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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Perception and Sound Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Tablado
    • Musical creation around Outer Space
    • Campo Abierto
    • Musical creation around Dream Work
    • Biotope
    • EROR
    • IDEA
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2021.22
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • Replay: ManiFeste-2022 Concerts
    • ManiFeste festival from 2012 to 2022
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

    • 2022.23 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • TS2 and Partiels
    • Sound spatialization
    • From PureData to audio plugins
    • Sensors, Interfaces, and Interactive Machine Learning
    • Other training programs
    • Practical Information
    • Advanced Programs
    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
    • Music Doctorate
    • AIMove Master
    • School Programs
    • Studios of Creation
    • Mixed-Music
    • Artistic and Cultural Education
    • Career Discovery Visit
    • Images of a Work Collection
    • ManiFeste-2022, the Academy
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

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  • Maxime Mantovani 5/5 : Showcase
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July 21, 2022
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Maxime Mantovani 5/5 : Showcase

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The Artistic Residency Blog
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On March 23rd, Maxime Mantovani offered the public of the IRCAM's Forum Workshops their first glimpse of his work on his interface for real-time control of synthesis models generated by artificial intelligence, in a performance with Victor Auffray on flugabone (and voice) and Henri-Charles Caget on percussion. A "restitution" of which we offer here a striking representation.

Behind the technological prowess - which relies on a neural network called RAVE, the sound generation being carried out using nn~ in Max, all developed by Antoine Caillon of the Musical Representations team - we discover a new musical instrument, in the true sense of the word. That is to say, "an object entirely constructed or prepared from another natural or artificial object, designed to produce sounds and to serve as a means of expression for the composer and performer", according to the definition of the Trésor de la langue française. A sentiment shared by the musicians who participated in its development and consider it a full partner.

"The artificial intelligence," says Henri-Charles Caget, "responds instantly to the instrumental gesture and questions the performer in real-time, which is quite innovative in terms of acoustic playing sensations. It takes the expressiveness of each performer into a new dimension. With AI, we are, in all modesty, witnessing the beginnings of tomorrow's writing. It is time to start creating an organology of AI."

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