Experimenting with Chambre : Music, Image and Interaction


Prof. Paolo G. Bottoni, PhD



Stefano Faralli



Prof. Anna Labella



M° Claudio Scozzafava


Department of Computer Science, University of Rome “La Sapienza”, Italy





We present Chambre, a distributed architecture able to accommodate several tools for generative and interactive artistic production: from dif­ferent generative techniques, to translators towards dif­ferent multimedia formats, from support to interaction with the performer to coordination tools to guarantee multimedia effects. We illustrate the use of Chambre  through examples of some multimedia events realized within its framework.

1. Introduction

Starting from the almost naive remark that music is a sort of intermediate object between a formal and a natural language,  it is worth attempting to use for it a generative approach in the vein of formal languages.


Such a formal approach can leave room to preserve creativity both by leaving with the composer the responsibility for establishing the generating rules and/or controls, and by allowing the composer to actively interfere in the generation process, through the use of interactive devices. This way, automatic generation can support creativity on the expressiveness side.

Although a formal approach is favoured in the case of the musical language because of its higher abstractness, there have been similar approaches in many other fields of creative arts, from painting to installations, to live performances.

Referring to formal languages for the automatic generation of creative artefacts allows us to consider the dif­ferent concrete kinds of language (musical, iconic and others) as dif­ferent interpretations of a unique, more general, abstract language. This suggests that it might be interesting to try and transfer techniques and methods from one artistic field to another. This approach, well known in ancient times (e.g. the use of analogy in the Middle Ages or the encyclopaedic approach to culture by Athanasius Kircher [14]), is now an aspect of the multimedia culture.

In our line of research, rather than focusing on specific generation techniques, we propose an open framework where dif­ferent algorithmic, rule-­based, or biolog­ically inspired generation techniques can be accommodated. In this perspective, which calls for original architectural solutions, our focus is on translation and interpretation techniques which can be considered as relatively independent of the specific generation techniques. A second fundamental aspect of our proposal is the coupling of generation and translation tools with interaction and coordi­nation techniques. Indeed, as the interpretation of the sentences in one specific concrete language can be multiple, and there is no privileged translation, the whole process can develop through phases where each language in turns pro­vides the starting point for further generation acts to be translated towards the other languages. Such is the case when a musical sentence is mapped to an abstract representation describing the pattern of relations between consecutive musical events, and the identification of such patterns steers the generation of graphical effects as modification of some basic form. Conversely, the process can be steered by some external agent (a man, a process or other) whose inputs are acquired through external devices. For example, a Webcam can capture the movements of a performer, and image analysis tools can interpret these so as to generate parameters steering the generation process.

All these concepts: generation through automatic process, coordination of several generation and translation processes, management of interaction, have been incorporated into Chambre, a software architecture enabling the use of multimodal inputs to produce multimedial objects with a hypermedia and vir­tual structure. Chambre can be exploited by designers of multimedia applica­tions or performances to realise artefacts whose users may enjoy a multisensorial experience. Chambre is able to support dif­ferent, even variable in real-time, interpretations of the same inputs, possibly steered by interaction with human or other software sources. This ability makes Chambre a flexible and open tool, easily adaptable to other situations and applications.

The rest of this paper is structured as follows: We first present Chambre architecture in Section 2. Section 3 discusses aspects of the construction of multimedia performances with Chambre, while Section 4 illustrates some ex­periences with it. Finally, Section 5 illustrates work related both to architectural and artistic aspects, before drawing conclusions in Section 6.

2. Chambre architecture

Chambre is an open architecture allowing the configuration of several pro­cessing units, into networks of multimedia tools, able to exchange information. Each multimedia object is able to receive, process and produce data, as well as to form local networks with its connected (software) objects. In Chambre, communication can thus occur on several channels, providing flexibility and robustness.

Figure 1 shows the relation between Chambre and its input and output channels.

The design of Chambre is focused about a notion of interoperability, so that communication between software elements occurs on simple channels allowing the transfer of a simple form of communication, namely formatted strings, with a proper encoding of the type of request and/or information which is transmitted. Special channels can also be devised, as is the case of the use of MIDI channels in the application illustrated in this paper.

Figure 1: Communication between Chambre and the external world.


A Chambre application is typically built by interactively specifying a dataflow graph, where edges are communication channels, and nodes are processing units exposing ports. These ports can be adapted to receive channels from within the same subnet, or through TCP or MIDI connections. Specific components can act as synchronizers among different inputs, thus providing a basic form of coordination. A further form of coordination is given by the adoption of the Observable­-Observer pattern for communication between a data producer and its renderers. Hence, a Chambre, which is connected to the rest of the network via its channel interface, is left autonomous as regards the production of outputs towards the user and interaction with it.

