Nicolas Castagné

• Grenoble Institute of Technology

Mechanical actions and physical measurements at micro and nanoscale required special tools and instrumental platforms. This paper deals with the fabrication of various custom-made Scanning Force Microscopy (SFM) probes, on one hand to perform quantitative physical measurements on soft or magnetic materials, on the other hand to identify and to mani...

This chapter presents recent work concerning physically modelled virtual musical instruments and force feedback. Firstly, we discuss fundamental differences in the gesture–sound relationship between acoustic instruments and digital musical instruments, the former being linked by dynamic physical coupling, the latter by transmission and processing o...

Cet article propose une réflexion autour du geste instrumental musical, de sa nature physique et de sa place dans le monde numérique. Nous abordons dans un premier temps la différence fondamentale du lien geste-son entre instruments acoustiques et instruments musicaux numériques, le premier cas étant régi par un couplage physique dynamique et le se...

This work focuses modelling and simulation of physics-based topological discontinuities in deformable objects, as they appear in fracturing, tearing or cracking phenomena. It introduces a new methodology, called “Splitting MAT”, which integrates into masses-interactions modelling. This methodology enables modelling topological discontinuities not o...

This work introduces a new modeling/simulation pipeline for handling topological discontinuities as they appear in fracturing, tearing or cracking phenomena. This pipeline combines, in a cascade (1) physics-based particle modeling, which enables a wide variety of temporal phenomena, including physics state changes; (2) explicit topological modeling...

Recent developments at ACROE-ICA have yielded a first audio-haptic modeller-simulator for real time simulations of mass-interaction physical models. This paper discusses the conceptual and technological considerations for a haptic platform that supports dynamic coupling for audio-haptic interactions, in particular in the case of physical coupling w...

This article is a contribution to today’s stream of research studying the interests of employing a Haptics Coprocessing Unit (HPU) for force-feedback interaction, and possible core features and hardware/software architectures of such HPU. It introduces a force-feedback software framework, called CORDIS-In, powered by a DSP-based HPU. CORDIS-In’s de...

A paraitre dans The Visual Computer Special Issue

Animation of topological transformations, such as fractures, cracks, tears, crumbles or fragmentations, is a new challenge in Computer Graphics and Animation. We propose a new way to model and animate topological changes, allowing the programmer to design any type of topological changes and animation mapping. This model is based on organizing the c...

We present GENESIS-RT, a Virtual Reality platform conceived for musical creation. It allows the user to (1) interactively create physically-based musical instruments and sounding objects, and (2) play them in real time in a multisensory fashion, by ways of haptics, 3D visualisation during playing, and sound. The design of this platform aims for ful...

In Computer Music, a practical approach of many Digital Musical Instruments is to separate the gestural input stage from the sound synthesis stage. While these instruments offer many creative possibilities, they present a strong rupture with traditional acoustic instruments, as the physical coupling between human and sound is broken. This coupling...

A study on force-feedback interaction with a model of a neural oscillator provides insight into enhanced human-robot interactions for controlling musical sound. We provide differential equations and discrete-time computable equations for the core oscillator model developed by Edward Large for simulating rhythm perception. Using a mechanical analog...

The two historical starting points of Computer Music, in 1957, were digital sound synthesis, founded by Max Mathews (Bell Labs), and automatic composition, founded by Lejaren Hiller and Leonard Isaacson (University of Illinois). Digital sound synthesis and computer aided musical composition then developed and are today essential components of compu...

This paper is focused on the question of simulation and visualiza- tion of 3D gel and paste dynamic effects. In a first part, we introduce a 3D physically based particle (or mass-interaction) model, with a small number of masses and few powerful interaction parameters, which is able to generate the dynamic features of both gels and pastes. This mod...

The question of encoding movements such as those produced by human gestures may become central in the coming years, given the growing importance of movement data exchanges between heterogeneous systems and applications (musical applications, 3D motion control, virtual reality interaction, etc.). For the past 20 years, various formats have been prop...

This paper presents a modeling process in order to produce a realistic simulation of crowds in the ancient Greek agora of Argos. This place was a social theater in which two kinds of collective phenomena took place: interpersonal interactions (small group discussion and negotiation, etc.) and global collective phenomena, such as flowing and jamming...

With an historical point of view combined with a bibliographic overview, the article discusses the idea that haptic force feedback transducers correspond with a paradigm shift in our real-time tools for creating music. So doing, il shows that computer music may be regarded as a major field of research and application for haptics. Comment: Document...

GENESIS3 is the new version of the GENESIS software environment for musical creation by means of mass-interaction physics network modeling. It was designed, and developed from scratch, in hindsight of more than 10 years working on and using the previous version. We take the opportunity of this birth to provide in this article (1) an analysis of the...

