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Page 00000001 CREATE Studio Report 2000 JoAnn Kuchera-Morin, Curtis Roads, Alberto de Campo, Anne Deane, Stephen T. Pope Department of Music and the Media Arts and Technology Program University of California Santa Barbara, California 93106 USA www.create.ucsb.edu, firstname.lastname@example.org Abstract Situated on the shores of the Pacific Ocean in Santa Barbara, the Center for Research in Electronic Art Technology (CREATE) serves the Department of Music and the Media Arts and Technology (MAT) program at the University of California (UCSB). Dr. JoAnn Kuchera-Morin founded CREATE in 1986 and is its director. The Center provides an environment for students, researchers, and professional media artists to realize music and multimedia works involving computers, digital media, and live ensembles. Courses are offered at the undergraduate and graduate levels in collaboration with several departments. CREATE also functions as a laboratory for research and development of a new generation of software and hardware tools to aid in media-based analysis and composition. CREATE activities Annum 1999-2000 saw the unofficial launch of the Media Arts and Technology program. This unique interdisciplinary program combines music, art, computer science, and electrical engineering, and offers both MS and MA degrees. Aimed at technically-oriented artists and artistically-oriented engineers, MAT is accepting its first full class of twelve graduate students in Autumn 2000. See www.mat.ucsb.edu. We also launched the Digital Media Innovation Initiative (DIMI), a multimillion-dollar research program. Directed by CREATE staff, DIMI serves all nine campuses of the University of California and three National Laboratories by facilitating relationships among industry technologists and UC/Laboratory researchers. DiMI provides a gateway "think tank" for an interchange of enabling ideas and convergence solutions. To date, DiMI has enabled over thirty research and business partnerships totalling more than $11 million that are accelerating basic research and innovation in digital media throughout California. For more information, see www.dimi.ucsb.edu. The CREATE conference SOUND IN SPACE 2000 took place in March. Researchers from around the globe converged on Santa Barbara to discuss the latest trends in spatial sound projection and its aesthetic implications. See the collection of abstracts on CREATE's web site. CREATE organizes concerts on a regular basis; see the web site for details. CREATE studio upgrades CREATE has opened new laboratory facilities in South Hall and has upgraded its existing classroom with Sony image projection equipment. In addition, the Varese studio has seen an extensive refurbishment, with the installation of an octophonic B&W 801 Matrix loudspeaker configuration, advanced computers, a Digidesign ProTools 24 system, a Lexicon PCM-91 reverberator, software upgrades, extensive recabling, and other amenities. The CREATE Digital Video studio includes a professional XL Canon camera, Final Cut Pro software, and other facilities. CREATE visitors CREATE has been pleased to host artistic residences by Bebe Barron (composer of the soundtrack to the film Forbidden Planet), Wende Bartley, and Brigitte Robindor6. UCSB faculty composer Jeremy Haladyna completed a microtonal composition based on Mayan culture, which was showcased in a CREATE concert. We have also hosted year-long research residencies by Dr. Pierre Roy (Paris) and Dr. Nico Orio (Padua), and shorter residences by Florian Hammer (Graz), and Mark Polishook (Central Washington University). In the past two years, we have enjoyed lecture visits by composers Luc Ferrari, Keith Hamel, Gerard Pape, Morton Subotnick, Karen Tanaka, Warren Burt, and Clarence Barlow. Nicolas V6rin and C6cile Daroux visited CREATE for a presentation of new French music for flute and electronics. The New York composer Earl Howard presented a virtuoso concert of music for saxophone and live electronics.
