Cagri Erdem

Jensenius, Alexander Refsum & Erdem, Cagri (2022). Gestures in ensemble performance. In Timmers, Renee; Bailes, Freya & Daffern, Helena (Ed.), Together in Music: Coordination, expression, participation. Oxford University Press. ISSN 9780198860761.

Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2020). Exploring relationships between effort, motion, and sound in new musical instruments. In Marc R. Thompson & Jonna K. Vuoskoski (Eds.). Special issue on Mind, Music and Technology. Human Technology.  ISSN 1795-6889.  16(3), s 310–347. 

Erdem, Cagri & Jensenius, Alexander Refsum (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation, In Romain Michon & Franziska Schroeder (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Birmingham City University. 

Erdem, Cagri; Lan, Qichao; Fuhrer, Julian; Martin, Charles Patrick; Tørresen, Jim & Jensenius, Alexander Refsum (2020). Towards Playing in the 'Air': Modeling Motion-Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks, In Simone Spagnol & Andrea Valle (ed.),  Proceedings of the 17th Sound and Music Computing Conference (Best Paper Award)

Alarcón Diaz, Ximena; Gonzalez Sanchez, Victor Evaristo & Erdem, Cagri (2019). INTIMAL: Walking to feel place, breathing to feel presence. Proceedings of the International Conference on New Interfaces for Musical Expression, in Marcelo Queiroz & Anna Xambo Sedo (Eds.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul. (Pamela Z Award)

Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance, In Marcelo Queiroz & Anna Xambo Sedo (ed.),  Proceedings of the International Conference on New Interfaces for Musical Expression.  Universidade Federal do Rio Grande do Sul. 

Erdem, Cagri; Camci, Anil & Forbes, Angus (2017). Biostomp: A Biocontrol System for Embodied Performance Using Mechanomyography, in Proceedings of the International Conference on New Interfaces for Musical Expression. Aalborg University. 

• Jónsson, Björn Thor; Erdem, Cagri & Glette, Kyrre (2024). A System for Sonic Explorations With Evolutionary Algorithms. Journal of The Audio Engineering Society. ISSN 1549-4950. 72(4), p. 257–266. doi: 10.17743/jaes.2022.0137.
• Jónsson, Björn Thor; Erdem, Cagri; Fasciani, Stefano & Glette, Kyrre (2024). Towards Sound Innovation Engines Using Pattern-Producing Networks and Audio Graphs. In Johnson, Colin; Rebelo, Sérgio M. & Santos, Iria (Ed.), Artificial Intelligence in Music, Sound, Art and Design. Springer Nature. ISSN 9783031569920. doi: 10.1007/978-3-031-56992-0_14. Full text in Research Archive
• Kjenstad, Emil Magnar; Ringsby, Halvor Kristian; Gaeb, Rahel Jamal; Erdem, Cagri; Kousias, Konstantinos & Alay, Ozgu [Show all 7 contributors for this article] (2023). Experiencing Rotation and Curvature Gain for Redirected Walking in Virtual Reality, MMVE '23: Proceedings of the 15th International Workshop on Immersive Mixed and Virtual Environment Systems. Association for Computing Machinery (ACM). ISSN 979-8-4007-0189-4. p. 1–6. doi: 10.1145/3592834.3592874. Full text in Research Archive
• von Arnim, Hugh Alexander; Fasciani, Stefano & Erdem, Cagri (2023). The Feedback Mop Cello: An Instrument for Interacting with Acoustic Feedback Loops. In Ortiz, Miguel & Marquez-Borbon, Adnan (Ed.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidad Autónoma Metropolitana. ISSN 2220-4792. doi: http:/hdl.handle.net/10852/104236. Full text in Research Archive
• Erdem, Cagri; Wallace, Benedikte; Glette, Kyrre & Jensenius, Alexander Refsum (2023). Tool or Actor? Expert Improvisers’ Evaluation of a Musical AI “Toddler”. Computer Music Journal. ISSN 0148-9267. 46(4), p. 26–42. doi: 10.1162/comj_a_00657. Full text in Research Archive
• Erdem, Cagri; Wallace, Benedikte & Jensenius, Alexander Refsum (2022). CAVI: A Coadaptive Audiovisual Instrument–Composition. In McPherson, Andrew & Frid, Emma (Ed.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. ISSN 2220-4792. doi: 10.21428/92fbeb44.803c24dd.
• Krzyzaniak, Michael; Erdem, Cagri & Glette, Kyrre (2022). What Makes Interactive Art Engaging? Frontiers in Computer Science. ISSN 2624-9898. 4. doi: 10.3389/fcomp.2022.859496. Show summary

