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    Capasso, A. & Keller, D. Sisyphus / Sísifo 2004 Installation for Dual Video  misc URL 
    Abstract: Title: Sisyphus Video: Ariadna Capasso Sound: Damián Keller Duration: 6’00” and 16’00” Year: 2003-4 Media: Two video projections & surround sound.

    Sisyphus / Síifo is a video installation that consists of two large projection screens standing side by side. A massive stone cross behind a clear blue sky stands impassive on one screen. On the second, a flurry of activity endlessly takes place. A group of men haul loads of plantains from shore, onto a ship and up the stairs. The video of Sisyphus extends in time. This litany of images, repeating over and over with slight variations, is what transports the audience into the world of the workers, the process of time passing leads to empathy, and only then the multiple layers and connections to us appear.

    Galou Gallery, Brooklyn, NY. http://galeriagalou.com/ariadna4.html

    Funded by Manhattan Community Arts Fund, LMCC, Individual Artist Grant 2004

    Review: http://galeriagalou.com/ariadna4.html

    http://www.denorteasur.com/asp/articulo.asp?numero=277&id=4026

    BibTeX:
    @misc{Capasso2004,
      author = {Capasso, A. and Keller, D.},
      title = {Sisyphus / Sísifo},
      year = {2004},
      note = {New York, NY: Consulate General of Argentina},
      url = {http://www.perpetualartmachine.com/gallery2/main.php?g2_view=core.ShowItem&g2_itemId=4908}
    }
    
    Capasso, A., Keller, D. & Tinajero, P. The Urban Corridor / Corredor Urbano 2000 Installation for Activity Recognition System  misc URL 
    Abstract: The Urban Corridor explores the relationship between the public, visual and sonic stimuli, and space as a way of bringing to life the effect of the urban landscape on our day-to-day interactions. We focused on two issues: (1) the interactions between visual and musical processes, time and space, context and materials, and the role of the public in the piece, and (2) the accumulation of elements as a means of sonic organization and transformation.

    The audience is an essential part of The Urban Corridor since it is the body that activates the space. Without people, the installation remains mostly dark and quiet. The visitor cannot see the entire space at once. For example, on entering the installation the walls obstruct the view of the video projection. The progressive unfolding of visual and sonic elements encourages exploration. And most importantly, the pace in which this exploration takes place defines the temporal shape of the piece. The reverberant characteristics of the space change the way sounds are heard, but also the position of the listener with respect to the speakers modifies the perceived delay among the events. Finally, the reaction of the audience to the stimuli in the corridor shapes their behavior and, in turn, also shapes the temporal distribution of the sonic and visual events establishing a feedback dynamic.

    Rhizome.org (website), 2003

    Electronic Easel (curated by Simon Zalkind), CU Fine Art Galleries, Boulder, CO, 2000

    Review: http://hdl.handle.net/2027/spo.bbp2372.2002.061

    http://www.tandfonline.com/doi/abs/10.1080/09298215.2011.594514

    BibTeX:
    @misc{Capasso2000,
      author = {Capasso, A. and Keller, D. and Tinajero, P.},
      title = {The Urban Corridor / Corredor Urbano},
      year = {2000},
      note = {Boulder, CO: CU Art Galleries},
      url = {http://www.patriciatinajerostudio.com/collaborations/urban-corridor}
    }
    
    Capasso, A., Tinajero, P. & Keller, D. Carry On, Carry Away: Homeless Journeys Through the U.S. 2001 Installation  misc URL 
    Abstract: The Carry On – Carry Away: Homeless Journeys Through the U.S. project is the result of two and a half years of working with, interviewing, and virtually traveling with homeless people from New York City and Boulder, Colorado.

    We followed the movements of three individuals. Wherever they went, we kept in touch via e-mail, phone, or post cards, and they told us about their journey, where they traveled and lodged, what they ate and their adventures on the road. We recorded these conversations to make a sound and video installation that combines large portraits, two journey books, a portable bed, and a swinging door.

    The first journey book consists of images of the objects necessary for day to day living. It stands on its own, crossing the gallery. It acts as a road.

    The second book is 15 feet long and extends from the wall and along the floor into the audience’s space. It includes images of maps, postcards and places, and records the travels of three homeless individuals.

    In the installation space there is a circle of human-sized curtains depicting the individuals we followed. The circle is accompanied by a monitor that shows someone carefully ironing a beautiful curtain. The video focuses on the face and hands with a surreal, almost dreamlike imagery to contrast with the audio that tells a true story of a homeless man, Danny Moon, who has chosen this nomadic lifestyle to be free from home, and therefore society.

    The audio is extended throughout the space and guides visitors along toward the next section. The sound compositions are phrases culled from our interviews, and combine with bus, train station, and other urban noises to stimulate our senses, and to place us into this unknown environment.

    A swinging door represents the psychological space between known and unknown, private and public, yet offers neither, because the piece responds as art object within the gallery setting. This threshold represents departure and arrival; the sculpture looks like a doorframe or a skeleton structure.

    After walking through, or around, the threshold sculpture, the viewer-visitor enters a dark inner room. The Performative Bed is a series of performances with a suitcase-bed. This is a foldable wooden bed hinged in three parts that is transported in its own case. The object was designed to fit within the size limitations of airline travel. We place this portable bed in different locations that houseless individuals identify as their home turf, for example Pearl Street Mall and Boulder Creek in Boulder, Central Park and 5th Avenue in New York City. We install and use the bed and invite curious passer-bys to participate. The performances represent the negotiation between the private versus the public sphere. This intervention underscores the conflict faced by homeless people forced to temporarily appropriate public space for private use. The bed-suitcase symbolizes our cultural baggage. Lugging it around shows our personal negotiation between cultures.

    Traveler, The Dalton Gallery, Agnes Scott College, Decatur, Georgia, 2005.

    Art Basel Miami Beach, Ethan Cole Gallery, Miami, FL, 2004.

    Homeless & Prostitutes, Galería Galou, Williamsburg, NY, 2003

    Hatton Gallery, Colorado State University, Fort Collins, CO, 2003.

    Canyon Gallery, Boulder Public Library, Boulder, CO, 2002.

    Rocky Mountain Peace and Justice Center, Boulder, CO, 2001.

    Review: http://www.hamilton.edu/magazine/news200606.cfm?id=10849

    http://daltongallery.agnesscott.edu/traveler/capassotinajero.html

    ‘Carry On’: Exhibit, Installation examines relationship between the houseless and their stuff.

    J. Gluckstern. The Daily Camera. December 13, pp. 18-19, 2002

    Exhibit focuses on homeless. Joe Southern. The Daily Times-Call. December 2002

    2001 Home is Where the Art Is. Michael de Yoanna. Colorado Daily on-line. December 16 2002

    ‘Carry On’ art show examines lives of homeless. J. Gluckstern. The Daily Camera. December 16 2002

    Artists Look at Homelessness. Jessika Fruchter. Colorado Daily. October 9, pp. 4-5, 2002

    BibTeX:
    @misc{Capasso2001,
      author = {Ariadna Capasso and Patricia Tinajero and Keller, D.},
      title = {Carry On, Carry Away: Homeless Journeys Through the U.S.},
      year = {2001},
      url = {http://www.patriciatinajerostudio.com/collaborations/carry}
    }
    
    Flores, L., Miletto, E., Pimenta, M., Miranda, E. & Keller, D. Musical interaction patterns: communicating computer music knowledge in a multidisciplinary project 2010 Proceedings of the 28th ACM International Conference on Design of Communication, pp. 199-206  inproceedings DOI URL 
    Abstract: The growing popularity of mobile devices gave birth to a still emergent research field, called Mobile Music, and concerning the development of musical applications for use in these devices. Our particular research investigates interaction design within this field, taking into account relations hips with ubiquitous computing contexts, and applying knowledge from several disciplines, mainly Computer Music and Human-Computer Interaction. In this paper we propose using the concept of patterns in such multidisciplinary design context. Design patterns are, essentially, common solutions for specific design problems, which have been systematically collected and documented. Since they help designers, allowing them to reuse proven solutions within a certain domain, we argue that they can aid multidisciplinary design, facilitating communication and allowing knowledge transfer among team members of diverse fields. We illustrate our point by describing a set of musical interaction patterns that came out of our investigation so far, showing how they encapsulate Computer Music knowledge and how this was helpful in our own design process.
    BibTeX:
    @inproceedings{Flores2010a,
      author = {Flores, Luciano and Miletto, Evandro and Pimenta, Marcelo and Miranda, Eduardo and Keller, Damián},
      title = {Musical interaction patterns: communicating computer music knowledge in a multidisciplinary project},
      booktitle = {Proceedings of the 28th ACM International Conference on Design of Communication},
      publisher = {ACM},
      year = {2010},
      pages = {199-206},
      url = {http://doi.acm.org/10.1145/1878450.1878484},
      doi = {http://dx.doi.org/10.1145/1878450.1878484}
    }
    
    Flores, L.V., Pimenta, M.S. & Keller, D. Rumo à Música Ubíqua: Interação via Dispositivos Móveis Cotidianos na Composição Cooperativa e na Ecocomposição 2008 Proceedings of the II Workshop on Pervasive and Ubiquitous Computing (WPUC 2008)  inproceedings URL 
    BibTeX:
    @inproceedings{Flores2008,
      author = {Luciano Vargas Flores and Marcelo S. Pimenta and Damián Keller},
      title = {Rumo à Música Ubíqua: Interação via Dispositivos Móveis Cotidianos na Composição Cooperativa e na Ecocomposição},
      booktitle = {Proceedings of the II Workshop on Pervasive and Ubiquitous Computing (WPUC 2008)},
      year = {2008},
      url = {wpuc2008.wkit.com.br}
    }
    
    Flores, L.V., Pimenta, M.S. & Keller, D. Patterns of Musical Interaction with Computing Devices 2012 Proceedings of the III Ubiquitous Music Workshop (III UbiMus)  inproceedings URL 
    BibTeX:
    @inproceedings{Flores2012,
      author = {Luciano V. Flores and Marcelo S. Pimenta and Damián Keller},
      title = {Patterns of Musical Interaction with Computing Devices},
      booktitle = {Proceedings of the III Ubiquitous Music Workshop (III UbiMus)},
      publisher = {São Paulo, SP, Brazil: Ubiquitous Music Group},
      year = {2012},
      url = {http://compmus.ime.usp.br/ubimus/pt-br/node/33}
    }
    
    Flores, L.V., Pimenta, M.S., Miranda, E.R., Radanovitsck, E.A.A. & Keller, D. Patterns for the design of musical interaction with everyday mobile devices 2010 Proceedings of the IX Symposium on Human Factors in Computing Systems, pp. 121-128  inproceedings URL 
    BibTeX:
    @inproceedings{Flores2010,
      author = {Flores, Luciano V. and Pimenta, Marcelo S. and Miranda, Eduardo R. and Radanovitsck, Eduardo A. A. and Keller, Damián},
      title = {Patterns for the design of musical interaction with everyday mobile devices},
      booktitle = {Proceedings of the IX Symposium on Human Factors in Computing Systems},
      publisher = {Belo Horizonte, MG: SBC},
      year = {2010},
      pages = {121-128},
      url = {http://dl.acm.org/citation.cfm?id=1999593.1999607}
    }
    
    Keller, D. Brasil(espaço)ia 1994 CD Brasilia Soundscape  incollection URL 
    Abstract: size: 20 Mb.
    BibTeX:
    @incollection{Keller1994,
      author = {Keller, D.},
      title = {Brasil(espaço)ia},
      booktitle = {CD Brasilia Soundscape},
      publisher = {Brasília, DF: Goethe Institute},
      year = {1994},
      note = {http://www.sfu.ca/~westerka/workshops/Brasillia/Brasilia%20compositions/brasilia_comp.html},
      url = {https://ccrma.stanford.edu/~dkeller/mp3/brasilia.mp3}
    }
    
