tom

atic

insp

ectio

n o

f ban

kno

te p

rint

and

sec

urity

fe

atur

es.

his

rese

arch

inte

rest

s ch

iefly

lie

with

inte

ract

ion

de-

sig

n, u

ser

eval

uatio

n m

etho

do

log

ies

for

mul

timed

ia

app

licat

ions

, and

psy

cho

log

y o

f mus

ic p

refe

renc

es.

live

s in

Mila

n, it

aly.

pier

re-l

oui

s x

ech

Join

ed M

icro

soft

in 1

997

as a

pro

ject

Man

age-

men

t C

ons

ulta

nt, a

nd m

ove

d t

o M

icro

soft

res

earc

h C

amb

ridg

e in

200

2 as

a r

esea

rch

pro

gra

m M

an-

ager

in t

he e

xter

nal r

esea

rch

offi

ce g

roup

. sin

ce

then

, he

has

bee

n in

volv

ed in

var

ious

co

llab

ora

tive

and

inte

rdis

cip

linar

y re

sear

ch p

roje

cts

with

uni

ver-

sitie

s ac

ross

eur

op

e in

the

are

a o

f am

bie

nt in

tel-

ligen

ce. i

n 20

07 h

e m

ove

d t

o M

icro

soft

fra

nce

in

paris

whe

re h

e he

ads

the

rese

arch

par

tner

ship

s p

ro-

gra

mm

e. p

ierr

e-lo

uis

xec

h ha

s a

spec

ial i

nter

est

in

inve

stig

atin

g t

he w

ays

in w

hich

the

rese

arch

in in

tel-

ligen

t e

nviro

nmen

ts c

an s

timul

ate

the

hum

an in

tel-

ligen

ce in

unl

eash

ing

one

’s o

wn

crea

tive

po

tent

ial

and

ski

lls. i

n p

artic

ular

, he

is in

tere

sted

in e

xplo

ring

ho

w t

he re

cent

ad

vanc

es in

co

mp

utin

g a

nd a

udio

, ub

iqui

tous

co

mp

utin

g, v

isio

n an

d m

achi

ne le

arni

ng

and

mo

bile

tec

hno

log

y ca

n p

rovi

de

the

bas

ic b

ricks

an

d b

lock

s fo

r b

uild

ing

the

new

“so

und

mac

hine

s”

of o

ur e

very

day

life

.

9999102

2005 pap

er

s

locatio

n33

: e

nvisioning

po

st ipo

dalyp

tic mo

bile m

usic

William

Carter and

leslie s. liu

ab

stra

ct

this pap

er describ

es a course o

f research investi-g

ating the p

otential fo

r new typ

es of m

usic mad

e p

ossib

le by lo

cation tracking

and w

ireless technolo

-g

ies. listeners walk aro

und d

ow

ntow

n Culver C

ity, C

alifornia and

explo

re a new typ

e of m

usical album

b

y mixing

tog

ether song

s and sto

ries based

on

their mo

vement. b

y using m

ob

ile devices as an in-

terface, we can create new

types o

f musical exp

eri-ences that allo

w listeners to

take a mo

re interactive ap

pro

ach to an alb

um.

locatio

n33 is an examp

le of o

ne new typ

e of m

usi-cal system

that is mad

e po

ssible thro

ugh the d

e-velo

pm

ent of m

ob

ile technolo

gy. b

y using tracking

system

s and w

ireless technolo

gy, the id

ea of w

hat co

nstitutes a music alb

um can b

e fundam

entally al-tered

and m

ade m

ore co

nsistent with the d

evelop

-ing

acceptance o

f the consum

er as an active player

in the creative pro

ductio

n cycle. by using

mo

ve-m

ent and interactivity as a m

eans for navig

ation

thoug

h a collectio

n of so

ngs, lo

cation33 tries to

reinvent the trad

itional m

usical album

and m

ake it a m

ore interactive exp

erience. in add

ition, the p

roj-

ect explo

res the po

tential for a new

type o

f record

-ed

music that is autho

red no

t only fo

r a consum

er’s C

d p

layer, but also

for a p

hysical space. b

y bring

ing

peo

ple to

gether in a sp

ace to listen to

music, the

idea o

f the album

also b

ecom

es mo

re social. the

player b

ecom

es not o

nly a part o

f the musical w

orld

o

f locatio

n33, but also

the com

munity o

f players

who

are listening to

the album

in the space.

ultim

ately, locatio

n33 is still record

ed m

usic, and

therefore the creatio

n pro

cess for the p

layer di-

verges fro

m the real-tim

e com

po

sitional q

uality of

research pro

jects such as sonic C

ity where users

develo

p literally new

music as they interact w

ith an enviro

nment. h

ow

ever, locatio

n33 app

roaches the

idea o

f music p

rod

uction fro

m the em

erging

sam-

pling

and d

J culture, respecting

the idea that as-

semb

ling d

iscrete musical frag

ments can p

rod

uce no

vel and eng

aging

music.

bIo

at the tim

e of d

evelop

ing lo

cation33, W

illiam

Carter w

as part o

f the „interactive Med

ia divisio

n“ at the scho

ol o

f Cinem

a television, u

niversity of

southern C

alifornia. leslie s. liu w

as part o

f the „in-teg

rated M

edia system

s Center“ at the u

niversity o

f southern C

alifornia.

fIgU

re

s

1 – narrato

r no

des in sp

ace2 – the g

ps pda

exp

lorer

3 – the Map

4 – a Mo

bile C

od

e em

bed

ded

in physical space

5 – a W

eb C

hecklist for m

p3 a

rtifacts6 – a

song

autho

ring M

ap7 – pd

a e

xplo

rer Co

mp

onents

Pap

er

103

103

23

4

56

71

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 13

st

rana

: B

C M

Y K

2005 in

ter

ac

tive

po

ster

105

mo

bile u

ser-interface for m

usic

takuya yamauchi,to

ru iwatake

ab

stra

ct

the present stud

y consid

ers the interface desig

n fo

r music and

grap

hical content in ub

iquito

us sp

ace. herein, w

e present a m

ob

ile user-interface system

for m

usic and visual co

llabo

ration in a p

er-so

nal area netwo

rk (pan

). the system, w

hich is con-

nected to

a local area netw

ork (la

n; ie

ee

802.11b),

is com

po

sed o

f an agent o

n a mo

bile d

evice con-

troller (pd

a), a so

und eng

ine, and a g

raphical lan-

guag

e environm

ent. We co

nsidered

the mid

dle-

ware ag

ent that pro

cesses the context aw

areness in m

edia art and

gam

e develo

pm

ent. the pro

totyp

e system

“sound

pad” d

emo

nstrated here is a m

usi-cal instrum

ent and the g

raphical co

ntroller o

f a mo

-b

ile user-interface.

ub

iquito

us space co

nsists of num

erous m

icro m

a-chines and

host co

mp

uters that are connected

by

sensors and

other d

evices to electric ho

usehold

ap

pliances and

wearab

le com

puters. the ub

iqui-

tous sp

ace in a pan

contains co

ntext inform

ation

from

other ag

ents. thus, the user-interface of this

context d

ata must p

resent inform

ation w

ithout co

n-fusing

the user. a co

nsiderab

le numb

er of p

apers

have been p

ublished

regard

ing this techno

log

y. “so

und pad

” is a handheld

contro

ller for p

rod

ucing

score files and

grap

hical content. the user is ab

le to

mo

ve throug

h ubiq

uitous sp

ace while co

ntrolling

the so

und pad

and enjo

ying the artw

ork m

ade b

y m

edia artists.

We p

rop

ose here the so

und pad

mo

bile d

evice user-interface as a m

ob

ile device (pd

a) interface, a

sound

instrument and

a visual interface. the sound

pad

user is able to

manip

ulate sound

s using the

sound

engine (pure d

ata) as well as the visual co

n-tents o

f the grap

hical languag

e (processing

) and

use sound

com

po

sers and g

raphic d

esigners in

ubiq

uitous sp

ace. C

om

po

sers and artists are ab

le to p

rod

uce sound

d

esigns b

y creating sco

re files in pure data. inter-

face desig

ners can also d

evelop

new user-interfaces

using this m

ob

ile interface. in add

ition, g

raphic d

e-sig

ners can pro

duce g

raphic co

ntent in processing

. the system

enables the co

llabo

ration o

f these con-

tents and m

akes it po

ssible to

desig

n context fo

r netw

orked

sensors and

agents in ub

iquito

us space.

bIo

takuya yamauchi is p

art of the “M

edia d

esign pro

-g

ram” at the “g

raduate scho

ol o

f Med

ia and g

ov-

ernance” at keio

university sfC

, Japan.

toru iw

atake is professo

r at the “Med

ia desig

n pro-

gram

” at the “grad

uate schoo

l of M

edia and

go

v-ernance” at k

eio u

niversity sfC, Jap

an.

