After a brief historical overview of remote interaction, the presentation will go through a survey of the different technologies available concerning sensing devices and image processing before going to an exploration of the potential of systems currently at the cutting edge of research. For each type of sensor, the knowledge required for its proper use together with a description of the constrains inherent to its very nature will be detailed. The processing of the information gathered from these types of detection / measuring devises will be considered from the perspective of the real time problematic. The presentation will be illustrated with of a series of examples of low cost systems involving some of the sensors described and a description of how these provided solutions to artistic problems.

This talk discusses efficient models and algorithms for interactive 3D audio spatialization. More specifically, we present CREATIVE's Labs API for interactive environmental audio (EAX), as well as CREATIVE's Labs authoring tool for immersive virtual 3D worlds (EAGLE). These tools are typically used by video games developers, and will be presented and illustrated in that context.

A low-level scene representation model and a corresponding audio rendering architecture are proposed. Comparison with Ircam's Spat will be discussed.

Original features that will be presented include rendering acoustic environments containing obstacles, as well as features being currently under development at CREATIVE Labs like rendering multiple interconnected rooms.

SAKSTI, work for tenor saxophone & live electronics was realized during the Ircam's composition & musical computing annual course, 2000-01. The sound material used consists of saxophones' sounds, vocal sounds (breaths, fragments of speaking or whirpering voice) and combined sounds played and sung simultaneously. The elaboration of the sounds has been done by the means of AudioSculpt (Ircam) and Max/MSP (Ircam/Cycling74) using OpenMusic (Ircam) data. A Max algorithm for sampling was implemented on the final concert patch so as to be used in real time where necessary. The Open Music data, in form of lists, is able to generate monophonic lines and polyphonic structures giving the possibility to the composer to choose and define parameters such as : sample duration, starting-ending time of sample reading, pitch/speed, amplitude, samples superimposition or not. I will present this work of digital sound processing with Audio Sculpt, showing OpenMusic and Max personnal patches, and playing either single elaborated samples or extracted from the piece.

The COmputer SupporT for ARTists (COSTART) project is concerned with designing computer systems for creativity support. It builds upon recent studies of creative work in art, design and science, as well as developments in advanced user-centred technology. The method is to conduct artist-in-residence studies in a research studio environment. An observation of the collaborative process between artists and technologists is being carried out focussing on how new technologies are explored and developed. The main concerns of this year artists in residence were interactivity, the relationship between sound and image and real-time video. The use of the Max/MSP environment has been influential in many of these residencies. In this presentation the projects and their implementation will be described and the capability of MAX as a prototyping tool will be critically evaluated. http://www.creativityandcognition.org.uk

"Léon et le Chant des Mains" is a performance created at the last Donaueschingen Festival (Germany). This performance is running on a carousel (merry-go-round or roundabout) where move four musicians and a director among different machineries . The stage is the turning platform of the carousel. The public stay all around. The "machineries" are big mechanical drums (four sets) situated out of the carousel. They are activated by the rotation. A tubular bell Carillon is hanging from the frieze. The "Camera Musicale", situated at the center of the stage allow the piloting of the Carillon with the hands. By the same way the hands drive the voices of the musicians, amplified by würmiennes microphones. Musicians permanently change the scores of the external drums, sing and use percussions in which are their body'sounds. Max/MSP allows the use of the "Camera Musicale" (which drive musicians voices and the Carillon). Max/MSP drives registred scores on the Carillon and the synchronisation with the variable speed of the carousel which, itself, commands the external big drums, etc. Max/MSP allows the director to change the stage management by remote control.

EOBODY is an obvious result of AtoMIC PRO , conceived and developed at Ircam by Emmanuel Flety. Thanks to Marc Sirguy collaboration (MESI) we elaborated a specification approprieted for controlers users in electronic music. Design is simple and ergonomic. Principal fonctions are :

 capteur MIDI convertor : 16 tracks + switch + 3 sliders on the front of box
 Programmable by SysEx MIDI
 Reduced size (125 x 120 x 40 mm)

In this talk I present a package for OpenMusic that -- through meta programming -- gives the user access to packages written in other (other than LISP) programming languages. The use of functions of these packages is straight forward. It includes an editable function call box with an arbitrary number of inputs and an interpreter box, that resolves the actual function call by sending it to an interpreter outside of OpenMusic.

This is done by using interapplication communication. Therefore the other application -- that is the one, that contains the foreign language package -- must provide a scripting interface. The way of how input/output data is to be transformed between OpenMusic and the other application is up to the user and may be specified in OpenMusic patches.

I do not go too deeply into the realization of the overall framework, but present the concepts of using my package and demonstrate working examples. These include interactions with the Humdrum toolkit for score based music analysis (unix tools) and Rubato, an interactive application for analysis and performance of musical scores running on Mac OS X.

OM Chroma 3.0 seems to be close to previous version. Actually, its architecture has been totally modified in order to allow a progressive integration of all generalizable components of OM Chroma system in a more adaptable and efficient way as well as its extension to the control of other synthezisers. We'll present those modifications, we'll give a preview of the current state of the environment and present the development perspectives.