Welcome to NIME++ 2010 in Sydney, Australia.
NIME++ originated in the idea of encouraging the dialogue with collaborative performing and multimodal art and design, expression that so often intersects with our music-making technology, evaluation and creativity-based research and practice. It is often the case that music and sound operate in multimodal contexts, and in interactive and responsive contexts, such as situated media, interactive installation and audio-visual performance works. The theme of expression is shared with our peers in design and artistic domains, as are concerns for integrating new technologies, fabrication, the user experience and its evaluation, wearable and spatial design, and mediating urban and architectural spaces. Thus, with the "++" we want to welcome intersecting work including new approaches to music in dance, live audio-visual performance, wearable and mobile interfaces, data-art and sonification as it can relate to and inform the central core community of New Interfaces for Musical Expression. Increasingly, we are seeing fruit from these interdisciplinary conversations around the world and recognition that design, the human experience and research are frequently cross-disciplinary and collaborative activities: in education, liberal and interdisciplinary degrees are emerging that support this trend and in 2010, NIME++ coincides with the inaugural year of the Bachelor of Sound and Music Design degree and Bachelor of Photography and Situated Media degree at UTS, working across traditional Faculty boundaries examining the intersection of technology, expression, culture and creativity, recognising the need for technical fluency together with scope for creative expression.
Participants' papers cover a breadth of topics that demonstrate the scope and influence of the New Interfaces for Musical Expression community, its research, writing, performance and pioneering demo and experimental works. Areas presented in NIME++ 2010 include: novel interfaces and controllers for musical expression and experiences with new interfaces in performance and composition; augmented and hyper-instruments that extended the capabilities and expression of musical instruments and ensembles; interactive sonification and multimodal information expression looking at musical and informative renderings of data; gesture in music and its measurement; creating music and interfaces for mobile technologies; interactivity design and software tools; computational interfaces and mapping tools; robotic music; performance rendering, generative music and machine learning; and interfaces for embodied sonic media.
Musical performances include hyper-instruments, the hyper-ensemble or multimodal expression and augmented musical ensemble, novel instruments, novel controllers and interfaces for musical expression, live coding, mobile phone music, hardware hacked and innovative instruments and electronic expressive music-making devices. An array of musical installations and interactive instruments and sonic environments are on exhibit in the installation track. Many of these rely on user participation to explore the dynamics and interest of the system and response. We urge you to explore these installations and exhibits first-hand.
We are excited to welcome keynote speakers, Stelarc and Nicolas Collins.
Interfaces designed to be expressive need to be close to the human skin: Stelarcís work is about getting under the skin (usually his own), which has included the growth of a stem-cell third ear on his arm. Stelarc is a pioneer of cyborg art. He is a performer, Chair in Performance Art at the School of Arts, Brunel University, West London, Senior Research Fellow and Visiting Artist at the MARCS Lab at the University of Western Sydney (UWS), and Honorary Professor of Art and Robotics at Carnegie Mellon University, Pittsburgh. He also has an Honorary Doctorate from Monash University in Melbourne. Over the years Stelarc has explored and applied his body further than skin-deep to research the notion of the cyborg, where the interface becomes part of the human body. In fact, for him the body has become obsolete. But rather than a cold, hard, technical cyborg, Stelarcís research through artistic expression shows a deep passion, warmth, (in)sanity, and humour. We are thrilled to have Stelarc as a keynote speaker in person, with his very un-obsolete body present. Through his work he has extended the whole notion of an interface, blurring the distinction between mind and matter by physically engaging in a gentle clash between machine and human, metal and flesh, computer and brain. Or is it a dance? Stelarc will also for the first time publicly present The Articulated Head installation during NIME++, a robotic embodiment of his earlier Prosthetic Head. The Articulated Head features a 6 D.o.F. robot arm with the embodied conversational agent having real-time interactivity made possible with its sound location and visual tracking capabilities and its attention model. The Articulated Head is part of the Thinking Head project, a 5-year research project led by the MARCS Auditory Labs, UWS. The Thinking Head project is one of the three Thinking Systems Initiatives, jointly funded by the Australian Research Council (ARC) and the Australian National Health and Medical Research Council (NHMRC). You can read more at www.stelarc.va.com.au
