Papers by Jérôme Villeneuve
Proceedings of the SMC Conferences, May 28, 2019
Mass-interaction methods for sound synthesis, and more generally for digital artistic creation, h... more Mass-interaction methods for sound synthesis, and more generally for digital artistic creation, have been studied and explored for over three decades, by a multitude of researchers and artists. However, for a number of reasons this research has remained rather confidential, subsequently overlooked and often considered as the odd-one-out of physically-based synthesis methods, of which many have grown exponentially in popularity over the last ten years. In the context of a renewed research effort led by the authors on this topic, this paper aims to reposition mass-interaction physical modelling in the contemporary fields of Sound and Music Computing and Digital Arts: what are the core concepts? The end goals? And more importantly, which relevant perspectives can be foreseen in this current day and age? Backed by recent developments and experimental results, including 3D mass-interaction modelling and emerging non-linear effects, this proposed reflection casts a first canvas for an active, and resolutely outreaching, research on mass-interaction physical modelling for the arts.
Sound synthesis with mass-interaction physical modeling networks can be considered as a general p... more Sound synthesis with mass-interaction physical modeling networks can be considered as a general paradigm capable of being the central part of complete software environments for musical creation. GENESIS 3, built around the CORDIS-ANIMA formalism and developed by ACROE/ICA Laboratory, is the first environment of this kind. Using it, the artist may be facing an inherent problematic of every creation process: how to use a given tool in order to obtain an expected result. In our context, the question would be: "Considering a sound, which physical model could produce it?" This paper especially aims at presenting the frame in which this inverse problem is set and at establishing its very own inputs and outputs. However, we will also present two different algorithmic resolutions applied on quite simple cases and then discuss their relevance.
Sound is all about vibration, and the GENESIS environment provides an efficient way for modeling ... more Sound is all about vibration, and the GENESIS environment provides an efficient way for modeling and simulating complex vibrating structures, enabling to produce rich sounds. In this paper, we propose an overview of tools recently developed and available within the GENESIS environment, allowing a better understanding on how massinteraction networks behave and introducing some enhanced tuning of their vibrating properties. All these tools try to address an inherent need of any creative process either in the physical world or in GENESIS, which is to create bidirectional connections between properties of a phenomenon, in our case, audible sounds, and properties of what produced it, here, mass-interaction networks. For this purpose, we will introduce the topological and modal representations of such mass-interaction networks and appreciate how relevant it can be to switch between these different representations to really apprehend its inner properties and those of the sounds it produces.
Instruments and Sounds as Objects of Improvisation in Collective Computer Music Practice
Mise en oeuvre de méthodes de résolution du problème inverse dans le cadre de la synthèse sonore par modélisation physique masses-interactions
Un "probleme inverse", dans son sens general, consiste en une «inversion» de la relatio... more Un "probleme inverse", dans son sens general, consiste en une «inversion» de la relation de cause a effet. Il ne s'agit pas de produire un phenomene «cause» a partir d'un phenomene «effet», mais plutot de s'essayer a definir un phenomene «cause» dont un effet observe serait la consequence.Dans le contexte du formalisme de modelisation physique et de simulation CORDIS-ANIMA, et plus particulierement dans le cadre de l'interface de creation sonore et de composition musicale qui le met en œuvre, GENESIS, crees par le laboratoire ACROE-ICA, on identifie une problematique d'une telle nature : etant donne un phenomene sonore, quel modele physique construire qui permettrait de l'obtenir ? Cette interrogation est fondamentale dans le cadre du processus de creation engage par l'utilisation de tels outils. En effet, pouvoir decrire et concevoir le procede qui permet d'engendrer un phenomene ou un evenement sonore (musical) prealablement definis est un...
