~ICMC 2015 - Sept. 25 - Oct. 1, 2015 - CEMI, University of North Texas
tional mapping (10860 and 10260 in high and low reverberant places respectively), and also with the reflected mapping
(16790 and 17370 in high and low reverberant places respectively).
x(n)
Delay "
Low-pass Filter
Amplification "
- dortelttion
i
Max/MSP
openFrameworks
Figure 4: Overview of the system implemented as software
using Max/MSP and openFrameworks, which was evaluated
in rooms with different sonic characteristics
1- U'') '
--
E 1.4
-c- Bathroom
_C 1,'.2
-i Office1
- 0.8
0 50 100 150 200 250 300
Time (s)
- -
1.4
1. 2
5,' i e i ',
C Bathroom
0 50 100 150 200 250 300
Time (s)
Figure 5: Delay line length curves measured in the strongly
reverberant place (black solid curves) and weakly reverberant
places (brown dash curves) using the (a) proportional and (b)
reflected mappings.
5. CONCLUSION
In this paper we presented research progress augmenting composed audio feedback interactions within acoustic environments; supporting sound generation that strikes a balance between unpredictable short-term behavior and intentional longterm tendencies, considered as viability conditions for natural
processes to follow. We designed the long-term tendencies
in terms of tempo characteristics depending upon reverberant
properties inferred automatically from the environment, and
measured this design through simulations as well as acoustic
experiments.
Beyond regarding the environment as a filter and source of
disturbance, it can also be considered a site of discovery. The
composed system attempts to differentiate and affirm itself
through reflections, yet by doing so augments or exaggerates the specificity of the environment. This duality is also
evident in the analysis: comparing input and output signals
cannot fully segregate external and internal influence, as the
feedback sounds depend upon parameters within the system,
which in turn depend on the analysis. We are satisfied that
affirming specificity was achieved, but we believe this is only
an initial step in developing truly adaptive, self-augmenting
responsive sonic environments.
6. REFERENCES
[1] D. Sanfilippo, A. Valle, and M. Elettronica, "Feedback
Systems: An Analytical Framework," Computer Music
Journal, vol. 37, no. 2, pp. 12-27, 2013.
[2] A. Di Scipio, "'Sound is the interface': from interactive to
ecosystemic signal processing," Organised Sound, vol. 8,
no. 03, pp. 269-277, Apr. 2003.
[3] P.-A. Kollias, "Ephemeron: Control over Self-Organised
Music," in Proceedings of the 5th International Conference of Sound and Music Computing, 2008, pp. 138-146.
[4] S. Kim, J. Nam, and G. Wakefield, "Toward Certain Sonic
Properties of an Audio Feedback System by Evolutionary Control of Second-Order Structures," in Proceedings
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event) on Evolutionary and Biologically Inspired Music,
Sound, Art and Design (Part of Evostar 2015), 2015.
[5] M. Scamarcio, "Space as an Evolution Strategy. Sketch
of a Generative Ecosystemic Structure of Sound," in Proceedings of the Sound and Music Computing Conference,
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[6] A. Farina, "Simultaneous measurement of impulse response and distortion with a swept-sine technique," in Audio Engineering Society Convention 108. Audio Engineering Society, 2000.
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