Thor Magnusson

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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)
This paper reports on ixiQuarks; an environment of instruments and effects that is built on top of the audio programming language SuperCollider. The rationale of these instruments is to explore alternative ways of designing musical interaction in screen-based software, and investigate how semiotics in interface design affects the musical output. The(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 demo paper describes the rationale and design of the ixi lang, a live coding language built on top of SuperCollider. The paper explains why SuperCollider is used for this task, and reports on a survey conducted with users of the language. It concludes that simple and constrained systems can be useful in specific musical contexts, in particular when(More)
The ixi software project started in 2000 with the intention to explore new interactive patterns and virtual interfaces in computer music software. The aim of this paper is not to describe these programs, as they have been described elsewhere [14][15], but rather explicate the theoretical background that underlies the design of these screen-based(More)
The ixi software project started in 2000 with the intention to explore new interactive patterns and virtual interfaces in computer music software. The aim of this paper is not to describe these programs, as they have been described elsewhere (Magnusson, 2006a & 2006b), but rather explicate the theoretical background that underlies the design of these(More)