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--- efficace:events [2015/06/23 13:45]
Jean Bresson [EFFICACe workshop at CIRMMT (Montréal)]
+++ efficace:events [2017/03/28 11:23] (Version actuelle)
Jean Bresson [Conferences]
@@ Ligne 1: / Ligne 1: @@
-====== Forthcoming events ======
-=== PRISMA Meeting ===
+====== Workshops and Seminars ======
-**IRCAM, Paris, 4-8/07/2015**
+=== Spat Workshop @UC Berkeley ===
-  * **Computer-aided composition tools and interfaces for the control of sound spatialization**\\ Jérémie Garcia, Xavier Favory, Jean Bresson
+{{:efficace:events:spat-1.png?200 |}}
+An introduction to the Ircam Spat library, a software suite dedicated to real-time sound spatialization and artificial reverberation.
+For composers, computer musicians, sound engineers, sound designers, video artists or scientists with interest in spatial sound.
+**CNMAT main room**\\
+**1750 Arch Street -- Berkeley, CA**\\
+May 23-24-25, 2016 -- 2pm-6pm\\
+\\
+=> **[[:bresson:cnmat:spat-workshop-2016|More info]]**
-====== Featured past events ======
-=== EFFICACe workshop at CIRMMT (Montréal) ===
+=== HCI Meeting Series @UC Berkeley ===
+{{:efficace:bid-cnmat.png?200 |}}
+A series of meetings and activities around human-computer interactions in music
+at the **[[http://cnmat.berkeley.edu|Centre for New Music and Audio Technologies (CNMAT)]]** and the **[[http://bid.berkeley.edu/|Berkeley Institute of Design (BiD)]]**,
+University of California, Berkeley in May-June, 2016.
+=> **[[.:events:workshop-berkeley|Event page]]**
+{{:efficace:ircam-logo1.png?nolink&60|}}
+{{:efficace:bid-logo.gif?70|}}
+{{:efficace:cnmat_logo.gif?nolink&65|}}
+\\
+------
+\\
+=== Première journée de rencontres MusICAL ===
+**Interaction Calcul Algorithmique Langages appliqués à la Musique**
+**Amiens,  14 décembre 2015**
+=> [[http://repmus.ircam.fr/musical/|MusICAL (Réseau National des Systèmes Complexes)]]\\
+  * Présentation: **Interactions et modèles d'analyse en CAO: Supervision d'un modèle formel pour la manipulation des structures rythmiques**\\ Jean Bresson, Florent Jacquemart, Adrien Ycart.
+\\
+------
+\\
+=== Interactivity in Music Composition and Performance ===
 {{:efficace:events:a832-view.jpg?180 |}}
-**<color darkred>Interactivity in Music Composition and Performance</color>**
+**<color darkred>EFFICACe international workshop</color>**
 May 5th, 2015.\\
 CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology)\\
-Schulich School of Music -- McGill University
+Schulich School of Music -- McGill University, Montréal (CA)
@@ Ligne 25: / Ligne 60: @@
 \\
+\\
+\\
+\\
+\\
+\\
+\\
+\\
+\\
+------
 \\
-=== Days of research seminars and workshops in Oslo, Norway ===
+=== Interactive Music and Notation: London'14 ===
-{{ :efficace:nmh-logo.png?nolink&260|}}
+[[http://www.afim-asso.fr|AFIM]] work-group [[http://notation.afim-asso.org|&quot;Les nouveaux espaces de la notation musicale"]].
-{{:efficace:bevegelseslab-320.jpg?nolink&amp;300 |}}
+== Workshop @NIME'14: Interactive Music Notation and Representation ==
-**University of Oslo, Department of Musicology\\
+**Goldsmiths University, London, 30/06/2014**
-Norwegian Academy of Music\\
--26/11 2014**
-The EFFICACe project was presented along with Ircam's last research and developments on spatial audio at the Department of Musicology of the University of Oslo during a workshop day arganised at the fourmMs laboratory.
+{{ :efficace:nime14.png?nolink&80|}}
-Two dans of courses and workshop on OpenMusic were held under the coordination of prof. Asbjørn Schaathun at the Norwegian Academy of Music.
+The Interactive Music Notation and Representation Workshop co-located with the [[http://www.nime2014.org/|14th International Conference on New Interfaces for Musical Expression]] gathered artists, researchers and application developers to compare views and the needs in the field of music notation and representation inspired by contemporary practicesin interactive and live music, including representational forms emerging from live coding.
