A very interesting study by Willard Van De Bogart (Bangkok University - language institute) about intuitive nature of creating electronic music with tablet computers. Two of my applications SynthScaper and SoundScaper were used in this work.
This research inspire me to think about the direction of my next applications. I would like to create not just a rigid tool for creating sound, no matter how complicated it is, but an applications with which the user could interact as an object with its own fuzzy logic. And as a result of the interaction, bring our own ideas into this logic and receive unique content in return. So that users are not forced to adapt to the application, but rather to creatively interact in search of their own sound.
That is what I plan to do in the near future (after the release of my new application). I plan a lot of experiments to create very unusual samples for this idea. There will be many photos and videos.
CRACKING GOD'S ROOF: MANIFESTATION AND ADAPTATION ON THE INTUITIVE NATURE OF CREATING ELECTRONIC MUSIC WITH TABLET COMPUTERS
Electronic music is advancing not only in the way it is being used in performance but also in the way it is evolving technologically due to software developers advancing the ability of the synthesizer to enable the composer to create newer sounds. The introduction of the amino acid and protein synthesizers from MIT is one such example along with sampling sounds from interstellar bodies through the process of sonification in order to create presets as additional source material for the composer's palette. The creative process used in creating electronic music on a tablet computer introduces a new musical instrument to be used in live music performances. The fluidity and immediacy of how electronic sounds can be created with tablet computer synthesizers affords the composer to have a new behavioral sense of using the tablet synthesizers as a musical instrument that can be played intuitively. Exploring this new interface of musical composition with tablet synthesizers is a subject this paper will address as well as the psychological aspects of how an audience can relate to electronic music as an emerging art form removed from the classical music tradition. What is also covered is how the composer of electronic music can affect the listener's ability to envision new conceptual landscapes leading to experiencing new ideas and subjective fields of visionary experiences. The composer's ability to use conceptual models which influence the way sounds are made and how those sounds influence the listener's experience is an important aspect of this paper.
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