Non-Refereed Publications

Gillies, S. (2018, October). Building Sound Relationships for 360˚ Video. Presented at the Sound/Image Colloquium, Greenwich University, London, United Kingdom.

ABSTRACT: This paper will discuss the practice of working with sound in 360˚ video as a model for working more broadly with media that mobilises its viewer’s perspective. Fixed frame perspective, characterized by the physical frame that bounds a media, determined by a creative and presented to the audience, represents a de facto status quo for much of the discussion underpinning sound/image relationships. Media experiences that enable a mobile frame perspective, one where the creative curates a total environmental experience which can then be navigated freely by the viewer, necessarily adopt a different range of audiovisual relationships and concerns.

360˚ video, therefore, represents an interesting meeting point of these two phenomena, a media that is both inherently connected to both digital video, and to new media, mobile frame perspectives, rooted in environmental concerns of space and place. As such, the act of composing and designing sound and music for 360˚ video environments differs significantly from that of media built upon traditional fixed perspective media yet still exists within the confines of a digital media experience.

Embracing ambisonic sound design for its locational possibilities, this paper will describe the authors creative and technical process of composing 360˚ audiovisual environments, virtual spaces where all sound-based decisions take on an ‘environmental’ function. Through this process, the defining elements that determine effective audiovisual compositional practices for 360˚ video media will be derived.

 

Gillies, S. (2015, May). Emanations: Developing a noise-orientated system of interactive musical phrase matching. Presented at the Goldsmiths Music Research Seminar, London, United Kingdom.

ABSTRACT: Emanaitons is a powerful tool for expanding the possibilities of live improviation in both an acoustic and electronic context. Designed as a standalone system, Emanations responds dynamically to any potential input in a live performance, matching stored musical phrases with the incoming audio and outputting the result. This presentation will discuss how perceptual factors other than pitch and amplitude are integrated into the system, and how phrase matching is approached to generate the appropriate output.

 

Gillies, S. (2014, October). The Expressive Potential of Wave Terrain Synthesis as Explored in Snowden (Social Network). Poster presented at IRCAM Forum, Paris, France.

ABSTRACT: Wave terrain synthesis, first envisioned by Rich Gold in 1978 as a system that could use a virtual multi-dimensional surface as a means for generating audio waveforms, is an effectively technique for ‘performing timbre’. My own explorations in wave terrain synthesis are derived the synthesis engines constructed by Stuart James in his Masters thesis “Developing a flexible and expressive realtime polyphonic wave terrain synthesis instrument based on a visual and multidimensional methodology” and beyond. James’s approach to wave terrain synthesis utilises Max/MSP’s Jitter library to derive three dimensional terrains upon which trajectories can be plotted and sonified. This paper will explore my own compositional approach to this technique of sound synthesis, discussing the expressive potential of the technique as implemented in my recent multi-channel work Snowden (Social Network).

 

Gillies, S. (2012, August). Exploring the potential of interactivity between music and moving images. Poster presented at Australian Computer Music Conference, Brisbane, Australia.

ABSTRACT: Since the advent of digital video editing and projection, multimedia presentation in the concert space is no longer exclusive to the music of stadium sized popular music events. Increasingly, many in the field of 'New Music' - a phrase often associated with abstract and potentially audience-alienating sonic explorations - are moving towards the realm of mixed media presentation, opening up a plethora of interactive possibilities between the associations made by the audience between sight and sound. Examples of this trend include performances across the spectrum of New Music such as Sensorband (Edwin van der Heide, Zbigniew Karkowski and Atau Tanaka), Nico Muhly, Leafcutter John, and more. This paper investigates several ifferent approaches to constructing visual accompaniments to interact with music performance, ultimately exploring the use of these ideas in my own works in relation to the construction a musical narrative and orientating the listener to experience a piece of music in an intended light.

 

Gillies, S. (2011). Elements of Transmission, Location, Space and Place in the time-lapse audio works of Sam Gillies' Dichotomy:Assembly. Published as part of the Deep Wireless Festival of Radio Art, Toronto, Canada.

ABSTRACT: “Dichotomy:Assembly”, by Sam Gillies, is a piece that explores the nature of the duality of the soundscape of Perth, Western Australia. It is one in a series of the artist’s pieces that utilises a time-lapse approach to field recordings to inform an alternative way of aurally interpreting the soundscape of suburban Perth which, unlike the site specific nature of a traditional field recording, divorces the site from a traditional view of time and moves the perception of location to be appreciated as a series of generalised samples of occurrences that contribute to form a different kind of impression of a given space.