If there is a haute cuisine in hardware hacking, Nic Collins would be the three-star Michelin chef. Dr. Nic Collins is a composer, performer and instrument builder, Professor of music at Department of Sound at the School of the Art Institute of Chicago, editor-in-chief of the Leonardo Music Journal, former artistic director of STEIM in Amsterdam, recipient of the DAAD scholarship in Berlin, and the author of the book Handmade Electronic Music - the art of hardware hacking (Routledge, now in its 2nd edition). In person, Nic is as witty and knowledgeable as he is in his writing. Nic also presents the Hardware Hacking one-day NIME++ tutorial and will be performing in concert. You can read more at www.nicolascollins.com
The University of Technology, Sydney is a university located in the heart of Sydney, adjacent to the CBD, Darling Harbour entertainment district and in our immediate precinct, neighbour to the Australian Broadcasting Corporation (ABC) and Sydney Powerhouse Museum (science and technology museum) with a musical instrument collection and technology exhibits. The Bon Marche Studio for networked and spatial audio concerts (Faculty of Arts and Social Sciences), UTS University Hall for keynote presentations and paper sessions, and Design Studios for demos and poster sessions (Faculty of Design, Architecture and Building) are amongst our local UTS venues. Two concerts are held at the ABC Ultimo Centre's Eugene Goossens Concert Hall. Installation works are located at Fraser's Studios in the precinct, and Club night performances take place at the Excelsior Hotel and the Vanguard (also the location for the conference dinner).
Coinciding with NIME++ conference in Sydney are the 17th Biennale of Sydney (Australia's largest and most respected contemporary visual arts event), and Vivid light festival - especially around the historical Rocks area and Sydney Harbour. Immediately following are XMedia Global Media Ideas at the Sydney Opera House and the Australian Computer Music Conference in Canberra.
This is the first NIME conference in the Southern Hemisphere (and Oceania).
We would like to thank the three collaborating faculties of the University of Technology Sydney for their support in hosting the conference: Faculty of Arts & Social Sciences (FASS) and Dean, Professor Theo van Leeuwen; Faculty of Design, Architecture & Building (DAB) and Dean, Professor Desley Luscombe; and the Faculty of Engineering & I.T. (FEIT) and Acting Dean, Professor Hung Nguyen.
We are also grateful for the support of Professor Toni Robertson and the Centre for Human-Centred Technology Design in UTS FEIT; Professor Kirsty Beilharz and Sense-Aware Lab in UTS DAB; Associate Professor Bert Bongers and the Interactivation Studio in UTS DAB; Dr. Andrew Johnston and Professor Ernest Edmonds of the Creativity and Cognition Studios in UTS FEIT; and Associate Dean Research in UTS DAB, Professor Kees Dorst & the Research Centre for Designing Out Crime.
In the precinct, we are supported by the ABC, 2SER, FBI radio stations, and Sydney Powerhouse Museum. We are especially thankful to all the performers who are contributing to our concerts, many from the international NIME community, and also to local Australian contemporary music performers: Ensemble Offspring and Charisma Ensemble.
The conference, concert, exhibition and installation events, registration, reviewing and administrative processes would not have been possible without the wonderful and generous contribution of countless hours and skills by our international peer reviewers and UTS student volunteers from the Bachelor of Sound and Music Design, Bachelor of Photography and Situated Media, and Higher Degrees by Research. Thanks especially individuals who are curating concert and tutorial events - Somaya Langley, Andrew Johnston, Jon Drummond, Garth Payne, Roger Mills, Greg Schiemer, Johannes Mulder, Lizzie Muller, Andrew Martin, Sam Ferguson, and Media Centre technical support, Brendan Lloyd. Amy Chen and Debbie Pryor have shouldered a mammoth administrative responsibility, along with every member of the organising committee who have worked zealously to make the event a success. Debbie has also assisted with the registration process and Amy has assisted with the proceedings publication and graphic design activities.
We look forward to an inspiring and enjoyable NIME++ 2010.
Prof. Kirsty Beilharz
Dr. Andrew Johnston
Assoc.-Prof. Bert Bongers