estampes numériques imprimées à l’encre pigmentaire sur papier Canson
réalisées par forages [Gladys Bregeon & Vincent Goudard]
photo satin premium RC 270g
images tirées d’une scène de la performance FIB_R
Les estampes originales sont en résolution 600 dpi.
Les aperçus ci-dessous sont en basse résolution.
AIM is a Max package helping to structure patches following a “Model View Controler” design pattern. Declare parameters and models, in possibly nested combinations, save presets, readily available in any other model instance. Create custom GUIs for your components and easily monitor and control any part of your patch.
The core part of the package was presented at the Sound and Music Conference (SMC’22) organized by GRAME in Saint Etienne, France.
ReCoDIN stands for “representation and control in the interactive design of digital musical instruments”, the topic of a doctoral research project started in 2016.
Abstract : Digital musical instruments appear as complex objects, being positioned in a continuum with the history of lutherie as well as marked with a strong disruption provoked by the digital technology and its consequences in terms of sonic possibilities, relations between gesture and sound, listening situations, reconfigurability of instruments and so on. This doctoral work tries to describe the characteristics originating from the integration of digital technology into musical instruments, drawing notably on a musicological reflection, on softwares and hardwares development, on musical practice, as well as a number of interactions with other musicians, instruments makers, composers and researchers.
This research led to the development of various Open-Source tools and softwares, some of which are described in academic publications (see below). Feel free to fork them on GitHub !
LAM-lib : a random collection of objets and utilities for digital luthery in Max.
ModularPolyphony (MP) : a protocol and set of abstractions in Max, allowing expressive control of polyphonic processes, connected in a modular way.
ModularPolyphony-TUI (MP-TUI) : a set of objects and utilities built on top of MP, meant for designing custom multitouch tangible user interfaces (TUI).
Sagrada : a library for audio-rate control of modular processes, particulary targeted at granular synthesis.
John, the Semi-Conductor : a web-based collective score generator, editor and player, crafted for helping collective free improvisation of electroacoustic music.
V. Goudard, « Représentation et contrôle dans le design interactif des instruments de musique numériques », PhD thesis, 2020. [online]
V. Goudard, « Ephemeral instruments », in Proceedings of the International Conference on New Interfaces for Musical Expression (NIME’19), Porto-Alegre, Brésil, 2019, p. 349–354. [online]
V. Goudard, « John, the Semi-Conductor: A Tool for Comprovisation », in Proceedings of the International Conference on Technologies for Music Notation and Representation – TENOR’18, Montreal, Canada, 2018, p. 43–49. [online]
V. Goudard, « Ergonomics of touch-screen Interfaces », in Proceedings of the International Conference on Live Interfaces (ICLI’18), Porto, Portugal, 2018. [online]
V. Goudard et H. Genevois, « Mapping modulaire de processus polyphoniques », in Actes des Journées d’Informatique Musicale (JIM’17), 2017. [online]
Xypre is a multitouch-screen based interface enhanced with contact microphones and tactile speakers that I designed for live performance. It was built in just a few days for a forthcoming performance. I am playing it in FIB_R and with the ONE ensemble.
Sagrada is an open-source Max package performing sample-accurate granular synthesis in a modular way. Grains can be triggered both synchronously and asynchronously. Each grain can have its own effects and eveloppes (for instance the first “attack” and last “release” grains of a grains stream).
Sagrada was partly developed during my PhD at LAM. It was inspired by the very good GMU tools developped at GMEM (and its sample-rate triggering) and the FTM package developed at IRCAM (and its modularity). Not to mention all of Curtis Roads’ work on granular synthesis.
Many researchers, artists and makers from many different countries, different cultures and backgrounds meeting at NIME 2019 in Porto-Alegre, giving rise to very rich discussions! From science and engineering to musical performance to anthropology to music history (and more, and vice versa). Really happy that I could present my paper on “ephemeral instruments” in such a rich and stimulating context ! (which you can download from there : http://www.nime.org/proceedings/2019/nime2019_paper067.pdf)