These architectural choices make Chambre particularly suited for dynamic reconfiguration, typically driven by interaction. The supported forms of reconfiguration are substitution, addition or removal of producers or translators of data at either end of a communication channel. These can occur during the execution of a performance, by temporarily suspending the processing of some components, while the rest of the network can proceed working.

3. Construction of multimedia performances

Chambre can be used for the construction of multimedia performances in which performers can interact with generative tools to steer their computations, or to define translations of the outputs of these tools into multimedia events.

Interaction can occur at different levels. First, the performer can reconfigure the network to substitute some generative devices or some rendering tools with others. Second, one can act on the generative devices or on the rendering tools modifying their state or some parameters. Third, one can modify the types of translation from the generated data to the presentation.

In all these cases, interaction can occur in an explicit or in an implicit way. An explicit interaction occurs through direct manipulation of representations of the affected level, e.g. the network graph for reconfiguration or the rules or the state of a generative tool, such as a cellular automaton, or the volume levels of a MIDI output device. An implicit interaction consists of capturing modifications induced by the performer on the environment, and translated through suitable scripts into modifications of the network, or of the parameters under which the generative tool works, or of the mapping between inputs and outputs of a rendering device connected to a generative one.

For example, one can modify the rules presiding to the evolution of a cellular automaton which provides inputs for a Chambre network. Such an effect can, however, also be reached by making the data structure of the rules amenable to manipulation not only through direct user interaction but also through the adaptation of rule parameters.

As an example, consider the rule of Figure 2, which describes how the ac­tion of a performer can be integrated into a rule of a cellular automaton, by combining the recognition of particular gestures with a check on the current configuration of a cell.


Figure 2: An example of integration of performer interaction with state change in cellular automata.


After generation of the current configuration, interaction can affect different aspects of a translation. We exploit a generic model in which a formal generative device provides symbols that a translation mechanism maps to events rendered through some medium, as represented in Figure 3, where both the input and event space can be multidimensional ones. With reference to this abstract view of the translation process, one can think that interaction can occur on three aspects:

Figure 3: An abstract view of the translation process.


3.1 Generative tools

A typical example of generative tool is represented by cellular automata (CA). A cellular automaton is defined as a potentially infinite grid of cells, each occupied by an identical replica of a Moore automaton with a finite set of states Q. The evolution of the grid is synchronous: at each step each cell performs a state transition, based on its current state and the current state of its neighbours (where the definition of neighbourhood can vary).

A designated state q0 in Q is called the quiescent state. The law of evolution is usually such that if a cell is in state q0 and it only has quiescent neighbours, it remains in q0. Hence, if we start from a configuration of the grid with only a finite set of non­-quiescent cells, at each step the set of non-­quiescent states will remain finite. We call Core the subset of non-­quiescent cells. The configuration of Core at each time step can be used as input for a rendering tool. The usage of CA in the context of multimedia production requires that a sort of producer-consumer pattern is realised, where the CA is allowed to progress only when the content of Core has been processed by the rendering devices. We have exploited CA by interfacing Chambre with ExCAPeME, a system for managing, interacting and presenting CA, described in Section 4.1.

Other approaches we have been experimenting with include the use of rewriting rules, stochastic methods, such as Markov processes, and constraint systems, such as those defined by patterns (in the sense of formal languages [5]), or synchronisation mechanisms, as those provided by complementarity (in the sense of DNA computing [4]).

The system XMUSIC [8] integrates several techniques, by allowing, through a graphical interface, the definition of networks of modules in which each module acts as producer of sequences of musical events or as a selector or a constraint on the products of other modules.

In particular, one can express constraints on the composition, for example depending on the need for synchronisation of different polyphonic lines (vertical controls), or on compliance with the laws of tonal composition (horizontal con­trols). Hence, for any given development stage of a musical composition, there is a finite set of possible Follow sets, i.e. sets of musical events which represent admissible developments of what produced up to that stage. Besides vertical and horizontal controls, XMUSIC includes local controls, (i.e. restricting the analysis to a fixed number of previous events in the style of Markov chains), patterns to express constraints on the global shape of the composition (e.g. repetitions), and the possibility of introducing variations.


3.2 Musical and Graphical rendering

The component­-based architecture of Chambre allows the integration of sev­eral translators able to produce representational events from heterogeneous data sources, both static and dynamic. Such software may be new components ex­plicitly designed for Chambre, or existing applications receiving input on some standard channel.

In particular, Chambre is able to communicate data on several communi­cation ports, such as System I/O, TCP, MIDI, or RTP, the protocol included in the Java Media Framework for video streaming.