    Keller, D. Anitoo: some analysis tools 1996 Proceedings of the International Computer Music Conference (ICMC 1996)  inproceedings  
    BibTeX:
    @inproceedings{Keller1996,
      author = {Keller, D.},
      title = {Anitoo: some analysis tools},
      booktitle = {Proceedings of the International Computer Music Conference (ICMC 1996)},
      publisher = {Hong Kong: ICMA},
      year = {1996}
    }
    
    Keller, D. Persecución 1996 CD Sociedade Brasileira de Música Eletroacústica, Vol. 1  incollection  
    BibTeX:
    @incollection{Keller1996a,
      author = {Keller, D.},
      title = {Persecución},
      booktitle = {CD Sociedade Brasileira de Música Eletroacústica, Vol. 1},
      publisher = {Brasília, DF: SBME},
      year = {1996}
    }
    
    Keller, D. To Lions Gate 1997 CD Harangue 1  incollection URL 
    BibTeX:
    @incollection{Keller1997,
      author = {Keller, D.},
      title = {To Lions Gate},
      booktitle = {CD Harangue 1},
      publisher = {Burnaby, BC: earsay productions},
      year = {1997},
      url = {http://www.earsay.com/soundshop/earsaycds/CDs/h1.html}
    }
    
    Keller, D. . . . soretes de punta. 1998 CD Harangue 2  incollection URL 
    Review: http://dx.doi.org/10.1017/S1355771810000117
    BibTeX:
    @incollection{Keller1998a,
      author = {Keller, D.},
      title = {. . . soretes de punta.},
      booktitle = {CD Harangue 2},
      publisher = {Burnaby, BC: earsay productions},
      year = {1998},
      url = {http://www.earsay.com/soundshop/earsaycds/CDs/h2.html}
    }
    
    Keller, D. touch'n'go: Ecological Models in Composition 1999 School: Simon Fraser University  mastersthesis URL 
    Abstract: http://ccrma.stanford.edu/~dkeller/pdf/Keller1999.pdf, http://books.google.com.br/books/about/Touch_n_go.html?id=nfahPgAACAAJ&redir_esc=y

    The material used in touch’n’go makes direct reference to everyday and environmental events. This material also incorporates cultural elements that place the piece within a very specific and distinct cultural context: Latin America. Most sound processing is done through models that apply ecologically feasible transformations on the material. Transformations that produce abstract material are used sparingly. They are usually introduced by means of simple compositional processes, e.g., expansion of the number of elements, time-stretching, hybridization, resonant filtering with uniform spectral characteristics. Sound spaces are kept consistent and stable, i.e., there are no spatial changes without appropriate cues and transformations in the related sound events.

    The sound unit used throughout the piece is the event. In other words, there is not a single sound that has a suddenly cut decay, or an attack without transients. Most sounds were produced by the interaction of exciting systems - granular algorithms - with resonant systems - generic physical models. At a meso level, all algorithms follow ecologically feasible patterns, that is, they produce events that occur or may occur in our terrestrial environment. At a macro level, the piece explores the emergent properties resulting from the interaction of complex elements at a micro and meso level. The format chosen for the piece requires the active participation of a conscious user. In other words, the listener / reader engages in a process of mutual-determination with the material of the piece. Thus, the general model of environment-individual interaction is scaled down to the artwork-individual pattern formation process.

    BibTeX:
    @mastersthesis{Keller1999,
      author = {Keller, Damián},
      title = {touch'n'go: Ecological Models in Composition},
      school = {Simon Fraser University},
      year = {1999},
      url = {http://www.sfu.ca/sonic-studio/srs/EcoModelsComposition/Title.html}
    }
    
    Keller, D. CD toco y me voy / touch'n'go 1999 CD  book URL 
    BibTeX:
    @book{Keller1999a,
      author = {Keller, D.},
      title = {CD toco y me voy / touch'n'go},
      publisher = {Burnaby, BC: earsay productions},
      year = {1999},
      url = {http://www.earsay.com/soundshop/earsaycds/CDs/tng.html}
    }
    
    Keller, D. CD toco y me voy / touch'n'go 1999 Performance Art for Biligual Actor and Eight-Channel Tape  misc URL 
    Abstract: CCRMA, Stanford, CA, 2000

    Western Front, Vancouver, BC, 1999

    Review: http://130.102.44.246/journals/leonardo_music_journal/v010/10.1keller.html
    BibTeX:
    @misc{Keller1999b,
      author = {Keller, D.},
      title = {CD toco y me voy / touch'n'go},
      publisher = {Burnaby, BC: earsay productions},
      year = {1999},
      note = {Vancouver, BC: earsay productions},
      url = {http://www.earsay.com/soundshop/earsaycds/CDs/tng.html}
    }
    
    Keller, D. Metrophonie 2000 Four-Channel Tape  misc URL 
    Abstract: Size: 27Mb. Sources: San Francisco BART sounds. Format: four-channel tape. Synthesis and transformation techniques: ecological models, real-time granulation, resonant filtering. Formal structure: short “stories,” the characters are the people of San Francisco streets.

    Metrophonie, as its title suggests, is loosely inspired by Stockhausen’s Mikrophonie I. The similarities are: the title, the four-channel format, the transformation of recorded sounds, and the subdivision into sections. In other words, all that doesn’t matter.

    Metrophonie takes place in San Francisco’s metro (aka BART). The piece is made up of several short stories: a woman pays a fare, a drunkard sings, a big man hugs his buddy, and a “mama works at Brian’s tonight.” As in San Francisco’s street life, money plays an important role in this piece. More pervasive than money, however, is the lack of money. In this sense, it is an autobiographical piece.

    Some streets in San Francisco are not clean. The people in these streets are also not very clean. The sounds emitted by these people are rich. Whether they are clean or dirty does not matter because they are rich. But cleanliness and wealth have no place in Metrophonie. What really matters is whether there is a blackout or not.

    BibTeX:
    @misc{Keller2000d,
      author = {Keller, D.},
      title = {Metrophonie},
      publisher = {Stanford, CA: CCRMA},
      year = {2000},
      note = {https://ccrma.stanford.edu/events/ballroom/110900.html},
      url = {https://ccrma.stanford.edu/~dkeller/mp3/metrophonie.mp3}
    }
    
    Keller, D. Compositional Processes from an Ecological Perspective 2000 Leonardo Music Journal
    Vol. 10Leonardo Music Journal, pp. 55-60 
    article DOI URL 
    Abstract: The author discusses the conceptual basis of an ecological approach to music composition, considering the epistemological and compositional concepts involved. The author's text-and-tape piece, touch'n'go/toco y me voy, is presented as an example of an ecologically based musical work, in which the sound event functions as the basic unit of multilevel musical structures. Digital resynthesis techniques are integrated in the compositional process by means of environmental sound models. Ecological models establish formal relationships without obscuring the recognizability of everyday sounds. Materials, techniques, perceptual constraints and references to social issues are integrated in a consistent compositional method.
    BibTeX:
    @article{Keller2000,
      author = {Keller, Damián},
      title = {Compositional Processes from an Ecological Perspective},
      booktitle = {Leonardo Music Journal},
      journal = {Leonardo Music Journal},
      publisher = {MIT Press},
      year = {2000},
      volume = {10},
      pages = {55-60},
      url = {http://muse.jhu.edu/journals/leonardo_music_journal/v010/10.1keller.pdf},
      doi = {http://dx.doi.org/10.1162/096112100570459}
    }
    
    Keller, D. sCRATch 2001 Southern Cones: Music out of Africa and South America [Leonardo Music Journal, Vol. 10], pp. 71-72  incollection DOI URL 
    BibTeX:
    @incollection{Keller2001,
      author = {Keller, D.},
      title = {sCRATch},
      booktitle = {Southern Cones: Music out of Africa and South America [Leonardo Music Journal, Vol. 10]},
      publisher = {Cambridge, MA: MIT Press},
      year = {2001},
      pages = {71-72},
      url = {https://ccrma.stanford.edu/~dkeller/mp3/scratch.mp3},
      doi = {http://dx.doi.org/10.1162/096112100570486}
    }
    
    Keller, D. Let me see. . . how can I word it? 2001 Southern Cones: Music out of Africa and South America [Leonardo Music Journal, Vol. 10], pp. 71-72  incollection DOI URL 
    BibTeX:
    @incollection{Keller2001a,
      author = {Keller, D.},
      title = {Let me see. . . how can I word it?},
      booktitle = {Southern Cones: Music out of Africa and South America [Leonardo Music Journal, Vol. 10]},
      publisher = {Cambridge, MA: MIT Press},
      year = {2001},
      pages = {71-72},
      url = {http://earsay.com/Media/MP3/tng05.mp3},
      doi = {http://dx.doi.org/10.1162/096112100570486}
    }
    
    Keller, D. Social and perceptual dynamics in ecologically based composition 2001 Electronic Musicological Review
    Vol. 3 
    article URL 
    BibTeX:
    @article{Keller2001b,
      author = {Keller, Damián},
      title = {Social and perceptual dynamics in ecologically based composition},
      journal = {Electronic Musicological Review},
      year = {2001},
      volume = {3},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/Keller2001b.pdf}
    }
    
    Keller, D. Eduardo Reck Miranda (Ed.) Música y nuevas tecnologías: Perspectivas para el siglo XXI [Review] 2001 Organised Sound
    Vol. 6(1), pp. 79-81 
    article URL 
    BibTeX:
    @article{Keller2001c,
      author = {Keller, Damián},
      title = {Eduardo Reck Miranda (Ed.) Música y nuevas tecnologías: Perspectivas para el siglo XXI [Review]},
      journal = {Organised Sound},
      year = {2001},
      volume = {6},
      number = {1},
      pages = {79-81},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/Keller2001a.pdf}
    }
    
    Keller, D. Paititi: A Multimodal Journey to El Dorado 2004 School: Stanford University  phdthesis URL 
    Abstract: http://books.google.com.br/books?id=YuqEPQAACAAJ
    BibTeX:
    @phdthesis{Keller2004,
      author = {Keller, Damián},
      title = {Paititi: A Multimodal Journey to El Dorado},
      publisher = {Stanford University},
      school = {Stanford University},
      year = {2004},
      note = {AAI3145550},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/Paititi2004.pdf}
    }
    
    Keller, D. Metrophonie 2005 CD Music from Stanford <541>, Vol. 1  incollection  
    Abstract: Sources: San Francisco BART sounds. Format: four-channel tape. Synthesis and transformation techniques: ecological models, real-time granulation, resonant filtering. Formal structure: short “stories,” the characters are the people of San Francisco streets.

    Metrophonie, as its title suggests, is loosely inspired by Stockhausen’s Mikrophonie I. The similarities are: the title, the four-channel format, the transformation of recorded sounds, and the subdivision into sections. In other words, all that doesn’t matter.

    Metrophonie takes place in San Francisco’s metro (aka BART). The piece is made up of several short stories: a woman pays a fare, a drunkard sings, a big man hugs his buddy, and a “mama works at Brian’s tonight.” As in San Francisco’s street life, money plays an important role in this piece. More pervasive than money, however, is the lack of money. In this sense, it is an autobiographical piece.

    Some streets in San Francisco are not clean. The people in these streets are also not very clean. The sounds emitted by these people are rich. Whether they are clean or dirty does not matter because they are rich. But cleanliness and wealth have no place in Metrophonie. What really matters is whether there is a blackout or not.

