As an addendum to why trying to make computer models musically creative can be so disastrous, maybe the problem is we fail to understand what creativity is.

Scientists funded by the National Institute on Deafness and Other Communication Disorders (NIDCD) have found that, when jazz musicians are engaged in the highly creative and spontaneous activity known as improvisation, a large region of the brain involved in monitoring one’s performance is shut down, while a small region involved in organizing self-initiated thoughts and behaviors is highly activated.

Study: Prefrontal Cortex In Jazz Musicians Winds Down When Improvising [scientificblogging]

That’s just one study, and I won’t pretend to be an expert in neuroscience. But what the scientists are describing is awfully close to the nuanced way jazz musicians will describe improv. It’s not not thinking. But it’s also not self-monitoring. It’s something else.

Microsoft Research has done some amazing work; it doesn’t always move me to tears, but there’s some fantastic stuff that deserves real recognition. And MySong is … well, technologically impressive, if musically painful. It’s a sort of collision between AutoTune and Band-in-a-Box: it recognizes a melody as input, then harmonizes that melody.

The vocal input goes well, and illustrates the number of different inputs beyond the mouse you can expect in The Future. Here’s the problem: harmony is extraordinarily difficult to model on a computer because of the number of variables, the amount that’s driven by instinct and art. And let’s be blunt: it doesn’t work right.

In short: if you’re planning to build a Jerome Kern robot, the technology may not be there just yet.

There’s a simple problem: sound is invisible, and sound synthesis concepts don’t have any physical reality. Knobs, faders, patch cords, keyboards, infrared sensors, touchpads, and the like all work quite nicely for synthesizing sounds. But take a closer look at Bjork’s use of the reacTable, an interactive multimedia interface that uses a camera to track the movements of blocks on a surface. They really are using it to make sounds, those sounds really are visualized in a nice new way (watch the waveforms connecting the blocks), and while the result is some swoopy synthy sounds, the interface does make making them a lot of fun.

It helps that Bjork pulls out some of her synthiest, electronicilicious-est tracks, like Pluto:

and Hyperballad:

And, of course, part of what happens is that the computer screen here has become the interface. When it works — when the visuals match the sounds, and suggest some new ways of constructing music — it really does show potential for this kind of instrument. (Even if you don’t buy into the blocks, the way the visualization itself works has a lot of promise.)

That’s the idea behind Microsoft’s Surface, too … but sometimes the gimmick can be a solution in search of a problem. Well, actually, maybe your computer of the future really will be “a big-ass table.” (Thanks, SarcasticGamer.com, for making me laugh so heartily.)

Does your brain filter out all elements of the world around you not directly related to electronic music? Do conversations from significant others, business associates, and the like tend to dissolve into “blah, blah, blah …” while you dream of synths and programmed beats? Do you wish your search engine would stop returning lots of irrelevant stuff and accept your major obsession and first love?

Morgan Sutherland has been playing with Google Co-op, a search engine construction technology, and came up with this:

Electronic Music Search

It searches over a hundred sites related to music technology, from music sites to sites like CDM. And, okay, I’m exaggerating: the engine works well for other stuff, too. Because it’s a cooperative engine, you can even contribute to make it better. Give it a spin and let us know what you think, and pass along any custom search engines you’ve got yourself.

CDM needs your help. The massive, international, annual New Interfaces for Musical Expression (NIME) Conference is descending on New York City. That’s great. There are only two problems: 1) it’s too huge. 2) Most CDMers are not in New York. That’s where you come in.

If you’re traveling to town to attend NIME, to present at NIME, or if you happen to already be here in New York and are going to the NIME events or the concurrent New York Electronic Arts Festival (which seems itself to be perhaps a new creation in itself), let us know what you’re doing. Got a paper? Send us a link and some quick notes on what it’s about. Got a piece premiering? Tell us why it’s cool and link us to whatever documentation you’ve got. Taking photos? Send them to us via Flickr. Attending an event? Write up something, and we’ll run it. It’s one of those few times where I’m happy to post anything you send, provided you write a bit about it — so you’ve got instant publicity for yourself, in the process.

Too often, these huge conferences happen and only the people in attendance can keep up with what’s going on … and sometimes not even they can. I do appreciate your help, and will do my best to keep up here on CDM.

