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. 

• Madaghiele, Vincenzo; Fasciani, Stefano; Kelkar, Tejaswinee & Erdem, Cagri (2026). Modeling Relations Between Musical Events in Continuous Time with Transformer Models for Live Co-Improvisational Interactions | Zenodo. I Coelho, Guilherme (Red.), Proceedings of International Conference on AI and Musical Creativity. AI Music Creativity (AIMC). doi: 10.5281/zenodo.22276042. Fulltekst i vitenarkiv Vis sammendrag

  This paper presents a live semi-autonomous system that co-improvises with a live musician using a model learned from the relationship observed in paired recordings of an improvising duo. This responsive system is based on a deep learning approach that models the relations between sequences of events produced by co-playing musicians in continuous time, using transformer models. We present the architecture for simultaneous sequences of sonic events and provide a quantitative evaluation on several representative tasks. Results are compared against a canonical transformer and a multichannel Factor Oracle, the latter being a widely used model for live sequence-based symbolic music generation. We detail a live implementation employing concatenative synthesis and introduce a customization procedure in which the generative model is iteratively retrained on curated, satisfactory sections from sound recordings of actual human-system co-improvisational interactions. This iterative fine-tuning enables the model’s stylistic output to diverge from the original training corpus. Two musical use cases demonstrate the application of this technique.

• Erdem, Cagri & Rocchesso, Davide (2026). A Visualization and Control Interface for Rhythmic Relations. I Angeli, Antonella De & Schmidt, Albrecht (Red.), AVI '26: Proceedings of the 2026 International Conference on Advanced Visual Interfaces. Association for Computing Machinery (ACM). ISSN 9798400723421. s. 1–3. doi: 10.1145/3811427.3811503. Fulltekst i vitenarkiv Vis sammendrag

  RhyGlyph is a radial visualization system that represents rhythmic interaction as three pairwise spacetime trajectories within a compact three-wedge glyph, supporting both overview and detailed reading. Building on this representation, RhyDiff is a generative framework that learns aligned latent spaces for symbolic drum patterns and the encoded trajectory features through paired VQ-VAEs and FiLM-conditioned diffusion. Users edit relational trajectories and metadata to generate new drum patterns by treating visualization itself as a control surface.

• Skjeldal, Olav Utne; Erdem, Cagri & Griwodz, Carsten (2026). Studying Embodied Expression in Drumming for Virtual Systems. I Guyot, Patrice & Bosselut, Gregoire (Red.), MOCO '26: Proceedings of the 10th International Conference on Movement and Computing. Association for Computing Machinery (ACM). ISSN 9798400725005. s. 1–9. doi: 10.1145/3802842.3802867. Fulltekst i vitenarkiv Vis sammendrag

  This article presents an empirical analysis of drumming movements, combining synchronized motion-capture and MIDI recordings from structured groove sessions performed by drummers of varying skill levels. The study examines three functional categories of music-related actions: sound-producing, sound-facilitating, and sound-accompanying. Across the recorded sessions, we identify (i) systematic posture differences in the hips and spine between hi-hat- and ride-based groove conditions; (ii) tighter inter-onset-interval (IOI) distributions and more consistent hand-stroke cycles in expert performances; and (iii) phase-locked relationships between head and hip motion and rhythmic accents, showing how whole-body sway supports timing and expressivity. Together, the analyses demonstrate that gesture carries not only acoustic consequences but also structured intentional and rhythmic information. Expressive drumming emerges from coordinated bodily dynamics that extend beyond isolated strike events or simple gesture-to-sound mappings. These findings suggest that musical AI systems and virtual performers require more than accurate note generation or surface-level body animation: they must account for the organized, embodied processes through which timing, energy, and groove are physically realized. The study provides empirically grounded insights to inform the design of motion-aware, embodied performance models for interactive virtual musicians.

• Madaghiele, Vincenzo; Fasciani, Stefano & Erdem, Cagri (2026). Personalising behaviours of the multi-agent autonomous looper with a corpus of annotated co-performances. Organised Sound. ISSN 1355-7718. s. 1–12. doi: 10.1017/s1355771826101484. Fulltekst i vitenarkiv Vis sammendrag

  This article introduces a method to personalise the behaviour of a music co-improvisation system using a genetic algorithm that iteratively identifies optimal configurations governing the system’s behaviour according to a musician’s aesthetic objectives, using a corpus of annotated co-performances. The corpus annotations represent the decisions the semi-autonomous system should learn to make in different musical contexts, reflecting the musicians’ styles, ideas and aesthetic preferences. We apply this approach to personalise the multi-agent autonomous looper (MAAL), a co-improvisation system that autonomously samples and loops segments of an improvised performance by integrating machine listening with a rule-based framework. After detailing the design of the evolutionary search algorithm, we present the results of a study involving five expert improvising musicians. These musicians applied the proposed method to personalise the MAAL and co-improvised with it. We assessed the extent to which the MAAL’s behaviour, adapted to their personalised data, aligned with their individual aesthetic preferences. Findings show that automating the functions of sampling and layering loops seems to invite explorative and responsive creativity and that personalisation can facilitate co-adaptation between musicians and artificial agents by establishing a defined aesthetic vocabulary of co-creative behaviours.