 ;;#
-=> [[http://www.hf.uio.no/imv/english/research/news-and-events/events/guest-lectures-seminars/2014/ircam.html|webpage (IMV, 11/24)]]\\
+=> [[http://notation.afim-asso.org/doku.php/evenements/2014-06-30-nimew|Notation Workshop @NIME]]\\
+NIME'14, Goldsmiths, University of London\\ 30 June 2014, 9h30-13h
 ;;#
-\\
+== Seminar on Music Notation and Computation @ C4DM ==
+**Queen Mary University, London, 30/06/2014**
+{{ :efficace:qmul.png?nolink&150|}}
+Hosted by the [[http://c4dm.eecs.qmul.ac.uk/|Center for Digital Music]] at Queen Mary University, this seminar focused on representations and computational approach for generating, optmizing and processing music notation in computer music systems.
+;;#
+=> [[http://notation.afim-asso.org/doku.php/evenements/2014-06-30-qmul|C4DM Notation Seminar]]\\
+Center For Digital Music, Queen Mary University of London\\ 30 June 2014, 15h-17h30
+;;#
+\\
+------
+\\
 === IRCAM : Groupe de Recherche Rythme/Temps Musical ===
@@ Ligne 62: / Ligne 121: @@
 ;;#
+\\
+------
 \\
+===  Lisp for music technology - Workshop at the European Lisp Symposium ELS'2014 ===
+**IRCAM, 6/05/2014**
+{{ :efficace:lambda.png?nolink&80|}}
+The power and expressivity of Lisp make it a valuable language to musicians for exploring high-level compositional processes, and this language is a fundamental support for computer-aided composition research and creation.
+In this session we will present an overview of our current projects and developments, and discuss the challenges, issues and perspectives for using Lisp in new music technologies such as digital signal processing and real-time systems.
+;;#
+=> [[http://www.european-lisp-symposium.org/editions/2014/|7th  European Lisp Symposium]]\\
+IRCAM, Paris. 5-6 May, 2014
+;;#
-=== 1° Colóquio Franco-Brasileiro de Criação e Análise Musicais com Suporte Computacional ===
+\\
-**Universities of Campinas and São Paolo, Brasil, 18-29/08, 2014**
+------
+\\
-{{ :efficace:coloquiobrasil.jpg?200|}}
+=== Time, rhythm and arithmetics ===
-{{:efficace:nics.png?60 |}} //O Núcleo Interdisciplinar de Comunicação Sonora (NICS), em parceria com a Faculdade de Engenharia Elétrica e Computação (FEEC), o Instituto de Artes (IA) e Centro de Centro de Integração, Documentação e Difusão Cultural (CIDDIC) da Unicamp, junto à USP e à UNESP, com apoio da FAPESP realizam o 1° Colóquio Franco‑Brasileiro de Análise e Criação Musicais com Suporte Computacional.
+**MaMuX seminar series, IRCAM, 6/12/2013**
-Os professores das universidades brasileiras acima citadas, junto aos pesquisadores da equipe do RepMus do IRCAM de Paris (Gérard Assayag, Jean Bresson e Moreno Andreatta), promovem uma série de palestras, mesas‑redondas e aulas que abordam o universo da formalização musical e modelos computacionais dirigidos à análise e à criação musicais.//
-  * 19/08: J. Bresson - **Compositing with sounds / composing sounds**
+{{ :efficace:time.png?nolink&200|}}
-  * 20/08: J. Bresson - **Models, programs and interactions in OM: Tools for interactive creation and analysis**
+In the framework of the Ircam [[http://repmus.ircam.fr/mamux/|MaMuX]] seminar series we propose this [[http://repmus.ircam.fr/mamux/saisons/saison13-2013-2014/2013-12-06|special session]] dedicated to formal/mathematical theory of time and rhythm in music composition and performance. **Invited speakers**: Philippe Riot, Alain Le Méhauté (Federal University of Kazan, Russia), Jean-Louis Giavitto (IRCAM - CNRS), Karim Haddad (Composer, IRCAM).
 ;;#
-=> [[http://www.nics.unicamp.br/coloquio/|French-Brazilian Colloquium on Computer Aided Music Creation and Analysis]]\\
+=> http://repmus.ircam.fr/mamux/saisons/saison13-2013-2014/2013-12-06
-Campinas/São Paolo, Brasil\\
-Aug. 18-29th.