  Interactive art requires people to engage with it, and some works of interactive art are more intrinsically engaging than others. This article asks what properties of a work of interactive art promote engagement. More specifically, it examines four properties: (1) the number of controllable parameters in the interaction, (2) the use of fantasy in the work, (3) the timescale on which the work responds, and (4) the amount agency ascribed to the work. Each of these is hypothesized to promote engagement, and each hypothesis is tested with a controlled user study in an ecologically valid setting on the Internet. In these studies, we found that more controllable parameters increases engagement; the use of fantasy increases engagement for some users and not others; the timescale surprisingly has no significant on engagement but may relate to the style of interaction; and more ascribed agency is correlated with greater engagement although the direction of causation is not known. This is not intended to be an exhaustive list of all properties that may promote engagement, but rather a starting point for more studies of this kind.

• Swarbrick, Dana; Upham, Finn; Erdem, Cagri; Jensenius, Alexander Refsum & Vuoskoski, Jonna Katariina (2022). Measuring Virtual Audiences with The MusicLab App: Proof of Concept. In Michon, Romain; Pottier, Laurent & Orlarey, Yann (Ed.), Proceedings of the 19th Sound and Music Computing Conference. SMC Network. ISSN 9782958412609. p. 532–539. doi: 10.5281/zenodo.6798290. Full text in Research Archive Show summary

  We present a proof of concept by using the mobile application MusicLab to measure motion during a livestreamed concert and examining its relation to musical features. With the MusicLab App, participants’ own smartphones’ inertial measurement unit (IMU) sensors can be leveraged to record their motion and their subjective experiences collected through survey responses. The MusicLab Lockdown Rave was an Algorave (live-coded dance music) livestreamed concert featuring prolific performers Renick Bell and Khoparzi. They livestreamed for an international audience who wore their smartphones with the MusicLab App while they listened/danced to the performances. From their acceleration, we computed quantity of motion and compared it to musical features that have previously been associated with music-related motion, namely pulse clarity and low and high spectral flux. By encountering challenges and implementing improvements, the MusicLab App has become a useful tool for researching music-related motion.

• Jensenius, Alexander Refsum & Erdem, Cagri (2022). Gestures in ensemble performance. In Timmers, Renee; Bailes, Freya & Daffern, Helena (Ed.), Together in Music: Coordination, expression, participation. Oxford University Press. ISSN 9780198860761. Full text in Research Archive Show summary

  The topic of gesture has received growing attention among music researchers over recent decades. Some of this research has been summarized in anthologies on "musical gestures", such as those by Gritten and King (2006), Godøy and Leman (2010), and Gritten and King (2011). There have also been a couple of articles reviewing how the term gesture has been used in various music-related disciplines (and beyond), including those by Cadoz and Wanderley (2000) and Jensenius et al. (2010). Much empirical work has been performed since these reviews were written, aided by better motion capture technologies, new machine learning techniques, and a heightened awareness of the topic. Still there are a number of open questions as to the role of gestures in music performance in general, and in ensemble performance in particular. This chapter aims to clarify some of the basic terminology of music-related body motion, and draw up some perspectives of how one can think about gestures in ensemble performance. This is, obviously, only one way of looking at the very multifaceted concept of gesture, but it may lead to further interest in this exciting and complex research domain.

• Erdem, Cagri; Jensenius, Alexander Refsum; Glette, Kyrre; Krzyzaniak, Michael Joseph & Veenstra, Frank (2020). Air-Guitar Control of Interactive Rhythmic Robots. Proceedings of the International Conference on Live Interfaces (Proceedings of ICLI). ISSN 2663-9041. p. 208–210. Show summary

  This paper describes an interactive art installation shown at ICLI in Trondheim in March 2020. The installation comprised three musical robots (Dr. Squiggles) that play rhythms by tapping. Visitors were invited to wear muscle-sensor armbands, through which they could control the robots by performing ‘air-guitar’-like gestures.

• Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2020). Exploring relationships between effort, motion, and sound in new musical instruments. Human Technology. ISSN 1795-6889. 16(3), p. 310–347. doi: 10.17011/ht/urn.202011256767. Full text in Research Archive Show summary

  We investigated how the action–sound relationships found in electric guitar performance can be used in the design of new instruments. Thirty-one trained guitarists performed a set of basic sound-producing actions (impulsive, sustained, and iterative) and free improvisations on an electric guitar. We performed a statistical analysis of the muscle activation data (EMG) and audio recordings from the experiment. Then we trained a long short-term memory network with nine different configurations to map EMG signal to sound. We found that the preliminary models were able to predict audio energy features of free improvisations on the guitar, based on the dataset of raw EMG from the basic sound-producing actions. The results provide evidence of similarities between body motion and sound in music performance, compatible with embodied music cognition theories. They also show the potential of using machine learning on recorded performance data in the design of new musical instruments.