• Madaghiele, Vincenzo; Fasciani, Stefano; Kelkar, Tejaswinee & Erdem, Cagri (2026). Autonomous Listening-Based Synthesizer Control with Reinforcement Learning for Live Sound Matching. Proceedings of the International Conference on New Interfaces for Musical Expression. ISSN 2220-4792. s. 751–758. doi: 10.5281/zenodo.20784273. Fulltekst i vitenarkiv Vis sammendrag

  In this paper, we build on a previously proposed method for training an artificial agent that performs live control of sound synthesizers, using reinforcement learning and machine-listening to match the sound of a live musician. The agent listens to an incoming live audio stream and attempts to match its sound according to specific audio descriptors by controlling the parameters of an arbitrary synthesizer. We introduce a reinforcement‑learning model with a continuous action space that integrates sound synthesis during training and live performance. We propose five complementary reward functions for matching target sounds, and evaluate their effectiveness in three scenarios: in‑domain matching of synthesized target sounds, out‑of‑domain matching of synthesized targets, and out‑of‑domain matching using a corpus of musician‑recorded audio. Finally, we compare the proposed reward functions across these scenarios, we discuss a live implementation and we present the results of quantitative experiments evaluating the matching task.

• Riaz, Maham; Erdem, Cagri & Jensenius, Alexander Refsum (2026). Inverse and indirect mappings in embodied AI systems in everyday environments. Frontiers in Computer Science. 7. doi: 10.3389/fcomp.2025.1603769. Fulltekst i vitenarkiv Vis sammendrag

  This paper explores how musicking technologies—interactive systems with musical properties—can enhance everyday public environments. We are particularly interested in investigating the effects of musical interactions in non-musical settings, such as offices, meeting rooms, and social work areas. Traditional music technologies (such as instruments) are built for goal-directed, conscious, and voluntary interactions. We propose a new perspective on embodied AI through systems that utilize indirect, inverse, unconscious, and, at times, involuntary interactions. Four different sound/music systems are examined and discussed with regard to their activity level: a reactive “birdbox,” a reactive painting, active self-playing guitars, and interactive music balls. All these systems are multimodal, containing sensors that detect various physical inputs to produce sound and light, and having varying levels of perceived agency. The paper explores differences between direct/indirect and regular/inverse embodied AI paradigms. This study demonstrates how minimalistic interactions have the potential to yield complex and engaging musicking experiences, challenging the norms of overly intricate AI implementations.

• Erdem, Cagri; Griwodz, Carsten & Rocchesso, Davide (2025). RhyGlyph: Radial Glyph Visualization of Rhythm Interactions. I Seiça, Mariana & Wirfs-Brock, Jordan (Red.), AM '25: Proceedings of the 20th International Audio Mostly Conference. Association for Computing Machinery (ACM). ISSN 9798400720659. s. 408–416. doi: 10.1145/3771594.3771643. Fulltekst i vitenarkiv Vis sammendrag

  We introduce RhyGlyph, a radial glyph-based visualization system for the representation of rhythmic interactions. Two rhythm tracing techniques —Dot and Meter— spatially map rhythm relationships among three core drum set instruments: kick, snare, and hi-hat. These interactions are depicted within three 120-degree wedges of the radial glyph. Starting from the inter-onset intervals (IOIs) of the individual sounding objects, three spacetime trajectories are computed and projected on the wedges. After providing background on glyphs and rhythm visualization techniques, we describe the design of RhyGlyph and present the functionalities of the prototype being demonstrated. The research and development of RhyGlyph is continuing along some directions, which are briefly outlined.

• Jónsson, Björn Thór; Erdem, Cagri; Fasciani, Stefano & Glette, Kyrre (2025). Live Coding the Lineage. I Sedo, Anna Xambo & Buffa, Michel (Red.), Proceedings of the International Web Audio Conference (WAC). IRCAM. doi: 10.5281/zenodo.17642435. Fulltekst i vitenarkiv Vis sammendrag

  This paper presents a web-based system for exploring and performing with sounds discovered through Quality Diver- sity evolutionary algorithms. Our system renders interactive phylogenetic trees of evolutionary sound discovery processes, transforming genealogical relationships into a performable interface—the “Harpsitree”—using trajectory-based interaction and automatic code generation. The core concept we explore is “algorithmic sketching,” where trajectory-based discovery through evolutionary structures progressively formalises into executable code, bridging visual exploration and textual live coding paradigms. This work contributes a novel performance interface as part of a larger research project investigating evolutionary computation for sound discovery, demonstrating how phylogenetic structures can reveal com- positional affordances through appropriate interaction design.