    BibTeX:
    @incollection{Keller2005a,
      author = {Keller, D.},
      title = {Metrophonie},
      booktitle = {CD Music from Stanford <541>, Vol. 1},
      publisher = {St. Paul, MN: Innova},
      year = {2005},
      note = {http://www.innova.mu/sites/www.innova.mu/files/liner-notes/635.htm}
    }
    
    Keller, D. A(men) 2005 Installation  misc  
    Abstract: Site-specific installation for bathroom.
    BibTeX:
    @misc{Keller2005b,
      author = {Keller, D.},
      title = {A(men)},
      year = {2005},
      note = {New York, NY: Spike Gallery}
    }
    
    Keller, D. Drop 2006 Eight-channel tape  misc  
    BibTeX:
    @misc{Keller2006b,
      author = {Keller, D.},
      title = {Drop},
      year = {2006},
      note = {Denton, TX: CEMI}
    }
    
    Keller, D. Sonic Ecologies 2012
    Vol. Sound Musicianship: Understanding the Crafts of Music, pp. 213-227 
    inbook URL 
    Abstract: This chapter deals with the creative processes that underlie compositional activity. I chose five pieces as references points for the development of models that explain aspects of their material and procedural dimensions. All of the works use sampled sounds and some share recording locations. But they apply sharply different compositional approaches. The challenge is to come up with unifying mechanisms that may explain the relationships between materials, procedures and context. The validity of these models can be tested through the implementation and application of support tools for creative work.
    BibTeX:
    @inbook{Keller2012a,
      author = {Damián Keller},
      title = {Sonic Ecologies},
      publisher = {Newcastle upon Tyne, UK: Cambridge Scholars Publishing},
      year = {2012},
      volume = {Sound Musicianship: Understanding the Crafts of Music},
      pages = {213-227},
      url = {http://www.c-s-p.org/flyers/978-1-4438-3912-9-sample.pdf}
    }
    
    Keller, D. EcoLab 2008-2011 (301982/2008-2)  techreport  
    Abstract: O presente projeto visa a implementação de um ambiente de composição assistida por computador (EcoLab). O intuito do ambiente é integrar o trabalho de síntese sonora e manipulação de dados musicais dentro do paradigma ecocomposicional. Objetivos Gerais: - Integrar a pesquisa básica em tecnologia do som ao trabalho artístico e comunitário através de intervenções acústicas e sonoras. - Consolidar uma equipe de pesquisa em computação musical na UFAC. - Fomentar a utilização de aplicativos livres no Acre. Objetivos Específicos: - Coletar amostras sonoras aplicáveis ao trabalho em ecocomposição e composição cooperativa. - Segmentar as amostras e analisar as variáveis acústicas relevantes. - Organizar um banco de amostras sonoras, abrangendo dados acústicos e extra-acústicos. - Desenvolver um ambiente de composição dentro do paradigma da ecocomposição: o EcoLab. - Validar o ambiente através da sua aplicação em intervenções sonoras e acústicas.

    Pesquisadores: Damián Keller, Marcelo Soares Pimenta.

    Colaboradores: Luciano Vargas Flores, Ana Elisa Bonifácio Barros, Maria Helena de Lima, Evandro Manara Miletto. Rafael Vasconcelos do Nascimento, Flávio Miranda de Farias

    BibTeX:
    @techreport{Keller2008-2011a,
      author = {Keller, Damián},
      title = {EcoLab},
      year = {2008-2011},
      number = {301982/2008-2}
    }
    
    Keller, D. Ubiquitous Music (Música Ubíqua) 2009-2012 (010913/2008-4)  techreport  
    Abstract: Integrar a pesquisa básica em tecnologia do som ao trabalho artístico e comunitário através de intervenções acústicas e sonoras. Consolidar uma equipe multidisciplinar e interinstitucional de pesquisa em computação musical na UFRGS e UFAC. Fomentar a utilização de aplicativos livres na área de computação musical.

    Pesquisadores: Damián Keller, Marcelo Soares Pimenta.

    Colaboradores: Luciano Vargas Flores, Ana Elisa Bonifácio Barros, Maria Helena de Lima; Evandro Manara Miletto, Rafael Vasconcelos do Nascimento, Flávio Miranda de Farias

    BibTeX:
    @techreport{Keller2009-2012,
      author = {Keller, Damián},
      title = {Ubiquitous Music (Música Ubíqua)},
      year = {2009-2012},
      number = {010913/2008-4}
    }
    
    Keller, D. XAP.URI Platform (Plataforma XAP.URI) 2009-2013 (500780/2009-9)  techreport  
    Abstract: O Projeto Plataforma XAP.URI visa investigar e desenvolver mecanismos de interação e cooperação em ambientes web para composição musical em contexto ubíquo, implementá-los e realizar experimentos com usuários experientes e leigos. Paralelamente, este trabalho impulsionará a implementação de dois centros de aquisição de dados para uso nos projetos dos grupos participantes, um no Campus da Floresta e outro no Núcleo Xapuri da Universidade Federal do Acre. Outra meta do projeto é a consolidação de uma equipe multidisciplinar de pesquisa em Computação Musical na UFAC, na UFRGS, a partir da formação de alunos e do envolvimento dos membros do projeto, incluindo tanto bolsistas IC quanto pesquisadores visitantes das instituições colaboradoras. O projeto Plataforma XAP.URI focaliza o desenvolvimento de dispositivos que permitam a interação do público leigo e dos compositores com dados musicais dentro do contexto de intervenções ubíquas. A Plataforma XAP.URI propõe unificar a metodologia de desenvolvimento de software com a metodologia composicional através da implementação de técnicas exploratórias utilizadas em sistemas de interação humano-computador (IHC). A intervenção ubíqua engloba o conceito de interação do público num espaço local e num espaço remoto. Esta ferramenta é explorada no sentido da criação sonora dirigida para uma comunidade e para uma instalação audiovisual num local físico específico, congregando um espaço tangível e uma presença virtual através de canais sonoros, visuais ou táteis. Objetivos Gerais: Consolidar uma equipe multidisciplinar e interinstitucional de pesquisa em computação musical na UFAC e na UFRGS , ampliando a atuação dos grupos de pesquisa aos campus do interior do Acre. Investigar e desenvolver mecanismos de interação e cooperação em ambientes web para a produção de música ubíqua. Objetivos Específicos: Integrar dados extramusicais através de recursos tecnológicos dentro do contexto da ecocomposição e da composição cooperativa. Investigar e implementar de mecanismos de percepção (awareness) em ambientes cooperativos para composição de forma que seu uso seja naturalmente integrável às fases de edição, audição e argumentação sobre o processo de criação de música ubíqua. Investigação de formas alternativas de interação de usuários leigos e experientes em ambientes computacionais de composição musical.

    Pesquisadores: Damián Keller, Marcelo Soares Pimenta, Victor Lazzarini.

    Colaboradores: Luciano Vargas Flores, Ana Elisa Bonifácio Barros, Maria Helena de Lima, Evandro Manara Miletto, Flávio Miranda de Farias, Victor Antunes Vieira.

    BibTeX:
    @techreport{Keller2009-2013,
      author = {Keller, Damián},
      title = {XAP.URI Platform (Plataforma XAP.URI)},
      year = {2009-2013},
      number = {500780/2009-9}
    }
    
    Keller, D., Barreiro, D.L., Queiroz, M. & Pimenta, M.S. Anchoring in ubiquitous musical activities 2010 Proceedings of the International Computer Music Conference, pp. 319-326  inproceedings URL 
    BibTeX:
    @inproceedings{Keller2010,
      author = {Damián Keller and Daniel Luis Barreiro and Marcelo Queiroz and Marcelo Soares Pimenta},
      title = {Anchoring in ubiquitous musical activities},
      booktitle = {Proceedings of the International Computer Music Conference},
      publisher = {Ann Arbor, MI: MPublishing},
      year = {2010},
      pages = {319-326},
      url = {http://hdl.handle.net/2027/spo.bbp2372.2010.064}
    }
    
    Keller, D., Barros, A.E.B., Farias, F.M. d., do Nascimento, R.V., Pimenta, M.S., Flores, L.V., Miletto, E.M., Radanovitsck, E.A.A., Serafini, R.O. & Barraza, J.F. Música Ubíqua: Conceito e Motivação 2009 Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM (Anais do Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música - ANPPOM), pp. 539-542  inproceedings URL 
    Abstract: EN: We present the theoretical underpinnings of a new research area: Ubiquitous Music. Ubiquitous music systems can be defined as musical computing environments that support multiple users, devices, sound sources and activities in an integrated way. Although this term has recently appeared in the literature, there has not been any attempt to define a workable methodology that encompasses both musical and computational issues raised by these practices. In order to establish a suitable theoretical framework for experimentation and artistic development. Previous work on interactive installations, performance art, eco-composition, and cooperative composition partially fit within the concept of ubiquitous music. But these perspectives only address part of the ubiquitous-music practice. In this article, we propose that ubiquitous music making is characterized as an activity involving pragmatic-epistemic actions constrained by natural and social affordances. Ubiquitous music composition – a predominantly epistemic activity – results from the interactions between the musician’s personal environment and the ecological niche where this activity takes place. Thus, the ecological niche encompasses agents, tools, environment and activities, providing a conceptual and methodological grounding for musical and computational developments in ubiquitous music research.

    PT: Neste artigo discutimos a base conceitual de uma nova área de pesquisa: a Música Ubíqua. A música ubíqua pode ser definida como o resultado da conjunção de sistemas musicais, envolvendo o uso de múltiplas interfaces para a manipulação de dados e para a geração de som, e viabilizando a interação de usuários múltiplos. A nossa proposta fundamenta-se na prática musical em ecocomposição e composição cooperativa e no suporte tecnológico fornecido pela computação ubíqua.

    BibTeX:
    @inproceedings{Keller2009,
      author = {Dami&aacute;n Keller and Ana Elisa Bonifácio Barros and Farias, Flávio Miranda de and Rafael Vasconcelos do Nascimento and Marcelo Soares Pimenta and Luciano Vargas Flores and Evandro Manara Miletto and Eduardo Aquiles Affonso Radanovitsck and Serafini, Rafael Oliveira and José F. Barraza},
      title = {Música Ubíqua: Conceito e Motivação},
      booktitle = {Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM (Anais do Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música - ANPPOM)},
      publisher = {Goiânia, GO: ANPPOM},
      year = {2009},
      pages = {539-542},
      url = {http://www.anppom.com.br/anais.php}
    }
    
    Keller, D. & Berger, J. Everyday sounds: synthesis parameters and perceptual correlates 2001 Proceedings of the Brazilian Symposium on Computer Music (SBCM 2001)  inproceedings URL 
    BibTeX:
    @inproceedings{Keller2001d,
      author = {Keller, D. and Berger, J.},
      title = {Everyday sounds: synthesis parameters and perceptual correlates},
      booktitle = {Proceedings of the Brazilian Symposium on Computer Music (SBCM 2001)},
      publisher = {Fortaleza, CE: SBC},
      year = {2001},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/EverydaySounds.pdf}
    }
    
    Keller, D. & Budasz, R. Music Creation and Technologies: Interdisciplinary Theory and Practice (Criação Musical e Tecnologias: Teoria e Prática Interdisciplinar) 2010
    Vol. 2(978-85-63046-01-7) 
    book URL 
    BibTeX:
    @book{Keller2010a,
      author = {Damián Keller and Rogério Budasz},
      title = {Music Creation and Technologies: Interdisciplinary Theory and Practice (Criação Musical e Tecnologias: Teoria e Prática Interdisciplinar)},
      publisher = {Goiânia, GO: ANPPOM},
      year = {2010},
      volume = {2},
      number = {978-85-63046-01-7},
      url = {http://www.anppom.com.br/editora/Pesquisa_em_Musica-02.pdf}
    }
    
    Keller, D. & Capasso, A. Social and perceptual processes in the installation The Trade 2000 Organised Sound
    Vol. 5(2), pp. 85-94 
    article DOI URL 
    Abstract: Through a discussion of the installation piece, The Trade / Oro por Baratijas, we address the theoretical issues behind the development of ecologically based compositional work. We discuss whether ecologically based music can be studied using linguistic tools. The concepts of potentiality and actuality are situated within the perspective of individual–environment interactions. A process that describes the relationship between an individual and his specific social context is proposed: the personal environment. Consistency is discussed in relation to environmental sound listening processes and ecological modelling work. The first part of the paper concludes by suggesting that form-creation is dynamically determined by a process of mutual adaptation between listener and environment. The second part focuses on compositional methods and contextual elements as they are used in The Trade. This work has been developed through a multilevel approach where visual and sonic materials stem from social and historical issues. The organisational processes of the sound piece are based on the micro-temporal and spectral properties suggested by the visual elements in the installation. The meso-temporal dynamic is organised through ecologically constrained events. The macro-structural shape and the sources used in the piece make reference to a specific historical context, i.e. the conquest of the American continent by the European armies during the first half of the sixteenth century.
    BibTeX:
    @article{Keller2000a,
      author = {Keller, Dami&Aacute;n and Capasso, Ariadna},
      title = {Social and perceptual processes in the installation The Trade},
      journal = {Organised Sound},
      year = {2000},
      volume = {5},
      number = {2},
      pages = {85-94},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/KellerCapasso2000.pdf},
      doi = {http://dx.doi.org/10.1017/S1355771800002053}
    }
    