2005 in

ter

ac

tive

po

ster

105

mo

bile u

ser-interface for m

usic

takuya yamauchi,to

ru iwatake

ab

stra

ct

the present stud

y consid

ers the interface desig

n fo

r music and

grap

hical content in ub

iquito

us sp

ace. herein, w

e present a m

ob

ile user-interface system

for m

usic and visual co

llabo

ration in a p

er-so

nal area netwo

rk (pan

). the system, w

hich is con-

nected to

a local area netw

ork (la

n; ie

ee

802.11b),

is com

po

sed o

f an agent o

n a mo

bile d

evice con-

troller (pd

a), a so

und eng

ine, and a g

raphical lan-

guag

e environm

ent. We co

nsidered

the mid

dle-

ware ag

ent that pro

cesses the context aw

areness in m

edia art and

gam

e develo

pm

ent. the pro

totyp

e system

“sound

pad” d

emo

nstrated here is a m

usi-cal instrum

ent and the g

raphical co

ntroller o

f a mo

-b

ile user-interface.

ub

iquito

us space co

nsists of num

erous m

icro m

a-chines and

host co

mp

uters that are connected

by

sensors and

other d

evices to electric ho

usehold

ap

pliances and

wearab

le com

puters. the ub

iqui-

tous sp

ace in a pan

contains co

ntext inform

ation

from

other ag

ents. thus, the user-interface of this

context d

ata must p

resent inform

ation w

ithout co

n-fusing

the user. a co

nsiderab

le numb

er of p

apers

have been p

ublished

regard

ing this techno

log

y. “so

und pad

” is a handheld

contro

ller for p

rod

ucing

score files and

grap

hical content. the user is ab

le to

mo

ve throug

h ubiq

uitous sp

ace while co

ntrolling

the so

und pad

and enjo

ying the artw

ork m

ade b

y m

edia artists.

We p

rop

ose here the so

und pad

mo

bile d

evice user-interface as a m

ob

ile device (pd

a) interface, a

sound

instrument and

a visual interface. the sound

pad

user is able to

manip

ulate sound

s using the

sound

engine (pure d

ata) as well as the visual co

n-tents o

f the grap

hical languag

e (processing

) and

use sound

com

po

sers and g

raphic d

esigners in

ubiq

uitous sp

ace. C

om

po

sers and artists are ab

le to p

rod

uce sound

d

esigns b

y creating sco

re files in pure data. inter-

face desig

ners can also d

evelop

new user-interfaces

using this m

ob

ile interface. in add

ition, g

raphic d

e-sig

ners can pro

duce g

raphic co

ntent in processing

. the system

enables the co

llabo

ration o

f these con-

tents and m

akes it po

ssible to

desig

n context fo

r netw

orked

sensors and

agents in ub

iquito

us space.

bIo

takuya yamauchi is p

art of the “M

edia d

esign pro

-g

ram” at the “g

raduate scho

ol o

f Med

ia and g

ov-

ernance” at keio

university sfC

, Japan.

toru iw

atake is professo

r at the “Med

ia desig

n pro-

gram

” at the “grad

uate schoo

l of M

edia and

go

v-ernance” at k

eio u

niversity sfC, Jap

an.

106

2005

inte

ra

cti

ve

po

ste

r

sola

rco

usti

cs:c

on

ne

ct

Mor

gan

bar

nard

ab

str

ac

t

sola

rcou

stic

s:C

on

neC

t is

a s

olar

-pow

ered

per

sona

l el

ectr

onic

dev

ice.

Co

nn

eCt

map

s lig

ht e

nerg

y to

au

dio

osc

illat

ions

usi

ng a

sol

ar p

anel

and

bas

ic a

udio

ci

rcui

try.

Co

nn

eCt

is re

spon

sive

to li

ght

eith

er

from

the

sun,

or a

rtifi

cial

lig

ht s

ourc

es. b

y ut

ilizi

ng

pho

tovo

ltaic

ene

rgy,

Co

nn

eCt

need

s no

bat

terie

s to

op

erat

e. it

har

vest

s an

d s

tore

s lig

ht e

nerg

y fr

om

the

envi

ronm

ent a

nd c

onve

rts

the

ener

gy

to a

udio

os

cilla

tions

. by

usin

g a

larg

e ca

pac

itor t

o st

ore

light

en

erg

y as

ele

ctric

ity, C

on

neC

t ca

n b

e ch

arg

ed

over

tim

e st

ore

the

harv

este

d e

nerg

y.

the

user

of s

oalra

cuos

tics:

Co

nn

eCt

can

crea

te

chan

ges

in th

e au

dio

osc

illat

ions

by

alte

ring

the

po-

sitio

n of

the

sola

r pan

el to

the

sun,

or b

y us

ing

thei

r ha

nds

to c

ontr

ol th

e am

ount

of l

ight

hitt

ing

the

sola

r p

anel

. as

the

amou

nt o

f lig

ht o

n th

e p

anel

cha

nges

, th

e co

rres

pon

din

g a

udio

osc

illat

ions

cha

nge

in

real

tim

e. t

he a

mou

nt o

f lig

ht is

in a

pro

por

tiona

l re

latio

nshi

p to

the

volta

ge

bei

ng g

ener

ated

, as

mor

e vo

ltag

e is

is a

pp

lied

to th

e ci

rcui

t the

osc

illat

ions

re

duc

es in

freq

uenc

y. t

his

pro

cess

of m

anip

ulat

ion

the

amou

nt o

f lig

ht h

ittin

g th

e p

anel

cre

ates

a g

es-

tura

l mod

e of

son

ic e

xplo

ratio

n. r

hyth

m a

nd c

hang

e in

pitc

h ca

n b

e co

ntro

lled

by

per

form

ing

rep

etiti

ve

mov

emen

ts w

ith C

on

neC

t in

and

out

of l

ight

and

sh

adow

. by

conn

ectin

g s

ever

al d

evic

es to

get

her,

anal

og c

olla

bor

ativ

e ne

twor

ked

aud

io e

nviro

nmen

ts

are

crea

ted

. Co

nn

eCt

giv

es th

e us

er a

new

aw

are-

ness

of t

heir

surr

ound

ing

s an

d a

llow

s th

em to

“ja

m”

with

thei

r env

ironm

ent.

bIo

edU

ca

tIo

n

inte

ract

ive

tele

com

mun

icat

ions

pro

gra

m n

yu, n

ew

york

, ny

- Mps

, 200

5C

alifo

rnia

Col

leg

e of

the

art

s, o

akla

nd, C

a -

film

/v

ideo

/per

form

ance

bfa

, 199

6

sHo

Ws

an

d a

Wa

rd

s

2007

Wel

ling

ton

urb

an d

esig

n W

eek.

inte

nsC

ity. i

nsi

te:

sent

imen

tal p

last

ics

2005

aw

ard

ed th

e pr

oduc

tion

fello

wsh

ip a

t eye

bea

m

nyC

. 200

5d

ecem

ber

-stil

l her

e in

the

brig

ht a

nd s

hini

ng g

roup

sh

ow a

t saf

e-t

gal

lery

. du

Mb

o n

yC

nov

emb

er-d

ecem

ber

the

Que

ensb

ridg

e W

ind

po

wer

pro

ject

in M

ind

in M

atte

r o

pen

sou

rce

art

. Cha

mp

aig

n, il

oct

ober

dis

app

ear/

reap

pea

r in

Cin

emat

heq

ue’s

prom

iscu

ous

Cin

ema

serie

s,

evid

ence

is e

very

whe

re. s

an f

ranc

isco

, Ca

June

-aug

ust t

he Q

ueen

sbrid

ge

Win

d p

ower

pro

ject

at

the

Wav

ehill

pub

lic g

ard

en

and

Cul

tura

l Cen

ter.

bro

nx, n

y

ap

ril-M

ay t

he Q

ueen

sbrid

ge

Win

d p

ower

pro

ject

at

Chi

cag

o C

onte

mp

orar

y an

d C

lass

ic: r

edefi

ning

the

21st

Cen

tury

art

fai

r at n

avy

pier

. Chi

cag

o, il

Mfa

the

sis e

xhib

ition

, itp

tis

ch s

choo

l of t

he a

rts

nyu

2004

sep

tem

ber

the

Que

ensb

ridg

e W

ind

pow

er p

roje

ct

in a

sCi’s

dig

ital 2

004,

to

Mo

rro

W,

the

new

yor

k h

all o

f sci

ence

, new

yor

k, n

ya

sk t

he r

obot

: flo

atp

otio

n. p

rem

iere

live

aud

io a

nd

vid

eo p

erfo

rman

ce.

2003

sonn

et s

ubte

rfug

e. n

etw

orke

d p

erfo

rman

ce, n

yC,

am

ster

dam

.

cU

rr

ent

PosI

tIo

n

lect

urer

: vic

toria

uni

vers

ity o

f Wel

ling

ton

scho

ol o

f d

esig

nd

igita

l Med

ia d

esig

n +

Coo

rdin

atin

g s

tud

ent p

roje

ct fo

r the

dig

ital b

road

-ca

stin

g C

onfe

renc

e at

te

pap

a

http

://m

org

anb

arna

rd.c

om

106

2005

inte

ra

cti

ve

po

ste

r

sola

rco

usti

cs:c

on

ne

ct

Mor

gan

bar

nard

ab

str

ac

t

sola

rcou

stic

s:C

on

neC

t is

a s

olar

-pow

ered

per

sona

l el

ectr

onic

dev

ice.

Co

nn

eCt

map

s lig

ht e

nerg

y to

au

dio

osc

illat

ions

usi

ng a

sol

ar p

anel

and

bas

ic a

udio

ci

rcui

try.