You can get in touch right here:

Via Music thing (be sure to read the comments, in which they sort out what it actually is), here’s another multi-touch music table built on freely-available tools:

MultiTouch Console

Quite a lot of tools have been connected to make this happen, but they’re all out there so you could do something similar. Let’s see if I can get this right: the software is a collaboration of two projects that resulted in the multi-touch loopArena MTC, for making music interactively. loopArena itself was built in the free, Java-based Processing, originally with MIDI support via the ProMIDI library but now evidently using OpenSoundControl. The graphics library libAVG (”picking up where Director left off”) does the tracking, though there’s also a link to the free multi-touch library Touchlib.

And, long story short, here’s what you get:

YouTube readers sum it up best: “air hockey is cool again” … “this is the real future voodoo.” Couldn’t have said it better myself.

More fun than organizing your digital photos in a hotel lobby, huh?

It’s interesting to me, though, that after all this work, you don’t necessarily get a different kind of music — just a different way of making it. And there seem to be two major directions in interface. On one end of the spectrum, there are glitzy, complex interfaces with sophisticated hardware. On the other end, we have increasing interest in minimalism, like the grid of buttons on the Monome, retro-styled software interfaces in trackers on computers and game systems, and, at some point, just a desire to take that KAOSS Pad and MacBook and MIDI keyboard and just practice making music rather than worrying about interface. I actually thing these seemingly divergent threads may all lead back to the same places in the end, and don’t know that they’re even incompatible — but, “ooh, aah” factor aside, it’s fun to watch them spinning themselves out.

If this makes one thing abundantly clear, though, it’s that even though Microsoft has an easier time getting on the Today Show, they by no means have a monopoly on experimenting with these kinds of interfaces.

Got more resources for building your own tools? Diagrams, software libraries, code, blogs about how yours didn’t quite work, blog about how awesome yours is? Let us know!

The good news: Microsoft is taking multi-touch, camera tracking, and gestural technologies seriously, and they have what looks like a very nice implementation that will be one of the first commercial implementations. The bad news: it’ll cost US$10,000 out of the gate. That high price will mean you’ll see at places like T-Mobile stores and Sheraton hotel lobbies first. But what you need to know: you can build your own version, thanks to available open source tools, with is likely to be more useful for music.

Good sources of commentary:
New Media Initiatives Blog at Walker Arts Center, which notes this could be museum-friendly tech.

Chris O’Shea @ Pixelsumo, who has built a device something like this himself.

The video does show what’s cool about Surface — and it’s easy to imagine these same techniques being applied to live visual and music performance. (People have already tried experiments in that, and I think there’s a lot more to be done — once you’re talking music rather than just digital snapshots, you get into deeper questions about how to model the interface.)

But let’s get a few things out of the way:
1. Enough about Minority Report, already!

Musicians, behind the technological curve? Not when it comes to interface design: we’ve been consistently ahead. Little wonder, as digital musicians look for ways of making digital media more expressive, with centuries of physical interface design in musical instruments to push those demands further.

In other words, Microsoft is up to something, and I look forward to whatever it is, but it’s the long view that will ultimately matter more.

Numerous outlets are reporting that Microsoft is expected to introduce its gestural, multi-touch technology, called PlayTable. I’m not quite sure why the product name sounds ripped off from the ReacTable. But, while I’m interested to see what Microsoft is doing, I’ll give the ReacTable the edge, unless Microsoft open-sources its software, builds a library for Processing, and starts touring with Bjork. (I’ll take Radiohead + PlayTable. No? Not happening?)

I do think, though, that after over two decades of mainstream computer software interfaces using basic pointing devices not far removed from joysticks, multi-touch is pretty inevitable at this point. So the real question here is, can Microsoft deploy the technology, or is this just another prototype?

Vienna-based design firm GP designpartners sponsored the FRONT musical interface design as part of its annual student thesis project. We’ve certainly heard these promises before for alternative interfaces: “a really new music instrument — without using classical paradigms. an instrument for new sounds, that gives the musician the possibility to express himself — even live at stage. with great expectation we are awaiting the jimmy hendrix of the 2010s.”

The design itself has simplicity going for it, certainly — but it may not live up to its radical promise. Basically, it’s a twistable knob, with touch-sensitive capacitance, in a slot (for use as a fader), connected via USB. There’s also a tack-on panel that you can bend up and down, for control of another parameter. Then there are lots of fiddly flaps and connectors and such which allow for right-handed or left-handed use, plus a belt clip that makes the FRONT into a FRONT-tar.