    Keller, D. & Capasso, A. The Trade / La conquista 2000 CD Organised Sound 5(3)  incollection URL 
    Abstract: Size: 23 Mb.
    BibTeX:
    @incollection{Keller2000b,
      author = {Keller, D. and Capasso, A.},
      title = {The Trade / La conquista},
      booktitle = {CD Organised Sound 5(3)},
      publisher = {Cambridge, UK: Cambridge University Press},
      year = {2000},
      url = {https://ccrma.stanford.edu/~dkeller/mp3/thetrade.mp3}
    }
    
    Keller, D. & Capasso, A. The Trade / La conquista 2000 Installation  misc URL 
    Abstract: Size: 23 Mb.
    BibTeX:
    @misc{Keller2000c,
      author = {Keller, D. and Capasso, A.},
      title = {The Trade / La conquista},
      publisher = {Boulder, CO: CU Art Galleries},
      year = {2000},
      note = {Boulder, CO: CU Art Galleries},
      url = {https://ccrma.stanford.edu/~dkeller/mp3/thetrade.mp3}
    }
    
    Keller, D. & Capasso, A. Vivir sin Después 2004 Installation  misc URL 
    Abstract: Title: Vivir sin después (To live with no afterwards) Video: Ariadna Capasso Sound: Damián Keller Duration: 6’00” Year: 2003-4 Media: Projection, surround sound, sand Vivir sin después is a projection in a space filled with sand. The installation seeks to capture a specific moment in time, a moment of heightened awareness. The senses are alerted by the perception of potential danger. Children are happily at play under a dark sky, pregnant with rain. The storm is imminent. Immersed in the scene, the body tunes to the hypnotic pounding sounds which could be a drum, a beating heart, a falling axe. The changing rhythm makes us teeter between exhilaration and a sense of urgency, fear.

    http://www.perpetualartmachine.com/gallery2/main.php?g2_view=core.ShowItem&g2_itemId=4916&g2_GALLERYSID=b8f7e2a87fb2fab68078c25260acc76d

    Size: 31Mb.

    Lecture, CCRMA, Stanford, CA, 2004

    ArteXArte (catalogue), Buenos Aires, Argentina, 2004

    Winds (catalogue), Haim Chanin Fine Arts, New York, NY, 2004

    Funded by Manhattan Community Arts Fund, LMCC, Individual Artist Grant 2003, New York, NY

    Review: Remarks on Vivir sin después, catalogue essay by Robert C. Morgan, 2004

    Artistas encuentran en el viento su fuente de inspiración. Alejandra Villasmil (EFE), El Diario/LaPrensa, New York, January 21, 2004

    Hacen arte con el viento. AlDiaTX.com. January, 23. On-line, 2004. http://www.haimchanin.com/exhibitions/exhibitions_thumb_winds.htm

    Cuatro mujeres intentan capturar el viento en una muestra en Manhattan. Arte. Divino Magazine. Año III, No. 24, February, p. 15, 2004

    BibTeX:
    @misc{Keller2004b,
      author = {Keller, D. and Capasso, A.},
      title = {Vivir sin Después},
      year = {2004},
      note = {New York, NY: Haim Chanin Fine Arts Gallery},
      url = {https://ccrma.stanford.edu/~dkeller/quicktime/vivir.avi}
    }
    
    Keller, D. & Capasso, A. DVD Vivir sin Después 2004 Installation  book URL 
    Abstract: Size: 31Mb.

    Lecture, CCRMA, Stanford, CA, 2004

    ArteXArte (catalogue), Buenos Aires, Argentina, 2004

    Winds (catalogue), Haim Chanin Fine Arts, New York, NY, 2004

    Review: Remarks on Vivir sin después, catalogue essay by Robert C. Morgan, 2004

    Artistas encuentran en el viento su fuente de inspiración. Alejandra Villasmil (EFE), El Diario/LaPrensa, New York, January 21, 2004

    Hacen arte con el viento. AlDiaTX.com. January, 23. On-line, 2004. http://www.haimchanin.com/exhibitions/exhibitions_thumb_winds.htm

    Cuatro mujeres intentan capturar el viento en una muestra en Manhattan. Arte. Divino Magazine. Año III, No. 24, February, p. 15, 2004

    BibTeX:
    @book{Keller2004c,
      author = {Keller, D. and Capasso, A.},
      title = {DVD Vivir sin Después},
      publisher = {New York, NY: Haim Chanin Fine Arts Gallery},
      year = {2004},
      edition = {3},
      url = {https://ccrma.stanford.edu/~dkeller/quicktime/vivir.avi}
    }
    
    Keller, D. & Capasso, A. Vivir sin Después 2006 DVD Organised Sound 11(3), pp. 311-312  incollection DOI URL 
    BibTeX:
    @incollection{Keller2006,
      author = {Keller, D. and Capasso, A.},
      title = {Vivir sin Después},
      booktitle = {DVD Organised Sound 11(3)},
      publisher = {Cambridge UK: Cambridge University Press},
      year = {2006},
      pages = {311-312},
      url = {http://dx.doi.org/10.1017/S1355771806001580},
      doi = {http://dx.doi.org/10.1017/S1355771806001580}
    }
    
    Keller, D. & Capasso, A. New concepts and techniques in eco-composition 2006 Organised Sound
    Vol. 11(1), pp. 55-62 
    article DOI URL 
    Abstract: This paper has two main objectives: (i) to discuss essential concepts of the ecological approach to composition, proposing the term eco-composition as a common reference for theoretical perspectives and compositional techniques; and (ii) to present the multimedia piece Vivir sin después, realised within the context of the Paititi Project. Following the Introduction, the paper is divided into two main sections. In section 2 we discuss issues raised by the application of the ecological approach to composition. Regarding the data-gathering procedures, eco-composition provides two effective methods: re-enaction and anchoring. Organisation of sonic materials is done through accumulation of heterarchical layers, giving rise to emergent musical phenomena. Section 3 dwells on the compositional strategies applied in the multimedia installation Vivir sin después. We describe the process of re-enacting the first Spanish trip through the Amazon River Basin, carried out by Francisco de Orellana and fifty-nine Spaniards in 1541. Then we address technical aspects of the piece, such as the application of multiple views of single entities, the development of non-hierarchical forms and the manipulation of sonic fields.
    BibTeX:
    @article{Keller2006a,
      author = {Keller,Dami&aacute;n and Capasso,Ariadna},
      title = {New concepts and techniques in eco-composition},
      journal = {Organised Sound},
      year = {2006},
      volume = {11},
      number = {1},
      pages = {55-62},
      url = {http://dx.doi.org/10.1017/S1355771806000082},
      doi = {http://dx.doi.org/10.1017/S1355771806000082}
    }
    
    Keller, D., Capasso, A. & Chowning, J. The Trade / La Conquista 2005 CEMI Centerpieces. College of Music Program Book 2005-2006, Vol 47, pp. 32-38  incollection URL 
    BibTeX:
    @incollection{Keller2005,
      author = {Keller, D. and Capasso, A. and Chowning, J.},
      title = {The Trade / La Conquista},
      booktitle = {CEMI Centerpieces. College of Music Program Book 2005-2006, Vol 47},
      publisher = {Denton, TX: University of North Texas},
      year = {2005},
      pages = {32-38},
      url = {http://digital.library.unt.edu/ark:/67531/metadc9711/m1/33/}
    }
    
    Keller, D., Capasso, A. & César, N. The Trade / La Conquista 2002
    Vol. Techno Poetry and Virtual Realities 
    inbook URL 
    BibTeX:
    @inbook{Keller2002,
      author = {Keller, D. and Capasso, A. and César, N.},
      title = {The Trade / La Conquista},
      publisher = {Mantova: Sometti},
      year = {2002},
      volume = {Techno Poetry and Virtual Realities},
      url = {http://rhizome.org/discuss/view/4176/}
    }
    
    Keller, D., Capasso, A. & Tinajero, P. Palafito / Home-on-Stilts / Palafita 1.0 [Ubiquitous Music Artwork] 2012 Installation  misc URL 
    BibTeX:
    @misc{Keller2012b,
      author = {Keller, Damián and Ariadna Capasso and Patricia Tinajero},
      title = {Palafito / Home-on-Stilts / Palafita 1.0 [Ubiquitous Music Artwork]},
      year = {2012},
      note = {New York, NY: Floor4Art Studio},
      url = {https://ccrma.stanford.edu/~dkeller/palafito_brochure_floor4art.pdf}
    }
    
    Keller, D., Capasso, A. & Tinajero, P. Palafito / Home-on-Stilts / Palafita 1.0: A Case Study in Multimedia Creativity (Palafita 1.0: Estudo de Caso em Criatividade Multimídia) 2012-2013 (455376/2012-3)  techreport  
    Abstract: No presente projeto desenvolveremos um estudo de caso – denominado Palafita 1.0 – focalizando aspectos do suporte à criatividade grupal envolvendo elementos sonoros, vídeo e trabalho escultórico. A proposta dá continuidade à série de instalações realizadas pelos três autores aplicando técnicas ecocomposicionais. Esta pesquisa insere-se no campo de estudos das práticas criativas em tecnologias da informação. Objetivos: - Desenvolvimento de um estudo de caso em criatividade aplicada a arte-instalação: Palafita 1.0; - Estudo do suporte tecnológico à criatividade no contexto multimídia; - Coleta de dados in situ visando a aferição dos resultados criativos, com ênfase para os aspectos relacionados ao uso do espaço e à interação social; - Elaboração de propostas teóricas dentro do contexto da pesquisa em música ubíqua. Entre os resultados diretos do presente projeto, temos a documentação do processo criativo, envolvendo propostas conceituais e metodológicas. Esse levantamento servirá como marco para o estudo dos resultados materiais, na forma de gráficos, maquetes, imagens e áudio. As decisões em relação ao local específico – o espaço Floor4Art – serão documentadas através de gráficos e imagens. Os resultados sonoros serão avaliados através de questionários aplicados no local de realização da instalação. Os dados serão analisados através dos enfoques teóricos desenvolvidos no contexto da pesquisa em música ubíqua. O projeto Palafita 1.0 servirá como estudo piloto dos processos criativos aplicados a materiais multimídia.

    Pesquisadores: Damián Keller, Marcelo Soares Pimenta, Victor Lazzarini.