Co

nn

eCt

is re

spon

sive

to li

ght

eith

er

from

the

sun,

or a

rtifi

cial

lig

ht s

ourc

es. b

y ut

ilizi

ng

pho

tovo

ltaic

ene

rgy,

Co

nn

eCt

need

s no

bat

terie

s to

op

erat

e. it

har

vest

s an

d s

tore

s lig

ht e

nerg

y fr

om

the

envi

ronm

ent a

nd c

onve

rts

the

ener

gy

to a

udio

os

cilla

tions

. by

usin

g a

larg

e ca

pac

itor t

o st

ore

light

en

erg

y as

ele

ctric

ity, C

on

neC

t ca

n b

e ch

arg

ed

over

tim

e st

ore

the

harv

este

d e

nerg

y.

the

user

of s

oalra

cuos

tics:

Co

nn

eCt

can

crea

te

chan

ges

in th

e au

dio

osc

illat

ions

by

alte

ring

the

po-

sitio

n of

the

sola

r pan

el to

the

sun,

or b

y us

ing

thei

r ha

nds

to c

ontr

ol th

e am

ount

of l

ight

hitt

ing

the

sola

r p

anel

. as

the

amou

nt o

f lig

ht o

n th

e p

anel

cha

nges

, th

e co

rres

pon

din

g a

udio

osc

illat

ions

cha

nge

in

real

tim

e. t

he a

mou

nt o

f lig

ht is

in a

pro

por

tiona

l re

latio

nshi

p to

the

volta

ge

bei

ng g

ener

ated

, as

mor

e vo

ltag

e is

is a

pp

lied

to th

e ci

rcui

t the

osc

illat

ions

re

duc

es in

freq

uenc

y. t

his

pro

cess

of m

anip

ulat

ion

the

amou

nt o

f lig

ht h

ittin

g th

e p

anel

cre

ates

a g

es-

tura

l mod

e of

son

ic e

xplo

ratio

n. r

hyth

m a

nd c

hang

e in

pitc

h ca

n b

e co

ntro

lled

by

per

form

ing

rep

etiti

ve

mov

emen

ts w

ith C

on

neC

t in

and

out

of l

ight

and

sh

adow

. by

conn

ectin

g s

ever

al d

evic

es to

get

her,

anal

og c

olla

bor

ativ

e ne

twor

ked

aud

io e

nviro

nmen

ts

are

crea

ted

. Co

nn

eCt

giv

es th

e us

er a

new

aw

are-

ness

of t

heir

surr

ound

ing

s an

d a

llow

s th

em to

“ja

m”

with

thei

r env

ironm

ent.

bIo

edU

ca

tIo

n

inte

ract

ive

tele

com

mun

icat

ions

pro

gra

m n

yu, n

ew

york

, ny

- Mps

, 200

5C

alifo

rnia

Col

leg

e of

the

art

s, o

akla

nd, C

a -

film

/v

ideo

/per

form

ance

bfa

, 199

6

sHo

Ws

an

d a

Wa

rd

s

2007

Wel

ling

ton

urb

an d

esig

n W

eek.

inte

nsC

ity. i

nsi

te:

sent

imen

tal p

last

ics

2005

aw

ard

ed th

e pr

oduc

tion

fello

wsh

ip a

t eye

bea

m

nyC

. 200

5d

ecem

ber

-stil

l her

e in

the

brig

ht a

nd s

hini

ng g

roup

sh

ow a

t saf

e-t

gal

lery

. du

Mb

o n

yC

nov

emb

er-d

ecem

ber

the

Que

ensb

ridg

e W

ind

po

wer

pro

ject

in M

ind

in M

atte

r o

pen

sou

rce

art

. Cha

mp

aig

n, il

oct

ober

dis

app

ear/

reap

pea

r in

Cin

emat

heq

ue’s

prom

iscu

ous

Cin

ema

serie

s,

evid

ence

is e

very

whe

re. s

an f

ranc

isco

, Ca

June

-aug

ust t

he Q

ueen

sbrid

ge

Win

d p

ower

pro

ject

at

the

Wav

ehill

pub

lic g

ard

en

and

Cul

tura

l Cen

ter.

bro

nx, n

y

ap

ril-M

ay t

he Q

ueen

sbrid

ge

Win

d p

ower

pro

ject

at

Chi

cag

o C

onte

mp

orar

y an

d C

lass

ic: r

edefi

ning

the

21st

Cen

tury

art

fai

r at n

avy

pier

. Chi

cag

o, il

Mfa

the

sis

exhi

bitio

n, it

p ti

sch

scho

ol o

f the

art

s n

yu

2004

sep

tem

ber

the

Que

ensb

ridg

e W

ind

pow

er p

roje

ct

in a

sCi’s

dig

ital 2

004,

to

Mo

rro

W,

the

new

yor

k h

all o

f sci

ence

, new

yor

k, n

ya

sk t

he r

obot

: flo

atp

otio

n. p

rem

iere

live

aud

io a

nd

vid

eo p

erfo

rman

ce.

2003

sonn

et s

ubte

rfug

e. n

etw

orke

d p

erfo

rman

ce, n

yC,

am

ster

dam

.

cU

rr

ent

PosI

tIo

n

lect

urer

: vic

toria

uni

vers

ity o

f Wel

ling

ton

scho

ol o

f d

esig

nd

igita

l Med

ia d

esig

n +

Coo

rdin

atin

g s

tud

ent p

roje

ct fo

r the

dig

ital b

road

-ca

stin

g C

onfe

renc

e at

te

pap

a

http

://m

org

anb

arna

rd.c

om

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 14

st

rana

: A

C M

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011

0 20

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nv

ite

d p

re

sen

tati

on

s

tuna

a

riann

a b

asso

li

ab

str

ac

t

at

the

Mo

bile

Mus

ic W

ork

sho

p i

have

pre

sent

ed

a se

ries

of p

roje

cts

exp

lorin

g t

he t

hem

e o

f mo

bile

m

usic

sha

ring

. the

firs

t p

roje

ct, t

una

, is

an a

pp

lica-

tion

that

allo

ws

user

s to

sha

re t

heir

mus

ic lo

cally

th

roug

h ha

ndhe

ld d

evic

es. u

sers

can

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ne in

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o

ther

nea

rby

tuna

mus

ic p

laye

rs a

nd e

xper

ienc

e,

sim

ulta

neo

usly

, wha

t o

ther

peo

ple

are

list

enin

g t

o.

dev

elo

ped

on

pda

s an

d c

onn

ecte

d v

ia W

ifi i

n ad

-ho

c m

od

e, t

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pp

licat

ion

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pla

ys a

list

of p

eop

le

in p

roxi

mity

who

are

usi

ng t

una

, giv

es a

cces

s to

th

eir

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files

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pla

ylis

t in

form

atio

n, a

nd e

nab

les

sync

hro

nize

d p

eer-

to-p

eer

aud

io s

trea

min

g. t

he

seco

nd p

roje

ct, a

n ex

tens

ion

of t

his

pre

vio

us w

ork

, b

luet

una

, is

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pp

licat

ion

for

blu

eto

oth

-ena

ble

d

mo

bile

pho

nes

that

allo

ws

user

s to

co

nnec

t to

o

ther

blu

etun

a u

sers

in r

ang

e an

d s

hare

mus

ic re

c-o

mm

end

atio

ns. W

ith t

his

app

licat

ion,

we

soug

ht t

o

use

tech

nolo

gie

s th

at a

lread

y ha

ve a

mas

s p

enet

ra-

tion

(blu

eto

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ena

ble

s m

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o d

evel

op

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light

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ght

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sio

n o

f tun

a, a

ble

to

mak

e us

ers

awar

e o

f the

mus

ical

inte

rest

s o

f peo

ple

nea

rby

and

to

the

reb

y fo

ster

a s

ubtle

form

of p

roxi

mal

so

cial

inte

ract

ion.

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thi

rd p

roje

ct, u

nder

soun

d,

is a

n ex

amp

le o

f situ

ated

des

ign,

att

emp

ting

to

ad

dre

ss t

hree

diff

eren

t as

pec

ts o

f life

in t

he l

ond

on

und

erg

roun

d: s

ituat

ed u

nder

stan

din

g o

f the

sp

ace,

lo

caliz

ed in

terp

erso

nal i

nter

actio

ns, a

nd e

mer

gen

t la

rge-

scal

e flo

ws

whi

ch p

eop

le c

ons

titut

e an

d

par

ticip

ate

in. i

n o

rder

to

ach

ieve

a u

niq

ue w

ay b

y w

hich

peo

ple

can

use

mus

ic t

o in

tera

ct w

ith o

ne a

n-o

ther

and

the

sp

ace

aro

und

the

m, u

nder

soun

d u

ses

thre

e d

istin

ct, b

ut d

eep

ly in

terr

elat

ed, t

echn

olo

gi-

cal p

iece

s; b

luet

oo

th t

rans

fer

po

ints

loca

ted

in e

ach

und

erg

roun

d s

tatio

n ar

e to

be

used

for

uplo

ad-

ing

and

do

wnl

oad

ing

mus

ic in

the

und

erso

und

ne

two

rk, w

hile

blu

eto

oth

-ena

ble

d m

ob

ile p

hone

s ar

e m

eant

to

be

used

for

sto

ring

, pla

ybac

k an

d

exch

ang

e o

f mus

ic a

nd fi

nally

situ

ated

vis

ualiz

atio

ns

pro

vid

ing

a s

tatio

n-sp

ecifi

c o

verv

iew

of a

ctiv

ity

with

in t

he u

nder

soun

d n

etw

ork

are

to

be

loca

ted

at

each

sta

tion.