• Riaz, Maham; Guo, Jinyue; Erdem, Cagri & Jensenius, Alexander Refsum (2025). Where to Put That Microphone? A Study of Sound Localization in Ambisonics Recordings. I McArthur, Angela; Matthews, Emma-Kate & Holberton, Tom (Red.), Proceedings of the 17th International Symposium on Computer Music Multidisciplinary Research. The Laboratory PRISM “Perception, Representations, Image, Sound, Music”. ISSN 9791097498061. s. 455–466. doi: 10.5281/ZENODO.17497086. Fulltekst i vitenarkiv Vis sammendrag

  This paper examines the effects of microphone placement on sound localization in first-order Ambisonics recordings. Two microphone setups were used to capture a moving audio source in a lab environment. Array A, a tetrahedral microphone, was placed in the centre of the recording space. Array B consisted of four similar tetrahedral microphones charting a rectangular perimeter surrounding the space. Motion capture data of the moving sound source shows that anglegrams calculated from the Ambisonics recordings can be effectively used for sound localization. An additional perceptual listening study with binaural renders of the audio signals showed that the centrally-placed Array A provided superior localization. However, the corner-placed Array B performed better than expected.

• Madaghiele, Vincenzo; Fasciani, Stefano; Kelkar, Tejaswinee & Erdem, Cagri (2025). MAAL: a multi-agent autonomous live looper for improvised co-creation of musical structures. I Bown, Oliver (Red.), Proceedings of International Conference on AI and Musical Creativity. AI Music Creativity (AIMC). doi: 10.5281/ZENODO.16946080. Fulltekst i vitenarkiv Vis sammendrag

  Live looping is a musical practice based on recording, repetition and layering segments of a live music performance. Layering loops is a technique used to create musical structures that evolve over time throughout a performance, and it is particularly popular among solo improvising musicians. This paper presents the Multi-Agent Autonomous Looper -- a system that autonomously selects musical segments to be sampled and looped during a live performance, using a set of rule-based agents. Each loop track is managed by an agent that listens to the musician's performance and to the concurrently looping segments on other tracks. The decision on which segments of the performance to loop depends on user-selected rules based on comparison of musical properties, expressing varying degrees of sonic compatibility. This approach characterizes the entire system as a multi-agent network capable of autonomously generating emergent musical structures throughout a performance. The Multi-Agent Autonomous Looper aims to expand the possibilities for indirect control and co-creative interactions in live looping for improvising musicians. In the paper, we detail the system's objectives and design, its offline and online implementations, and discuss specific settings and behaviors across three representative use cases.

• Riaz, Maham; Theodoridis, Ioannis; Erdem, Cagri & Jensenius, Alexander Refsum (2025). VentHackz: Exploring the Musicality of Ventilation Systems. I Cavdir, Doga & Berthaut, Florent (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. doi: 10.5281/zenodo.15698831. Fulltekst i vitenarkiv Vis sammendrag

  Ventilation systems can be seen as huge examples of interfaces for musical expression, with the potential of merging sound, space, and human interaction. This paper explores conceptual similarities between ventilation systems and wind instruments and explores approaches to “hacking” ventilation systems with components that produce and modify sound. These systems enable the creation of unique sonic and visual experiences by manipulating airflow and making mechanical adjustments. Users can treat ventilation systems as musical interfaces by altering shape, material, and texture or augmenting vents. We call for heightened attention to the sound-making properties of ventilation systems and call for action (#VentHackz) to playfully improve the soundscapes of our indoor environments.

• Arnim, Hugh Alexander von; Erdem, Cagri; Côté-Allard, Ulysse Teller Masao & Jensenius, Alexander Refsum (2025). A Sensor is not a Sensor: Diffracting the Preservation of Sonic Microinteraction with the SiFiBand. I Seiça, Mariana & Wirfs-Brock, Jordan (Red.), AM '25: Proceedings of the 20th International Audio Mostly Conference. Association for Computing Machinery (ACM). ISSN 9798400720659. s. 318–325. doi: 10.1145/3771594.3771626. Fulltekst i vitenarkiv Vis sammendrag

  This paper documents our exploratory work to preserve the interactive music system Stillness Under Tension—developed to explore inverse sonic microinteraction—by porting it from the original and discontinued Myo sensor armband to SiFiBand, a new prototype armband with motion (IMU) and muscle (EMG) sensors. We approach this by merging the Multilevel Dynamic Preservation model with a “diffraction-in-action” method grounded in a theoretical entanglement perspective. Rather than focusing on the Myo version’s artefactual remains, we explore the difference in data representations offered by the two devices as our point of departure. The paper describes the sensor devices, evaluating their data representations given their technical specifications, and describing how these differences propagate throughout our attempt to preserve the system, enacting necessary changes. We discuss the implications of merging these methods in view of the long-term preservation of interactive music systems. Our version 2.0 of Stillness Under Tension finds itself experientially in a position between familiarity and newness.

