This article describes banded waveguides, a way of synthesizing sounds made by solid objects and an alternative method for treating two- and three-dimensional objects. It belongs to the synthesis algorithms known as physical models, and in particular, it is a departure from waveguide synthesis. Physical modeling of musical instruments is a synthesis technique that is well established in computer music. Physical models are historically related to computationally expensive algorithms (Ruiz 1969) but have become more efficient with faster methods such as waveguide synthesis (Smith 2003). Digital waveguide models provide discretetime models of distributed media such as vibrating strings, bores, horns, and plates. We begin by outlining related synthesis methods with emphasis on traditional waveguide synthesis, which motivated the creation of this new structure. To simulate sustained and transient excitations such as striking, bowing, and rubbing, different excitation models are also proposed in this article. Instruments that have been modeled

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The principle of closed wavetrains asserts the equivalence of the condition of a traveling wave closing onto itself in phase to the occurrence of a mode. This principle provides a direct conceptual link between spectral descriptions of dynamic responses and a path-based dynamic description. In this paper we present the history and development of the idea since d’Alembert first proposed traveling functional forms to solve the string equation. The subsequent argument between Daniel Bernoulli, Euler and him which led to the development of Fourier analysis and contemporary theories of partial differential equations. Other related developments include the development of chaos theory connected to Poincaré and others, asymptotic solutions associated with Rayleigh, Wenzel, Kramers, Brillouin, and Keller and Kac’s famous isospectral problem. Then we discuss how the traveling functions have been utilized in the numerical simulation of musical instruments through work by Julius Smith, Karplus, Strong and other. This work has recently been extended to additional instruments types, in particular idiophones, which not only are more efficient than finite element based simulations but have the desirable property of stability and ease of interpretation under perturbations. We conclude with outlining possible research based on the advantages and drawbacks of the method. This principle provides a direct conceptual link between modal synthesis and waveguide-style physical models. In addition it suggests the importance of understanding the link between geometry and modes for efficient dynamical simulation. This paper explores these connections with regards to banded waveguide models. 1.

Abstract. This paper discusses aspects of topology as relevant for loop dynamics as they occur in physical modeling synthesis algorithms. Boundary and interaction point behavior is treated purely from a topological perspective for some dynamical systems in one and two dimensions. 1

The task of visualization, as it applies to computing, includes by default the notion of pluralism and perspectivism since there is an explicit attempt at representing one, often textual, interface in terms of a more graphical one. This desire for alternate perspectives is consistent with art theory and practice, and even though rigor and formalism generally mean different things to artists and computer scientists, there is room for collaboration and connection by applying artistic aesthetics to computing, while maintaining that which makes computing a viable, usable field. This new area is called aesthetic computing. Within this area, there is an attempt to balance qualitative with quantitative representational aspects of visual computing, recognizing that aesthetics creates a dimension that is consistent with supporting numerous visual perspectives. I introduce one aspect of aesthetic computing, with specific examples from our research and teaching to illustrate the potential and possibilities associated with alternate representations. We show that by linking with aesthetics, we surface some important philosophical and cultural questions regarding notation, which turn out to be at least as important as the algorithmic and procedural means of achieving customized model component representations.

We present empirical results from a new approach, Aesthetic Computing to customizing model structures for designing models for systems found in mathematics and computer simulation. At the University of Florida, we have taught the methodology of Aesthetic Computing as a separate class, and within the context of a Simulation class. Students in the simulation class were taught the method and then subsequently allowed to construct their own interactive 3D representations of typical simulation model structures such as Petri nets and finite state automata. While using the method, natural issues arise, questioning where aesthetic computing can provide benefit in model representation. To help answer such questions, a student needs to be presented with a body of knowledge that represents the “aesthetic computing technique, ” and then the student applies this knowledge to create the modeling artifacts. We present recent empirical studies from two classes, Aesthetic Computing and Computer Simulation, where aesthetic “methods/techniques” were employed. From the studies, we determined that there were several key results associated with Aesthetic Computing: 1) the ability for the student to be more creative in building their own custom models, and 2) the ability to improve perceived communication of technical topics (e.g., associated with the models) to non-experts.