Mass-interaction methods for sound synthesis, and more generally for digital artistic creation, h... more Mass-interaction methods for sound synthesis, and more generally for digital artistic creation, have been studied and explored for over three decades, by a multitude of researchers and artists. However, for a number of reasons this research has remained rather confidential, subsequently overlooked and often considered as the odd-one-out of physically-based synthesis methods, of which many have grown exponentially in popularity over the last ten years. In the context of a renewed research effort led by the authors on this topic, this paper aims to reposition mass-interaction physical modelling in the contemporary fields of Sound and Music Computing and Digital Arts: what are the core concepts? The end goals? And more importantly, which relevant perspectives can be foreseen in this current day and age? Backed by recent developments and experimental results, including 3D mass-interaction modelling and emerging non-linear effects, this proposed reflection casts a first canvas for an act...
The democratization of Computer Arts and Computer Music has, due to dematerialization (virtualiza... more The democratization of Computer Arts and Computer Music has, due to dematerialization (virtualization) consequence of digital technologies, considerably widened the boundaries of creativity. As we are now entering a second phase that has been labeled “post-digital”, we are called to reconcile this openness with notions such as embodiment, presence, enaction and tangibility. These notions are in our view inherently linked to creativity. Here we outline some approaches to this problem under development within the “European Art-ScienceTechnology Network” (EASTN 1 ). Several areas of artistic creation are represented (Music, Animation, Multisensory Arts, Architecture, Fine Arts, Graphic communication, etc.). A main objective of this network is to establish common grounds through collaborative reflection and work on the above notions, using the concept of tangibility as a focal point. In this paper we describe several different approaches to the tangibility, in relation to concepts such ...
This paper presents ongoing work on the topic of physical modelling and force-feedback interactio... more This paper presents ongoing work on the topic of physical modelling and force-feedback interaction. Specifically, it proposes a frame- work for rapidly prototyping virtual objects and scenes by means of mass-interaction models, and coupling the user and these objects via an affordable multi-DoF haptic device. The modelled objects can be computed at the rate of the haptic loop, but can also operate at a higher audio-rate, producing sound. The open-source design and overall simplicity of the proposed system makes it an interesting solution for introducing both physical simulations and force-feedback interaction, and also for applications in artistic creation. This first implementation prefigures current work conducted on the develop- ment of modular open-source mass-interaction physics tools for the design of haptic and multisensory applications.
This paper presents recent work conducted on the integration of mass-interaction physical models ... more This paper presents recent work conducted on the integration of mass-interaction physical models in the FAUST programming language. After a brief introduction to mass-interaction networks, FAUST, and previous works on this topic, we present a simple modeling framework, a FAUST code generator and its associated library, allowing to implement 1D mass-interaction models. In addition to the open-source tool itself, this research offers a perspective on formalizing arbitrarily large networks of bidirectional feedback couplings and state-space models in FAUST, through routing patterns. We finish with a set of examples, and discuss future perspectives and challenges.
The motivation of this paper is to highlight the importance of visual representations for artists... more The motivation of this paper is to highlight the importance of visual representations for artists when modeling and simulating mass-interaction physical networks in the context of sound synthesis and musical composition. GENESIS is a musician-oriented software environment for sound synthesis and musical composition. However, despite this orientation, a substantial amount of effort has been put into building a rich variety of tools based on static or dynamic visual representations of models and of abstractions of their properties. After a quick survey of these tools, we will illustrate the significant role they play in the creative process involved when going from a musical idea and exploration to the production of a complete musical piece. To that aim, our analysis will rely on the work and practice of several artists having used GENESIS in various ways.
Mise en oeuvre de méthodes de résolution du problème inverse dans le cadre de la synthèse sonore par modélisation physique masses-interactions. (Implementing inverse problem resolution methods in the context of mass-interaction modeling for sound synthesis)
La synthese sonore par modele physique particulaire developpee au laboratoire ICA et a l'ACRO... more La synthese sonore par modele physique particulaire developpee au laboratoire ICA et a l'ACROE avec le langage CORDIS-ANIMA et le logiciel de creation sonore et musicale GENESIS se presente aujourd'hui comme un paradigme general susceptible de constituer le cœur d'un environnement complet pour la creation musicale, de la creation du son a la composition macro- temporelle et macro structurelle. Le " probleme inverse " dans ce contexte se pose lors d'une des phases possibles du processus de creation : etant donne un resultat (sonore, simple ou complexe) fixe comme cible, quel modele physique (dans tout ce qui le caracterise) mettre en jeu pour l'obtenir ? Plus generalement, il s'agit de determiner des methodes permettant de definir le plus completement possible un processus generateur a partir d'un ensemble de connaissances sur ce qu'il doit engendrer. Cet article vise a formaliser cette problematique inverse ainsi qu'a en exposer les prem...
