I am Professor with special responsabilities in sound for multimodal environments in the Medialogy section at Aalborg University in Copenhagen.
I teach and research on sound models and sound design for interactive media and multimodal interfaces.
Before moving to Denmark, I got my PhD at CCRMA, Stanford University.
For more info, see here
You can contact me at firstname.lastname@example.org
A.C. Meyers Vaenge 15
2450 Copenhagen, SV
An updated list of my publications can be found here.
My research interests are: sonic interaction design, sound for virtual and augmented reality, audio-haptic interaction, sound synthesis by physical models, multimodal interfaces, multimodal perception and cognition, virtual and augmented reality.
My Phd dissertation defended in 2004 at CCRMA, Stanford University was entitled: The sound of friction: real-time models, playability and musical applications.
Here you can find my publications.
Together with Rolf Nordahl I run the Multisensory Experience Lab at Aalborg University in Copenhagen. Check the link to find out about our activities.
During the Spring 2018 I will teach a class called “Physical models for sound synthesis”, part of the SMC Master at Aalborg University.
See a full list of classes I have tought: here.
The Leslie is an audio processor used with electronic organs and other instruments.
Together with Julius Smith, Jonathan Abel and David Berners, we built a digital simulation of the Leslie horn and cabinet.
See more info here.
Sonic Interaction Design is the exploitation of sound as one of the principal channels conveying information, meaning, and aesthetic/emotional qualities in interactive contexts. The Action proactively contributes to the creation and consolidation of new design theories, tools, and practices in this innovative and interdisciplinary domain. While being advanced through a few sparse projects, this field relies on the COST SID Action to strengthen the links between scientists, artists, and designers in the European Research Area. The COST SID platform stands on four legs: (i) perception, cognition, and emotion; (ii) design; (iii) interactive art; (iv) information display and exploration. These are each supported by the research and development of the requisite new interactive technologies. Due to the breadth of its application spectrum, the COST SID Action has the potential of affecting everyday life through physical and virtual interactive objects, as today there is the possibility to design and actively control their acoustic response so that it conveys an intended aesthetic, informational, or emotional content.
More info here.
One important rhythmic activity is walking. Walking plays an important part in our daily lives. In addition to being a natural means of transportation, walking is also characterized by the resulting sound, which can provide information about the surface, type of shoe, and movement speed as well as the person’s age, weight, and physical condition.
We are investigating the use of physically simulated audio-haptic feedback for different tasks.
For example, we are investigating whether providing auditory and haptic feedback helps the task of balancing on a balance board. More info here: The Fwobble.
I developed a physical model of a rotating corrugated tube. The model has been used in the piece Garden of the Dragon by Juraj Kojs. We have been performing the piece in several locations around the world, such as the Digitalis Festival at UVA (2003), the Sofia Ensemble concert in Venice (may 2003), the CMMR conference in Denmark (may 2004), and at ICMC 2004 in Miami.
Check out a paper on Organised Sound about the tube.
The Intonarumori were a family of musical instruments invented by the Italian Futurist composer and painter Luigi Russolo.
Using hardware and software technologies, I reproduced several intonarumori instruments.
You can read more about it in this paper: Synthesis and control of everyday sounds reconstructing Russolo’s Intonarumori Proceedings New Interfaces for Musical Expression, NIME 2013.
I designed several external objects for Max/MSP such as filtergraph~ (together with Richard Dudas) and different physical models.
As part of my PhD dissertation at CCRMA, Stanford University, I developed several physical models of unusual friction driven instruments such as a musical saw, Tibetan singing bowls, rubbed wineglasses and bowed cymbals.
You can read about them in the dissertation "The sound of friction: real-time models, playability and musical applications" that can be downloaded here: The sound of friction.
The aim of the DREAM project is to create a permanent installation at the Milan Museum of musical instruments, consisting of a SW-HW system that re-creates the electronic lutherie of the Studio di Fonologia Musicale (RAI, Milan, Italy): in particular the production setup that were originally used to compose the Pousseur’s composition Scambi will be considered. This work will allow musicians from all over Europe to experience the re-appropriation of both Pousseur’s composition and of the ancient analog technology that were used at that time through the virtual lutherie produced by the project. At the same time the installation will be the occasion for scholars to think about open compositions understanding by direct manipulation in this specific creative process. Furthermore they will learn a very important piece of history of modern Music: the birth of electronic music and its connection with the most important radiophonic european institutions.
The Natural Interactive Walking project (NIW) proceeds from the hypothesis that walking, by enabling rich interactions with floor surfaces, consistently conveys enactive information that manifests itself predominantly through haptic and auditory cues. Vision will be regarded as playing an integrative role linking locomotion to obstacle avoidance, navigation, balance, and the understanding of details occurring at ground level. The ecological information we obtain from interaction with ground surfaces allows us to navigate and orient during everyday tasks in unfamiliar environments, by means of the invariant ecological meaning that we have learned through prior experience with walking tasks.
See a video demonstration here.
The physmism is the result of the Master thesis of Steven Gelineck and Niels Boettcher.
In this project a physical interface was created to explore the possibilities for improving the creative use of physical modelling sound synthesis. A set of possible factors for improving the creative use of physical modelling were proposed and a novel interface for controlling physical models, the PHYSMISM, was designed and implemented. The PHYSMISM was implemented in a software and hardware version. Moreover, four different physical modelling techniques were implemented, to explore the implications of using such techniques.