    Colaboradores: Nora César, Marcelo Soares Pimenta, Victor Lazzarini, Ana Elisa Bonifácio Barros

    BibTeX:
    @techreport{Keller2012-2013,
      author = {Keller, Damián and Ariadna Capasso and Patricia Tinajero},
      title = {Palafito / Home-on-Stilts / Palafita 1.0: A Case Study in Multimedia Creativity (Palafita 1.0: Estudo de Caso em Criatividade Multimídia)},
      year = {2012-2013},
      number = {455376/2012-3}
    }
    
    Keller, D., Capasso, A. & Wilson, S.R. Accumulation and interaction in an urban landscape: 'Urban Corridor' 2001 Proceedings of the Brazilian Symposium on Computer Music (SBCM 2001)  inproceedings URL 
    BibTeX:
    @inproceedings{Keller2001e,
      author = {Keller, D. and Capasso, A. and Wilson, S. R.},
      title = {Accumulation and interaction in an urban landscape: 'Urban Corridor'},
      booktitle = {Proceedings of the Brazilian Symposium on Computer Music (SBCM 2001)},
      publisher = {Fortaleza, CE: SBC},
      year = {2001},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/UrbanCorridor2001.pdf}
    }
    
    Keller, D., Capasso, A. & Wilson, S.R. Urban Corridor: accumulation and interaction as form-bearing processes 2002 Proceedings of the International Computer Music Conference (ICMC 2002)  inproceedings URL 
    Abstract: http://hdl.handle.net/2027/spo.bbp2372.2002.061, http//ccrma.stanford.edu/~dkeller/pdf/KellerCapassoWilson2002.pdf
    BibTeX:
    @inproceedings{Keller2002a,
      author = {Keller, D. and A. Capasso and S. R. Wilson},
      title = {Urban Corridor: accumulation and interaction as form-bearing processes},
      booktitle = {Proceedings of the International Computer Music Conference (ICMC 2002)},
      publisher = {Ann Arbor, MI: MPublishing, University of Michigan Library},
      year = {2002},
      url = {http://quod.lib.umich.edu/cgi/p/pod/dod-idx/urban-corridor-accumulation-and-interaction-as-form-bearing.pdf?c=icmc;idno=bbp2372.2002.061}
    }
    
    Keller, D. & Carroll, L. Drop 1998 35 mm. Short Film  misc  
    BibTeX:
    @misc{Keller1998b,
      author = {Keller, D. and Luke Carroll},
      title = {Drop},
      year = {1998},
      note = {Vancouver, BC: Kick Start Award}
    }
    
    Keller, D. & Dulcet, S.R. Tijolo com Tijolo 2006 Installation  misc  
    BibTeX:
    @misc{Keller2006c,
      author = {Keller, D. and Sandro Ruggeri Dulcet},
      title = {Tijolo com Tijolo},
      year = {2006},
      note = {Balém, PA: Salão Unama de Pequenos Formatos}
    }
    
    Keller, D. & Ferneyhough, B. Analysis by Modeling: Xenakis's ST/10-1 080262 2004 Journal of New Music Research
    Vol. 33(2), pp. 161-171 
    article DOI URL 
    Abstract: This paper proposes analysis by modeling as a complement to current analytical practices. We present an analysis of Xenakis's algorithmic composition ST/10-1 080262. Two models were developed in order to study the temporal quantization processes and the streaming-fusion processes in this piece. Our study shows that fused granular textures could have been obtained by constraining the use of timbres to closely related classes and by increasing slightly the density of events.
    BibTeX:
    @article{Keller2004a,
      author = {Keller, Dami&aacute;n and Ferneyhough, Brian},
      title = {Analysis by Modeling: Xenakis's ST/10-1 080262},
      journal = {Journal of New Music Research},
      year = {2004},
      volume = {33},
      number = {2},
      pages = {161-171},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/KellerFerneyhough2004.pdf},
      doi = {http://dx.doi.org/10.1080/0929821042000310630}
    }
    
    Keller, D., Flores, L.V., Pimenta, M.S., Capasso, A. & Tinajero, P. Harpix Minicomp 1 [Multimedia software demonstration] 2011 Journal of New Music Research: New Paradigms in Computer Music, Vol. 40(3), pp. 265-276  incollection DOI  
    BibTeX:
    @incollection{Keller2011,
      author = {Keller, Dami&aacute;n and Flores, Luciano Vargas and Pimenta, Marcelo Soares and Capasso, Ariadna and Tinajero, Patricia},
      title = {Harpix Minicomp 1 [Multimedia software demonstration]},
      booktitle = {Journal of New Music Research: New Paradigms in Computer Music, Vol. 40(3)},
      publisher = {London, UK: Taylor & Francis},
      year = {2011},
      pages = {265-276},
      doi = {http://dx.doi.org/10.1080/09298215.2011.594514}
    }
    
    Keller, D., Flores, L.V., Pimenta, M.S., Capasso, A. & Tinajero, P. Convergent Trends Toward Ubiquitous Music 2011 Journal of New Music Research
    Vol. 40(3), pp. 265-276 
    article DOI URL 
    Abstract: Current musical practices point to convergent research trends that bring together eco-composition, cooperative composition, mobile music and networked music. We present results of three compositional studies devised to test three musical interaction metaphors for ubiquitous computing contexts: the cup metaphor, time tagging and spatial tagging. These metaphors were developed through a conceptual and methodological framework that places compositional activities within the context of software development. We discuss the theoretical underpinnings of our approach and propose ubiquitous music as a frame of reference for this type of research.
    BibTeX:
    @article{Keller2011b,
      author = {Keller, Dami&aacute;n and Flores, Luciano Vargas and Pimenta, Marcelo Soares and Capasso, Ariadna and Tinajero, Patricia},
      title = {Convergent Trends Toward Ubiquitous Music},
      journal = {Journal of New Music Research},
      year = {2011},
      volume = {40},
      number = {3},
      pages = {265-276},
      url = {http://www.tandfonline.com/doi/abs/10.1080/09298215.2011.594514},
      doi = {http://dx.doi.org/10.1080/09298215.2011.594514}
    }
    
    Keller, D. & Knox, U. IQ2 2000 Installation for Video Wall and Activity Recognition System  misc  
    Abstract: Current capitalist society functions on the basis of circulation and accumulation of goods. IQ2 is also shaped after these two processes. The number and behavior of people in the space define the number and characteristics of the events being triggered. Thus, IQ2 could be compared to an organism that reacts to human presence. Because the triggering process is based upon the sensors' change of state, IQ2 is not excited by too many stimuli. In fact, if all sensors are constantly active, no event is triggered. IQ2's ``quiet" state follows an eighty-hour cycle. As long as it is not disturbed, the piece will repeat itself every three days and eight hours.

    The material in IQ2 consists of a few sonic grains and video images. Thus, the local elements of the piece are very static, almost immobile. As it is the case in human social systems, the most relevant structures take place at a higher level. They are determined by relationships among a large number of elements and by processes which unfold very slowly.

    IQ2 takes shape at the junction between time and space. People's behaviors in IQ2's space establish what events occur and how they are distributed through time.

    IQ2 was presented in September 2000 at the Industrial Ear Exhibition, in the Ironworks Gallery, Vancouver, Canada. This work was funded by and realized at the Western Front Artist-Run Center, Vancouver, Canada.

    Review: http://front.nfshost.com/exhibitions/events/2973
    BibTeX:
    @misc{Keller2000e,
      author = {Keller, D. and Una Knox},
      title = {IQ2},
      year = {2000},
      note = {http://front.nfshost.com/exhibitions/events/2973}
    }
    
    Keller, D., Lima, M.H., Pimenta, M.S. & Queiroz, M. Assessing musical creativity: material, procedural and contextual dimensions 2011 Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM (Anais do Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música - ANPPOM), pp. 708-714  inproceedings URL 
    Abstract: EN: We review eight models of creativity in music and discuss how they are related to three creativity dimensions: materials, procedures and context. Through a structural analysis of the models, we identify two methodological shortcomings in their application: ‘early domain restriction’ and ‘lack of material and social grounding’. We also point to a convergence between a theoretical construct labeled ‘compositional paradigm shift’ and recent developments in compositional practices. We provide guidelines on the experimental procedures to be employed to test the validity of the models discussed.

    PT: Neste artigo discutimos oito modelos de criatividade musical e a sua relação com três dimensões de criatividade: materiais, procedimentos e contexto. Através da análise estrutural dos modelos identificamos duas lacunas metodológicas: ‘restrição prematura de domínio’ e ‘falta de contextualização social e material’. O construto ‘mudança de paradigma composicional’ é apontado como uma contribuição desses modelos e fornecemos descrições dos métodos experimentais para estudar a validade das propostas teóricas analisadas.

    BibTeX:
    @inproceedings{Keller2011d,
      author = {Dami&aacute;n Keller and Lima, Maria Helena and Marcelo Soares Pimenta and Marcelo Queiroz},
      title = {Assessing musical creativity: material, procedural and contextual dimensions},
      booktitle = {Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM (Anais do Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música - ANPPOM)},
      publisher = {Uberlândia, MG: ANPPOM},
      year = {2011},
      pages = {708-714},
      url = {http://www.anppom.com.br/anais.php}
    }
    
    Keller, D., Mendes Júnior, J.N., Lazzarini, V. & Pimenta, M.S. Ecologies of Creativity: Applications in Ubiquitous Music (Ecologias da Criatividade: Aplicações em Música Ubíqua - Eco-c) 2013-2014 (407147/2012-8)  techreport  
    Abstract: O projeto Ecologias da Criatividade (Eco-c) visa estudar os fenômenos da criatividade musical em contexto ubíquo desde as perspectivas da ecologia humana e do design de sistemas de interação humano-computador. A proposta se insere na área das Indústrias Criativas (indústrias voltadas a produtos e processos para desenvolvimento tecnológico e inovação) – uma das linhas de pesquisa definidas como prioritárias pelo Ministério de Ciência e Tecnologia. Para o estudo dos mecanismos de suporte à criatividade, adotamos um enfoque ecossistêmico embasado nos últimos avanços da pesquisa em ecologia humana. Em particular, focalizamos o desenvolvimento de técnicas de design de interação humano-computador que enfatizem aspectos sociais, que sejam compatíveis com aplicações em contexto ubíquo e que estejam embasadas em mecanismos sustentáveis. A escolha da música como campo experimental de pesquisa é fundamentada nos seguintes fatores: (1) a ubiquidade dos fenômenos musicais em todos os grupos humanos estudados até o presente; (2) a utilização intensiva de recursos cognitivos e sociais exigida pela atividade criativa em música; (3) o papel central das atividades artísticas no núcleo promotor da inovação dentro do âmbito das indústrias criativas (Fisher et al. 2009). Os resultados do presente projeto têm aplicação nas seguintes áreas: (1) pesquisa básica em criatividade; (2) pesquisa básica em interação humano-computador; (3) pesquisa aplicada em ecologia humana; (4) pesquisa aplicada em sistemas de manipulação de dados sonoros; (5) pesquisa aplicada em suporte para a interação social. A nível regional, o presente projeto visa contribuir para a ampliação do conhecimento necessário para o desenvolvimento de indústrias criativas de baixo impacto ambiental e de alto retorno social.
    BibTeX:
    @techreport{Keller2013-2014,
      author = {Damián Keller and Mendes Júnior, Jaime Nogueira and Victor Lazzarini and Marcelo Soares Pimenta},
      title = {Ecologies of Creativity: Applications in Ubiquitous Music (Ecologias da Criatividade: Aplicações em Música Ubíqua - Eco-c)},
      year = {2013-2014},
      number = {407147/2012-8}
    }
    
    Keller, D. & Pimenta, M.S. Ubiquitous Musical Systems (Sistemas Musicais Ubíquos) 2008-2010 (478092/2008-3)  techreport  
    Abstract: Sistemas Musicais Ubíquos visa investigar e desenvolver mecanismos de interação e cooperação em ambientes de composição cooperativa e ecocomposição, implementá-los e realizar experimentos com usuários reais através das intervenções sonoras. A segunda meta é a consolidação de uma equipe de multidisciplinar de pesquisa em Computação Musical na UFRGS e na UFAC, a partir da formação e envolvimento dos membros do projeto.

    Pesquisadores: Damián Keller, Marcelo Soares Pimenta.

    Colaboradores: Luciano Vargas Flores, Ana Elisa Bonifácio Barros, Evandro Manara Miletto, Rafael Vasconcelos do Nascimento

    BibTeX:
    @techreport{Keller2008-2011,
      author = {Keller, Damián and Marcelo Soares Pimenta},
      title = {Ubiquitous Musical Systems (Sistemas Musicais Ubíquos)},
      year = {2008-2010},
      number = {478092/2008-3}
    }
    
    Keller, D. & Pimenta, M.S. Ubiquitous Music (Música Ubíqua) 2008-2011 (571443/2008-7)  techreport  
    Abstract: Música Ubíqua funciona como um metaprojeto que engloba vários subprojetos nas áreas de pesquisa e extensão. No projeto serão estudadas técnicas de manipulação sonora com o intuito de viabilizar um novo formato artístico: a intervenção. Paralelamente, o projeto visa a implementação de um formato padrão que permita a integração de amostras sonoras com dados extrasonoros. O sistema de representação proposto é baseado no padrão XML, de ampla utilização nas ferramentas computacionais para rede. Finalmente, Musica Ubíqua visa investigar e desenvolver mecanismos de interação e cooperação para ambientes virtuais de composição cooperativa e para dispositivos móveis. O presente projeto permitirá a cooperação entre duas equipes pioneiras na pesquisa de ambientes virtuais para ecocomposição e composição cooperativa, visando sua aplicação em intervenções sonoras. Os trabalhos de ambas as equipes - do LCM-UFRGS e do NAP na Universidade Federal do Acre - são muito similares em alguns aspectos, mas cada um evoluiu a partir de premissas e experiências diferentes: a equipe do LCM tem focalizado o desenvolvimento de ferramentas para usuários não-especialistas em música, enquanto o NAP vem trabalhando com ambientes de uso específico em ecocomposição. Esta divergência de enfoque leva, portanto, à concepção de ambientes diferentes e a nosso ver complementares. Desta feita, o presente projeto propõe a troca de informações e a consolidação de metodologias compatíveis em ecocomposição e composição cooperativa.