 ;;#
-\\
-=== Concert: Livre Digital - Fronteiras Musicais: Tecnologias que desafi(n)am os sentidos ===
-**Barão Geraldo, SP, Brasil, 28/08/2014**
-{{ :efficace:concerto-hamiltonian-brasil.jpg?300|}}
-{{:efficace:cartaz_concerto.jpg?180 |}}
-//Encerrando 1o Colóquio Franco-Brasileiro de Análise e Criação Musicais com Suporte Computacional, Livre Digital será uma noite dedicada à exploração de fronteiras musicais: improvisação fora de qualquer padrão, explorando novas sonoridades e processos. Tecnologias que desafi(n)am os sentidos, algoritmos que dialogam com instrumentistas humanos. Cabe ao espectador desvendar quem é quem. Dilatar essas fronteiras, espreitar e vivenciar os seus limites. Abrir seus ouvidos e deixar-se surpreender.//\\
-=> Live performance of **Hamiltonian Song (M. Andreatta) with interactive real-time analysis and visualization in OpenMusic**.
-;;#
-[[http://www.almanaquecafe.com.br/events/livre-digital-fronteiras-musicais/|Almanaque Café]]\\
-Barão Geraldo (SP) Brasil\\
-/08/2014 às 21h
-;;#
@@ Ligne 108: / Ligne 165: @@
-====== Other events ======
+====== Invited & Guests ======
+=== OM-Darwin : composing with genetic algorithms in OpenMusic ===
+/*{{ :efficace:handa.jpeg?200|}}*/
+**Geof Holbrook : Séminaires Recherche et Création, IRCAM\\
+Résidence en recherche musicale IRCAM\\
+/06 2015 (12h-13h)**
+OM-Darwin is an OpenMusic library for composing with genetic algorithms. The focus is on flexibility, such that the composer can freely combine patches that generate musical material from a set of parameters, and patches that measure the suitability of potential solutions. On the generative side, the library offers a collection of built-in musical objects, as well as an intuitive system for designing customized constructs. It also implements a rule-based system familiar to users of constraint-solving systems, which can be used in conjunction with user-defined measuring functions. Multiple genetic algorithms can run in parallel inside a maquette, and will interact with each other based on their temporal relationships. This presentation will include a live performance by Anne-Elisabeth DeCologne of excerpts of a new work for contrabass and electronics, with a demonstration of the patches used to create the piece.
+[[http://forumnet.ircam.fr/fr/event/seminaire-recherche-et-creation-fin-de-residence-en-recherche-musicale-de-geof-holbrook/]]
 === Composition in the Flesh - Physical modelling in composition ===
@@ Ligne 125: / Ligne 195: @@
-=== Interactive Music and Notation: London'14 ===
-[[http://www.afim-asso.fr|AFIM]] work-group [[http://notation.afim-asso.org|"Les nouveaux espaces de la notation musicale"]].
+=== A Californian Composer's Dive Into Real-Time Technology and Computer-Aided Composition ===
-== Workshop @NIME'14: Interactive Music Notation and Representation ==
-**Goldsmiths University, London, 30/06/2014**
+**Matthew Schumaker / Séminaires Recherche et Création, IRCAM\\ 26/05/2014**
-/*{{ :efficace:nime14.png?nolink&80|}}*/
+Invited talk by **Matthew Schumaker**, PhD candidate in Music Composition at the University of California, Berkeley.\\
-The Interactive Music Notation and Representation Workshop co-located with the [[http://www.nime2014.org/|14th International Conference on New Interfaces for Musical Expression]] gathered artists, researchers and application developers to compare views and the needs in the field of music notation and representation inspired by contemporary practicesin interactive and live music, including representational forms emerging from live coding.
+Matt Schumaker will present his work with live electronics and computer-aided composition in three recent pieces: //In threatening possibilities// (2012), for two singers, large ensemble and electronics; //Nocte Lux// (2013), for two cellos, bass and electronics; and a work-in-progress for soprano and orchestra. The first two were undertaken at UC Berkeley's Center for New Music and Audio Technologies (CNMAT) and the third is being created during an ongoing Berkeley Ladd fellowship in Paris. This work engages live-electronics with real-time voice and instrument processing using Ircam objects for granular synthesis and a variety of other signal processing.  Live electronics are employed to create a hybrid instrument: a custom-designed, computer-interactive sampler keyboard that performs with continuously changing, physical modelling sound sets created in Modalys.  Computer-aided composition tools in OpenMusic are employed to investigate personal ideas of virtual thematism and interpolation between musical lines.
+Seen as case studies of a Californian composer using computer music tools and programming environments, these works bring up questions concerning the prevalent composer/programmer paradigm.  How does a person who is first a composer and only secondarily and of necessity a programmer, engage fruitfully with the vast possibilities and intricacies afforded by such tools?  Given the realities of a one-person development team, can a composer's vision sometimes be served by adopting a hybrid approach combining aspects of the ideal flexibility and musicality of the "totally live" real-time approach with substantial "time-deferred," pre-recorded elements? [...]