bIo

aria

nna

bas

soli

hold

s an

Msc

in C

om

mun

icat

ion

scie

nces

fro

m t

he u

nive

rsity

of s

iena

, ita

ly, w

here

sh

e sp

ecia

lized

in m

ass

med

ia. s

he t

hen

wo

rked

as

a re

sear

ch fe

llow

at

Med

ia l

ab e

uro

pe

for

thre

e ye

ars,

mai

nly

focu

sing

on

the

app

licat

ion

sid

e o

f m

ob

ile p

eer-

to-p

eer

and

ad

-ho

c ne

two

rks.

she

is

curr

ently

a p

hd c

and

idat

e at

the

lo

ndo

n sc

hoo

l of

eco

nom

ics

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po

litic

al s

cien

ce, u

k, i

n th

e d

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nfo

rmat

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syst

ems

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inno

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n g

roup

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e is

inte

rest

ed in

inte

ract

ion

des

ign,

urb

an c

om

-p

utin

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he d

esig

n o

f mo

bile

pro

xim

ity-b

ased

ap

plic

atio

ns, t

echn

olo

gie

s th

at s

upp

ort

co

mm

uni-

catio

n an

d d

ata

shar

ing

am

ong

co

-loca

ted

peo

ple

. a

riann

a is

als

o a

rese

arch

ass

ista

nt a

t th

e ls

e,

wo

rkin

g o

n th

e e

u-f

und

ed p

roje

ct b

ion

ets

, whi

ch

loo

ks in

to t

he fu

ture

of w

irele

ss n

etw

ork

s.

111

wal

kman

bus

ting

gid

eon

d’a

rcan

gel

o

ab

str

ac

t

“Wal

kman

bus

ting

” is

a ra

dio

do

cum

enta

ry s

erie

s cr

eate

d b

y g

ideo

n d

’arc

ang

elo

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e id

ea o

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p

rog

ram

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pun

ctur

e th

e p

rivat

e b

ubb

le o

f the

p

erso

nal l

iste

ning

dev

ice

and

eng

age

liste

ners

in a

so

cial

exp

erie

nce.

int

ervi

ews

are

cond

ucte

d w

ith

peo

ple

who

resp

ond

to th

e q

uest

ion:

“C

an i

liste

n to

wha

t yo

u ar

e lis

teni

ng to

?”

a s

urp

risin

gly

hig

h p

erce

ntag

e o

f peo

ple

ask

ed

agre

e to

be

inte

rvie

wed

. M

usic

is e

ssen

tially

so

cial

, an

d w

hen

we

liste

n to

mus

ic, e

ven

in h

ead

pho

nes,

it

seem

s w

e ar

e p

red

isp

ose

d to

so

cial

inte

ract

ion.

fo

r mill

enni

a, m

usic

has

bee

n b

y its

nat

ure

a co

m-

mun

al e

xper

ienc

e, a

way

of g

luin

g p

eop

le to

get

her

in a

sha

red

mo

men

t. t

he a

dve

nt o

f po

rtab

le p

ri-va

te li

sten

ing

dev

ices

has

inte

rrup

ted

the

com

mun

al

func

tion

of m

usic

in w

ays

we

are

just

beg

inni

ng to

co

mp

rehe

nd.

Wal

kman

bus

ting

re-w

ires

the

soci

al

func

tion

of m

usic

- hi

jack

ing

a o

ne-w

ay c

om

mun

ica-

tion

and

mak

ing

it tw

o-w

ay a

gai

n.

the

po

rtab

le li

sten

ing

dev

ice

enab

les

peo

ple

of d

i-ve

rse

cultu

ral b

ackg

roun

ds

to c

oex

ist i

n tig

ht q

uar-

ters

. M

od

ern

peo

ple

go

ab

out

in p

ublic

, eac

h tu

ned

in

to th

eir o

wn

cultu

ral f

req

uenc

y, e

ach

conn

ectin

g

to a

gro

up in

ano

ther

pla

ce.

they

sha

re th

e sa

me

spac

e b

ut a

re n

ot r

eally

bei

ng in

the

sam

e sp

ace

to-

get

her.

Wal

kman

bus

ting

unc

ove

rs th

e cu

ltura

l jux

-ta

po

sitio

ns th

at a

re h

idd

en b

enea

th th

e su

rfac

e - i

n th

e he

adp

hone

s an

d e

arb

uds

of t

he li

sten

ing

pub

lic.

the

Cd

pla

yed

at t

he fi

rst M

MW

co

ntai

ned

the

fol-

low

ing

four

sam

ple

ep

iso

des

:

1) a

ird

ate

: no

vem

ber

23,

200

2 - u

nio

n sq

uare

, n

ew y

ork

City

thes

e b

usts

incl

ude

a m

an d

eep

ly in

volv

ed in

his

“d

isne

y g

reat

est h

its”

com

pila

tions

who

is e

spe-

cial

ly a

dep

t at i

nter

pre

ting

the

lyric

s fr

om

“th

e li

ttle

M

erm

aid

.” a

noth

er s

elf-

des

crib

ed “

din

osa

ur”

lis-

tens

to th

e lik

es o

f bin

g C

rosb

y an

d th

e a

ndre

w s

is-

ters

. h

e ca

lls r

ose

mar

y C

loo

ney’

s “M

amb

o it

alia

no”

rock

and

roll.

las

tly, a

man

into

to

ny, t

one

, to

ni

and

ear

th, W

ind

and

fire

rem

inis

ces

abo

ut th

e d

ays

whe

n th

e ci

ty s

tree

ts w

ere

fille

d w

ith th

e so

und

s o

f b

oo

mb

oxe

s.

2) a

ird

ate

: feb

ruar

y 22

, 200

3 - M

etro

no

rth

hud

-so

n ri

ver c

om

mut

er tr

ain

bus

ts o

n th

e tr

ain

incl

ude

sist

er w

ith h

er n

ephe

w

and

nie

ce, w

ho w

ere

retu

rnin

g fr

om

sin

g-s

ing

pris

on

whe

re th

ey v

isite

d s

iste

r’s s

on

in ja

il. s

he is

list

enin

g

to J

ahei

m’s

“kee

p y

our

h-e

-a-d

u-p

.” a

lso

, elij

ah,

a co

lleg

e ra

dio

dJ

liste

ning

to “

emo

” p

unk,

who

te

lls ta

les

of t

he m

osh

pit.

fin

ally

, a m

an w

ho h

as

just

unl

eash

ed h

is 7

0s l

p co

llect

ion

fro

m it

s sl

umb

er

and

tran

sfer

red

it to

his

Mp3

pla

yer c

ont

end

s w

ith a

ll th

e m

emo

ries.

3) a

ird

ate

: oct

ob

er 4

, 200

3 - u

nio

n sq

uare

, new

yo

rk C

ityin

this

ep

iso

de,

we

first

enc

oun

ter a

yo

ung

wo

man

lis

teni

ng to

the

one

-str

ing

ed b

erim

bao

of c

apo

eira

m

usic

. sh

e is

an

avid

pra

ctiti

one

r of t

he b

razi

lian

mar

tial a

rt d

ance

. fi

fty

feet

aw

ay, w

e m

eet a

co

uple

o

f ro

cker

girl

s in

hig

h-sc

hoo

l who

co

mp

lain

ab

out

th

e “w

eird

cul

t-lik

e m

usic

” o

f the

bra

zilia

n ca

po

eri-

stas

. th

ey re

vere

ko

rn a

nd s

yste

m o

f a d

ow

n. W

e al

so h

ere

fro

m a

bo

nafid

e g

roup

ie o

f fra

nk Z

app

a,

who

intr

od

uced

him

to th

e fo

und

so

und

of J

ohn

C

age

and

ed

gar

var

ese

whi

le in

a d

ress

ing

roo

m o

n th

e ro

ad.

