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ICMC 2011 Keynote Address
With ever expanding datasets, efficient data management in grids becomes important. This paper describes Cabinet which employs two techniques for efficiently managing data in grids-a caching system and a new file staging approach called coordinated staging. The caching system is designed based on the characteristics of grid applications. Coordinated staging is based on the BitTorrent Protocol model and is specifically designed for High Throughput Computing (HTC) applications, a common use-case for grids. In coordinated staging, each site that is assigned to execute an individual job of the HTC application treats other execution sites as potential replica-stores. In our evaluation, we show that coordinated staging lowered the download time of a file by 3.85x, and increased the throughput of the download by 2.86x over the conventional approach of file transfer from a single source.
The concept of 'event' is examined in the context of the electroacoustic music. Initial insights are gleaned from the study of 'event' in linguistics, in particular, the work of Johnson and Lakoff that reveals universal features of how we think about 'events'. Narayanan's work on linguistic aspect serves as the basis for a proposed EVENT schema, a mental model of the states and processes of an 'event'. The EVENT schema's properties relate it to important issues of artistic content including causality, resources and metaphorical meaning. In the realtime process of listening to a piece of electroacoustic music, the EVENT schema is bound together with particular Circumstances. Even when an 'event' cannot be completely assimilated, the listener constructs the gist of the 'event'. This notion of gist similarly relates to the intentional impoverishment of Circumstances experienced in electroacoustic music, an artistic abbreviation that leaves open space for the imagination.
Self-organisation, as manifest, for example, by swarms, flocks, herds and other collectives, is a powerful natural force, capable of generating large and sustained structures. Yet the individuals who participate in these social groups may not even be aware of the structures that they are creating. Almost certainly, these structures emerge through the application of simple, local interactions. Improvised music is an uncertain activity, characterised by a lack of top-down organisation and busy, local activity between improvisers. Emerging structures may only be perceivable at a (temporal) distance. The development of higher-level musical structure arises from interactions at lower levels, and we propose here that the self-organisation of social animals provides a very suggestive analogy. This paper builds a model of interactivity based on stigmergy, the process by which social insects communicate indirectly by environment modification. The improvisational element of our model arises from the dynamics of a particle swarm. A process called interpretation extracts musical parameters from the aural environment, and uses these parameters to place attractors in the environment of the swarm, after which stigmergy can take place. The particle positions are reinterpreted as parameterised audio events. This paper describes this model and two applications, Swarm Music and Swarm Granulator.
Max Mathews was last interviewed for Computer Music Journal in 1980 in an article by Curtis Roads. The present interview took place at Max Mathews's home in San Francisco, California, in late May 2008. (See Figure 1.) This project was an interesting one, as I had the opportunity to stay at his home and conduct the interview, which I video-recorded in HD format over the course of one week. The original set of video recordings lasted approximately three hours total. I then edited them down to a duration of approximately one and one-half hours for inclusion on the 2009 Computer Music Journal Sound and Video Anthology, which will accompany the Winter 2009 issue of the Journal. The following article is a lightly edited transcript of that edited video recording.
Park: Could you tell me a little bit about your background: where you grew up, where you went to school—a little bit about your background that we don't usually hear in interviews.
Mathews: Oh, I'd be glad to. I was born and grew up in the middle of the country in Nebraska. My parents were both schoolteachers. They both really liked teaching sciences. My father taught physics, chemistry, and biology in high school and was also the principal of the high school. It was a small school, with class sizes of about twelve students, and it was a very good place to begin an education. My father let me play in the physics, biology, and chemistry laboratories, so I enjoyed making lots of things—making motors that would run, making barometers out of mercury, playing with mercury—you could do that in those days.
Park: Hopefully you didn't hold it in your hands.
Mathews: Oh yes, I held it in my hands, and I am still here at 80. One of the important things I learned in school was how to touch-type; that has become very useful now that computers have come along. I also was taught in the ninth grade how to study by myself. That is when students were introduced to algebra. Most of the farmers and their sons in the area didn't care about learning algebra, and they didn't need it in their work. So, the math teacher gave me a book and I and two or three other students worked the problems in the book and learned algebra for ourselves. And this was such a wonderful way of learning that after I finished the algebra book, I got a calculus book and spent the next few years learning calculus by myself. I never really graduated from high school; I just stopped going there.
This was in 1944, and instead I took an exam for the Navy and enlisted as a radar repairman and essentially fell in love with electronics at that time. [Editor's note: Mr. Mathews moved to Seattle.] I did find out that the two schools that the teachers in Seattle recommended were Cal Tech [California Institute of Technology] and MIT [Massachusetts Institute of Technology]. Since [my wife] Marjorie was in California and was going to Stanford [University], I chose Cal Tech, and that was a very lucky and wise choice, as the undergraduate education I got at Cal Tech was superb. The techniques I learned in math and physics in freshman and sophomore classes at Cal Tech were the techniques that enabled me to pass the doctoral qualifying examinations when I went to MIT for my graduate work. On the other hand, even though I graduated from Cal Tech in electrical and mechanical engineering, when I got out of Cal Tech I didn't know how to simply build a simple audio amplifier; but at MIT I learned how to build complicated computer circuits out of the rudimentary operational amplifiers that were around at that time.
