A comparative evaluation of auditory-visual mappings for sound visualisation

2006 ◽  
Vol 11 (3) ◽  
pp. 297-307 ◽  
Author(s):  
KOSTAS GIANNAKIS
Keyword(s):  
Computer Music ◽  
Computer Applications ◽  
John Cage ◽  
Sound Design ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Modern Computer ◽  
Graphic Scores ◽  
Music Research

The significant role of visual communication in modern computer applications is indisputable. In the case of music, various attempts have been made from time to time to translate non-visual ideas into visual codes (see Walters 1997 for a collection of graphic scores from the late computer music pioneer Iannis Xenakis, John Cage, Karlheinz Stockhausen, and others). In computer music research, most current sound design tools allow the direct manipulation of visual representations of sound such as time-domain and frequency-domain representations, with the most notable examples being the UPIC system (Xenakis 1992), Phonogramme (Lesbros 1996), Lemur (Fitz and Haken 1997), and MetaSynth (Wenger 1998), among others. Associations between auditory and visual dimensions have also been extensively studied in other scientific domains such as visual perception and cognitive psychology, as well as inspired new forms of artistic expression (see, for example, Wells 1980; Goldberg and Schrack 1986; Whitney 1991).

The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran

Leonardo ◽  
2007 ◽  
Vol 40 (1) ◽  
pp. 20-28 ◽  
Author(s):  
Robert Gluck
Keyword(s):  
Electronic Music ◽  
John Cage ◽  
Islamic Revolution ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Avant Garde ◽  
Peter Brook ◽  
Merce Cunningham ◽  
Arts Festival ◽  
Theater Directors

Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these developments to an end, a younger generation of artists continued the festival's legacy.

scholarly journals Computationally Efficient Approach to Implementation of the Chinese Remainder Theorem Algorithm in Minimally Redundant Residue Number System

2021 ◽  
Author(s):  
Mikhail Selianinau
Keyword(s):  
Chinese Remainder Theorem ◽  
Number System ◽  
Residue Number System ◽  
Computer Applications ◽  
Efficient Approach ◽  
Residue Modulo ◽  
Modern Computer ◽  
New Variant ◽  
Residue Number ◽  
Residue Code

AbstractIn this paper, we deal with the critical problem of performing non-modular operations in the Residue Number System (RNS). The Chinese Remainder Theorem (CRT) is widely used in many modern computer applications. Throughout the article, an efficient approach for implementing the CRT algorithm is described. The structure of the rank of an RNS number, a principal positional characteristic of the residue code, is investigated. It is shown that the rank of a number can be represented by a sum of an inexact rank and a two-valued correction to it. We propose a new variant of minimally redundant RNS, which provides low computational complexity for the rank calculation, and its effectiveness analyzed concerning conventional non-redundant RNS. Owing to the extension of the residue code, by adding the excess residue modulo 2, the complexity of the rank calculation goes down from $O\left (k^{2}\right )$ O k 2 to $O\left (k\right )$ O k with respect to required modular addition operations and lookup tables, where k equals the number of non-redundant RNS moduli.

scholarly journals Composer dans l’ombre de Darmstadt (1987)

2010 ◽  
Vol 15 (3) ◽  
pp. 53-66
Author(s):  
Helmut Lachenmann
Keyword(s):  
John Cage ◽  
Karlheinz Stockhausen

Dans cet article rédigé en 1987 et publié en 1996 dans le recueil de texte intitulé Musik als existentielle Erfahrung, le compositeur Helmut Lachenmann porte un regard critique et autocritique sur l’expérience des cours d’été de Darmstadt, depuis le début des années 1950 jusqu’au début des années 1980. Décennie par décennie, il dégage les divers courants et tendances qui ont marqué l’histoire de Darmstadt en explicitant les paradoxes parfois insolubles engendrés par l’attitude avant-gardiste dont les cours d’été avaient fourni le modèle autour de 1950. À chaque fois, il se réfère à des expériences vécues, faisant intervenir Luigi Nono (son professeur autour de 1960), Dieter Schnebel, John Cage ou Karlheinz Stockhausen. Partisan d’un « structuralisme dialectique », l’auteur spécifie enfin sa position — en référence au festival de Donaueschingen de 1980 et à un texte de 1982, « Affect et aspect » — par rapport à celles de Wolfgang Rihm et de Walter Zimmermann, ainsi que d’autres compositeurs ayant (ou non) tenté de théoriser leur relation à la tradition et à la subjectivité.

The World around Us

2021 ◽  
pp. 31-60
Author(s):  
M.I. Franklin
Keyword(s):  
United States ◽  
World War Ii ◽  
September 11 ◽  
John Cage ◽  
World War ◽  
The Us ◽  
The World ◽  
Singular Individual ◽  
The Cold War

Chapter 2 sets the compass through a work that seems to have little to say about sampling. 4’33” (four thirty-three) by John Cage is based on no (performed) sounds, no flashy pyrotechnics in its execution, nor reverence for the notion of music as a singular, individual creative act, or performance. The chapter considers Cage’s evocation of “silence” as the sampled material that is at stake in this iconic piece. I consider how silence, and silencing work in the context of censorship and social control given that the timeframe for the inception of 4’33” resonates with post-World War II, mid-twentieth-century United States during the Cold War. Engaging with this work can also tell us something about the role of censorship in public arts life half a century later, in the US shortly after the Al Qaeda attacks on September 11, 2001. As I argue, when regarded as a material of music, and thereby as a source from which to “sample” silence, 4’33”offers both a sonic and “sound-less” baseline for the four case studies to follow. “Silence” as rendered in Cage’s work, its wider connotations and evocation of the sensation of sound-filled stillness also serve as a signal for instances of domination, of how oppression can take place quietly, without fanfare. Considering silence as a geocultural, socio-musicological matter allows us a moment to retune our ears and minds by encountering the broader (in)audible domains through, and from which sampling practices take place.