Communication through the TCP/IP protocol supports the distribution of the computation either physical, e.g. through different installations of Chambre or logical, e.g. by communicating with other software, e.g. MaxMSP [1] either to receive data, or to handle particular types of representation. In case Chambre is used as the rendering environment, i.e. it receives data from other sources, it can transform them to the desired format and then apply transformation operations.

A number of operations have been defined and are directly available to a Chambre user. In particular, a number of image processing operations have been defined. Among them, we mention here:


An example of a Chambre network exploiting some operators is shown in Figure 4, where image operators are connected through Rx and Tx ports and each component presents its own interface, either to show the result of the elaboration, or to allow interaction with the operator parameters.


Figure 4: An example of a Chambre network, connecting different image pro­cessing operators.

4. Past experiences

Our group has been experimenting with architectures for the production of multimedia events for some time now. In this section we illustrate some of the products of this experimentation.


4.1 ExCAPeME

ExCAPeME (Extended Cellular Automata with Pluggable Multimedia Ele­ments) is an immediate precursor of Chambre and can be integrated with it [3]. It is an open environment which provides support to the interactive def­inition, editing, and execution of CA up to 3 dimensions, and which is able to manage simultaneous rendering of a CA using different forms of presentation. It provides two main extensions to the basic model of cellular automata: First, it allows neighbourhoods to have any size, i.e. one can specify a dependency on some element both at a relative position with respect to the current cell and at a fixed place. The neighbourhood and the evolution law are however uniform over the whole universe.

Second, it introduces time in the laws, so that a law can take into account the number of time instants an automaton has remained in the same state.


Figure 5: A representation of a 3D cellular automaton simulating the diffusion behaviour of two gases


Any type of multimedia presentation can, in principle, be attached in the form of a plug-in. Support for 1D, 2D, 2.5D and 3D presentation is directly provided (see Figure 5) and sound rendering can be applied to CA of any di­mension. The mapping between CA configurations and their actual rendering can also be defined. It is possible to exploit ExCAPeME both as a stand­alone application and as a node of a distributed Chambre environment. In this case, the cellular automata managed by ExCAPeME act as generative tools and the built-­in graphics and MIDI rendering tools can produce effects on their own, while data describing the current configuration of the cellular automaton can be sent via a TCP/IP stream to Chambre  for more sophisticated translations, according to the scheme of Figure 6.


Figure 6: ExCAPeME acting simultaneously as a stand­alone multimedia sys­tem and as a generator for a Chambre environment.

Although ExCAPeMe provides several tools for explicit interaction with the state of the cellular automata and the definition of the parameter translations, it was not used for implicit interaction by some performer.

4.2 Metamorphose

A step in this direction was represented by the system set up for Metamor­phose, a performance in which a human player affected, by executing a musical composition for clarinet, the generation of video synchronized musical events. The system consisted of the integration of the MaxMSP software for audio gener­ation into the Chambre architecture, via a suitable wrapper. The dynamics of the sound played by the human provided real-­time data for video and music management. When the sound dynamics exceeded some thresholds, defined ac­cording to the different phases of a composition, some recorded musical events were activated or disabled. Figure 7 shows an example of a figure generated during the performances, where the metamorphic figures are projected onto rotating polyhedra.

Figure 7: A picture produced during the Metamorphose performance

In Metamorphose the audio channel played a prominent role, and the se­quence of images was predetermined, up to possible rendering effects, and syn­chronised with the musical events. Hence, the spatial deployment of the perfor­mance had no role in it.

4.3 Matrice1

Spatial aspects were taken into consideration in the Matrice1 performance, which represents the most complex usage of Chambre to date, exploiting dif­ferent types of interaction. The domain Sn of the generated inputs is a matrix M of size 3´3, abstractly representing the spatial grid in which three dancers could be positioned during the performance, as captured by a video camera (see Figure 8).

The patterns corresponding to the position of the dancers in the captured area are considered along time, so that the translation function f(M(t)) from grid configurations in time to parameters for event creations, is indeed a func­tion g(M(t),M(t-1),...,M(1),M(0)), i.e. a function of the story of their positions. Here, MaxMSP is used as an algorithmic string translator, steering a deterministic finite state automaton, where transitions occur upon the identification of well defined patterns. The new state is communicated to the ”Graphics server”, thus realizing an integrated management of algorithmic procedure and audiovisual material.


Figure 8: A schematic representation of the Chambre environment for Matrice1


Figure 9 shows the spatial organization of devices for a Matrice1 perfor­mance. A Webcam is positioned at a height of 4 meters, capturing movements in a cone. The video signal is transmitted to a Chambre network where the dancers’ positions are identified by image processing operators and used to pro­duce video and audio events. The video is projected onto a screen in front of the dancers, while the audio is diffused through lateral speakers.