• Memis, Ahmet Emin; Fasciani, Stefano & Erdem, Cagri (2024). The Hyper-Ney: An Enhanced Traditional Flute, Proceedings of the International Conference on New Interfaces for Musical Expression. NIME. s. 133–137. doi: 10.5281/zenodo.13904806. Fulltekst i vitenarkiv Vis sammendrag

  The Hyper-Ney is a hyperinstrument prototype enhancing the traditional ney flute by integrating electronic sensors to expand creative possibilities beyond its affordances. These allow the control of sound synthesis and processing parameters to create a blend of acoustic and synthesized sounds. The core idea is to remap the existing fingering gestures, exploiting acoustically unresponsive holes of the ney flute for enhanced control. Additional interaction methods include lip positioning and instrument movement. We evaluated the system through a study focused on audience reactions, suggesting engaging sonic and visual elements. We complemented this evaluation by including the first author’s self-reflections as Hyper-Ney performer.

• Eicke, Kristian; Fasciani, Stefano & Erdem, Cagri (2024). Xyborg: A Wearable Hand-based Instrument for Musical Expression, Proceedings of the International Conference on New Interfaces for Musical Expression. NIME. s. 474–479. doi: 10.5281/zenodo.13904921. Fulltekst i vitenarkiv Vis sammendrag

  This paper presents a bibliometric analysis that examines the works cited in, as well as those citing, NIME papers; for brevity, we refer to these as ‘references’ and ‘citations’. Utilizing existing tools, we have computationally extracted data from the NIME proceedings archive and retrieved metadata from an academic database, including details of associated references and citations. From this data, we computed a range of metrics and statistics, which we present in this paper. We offer quantitative insights into NIME as a scholarly publication venue, its connections to other venues, and its relationship with various fields of study and authors. Based on our data interpretations, we provide several recommendations for the community's future. In sharing the software we developed for this study, and the summarized raw data, we enable other NIME researchers to conduct more in-depth investigations and examine specific trends.This paper describes the design, implementation, and evaluation of Xyborg, a wearable instrument designed to leverage hand input gestures and arm movements. Xyborg’s aims include developing a low-cost musical instrument, providing the performer with expressive control over sound parameters, and establishing a transparent connection between gestures and the resulting sounds for spectators. The design of this instrument prioritizes controllable sonic features and a fixed comprehensible mapping between gestures and sounds, rather than aiming for a broad range of functions and variable mapping. The participants in the evaluation unanimously agreed on the potential for long-term engagement and recognized Xyborg as an instrument that enables expressive sound control through movement, emphasizing its skill-based nature.

• Hardwick, Jack Edward; Fasciani, Stefano & Erdem, Cagri (2024). CordChord: A String Instrument with Optical Sensing, Proceedings of the International Conference on New Interfaces for Musical Expression. NIME. s. 104–109. doi: 10.5281/zenodo.13904796. Fulltekst i vitenarkiv Vis sammendrag

  This paper introduces CordChord, a hybrid musical instrument that sees the performer interact with two physical cords to control the pitch, amplitude, and timbre of a two-voice granular synthesiser. An existing method for tracking bowing parameters of string instrument performance is adapted to measure the displacement of the cords by the performer's fingers. The method is based on an array of optical distance sensors in combination with a regression machine learning model to predict the position at and the amount by which each cord is displaced from a baseline tensioned position. Capacitive strips on the back of the neck of the instrument afford additional timbral control. A preliminary user study suggests that performers find the system responsive and engaging to play, while highlighting the need to further improve the accuracy of the regression model to make the system more intuitive.

• Jónsson, Björn Thor; Erdem, Cagri; Fasciani, Stefano & Glette, Kyrre (2024). Cultivating Open-Earedness with Sound Objects discovered by Open-Ended Evolutionary Systems. I Grace, Kazjon; Llano, Maria Teresa; Martins, Pedro & Hedblom, Maria (Red.), Proceedings of the Fifteenth International Conference on Computational Creativity. Association for Computational Creativity (ACC). ISSN 9789895416066. s. 381–386. Fulltekst i vitenarkiv Vis sammendrag

  Interaction with generative systems can face the choice of generalising towards a middle ground or diverging towards novelty. Efforts have been made in the domain of sounds to enable divergent exploration in search of interesting discoveries. Those efforts have been confined by pre-trained models and single environments. We are building on those efforts to enable autonomous discovery of sonic landscapes. Furthermore, we draw inspiration from research on open-ended evolution to continuously provide evolutionary processes with new opportunities for sonic discoveries. Exposure to autonomously discovered sound objects can elevate openness to sonic experiences, which in turn offers inspiring opportunities for creative work involving sounds.