4) a

ird

ate

: Jan

uary

9, 2

004

- uni

on

squa

re, n

ew

york

City

thes

e b

usts

incl

ude

som

e g

oth

-rav

e ki

ds

still

out

fr

om

the

nig

ht b

efo

re, s

till i

n p

arty

gea

r. M

org

ana

inte

rpre

ts th

e to

ugh

and

ble

ak ly

rics

of r

&b

sin

ger

Jo

, whi

le th

e ev

er-u

pb

eat “

seve

n” h

ips

us to

so

me

hars

h un

der

gro

und

mus

ic th

at h

asn’

t “su

rfac

ed”

yet.

fi

fty

feet

aw

ay fr

om

this

sce

ne, a

jazz

mus

icia

n b

orn

in

the

sam

e m

ont

h an

d c

ity a

s al

tois

t sta

n g

etz

pay

s tr

ibut

e to

his

ho

useh

old

go

d.

bIo

gid

eon

d’a

rcan

gel

o is

an

inte

ract

ive

med

ia d

esig

n-er

with

a s

pec

ial f

ocu

s o

n th

e im

pac

t of n

ew te

chno

l-o

gy

on

mus

ical

exp

erie

nce.

he

curr

ently

pro

duc

es

the

Wee

kend

am

eric

a se

ries,

“li

sten

ing

in”

(htt

p:/

/lis

teni

ngin

.org

), w

hich

exp

lore

s th

e ch

ang

ing

way

s p

eop

le u

se re

cord

ed m

usic

in th

eir d

ay to

day

live

s.

he

crea

ted

the

“Wal

kman

bus

ting

” ra

dio

do

cum

en-

tary

ser

ies

on

pub

lic r

adio

inte

rnat

iona

l’s “

the

nex

t b

ig t

hing

” w

hich

ran

fro

m 2

002-

2005

. si

nce

the

first

“n

ew in

terf

aces

for M

usic

al e

xpre

ssio

n” w

ork

sho

p

in 2

001,

he

has

rem

aine

d a

n ac

tive

mem

ber

of t

he

niM

e co

mm

unity

. h

e is

dire

cto

r of C

reat

ive

stra

te-

gy

at e

si d

esig

n an

d te

ache

s at

the

inte

ract

ive

tele

-co

mm

unic

atio

ns p

rog

ram

in th

e t

isch

sch

oo

l of t

he

art

s at

new

yo

rk u

nive

rsity

.

111

20

04 i

nv

ite

d p

re

sen

tati

on

s

111tG

arden:

wearab

le instruments, e

mb

od

ied interac-

tion and

aug

mented

physicality

Chris salter, Jo

el ryan

ab

stra

ct

We rep

ort o

n wo

rk do

ne for tg

arden, an exp

eri-m

ental respo

nsive med

ia environm

ent where sm

all g

roup

s of p

articipants fro

m the g

eneral pub

lic can co

ntrol and

play w

ith real time g

enerated so

und

and im

age thro

ugh im

pro

vised m

ovem

ent and

gesture. d

evelop

ment o

n phase1 of the p

roject

too

k place d

uring 2000-2001 w

ith supp

ort fro

m the

daniel lang

lois fo

undatio

n and w

as show

n as a w

ork in p

rog

ress at the ars e

lectronica festival and

at v

2/las palmas in r

otterd

am fo

r the euro

pean

Cultural C

apital o

f the year in the fall of 2001. the

focus o

f this presentatio

n lies on issues arising

in the p

rocess o

f desig

ning a p

hysically respo

nsive m

ob

ile musical system

activated b

y the mo

tion and

g

estures of no

n-experts, w

here no p

redeterm

ined,

a prio

ri representatio

n of g

esture can be said

to

exist. While so

-called “aud

ience particip

ation” in-

stallations are b

eginning

to take these issues into

acco

unt, there has still been little w

ork to

date, at

either the concep

tual or technical- im

plem

entation

levels on ho

w to

build

a respo

nsive system that is

physically eng

aging

and learnab

le within a sho

rt p

eriod

of tim

e while b

eing m

usically rich and co

her-ent fo

r the casual, non-exp

ert particip

ant.

While literature in the field

of g

esture-activated m

u-sical interactio

n is well estab

lished and

, mo

st of this

wo

rk has focused

on system

s desig

ned fo

r trained

and exp

ert perfo

rmers, d

ancers and m

usicians, w

here issues of m

usical (and m

ovem

ent) nuance, co

ntrol and

expressio

n are assumed

from

the start. furtherm

ore, m

uch of this literature assum

es tradi-

tional p

erform

er/spectato

r relationship

s, where the

behavio

r of an interactive system

is experienced

p

assively by a view

er/listener at a distance. the

wo

rk describ

ed fro

m tg

arden fo

cuses less on the

specifics o

f the hardw

are and so

ftware layers in b

ut rather sug

gests a no

vel app

roach to

the total d

e-sig

n of a resp

onsive m

usical system. this system

is architected

to create a co

herent and felt reso

nance b

etween m

ultiple layers: a p

articipant’s im

pro

vised

mo

vement, senso

r input, so

ftware and

the resulting

musical resp

onse.

bIo

Christo

pher salter received

his phd in the areas o

f theater and

com

puter-g

enerated so

und at stan-

ford

university. h

e has been visiting

pro

fessor in

music, g

raduate stud

ies and d

igital m

edia at b

row

n u

niversity and the r

hod

e island scho

ol o

f desig

n (r

isd) and

is currently assistant pro

fessor in the

dep

artment o

f desig

n and C

om

putatio

n arts at

Co

ncord

ia university w

here he also is a researcher

in the interactive perform

ance and so

und axis o

f the h

exagram

institute for r

esearch/Creatio

n in the M

edia a

rts. his research and

artistic practice

investigates the ro

le of real tim

e sound

, imag

e and

technolo

gies o

f interaction w

ithin the context o

f resp

onsive enviro

nments and

new fo

rms o

f theatri-cal p

erform

ance and he is w

idely ackno

wled

ged

as o

ne of the exp

erts in this gro

wing

field. h

e was

award

ed the fulb

right and

alexand

er von h

um-

bo

ldt C

hancellor g

rants for research/w

ork in g

er-m

any betw

een 1993-1995. after co

llabo

rating w

ith peter sellars and

William

forsythe/b

allett frankfurt, he co

-found

ed the art and

research org

anization

spo

nge. salter’s w

ork has b

een show

n internation-

ally at venues such as ars e

lectronica (linz), venice

biennale (a

rchitecture), villette n

umeriq

ue (paris), transm

ediale (b

erlin), ex

it festival (Maiso

n des

arts, C

reteil-paris), place des a

rts (Mo

ntreal), elek-

tra (Mo

ntreal), shanghai d

ance festival (shanghai),

yerba b

uena Center fo

r the arts (san francisco

), the b

anff Center (b

anff), dance theater W

orksho

p

(new

york), v

2 (ro

tterdam

), sigg

ra

ph 2001 (n

ew

orleans), M

ediaterra (a

thens) and the e

xplo

rato-

rium (san francisco

), and has b

een featured in

pub

lications such as the n

ew yo

rk tim

es, id and

leo

nardo

mag

azines. he is currently co

mp

leting

entang

led: techno

log

y and the transfo

rmatio

n of

perform

ance to b

e pub

lished b

y Mit press in 2009.

Joel r

yan was sp

awned

in the first generatio

n of

com

puter m

usic hackers in san francisco’s silico

n valley, Jo

el ryan is a co

mp

oser w

ho has lo

ng cham

-p

ioned

the idea o

f perfo

rmance-b

ased electro

nic m

usic. draw

ing o

n his scientific backg

round

, he pi-

oneered

the app

lication o

f dig

ital signal p

rocessing

to

acoustic instrum

ents. at ste

iM in a

msterd

am

since 1984, he has collab

orated

extensively with

artists and m

usicians including

evan parker, W

illiam

forsyth, g

eorg

e lewis, steina vasulka and

Jerry h

unt. form

erly a research a

ssociate in p

hysics at the law

rence berkeley lab

orato

ries of the u

niver-sity o

f Califo

rnia, he has taught p

hiloso

phy, p

hysics, and

mathem

atics. he is a researcher at ste

iM in

am

sterdam

, tours w

ith the frankfurt ballet and

is d

ocent in so

nolo

gy at the r

oyal C

onservato

ry in the h

ague. h

e has perfo

rmed

at the theater Chat-

elet in paris, the Co

ncertgeb

au am

sterdam

, the pit inn in to

kyo, b

roo

klyn acad

emy o

f Music and

the k

itchen in new

york. r

ecent wo

rk includes a series

of d

uets with e

van parker,frances Marie u

itti and

Joelle leand

re, eid

os/te

los, w

ith William

for-

syth and r

ob

erto Zucco

with the r

oyal shakesp

ear C

om

pany. o

ther wo

rks include o

r air, the n

umb

er r

eaders, h

at Mo

on Jo

y, and the e

ffect of n

oise o

n the sleep

of C

hildren.

114

2004 in

vite

d p

re

sen

tatio

ns

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 15

st

rana

: A

C M

Y K

108

2004

viK

tor

ia i

nst

itu

te G

öte

bo

rG

, sw

ed

en

1st M

ob

ile

Mu

siC

Wo

rksh

op

109112

2004

inv

ited

pr

ese

nta

tion

s

son

ic c

itY

lalya gaye

ab

stra

ct

no

cturnal dub

amb

iances, po

llution as echo

cham

bers, d

rumm

ing traffic no

ises, singing

street lig

hts… scratching

tramw

ay bells b

y app

roaching

w

alls, grab

bing

metallic railing

as guitar string

s, turning

corners to

ward

s a chorus... W

ith sonic C

ity, the urb

an environm

ent becam

e a musical interface.

at the cro

ssroad

betw

een urban exp

loratio

n and

experim

ental music m

aking, so

nic City enab

led

its user to create live electro

nic music b

y simp

ly w

alking thro

ugh a city and

interacting w

ith their everyd

ay urban enviro

nments.

