Uploaded February 2016 | Updated September 2026, 1 week ago
https://www.opasquet.fr/
electricspring.co.uk
research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab
Presented as part of the Electric Spring, Max/MSP Power Users Symposium 2013
Olivier Pasquet discusses the use of Max in his creative practice, a talk given as part of the Max Power Users Symposium at the 2013 Electric Spring festival of electronic music, held at the University of Huddersfield.
It has long been known that space and time are tightly bound together. This is also a concern for time-based arts. For instance, sound spatialization can be composed over time, as well as any other musical dimension decided by producers and listeners. Most compositional elements are structurally and culturally chosen, created and positioned using relative scales. This important notion of scale links together any time with any space. This way, there can be no structural difference between music composition, architectural design and synthetic biology. For instance, musical rhythmic patterns could be written in material design while concentrating on scales using audio and visual high definition devices and limits of perception. This is the case with contemporary dance music. This presentation will show simple compositional tools using the JTOL library and a speech recognition system in Max. It will also present real scale applications in recent musical and visual productions.
https://www.opasquet.fr/
electricspring.co.uk
research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab
Presented as part of the Electric Spring, Max/MSP Power Users Symposium 2013
Olivier Pasquet discusses the use of Max in his creative practice, a talk given as part of the Max Power Users Symposium at the 2013 Electric Spring festival of electronic music, held at the University of Huddersfield.
It has long been known that space and time are tightly bound together. This is also a concern for time-based arts. For instance, sound spatialization can be composed over time, as well as any other musical dimension decided by producers and listeners. Most compositional elements are structurally and culturally chosen, created and positioned using relative scales. This important notion of scale links together any time with any space. This way, there can be no structural difference between music composition, architectural design and synthetic biology. For instance, musical rhythmic patterns could be written in material design while concentrating on scales using audio and visual high definition devices and limits of perception. This is the case with contemporary dance music. This presentation will show simple compositional tools using the JTOL library and a speech recognition system in Max. It will also present real scale applications in recent musical and visual productions.
![Evan Johnson: Running and hiding in wide open spaces [06.03.2019]](https://i.ytimg.com/vi/YZsGAexVpjw/mqdefault.jpg "Evan Johnson: Running and hiding in wide open spaces [06.03.2019]
Composer Evan Johnson discusses the challenges and considerations of his recent commission for the BBC Scottish Symphony Orchestra measurement as contrition: three canons. Music provided by the composer for educational purposes.
http://www.evanjohnson.info/
https://research.hud.ac.uk/institutes-centres/cerenem/
Recordings:
inscribed in the center: 1520, Antorff for string quartet
Performed by the MIVOS Quartet
5 August 2014, Central station, Darmstadt, Germany (2014 Darmstädter Ferienkurse)
https://www.mivosquartet.com/
measurement as contrition: three canons for orchestra
Performed by the BBC Scottish Symphony Orchestra
6 May 2018, Glasgow City Halls, Glasgow, Scotland (2018 Tectonics Festival)
Conductor: Ilan Volkov
http://www.tectonicsfestival.com/")