    Pesquisadores: Damián Keller, Marcelo Soares Pimenta.

    Colaboradores: Luciano Vargas Flores, Ana Elisa Bonifácio Barros, Evandro Manara Miletto, Rafael Vasconcelos do Nascimento, Flávio Miranda de Farias

    BibTeX:
    @techreport{Keller2008:571443/2008-7,
      author = {Keller, Damián and Marcelo Soares Pimenta},
      title = {Ubiquitous Music (Música Ubíqua)},
      year = {2008-2011},
      number = {571443/2008-7}
    }
    
    Keller, D., Pimenta, M.S., Flores, L.V., Capasso, A. & Tinajero, P. Green Canopy: On The Road [Ubiquitous Music Artwork] 2009 Proceedings of the Brazilian Symposium on Computer Music (XII SBCM), pp. 139-150  inproceedings  
    Review: http://www.tandfonline.com/doi/abs/10.1080/09298215.2011.594514
    BibTeX:
    @inproceedings{Keller2009a,
      author = {Keller, D. and Pimenta, M. S. and Flores, L. V. and Capasso, A. and Tinajero, P},
      title = {Green Canopy: On The Road [Ubiquitous Music Artwork]},
      booktitle = {Proceedings of the Brazilian Symposium on Computer Music (XII SBCM)},
      publisher = {Recife, PE: SBC},
      year = {2009},
      pages = {139-150}
    }
    
    Keller, D., Pimenta, M.S., Flores, L.V., Capasso, A. & Tinajero, P. Green Canopy: On The Road [Ubiquitous Music Artwork] 2009 Music Performance  misc URL 
    Abstract: Size: 13Mb.
    Review: http://www.tandfonline.com/doi/abs/10.1080/09298215.2011.594514
    BibTeX:
    @misc{Keller2009b,
      author = {Keller, D. and Pimenta, M. S. and Flores, L. V. and Capasso, A. and Tinajero, P},
      title = {Green Canopy: On The Road [Ubiquitous Music Artwork]},
      year = {2009},
      note = {Proceedings of the Brazilian Symposium on Computer Music (XII SBCM)},
      url = {https://ccrma.stanford.edu/~dkeller/mp3/canopy-road.mp3}
    }
    
    Keller, D., Pimenta, M.S. & Lazzarini, V. Os Ingredientes da Criatividade em Música Ubíqua (Los Ingredientes de la Creatividad en Música Ubicua) 2013 Sonic Ideas
    Vol. Criatividade Musical / Creatividad MusicalSonic Ideas 
    incollection  
    Abstract: PT: Quais são os ingredientes dos sistemas musicais ubíquos que permitem chegar a um resultado criativo? Como identificar esses ingredientes desde a perspectiva dos usuários leigos? Como desenvolver receitas sem obrigar-se a comer sempre o mesmo bolo? Essas são algumas das questões que trataremos de responder na nossa turnê pela cozinha musical ubíqua. Na seção introdutória discutimos os conceitos que fundamentam, por um lado, as estratégias de desenvolvimento utilizadas pelo nosso grupo, e por outro, o contexto de aplicabilidade da pesquisa relatada neste artigo. Além da conceituação de uma nova metáfora de interação para contexto ubíquo – a marcação espacial – neste artigo introduzimos um modelo integrado de design de software e criação musical. Essa metodologia foi aplicada na implementação e validação da marcação temporal [Keller et al. 2010; Pimenta et al. 2012; Radanovitsck et al. 2011]. No entanto, esta é a primeira publicação na qual discutimos o modelo junto com os resultados experimentais da sua aplicação. Seguidamente descrevemos os procedimentos utilizados nos dois estudos exploratórios com sujeitos leigos e músicos, mostrando as motivações para a adoção de técnicas padronizadas de avaliação da criatividade musical. Durante o design de interação aplicamos estratégias de avaliação que podem ser utilizadas em outros estudos de suporte à criatividade musical. Em particular, adaptamos a proposta de Carroll et al. (2009) – o índice de suporte à criatividade (Creativity Support Index) – para uso em atividades musicais ubíquas. Para garantir a abrangência dos resultados, utilizamos uma forma específica de triangulação realizando estudos paralelos com sujeitos leigos e com sujeitos experientes em atividades diversas envolvendo a mesma ferramenta musical: Harpix. Os resultados mostram que a marcação espacial é utilizável em atividades de exploração e criação de material sonoro por parte de leigos, mas não fornece bom suporte para a atividade de imitação. Em relação aos usuários experientes, o produto musical Absoluts é um exemplo de uso abrangendo um ciclo completo de criação musical, demostrando de forma preliminar a aplicabilidade da metáfora para sujeitos com treinamento musical.

    ES: Cuales son los ingredientes de los sistemas musicales ubicuos que permiten llegar a resultados creativos? Como identificar esos ingredientes desde la perspectiva de usuarios sin instrucción musical? Como elaborar recetas sin tener la obligación de comer siempre la misma comida? Estas son algunas de las cuestiones que trataremos durante nuestra gira turística por la cocina musical ubicua. En la sección introductoria discutimos los conceptos que fundamentan, por un lado, las estrategias de implementación utilizadas por nuestro grupo de investigación, y por otro lado, el contexto de aplicación de esas estrategias. Mas allá de introducir una nueva metáfora de interacción para el contexto ubicuo – la marcación espacial – en este artículo delineamos un modelo integrado de diseño de software y creación musical. Este enfoque ya fue aplicado en la implementación y validación de la metáfora de marcación temporal [Keller et al., 2010; Pimenta et al., 2012; Radanovitsck et al., 2011]. Sin embargo, esta es la primera publicación en la que discutimos la marcación espacial junto con los resultados de su aplicación experimental. En la sección Métodos, describimos los procedimientos utilizados en dos estudios con sujetos legos y músicos, mostrando las motivaciones para la adopción de técnicas estandarizadas (o patronizadas) de evaluación de la creatividad musical. Durante el diseño de interacción aplicamos estrategias de evaluación que pueden ser adoptadas en otras iniciativas de desarrollo de software para la creatividad musical. En particular, adaptamos la propuesta de Carroll y coautores (2009) – el índice de soporte a la creatividad (Creativity Support Index) – para uso en actividades musicales ubicuas. Para asegurar la aplicabilidad de los resultados, utilizamos una forma específica de triangulación realizando estudios paralelos con sujetos no-músicos y con sujetos especialistas en diversas actividades usando la misma herramienta musical: Harpix. Los resultados muestran que la marcación espacial es utilizable en actividades de exploración y de creación de material sonoro realizadas por legos, pero no proporciona un buen soporte para actividades de imitación. El producto musical Absoluts – realizado por un sujeto-músico utilizando la herramienta durante un ciclo completo de creación musical – muestra, de forma preliminar, la aplicabilidad de la marcación espacial para los usuarios con instrucción musical.

    BibTeX:
    @incollection{Keller2012,
      author = {Dami&aacute;n Keller and Marcelo Soares Pimenta and Victor Lazzarini},
      title = {Os Ingredientes da Criatividade em Música Ubíqua (Los Ingredientes de la Creatividad en Música Ubicua)},
      booktitle = {Sonic Ideas},
      journal = {Sonic Ideas},
      publisher = {México, DF: CMMAS},
      year = {2013},
      volume = {Criatividade Musical / Creatividad Musical}
    }
    
    Keller, D., Pinheiro da Silva, F., Giorni, B., Pimenta, M.S. & Queiroz, M. Spatial tagging: an exploratory study (originally Marcação espacial: estudo exploratório) 2011 Proceedings of the 13th Brazilian Symposium on Computer Music (SBCM 2011)  inproceedings URL 
    BibTeX:
    @inproceedings{Keller2011a,
      author = {Keller, D. and Pinheiro da Silva, F. and Giorni, B. and Pimenta, M. S. and Queiroz, M.},
      title = {Spatial tagging: an exploratory study (originally Marcação espacial: estudo exploratório)},
      booktitle = {Proceedings of the 13th Brazilian Symposium on Computer Music (SBCM 2011)},
      publisher = {Vitória, ES: SBC},
      year = {2011},
      url = {http://compmus.ime.usp.br/sbcm/2011/}
    }
    
    Keller, D., Pinheiro da Silva, F., Giorni, B., Pimenta, M.S. & Queiroz, M. Harpix Minicomp 1.0 [Multimedia Software Demonstration] 2011 Proceedings of the 13th Brazilian Symposium on Computer Music (SBCM 2011)  incollection URL 
    BibTeX:
    @incollection{Keller2011c,
      author = {Keller, D. and Pinheiro da Silva, F. and Giorni, B. and Pimenta, M. S. and Queiroz, M.},
      title = {Harpix Minicomp 1.0 [Multimedia Software Demonstration]},
      booktitle = {Proceedings of the 13th Brazilian Symposium on Computer Music (SBCM 2011)},
      publisher = {Vitória, ES: SBC},
      year = {2011},
      url = {http://compmus.ime.usp.br/sbcm/2011/}
    }
    
    Keller, D., Queiroz, M., Pimenta, M.S. & Faria, R.R.A. Letter from the Guest Editors 2011 Journal of New Music Research
    Vol. 40(3), pp. 189-189 
    article DOI URL 
    BibTeX:
    @article{doi:10.1080/09298215.2011.628180,
      author = {Keller, Damián and Queiroz, Marcelo and Pimenta, Marcelo Soares and Faria, Regis Rossi Alves},
      title = {Letter from the Guest Editors},
      journal = {Journal of New Music Research},
      year = {2011},
      volume = {40},
      number = {3},
      pages = {189-189},
      url = {http://www.tandfonline.com/doi/abs/10.1080/09298215.2011.628180},
      doi = {http://dx.doi.org/10.1080/09298215.2011.628180}
    }
    
    Keller, D. & Rolfe, C. The corner effect 1998 Proceedings of the XII Colloquium on Musical Informatics  inproceedings URL 
    BibTeX:
    @inproceedings{,
      author = {Keller, D. and C. Rolfe},
      title = {The corner effect},
      booktitle = {Proceedings of the XII Colloquium on Musical Informatics},
      publisher = {Gorizia: AIMI},
      year = {1998},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/KellerRolfe98.pdf}
    }
    
    Keller, D. & Silva, C. Theoretical outline of a hybrid musical system 1995 Proceedings of the II Brazilian Symposium on Computer Music (II SBCM)  inproceedings URL 
    BibTeX:
    @inproceedings{Keller1995,
      author = {Keller, D. and C. Silva},
      title = {Theoretical outline of a hybrid musical system},
      booktitle = {Proceedings of the II Brazilian Symposium on Computer Music (II SBCM)},
      publisher = {Canela, RS: SBC},
      year = {1995},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/KellerSilva95.pdf}
    }
    
    Keller, D. & Souza La Patente (Pirandello) 1998 Performance Art  misc  
    BibTeX:
    @misc{Keller1998c,
      author = {Keller, D. and Souza},
      title = {La Patente (Pirandello)},
      year = {1998},
      note = {Burnaby, BC: SFU Black Box Theater}
    }
    
    Keller, D. & Souza, A.L.F. Valsa no. 6 (Nelson Rodrigues) 1999 Performance Art  misc  
    BibTeX:
    @misc{Keller1999c,
      author = {Keller, D. and Souza, A. L. F.},
      title = {Valsa no. 6 (Nelson Rodrigues)},
      year = {1999},
      note = {Burnaby, BC: SFU Theater}
    }
    
    Keller, D. & Souza, A.L.F. Lo femenino en la Pena (Federico García Lorca) 1999 Performance Art  misc  
    BibTeX:
    @misc{Keller1999d,
      author = {Keller, D. and Souza, A. L. F.},
      title = {Lo femenino en la Pena (Federico García Lorca)},
      year = {1999},
      note = {Burnaby, BC: SFU Black Box Theater}
    }
    
    Keller, D., Souza, A.L.F. & Coelho, G.F.C. Dorotéia Masquerade 2001 Performance Art  misc  
    Abstract: The sound material for Dorotéia Masquerade was organized using three sound classes which served as perceptual axes for structuring the piece: vocal sounds, water drops and hybrid metal, water and vocal events. Sonic transformations consisted in temporal and spectral transitions between these classes.

