• MAMIC goes Live: A Music Programming System for Non-Specialist Delivery

      Dalgleish, Mat; Payne, Chris; Hepworth-Sawyer, Russ; Hodgson, Jay; Paterson, Justin; Toulson, Rob (Routledge/Taylor & Francis, 2018-01)
    • Sound objects: Towards procedural audio for and as theatre

      Whitfield, Sarah; Dalgleish, Mat; Toulson, Rob; Paterson, Justin; Hepworth- Sawyer, Russ (Routledge, 2020-06-01)
      Procedural audio has been the subject of significant contemporary interest, but prior examples in relation to theatre sound are limited. After providing background to theatre sound and procedural audio, we introduce two artefacts, RayGun and INTERIOR, that explore issues around theatre sound. RayGun is an augmented prop prototype that uses sensor driven, procedurally generated and locally diffused sound to address prior deficiencies. INTERIOR reimagines Maurice Maeterlinck’s 1895 play Interior as an embedded, generative and largely procedurally generated audio play housed in a shortwave radio-like artefact. Intended to provide an accessible experience, the listener uses a single knob interface to scan through a soundscape of simulated radio stations and ‘find’ the play. We present some initial findings and conclude with suggestions for future work.
    • The modular synthesizer divided: The keyboard and its discontents

      Dalgleish, Mat (Canadian Electroacoustic Community (CEC), 2016-02)
    • There are no universal interfaces: how asymmetrical roles and asymmetrical controllers can increase access diversity

      Dalgleish, Mat (Culturale Ludica, 2018-12-31)
      Many people with a disability play games despite difficulties in relation to access or quality of experience. Better access is needed, but there has been limited industry interest. For players with motor impairments the focus has been on the controller. Numerous solutions have been developed by third parties, but all are likely unsuitable for at least some users and there remains space for radically alternative angles. Informed by my experiences as a disabled gamer, concepts of affordance and control dimensionality are used to discuss the accessibility implications of controller design from the Magnavox Odyssey to the present. Notions of incidental body-controller fit and precarious accessibility are outlined. I subsequently draw on Lévy’s theory of collective intelligence and example games Keep Talking and Nobody Explodes and Artemis Spaceship Bridge Commander to develop a model that uses asymmetrical roles and diverse input to fit individual abilities and thereby expand participation.
    • Wiring the ear: Instrumentality and aural primacy in and after David Tudor’s Unstable Circuits

      Dalgleish, Mat (2016-09-21)
      The early 20th century saw a spate of innovative electronic musical instruments. For instance, the theremin (1919) and Ondes Martenot (1928) not only offered new sound generation techniques, but married them to similarly innovative means of interaction. However, by the late 1920s, the development of novel performance interfaces had stalled, and the familiar organ-type keyboard re-appeared on many electronic instruments of the 1930s (Manning 2004, pp. 4-6). Moreover, as the era of the tape-based studio began postwar, the link between electronic music and live performance seemed to recede (Ibid., pp. 19-74). Compared to the limited timbres of most earlier electronic instruments, the sound creation and manipulation possibilities of tape were more sophisticated. However, splicing together even a short piece could take months of toil. Thus, by the mid-1960s, a number of real-time alternatives had emerged, from Stockhausen’s electronic processing of acoustic instruments, to the modular synthesizer, and the live electronics of David Tudor.