Develop your technical literacy
and creative design skills
For more information, visit:
www.mat.ucsb.edu/mad
Abstract
Composer Andrew A. Watts discusses the creative process in his recent video work in a talk covering topics including data sonification, glitch, and multimedia applications of artificial intelligence (AI).
Bio
Andrew A. Watts is a composer of chamber, symphonic, and multimedia works performed worldwide. His compositions have been featured at cultural events like Burning Man (Corpus Clock) and venues such as The Kitchen (NYC). He has been commissioned by leading new music groups including Ensemble Dal Niente, Ekmeles Vocal Ensemble, and Splinter Reeds, with support from organizations like New Music USA. Watts's music mines the ramifications of technology and the post-human, exploring extremes of freedom and restriction, purity and distortion, or the very distinction between musical signal and noise. He often incorporates invented instruments and AI-generated media, recently premiering large-scale works like AI and the Heat Death of the Universe. He holds degrees from Stanford University (DMA), Oxford University (MSt), and the New England Conservatory (BM). Watts is on the Music Composition faculty at the University of California Santa Barbara's College of Creative Studies, where he is an affiliate in the Mind & Machine Intelligence initiative and was a finalist for the Distinguished Teaching Award. He has been a featured composer at renowned international festivals, including the Darmstadt Summer Courses, MATA Festival, and impuls Academy, and has given guest lectures at institutions like IRCAM and Harvard.
For more information about the MAT Seminar Series, go to:
seminar.mat.ucsb.edu.
Abstract
This project investigates how to achieve and perceptually evaluate the benefits of extending head-tracked binaural audio from three-degrees-of-freedom (3DoF) to six-degrees-of-freedom (6DoF) for digital piano players. Building on previous 3DoF research that tracked only rotational head movements, this study evaluates a 6DoF system that captures both rotational and translational movements during digital piano performance. A real-time HRTF-based binaural rendering system was developed using a custom plugin integrated with face-tracking technology in a Max/MSP–DAW environment to process 6DoF movement data alongside MIDI input from the digital piano. Perceptual evaluation comparing 3DoF and 6DoF tracking modes across five attributes: Dynamic Spatial Realism, Spatial Clarity, Source Stability, Envelopment, and Preference demonstrated significant improvements for 6DoF tracking in four of five attributes. These findings validate the importance of capturing pianists' natural translational head movements and demonstrate that 6DoF head-tracked binaural audio offers enhanced realism and immersion that more closely approximates the acoustic piano experience.
Abstract
Third-party plugins are ubiquitous in desktop audio software, but remain rare in embedded systems. Driven by the vast heterogeneity of embedded devices, siloed platforms have become the norm, with each hardware manufacturer maintaining proprietary digital signal processing (DSP) modules that are incompatible, even when offering many of the same algorithms to end users. To enable third-party DSP in embedded systems, I have investigated the WebAssembly (WASM) binary instruction format as a hardware-agnostic intermediate representation (IR) for distributing third-party audio processing. To assess feasibility under real-time constraints, I have compiled representative audio DSP algorithms to WASM and compared their performance across three execution strategies on an embedded platform (Daisy Seed). Performance measurements demonstrate that runtimes leveraging ahead-of-time (AOT) translation of WASM yield acceptable performance for a meaningful subset of audio processing algorithms, indicating the viability of WASM as a portable distributable for embedded DSP. In addition to embedded deployment, WASM is supported by runtimes in desktop audio, plugin hosts, and web environments, enabling shared DSP implementations and presets across platforms. To support further work in unifying these environments, I have created an online development tool for authoring and deploying WASM-based audio plugins.
Çağlarcan described his winning piece "Shadows" as an audiovisual transdisciplinary artwork that explores spiritual and social connections as his music overlays a selection of oil paintings by his brother, Güneş Çağlarcan, an accomplished painter and pianist.
For more information please read the article in the UCSB Current online magazine.
The project, Embodied Ink, was showcased at MAT's End of Year Show this past Spring.
Read the full paper here:
dl.acm.org/doi/10.1145/3746027.3756139
Video Presentation:
www.youtube.com/watch?v=08egiTo7yto
The fellowship allows Croskey to pursue a project that she is passionate about - enabling marginalized communities to secure their place in the future historical record, ensuring that emergent technologies, such as AI, elevate and empower these groups by reflecting their histories.
"Receiving the NSF GRFP amid our current political climate has given me an even greater sense of responsibility to pursue my research with full force,” Croskey said."
Read more in the UCSB College of Engineering Newsletter.
This year’s theme was “Myths and Legends”. Other artists receiving the award with Professor Kuchera-Morin were Mary Heebner, Gabriela Ruiz, Manjari Sharma, and Diana Thater.
The software creates personalized visuals and abstract art in an immersive landscape that is based on the memories of the crew members. The news articles highlight their work on a software pipeline that was being used at the St. Kliment Ohridski base on Livingston Island, Antarctica.
For more information, please see:
UCSB's The Current news magazine article:
New frontiers for well-being in Antarctica and isolated spaces.
Santa Barbara Independent article:
UC Santa Barbara Researchers Design Tools to Combat Isolation in Extreme Environments.
Iason Paterakis, Nefeli Manoudaki - AI driven visuals: Icescape
Iason Paterakis, Nefeli Manoudaki - AI driven visuals: Beach
Iason Paterakis, Nefeli Manoudaki - AI driven visuals: Plains
The title of the NSF award is Dynamic Control Systems for Manual-Computational Fabrication. Professor Jacobs was awarded the NSF Career Award to further her research in integrating skilled manual and material production with computational fabrication.
The CAREER Program offers the NSF's most prestigious awards in support of early-career faculty who have the potential to serve as academic role models in research and education and to lead advances in the mission of their department or organization.
Professor Jacobs thanks all of the amazing members the Expressive Computation Lab whose research contributed the intellectual foundations of this award.
UCSB News: Making Automation More Human Through Innovative Fabrication Tools
NSF link: Dynamic Control Systems for Manual-Computational Fabrication
|
|
|
|
|
|
Media Arts and Technology (MAT) at UCSB is a transdisciplinary graduate program that fuses emergent media, computer science, engineering, electronic music and digital art research, practice, production, and theory. Created by faculty in both the College of Engineering and the College of Letters and Science, MAT offers an unparalleled opportunity for working at the frontiers of art, science, and technology, where new art forms are born and new expressive media are invented.
In MAT, we seek to define and to create the future of media art and media technology. Our research explores the limits of what is possible in technologically sophisticated art and media, both from an artistic and an engineering viewpoint. Combining art, science, engineering, and theory, MAT graduate studies provide students with a combination of critical and technical tools that prepare them for leadership roles in artistic, engineering, production/direction, educational, and research contexts.
The program offers Master of Science and Ph.D. degrees in Media Arts and Technology. MAT students may focus on an area of emphasis (multimedia engineering, electronic music and sound design, or visual and spatial arts), but all students should strive to transcend traditional disciplinary boundaries and work with other students and faculty in collaborative, multidisciplinary research projects and courses.