 ;;#
-=> [[http://notation.afim-asso.org/doku.php/evenements/2014-06-30-nimew|Notation Workshop @NIME]]\\
+=> [[http://www.ircam.fr/139.html?event=1307|Séminaires Recherche et Création de l'IRCAM]]\\
-NIME'14, Goldsmiths, University of London\\ 30 June 2014, 9h30-13h
+Salle Stravinsky\\
+mai 2014, 12h-13h
 ;;#
-== Seminar on Music Notation and Computation @ C4DM ==
+=== Choreography and Composition of Internal Time ===
-**Queen Mary University, London, 30/06/2014**
+/*{{ :efficace:miptlflyer_02-2.jpeg?300|}}*/
-/*{{ :efficace:qmul.png?nolink&150|}}*/
+**Vendredi 12/12/2014**\\
+h00-13h00 -Studio 5, Ircam
-Hosted by the [[http://c4dm.eecs.qmul.ac.uk/|Center for Digital Music]] at Queen Mary University, this seminar focused on representations and computational approach for generating, optmizing and processing music notation in computer music systems.
+Lecture-demonstration: **John MacCallum**, composition & **Teoma Naccarato**, chorégraphie\\
+avec Bekah Edie, danse
+//As a part of the musical research residency at IRCAM for Fall 2014, composer John MacCallum and choreographer Teoma Naccarato are engaged in early research and development for an evening-length production.  In this performance with 12 dancers and 12 musicians, ECG data from the dancers is used as an underlying clock for each musician, in order to inform a poly-temporal composition for live ensemble with electronics.\\
+This lecture demonstration will discuss the design of a facile choreographic and compositional environment for real-time interaction with biosensors, as well as questions regarding internal and external perception and interaction.  MacCallum and Naccarato will outline ongoing technical and performance-based experiments that integrate biosensors with breath, movement, and environmental stimuli to intervene in and transform in their collaborative creative process.\\
+The session will also feature a short performance study for dancer Bekah Edie with live electronics, which explores correlations between cardiac, respiratory, and nervous activity, in order to impact intentional arcs in heart activity - and therefore musical tempo - over time.//
 ;;#
-=> [[http://notation.afim-asso.org/doku.php/evenements/2014-06-30-qmul|C4DM Notation Seminar]]\\
+[[http://medias.ircam.fr/x39b837|[video]]]
-Center For Digital Music, Queen Mary University of London\\ 30 June 2014, 15h-17h30
 ;;#
@@ Ligne 160: / Ligne 237: @@
-=== A Californian Composer's Dive Into Real-Time Technology and Computer-Aided Composition ===
-**Matthew Schumaker / Séminaires Recherche et Création, IRCAM\\ 26/05/2014**
+====== Invited talks & Presentations ======
-Invited talk by **Matthew Schumaker**, PhD candidate in Music Composition at the University of California, Berkeley.\\
-Matt Schumaker will present his work with live electronics and computer-aided composition in three recent pieces: //In threatening possibilities// (2012), for two singers, large ensemble and electronics; //Nocte Lux// (2013), for two cellos, bass and electronics; and a work-in-progress for soprano and orchestra. The first two were undertaken at UC Berkeley's Center for New Music and Audio Technologies (CNMAT) and the third is being created during an ongoing Berkeley Ladd fellowship in Paris. This work engages live-electronics with real-time voice and instrument processing using Ircam objects for granular synthesis and a variety of other signal processing.  Live electronics are employed to create a hybrid instrument: a custom-designed, computer-interactive sampler keyboard that performs with continuously changing, physical modelling sound sets created in Modalys.  Computer-aided composition tools in OpenMusic are employed to investigate personal ideas of virtual thematism and interpolation between musical lines.
+=== IRCAM @ BU CNM April 25-29, 2016 ===
-Seen as case studies of a Californian composer using computer music tools and programming environments, these works bring up questions concerning the prevalent composer/programmer paradigm.  How does a person who is first a composer and only secondarily and of necessity a programmer, engage fruitfully with the vast possibilities and intricacies afforded by such tools?  Given the realities of a one-person development team, can a composer's vision sometimes be served by adopting a hybrid approach combining aspects of the ideal flexibility and musicality of the "totally live" real-time approach with substantial "time-deferred," pre-recorded elements? [...]
