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Magnusson, Thor

Last name
Magnusson
First name
Thor
Country
-
  • Contextualizing musical organics: an ad-hoc organological classification approach

    As a research field, NIME is characterised by a plethora of design approaches, hardware, and software technologies. Formed of an interdisciplinary research community with divergent end-goals, the diversity of aims, objectives, methods, and outcomes is striking. Ranging from expressive interfaces, to musicological concerns, novel sensor technologies, and artificial creativity, the research presented is heterogeneous, distinct, and original.\ud \ud The design of digital instruments is very diff...

    Herding cats: observing live coding in the wild

    After a momentous decade of live coding activities, this paper seeks to explore the practice with the aim of situating it in the history of contemporary arts and music. The article introduces several key points of investigation in live coding research and discusses some examples of how live coding practitioners engage with these points in their system design and performances. In the light of the extremely diverse manifestations of live coding activities, the problem of defining the practice i...

    Designing constraints: composing and performing with digital musical systems

    This paper investigates two central terms in Human Computer Interaction (HCI) – affordances and constraints – and studies their relevance to the design and understanding of digital musical systems. It argues that in the analysis of complex systems, such as new interfaces for musical expression (NIME), constraints are a more productive analytical tool than the common HCI usage of affordances. Constraints are seen as limitations enabling the musician to encapsulate a specific search space of bo...

    Musical organics: a heterarchical approach to digital organology

    Gaining a comprehensive understanding of new musical technologies is fraught with difficulties. The digital materials from which they are formed are of such diverse origins and nature, that they do not match traditional organological classifications. This article traces the history of musical instrument classifications relevant to the understanding of new instruments, and proposes an alternative approach to the centuries-old tree-structure of downwards divisions. The proposed musical organics...

    Algorithms as scores: coding live music

    The author discusses live coding as a new path in the evolution of the musical score. Live-coding practice accentu- ates the score, and whilst it is the perfect vehicle for the performance of algorithmic music it also transforms the compositional process itself into a live event. As a continuation of 20th-century artistic developments of the musical score, live-coding systems often embrace graphical elements and language syntaxes foreign to standard programming languages. The author presents ...

    ixi lang: a SuperCollider parasite for live coding

    This demo paper describes the rationale and design of the ixi lang, a live coding language built on top of SuperCollider. The paper explains why SuperCollider is used for this task, and reports on a survey conducted with users of the language. It concludes that simple and constrained systems can be useful in specific musical contexts, in particular when sketching or improvising, but that such systems can be limiting in the long run.

    The ixiQuarks: merging code and GUI in one creative space

    This paper reports on ixiQuarks; an environment of instruments and effects that is built on top of the audio programming language SuperCollider. The rationale of these instruments is to explore alternative ways of designing musical interaction in screen-based software, and investigate how semiotics in interface design affects the musical output. The ixiQuarks are part of external libraries available to SuperCollider through the Quarks system. They are software instruments based on a non- real...

    IXI software: open controllers for open source audio software

    Sound has been liberated. The 20th century freed music from various compositional constraints and ideologies, and during the last decade we have witnessed a transformation in the way sound is organized in terms of composition, production, distribution and consumption. This paper is concerned with the production part of this complex structure and will describe some of the ideas, experiments and conclusions of ixi software over the last years. ixi has been building open interfaces to be used wi...

    Of epistemic tools: musical instruments as cognitive extensions

    This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of ...

    The threnoscope: a musical work for live coding performance

    This paper introduces a new direction in the field of artistic live coding where musical works are presented as pieces in the form of a live coding system. The system itself and the code affordances become equivalent to score system in an open musical work for strong improvisation.
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