• Erdem, Cagri & Griwodz, Carsten (2024). dB: A Web-based Drummer Bot for Finger-Tapping, Proceedings of the International Conference on New Interfaces for Musical Expression. NIME. doi: 10.5281/zenodo.13904788. Fulltekst i vitenarkiv
• 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), s. 257–266. doi: 10.17743/jaes.2022.0137. Fulltekst i vitenarkiv
• Jónsson, Björn Thor; Erdem, Cagri; Fasciani, Stefano & Glette, Kyrre (2024). Towards Sound Innovation Engines Using Pattern-Producing Networks and Audio Graphs. I Johnson, Colin; Rebelo, Sérgio M. & Santos, Iria (Red.), Artificial Intelligence in Music, Sound, Art and Design. Springer Nature. ISSN 9783031569920. doi: 10.1007/978-3-031-56992-0_14. Fulltekst i vitenarkiv Vis sammendrag

  This study draws on the challenges that composers and sound designers face in creating and refining new tools to achieve their musical goals. Utilising evolutionary processes to promote diversity and foster serendipitous discoveries, we propose to automate the search through uncharted sonic spaces for sound discovery. We argue that such diversity promoting algorithms can bridge a technological gap between the theoretical realisation and practical accessibility of sounds. Specifically, in this paper we describe a system for generative sound synthesis using a combination of Quality Diversity (QD) algorithms and a supervised discriminative model, inspired by the Innovation Engine algorithm. The study explores different configurations of the generative system and investigates the interplay between the chosen sound synthesis approach and the discriminative model. The results indicate that a combination of Compositional Pattern Producing Network (CPPN) + Digital Signal Processing (DSP) graphs coupled with Multi-dimensional Archive of Phenotypic Elites (MAP-Elites) and a deep learning classifier can generate a substantial variety of synthetic sounds. The study concludes by presenting the generated sound objects through an online explorer and as rendered sound files. Furthermore, in the context of music composition, we present an experimental application that showcases the creative potential of our discovered sounds.

• Arnim, Hugh Alexander von; Fasciani, Stefano & Erdem, Cagri (2023). The Feedback Mop Cello: An Instrument for Interacting with Acoustic Feedback Loops. I Ortiz, Miguel & Marquez-Borbon, Adnan (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidad Autónoma Metropolitana. s. 494–499. doi: 10.5281/zenodo.11189258. Fulltekst i vitenarkiv Vis sammendrag

  This paper presents the Feedback Mop Cello, an instrument integrating acoustic feedback loops generated through a microphone and loudspeaker in combination with a control interface inspired by the cello. Current paradigms of interaction with feedback instruments are based around ideas of negotiation with autonomous systems rather than control. We explore the possibility of integration of negotiated and controlled elements through a design focused on isolating the acoustic feedback loop signal path from the signal path to which sound processing is applied. We focus on three musical parameters of timbre, pitch, and dynamics. We present timbre as a parameter to mainly be negotiated within the feedback loop, while pitch and dynamics are parameters that can be explicitly controlled through the interface. An approach is taken to minimize components within the feedback loop in order to foreground the choice of the loudspeaker as an integral part of the instrument’s sound. A preliminary user study is carried out involving five semiprofessional musicians, focusing on their reflection regarding their interaction with the acoustic feedback loop.

• 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), s. 26–42. doi: 10.1162/comj_a_00657. Fulltekst i vitenarkiv Vis sammendrag

  Abstract In this article, we introduce the coadaptive audiovisual instrument, CAVI. This instrument uses deep learning to generate control signals based on muscle and motion data of a performer's actions. The generated signals control time-based live sound-processing modules. How does a performer perceive such an instrument? Does it feel like a machine learning–based musical tool? Or is it an actor with the potential to become a musical partner? We report on an evaluation of CAVI after it had been used in two public performances. The evaluation is based on interviews with the performers, audience questionnaires, and the creator's self-analysis. Our findings suggest that the perception of CAVI as a tool or actor correlates with the performer's sense of agency. The perceived agency changes throughout a performance based on several factors, including perceived musical coordination, the balance between surprise and familiarity, a “common sense,” and the physical characteristics of the performance setting.