• Erdem, Cagri & Jensenius, Alexander Refsum (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation. In Michon, Romain & Schroeder, Franziska (Ed.), Proceedings of the International Conference on New Interfaces for Musical Expression. Birmingham City University. ISSN 978-1-949373-99-8. p. 477–482. Full text in Research Archive Show summary

  This paper describes the ongoing process of developing RAW, a collaborative body–machine instrument that relies on `sculpting' the sonification of raw EMG signals. The instrument is built around two Myo armbands located on the forearms of the performer. These are used to investigate muscle contraction, which is again used as the basis for the sonic interaction design. Using a practice-based approach, the aim is to explore the musical aesthetics of naturally occurring bioelectric signals. We are particularly interested in exploring the differences between processing at audio rate versus control rate, and how the level of detail in the signal––and the complexity of the mappings––influence the experience of control in the instrument. This is exemplified through reflections on four concerts in which RAW has been used in different types of collective improvisation.

• Erdem, Cagri; Lan, Qichao; Fuhrer, Julian; Martin, Charles Patrick; Tørresen, Jim & Jensenius, Alexander Refsum (2020). Towards Playing in the 'Air': Modeling Motion-Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks. In Spagnol, Simone & Valle, Andrea (Ed.), Proceedings of the 17th Sound and Music Computing Conference. Axea sas/SMC Network. ISSN 978-88-945415-0-2. p. 177–184. Full text in Research Archive Show summary

  In acoustic instruments, sound production relies on the interaction between physical objects. Digital musical instruments, on the other hand, are based on arbitrarily designed action--sound mappings. This paper describes the ongoing exploration of an empirically-based approach for simulating guitar playing technique when designing the mappings of 'air instrument' designs. We present results from an experiment in which 33 electric guitarists performed a set of basic sound-producing actions: impulsive, sustained, and iterative. The dataset consists of bioelectric muscle signals, motion capture, video, and audio recordings. This multimodal dataset was used to train a long short-term memory network (LSTM) with a few hidden layers and relatively short training duration. We show that the network is able to predict audio energy features of free improvisations on the guitar, relying on a dataset of three distinct motion types.

• Alarcón Diaz, Ximena; Gonzalez Sanchez, Victor Evaristo & Erdem, Cagri (2019). INTIMAL: Walking to feel place, breathing to feel presence. Proceedings of the International Conference on New Interfaces for Musical Expression. ISSN 2220-4792. Full text in Research Archive Show summary

  INTIMAL is a physical virtual embodied system for relational listening that integrates body movement, oral archives, and voice expression through telematic improvisatory performance in migratory contexts. It has been informed by nine Colombian migrant women who express their migratory journeys through free body movement, voice and spoken word improvisation. These improvisations have been recorded using Motion Capture, in order to develop interfaces for co-located and telematic interactions for the sharing of narratives of migration. In this paper, using data from the Motion Capture experiments, we are exploring two specific movements from improvisers: displacements on space (walking, rotating), and breathing data. Here we envision how co-relations between walking and breathing, might be further studied to implement interfaces that help the making of connections between place, and the feeling of presence for people in-between distant locations.

• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance. In Visi, Federico (Eds.), Music Proceedings of the International Conference on New Interfaces for Musical Expression. Universidade Federal do Rio Grande do Sul. ISSN 2220-4792. Full text in Research Archive Show summary

  What if a musician could step outside the familiar instrumental paradigm and adopt a new embodied language for moving through sound with a dancer in true partnership? And what if a dancer’s body could coalesce with a musician’s skills and intuitively render movements into instrumental actions for active sound-making?

• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance. In Queiroz, Marcelo & Xambo Sedo, Anna (Ed.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidade Federal do Rio Grande do Sul. ISSN 2220-4792. p. 477–482. Full text in Research Archive Show summary

  This paper describes the process of developing a shared instrument for music–dance performance, with a particular focus on exploring the boundaries between standstill vs motion, and silence vs sound. The piece Vrengt grew from the idea of enabling a true partnership between a musician and a dancer, developing an instrument that would allow for active co-performance. Using a participatory design approach, we worked with sonification as a tool for systematically exploring the dancer’s bodily expressions. The exploration used a “spatiotemporal matrix,” with a particular focus on sonic microinteraction. In the final performance, two Myo armbands were used for capturing muscle activity of the arm and leg of the dancer, together with a wireless headset microphone capturing the sound of breathing. In the paper we reflect on multi-user instrument paradigms, discuss our approach to creating a shared instrument using sonification as a tool for the sound design, and reflect on the performers’ subjective evaluation of the instrument.