+**Boston University, USA**
+  * 26/04/2016 -- 11:30am:\\ **Computer-Aided Composition using OpenMusic**\\ //OpenMusic is a visual programming environment dedicated to musical data processing and generation, used by a large community of users to carry out varied aspects of their compositional processes. We will present the main features and characteristics of this environment, as well as a number applications in contemporary music production.//
+  * 27/04/2016 -- 11:00am:\\ **From symbolic music processing to spatial audio – Research directions in computer-aided composition**\\ //Computer-aided composition processes traditionally deal with symbolic musical material, manipulated algorithmically and rendered using classical score representations and parameters (pitches, rhythms, etc.) On the other hand, sound processing and spatialization generally run in real-time interactive environments. Research and developments carried out during the past 15 years in computer-aided composition systems have aimed at bridging these different fields. This idea will be illustrated through the presentation of musical research projects carried out in the OpenMusic environment, with a particular focus on recent applications integrating the control of sound spatialization in compositional processes.//
 ;;#
-=> [[http://www.ircam.fr/139.html?event=1307|Séminaires Recherche et Création de l'IRCAM]]\\
+=> http://www.bu.edu/cfa/ircam/public-presentations/
-Salle Stravinsky\\
-mai 2014, 12h-13h
 ;;#
+\\
-===  Lisp for music technology - Workshop at the European Lisp Symposium ELS'2014 ===
-**IRCAM, 6/05/2014**
-/*{{ :efficace:lambda.png?nolink&80|}}*/
+=== CCRMA Guest Colloquium ===
-The power and expressivity of Lisp make it a valuable language to musicians for exploring high-level compositional processes, and this language is a fundamental support for computer-aided composition research and creation.
+**Center for Computer Research in Music and Acoustics, Stanford University, USA**
-In this session we will present an overview of our current projects and developments, and discuss the challenges, issues and perspectives for using Lisp in new music technologies such as digital signal processing and real-time systems.
-;;#
+/02/2016 -- 5:30pm
-=> [[http://www.european-lisp-symposium.org/editions/2014/|7th  European Lisp Symposium]]\\
-IRCAM, Paris. 5-6 May, 2014
-;;#
+  * J. Bresson, P. Donat-Bouillud: **[[https://ccrma.stanford.edu/events/jean-bresson-and-pierre-donat-bouillud-current-research-composition-software-ircam|Current Research on Composition Software at Ircam]]**.\\ //This talk will be a presentation of two major projects carried out in the Music Representation research group at IRCAM: OpenMusic and Antescofo. OpenMusic is a visual programming language dedicated to music creation and processing. It allows composers to develop musical processes taking the best advantage of the computational, representational and expressive power of a programming language, using a graphical patching interface and musical editors. Antescofo~ is a modular polyphonic Score Following system as well as a Synchronous Programming language for real-time computer music composition and live performance. The score following module allows for automatic recognition of music score position and tempo from a realtime audio streams, making it possible to synchronize an instrumental performance with computer realized elements. The synchronous language, in conjunction with its dedicated graphical editor AscoGraph, allows flexible writing of interactions. We will briefly present these two compositional software and discuss their most recent features and current related research.//
+\\
+\\
-=== Seminar: Time, rhythm and arithmetics ===
+=== JUCE Summit 2015===
+**London, 19-20 novembre 2015**
-**MaMuX seminar series, IRCAM, 6/12/2013**
+/*{{:efficace:juce.png?140 |}}*/
-/*{{ :efficace:time.png?nolink&200|}}*/
+  * **Integrating Juce-based GUI in Max/MSP, OpenMusic or other computer music environments.**\\ Thibaut Carpentier
-In the framework of the Ircam [[http://repmus.ircam.fr/mamux/|MaMuX]] seminar series we propose this [[http://repmus.ircam.fr/mamux/saisons/saison13-2013-2014/2013-12-06|special session]] dedicated to formal/mathematical theory of time and rhythm in music composition and performance. **Invited speakers**: Philippe Riot, Alain Le Méhauté (Federal University of Kazan, Russia), Jean-Louis Giavitto (IRCAM - CNRS), Karim Haddad (Composer, IRCAM).
