(Grinstead 128 is in the inside hallway going north from the foyer to Hart Recital Hall.)
- Jeff Kaiser
Epistemic Gatekeeping in the Music Tech Classroom
(5 mins+10) - Jeff Albert
What is the right tool for the job?
(5 mins+10) - Ryan Ross Smith
LuliAria: Education as Distraction
(5 mins+10) - Tim Crist
Is there an Analog Computer in Your Modular Synth?
(5 mins+10) - Daniel McKemie
Signal Crate
(5 mins+10) - Jon Forshee
Improvising through Sight, Signal and Sound with Max/MSP: An Electroacoustic and Video Synthesis Performance by Reiner Krämer and Jon Forshee
(5 mins+10) - Jingyu Luo
Motif for Ono
(5 mins)
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Jeff Kaiser
Epistemic Gatekeeping in the Music Tech Classroom
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Jingyu Luo
Motif for Ono
This is a project using bellplay~ . bellplay~ is a programming environment and operation software designed for composers according to bell language , making it the easiest to get started with. This enables bell programming without requiring knowledge of MAX/MSP (a graphical programming software) or bach. I utilized its functions and processed the audio using mathematical logic to use it as the original material for music creation. Since I read some feminist methodology articles and watched Yoko Ono’s interview, I utilized interdisciplinary applications in “Discourse” (Mills, 1997). Centering on Foucault’s theory (Young, 1981), “Discourse” is not merely a language expression but also a practice combining power and knowledge. So, I will use the “Discourse” form of Yoko Ono as my philosophical methodology to develop this piece.
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Jeff Albert
What is the right tool for the job?
or why I am working on an AI project even though I kind of hate most AI
Why do we use computers to make music? Why do we want to cram AI into that? What are the questions we should be asking in this process? This video looks to answer these questions (and ask more) through the lens of my own creative work.
Jeff Albert is an Associate Professor and Co-P.I. of the Creative Music Technology Lab in the School of Music at the Georgia Institute of Technology. His areas of research and creative practice include improvisation and interaction, jazz performance, performance paradigms for live computer music, and audio production. He has performed in concerts and festivals in the U.S and throughout Europe, and contributed as a performer, producer, or engineer on over 60 recordings, including the 2017 Grammy winner for Best Traditional Blues Album.
Albert received his B.M. from Loyola University New Orleans, and his M.M. from the University of New Orleans. In May of 2013, he became the first graduate of the PhD program in Experimental Music and Digital Media at Louisiana State University, where he was a founding member of the Laptop Orchestra of Louisiana (LOLs).
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Ryan Ross Smith
LuliAria: Education as Distraction
LuliAria is an iPhone app featuring several games designed for casual play, and while these games are thematically-linked by their visual assets, they offer little more than mindless, non-musical gameplay. The educational component of LuliAria includes a set of fun facts and questions that ‘interrupt’ the players as they engage with the aforementioned games. Players can choose a variety of topics ranging from Baroque music history to audio production, and have access to over 2000 fun facts, over 700 multiple choice questions, and a statistics page to track their progress.
Ryan Ross Smith is a composer, performer, and educator based in Upstate New York. His compositional work often focuses on the development of generative notational formats to represent complex rhythmic relationships. These works often lead to a kind of consistent inconsistency, are purposefully persistent, and these notational designs represent Smith’s desire to create scores that are accessible to performers of virtually any level. Please visit ryanrosssmith.com for more information.
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Tim Crist
Is there an Analog Computer in Your Modular Synth?
In recent years, analog computers have been gaining interest as a tool for music making. Their components which include integrators, comparators, summers, inverters, and multipliers are found buried in the circuits of an analog modular synthesizer. However, some module designers are beginning to produce the raw components necessary to make analog computing computations a sub-system of modular synth performance. In addition, the THAT analog computer by Anabrid is a reasonably priced solution that makes analog computing widely available. This video presentation will demonstrate some of the tools of analog computing and their use in musical performance.
Tim Crist is a Professor of Music at Arkansas State University where he teaches composition, electronic music, music theory, aural skills, and classical guitar. He is the recipient of the National Endowment for the Arts 2003 Individual Artist Fellowship for Music Composition and the 2022 Arkansas Governor’s Award in Education. He has composed over 300 musical works for various media including solo, chamber, orchestral, band, and electronic media. Crist received a D.M.A. from the University of Georgia, Athens. Crist’s music is performed throughout the United States and has been featured on National Public Radio, SEAMUS conferences, Southeastern Composers League, the Electronic Music Midwest Festival, the Florida Electroacoustic Music Festival, the Society of Composers, Inc. conferences, and MoxSonic. Crist is presently compiling his research on teaching music in STEM environments for a book. Crist believes music serves as a significant inclusive activity where complementary and disparate aspects of experience can find meaningful and binding contact points. In sophisticated music education, there is a place for diverse cultures, perspectives, and disciplines to gather and explore a shared experience. The celebration of diversity is vital to the health of a pluralistic society as it inspires the seeking of individuality, contributes to a mode of “seeing” one another, builds tolerance and wonderment, and forms a clearer sense of the diverse global reality. It is therefore critical to continue to provide substantial resources in the mission to engage communities with diverse arts events that reinforce an awareness of life’s great depth, vibrancy, and sophistication.
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Jon Forshee
Improvising through Sight, Signal and Sound with Max/MSP: An Electroacoustic and Video Synthesis Performance by Reiner Krämer and Jon Forshee
As access to increasingly multi-modal artistic processes become available as creative resources, the possibilities for real-time, interactive performance practices promise new vistas of artistic expression. The recent collaborations of Reiner Krämer and Jon Forshee lean deeply into such possibilities, performing live within an immersive, bio-technological network of video synthesis, tuba, saxophone, and bio-data. This video focuses on a recent performance from 2026.
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Daniel McKemie
Signal Crate
Signal Crate is a modular audio environment built in C for real-time sound synthesis, processing, and data and voltage control. Unlike traditional digital audio workstations or modular GUIs, it operates entirely in the terminal, emphasizing transparency, performance, determinism, and compositional precision. The system’s architecture merges the discipline of low-level DSP coding with the immediacy of modular synthesis, providing a controlled yet flexible platform for procedural and performance-driven sound design. Together, these components allow composers to build complex modulation networks, spectral transformations, and generative control structures entirely in plain text.
At its foundation, Signal Crate implements a static audio graph: modules and their connections are defined in a plain-text patch file at launch and cannot be changed during runtime. This design choice favors stability and deterministic performance. Once compiled and instantiated, the signal path remains fixed for the session, ensuring reliable synchronization across threads and minimal CPU load.
All modules follow a shared design pattern approach, allowing for easy expansion of control or audio functions. The framework’s control subsystem exposes all module parameters internally and over a network using Open Sound Control and/or 14-bit MIDI. Each module automatically publishes its controls under unique OSC addresses allowing remote manipulation from external controllers, third-party scripts, or mobile devices via TouchOSC. This networked interface transforms Signal Crate into an addressable DSP node within larger hybrid setups that can combine hardware and software instruments.