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• Silje, Pileberg & Erdem, Cagri (2022). The new, artificial composers . [Internet]. Forskning.no. Show summary

  In recent years artificial intelligence (AI) has affected music to an increasing extent, for instance in music production: While a human writes the main melody the machine, through AI, may produce the background arrangement.

• Swarbrick, Dana; Upham, Finn; Erdem, Cagri; Jensenius, Alexander Refsum & Vuoskoski, Jonna Katariina (2022). Measuring Virtual Audiences with The MusicLab App: Proof of Concept. Show summary

  We present a proof of concept by using the mobile application MusicLab to measure motion during a livestreamed concert and examining its relation to musical features. With the MusicLab App, participants’ own smartphones’ inertial measurement unit (IMU) sensors can be leveraged to record their motion and their subjective experiences collected through survey responses. The MusicLab Lock-down Rave was an Algorave (live-coded dance music) livestreamed concert featuring prolific performers Renick Bell and Khoparzi. They livestreamed for an international audience who wore their smartphones with the MusicLab App while they listened/danced to the performances. From their acceleration, we computed quantity of motion and compared it to musical features that have previously been associated with music-related motion, namely pulse clarity and low and high spectral flux. By encountering challenges and implementing improvements, the MusicLab App has become a useful tool for researching music-related motion.

• Krzyzaniak, Michael Joseph; Gerry, Jennifer; Kwak, Dongho; Erdem, Cagri; Lan, Qichao & Glette, Kyrre [Show all 7 contributors for this article] (2021). Fibres Out of Line. Show summary

  Fibres Out of Line is an interactive art installation and performance for the 2021 Rhythm Perception and Production Workshop (RPPW). Visitors can watch the performance, and subsequently interact with the installation, all remotely via Zoom.

• Kelkar, Tejaswinee & Erdem, Cagri (2021). Two-Body Problem.
• Erdem, Cagri; Winther, Christian & Knedal Andersen, Dag Erik (2021). CAVI. Show summary

  Imagine yourself playing a musical instrument while your friend messes around with electronic audio effects devices that process your instrument’s sound. You can be annoyed or waive the control and try to jam together. Now imagine that artificial intelligence replaces your friend in the same setting. That will happen in this 6th edition of MusicLab. Two prominent musicians from Norway's improvisation scene, Christian Winther (guitar) and Dag Erik Knedal Andersen (drums) will be playing a solo improvised set, each with CAVI, a "coadaptive audiovisual instrument" developed by RITMO researcher, Çağrı Erdem. The concert will be streamed from The Science Library at the University of Oslo, followed by a virtual panel and data-jockeying. MusicLab 6 will be the closing event of The Nordic Sound and Music Computing Day.

• Swarbrick, Dana; Upham, Finn; Erdem, Cagri; Burnim, Kayla & Jensenius, Alexander Refsum (2021). The MusicLab App – Exploring the usage of mobile accelerometry to measure audience movement and respiration.
• Swarbrick, Dana; Upham, Finn; Erdem, Cagri; Burnim, Kayla & Jensenius, Alexander Refsum (2021). MusicLab Algorave – An exploratory study examining the usage of mobile accelerometry to measure movements of a virtual concert audience.
• Erdem, Cagri (2021). Noise and Smoke: Disruptive Adventures in Jazz and New Music. [Radio]. Açık Radyo 95.0.
• Erdem, Cagri (2020). RAW v2.
• Erdem, Cagri (2020). RAW.
• Erdem, Cagri (2020). RAW.
• Erdem, Cagri (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation.
• Erdem, Cagri (2020). Towards Playing in the 'Air': Modeling Motion-Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks.
• Erdem, Cagri; Arikan, Gorkem; Uret, Umit; Olgun, Gokce Mine & Odabasi, Ipek (2020). A.I.D on AIR (biweekly). [Radio]. Root Radio.
• Erdem, Cagri & Arikan, Gorkem (2020). Mashed Potatoes (biweekly program). [Radio]. Root Radio.
• Swarbrick, Dana; Khoparzi, Abhinay; Bell, Renick; Erdem, Cagri & Sørbø, Solveig Isis (2020). MusicLab 5: Lockdown Rave. Show summary

  In the 5th edition of MusicLab we presented an online algorave (algorithmic rave)! Prominent algoravers Renick Bell and Khoparzi improvised live-coded music on their computers from their respective locations in Japan and India, while the audience danced to the rave music in their homes all over the world. This event was also the launch of the MusicLab App!