+=> [[http://www.juce.com/juce-summit-2015/juce-summit-list-talks-and-sessions#carpentier|Résumé]]\\
+\\
+\\
+=== Colloque international "Outils et des méthodes innovantes pour l’enseignement de la musique et du traitement du signal" ===
+**Université Jean Monnet, Saint-Etienne, 2-3 Nov. 2015**
+  * Dimitri Bouche: **De l’esquisse à la composition**
 ;;#
-=> http://repmus.ircam.fr/mamux/saisons/saison13-2013-2014/2013-12-06
+=> [[http://portail.univ-st-etienne.fr/bienvenue/recherche/cierec-colloque-international-des-outils-et-des-methodes-innovantes-pour-l-enseignement-de-la-musique-et-du-traitement-du-signal-571218.kjsp|Programme du Colloque]]\\
 ;;#
+=== Days of research seminars and workshops in Oslo, Norway ====
-=== Meeting at UC Berkeley Center for New Music and Audio Technologies (CNMAT) ===
+{{ :efficace:nmh-logo.png?nolink&260|}}
+{{:efficace:bevegelseslab-320.jpg?nolink&300 |}}
-**CNMAT, Berkeley, 11/09/2013**
+**University of Oslo, Department of Musicology\\
+Norwegian Academy of Music\\
+-26/11 2014**
+The EFFICACe project was presented along with Ircam's last research and developments on spatial audio at the Department of Musicology of the University of Oslo during a workshop day arganised at the fourmMs laboratory.
-/*{{ :efficace:cnmat.png?nolink&200|}}*/
+Two dans of courses and workshop on OpenMusic were held under the coordination of prof. Asbjørn Schaathun at the Norwegian Academy of Music.
-**The current and future state of computer-aided composition.** In this talk we discussed the fundamentals of computer-aided composition and the computational models present in OpenMusic, that set it apart from reactive, real-time environments such as Max/MSP. We intended to point to some directions for future research in computer-aided composition and to draw concrete objectives for the project.
+;;#
+=> [[http://www.hf.uio.no/imv/english/research/news-and-events/events/guest-lectures-seminars/2014/ircam.html|webpage (IMV, 11/24)]]\\
+;;#
+\\
+\\
 \\
-Co-sponsored event by UC Berkeley [[http://music.berkeley.edu/|Department of Music]], the [[http://townsendcenter.berkeley.edu/|Townsend Center for Humanities]], and [[http://cnmat.berkeley.edu/|CNMAT]]
+=== 1° Colóquio Franco-Brasileiro de Criação e Análise Musicais com Suporte Computacional ===
+**Universities of Campinas and São Paolo, Brasil, 18-29/08, 2014**
+{{ :efficace:coloquiobrasil.jpg?200|}}
+{{:efficace:nics.png?60 |}} //O Núcleo Interdisciplinar de Comunicação Sonora (NICS), em parceria com a Faculdade de Engenharia Elétrica e Computação (FEEC), o Instituto de Artes (IA) e Centro de Centro de Integração, Documentação e Difusão Cultural (CIDDIC) da Unicamp, junto à USP e à UNESP, com apoio da FAPESP realizam o 1° Colóquio Franco‑Brasileiro de Análise e Criação Musicais com Suporte Computacional.
+Os professores das universidades brasileiras acima citadas, junto aos pesquisadores da equipe do RepMus do IRCAM de Paris (Gérard Assayag, Jean Bresson e Moreno Andreatta), promovem uma série de palestras, mesas‑redondas e aulas que abordam o universo da formalização musical e modelos computacionais dirigidos à análise e à criação musicais.//
+  * 19/08: J. Bresson - **Compositing with sounds / composing sounds**
+  * 20/08: J. Bresson - **Models, programs and interactions in OM: Tools for interactive creation and analysis**
 ;;#
-=> http://cnmat.berkeley.edu/event/2013/09/11/open_music_computer_aided_composition_discussion_jean_bresson
+=> [[http://www.nics.unicamp.br/coloquio/|French-Brazilian Colloquium on Computer Aided Music Creation and Analysis]]\\
+Campinas/São Paolo, Brasil\\
+Aug. 18-29th.
