(I cc'ed the list since I think this is of general interest)
On Jun 2, 2005, at 4:24 PM, Sylvain wrote:
Hi Hans,
First I have one question : do you know where the nime 06 will take place ? (there no notification on the site). I am intending to do a PhD next year so I would probably apply to it for the reason who noticed. I find this conference pretty open space.
NIME06 is at IRCAM in Paris. Where are you thinking of doing a Ph.D?
Second, I think that conference like icmc are useful also for academic research coz it's the place where scientist can present next advances in techno and algo that are making science go further. And it's a way for the scientist to get recognition of their work inside academic world. I think that both have to exist.
I totally agree with you, there should be a forum for such work, and ICMC is good for that. My objection is that ICMC is very closed to the world outside. Try to get your hands on the proceedings for example. Both Columbia University and New York University don't have the proceedings from 1999 to the present. These are both large universities with music technology departments. If this stuff isn't available at such institutions, where is it available? I guess only to the people who go to the conference. You can get digital access via the ICMA website if you pay for a membership, but that only goes to 2001. I could buy the proceedings for $87 each, but the NYU library said they bought them and are still waiting for them. So, as an ICMC outsider, I am locked out from the recent activity. (ok, I am done ranting... ;)
.hc
Sylvain
Hans-Christoph Steiner wrote:
I just returned from NIME05 (New Interfaces for Musical Expression conference) in Vancouver, Canada. I thought I'd write a little summary since Pd is a key part of this conference.
I had the pleasure of meeting a number of people who worked on things related to Pd:
- Thor Magnusson and his ixi GUI for Pd and SuperCollider
- Scot Gresham-Lancaster performed using Pd
- Bill Verplank controlled a Pd patch with his custom haptic
controller
- the brothers David and Iván Rodríguez of RBL-soft demoed their 3D
environment for controlling samples with a glove interface, built using Pd and Gem
- Jennifer Carlile and Björn Hartmann demoed OROBORO, their
collaborative haptic controller using Pd as its synth
- Jesse Fox and Jennifer Carlile demoed SoniMime, an instrument
programmed in Pd which uses two 3D accelerometers to control sound
- Mark Havyliv wrote a Pd-to-J2ME compiler "Pocket Gamelan" so you
can make musical mobile phone apps using Pd
- and I presented the [hid] toolkit set of objects
I also met Ivan Franco, who is a regular on this list and runs Pd workshops in Portugal.
Check this site for more info, all of the papers for 2005 will be posted there eventually, the previous years are already freely available:
I've got to say that this conference has been inspiring because it has done a good job of bridging the gap between the academic world and the rest of us. There are many people who participated who are professional musicians, instrument builders, and others so it actually feels like a meeting ground to discuss new possibilities for music.
ICMC (International Computer Music Conference) is coming up in September. While many interesting people and ideas are represented there, it seems to be very much closed off from all but an insular community of academics. I can't even get access to the papers from 1999 to the present at any library in NYC and their website has little info. Its being hosted at Pompeu Fabra University of Barcelona, where Guenter Geiger is. They seem to be making a push to break it out of its shell with such things as one page "Inspirational Ideas" papers, an organized "Off-ICMC" event, a theme of "free sound", and more.
What I would love to see is a conference where people out doing computer music on their own, like many (if not most) of the people on this list, can meet up with the separate worlds of commercial and academic computer music. Then we'd have a truly amazing conference.
.hc
"[W]e have invented the technology to eliminate scarcity, but we are deliberately throwing it away to benefit those who profit from scarcity." -John Gilmore
--
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Le 2 Juin 2005 18:01, Hans-Christoph Steiner a écrit :
(I cc'ed the list since I think this is of general interest)
On Jun 2, 2005, at 4:24 PM, Sylvain wrote: ... I totally agree with you, there should be a forum for such work, and ICMC is good for that. My objection is that ICMC is very closed to the world outside. Try to get your hands on the proceedings for example.
I think there's a need for larger and/or more accessible forums. It seems enough people outside of the academic circle are now interested by computer art, even by issues like interfacing and new intruments. I was able to attempt a few events at NIME 03 in Montréal, but "illegally" because it was much too expensive. I felt bad but I couldn't resist, because I really wanted to see Max Mathews and a few other conferencees (Hans might remember me being there). I was lucky enough to see a performance of Michel Waisvisz at the Mutek festival, because it was almost at the same time than NIME, but the (trendy) Mutek crowd was not interested by "the hands" (maybe it would be different today).
I remember that the 1991 ICMC in Montréal was very accessible compared to NIME 03, but I can't find the proceedings online, which is even more important than being there.... I don't know about the other NIME events, but the NIME 03 proceedings are all available online: http://www.music.mcgill.ca/musictech/nime/onlineproceedings/TOC.html
-- Marc
On Jun 2, 2005, at 8:32 PM, Marc Lavallée wrote:
Le 2 Juin 2005 18:01, Hans-Christoph Steiner a écrit :
(I cc'ed the list since I think this is of general interest)
On Jun 2, 2005, at 4:24 PM, Sylvain wrote: ... I totally agree with you, there should be a forum for such work, and ICMC is good for that. My objection is that ICMC is very closed to the world outside. Try to get your hands on the proceedings for example.
I think there's a need for larger and/or more accessible forums. It seems enough people outside of the academic circle are now interested by computer art, even by issues like interfacing and new intruments. I was able to attempt a few events at NIME 03 in Montréal, but "illegally" because it was much too expensive. I felt bad but I couldn't resist, because I really wanted to see Max Mathews and a few other conferencees (Hans might remember me being there). I was lucky enough to see a performance of Michel Waisvisz at the Mutek festival, because it was almost at the same time than NIME, but the (trendy) Mutek crowd was not interested by "the hands" (maybe it would be different today).
NIME is a really new conference, it started in 2002. There really isn't much money, so the major source of funds for it are the fees that you pay to attend. People have in the past talked about trying to give grants to people who can't afford it, but I don't know if that's become reality yet. Its a tough question, you have to raise money to run the event, but you don't want to exclude people.
I remember that the 1991 ICMC in Montréal was very accessible compared to NIME 03, but I can't find the proceedings online, which is even more important than being there.... I don't know about the other NIME events, but the NIME 03 proceedings are all available online: http://www.music.mcgill.ca/musictech/nime/onlineproceedings/TOC.html
Why was ICMC91 more accessible? Did they allow free access to talks/concerts?
FYI: all of the NIME proceedings and old websites are available right where you'd expect them:
.hc
-- Marc
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Le 3 Juin 2005 00:42, Hans-Christoph Steiner a écrit :
Its a tough question, you have to raise money to run the event, but you don't want to exclude people.
Maybe the NIME concept is too specific; it could be part of existing general conferences on computer art. Also, the conference could be virtual, like a collection of documents and demonstration materials (software, videos, soundtracks, etc, not only PDF documents), so people could recreate mini-conferences anywhere. Fortunate people likes to travel and gather, but it's at the expense of accessibility for others who can't afford it; money could be spent on producing high quality material and better web infrastructure, instead of more carbon dioxide. But it's just an idea...
Why was ICMC91 more accessible? Did they allow free access to talks/concerts?
Yes. And also demonstrations. But it was not all free. I don't remember the details, it was a while ago.
FYI: all of the NIME proceedings and old websites are available right where you'd expect them:
Great! :-) -- Marc