sonic C

ity was a w

earable system

that gathered

senso

r-based

inform

ation ab

out the user’s ac-

tions and

her environm

ent, and m

app

ed it to

the so

und p

rocessing

of live urb

an sound

s collected

b

y a micro

pho

ne. the resulting m

usic was o

utput

throug

h headp

hones in real tim

e and in co

ntext, as yo

u were w

alking, w

hich created a tig

ht link b

etween the user and

the city, and em

phasised

their interp

lay.so

nic City w

as tested b

y a variety of p

eop

le in their o

wn everyd

ay environm

ents. When w

earing this

system, they eng

aged

into a m

usical duet w

ith the city: urb

an atmo

spheres, rand

om

encounters and

everyd

ay activities all particip

ated in creating

new

live music. so

nic City turned

paths into

musical

com

po

sitions and

mo

bility thro

ugh the shifting

con-

texts of the city into

a large-scale m

usical gesture.

by p

resenting this p

roject, this talk sho

wed

how

m

ob

ile and ub

iquito

us com

puting

can enable the

emerg

ence of new

form

s of m

usic that interface w

ith everyday setting

s and p

ractices. it meant to

illustrate the p

otential and

op

po

rtunities of m

ob

ile m

usic making

, in terms o

f creative act emb

edd

ed in

the everyday.

the sonic C

ity pro

ject was realised

in 2002-04, as a co

llabo

ration b

etween the v

iktoria institute and

the interactive institute. M

ore info

rmatio

n are available

at http://w

ww

.viktoria.se/fal/p

rojects/so

niccity/

bIo

lalya g

aye is a swed

ish-senegalese h

Ci researcher

based

in gö

tebo

rg, sw

eden, w

ho w

orks in m

ul-tid

isciplinary p

rojects at the co

nvergence o

f art, techno

log

y, and d

esign. h

er pro

totyp

ing-b

ased

research explo

res po

tentials of ub

iquito

us com

put-

ing fo

r everyday life aesthetic activities, and

focuses

in particular o

n locative m

edia and

mo

bile m

usic techno

log

y. she also w

orks in vario

us art pro

jects centred

on urb

an pub

lic space and

audio

experi-

mentatio

ns, as well as o

rganises so

und-o

riented

wo

rkshop

s and sm

all festivals. she received a b

.sc. in physics at the u

niversity of g

eneva, a M.sc.e

ng.

in electro

acoustics at k

th in sto

ckholm

, wo

rked

several years at the future ap

plicatio

ns lab, v

ikto-

ria institute, and is currently finishing

a ph.d. thesis

in ap

plied

inform

ation techno

log

y at the university

of g

öteb

org

. besid

es being

a perm

anent mem

ber

of the steering

com

mittee fo

r the international

wo

rkshop

series on M

ob

ile Music techno

log

y, she is a m

emb

er of the pla

n netw

ork fo

r pervasive

and lo

cative arts and is actively invo

lved in the

niM

e research co

mm

unity. she has presented

her w

ork at vario

us international co

nferences, festivals and

journals and

regularly g

ives talks, wo

rkshop

s and

lectures at universities, institutions and

events w

orld

wid

e.

113

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 15

st

rana

: B

C M

Y K

115 118

2004

po

ste

rs

mo

bile

pho

ne m

usic

. so

und

art

and

‘m

ob

ile d

evic

es’

frau

ke b

ehre

ndt

ab

str

ac

t

ther

e ha

s b

een

qui

te a

lot

of r

esea

rch

on

the

mo

-b

ile p

hone

rece

ntly

but

the

vis

ual p

arad

igm

has

b

een

all d

om

inan

t o

nce

agai

n: t

here

has

bee

n no

so

und

-bas

ed re

sear

ch. W

hich

so

und

-bas

ed e

ffect

d

oes

thi

s d

evic

e ha

ve o

n ev

ery

day

life

, on

the

ur-

ban

so

und

scap

e, t

he p

erso

nal a

udito

ry li

fest

yle?

a

nd h

ow

do

art

ists

and

mus

icia

ns u

se t

his

new

me-

diu

m in

the

ir w

ork

s o

f so

und

art

?

for

a re

sear

ch p

roje

ct in

200

2/20

03, i

foun

d m

ore

th

an 1

00 a

rtis

tic p

roje

cts

usin

g t

he m

ob

ile p

hone

–

but

onl

y ab

out

a t

enth

of t

hese

pro

ject

s w

ork

ed

with

so

und

or

mus

ic. f

rom

the

se, i

cho

se fo

ur e

x-am

ple

s fo

r a

mo

re d

etai

led

ana

lysi

s: “

dia

ltone

s. a

te

lesy

mp

hony

” b

y g

ola

n le

vin

levi

n, “

Wäh

lt d

ie

sig

nale

!” (“

dia

l the

sig

nals

!”, 2

003)

by

the

artis

t g

roup

lig

na, “

kad

oum

” b

y W

agen

aar

(200

0), “

text

-fM

” (2

001)

by

fulle

r an

d h

arw

oo

d, a

nd “

nan

olo

op

i-m

od

e” (2

002)

by

Witt

cho

w. i

focu

s o

n th

e so

und

o

f eac

h p

roje

ct, a

nd a

lso

ask

whi

ch s

oci

al c

hang

es

with

in s

oci

ety

are

refle

cted

in t

he p

iece

s. W

ith t

he

incr

easi

ng p

op

ular

ity o

f the

mo

bile

pho

ne, p

rivat

e co

nver

satio

ns (c

alls

) are

mo

re a

nd m

ore

mad

e in

a

pub

lic e

nviro

nmen

t, fo

r ex

amp

le. t

his

ind

icat

es

the

blu

rrin

g o

f the

bo

und

arie

s b

etw

een

pub

lic a

nd

priv

ate

sphe

res.

lev

in’s

“tel

esym

pho

ny”

pla

ys w

ith

this

so

cial

cha

nge,

as

priv

ate

ring

tone

s ar

e o

rche

s-tr

ated

in a

pub

lic c

onc

ert

hall.

in a

dd

itio

n to

the

so

cial

cha

nge,

i al

so d

iscu

ss t

he t

echn

olo

gy

of t

he

mo

bile

pho

ne it

self,

with

its

four

key

feat

ures

: it

is

mo

bile

, alw

ays

switc

hed

on,

po

tent

ially

alw

ays

con-

nect

ed a

nd d

igita

l. th

e sp

read

ing

of t

he m

ob

ile

pho

ne c

hang

es t

he p

rod

uctio

n an

d d

istr

ibut

ion

of m

usic

, fro

m t

he d

eskt

op

to

the

str

eets

. fin

ally

, m

ob

ile p

hone

mus

ic is

dis

cuss

ed a

s so

und

art

, by

loo

king

at

asp

ects

suc

h as

inte

rmed

ialit

y, in

tera

ctiv

i-ty

and

sp

ace;

co

nsid

erin

g h

ow

mo

bile

pho

ne m

usic

is

link

ing

and

sup

erim

po

sing

real

and

virt

ual s

pac

es

in n

ew w

ays.

bIo

frau

ke b

ehre

ndt

cond

ucts

rese

arch

into

the

exp

e-rie

nce

of u

rban

sp

ace

via

mo

bile

med

ia; f

ocu

ssin

g

on

inte

ract

ive

art,

mus

ic a

nd s

oun

d p

roje

cts

that

ex

per

imen

t w

ith t

his

exp

erie

nce.

she

is c

urre

ntly

fin

alis

ing

her

phd

(da

ad

fund

ed) a

t th

e d

epar

t-m

ent

of M

edia

and

film

stu

die

s at

the

uni

vers

ity

of s

usse

x, (u

k),

is o

n th

e st

eerin

g c

om

mitt

ee o

f th

e in

tern

atio

nal M

ob

ile M

usic

Wo

rksh

op

and

ger

-m

an d

eleg

ate

for

the

eur

op

ean

act

ion

on

soni

c in

tera

ctio

n d

esig

n (s

id).

her

bo

ok

“han

dym

usik

. k

lang

kuns

t un

d ‘m

ob

ile d

evic

es’”

(“M

ob

ile p

hone

M

usic

. so

und

art

and

Mo

bile

dev

ices

”) h

as b

een

pub

lishe

d in

200

4. f

rauk

e’s

rese

arch

is p

ublis

hed

in

eng

lish

and

ger

man

, and

has

bee

n p

rese

nted

at

vario

us in

tern

atio

nal c

onf

eren

ces

such

as

niM

e a

nd

ise

a. s

he is

a m

emb

er o

f the

“C

entr

e fo

r M

ater

ial

dig

ital C

ultu

re”

and

of r

icha

rd s

enne

tt’s

“nyl

on

C

ultu

re a

nd s

oci

ety”

sem

inar

.

fIg

Ur

e

“Wäh

lt d

ie s

igna

le!”

(“d

ial t

he s

igna

ls!”

) by

lig

na,

at h

amb

urg

er k

unst

halle

, 200

3.