• Kjenstad, Emil Magnar; Ringsby, Halvor Kristian; Gaeb, Rahel Jamal; Erdem, Cagri; Kousias, Konstantinos & Alay, Ozgu [Vis alle 7 forfattere av denne artikkelen] (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 9798400701894. s. 1–6. doi: 10.1145/3592834.3592874. Fulltekst i vitenarkiv Vis sammendrag

  The proliferation of virtual reality (VR) interaction in the wake of the Metaverse trend will place an increasing number of applications and services into virtual environments (VEs). Over the recent years, interactions with the VE have been studied intensely, but very frequently, such interactions are focused on stationary users or users who leverage specialized contraptions to act in the VE (e.g., omni-directional treadmills). The free movement in the VE tends to be achieved by controller input, which creates a huge hurdle to enter and act in it in a natural manner. The target of this study is the translation of the natural walking motion from the real environment (RE) into the VE. In particular, we aim to explore to which extent redirected walking (RW) is achievable without being noticed by the users. Towards this goal, we test two RW methods, i.e., rotation gain and curvature gain. According to the responses of the participants in our study, we find that there is a statistically significant difference with 90% confidence between the levels of gains for rotation gain. On the other hand, levels of gains for curvature gain are not noticeable (i.e., no statistically significant difference is observed).

• Erdem, Cagri & Jensenius, Alexander Refsum (2022). Me & My Musical AI "Toddler". I McPherson, Andrew & Frid, Emma (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. doi: 10.21428/92fbeb44.1d9762bd. Fulltekst i vitenarkiv
• Swarbrick, Dana; Upham, Finn; Erdem, Cagri; Jensenius, Alexander Refsum & Vuoskoski, Jonna Katariina (2022). Measuring Virtual Audiences with The MusicLab App: Proof of Concept. I Michon, Romain; Pottier, Laurent & Orlarey, Yann (Red.), Proceedings of the 19th Sound and Music Computing Conference. SMC Network. ISSN 9782958412609. s. 532–539. doi: 10.5281/zenodo.6798290. Fulltekst i vitenarkiv Vis sammendrag

  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. I Timmers, Renee; Bailes, Freya & Daffern, Helena (Red.), Together in Music: Coordination, expression, participation. Oxford University Press. ISSN 9780198860761. doi: 10.1093/oso/9780198860761.003.0014. Fulltekst i vitenarkiv Vis sammendrag

  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; Wallace, Benedikte & Jensenius, Alexander Refsum (2022). CAVI: A Coadaptive Audiovisual Instrument–Composition. I McPherson, Andrew & Frid, Emma (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. doi: 10.21428/92fbeb44.803c24dd. Fulltekst i vitenarkiv
• Krzyzaniak, Michael; Erdem, Cagri & Glette, Kyrre (2022). What Makes Interactive Art Engaging? Frontiers in Computer Science. 4. doi: 10.3389/fcomp.2022.859496. Fulltekst i vitenarkiv Vis sammendrag

  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.

• 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. I Spagnol, Simone & Valle, Andrea (Red.), Proceedings of the 17th Sound and Music Computing Conference. Axea sas/SMC Network. ISSN 9788894541502. s. 177–184. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2020). Exploring relationships between effort, motion, and sound in new musical instruments. Human Technology. 16(3), s. 310–347. doi: 10.17011/ht/urn.202011256767. Fulltekst i vitenarkiv Vis sammendrag

  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; 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). s. 208–210. Fulltekst i vitenarkiv Vis sammendrag

  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 & Jensenius, Alexander Refsum (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation. I Michon, Romain & Schroeder, Franziska (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. Birmingham City University. ISSN 9781949373998. s. 477–482. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Diaz, Ximena Alarcón; Sanchez, Victor Evaristo Gonzalez & 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. Fulltekst i vitenarkiv Vis sammendrag

  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. I Visi, Federico (Red.), Music Proceedings of the International Conference on New Interfaces for Musical Expression. Universidade Federal do Rio Grande do Sul. Fulltekst i vitenarkiv Vis sammendrag

  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. I Queiroz, Marcelo & Sedo, Anna Xambo (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidade Federal do Rio Grande do Sul. s. 477–482. Fulltekst i vitenarkiv Vis sammendrag

  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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• Tran, Thi Thuy Chau; Erdem, Cagri; Yazidi, Anis; Kjølerbakken, Kai Morgan & Griwodz, Carsten (2026). Research Proposal: Non-intrusive Stress Recognition using Multimodality Deep Learning. doi: 10.1145/3793853.3798410. Fulltekst i vitenarkiv
• Vuoskoski, Jonna Katariina; Tzanaki, Persefoni; Perik, Lieke Dinie Maria & Erdem, Cagri (2026). Trait empathy facilitates rhythmic entrainment and interpersonal synchrony. doi: https:/www.jyu.fi/en/file-download/download/public/67529. Fulltekst i vitenarkiv Vis sammendrag