Page 00000002 Composition at CREATE Recent compositions include Paleo for doublebass and CD by JoAnn Kuchera-Morin, Half-life by Curtis Roads, Light, Shadow, Day by Anne Deane, and Beijing for erhu and tape by Ken Fields. Alberto de Campo is working on a new work to be premiered at ZKM Karlsruhe next year. Education at CREATE CREATE offers courses at the undergraduate and graduate levels to students from any department. The courses include two introductory tracks: (a) a three-term introduction to direct software sound synthesis with Csound; (b) a threeterm introductory course in multitrack audio recording, mixing signal processing, and MIDI sequencing; (c) other courses include Special Topics in Computer Music, the content of which changes regularly. Upper-level undergraduate and graduate-level independent study is available with several faculty members. The CREATE Summer Institute provides an intensive introduction to digital music techniques. CREATE staff also lead seminars in the Computer Science Department. The Media Arts and Technology program offers both Master of Sciences and Master of Arts degrees, with emphases in electronic music and sound design, visual and spatial arts, or multimedia engineering. CREATE PhD student Francisco lovino is working on new instrumental pieces involving computer-assisted composition techniques. Another student, Kenneth Fields completed an interdisciplinary PhD in computer arts (Fields 2000). This marks a milestone for CREATE's interest in the field of computer arts education for the 21st century. Research Projects at CREATE The Creatophone is a portable system for the spatial projection of music in concert. In its basic form it consists of an orchestra of loudspeakers under the regime of a composer operating a sound mixing console. These loudspeakers are distributed around the concert stage and audience space. The musical material being spatialised by the Creatophone can derive from a traditional instrument performer (picked up by a microphone), an electronic instrument performer, a CD or 8-track digital tape, or directly from a computer's digital-to-analog converters. The current version of the Creatophone consists of an octophonic core of eight B&W 801 Matrix loudspeakers augmented by 16 Event and Tannoy loudspeakers. Microsound signal processing views all sound as a combination of elementary sound particles (Roads 1999a, 1999b, 2000, forthcoming). The microtime scale has taken on increasing importance as a resource in audio engineering and music composition, because operations on this time scale cause dramatic acoustical effects on higher levels of sound structure (Roads forthcoming). We have developed a virtuoso instrument for the performance of microsonic sound texture. This is called the Creatovox project. The first prototype of the Creatovox was operational in July 1999, and we gave the first public demonstration in March 2000 at the SOUND IN SPACE symposium at UCSB. Composer Bebe Barron is using the Creatovox for a new piece. Stephen Pope has integrated the older Squeak user interfaces with the new Morphic framework, and plug-ins based on the cmix libraries have been ported. Siren, together with the SMS 00 database, serves as the framework for the Paleo database project (see below). There is an active user group within the Squeak community, and a mailing list named email@example.com. The current state of the Siren development has been documented in a paper in the proceedings of the 1998 OOPSLA conference (Pope 1998) and a chapter in the Squeak Book (Guzdial and Rose, eds. 2000). The Paleo database project at CREATE (www.create.ucsb.edu/Paleo) is developing an integrated sound and music database that uses a modern object-oriented database system and supports several kinds of data and queries. The basic components of the Paleo system are: a scalable object-oriented database system; a comprehensive suite of sound and music analysis (feature extraction) tools; a distributed interface to the database using CORBA ORBs: and a variety of end-user applications written in Smalltalk and Java (Pope, Roy, and Orio 1999). ATON (www.create.ucsb.edu/ATON) is a multicampus project that involves robotics, image processing, and virtual environments (VE). The tasks being undertaken at CREATE center around three main topic areas: distributed programming infrastructure and APIs for VE systems over high-speed networks; flexible spatial sound rendering for VE systems; and input devices and gesture mapping for navigation and interaction in VE systems. CREATE is also a center of activity with the SuperCollider language (developed by James McCartney). CREATE researchers have written the SuperCollider Tutorial book, and CREATE hosted the first SuperCollider Symposium in March, 1998. Alberto de Campo's Tutorial on SuperCollider is distributed with the software and he has taught courses in SuperCollider programming at UCSB, UC Berkeley, Parma, and Graz. CREATE is engaged in a major research project aimed at problems in computer-based music notation. This privately-sponsored project aims at developing a robust multidimensional musical object representation that can serve as a foundation for extensions leading far into the future. The project has also spawned the CREATE lecture
Page 00000003 series on "Advances in Notation," with such guest lecturers as Keith Hamel, Morton Subotnick, Wende Bartley, Karen Tanaka, Gerard Pape, Clarence Barlow, and Brigitte Robindor6. References Fields, K. 2000. "Inquiry Space." Internet: www.create.ucsb.edu/ ken/inquirySpace/frame.html. Guzdial, M., and K. Rose, eds. 2000. Squeak, applications, and community: taking another path. New York: Prentice-Hall. Pope, S. T. 1998. "The Siren Music/Sound Package for Squeak Smalltalk." Proceedings of the 1998 ACM OOPSLA Conference. Pope, S. T., P. Roy, and N. Orio. 1999. "Content Analysis and Queries in a Sound and Music Database." Proceedings of the 1999 ICMC. San Francisco: International Computer Music Association. Roads, C. 1999a. "La storia del micro-suono." Elettroshock: 50 Anni di Musical elettroacoustica. Rome: Nuova Consonanza. pp. 7-16. Roads, C. 1999b. "Time scales of musical structure." Proceedings of the International Academy of Electroacoustic Music. Bourges: Institut International de Musique Electroacoustique. Roads, C. 2000. "Time scales of music." In G. Pape and PierreAlbert Castanet. ed. 2000. Le Continuum, un nouvel espace pour la composition musicale. Paris: Editions de Michel de Maule. Roads, C. Forthcoming. Microsound. Cambridge, Massachusetts: MIT Press. Roads, C., and F. Iovino. 2000. Ynez Notation Project Report. CREATE internal document. Pierre Roy, Anne Liret, Francois Pachet. 1999. "Constraint satisfaction problems framework." In Implementing Application Frameworks. Edited by M. Fayad, D. Schmidt and R. Johnson. New York: Wiley and Sons.