La synthèse sonore par modèle physique particulaire développée au laboratoire ICA et à l’ACROE av... more La synthèse sonore par modèle physique particulaire développée au laboratoire ICA et à l’ACROE avec le langage CORDIS-ANIMA et le logiciel de création sonore et musicale GENESIS se présente aujourd’hui comme un paradigme général susceptible de constituer le cœur d’un environnement complet pour la création musicale, de la création du son à la composition macro-temporelle et macro structurelle. Le « problème inverse » dans ce contexte se pose lors d’une des phases possibles du processus de création: étant donné un résultat (sonore, simple ou complexe) fixé comme cible, quel modèle physique (dans tout ce qui le caractérise) mettre en jeu pour l’obtenir? Plus généralement, il s’agit de déterminer des méthodes permettant de définir le plus complètement possible un processus générateur à partir d’un ensemble de connaissances sur ce qu’il doit engendrer. Cet article vise à formaliser cette problématique inverse ainsi qu’à en exposer les premières résolutions pratiques. 1.
Sound synthesis with mass-interaction physical modeling networks is known as a general paradigm c... more Sound synthesis with mass-interaction physical modeling networks is known as a general paradigm capable of being the central part of complete software environments for both sound synthesis and musical creation. GENESIS 3, resting on the CORDIS-ANIMA formalism and developed by ACROE/ICA Laboratory, is the first environment of this kind. Using it, the artist may be facing an inherent problematic of every creation process: how to use a given tool in order to obtain an expected result. In our context, the question would be: “Considering a sound, which physical model could produce it?” Our work aims at formalizing this inverse problem and therefore at helping the user through his creative process. Therefore, we will consider how he could describe a sound (entry of the inverse problem), how to define a generator model based on mass-interaction physical networks and each one of its subcomponents (formal solution of the inverse problem), and, obviously, how to compute this solution consider...
Multisensory instrumental dynamics as an emergent paradigm for digital musical creation
Journal on Multimodal User Interfaces
Traitement du signal, 2015
Notre propos se concentre sur les méthodes d'analyse et de modélisation pour l'analyse dédiées au... more Notre propos se concentre sur les méthodes d'analyse et de modélisation pour l'analyse dédiées aux réseaux physiques de type masse-interaction ou aux signaux produits par ces derniers. Dans le contexte de la synthèse sonore pour la création artistique se basant sur ce type de modélisation, de telles méthodes s'avèrent essentielles afin de soutenir la démarche des utilisateurs. Une première partie de cet article est d'abord consacrée aux propriétés de l'oscillateur harmonique tel qu'il peut être construit avec le formalisme CORDIS-ANIMA. Puis, nous basant sur cet élément simple, mais bien connu, nous présentons deux principes de calcul et d'analyse des propriétés du signal que produira un modèle cible, qu'il soit linéaire, non linéaire, simulé ou non, en temps-différé ou en temps-réel. Nous présentons enfin leurs implémentations et utilisations au sein de l'environnement GENESIS. ABSTRACT. This paper focuses on methods for model analysis and for modelisation dedicated to signal analysis. Especially regarding mass-interaction physical networks and the audio signals they produce. In the context of sound synthesis for artistic creation relying on physical modeling, such kind of methods are of central interest in a way to provide guidance to users. In the first part of this paper, we will focus on the harmonic oscillator built with CORDIS-ANIMA. Then, starting with this very simple and well known element, we will present two approaches for calculation and analysis of the properties of signals produced by a model, the latter being either linear, non-linear, simulated or no yet, in real-time or not. The outcomes of both of these approaches will then be exemplified.
Tangibility, Presence, Materiality, Reality in Artistic Creation with Digital Technology
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Papers by Jérôme Villeneuve