Cadoz C., Luciani A. and Florens J. L.: "CORDIS-ANIMA: A Modeling and Simulation System for Sound and Image Synthesis - the General Formalism". Computer Music Journal 17(4), 1993. Home/Search Document Not in Database Summary Related Articles Check |
This paper is cited in the following contexts:
An Evaluation of Input Devices for Timbre Space Navigation - Vertegaal (1994) (2 citations) (Correct)
....of computer music controller development reveals a significant difference in approach with standard HCI input device research. To illustrate this, a number of typical articles on real time control of digital sound synthesis from recent years are treated here. Cadoz, Luciani et al. 1984) and Cadoz, Luciani et al. 1993) describe a musical virtual reality system called Cordis that is based on two forms of instrumental models for digital sound synthesis: Input devices that capture physical gestures and react to these gestures with programmable feedback; Sound synthesis techniques based on the simulation of ....
Cadoz, C., Luciani, A., et al. (1993). "CORDIS-ANIMA: A Modeling and Simulation System for Sound and Image Synthesis---The General Formalism." Computer Music Journal 17(1): 19-29.
Design of Virtual Three-dimensional Instruments for Sound Control - Mulder (1998) (3 citations) (Correct)
....not exploited the dexterity of the whole hand. In 2D visualizations time amplitude or frequencyamplitude (or spectral) graphs are often used, although other variables are also used [62] CHAPTER 3. VMI DESIGN 33 Sometimes sound is visualized as the shape of a physically modeled vibrating object [11]. In all these cases, thusfar the gestural controls made available to the user are limited due to the use of keyboard and mouse interfaces. Visualizations of musical structure traditionally consists of classical sheet music notations displaying the acoustic events over time. Some have tried ....
Claude Cadoz, A. Luciani and Jean-loup Florens. "CORDIS-ANIMA: A modeling and simulation system for sound and image synthesis - the general formalism." Computer music journal, 17 (1993), No. 4 (spring), 19-29.
Simulation Dynamique et Applications Robotiques - Joukhadar (1996) (1 citation) (Correct)
....masses ont une dimension g eom etrique (repr esent ee par une zone sph erique de non p en etration) qui leur permet d interagir entre elles. Ce syst eme permet de mod eliser a la fois des objets fluides comme l eau, le sable [21] etc, et d int egrer le mouvement avec le son qui en r esulte [16, 82]. Pourtant le formalisme de CordisAnima permet de simuler une large vari et e de comportement, mais cela n ecessite un temps d ex ecution tr es important vue le nombre de particules n ecessaire pour s approcher de la forme exacte de l objet et ses caract eristiques physiques. F ; P) F ....
C. Cadoz and JL. Florens. Cordis-anima: a modeling and simulation system for sound and image synthesis. Computer Music, 1993.
10 Criteria for Evaluating Physical Modelling Schemes for.. - CASTAGNE, CADOZ (2003) Self-citation (Cadoz) (Correct)
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Cadoz C., Luciani A. and Florens J. L.: "CORDIS-ANIMA: A Modeling and Simulation System for Sound and Image Synthesis - the General Formalism". Computer Music Journal 17(4), 1993.
Creating Music by Means of `Physical Thinking': The Musician.. - Castagne, Cadoz (2002) Self-citation (Cadoz) (Correct)
....t o accomplish this radical change in their mental approach t o sounds and music. This is not an easy to reach goal, which explains, perhaps, the lack of such environments today. This article introduces the musician oriented GENESIS environment based on the mass interaction paradigm CORDIS ANIMA [6]. As a first step, we emphasize the interest of the mass interaction paradigm in comparison with other PM schemes. The CORDIS ANIMA system is then briefly described. We expose the main features and ergonomic properties of the GENESIS Lutherie workbench. The choices we made to support the user s ....
....characteristics, especially the last, shows that massinteraction paradigm is particularly interesting when the aim is to let a non physicist musician create the entirety of his musical material, including modeling. The GENESIS environment we present below is based on the topological CORDIS ANIMA [6], 7] mass interaction system. A CORDIS ANIMA model is a network of elementary modules of two kinds: mass like elements MAT , and physical relations LIA which connect them to each other. In addition to the traditional linear modules (such as fixedpoint, inertia, stiffness, damping, etc. called ....
Cadoz C., Luciani A. and Florens J. L. "CORDIS-ANIMA: A Modeling and Simulation System for Sound and Image Synthesis - the General Formalism." . Computer music journal 17(4), 1993.
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