119

119

119

122 a

cK

no

wle

dG

em

en

ts

the international steering

com

mittee and

this year’s local o

rganizers w

ould

like to thank all co

ntributo

rs to and

particip

ants of this ed

ition o

f the Mo

bile M

usic W

orksho

p and

all past M

MW

’s. We extend

our ap

preciatio

n to the review

ers and tho

se who

have helped

behind

the scenes, especially the p

eop

le who

have been

involved

with the event o

ver the years. We exp

ress our g

ratitude to

the institutions that have sup

po

rted and

hosted

the wo

rkshop

, namely the v

iktoria institute,

niM

e’05, u

niversity of sussex, futureso

nic, steiM

, Waag

and the u

niversity of a

pp

lied a

rts vienna.

grap

hic desig

n by b

ernhard faiss. http

://ww

w.iseb

uki.com

/

Many thanks to

dr. g

erald b

ast and the u

niversity of ap

plied

arts, vienna fo

r spo

nsoring

this catalog

ue.

the cover p

icture was taken b

y sop

hia Wieg

ele and C

onstance steinig

er.

unless stated

otherw

ise all rights rem

ain with the autho

rs.

isbn

978-3-200-01221-9

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 16

st

rana

: A

C M

Y K

116

116

2004

in

vit

ed

pr

ese

nta

tio

ns

mal

leab

le m

ob

ile m

usic

ata

u ta

naka

ab

str

ac

t

Mal

leab

le M

ob

ile M

usic

tak

es m

ob

ility

as

inp

ut t

o

an a

udio

re-m

ix e

ngin

e en

ablin

g li

sten

ers

to e

xper

i-en

ce fa

mili

ar m

usic

in n

ew w

ays.

thi

s tr

ansf

orm

s m

usic

fro

m a

fixe

d e

nter

tain

men

t m

ediu

m in

to a

m

alle

able

co

nten

t fo

rm t

hat

enab

les

shar

ed e

xper

i-en

ces.

a g

roup

of l

iste

ners

dis

trib

uted

ab

out

to

wn

liste

n co

llect

ivel

y to

wel

l kno

wn

po

p s

ong

by

bjo

rk. e

ach

liste

ner

sele

cts

a p

art

in t

he m

usic

to

be

his

mus

i-ca

l ava

tar.

one

per

son

mig

ht b

eco

me

the

dru

ms,

an

oth

er t

he s

ynth

s, a

noth

er t

he v

oic

e o

f bjo

rk. l

o-

catio

n d

ata

driv

es a

co

ntin

uing

, evo

lvin

g li

ve re

-mix

–

as p

eop

le b

eco

me

clo

ser,

thei

r p

arts

are

hea

rd

mo

re c

lear

ly. t

his

crea

tes

a so

cial

re-m

ix.

use

rs in

tera

ct w

ith t

he m

usic

thr

oug

h su

bco

nsci

ous

ac

tions

. rat

her

aski

ng t

he c

ons

umer

to

bec

om

e cr

eato

r, th

e ac

t o

f lis

teni

ng is

cap

ture

d b

y a

resp

on-

sive

sys

tem

. a s

enso

r su

bsy

stem

on

the

mo

bile

te

rmin

al c

aptu

res

the

user

’s re

actio

n w

hile

list

enin

g.

this

incl

udes

inte

nsity

of g

ripp

ing

the

dev

ice,

as

wel

l as

tap

pin

g a

rhy

thm

in t

ime

with

the

mus

ic. a

lo

caliz

atio

n al

go

rithm

sim

ulat

es g

eog

rap

hic

dat

a as

th

e lis

tene

rs m

ove

ab

out

in u

rban

sp

ace.

the

se t

wo

ty

pes

of d

ata,

per

sona

l bo

dily

ges

ture

and

co

mm

u-ni

ty g

eog

rap

hic

dis

trib

utio

n, d

rive

the

evo

lutio

n o

f a

fam

iliar

so

ng.

the

mus

ic e

ngin

e ta

kes

dat

a fr

om

the

list

ener

g

roup

and

cre

ates

a s

ing

le li

ve a

udio

str

eam

. tim

e d

om

ain

re-s

eque

ncin

g a

llow

s st

ruct

ural

reo

rgan

iza-

tion

of t

he m

usic

fro

m t

he h

igh

leve

l of s

ong

form

to

the

low

leve

l of r

hyth

m a

nd m

elo

dy.

fre

que

ncy

do

mai

n si

gna

l pro

cess

ing

allo

ws

time

stre

tchi

ng a

t p

itch,

allo

win

g t

he s

ong

tem

po

to

follo

w t

he t

emp

o

of t

app

ed r

hyth

m. t

he s

our

ce is

a fa

mili

ar h

it so

ng,

that

is n

o lo

nger

a fi

xed

leng

th a

nd s

truc

ture

, but

ca

n b

e m

old

ed t

o fi

t th

e le

ngth

of a

tra

in r

ide,

or

can

be

shap

ed t

o re

spo

nd t

o t

he m

ove

men

t o

f fr

iend

s ab

out

to

wn.

bIo

ata

u ta

naka

ho

lds

deg

rees

fro

m h

arva

rd u

nive

r-si

ty, a

nd s

tanf

ord

uni

vers

ity’s

CC

rM

a. h

e ca

me

to

eur

op

e in

199

2, fi

rst

to ir

Ca

M, t

hen

to b

e a

rtis

tic

am

bas

sad

or

for

ap

ple

fra

nce.

fro

m 1

997-

2001

he

taug

ht M

edia

art

at

kei

o u

nive

rsity

and

Chu

kyo

u

nive

rsity

. in

2001

, he

bec

ame

rese

arch

er a

t so

ny

Csl

par

is. h

is w

ork

has

bee

n sh

ow

n in

tern

atio

nally

an

d h

as b

een

awar

ded

by

ars

ele

ctro

nica

, fo

nda-

tion

lang

lois

, and

fra

unho

fer

inst

itute

. sin

ce 2

007

he is

Cha

ir o

f dig

ital M

edia

at

Cul

ture

lab

new

-ca

stle

.

2004

inv

ited

pr

ese

nta

tion

s 117

sound

pryer:

truly mo

bile jo

int music listening

Mattias ö

stergren, o

skar Juhlin

ab

stra

ct

follo

wing

the wid

espread

ado

ptio

n of m

usic me-

dia sharing

app

lications fo

r the internet a gro

wing

num

ber o

f research pro

jects have explo

red shar-

ing in a m

ob

ile context. inso

far these pro

jects have m

ainly add

ressed face-to

-face cop

resence situ-atio

ns. the sound

pryer pro

totyp

e, on the o

ther hand

, is desig

ned to

pro

vide jo

int music listening

exp

eriences amo

ng d

rivers in traffic. throug

h field

trials with a p

roto

type ap

plicatio

n we have learned

the im

po

rtance of includ

ing aw

areness inform

a-tio

n but no

t necessarily distrib

uting co

mp

lete mu-

sic med

ia content in o

rder to

pro

vide m

eaningful

experiences.

in the sound

pryer pro

ject we set o

ut to exp

lore

truly mo

bile activities and

the imp

act it has on

desig

n of m

usic sharing ap

plicatio

ns. in essence so

und pryer p

rovid

es joint listening

experiences in

traffic encounters. it w

orks like a shared

car-stereo,

you can hear yo

ur ow

n music, b

ut also o

verhear w

hat other p

eop

le currently play as lo

ng as they

stay within p

roxim

ity. sound

pryer also g

ives a shal-lo

w g

raphical im

pressio

n of o

ther users. it is not

ob

vious that jo

int music listening

while d

riving is

beneficial o

r even po

ssible technically. h

ow

ever, w

e show

throug

h restricted field

trials with 13 users

that it is bo

th do

able and

enjoyab

le. particularly, al-tho

ugh o

nly hearing snip

pets o

f music, users w

ere am

used w

hen they could

interpret the aw

areness info

rmatio

n and d

etermine fro

m w

here the mu-

sic was co

ming

. thus, we arg

ue that mo

bile m

usic sharing

app

lications sho

uld b

e desig

ned to

reflect the so

cial context and

particularly illustrate aw

are-ness o

f other co

present users and

be less fo

cused

on d

istributing

music m

edia files in their w

hole.

desp

ite a non-exhaustive field

trial evaluation o

f the so

und pryer p

roto

type w

e have collected

con-

vincing evid

ence that joint m

usic listening in traffic

is an interesting and

pro

mising

app

lication o

f mo

-b

ile music sharing

technolo

gy. particularly, w

e argue

that music sharing

has the po

tential of b

eing m

ore

than the mere exchang

e of co

mp

lete music m

edia

content. sharing

snipp

ets of co

ntent in conjunctio

n w

ith awareness o

f co-lo

cated users is and

enjoyab

le exp

erience in its ow

n right.

bIo

Mattias ö

stergren is a ph.d

. in ap

plied

inform

a-tio

n technolo

gy, at the it-u

niversity of g

öteb

org

.M

attias hold

s a M. sc. in co

mp

uter science from

u

pp

sala univeristy, sw

eden. M

attias research inter-est lies in ap

plicatio

ns of m

ob

ile wireless ad

hoc

netwo

rking. h

e has mainly b

een wo

rking w

ith pro

-g

ramm

ing the h

ocm

an, sound

pryer pro

totyp

es. M

attias has also b

een involved

in various o

ther p

rojects such as placem

emo

, backseat g

aming

and

ro

ad r

ager. C

urrently he is wo

rking w

ith ro

adtalk.