  Recent research suggests that cognitive facets of trait empathy may facilitate interpersonal synchrony. However, the contributions of affective trait empathy and state empathy remain underexplored. This study investigated how empathy – both as a dispositional characteristic and as an experimentally induced state – influences rhythmic entrainment and interpersonal synchrony in a musical context. Thirty-three dyads completed two synchrony tasks before and after an empathy induction session. In Task 1, participants tapped with a metronome and then tried to synchronise with their partner's tapping; in Task 2, they tried to play melodies in synchrony. To induce empathy, participants narrated personal events while partners were instructed to either empathise (empathy condition) or memorise factual details (control condition) of the events. Trait empathy was measured using the Interpersonal Reactivity Index (IRI; Davis, 1980). Emotional sharing and behavioural mirroring during the empathy induction were assessed using self-report and motion-capture measures. Results showed that both affective and cognitive trait empathy contributed to synchrony: Higher Empathic Concern predicted more consistent tapping in Task 1, and higher Fantasy predicted greater interpersonal synchrony in Task 2. Induced empathy showed no main effects; however, high-Fantasy participants who felt more emotionally engaged with their partners' narrations synchronised better than those who were less engaged. Additionally, high-Fantasy participants showed greater mirroring of narrators' head movements, although this was significant only in the control condition. These findings point to a multifaceted role of empathy in rhythmic and interpersonal synchronisation, suggesting that effective coordination draws on both cognitive and emotional aspects of empathy.

• Arnim, Hugh Alexander von; Erdem, Cagri; Côté-Allard, Ulysse Teller Masao & Jensenius, Alexander Refsum (2025). A Sensor is not a Sensor: Diffracting the Preservation of Sonic Microinteraction with the SiFiBand. Fulltekst i vitenarkiv Vis sammendrag

  This paper documents our exploratory work to preserve the interactive music system Stillness Under Tension—developed to explore inverse sonic microinteraction—by porting it from the original and discontinued Myo sensor armband to SiFiBand, a new prototype armband with motion (IMU) and muscle (EMG) sensors. We approach this by merging the Multilevel Dynamic Preservation model with a “diffraction-in-action” method grounded in a theoretical entanglement perspective. Rather than focusing on the Myo version’s artefactual remains, we explore the difference in data representations offered by the two devices as our point of departure. The paper describes the sensor devices, evaluating their data representations given their technical specifications, and describing how these differences propagate throughout our attempt to preserve the system, enacting necessary changes. We discuss the implications of merging these methods in view of the long-term preservation of interactive music systems. Our version 2.0 of Stillness Under Tension finds itself experientially in a position between familiarity and newness.

• Erdem, Cagri & Schia, Katja Henriksen (2025). From Knobs to Whole Body: Dance with Feedback. I Brooks, Anthony L.; Banakou, Domna & Ceperkovic, Slavica (Red.), Proceedings of the 13th EAI International Conference on ArtsIT, Interactivity and Game Creation, ArtsIT 2024. Springer. ISSN 9783031972546. doi: 10.1007/978-3-031-97257-7_3. Fulltekst i vitenarkiv
• Erdem, Cagri & Griwodz, Carsten (2024). Interactive Experiences with a Web-based Drummer Bot for Finger-Tapping. ALIFE : Proceedings of the Artificial Life Conference. doi: 10.1162/isal_a_00768. Fulltekst i vitenarkiv
• Jónsson, Björn Thór; Erdem, Cagri; Fasciani, Stefano & Glette, Kyrre (2024). Cultivating Open-Earedness with Sound Objects discovered by Open-Ended Evolutionary Systems. Fulltekst i vitenarkiv Vis sammendrag

  Interaction with generative systems can face the choice of generalising towards a middle ground or diverging towards novelty. Efforts have been made in the domain of sounds to enable divergent exploration in search of interesting discoveries. Those efforts have been confined by pre-trained models and single environments. We are building on those efforts to enable autonomous discovery of sonic landscapes. Furthermore, we draw inspiration from research on open-ended evolution to continuously provide evolutionary processes with new opportunities for sonic discoveries. Exposure to autonomously discovered sound objects can elevate openness to sonic experiences, which in turn offers inspiring opportunities for creative work involving sounds.

• Arnim, Hugh Alexander von; Fasciani, Stefano & Erdem, Cagri (2023). The Feedback Mop Cello: An Instrument for Interacting with Acoustic Feedback Loops. Fulltekst i vitenarkiv
• Swarbrick, Dana; Upham, Finn; Erdem, Cagri; Jensenius, Alexander Refsum & Vuoskoski, Jonna Katariina (2022). Measuring Virtual Audiences with The MusicLab App: Proof of Concept. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Silje, Pileberg & Erdem, Cagri (2022). Kunstig intelligens er de nye komponistene. [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Å bruke maskiner til å lage musikk er langt fra nytt. Men de siste årene har kunstig intelligens (KI) inntatt musikkens verden: For eksempel kan et menneske skrive hovedmelodien mens maskinen, gjennom KI, lager arrangementet i bakgrunnen.

• Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2021). Multimodal Electric Guitar Data. doi: 10.5281/zenodo.6470236. Fulltekst i vitenarkiv Vis sammendrag

  A dataset of thirty-six student and semiprofessional electric guitarists performing a set of basic sound-producing actions as well as free improvisations. The multimodal dataset consists of EMG and motion capture data; additionally, video and sound recordings of each performer were made.

• 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. Fulltekst i vitenarkiv
• 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. Fulltekst i vitenarkiv
• Kelkar, Tejaswinee & Erdem, Cagri (2021). Two-Body Problem. Fulltekst i vitenarkiv
• Erdem, Cagri; Winther, Christian & Andersen, Dag Erik Knedal (2021). CAVI. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Erdem, Cagri (2021). Noise and Smoke: Disruptive Adventures in Jazz and New Music. [Radio]. Açık Radyo 95.0. Fulltekst i vitenarkiv
• Erdem, Cagri & Arikan, Gorkem (2020). Mashed Potatoes (biweekly program). [Radio]. Root Radio. Fulltekst i vitenarkiv
• Erdem, Cagri (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation. Fulltekst i vitenarkiv
• Erdem, Cagri (2020). Towards Playing in the 'Air': Modeling Motion-Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks. Fulltekst i vitenarkiv
• Erdem, Cagri (2020). RAW. Fulltekst i vitenarkiv
• Erdem, Cagri (2020). RAW v2. Fulltekst i vitenarkiv
• Erdem, Cagri (2020). RAW. Fulltekst i vitenarkiv
• Erdem, Cagri; Arikan, Gorkem; Uret, Umit; Olgun, Gokce Mine & Odabasi, Ipek (2020). A.I.D on AIR (biweekly). [Radio]. Root Radio. Fulltekst i vitenarkiv
• Diaz, Ximena Alarcón; Boddie, Paul; Erdem, Cagri; Aandhal, Eigil; Dhal, Eirik & Andersen, Elias Sukken [Vis alle 8 forfattere av denne artikkelen] (2019). INTIMAL software. doi: 10.5281/zenodo.3522601. Fulltekst i vitenarkiv Vis sammendrag

  INTIMAL is a physical-virtual "embodied" system for relational listening, to be used within the practice of networked and telematic sonic performance. INTIMAL explores sense of place and sense of presence in the context of human migration. INTIMAL has released two modules in GitHub: MEMENTO, a co-located, and "embodied" navigation system of an oral archive with Colombian women's testimonies of conflict and migration; RESPIRO, a live, telematic transmission of breathing signals, which are locally sonified in each location.

• Erdem, Cagri (2019). RAW: A Muscle-based instrument. Fulltekst i vitenarkiv
• Erdem, Cagri & Saga, Yuki (2019). Meeting Yuki Saga. Fulltekst i vitenarkiv
• Kelkar, Tejaswinee; Erdem, Cagri & Lan, Qichao (2019). Utopia. Fulltekst i vitenarkiv
• Jensenius, Alexander Refsum; Erdem, Cagri; Zelechowska, Agata; Lan, Qichao; Fuhrer, Julian Peter & Sanchez, Victor Evaristo Gonzalez (2019). Entraining Guitars. Fulltekst i vitenarkiv
• Diaz, Ximena Alarcón; Boddie, Paul; Erdem, Cagri; Aandahl, Eigil; Andersen, Elias Sukken & Dahl, Eirik [Vis alle 8 forfattere av denne artikkelen] (2019). Sensing Place and Presence in an INTIMAL Long-Distance Improvisation. Fulltekst i vitenarkiv Vis sammendrag

  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; Schia, Katja Henriksen & Jensenius, Alexander Refsum (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance. Fulltekst i vitenarkiv
• Diaz, Ximena Alarcón; Sanchez, Victor Evaristo Gonzalez & Erdem, Cagri (2019). INTIMAL: Walking to find place, breathing to feel presence. Fulltekst i vitenarkiv Vis sammendrag

  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. Fulltekst i vitenarkiv
• Schia, Katja Henriksen; Erdem, Cagri; Lan, Qichao & Jensenius, Alexander Refsum (2018). Music-Dance Performance: "Rhythm". Fulltekst i vitenarkiv
• Fedotovs, Nikita; Erdem, Cagri; Griwodz, Carsten; Simonetta, Examiner Federicco & Lindblom, Diana Saplacan (2026). Examiner for Master thesis: Creating Immersive Musical Human-AI Interactions. University of Oslo (UiO). Fulltekst i vitenarkiv

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