Webinar: Long-term preservation of real-time electronic music
Within the framework of the Mercredis de STMS, the STMS laboratory of IRCAM offers you a webinar about real-time electronic music and its preservation.
An opportunity to question musical technologies, the adaptation of new tools and the future of real-time electronic music.
1) Long-term preservation of real-time electronic music
Miller Puckette (UCSD) and Eric Lindemann (Synful) introduced by Philippe Manoury
The fragility of the live electronic music repertory has been widely discussed, and several attempts have already been made to build permanent repositories of live electroacoustic music for future performance. Still, much of the repertory is caught in a cycle of perpetual "portage" which all but guarantees its disappearance.
In this talk we show how a well-designed testing regime can support the long-term preservation of live electroacoustic music realizations, by
periodically performing them virtually to verify that a fixed set of inputs yields the correct outputs. Instead of constantly updating the realizations to adapt to changing tools, we use the realizations as tests, and maintain the tools instead, so that if the tests are passed the repertory always runs correctly. We then propose ways in which composers and institutions can collaborate to make this feasible in practice.
Eric Lindemann is a DSP Algorithm Engineer at Cirrus Logic. He lives in Boulder CO. From 1988-1992 he managed the Ircam Signal Processing Workstation Project (ISPW) at IRCAM and was its chief hardware designer. The ISPW was the first platform to support real-time Max/MSP signal processing. Eric is also inventor/designer of Synful Orchestra -- an orchestral software simulator.
Miller Puckette obtained a Ph. D. in Mathematics from Harvard (1986) and was a researcher at IRCAM where he wrote Max, a widely used computer music software environment, released commercially in 1990 and now available from Cycling74.com
Puckette joined the music department of the University of California, San Diego in 1994. He is currently developing Pure Data ("Pd"), an open-source real-time multimedia arts programming environment.
Philippe Manoury, is a composer. His collaboration in the early 90s with Miller Puckette motivated the development of the first version of Max. He was a professor at the University of California at San Diego (UCSD) from 2004 to 2012. Back in France, he is professor of composition at the Conservatoire de Strasbourg and held the chair of Artistic Creation at the Collège de France for the 2016/2017 season.
2) Where does the name ANTONY come from?
Serge Lemouton (IRCAM)
Starting from the observation of the volatility of computer and mixed music and the difficulties experienced in replaying, reinterpreting or restoring it, an AFIM working group has made it possible to compare the approaches developed by the various players in the field (CNCM, broadcasting venues, creation centers, etc.) over the course of two years.
The working hypothesis that was explored is that the preservation of these works must be based on good practices, tools and methodologies, particularly at the level of writing, favouring their conception, documentation, dissemination and teaching.
- After studying violin, musicology, writing and composition, Serge Lemouton specialized in the various fields of computer music at the Conservatoire national supérieur de musique de Lyon. Since 1992, he has been working in computer music (RIM) at Ircam, where he collaborates daily with the researchers and many composers among whom Florence Baschet, Michaël Levinas, Magnus Lindberg, Tristan Murail, Marco Stroppa, Fréderic Durieux, Philippe Manoury.