Electronic Music

Artful Noise ◽  
2020 ◽  
pp. 107-117
Author(s):  
Thomas Siwe
Keyword(s):  
World War Ii ◽  
Real Time ◽  
Electronic Music ◽  
John Cage ◽  
World War ◽  
Karlheinz Stockhausen ◽  
Edgard Varese ◽  
American Composer ◽  
The Difference ◽  
Musique Concrete

With the end of World War II came the rebirth of European radio. Government stations in both France and Germany established experimental studios for research, from which arose a new kind of music, “electronic music.” The station in France, Office de Radiodiffusion Télevision Française (ORTF), was directed by the engineer/composer Pierre Schaeffer and his partner, Pierre Henry, who called their musical creations musique concrète. In Germany the Westdeutscher Rundfunk (WDR) studio produced music through the process of “synthesis.” This chapter will explain the difference between the two approaches used to create electronic music with examples from the percussion solo and ensemble repertoire. Early experiments using wire recorders, test records, and tape recorders by composers Halim El-Dabh, John Cage, and Edgard Varèse precede the major electronic works of Karlheinz Stockhausen, Mario Davidovsky, and the American composer Stephen Everett, whose use of computers in “real time” brings the reader into the next century.

The Role of A Conventional Simulator in Multileaf-Plan Simulation: A Proposal

2001 ◽  
Vol 87 (2) ◽  
pp. 91-94 ◽  
Author(s):  
Carlo Capirci ◽  
Polico Cesare ◽  
Giovanni Mandoliti ◽  
Giovanni Pavanato ◽  
Marcello Gava ◽  
...  
Keyword(s):  
Treatment Planning ◽  
Organs At Risk ◽  
Three Dimensional ◽  
Planning System ◽  
Hard Copy ◽  
Treatment Planning System ◽  
Magnification Factor ◽  
Radiographic Images ◽  
Modern Computer

Modern computer networks provide satisfying levels of data recording and verification between the treatment planning system (TPS) and the accelerators, while the main weakness of the preparation chain remains the simulation. When a conventional simulator is employed, it may adversely affect the three-dimensional treatment planning system (3DPS) process because of the difficulty to document the leaf positions on the simulator location films and on the patient's skin. With a conventional simulator, hard copies of the DRRs of each field and CT scans at isocenter level are needed. In an attempt to transfer more information displayed from a BEV perspective from the 3DPS to simulator radiographs, this study aimed to reduce the quality loss by using a 2D conventional simulator in a 3DPS process. We realized an acetate photocopy of TPS data for each field, from a BEV perspective, containing: DRR, wire frames of the PTV, organs at risk and MLC aperture. The photocopies, with an appropriate magnification factor to obtain a correct projective value (ratio 1:1) at isocenter level, are carefully placed on the radiographic images on the same hard copy which allows us to better understand possible setup errors and obliges us to correct these. The method provides reliable documentation, facilitates treatment verification, and fulfils the criteria for MLC simulation. It is accurate, simple, and very inexpensive.

The Loss of Boredom and the End of the Human

CounterText ◽  
2015 ◽  
Vol 1 (3) ◽  
pp. 289-303
Author(s):  
Charlie Gere
Keyword(s):  
John Cage ◽  
Giorgio Agamben ◽  
Avant Garde

This paper looks at the role of boredom as central to the emergence of the human, and at its disappearance in our hypermediated culture. It does so through the works of Giorgio Agamben, in particular his discussions of the apparatus and of Stimmung, mood; his engagement with Heidegger's notion of boredom as Stimmung; and Agamben's radical reading of Aristotle's understanding of potentiality. Finally through a consideration of the relation between Agamben and John Cage and other avant-garde artists working with the idea of boredom, this paper examines the role of art in allowing boredom to reveal the fundamental inoperativity of the human, something that the culture of contemporary distraction and hypermediation disavows.

scholarly journals Genesis of the Cube: The Design and Deployment of an HDLA-Based Performance and Research Facility

2016 ◽  
Vol 40 (4) ◽  
pp. 62-78 ◽  
Author(s):  
Eric Lyon ◽  
Terence Caulkins ◽  
Denis Blount ◽  
Ivica Ico Bukvic ◽  
Charles Nichols ◽  
...  
Keyword(s):  
Design Process ◽  
Performance Art ◽  
Computer Music ◽  
Scientific Research ◽  
High Density ◽  
Research Facility ◽  
Immersive Environments ◽  
Process Implementation ◽  
Music Research ◽  
And Performance

The Cube is a recently built facility that features a high-density loudspeaker array. The Cube is designed to support spatial computer music research and performance, art installations, immersive environments, scientific research, and all manner of experimental formats and projects. We recount here the design process, implementation, and initial projects undertaken in the Cube during the years 2013–2015.

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