3/24/2023 0 Comments Nodebox music activatedAlthough it is anchored in a physical paradigm, its main focus is not the common “realistic sound certified by impeccable evaluation methodology” achievement. The entire approach described hereafter takes ground here. How could our most common day-to-day physical experience of the physical world inspire and ease an artistic process in its digital counterpart ? However, if we allow ourselves to take a more poetic stance, the above question could subjectively be qualified as irrelevant, to the benefit of the following : Resulting research has subsequently led to the development of a rich variety of techniques, and continues doing so to this day. Over the years, the Computer Music community has developed very serious and meaningful arguments justifying this approach, such as those recalled by Bilbao and Smith in the opening chapters of their respective books. Why reproduce - and try to play - a virtual instrument that mimics a real instrument that one could play in real life? But when it comes to sound synthesis, this question might be slightly more difficult to answer as it becomes: In most of these fields the answer will have to do with saving lives, or a significant increase in the understanding our world, from quarks to universe(s?). Why would one painstakingly reproduce the physical behaviour (phenomenological approach), or even a virtual representation (causal approach), of a well characterised real physical object ? When considering the term physical modelling as it is used in a large number of fields of research, the first and most fundamental question to arise is : We then present multi-dimensional geometry as a starting point for any kind of mass-interaction model (in terms of mathematical roots, modelling methodologies and performances), and finally discuss the relevance of this approach for modelling and real-time simulation of virtual acoustical structures that present emergent non-linear behaviour. After positioning some general concepts, we briefly document how a step aside from sound-based considerations has led to new grounds for investigating the potential of mass-interaction physical modelling. This paper intends to express a refreshed vision on the use of mass-interaction modelling for real-time sound-synthesis and interactive digital arts. In the context of a renewed research effort led by the authors on this topic, this paper aims to reposition mass-interaction physical modelling in the contemporary fields of Sound and Music Computing and Digital Arts: what are the core concepts? The end goals? And more importantly, which relevant perspectives can be foreseen in this current day and age? Backed by recent developments and experimental results, including 3D mass-interaction modelling and emerging non-linear effects, this proposed reflection casts a first canvas for an active, and resolutely outreaching, research on mass-interaction physical modelling for the arts. However, for a number of reasons this research has remained rather confidential, subsequently overlooked and often considered as the odd-one-out of physically-based synthesis methods, of which many have grown exponentially in popularity over the last ten years. Mass-interaction methods for sound synthesis, and more generally for digital artistic creation, have been studied and explored for over three decades, by a multitude of researchers and artists.
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