• Caglar, Yurdal & Erdem, Cagri (2020). Bahçe.
• Jensenius, Alexander Refsum; Erdem, Cagri; Kwak, Dongho Daniel; Rahman, Habibur; Glette, Kyrre & Krzyzaniak, Michael Joseph [Show all 8 contributors for this article] (2020). Strings On-Line. Show summary

  An interactive art installation presented during the International Conference on New Interfaces for Musical Expression (NIME) 2020.

• Krzyzaniak, Michael Joseph; Veenstra, Frank; Erdem, Cagri; Glette, Kyrre & Jensenius, Alexander Refsum (2020). Interactive Rhythmic Robots.
• Krzyzaniak, Michael Joseph; Kwak, Dongho Daniel; Veenstra, Frank; Erdem, Cagri; Wallace, Benedikte & Jensenius, Alexander Refsum [Show all 7 contributors for this article] (2020). Dr. Squiggles rhythmical robots. Show summary

  Dr. Squiggles is an interactive musical robot that we designed, that plays rhythms by tapping. It listens for tapping produced by humans or other musical robots, and attempts to play along and improvise its own rhythms based on what it hears.

• Erdem, Cagri (2019). RAW: A Muscle-based instrument.
• Kelkar, Tejaswinee; Erdem, Cagri & Lan, Qichao (2019). Utopia.
• Alarcón Diaz, Ximena; Boddie, Paul; Erdem, Cagri; Aandahl, Eigil; Andersen, Elias Sukken & Dahl, Eirik [Show all 8 contributors for this article] (2019). Sensing Place and Presence in an INTIMAL Long-Distance Improvisation. Show summary

  INTIMAL is an interactive system for relational listening, which integrates physical-virtual interfaces for people to sonically improvise between distant locations. The aim is to embrace two key aspects in the context of human migration: the sense of place and the sense of presence. This paper reflects on the use of INTIMAL in a long-distance improvisation between the cities of Oslo, Barcelona and London in May 2019. This improvisation was performed by nine Colombian migrant women, who had been involved in a research process using the Deep Listening® practice developed by Pauline Oliveros. Here we describe the performance setting and the implementation of the first two interfaces of the system: MEMENTO, an “embodied” navigator of an oral archive of Colombian women’s testimonies of conflict and migration; and RESPIRO, a sonification system that transmits and sonifies live, breathing signals between distant locations. We reflect on how the two interfaces facilitated and challenged the improvisers’ listening experiences and connections.

• Erdem, Cagri & Saga, Yuki (2019). Meeting Yuki Saga.
• Alarcón Diaz, Ximena; Gonzalez Sanchez, Victor Evaristo & Erdem, Cagri (2019). INTIMAL: Walking to find place, breathing to feel presence. Show summary

  INTIMAL is a physical virtual embodied system for relational listening that integrates body movement, oral archives, and voice expression through telematic improvisatory performance in migratory contexts. It has been informed by nine Colombian migrant women who express their migratory journeys through free body movement, voice and spoken word improvisation. These improvisations have been recorded using Motion Capture, in order to develop interfaces for co-located and telematic interactions for the sharing of narratives of migration. In this paper, using data from the Motion Capture experiments, we are exploring two specific movements from improvisers: displacements on space (walking, rotating), and breathing data. Here we envision how co-relations between walking and breathing, might be further studied to implement interfaces that help the making of connections between place, and the feeling of presence for people in-between distant locations.

• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance.
• Erdem, Cagri; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance.
• Jensenius, Alexander Refsum; Erdem, Cagri; Zelechowska, Agata; Lan, Qichao; Fuhrer, Julian Peter & Gonzalez Sanchez, Victor Evaristo (2019). Entraining Guitars.
• Jensenius, Alexander Refsum; Martin, Charles Patrick; Erdem, Cagri; Lan, Qichao; Fuhrer, Julian Peter & Gonzalez Sanchez, Victor Evaristo [Show all 9 contributors for this article] (2019). Self-playing Guitars. Show summary

  In this installation we explore how six self-playing guitars can entrain to each other. When they are left alone they will revert to playing a common pulse. As soon as they sense people in their surroundings they will start entraining to other pulses. The result is a fascinating exploration of a basic physical and cognitive concept, and the musically interesting patterns that emerge on the border between order and chaos.

• Schia, Katja Henriksen; Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2018). Music-Dance Performance: "Rhythm".

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