    The combination of a granular control data structure with constrained sonic databases allowed us to synthesize hybrid events, featuring characteristics of different sound classes. The extraction of events from ambient recordings provided a way to relate the sources with their placement in the space. The spatial layout consisted of three separate stereo tracks distributed in the performance space. Outdoor recordings were utilized for open spaces and reverberation by convolution was employed for enclosed spaces.

    During the performance, the sound track consisting of water drops was played continuously, the vocal track established a dialogue with the actress, and the complex events were played at key moments in the piece.

    This work was funded by the Brazilian Student Association of Stanford University. Presented on May 3, 4, and 5, 2001, during the Brazilian Week at the Elliot Center, Stanford University, CA.

    BibTeX:
    @misc{Keller2001g,
      author = {D. Keller and A. L. F. Souza and Guilherme Fernandes Cezar Coelho},
      title = {Dorotéia Masquerade},
      year = {2001}
    }
    
    Keller, D. & Truax, B. Ecologically based granular synthesis 1998 Proceedings of the International Computer Music Conference, pp. 117-120  inproceedings URL 
    BibTeX:
    @inproceedings{Keller1998,
      author = {Keller, Dami&aacute;n and Truax, B.},
      title = {Ecologically based granular synthesis},
      booktitle = {Proceedings of the International Computer Music Conference},
      publisher = {Ann Arbor, MI: ICMA},
      year = {1998},
      pages = {117-120},
      url = {http://ccrma.stanford.edu/dkeller/pdf/KellerTruax98.pdf}
    }
    
    Keller, D. & Yaluk, K. Instábilis 2001 Installation  misc  
    Abstract: Instábilis proposes a finite sonic space delimited by the resonant characteristics of a single body: a metalic sculpture. As an analogy to the visual objects exposed in the installation (small transparent cubes containing organic materials), the sonic sculpture is explored from different angles creating the timbre space for the piece. The temporal structure - comparable to a kaleidoscope - is random, modular, and constantly varying. Two stereo sources with similar sonic materials reflect the symmetry of the space. As it is the case in environmental sounds, the two soundtracks - with a total duration of twenty minutes - contain no literal repetitions. Given this aleatoric structure, each listener experiences a unique version of the piece.

    During 2001, Instábilis has been presented at Espacio Cultural Citibank, Asunción, Paraguay, and Galeria Athos Vulcão, Brasilia, Brazil.

    BibTeX:
    @misc{Keller2001f,
      author = {Keller, D. and Karina Yaluk},
      title = {Instábilis},
      year = {2001}
    }
    
    Lazzarini, V., Yi, S., Timoney, J., Keller, D. & Pimenta, M.S. The Mobile Csound Platform 2012 Proceedings of the International Computer Music Conference  inproceedings  
    BibTeX:
    @inproceedings{Lazzarini2012,
      author = {Victor Lazzarini and Steven Yi and Joseph Timoney and Damián Keller and Marcelo S. Pimenta},
      title = {The Mobile Csound Platform},
      booktitle = {Proceedings of the International Computer Music Conference},
      publisher = {Ljubljana: ICMA},
      year = {2012}
    }
    
    Lima, M.H., Keller, D., Pimenta, M.S., Lazzarini, V. & Miletto, E.M. Creativity-centred design for ubiquitous musical activities: Two case studies 2012 Journal of Music, Technology and Education
    Vol. 5(2), pp. 195-222 
    article DOI URL 
    Abstract: This study is among the first that attempt to define a methodology for creativity-centred software design in educational contexts, more specifically for musical activities in ubiquitous settings. We propose and apply a set of design techniques - the Ubimus Planning and the Ubimus Design protocols - as alternatives to experimental procedures that leave out relevant aspects of social and procedural dimensions in educational research. Two workshops were conducted to assess both technological and domain-specific requirements for support of creative musical activities. The first workshop was conducted with music teachers and school teachers that had no formal musical training. The objective of this workshop was to assess domain-specific requirements for musical creative activities by educational staff. The second workshop focused on technological support for tool development by non-musicians. This workshop yielded two software projects that involved user evaluations of creative processes. Participants in the corresponding user studies included both musicians and non-musicians. The Ubimus Planning protocol served to raise important questions regarding technological usage by musicians and naive subjects in educational contexts. Non-technical approaches, such as those proposed by traditional soundscape activities, may not be suited for introducing non-musicians to sonic composition. Naive subjects may respond better to technologically based approaches, such as those used in ecocomposition.The Ubimus Design approach proved to be effective to test the usability of musical tools at early stages of development. Prototypes were implemented and usability studies were carried out by undergraduate IT students within a three-week time slot. Sharp differences were observed in the type of requirements expressed by musicians and non-musicians regarding creativity support tools. Nevertheless, both groups of subjects assessed the use of software prototypes within exploratory musical activities as being fun and expressive.
    BibTeX:
    @article{Lima2-12:10.1386/jmte.5.2.195_1,
      author = {Lima, Maria Helena and Keller, Damian and Pimenta, Marcelo Soares and Lazzarini, Victor and Miletto, Evandro Manara},
      title = {Creativity-centred design for ubiquitous musical activities: Two case studies},
      journal = {Journal of Music, Technology and Education},
      year = {2012},
      volume = {5},
      number = {2},
      pages = {195-222},
      url = {http://www.ingentaconnect.com/content/intellect/jmte/2012/00000005/00000002/art00008},
      doi = {http://dx.doi.org/10.1386/jmte.5.2.195_1}
    }
    
    Lockhart, A. & Keller, D. Exploring Cognitive Process Through Music Composition 2006 Proceedings International Computer Music Conference (ICMC 2006), pp. 9-12  inproceedings URL 
    Abstract: The piece Golden Looking Glass is a computer music work made up of algorithmic elements that were designed for tape and live performance. This piece experiments with the listener's ability to relate to musical experience by eliminating the most basic component of the tonal system: the octave. This is achieved through mathematically scaled down versions of both the harmonic series and equal temperament. A synthesizer called Golden Tune was implemented in Max/MSP featuring both synthetic timbres and alternative tuning systems. The algorithms employ a balance between randomness and deterministic patterns.
    BibTeX:
    @inproceedings{Lockhart2006,
      author = {Adam Lockhart and Damián Keller},
      title = {Exploring Cognitive Process Through Music Composition},
      booktitle = {Proceedings International Computer Music Conference (ICMC 2006)},
      publisher = {Ann Arbor, MI: MPublishing, University of Michigan Library},
      year = {2006},
      pages = {9-12},
      url = {http://quod.lib.umich.edu/cgi/p/pod/dod-idx/exploring-cognitive-process-through-music-composition.pdf?c=icmc;idno=bbp2372.2006.026}
    }
    
    Pimenta, M.S., Flores, L.V., Capasso, A., Tinajero, P. & Keller, D. Ubiquitous music: concept and metaphors 2009 Proceedings of the Brazilian Symposium on Computer Music (XII SBCM), pp. 139-150  inproceedings  
    BibTeX:
    @inproceedings{Pimenta2009,
      author = {Pimenta, M. S. and Flores, L. V. and Capasso, A. and Tinajero, P. and Keller, D.},
      title = {Ubiquitous music: concept and metaphors},
      booktitle = {Proceedings of the Brazilian Symposium on Computer Music (XII SBCM)},
      publisher = {Recife, PE: SBC},
      year = {2009},
      pages = {139-150}
    }
    
    Pimenta, M.S., Flores, L.V., Radanovitsck, E.A.A., Keller, D. & Lazzarini, V. Aplicando a Metáfora de Marcação Temporal para Atividades Criativas com mixDroid (Aplicando la Metáfora de Marcación Temporal para Actividades Creativas con mixDroid) 2012 Sonic Ideas
    Vol. Criatividade Musical / Creatividad MusicalSonic Ideas 
    incollection  
    Abstract: PT: Investigamos a aplicação de uma nova metáfora para interação em contextos de computação ubíqua, focalizando aplicações de computação musical: a metáfora time mapping ou marcação temporal. Esta metáfora apoia-se na informação temporal disponível através do próprio som. Com o objetivo de realizar experimentos com usuários, foi implementado um protótipo em telefones celulares com suporte para o sistema operacional livre Android: o mixDroid. Apresentamos os resultados de um experimento comparativo envolvendo seis usuários leigos (N = 6), confirmando a aplicabilidade da metáfora de marcação temporal nas atividades musicais em contexto pervasivo.

    ES: Investigamos la aplicación de una nueva metáfora de interacción específica para contextos de aplicaciones musicales en computación ubicua: la metáfora time mapping o marcación temporal. Esta metáfora utiliza la información temporal disponible en el sonido. Con el fin de realizar experimentos con usuarios, implementamos un prototipo (mixDroid) para teléfonos portátiles con soporte para el sistema operativo libre Android. Presentamos los resultados de un experimento comparativo con seis usuarios no-músicos (N = 6), confirmando la aplicabilidad de la metáfora de marcación temporal en actividades musicales ubicuas.

    BibTeX:
    @incollection{Pimenta2012,
      author = {Marcelo Soares Pimenta and Luciano Vargas Flores and Eduardo Aquiles Affonso Radanovitsck and Damián Keller and Victor Lazzarini},
      title = {Aplicando a Metáfora de Marcação Temporal para Atividades Criativas com mixDroid (Aplicando la Metáfora de Marcación Temporal para Actividades Creativas con mixDroid)},
      booktitle = {Sonic Ideas},
      journal = {Sonic Ideas},
      publisher = {México, DF: CMMAS},
      year = {2012},
      volume = {Criatividade Musical / Creatividad Musical}
    }
    
    Pimenta, M.S., Miletto, E.M., Keller, D., Flores, L.V. & Testa, G.G. Technological Support for Online Communities Focusing on Music Creation: Adopting Collaboration, Flexibility and Multiculturality from Brazilian Creativity Styles 2013
    Vol. Cases on Web 2.0 in Developing Countries: Studies on Implementation, Application and Use, pp. 283-312 
    inbook DOI URL 
    BibTeX:
    @inbook{Pimenta2012a,
      author = {Marcelo S. Pimenta and Evandro M. Miletto and Damián Keller and Luciano V. Flores and Testa, G. G.},
      title = {Technological Support for Online Communities Focusing on Music Creation: Adopting Collaboration, Flexibility and Multiculturality from Brazilian Creativity Styles},
      publisher = {Vancouver, BC: IGI Global Press},
      year = {2013},
      volume = {Cases on Web 2.0 in Developing Countries: Studies on Implementation, Application and Use},
      pages = {283-312},
      url = {http://www.igi-global.com/book/cases-web-developing-countries/68196},
      doi = {http://dx.doi.org/10.4018/978-1-4666-2515-0.ch011}
    }
    
