Organised Sound
An International Journal of Music and Technology
Volume 5, Number 1
Issue thematic title: Interactivity
Date of Publication: January 2000
Publishers: Cambridge University Press
Articles to be considered for publication in the named issue are now
invited.
Interactivity
Despite the activity of recent decades in the fields of Live
Electronics, Human-Computer Interfacing, Gestural Sensing, Motion
Tracking, Virtual Reality and other forms of interactivity between
humans and their machines, most of us still use the mouse and ASCII
keyboard to communicate with our musical computers. If you don't, write
an article for Organised Sound and tell us why you don't and how you
manage not to?
Cross-arts work has inspired a good deal of innovation in
human-computer interaction to allow dance, sculpture, video and public
events to be closely linked with musical creation and performance, and
to allow extra-musical events to be mapped into a musical domain. Do
you map events to music or write music which can only be performed
interactively? Do you produce mechanisms or write programs that allow
this type of interaction to take place?
Are you working with new materials which allow information to be
transduced from people or events in a form suitable for artistic
applications?
Real-time computing, once a goal of all music applications, is now only
a special case in time since many of our most complex musical processes
can be realised "faster than sound", or at least faster than many
performers. What forms of interaction will be possible with computer
music applications in future electronic music performances?
How will new computer resources effect the necessity for the
out-of-time compositional processes of electroacoustic music? Will
electroacoustic music become a performance based music, where an
audience might visit concert halls to enjoy a certain performer's
interpretation of a piece?
Complex scenarios like those described above require years of
development work in hardware, software, creative processes,
compositional techniques and in audience awareness or desire to
interact with artists. If you are making a contribution in any of these
fields Organised Sound would be delighted to consider your work for
publication.
SUBMISSION DEADLINE: 15 November 1999
SUBMISSION FORMAT
Notes for Contributors can be obtained from the inside back cover of
published issues of Organised Sound or from:
http://www.cup.cam.ac.uk/journals/oso/osoifc.htm
TIMETABLE for SUBMISSIONS
Articles and other material for the editors' consideration should be
submitted
by 15 November 1999. Hard copy to:
The Editors
Organised Sound
Centre for Technology and the Arts
De Montfort University
Leicester LE1 9BH, UK.
Email submissions should be mailed to (please see SUBMISSION FORMAT above):
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Further details about Organised Sound are available at:
http://www.cup.cam.ac.uk/Journals/JNLSCAT/oso/oso.html
Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton.
Corresponding Editors:
Lelio Camilleri, Daniel Oppenheim, Miller Puckette, Barry Truax,
David Worrall
International Editorial Board:
Marc Battier, Francois Bayle, Peter Castine, Alcedo Coenen,
Francis Dhomont,Simon Emmerson, Rajmil Fischman, Takayuki Rai,
John Rimmer, Jean-Claude Risset, Francis Rumsey, Conrado Silva,
Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu,
Trevor Wishart, Scott Wyatt, Iannis Xenakis.
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