120 2004

po

ster

s

the intelligent street

henrik lö

rstad, M

ark d’inverno

, John e

acott

ab

stra

ct

the intelligent street is a m

usic installation that is

able to

respo

nd intellig

ently to the co

llective re-q

uests of users interacting

tog

ether. the perfo

r-m

ance it creates is largely influenced

by the co

l-lective set o

f text com

mand

s from

users’ mo

bile

pho

nes. in this way, users in shared

environm

ents, sub

jugated

for so

long

to unco

ntrollab

le and o

ften und

esired ‘m

uzak’, can now

directly influence their

sonic enviro

nment and

collectively create the aural

sound

scape that they d

esire. We see o

ur pro

ject as enab

ling inhab

itants of any g

iven space fro

m p

as-sive co

nsumers to

active creators, and

anticipate it

has significant co

mm

ercial, social and

educatio

nal p

otential.

the use of m

usic, or m

uzak, in pub

lic places is ex-

tremely co

mm

on. h

ow

ever, the individ

ual within

that space has no

contro

l over the p

erform

ance of

that music, and

it can often b

ecom

e intrusive and

unwelco

me. in o

ur wo

rk we are interested

in build

-ing

interactive and resp

onsive so

und installatio

ns, w

here the perfo

rmance results d

irectly from

the interactio

n of the users w

ithin a given sp

ace. this p

roject, kno

wn as the intellig

ent street, has been

develo

ped

collab

oratively in sw

eden and

the uk

.the m

ob

ile pho

ne has been selected

as the con-

trolling

med

ium fo

r this pro

ject because o

f its w

idesp

read use as a to

ol fo

r com

municating

tod

ay, availab

le to p

ractically everyone. b

y making

use of

this easily accessible d

evice we o

ffer almo

st every p

asserby the o

pp

ortunity to

actively engag

e in af-fecting

the sonic enviro

nment. intellig

ent street seeks to

explo

re new p

ossib

ilities and unexp

ected

app

lications fo

r the mo

bile p

hone. it is a p

roject in

which w

e wish to

investigate alternate w

ays of co

m-

po

sing m

usic for no

n-linear med

ia and attracting

p

articipatio

n in a creative pro

cess throug

h interac-tio

n. ano

ther amb

ition w

e had w

as to d

emo

nstrate the so

cial need fo

r aural as well as visual stim

ulation

within a w

ell desig

ned enviro

nment that co

uld im

-p

act on future architectural d

esigns.

bIo

henrik lö

rstad is a co

mp

oser. W

hen he develo

ped

“the intellig

ent street” with M

ark d’inverno

and

John e

acott, he w

orked

at the “sonic stud

io inter-

active institute” in piteå, swed

en. the sonic stud

io

is “interactive institute’s” research gro

up fo

r sound

and

music in d

igital m

edia. the research fo

cuses on

the intersections w

here sound

and m

usic meet nar-

rative, gam

ing and

interactivity.

2004

po

ste

rs

121

to l

iste

n to

chi

na f

or

one

mo

nth

wit

hout

sp

eaki

ng

dav

ide

di s

aro

, kris

ty t

rinie

r a

bst

ra

ct

the

psy

cho

aco

ustic

s p

erfo

rman

ce o

f the

art

ists

k

risty

trin

ier

and

dav

ide

di s

aro

’, co

nsis

ting

of

afo

rem

entio

ned

per

form

ers

liste

ning

for

one

ent

ire

mo

nth

of t

he s

oni

c en

viro

nmen

t in

Chi

na, w

itho

ut

spea

king

, as

to p

erce

ive

the

surr

oun

din

g s

oun

d

with

out

the

so

nic

po

llutio

n o

f the

vo

ice;

to

ad

vo-

cate

the

use

of c

onc

eptu

al im

mat

eria

l pro

cess

ing

sy

stem

s.

the

tech

nolo

gic

al in

nova

tions

in t

he fi

eld

of w

ear-

able

so

und

and

new

aco

ustic

dig

ital n

etw

ork

s,

gen

erat

ed in

the

last

20

year

s, h

ave

dev

elo

ped

new

w

ays

to u

nder

stan

d a

nd in

terp

ret

the

soni

c en

viro

n-m

ent

bas

ed o

n th

e co

ntrib

utio

n o

f ext

erna

l art

ifici

al

too

ls. a

s re

actio

n, it

is p

rop

ose

d w

ith t

he p

erfo

rm-

ance

of l

iste

ning

with

out

sp

eaki

ng, t

o re

-exa

min

e th

e d

efini

tions

of t

echn

olo

gy:

[gre

ek t

ekhn

olo

gi,

teks

+ -

log

i, -lo

gy:

sys

tem

atic

tre

atm

ent

of a

n ar

t o

r cr

aft

: tek

hn, s

kill;

Lo

go

s, t

he w

ord

or

form

whi

ch

exp

ress

es a

tho

ught

, als

o, t

he t

houg

ht.]

i , w

ithin

its

orig

inal

roo

ts, t

o s

yste

mat

ical

ly p

roce

ss u

sing

ski

lls

for

whi

ch w

oul

d fo

rm a

tho

ught

, and

ad

dre

ss t

he

conc

ept

of t

he t

houg

ht it

self.

to li

sten

with

out

sp

eaki

ng p

erm

its fo

r th

e ab

sorp

-tio

n o

f no

ise

in a

n o

bje

ctiv

e an

d p

ure

form

of

natu

ral s

oun

d d

ynam

ics

med

iate

d b

y p

sych

oac

ous

-tic

s. t

he e

ar is

a fo

rm o

f tec

hno

log

y th

at m

edia

tes

the

flow

of s

oun

d w

aves

into

ner

ve im

pul

ses

whi

ch

are

tran

slat

ed in

to t

houg

hts

of s

oun

d: “

whi

le o

ther

p

eop

le h

ear

a p

erso

n’s

voic

e ca

rrie

d t

hro

ugh

vib

ratio

ns in

the

air,

the

per

son

spea

king

als

o h

ears

th

eir

ow

n vo

ice

as it

is c

ond

ucte

d fr

om

the

thr

oat

an

d m

out

h th

roug

h b

one

to

the

inne

r re

gio

ns o

f th

e ea

r. th

us, t

he v

oic

e in

its

pro

duc

tion

in v

ario

us

reg

ions

of t

he b

od

y is

pro

pel

led

thr

oug

h th

e b

od

y,

its re

sona

nce

is s

ense

d in

trac

rani

ally

. a fu

ller

sens

e o

f pre

senc

e is

exp

erie

nced

as

the

bo

dy

bec

om

es

atta

ched

to

tho

ught

as

muc

h as

the

gen

erat

ion

of

spee

ch is

att

ache

d t

o t

houg

ht.”

ii

in a

tem

po

ral c

ont

ext,

the

per

form

ance

allo

wed

o

ne t

o d

irect

the

pro

cess

of l

iste

ning

to

long

-ter

m

soun

d s

our

ces

unin

terr

upte

d b

y p

rod

ucin

g a

min

d

stat

us w

here

by

the

com

bin

ing

or

focu

sed

iso

latio

n o

f a n

atur

al s

oun

d s

timul

us w

as a

chie

ved

.

the

met

hod

for

syst

emat

ical

ly t

reat

ing

the

list

enin

g

of n

ois

e as

art

, was

to

sel

ect

one

typ

e o

f no

ise,

tha

t o

f env

ironm

enta

l no

ise,

and

elim

inat

e an

oth

er t

ype

of n

ois

e, t

hat

of t

he v

oic

e. b

y er

adic

atin

g n

ois

e o

f th

e vo

ice,

[co

mp

osi

tion]

, res

ulte

d in

the

byp

rod

-uc

t o

f p

artic

ipan

ts u

sing

alte

rnat

ive

met

hod

s o

f co

mm

unic

atio

n, n

amel

y th

at o

f writ

ing

tex

t to

tho

se

who

wis

hed

to

eng

age

in c

onv

ersa

tion,

and

als

o

ges

ture

, eye

co

ntac

t, a

nd o

ther

no

n-ve

rbal

typ

es o

f co

mm

unic

atio

n. t

he p

rimar

y us

e o

f writ

ten

spee

ch

for

soci

al p

urp

ose

s d

id n

ot

inte

rrup

t th

e p

roce

ssin

g

of s

oun

d in

form

atio

n.

the

trad

itio

nal p

ersp

ectiv

e o

f so

und

pro

cess

ing

te

chno

log

ical

dev

ices

is t

hat

of e

xter

nally

art

ifici

al

too

ls, w

hich

allo

w fo

r th

e d

uplic

atio

n, re

pet

itio

n,

and

alte

ratio

n o

f sp

ecifi

c so

und

s. t

he c

om

po

sitio

n

of d

avid

e d

i sar

o a

nd k

risty

trin

ier

was

sp

ecifi

c o

nly

to t

hem

selv

es a

nd t

here

fore

orig

inal

in it

s in

abili

ty t

o b

e ex

trac

ted

, co

pie

d, o

r re

plic

ated

for

mul

tiple

use

, and

cur

rent

ly e

xist

s o

nly

in re

sid

ual

do

cum

enta

tion

of t

he c

onc

ept.

the

so

und

s he

ard

b

y th

e p

artic

ipan

ts re

mai

n fix

ed in

the

orig

inal

co

ntex

t o

f tim

e an

d s

pac

e d

om

ain

in w

hich

the

y w

ere

com

po

sed

.

i lo

ngm

an d

ictio

nary

of C

ont

emp

ora

ry e

nglis

h.ii k

ahn,

do

ugla

s. n

ois

e, W

ater

, Mea

t. p

age

7.

Zak

azka

: 80

236

blok

.job

cis

lo a

rchu

: 16

st

rana

: B

C M

Y K