Talk & Concert: Miller Puckette

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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

 

Talk Details
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.


Concert Details
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.

Bio: 
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.

Questions or more information, contact Kerry Hagan, email hidden; JavaScript is required

Talk: Spatial Audio and Live Performance Systems Design

POSTPONED: Dr Graham’s Talk has been rescheduled to Wednesday 22nd Feb at 3pm. Apologies for any inconvenience.

Richard Graham will present his most recent performance system for multichannel guitar and his ambisonics library for Pd and Max/MSP. Graham will also discuss his general approach to performance systems design, with a specific focus on feature extraction, mapping strategies, and the application of physical models for spatialization in VR.

Seminar | International Film Composer Patrick Cassidy

Thursday April 27th 1.30pm
Computer Science Auditorium (CSG-01)

The CSIS Department at the University of Limerick is delighted to welcome one of our most distinguished alumni back to the campus on Thursday, 28 April. International Composer, Patrick Cassidy will deliver a special seminar on the theme of “Music Composition For Film”. Booking is essential so – please register here

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Wednesday February 17th 3.00pm
Computer Science Auditorium (CSG-01)

To further the development of intelligent music production tools, towards generating mixes that would realistically be created by a human mix-engineer, and enjoyed by a listener, it is important to understand what kind of mixes are typically created by human mix-engineers. What can be achieved by mixing? How different can mixes be from one another? How much do different mix-engineers differ from one another?

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