 ;;#
+\\
+\\
+\\
+=== PRISMA Meeting ===
+**IRCAM, Paris, 4-8/07/2015**
+  * **Computer-aided composition tools and interfaces for the control of sound spatialization**\\ Jérémie Garcia, Xavier Favory, Jean Bresson
-====== Invited talks and seminars ======
+\\
-=== CCRMA Guest Colloquium : Scheduling & Time Structures in Computer Assisted Composition ===
+=== CCRMA Guest Colloquium Dimitri Bouche : Scheduling & Time Structures in Computer Assisted Composition ===
 /*{{ :efficace:karma_logo.png?300|}}*/
-**Dimitri Bouche**\\
 **CCRMA (Center for Computer Research in Music and Acoustics)\\
@@ Ligne 271: / Ligne 387: @@
-=== Choreography and Composition of Internal Time ===
-/*{{ :efficace:miptlflyer_02-2.jpeg?300|}}*/
-**Vendredi 12/12/2014**\\
-h00-13h00 -Studio 5, Ircam
-Lecture-demonstration: **John MacCallum**, composition & **Teoma Naccarato**, chorégraphie\\
-avec Bekah Edie, danse
-//As a part of the musical research residency at IRCAM for Fall 2014, composer John MacCallum and choreographer Teoma Naccarato are engaged in early research and development for an evening-length production.  In this performance with 12 dancers and 12 musicians, ECG data from the dancers is used as an underlying clock for each musician, in order to inform a poly-temporal composition for live ensemble with electronics.\\
-This lecture demonstration will discuss the design of a facile choreographic and compositional environment for real-time interaction with biosensors, as well as questions regarding internal and external perception and interaction.  MacCallum and Naccarato will outline ongoing technical and performance-based experiments that integrate biosensors with breath, movement, and environmental stimuli to intervene in and transform in their collaborative creative process.\\
-The session will also feature a short performance study for dancer Bekah Edie with live electronics, which explores correlations between cardiac, respiratory, and nervous activity, in order to impact intentional arcs in heart activity - and therefore musical tempo - over time.//
-;;#
-[[http://medias.ircam.fr/x39b837|[video]]]
-;;#
 === John MacCallum and Teoma Naccarato: Heart rate data from contemporary dancers ===
@@ Ligne 338: / Ligne 436: @@
 -13 juin 2014
 ;;#
+=== IRCAM Forum Workshops 2013 - OM 6.7 presentation ===
+**20/11/2013**
+/*{{ :efficace:forumnet.png?nolink&160|}}*/
+[[http://forumnet.ircam.fr/shop/fr/forumnet/43-openmusic.html|OM 6.7]] includes the first prototype of a redesigned scheduling system and audio architecture. It has been ported on [[http://repmus.ircam.fr/openmusic/linux|Linux]] thanks to a collaboration with Anders Vinjar and the [[http://www.bek.no/|BEK]] center (Bergen, Norway) and coupled with several new external audio/MIDI rendering systems such as Jack, FluidSynth, MPlayer…
+The OM-Faust library (by Dimitri Bouche, developed in the framework of the [[http://inedit.ircam.fr/|Inedit]] project), as well as new releases of the OMPrisma and [[http://sourceforge.net/projects/omsox/|OM-SoX]] libraries presented by Marlon Schumacher ([[http://www.cirmmt.mcgill.ca|CIRMMT]] / McGill University, Montréal) are compatible with this new version and controlled by this new architecture.
+;;#
+=> http://forumnet.ircam.fr/fr/ateliers2013/
+/* http://archiprod-externe.ircam.fr/video/VI02049100-564.mp4 */
+;;#
+=== Meeting at UC Berkeley Center for New Music and Audio Technologies (CNMAT) ===
+**CNMAT, Berkeley, 11/09/2013**
+/*{{ :efficace:cnmat.png?nolink&200|}}*/
+**The current and future state of computer-aided composition.** In this talk we discussed the fundamentals of computer-aided composition and the computational models present in OpenMusic, that set it apart from reactive, real-time environments such as Max/MSP. We intended to point to some directions for future research in computer-aided composition and to draw concrete objectives for the project.