Another great stroke of luck came when I was refused employment at the 3M Company after they had offered me a job, as a result of a back injury that I had, so instead of going to Minneapolis—which I favored, since my family still lived in Nebraska—I went to Bell Telephone Laboratories (Figure...
Drawing on recent ideas that explore new environments and the changing situations ofcomposition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performancepractices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform ‘live’ in the age of the laptop? Many performer-composers draw upon a ‘library’ of materials, some created beforehand in a studio, some coded ‘on the fly’, others ‘plundered’ from the widest possible range of sources. But others refuse to abandon traditionally ‘created andstructured’ electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to ‘theory’, that is, ideas, principles and practices that somehow lie behind composers’ and performers’ actions. Some composers claim they just ‘respond’to sound and compose ‘with their ears’, while others use models and analogies of previously ‘non-musical’ processes. It is evident that in such new musical practices the human body has a new relationship to the sound. There is a historical dimension to this, for since the earliest electroacoustic experimentsin 1948 the body has been celebrated or sublimated in a strange ‘dance’ of forces in which it has never quite gone away but rarely been overtly present. The relationship ofthe body performing to the spaces around has also undergone a revolution as the sourceof sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly ‘acousmatic’ world in which we cannot see the source of the sounds we hear.
The art of sound organization, also known as electroacoustic music, uses sounds not available to traditional music making, including pre-recorded, synthesized, and processed sounds. The body of work of such sound-based music (which includes electroacoustic art music, turntable composition, computer games, and acoustic and digital sound installations) has developed more rapidly than its musicology. Understanding the Art of Sound Organization proposes the first general foundational framework for the study of the art of sound organization, defining terms, discussing relevant forms of music, categorizing works, and setting sound-based music in interdisciplinary contexts.
Leigh Landy's goal in this book is not only to create a theoretical framework but also to make sound-based music more accessible--to give a listener what he terms "something to hold on to," for example, by connecting elements in a work to everyday experience. Landy considers the difficulties of categorizing works and discusses such types of works as sonic art and electroacoustic music, pointing out where they overlap and how they are distinctive. He proposes a "sound-based music paradigm" that transcends such traditional categories as art and pop music. Landy defines patterns that suggest a general framework and places the study of sound-based music in interdisciplinary contexts, from acoustics to semiotics, proposing a holistic research approach that considers the interconnectedness of a given work's history, theory, technological aspects, and social impact.
The author's ElectroAcoustic Resource Site (EARS, www.ears.dmu.ac.uk), the architecture of which parallels this book's structure, offers updated bibliographic resource abstracts and related information.
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The analytical discussion of acousmatic music can benefit from being based on spatial concepts, and this article aims to provide a framework for investigation. A personal experience of soundscape listening is the starting point, and uncovers basic ideas relating to the disposition and behaviour of sounding content, and listening strategy. This enables the opening out of the discussion to include source-bonded sounds in general, giving particular consideration to how experience of sense modes other than the aural are implicated in our understanding of space, and in acousmatic listening. Attention then shifts to a source-bonded spatial model based on the production of space by the gestural activity of music performance, prior to focusing in more detail on acousmatic music, initially by delving into spectral space, where ideas about gravitation and diagonal forces are germane. This leads to concepts central to the structuring of perspectival space in relation to the vantage point of the listener. The final section considers a methodology for space-form investigation.
This paper contrasts three composers’ relationships with the ‘natural’ and the uses of chance in electroacoustic works which follow from these relationships. John Cage is well known for use of chance methods as an organising principle in his works from the early 1950s onward, based on a professed desire to reflect ‘nature’ in art. Cage’s close colleague David Tudor presents a quite different relationship to the ‘natural’ in his live-electronic music, showing distinctly non-Cageian uses of chance means. Alvin Lucier, whose interaction with Cage and Tudor as a young ‘experimental’ composer was important, frequently describes his work as having a close connection to the ‘natural’, but shows a third quite different way of allowing this relationship to inform his work.
As a response to a number of notable contemporary aesthetic tendencies, this paper introduces the notion of an infra- instrument as a kind of 'new interface for musical expression' worthy of study and systematic design. In contrast to hyper-, meta- and virtual instruments, we propose infra-instruments as devices of restricted interactive potential, with little sensor enhancement, which engender simple musics with scarce opportunity for conventional virtuosity. After presenting numerous examples from our work, we argue that it is precisely such interactionally and sonically challenged designs that leave requisite space for computer-generated augmentations in hybrid, multi-device performance settings.
Thesis (Ph. D.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1998. Includes bibliographical references (p. 161-172). Michael Anthony Casey. Ph.D.
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