RÉSUMÉ GENESIS 3 est une toute nouvelle version de l'environnement GENESIS pour la création musicale à l'aide les modèles physiques masse-interaction CORDIS-ANIMA. Elle a été conçue avec un recul de plus de dix années sur l'ancienne version et ses utilisations. Nous profitons de la sortie de GENESIS 3 pour présenter une analyse du « paradigme logic...

This paper summarises a panel discussion at the 2007 International Computer Music Conference on movement and gesture data formats, presents some of the formats currently in development in the computer music community, and outlines some of the challenges involved in future development.

The last decade has seen the development of standards for music notation (MusicXML), audio analysis (SDIF), and sound control (OSC), but there are no widespread standards, nor structured approaches, for handling music-related movement, action and gesture data. This panel will address the needs for such formats and standards in the computer music co...

Among the many physically-based modelling techniques, various have been designed in computer music for sound synthesis. This text reviews some of the most important.

This report presents the state of the art in "gesture format" and preliminary propositions of the partners in the specification of a common low level format. It includes (1) presentation of the cardinal points in research on gesture data, (2) state of the art in existing gesture format (3) state of each partner as for encoding of gesture data, (4)...

This report presents the state of the art in "gesture format" and preliminary propositions of the partners in the specification of a common low level format. It includes (1) presentation of the cardinal points in research on gesture data, (2) state of the art in existing gesture format (3) state of each partner as for encoding of gesture data, (4)...

The link from action to sound is under-explored in virtual realities. The article categorizes the action-sound relations, proposing the term "ergotic" to refer to the case when there is a mechanical interaction between the subject and the sound source. Force-feedback devices and physically based models are indeed required for implementing virtual e...

Physical modelling (PM) encounters a growing success. Though, in the context of Computer Music, it covers numerous goals, needs and challenges. The article aims at contributing to their understanding. It provides a bibliographic overview of the various goals that researchers and musicians may pursue. It introduces a set of features that an ideal PM...

This paper deals with the design of a generic force feedback devices technology. System compactness, accessible number of degrees of freedom, morphology, resolution of the physical variables, frequency bandwidth are the main criteria the ERGOS technology answers to. This technology is successfully applied in two various fields: virtual bowed string...

Musicians usually consider physical Modeling as a par-ticularly interesting paradigm as for its phenomenologi-cal interests, but also as a particularly impracticable one. We face today a lack in musician-oriented environments for practicing modeling in the context of musical crea-tion. The article introduces GENESIS, a graphical envi-ronment based...

Until the late 70's, in musical Acoustics, the practice of physical modeling (PM) was mainly the prerogative of acousticians. Since then, other research and uses more oriented to music have developed. A new scientific community has been emerging, which may be pointed out as dealing with "Physically-Based Modeling" (PBM) -as opposed to traditional P...

In the context of Computer Music, physical modeling is usually dedicated to the modeling of sound sources or physical instruments. This paper presents an innovative use of physical modeling in order to model and synthesize complex auditory effects such as collective acoustic phenomena producing metabolic emergent auditory organizations. As a case s...

The success recently encountered by physically-based modeling (or model-based approaches) for music should not mask the deep challenges that remain in this area. This article first proposes an overview of the various goals that researchers and musicians, respectively operating from scientific and end-user perspectives, may pursue. Among these goals...

The ACROE and the ICA laboratory are two associated institutions running a program of research, development, creation and pedagogy in the field of computer for music and animated image synthesis. ACROE was founded in 1976 by Claude Cadoz, Annie Luciani and Jean-Loup Florens, in the Institut National Polytechnique of Grenoble (INP-G) with the suppor...

Mass-interaction physical modeling scheme is often cited as the traditional physical modeling technique, but surprisingly some of the possibilities for musical creation it allows have not yet been pointed out.

Mass-interaction scheme is often cited as the traditional physical modeling technique, but surprising some of the musical creation fields it allows have not yet been pointed out. GENESIS is a musician-oriented graphical environment for mass-interaction physical modeling. Il offers some new possibilities for music creation based on a articulation be...

The success recently encountered by physically-based modeling (or model-based approaches) for music should not mask the deep challenges that remain in this area. This article first proposes an overview of the various goals that researchers and musicians, respectively operating from scientific and end-user perspectives, may pursue. Among these goals...

Mass-interaction physical modeling scheme is often cited as the traditional physical modeling technique, but surprisingly some of the possibilities for musical creation it allows have not yet been pointed out. GENESIS is a graphical environment based on the CORDIS-ANIMA mass-interaction paradigm and designed for musicians. It was conceived so as to...