This paper explores the use of perturbation in designing multi-performer or multi-agent interactive musical interfaces. A problem with the multi-performer approach is how to cohesively organize the independent data inputs into useable control information for synthesis engines. Perturbation has proven useful for navigating multi-agent NIMEs. The author's… (More)
This paper explores compositional and notational approaches for working with controllers. The notational systems devised for the composition (dis)Appearances are discussed in depth in an attempt to formulate a new approach to composition using ensembles that navigates a performative space between reality and virtuality. Figure 1: Musical form of… (More)
Noisegate 67 was the first fully interactive composition written for the Computer Metasaxophone, a new computer controller interface for electroacoustic music. The Metasaxophone is an acoustic tenor saxophone retrofitted with an onboard computer microprocessor and an array of sensors that convert performance data into MIDI control messages. While… (More)
This paper describes a theory for modulated objects based on observations of recent musical interface design trends. The theory implies extensions to an object-based approach to controller design. Combining NIME research with ethnographic study of shamanic traditions. The author discusses the creation of new controllers based on the shamanic use of ritual… (More)
In this paper we describe compositional and performance-related issues for exploring extended techniques of a bowed string physical model. First, an extended waveguide physical model of a bowed string instrument was created. To explore new techniques for the physical model we perform it with the metasaxophone, a tenor saxophone retrofitted with an array of… (More)
Sxratch (2006) is a musical composition and interactive performance work created for the Metasaxophone, an augmented instrument invented and built by the author in 1999. The Metasaxophone is one of the earliest augmented instruments still in regular use today. The piece uses the instrument interface to control interactive computer sound software and robots.