DMARC welcome Professor Miller Puckette for a talk and concert on April 3rd, details below.
Talk: Limitations of Computers as Musical Tools
Professor Miller Puckette
3-4pm, CSG01 Computer Science Building, University of Limerick, Monday, April 3rd
Free and open to the public.
Concert: Hocket Pagan
Miller Puckette and Kerry Hagan
8-9pm, Ormston House, 9-10 Patrick Street, April 3rd
Open to the public. Free admission
Theoretically, a computer can generate any sound that a loudspeaker can emit. But anyone who has tried to use a computer to realize a piece of music has learned that there is always a gulf between the desired outcome and what we can actually get. The problem is in part the still-primitive state of the software we use to get music out of computers. Existing software paradigms such as DAWs, notation editors, and real-time performance systems are based on particular sets of assumptions about how music is or should be made. A careful look at these assumptions, and the limitations they impose on our efforts to make better computer music software, offers some clues as to what we might want to try next.
Miller Puckette and Kerry Hagan present Hocket Pagan, an evening of live music for instruments, interfaces and electronics. Over the last few years, Puckette and Hagan have been working together to develop live performance systems for computer, electronics, interfaces and instruments. This concert will showcase new works by the duo. One featured work is “Hack Lumps”, premiered recently in New York City. This performance will be the European premiere.
Miller Puckette obtained a B.S. in Mathematics from MIT (1980) and Ph. D. in Mathematics from Harvard (1986) where he was a Putnam Fellow. He was a member of MIT’s Media Lab from its inception until 1987, and then a researcher at IRCAM (l’Institut de Recherche et de Coordination Musique/Acoustique), founded by composer and conductor Pierre Boulez. At IRCAM he wrote Max, a widely used computer music software environment, released commercially by Opcode Systems in 1990 and now available from Cycling74.com .
Puckette joined the music department of the University of California, San Diego in 1994, where he is now professor. From 2000 to 2011 he was Associate Director of UCSD’s Center for Research in Computing and the Arts (CRCA).
He is currently developing Pure Data (“Pd”), an open-source real-time multimedia arts programming environment. Puckette has collaborated with many artists and musicians, including Philippe Manoury (whose Sonus ex Machina cycle was the first major work to use Max), and Rand Steiger, Vibeke Sorensen, and Juliana Snapper. Since 2004 he has performed with the Convolution Brothers. In 2008 Puckette received the SEAMUS Lifetime Achievement Award.
Tickets are available for Marble and Bread, a new promenade style dance performance created by Dance Limerick artist in residence Meghan Kennedy. Sound design for the work was created by DMARC students as part of the Masters Programme in Music technology.
The play takes as its starting point a psychiatric hospital. It has been created by the city’s first dance artist-in-residence, Megan Kennedy and is produced by Dance Limerick. The work will be performed in Limerick’s Sailors’ Home on O’Curry Street. The building was disused until it was opened up for Limerick City of Culture, for exhibitions and a play.
More information may be found in today’s Irish Examiner.
Tickets may be purchased for the event here:
Friday 6th March 11:00 to 13:00
Room SG20 Schumann Building
University of Limerick
A workshop/presentation with composer Slavek Kwi with a special focus on Field Recording. The workshop will be in surround sound.
Examples of Kwi’s releases and work may be found on the following websites:
Monday 9th March, 7pm
Irish Chamber Orchestra Building, University of Limerick
The Irish Sound, Science and Technology Association (ISSTA) and the Spatialization and Auditory Display Environment (SpaDE, CSIS) is hosting a concert of 8-channel music resulting from the residency of Darren Copeland from New Adventures in Sound Art (Toronto, Canada). Works feature Irish and Canadian composers working in multi-channel sound. Irish composers include Brona Martin, Fergus Kelly, Aidan Deery and Slavek Kwi.
*The Irish Chamber Orchestra Building is marked 37 on the campus map
Morphons and Bions, a real-time Pd composition utilising noise-based synthesis techniques, will be performed 16 June, 4pm, in the event called “Studies in Autonomy.” It will be held in Verbruggen Hall, Conservatorium.
Morphons and Bions marks an abrupt departure from using recorded sounds and moves into sound synthesis. When contemplating what makes recorded sounds so compelling, the immediate realisation was the inherent noise in an acoustic sound: the microfluctuations of amplitude, frequency content, durations, etc. By using white noise generators and digital “clicks,” Morphons and Bions attempts to tap into a new direction for sound synthesis. The noises are mediated by classical synthesis techniques such as additive synthesis, amplitude modulation and frequency modulation. Like earlier works, random and stochastic equations are used. However, in this work, they are used for timing, rhythms and durations, as well as controlling frequencies and amplitudes of modulating waveforms.
More about Musical Metacreation Weekend (MUME)
Listen to the stereo version of Morphons and Bions.
The students of the Masters in Interactive Media and Masters in Music Technology present their work as part of a week of interactive art exhibitions, demonstrations and a multi-channel concert. The event will officially launch on Tuesday 30th August with a reception in the CSIS atrium at 6p.m. Refreshments will be provided at the reception. This is followed by a concert in the ICO performance space at 8p.m. All events are open to the public