tangibles tagged with fiducials (visual feedback) projector camera video video visual synthesizer reacTIVision waveform data connection info connection manager TUIO audio synthesizer (sound) audio Figure 2. The reacTable * architecture Figure 1. The reacTable* This paper describes the reacTable*, a novel multi-user electro-acoustic music instrument with a tabletop tangible user interface, which is being developed at the MTG in Barcelona. We first introduce the reacTable * project and some of the concepts behind its design and we then discuss interaction and performance scenarios. 1.

This paper describes the Genophone [2], a hyperinstrument developed for Sound-Performance-Design using the evolutionary paradigm of selective breeding as the driving process. Sound design, and control assignments (performance mappings), on most current systems rely heavily on an intimate knowledge of the Sound Synthesis Techniques (SSTs) employed by the sound generator (hardware or software based). This intimate knowledge can only be achieved by investing long periods of time playing around with sounds and experimenting with how parameters change the nature of the sounds produced. This experience is also needed when control mappings are defined for performance purposes, so external stimuli can effect changes in SST parameters. Often such experience can be gained after years of interaction with one particular SST. The system presented here attempts to aid the user in designing performance sounds and mappings without the necessity for deep knowledge of the SSTs involved. This is achieved by a selective breeding process on populations of individual sounds and their mapping. The initial populations are made up of individuals of existing hand-coded sounds and their mapping. Initial populations never have randomly derived individuals (this is not an issue as man's best friend was also not selectively bred from protozoa). The user previews the population then expresses how much individuals are liked by their relative repositioning on the screen (fitness). Some individuals are selected as parents to create a new population of offspring, through variable mutation and genetic recombination. These operators use the fitness as a bias for their function, and they were also successfully used in MutaSynth [1]. The offspring are then evaluated (as their parents were) and selected for b...

This paper explores the application of evolutionary techniques to the design of novel sounds and their characteristics during performance. It is based on the “selective breeding” paradigm and as such dispensing with the need for detailed knowledge of the Sound Synthesis Techniques involved, in order to design sounds that are novel and of musical interest. This approach has been used successfully on several SSTs therefore validating it as an Adaptive Sound Meta-synthesis Technique. Additionally, mappings between the control and the parametric space are evolved as part of the sound setup. These mappings are used during performance.

Artists have long sought after alternative controllers, sensors, and other means for controlling computer-based musical performance in real-time. Traditional techniques for transmitting the data generated by such devices typically employ the use of MIDI as the transport protocol. Recently, several devices have been developed using alternatives to MIDI, including Ethernet-based and USB-based sensor interfaces.

In the Expression Synthesis Project (ESP), we propose a driving interface for expression synthesis. ESP aims to provide a compelling metaphor for expressive performance so as to make high-level expressive decisions accessible to nonexperts. In ESP, the user drives a car on a virtual road that represents the music with its twists and turns; and makes decisions on how to traverse each part of the road. The driver's decisions affect in real-time the rendering of the piece. The pedals and wheel provide a tactile interface for controlling the car dynamics and musical expression, while the display portrays a first person view of the road and dashboard from the driver's seat. This game-like interface allows non-experts to create expressive renderings of existing music without having to master an instrument, and allows expert musicians to experiment with expressive choice without having to first master the notes of the piece. The prototype system has been tested and refined in numerous demonstrations. This paper presents the concepts underlying the ESP system and the architectural design and implementation of a prototype.

This paper presents a new force-sensitive surface designed for playing music. A prototype system has been implemented using a passive capacitive sensor, a commodity multichannel audio interface, and decoding software running on a laptop computer. This setup has been a successful, lowcost route to a number of experiments in intimate musical control.

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The growing popularity of mobile devices gave birth to a still emergent research field, called Mobile Music, and concerning the development of musical applications for use in these devices. Our particular research investigates interaction design within this field, taking into account relationships with ubiquitous computing contexts, and applying knowledge from several disciplines, mainly Computer Music and Human-Computer Interaction. In this paper we propose using the concept of patterns in such multidisciplinary design context. Design patterns are, essentially, common solutions for specific design problems, which have been systematically collected and documented. Since they help designers, allowing them to reuse proven solutions within a certain domain, we argue that they can aid multidisciplinary design, facilitating communication and allowing knowledge transfer among team members of diverse fields. We illustrate our point by describing a set of musical interaction patterns that came out of our investigation so far, showing how they encapsulate Computer Music knowledge and how this was helpful in our own design process. Categories and Subject Descriptors

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