    Pinheiro da Silva, F., Pimenta, M.S., Lazzarini, V. & Keller, D. Time tagging in its niche: engagement, explorability and creative attention (A Marcação Temporal No Seu Nicho: Engajamento, Explorabilidade e Atenção Criativa) 2012 Proceedings of the III Ubiquitous Music Workshop (III UbiMus)  inproceedings URL 
    BibTeX:
    @inproceedings{PinheirodaSilva2012,
      author = {Pinheiro da Silva, Floriano and Marcelo Soares Pimenta and Victor Lazzarini and Damián Keller},
      title = {Time tagging in its niche: engagement, explorability and creative attention (A Marcação Temporal No Seu Nicho: Engajamento, Explorabilidade e Atenção Criativa)},
      booktitle = {Proceedings of the III Ubiquitous Music Workshop (III UbiMus)},
      publisher = {São Paulo, SP, Brazil: Ubiquitous Music Group},
      year = {2012},
      url = {http://compmus.ime.usp.br/ubimus/pt-br/node/33}
    }
    
    Radanovitsck, E.A.A., Keller, D., Flores, L.V., Pimenta, M.S. & Queiroz, M. mixDroid: Marcação temporal para atividades criativas 2011 Proceedings of the XIII Symposium on Computer Music (SBCM)  inproceedings URL 
    BibTeX:
    @inproceedings{Radanovitsck2011,
      author = {Eduardo Aquiles Affonso Radanovitsck and Damián Keller and Luciano Vargas Flores and Marcelo Soares Pimenta and Marcelo Queiroz},
      title = {mixDroid: Marcação temporal para atividades criativas},
      booktitle = {Proceedings of the XIII Symposium on Computer Music (SBCM)},
      publisher = {Vitória, ES: SBC},
      year = {2011},
      url = {http://compmus.ime.usp.br/sbcm/2011}
    }
    
    Rolfe, C. & Keller, D. Decorrelation as a by-product of granular synthesis 2000 Proceedings of the XIII Colloquium on Musical Informatics  inproceedings URL 
    BibTeX:
    @inproceedings{,
      author = {Chris Rolfe and Keller, D.},
      title = {Decorrelation as a by-product of granular synthesis},
      booktitle = {Proceedings of the XIII Colloquium on Musical Informatics},
      publisher = {L'Aquila: AIMI},
      year = {2000},
      url = {http://ccrma.stanford.edu/~dkeller/pdf/Decorrelation.pdf}
    }
    
    Tinajero, P., Capasso, A. & Keller, D. Green Canopy: The Tree 2005 Installation  misc  
    Abstract: Green Canopy: The Tree is articulated as a large architectural object. The 10 foot high, 8 foot wide ‘millenary tree’ is made from scraps, leftovers, and recycled materials, such as PVC pipes and carpet padding. With the process of fabrication we suggest new alternatives to the life-cycle of everyday materials, making us re-examine the value we place on objects (and trash) in a post-industrial society. The plastic forest reminds us that oxygen-producing trees are cut down and replaced by non-biodegradable materials.

    The installation activates the space by using the verticality of the structure to recreate the magical experience of being in the rainforest. The 'trunks' are covered by 'lianas' made from woven plastic bags and VHS tapes. Speakers placed throughout the tree recreate the aural atmosphere of the rainforest. The tree’s textures and sounds make it an attractive and curious object. The electronic equipment runs on solar energy with equipment provided by ETM Solar Works.

    Green Canopy is a collaborative effort between a sculpture/installation artist, Patricia Tinajero; a video-installation artist, Ariadna Capasso; and Damián Keller, a composer specializing in three-dimensional ecological-sounds. Green Canopy was part of the 6th Kingston Sculpture Biennial, Kingston, New York in 2005 and was at Hamilton College for an exhibition commemorating the 30th anniversary of Sculpture Space, in Clinton, New York, in 2006.

    Museum of the Americas, Denver, CO, 2013

    Ewing Gallery, University of Tennessee, Knoxville, TN, 2007

    LMACK Project Preview, Berlin, Germany, 2006

    Green Canopy, LMACK Project, MACO, México, DF, 2006

    Sculpture Space, Clinton, New York, 2006

    The Nature of Things (catalogue), curated by Karen Shaw, Islip Art Museum, Islip, NY, 2005

    6th Kingston Sculpture Biennial (catalogue), Kingston, New York, 2005

    Review: Jessica Thomas Sep 26 2007, The Daily Beacon:

    “Green Canopy, by artists Ariadna Capasso, Damián Keller and second-year UT faculty member Patricia Tinajero, was inspired by the “fantastic landscape” of the Amazon rainforest. Sight, sound and movement in space all play a role in the experience of this exhibit. Its playful use of perspective pulls viewers between distant and local focal points, and Keller’s score invites them to move through the piece’s rich and subtly layered contrasts of color and texture."

    http://utdailybeacon.com/entertainment/2007/sep/26/art-exhibit-brings-amazon-to-ut/

    Joanna K Miller , Oct 25 2007, Weekly Museum Diary:

    "This exhibition was set up with sculpture style objects in an area of the gallery with abstracted forms up the wall all around the objects. The objects ironically contained no green such would be expected of a exhibition entitled Green Canopy. This appeared to me to be on purpose due to the nature of the work. It gave the feeling that all of the green will be removed if we are not careful with our world."

    http://josmuseums.blogspot.com.br/2007/10/10th-week-ewing-gallery-10-25-07.html

    http://www.tandfonline.com/doi/abs/10.1080/09298215.2011.594514

    BibTeX:
    @misc{Tinajero2005,
      author = {Patricia Tinajero and Ariadna Capasso and Keller, D.},
      title = {Green Canopy: The Tree},
      year = {2005},
      note = {http://www.patriciatinajerostudio.com/collaborations/green-canopy}
    }
    
    Tinajero, P., Capasso, A. & Keller, D. Green Canopy: The Forest 2006 Installation  misc  
    Abstract: Green Canopy: The Tree is articulated as a large architectural object. The 10 foot high, 8 foot wide ‘millenary tree’ is made from scraps, leftovers, and recycled materials, such as PVC pipes and carpet padding. With the process of fabrication we suggest new alternatives to the life-cycle of everyday materials, making us re-examine the value we place on objects (and trash) in a post-industrial society. The plastic forest reminds us that oxygen-producing trees are cut down and replaced by non-biodegradable materials.

    The installation activates the space by using the verticality of the structure to recreate the magical experience of being in the rainforest. The 'trunks' are covered by 'lianas' made from woven plastic bags and VHS tapes. Speakers placed throughout the tree recreate the aural atmosphere of the rainforest. The tree’s textures and sounds make it an attractive and curious object. The electronic equipment runs on solar energy with equipment provided by ETM Solar Works.

    Green Canopy is a collaborative effort between a sculpture/installation artist, Patricia Tinajero; a video-installation artist, Ariadna Capasso; and Damián Keller, a composer specializing in three-dimensional ecological-sounds. Green Canopy was part of the 6th Kingston Sculpture Biennial, Kingston, New York in 2005 and was at Hamilton College for an exhibition commemorating the 30th anniversary of Sculpture Space, in Clinton, New York, in 2006.

    Museum of the Americas, Denver, CO, 2013

    Ewing Gallery, University of Tennessee, Knoxville, TN, 2007

    LMACK Project Preview, Berlin, Germany, 2006

    Green Canopy, LMACK Project, MACO, México, DF, 2006

    Sculpture Space, Clinton, New York, 2006

    The Nature of Things (catalogue), curated by Karen Shaw, Islip Art Museum, Islip, NY, 2005

    6th Kingston Sculpture Biennial (catalogue), Kingston, New York, 2005

    Review: Jessica Thomas Sep 26 2007, The Daily Beacon:

    “Green Canopy, by artists Ariadna Capasso, Damián Keller and second-year UT faculty member Patricia Tinajero, was inspired by the “fantastic landscape” of the Amazon rainforest. Sight, sound and movement in space all play a role in the experience of this exhibit. Its playful use of perspective pulls viewers between distant and local focal points, and Keller’s score invites them to move through the piece’s rich and subtly layered contrasts of color and texture."

    http://utdailybeacon.com/entertainment/2007/sep/26/art-exhibit-brings-amazon-to-ut/

    Joanna K Miller , Oct 25 2007, Weekly Museum Diary:

    "This exhibition was set up with sculpture style objects in an area of the gallery with abstracted forms up the wall all around the objects. The objects ironically contained no green such would be expected of a exhibition entitled Green Canopy. This appeared to me to be on purpose due to the nature of the work. It gave the feeling that all of the green will be removed if we are not careful with our world."

    http://josmuseums.blogspot.com.br/2007/10/10th-week-ewing-gallery-10-25-07.html

    http://www.tandfonline.com/doi/abs/10.1080/09298215.2011.594514

    BibTeX:
    @misc{Tinajero2006,
      author = {Patricia Tinajero and Ariadna Capasso and Keller, D.},
      title = {Green Canopy: The Forest},
      year = {2006},
      note = {http://www.patriciatinajerostudio.com/collaborations/green-canopy}
    }
    
    Tinajero, P., Capasso, A. & Keller, D. Green Canopy: The Bud 2006 Installation  misc  
    Abstract: Green Canopy: The Tree is articulated as a large architectural object. The 10 foot high, 8 foot wide ‘millenary tree’ is made from scraps, leftovers, and recycled materials, such as PVC pipes and carpet padding. With the process of fabrication we suggest new alternatives to the life-cycle of everyday materials, making us re-examine the value we place on objects (and trash) in a post-industrial society. The plastic forest reminds us that oxygen-producing trees are cut down and replaced by non-biodegradable materials.

    The installation activates the space by using the verticality of the structure to recreate the magical experience of being in the rainforest. The 'trunks' are covered by 'lianas' made from woven plastic bags and VHS tapes. Speakers placed throughout the tree recreate the aural atmosphere of the rainforest. The tree’s textures and sounds make it an attractive and curious object. The electronic equipment runs on solar energy with equipment provided by ETM Solar Works.

    Green Canopy is a collaborative effort between a sculpture/installation artist, Patricia Tinajero; a video-installation artist, Ariadna Capasso; and Damián Keller, a composer specializing in three-dimensional ecological-sounds. Green Canopy was part of the 6th Kingston Sculpture Biennial, Kingston, New York in 2005 and was at Hamilton College for an exhibition commemorating the 30th anniversary of Sculpture Space, in Clinton, New York, in 2006.

    Museum of the Americas, Denver, CO, 2013

    Ewing Gallery, University of Tennessee, Knoxville, TN, 2007

    LMACK Project Preview, Berlin, Germany, 2006

    Green Canopy, LMACK Project, MACO, México, DF, 2006

    Sculpture Space, Clinton, New York, 2006

    The Nature of Things (catalogue), curated by Karen Shaw, Islip Art Museum, Islip, NY, 2005

    6th Kingston Sculpture Biennial (catalogue), Kingston, New York, 2005

    Review: Jessica Thomas Sep 26 2007, The Daily Beacon:

    “Green Canopy, by artists Ariadna Capasso, Damián Keller and second-year UT faculty member Patricia Tinajero, was inspired by the “fantastic landscape” of the Amazon rainforest. Sight, sound and movement in space all play a role in the experience of this exhibit. Its playful use of perspective pulls viewers between distant and local focal points, and Keller’s score invites them to move through the piece’s rich and subtly layered contrasts of color and texture."

    http://utdailybeacon.com/entertainment/2007/sep/26/art-exhibit-brings-amazon-to-ut/

    Joanna K Miller , Oct 25 2007, Weekly Museum Diary:

    "This exhibition was set up with sculpture style objects in an area of the gallery with abstracted forms up the wall all around the objects. The objects ironically contained no green such would be expected of a exhibition entitled Green Canopy. This appeared to me to be on purpose due to the nature of the work. It gave the feeling that all of the green will be removed if we are not careful with our world."

    http://josmuseums.blogspot.com.br/2007/10/10th-week-ewing-gallery-10-25-07.html

    http://www.tandfonline.com/doi/abs/10.1080/09298215.2011.594514

    BibTeX:
    @misc{Tinajero2006a,
      author = {Patricia Tinajero and Ariadna Capasso and Keller, D.},
      title = {Green Canopy: The Bud},
      year = {2006},
      note = {http://www.patriciatinajerostudio.com/collaborations/green-canopy}
    }
    

    Created by JabRef on 14/12/2012.