Such a configuration allows a bidirectional communication between the dancer and the audiovisual context. If the dancer’s movement induces environmental variations, these affect the artistic performance, thus realising a multisensorial loop (see Figure 10 through the audio and visual feedback).


The important feature of Matrice1 is that implicit interaction, realised through the positions of the dancers affects both the graphics and the music generation in real time, but the exploitation of the space is restricted to the bidimensional grid onto which their positions are mapped.

Figure 9: A schematic representation of the interactive system involving dancers and Chambre tools.


Acquisizione video = Video capture

Rete di elaborazione = Elaboration network

Proiezione video = Video projection

Diffusori acustici = Loudspeakers

5. Related work

Chambre architecture allows a component-­based style of programming, where components are endowed with communication interfaces and a system results from the connection of different interfaces. This can be interactively specified by the user by composing a flowgraph. In this related work section we will consider both aspects related to Chambre architecture and aspects related to computer-­based production of artistic material.

Flowgraph models have often been used for the definition of configurable architectures, due to the facility with which a user can devise and define the dependencies between elements. An example in the field of the construction of user interface development environments is Amulet [16], where elements are connected by a web of constraints. Our proposal is in the style of the LabView  [2] or Prograph [7] tools, where connections between elements describe passage of data.

Frameworks for the construction of distributed (object­-oriented) systems have usually focused on passage of messages (actually remote procedure calls, or method invocation), rather than on data. In these frameworks, the necessity for creation of stubs and proxies usually does not favour reconfiguration. The problem of reconfiguration has been addressed by Coulson et al., by proposing a component-­based definition of the middleware itself [6]. Their solution in­volves an explicit representation of dependencies to determine the implications of removing or replacing a component. In our approach, components describe the type of data they can produce or receive, so that the creator of a network of Chambre components can redefine it by preserving the correctness of type connections. On the other hand, since a component not interested in some input will simply ignore it, we can live with the generation of inconsistent connections.

Figure 10: A schematic view of the multisensorial loop.


Several researchers and artists are devising ways to employ multimedia tools as creative devices. We draw the attention of the reader to some experi­ences which are more closely connected to the application depicted here. Co­generation of graphics and music has been the objective of [13, 11], where, how­ever, one medium took control of the other. Flavia Sparacino’s work explores the use of a dancer’s movements as a way to govern an orchestra of instruments virtually associated with the dancer’s body parts [17]. This requires a predef­inition of the mappings between movements and controls, whereas Chambre allows dynamic reconfiguration as well as intervention of other sources for pa­rameter control. Fels et al. have proposed MusiKalscope as a graphical musical instrument, combining a virtual kaleidoscope with a system for generating musi­cal improvisations, and provide the performer with virtual sticks through which to drive effects in the two media [10]. Also in this case, the coupling of the two subsystems appears to be a rigid one.

The spatial distribution of performers is stressed in the distributed musical rehearsal environment [12], where an orchestra conductor and the players can be physically removed by one another. The peculiarity of the task, however, makes it necessary the use of specific solutions to preserve the spatial perception of the music sources, which are not necessary here.


6. Conclusions


We have illustrated a line of development towards the generation of multimedia artistic experiences through the interaction with formally based generative tools and steering of translation processes mapping the generated configurations onto audio and visual events. This line is supported by an open architecture providing a flexible framework for the inclusion of new types of generators and multimedial events.

In this line we have progressively expanded the role of interaction, both with the human performers and among software components. In particular, moving from purely explicit interaction (in the ExCAPeME environment), we have allowed for different types of implicit interaction, involving both audio (Metamorphose) and spatial (Matrice1) sources, and acting both on generation parameters and on activation of scripts at specific synchronisation points.

It seems natural to move towards the integration of sources of different na­ture within a single environment, which poses interesting problems as concerns their coordination, and towards a fuller exploitation of the spatial domain. In particular, we plan to move towards capturing 3D events produced by the per­former.

In any case, we are interested in researching on the relations between space and time in the generation of the sentences that are represented as multimedia events.

This also invests perceptual and cognitive aspects. Indeed, sounds and im­ages do not only pertain to different sensorial channels, but also call into actions different types of memory. Objects are seen synchronously, but sounds are lis­tened to in a strictly sequential matter. At different moments of the history of music, the introduction of some form of spatiality in music to help memory and manipulation was considered [9, 15].

It would be therefore interesting the formal structures under which spatial events can be mapped to musical effects, and conversely musical inputs have spatial consequences. On the other hand, the need for a coordination of the two aspects also impacts the choice of the generative tools, by considering as privileged those which are able to produce configurations which give rise to significant developments both when interpreted in a sequential way and when interpreted synchronically.




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