+\\
+Co-sponsored event by UC Berkeley [[http://music.berkeley.edu/|Department of Music]], the [[http://townsendcenter.berkeley.edu/|Townsend Center for Humanities]], and [[http://cnmat.berkeley.edu/|CNMAT]]
+;;#
+=> http://cnmat.berkeley.edu/event/2013/09/11/open_music_computer_aided_composition_discussion_jean_bresson
+;;#
+====== Conferences ======
+;#;
+**=> See alo the [[.:publi|publications]] page.**
+;#;
+=== 10ème Colloque sur la Modélisation des Systèmes Réactifs (MSR 2015) ===
+**Inria Nancy‐Grand Est,  18-20 novembre 2015**
+  * **Articulation dynamique de structures temporelles pour l’informatique musicale**\\ Dimitri Bouche, Jean Bresson
+=> [[http://msr2015.loria.fr/|MSR 2015]]\\
+=== inSonic 2015: Aesthetic concepts of spatial audio in sound, music and sound-art ===
+{{ :efficace:insonic.png?150|}}
+-28 Nov. 2015
+ZKM - HfG, Karlsruhe Germany
+ **Interactive-Algorithmic Control of Sound Spatialization**\\ Jérémie Garcia, Jean Bresson, Thibaut Carpentier, Marlon Schumacher, Xavier Favory
+;;#
+=> [[http://insonic2015.org/|InSonic 2015]]\\
+;;#
+\\
+=== 27ème Conférence Francophone sur l’interaction Homme-Machine (IHM 2015)===
+{{ :efficace:ihm15.png?200|}}
+**Toulouse, 27-30 octobre 2015**
+  * **Trajectoires : une application mobile pour le contrôle et l’écriture de la spatialisation sonore**\\ Xavier Favory, Jérémie Garcia, Jean Bresson
+;;#
+=> [[http://ihm2015.afihm.org/programme.html|Programme complet de la conférence IHM 2015]]
+;;#
+\\
 === OpenMusic @ Linux Audio Conference ===
@@ Ligne 343: / Ligne 525: @@
 **ZKM -- Karlsruhe, 3/05/2014**
-/*{{ :efficace:zkm.jpg?nolink&170|}}*/
+{{ :efficace:zkm.jpg?nolink&170|}}
 The Linux version of OpenMusic was developed by Anders Vinjar and the support of the [[http://www.bek.no/|BEK]] center (Bergen, Norway). It embeds parts of the new scheduling and external audio/MIDI rendering systems. The presentation is included in the "Music Programming" session of LAC'2014 to be held at ZKM in Karlsruhe.
@@ Ligne 352: / Ligne 534: @@
 ;;#
+====== Pedagogical actions ======
+;#;
+**Courses and workshops**
+;#;
+{{ :efficace:pac.jpg?nolink&200 |}}
-=== IRCAM Forum Workshops 2013 - OM 6.7 presentation ===
-**20/11/2013**
-/*{{ :efficace:forumnet.png?nolink&160|}}*/
+=== CNMAT OpenMusic Workshops (UC Berkeley), 1-15/04/2016 ===
-[[http://forumnet.ircam.fr/shop/fr/forumnet/43-openmusic.html|OM 6.7]] includes the first prototype of a redesigned scheduling system and audio architecture. It has been ported on [[http://repmus.ircam.fr/openmusic/linux|Linux]] thanks to a collaboration with Anders Vinjar and the [[http://www.bek.no/|BEK]] center (Bergen, Norway) and coupled with several new external audio/MIDI rendering systems such as Jack, FluidSynth, MPlayer…
+J. Bresson. practical introduction to the OpenMusic computer-aided composition environment.
-The OM-Faust library (by Dimitri Bouche, developed in the framework of the [[http://inedit.ircam.fr/|Inedit]] project), as well as new releases of the OMPrisma and [[http://sourceforge.net/projects/omsox/|OM-SoX]] libraries presented by Marlon Schumacher ([[http://www.cirmmt.mcgill.ca|CIRMMT]] / McGill University, Montréal) are compatible with this new version and controlled by this new architecture.
 ;;#
-=> http://forumnet.ircam.fr/fr/ateliers2013/
+http://cnmat.berkeley.edu/event/2016/04/15/cnmat_openmusic_workshops_jean_bresson_ircam
-/* http://archiprod-externe.ircam.fr/video/VI02049100-564.mp4 */
 ;;#
-====== Pedagogical actions / Courses and workshops ======
-{{ :efficace:pac.jpg?nolink&200 |}}
 === IRCAM Academie, 20/06/2015 ===
@@ Ligne 391: / Ligne 570: @@
 === ATIAM Master program, Ircam UMPC, 2 and 9/12/2014 ===
-These two 3h courses in the Masters program ATIAM (Acoustics, Signal Processing and Computer Science applied to music) were practical introductoruy sessiosn to OpenMusic.
+These two 3h courses in the Masters program ATIAM (Acoustics, Signal Processing and Computer Science applied to music) were practical introductory sessions to OpenMusic.
 ;;#
 http://www.atiam.ircam.fr/en/
@@ Ligne 398: / Ligne 577: @@
 This 12h course was a general introduction to computer-aided composition and OpenMusic.
-It was given diuring IRCAM Manifeste 2014 for the "Summer contemporary music creation + critique" program of the CIEE (Council on International Educational Exchange).
+It was given during IRCAM Manifeste 2014 for the "Summer contemporary music creation + critique" program of the CIEE (Council on International Educational Exchange).
 ;;#
 http://www.ciee.org/study-abroad/france/paris/summer-contemporary-music-creation-critique/
@@ Ligne 427: / Ligne 606: @@
 => {{:efficace:documents:presentation-cursus-2013.pdf|Slides of the presentation [PDF]}}
 ;;#