I am a computer music researcher, improvising composer/performer, musical ensemble leader, media systems designer, and now (since August 2015) the Technical Director of CCRMA.
My research interests include interactive systems, musical rhythm, new interfaces for musical expression, sound synthesis, sonification and visualization, interactive audiovisual system design, musical networking, sound in space, and computational ethnomusicology.
I started my career as the Musical Systems Designer at U.C. Berkeley's Center for New Music and Audio Technology (CNMAT) from 1993-2008, where I was known for developing and promoting the Sound Description Interchange Format (SDIF) and Open Sound Control (OSC) standards, as well as work with real-time mapping of musical gestures to sound synthesis.
I received my PhD from CCRMA's "Computer-Based Music Theory and Acoustics" program (via Stanford University's Music Department) in March 2008. I did a bunch of student projects in the first few years. My dissertation is available online. My dissertation research involved Perceptual Attack Time, the time that a sound is perceived as a rhythmic event, which in general is not the same as the sound's onset. My research had three related projects:
After my PhD I then spent one year as a visiting research fellow at the University of Victoria on the theme of "Computational Ethnomusicology" working with Andy Schloss and George Tzanetakis developing tools for analysis and visualization of detailed pitch and timing information from musical recordings.
From 2009 until 2015 I was the Research Director of UC Santa Barbara's Center for Research in Electronic Arts and Technology (CREATE). As Principal Development Engineer for the AlloSphere, a 3-story full-surround immersive audiovisual instrument for scientific and artistic research, I interfaced with science content partners, oversaw the development of a large software base to enable rapid development of navigable immersive 3D audiovisual worlds, managed system integration in a multiuser heterogenous realtime supercomputing platform, and oversaw aspects of user input mapping, interaction design, and audio.
As a musician, I play a variety of traditional plucked lutes, Afro-Brazilian percussion, and computer-based instruments of my own design, in both traditional music contexts and experimental new works. At UCSB I founded and directed the Afro-Brazilian Ensemble and the CREATE Ensemble.
I have a continuous online course Programming MAX: Structuring Interactive Software for Digital Arts teaching interactive audiovisual programming in Cycling '74's Max/MSP/Jitter language/environment, via kadenze.com.
For more details you can download my full Curriculum Vitae which lists my publications, advisees, selected compositions and performances, employment history, courses taught, etc.
From time to time I find myself dealing with email