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Currently, a musician working with digital technology is faced with a panoply of musical tools that can be roughly characterized by a split between ready-made music production software on the one hand, and audio-programming environments such as SuperCollider, CSound, Pure Data, Max/MSP, ChucK, or Audiomulch (to name but a few) on the other. Problems with(More)
This paper reports on a survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools. The survey focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments. The questions of control, instrumental entropy, limitations and creativity were(More)
After an eventful decade of live-coding activities, this article seeks to explore the practice with the aim of situating it in the history of contemporary arts and music. The article introduces several key points of investigation in live-coding research and discusses some examples of how live-coding practitioners engage with these points in their system(More)
The analysis of digital music systems has traditionally been characterized by an approach that can be defined as phenomenological. The focus has been on the body and its relationship to the machine, often neglecting the system's conceptual design. This paper brings into focus the epistemic features of digital systems, which implies emphasizing the(More)
This paper describes the audio human computer interface experiments of ixi in the past and outlines the current platform for future research. ixi software [5] was founded by Thor Magnusson and Enrike Hurtado Mendieta in year 2000 and since then we've been working on building prototypes in the form of screen-based graphical user interfaces for musical(More)