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--- /dev/null
+---
+layout: project
+title: "Max/MSP/Jitter Summer school"
+date: 2007-07-14
+categories: academia pedagogy
+---
+
+# MMJ Day School w/ Michael Zbyszynski
+
+
+
+---
+
+I assisted MZED with his course at CNMAT for the years of 2007, 2008, 2009, and 2010.
+
+Topics included:
+
+- Max Basics
+- Open Sound Control
+- Events and signals
+- Data types
+- Creating patches with basic ideas
+- Creating abstractions, polyphony
+- CNMAT Externals
\ No newline at end of file
--- /dev/null
+---
+layout: project
+title: "Max/MSP/Jitter Summer school"
+date: 2011-07-18
+categories: academia pedagogy
+---
+
+# MMJ Summer Course at CNMAT
+
+
+
+---
+
+I taught the Max/MSP/Jitter workshop with John MacCallum at CNMAT for the years of 2011, 2012, 2013, 2014, 2015.
+All curriculum for each year was revamped, as we experimented with differing methods of pedagogy.
+
+Topics / content for the morning sessions (and sometimes afternoon slots) included:
+
+- Max Basics
+- Open Sound Control and ODOT
+- Events and signals, Data types
+- Interactive assignment materials
+- Network communications exercises
+- Integration of advanced concepts and patches
+- Guest lecturers, including Adrian Freed, Andy Schmeder, and David Zicarelli
+- David Wessel's lectures
+
+[2011](http://cnmat.berkeley.edu/event/2011/07/18/cnmat_summer_2011_workshops_max_msp_jitter) //
+[2012](http://cnmat.berkeley.edu/content/cnmat-presents-our-intensive-and-immersive-summer-workshops) //
+[2013](http://cnmat.berkeley.edu/event/2013/07/15/cnmat_max_msp_workshop_july_15_19_2013) //
+[2014](http://cnmat.berkeley.edu/event/2014/07/21/max_msp_day_night_school_july_21_25_2014) //
+[2015](http://cnmat.berkeley.edu/event/2015/07/13/max_msp_day_night_school)
layout: project
title: "ODOT (o.) immersion course"
date: 2017-08-13
-categories: academia pedagogy odot CNMAT
+categories: academia pedagogy
---
# ODOT Immersion Course
This course guided students through an introduction into the odot (o.) programming toolkit for Max/MSP. ODOT helps the Max programmer in gaining more finite control over the ways in which you are sending data between applications in a network.
-
-
Participants constructed sophisticated patches with an emphasis on interaction and exploration, while learning strategies and patterns for managing complexity, debugging, testing, and robustness. The course is tailored to artists and developers working with time-based media.
+
+
Background: odot provides a container, the "odot bundle", an extension of Open Sound Control (OSC), for naming, aggregating, and structuring data. In the Max programming environment, this is supported by a number of externals and patches for creating, manipulating, and displaying these structures. Leveraging this toolkit, students explored the design of complex, real-world patches, with an emphasis on real-time processing.
[announcement link](http://cnmat.berkeley.edu/events/odot-immersion-course)
---
layout: project
-title: "Computer Programming for Music Applications"
+title: "Music 159: Computer Programming for Music Applications"
date: 2018-01-17
-categories: academia pedagogy odot CNMAT UC-Berkeley
+categories: academia pedagogy
---
# Computer Programming for Music Applications
--- /dev/null
+---
+layout: project
+title: "RGB Pressure Sensitive Monome"
+date: 2008-09-06
+categories: research instrument
+---
+
+# RGB pressure sensitive Monome
+
+
+One of my first projects at [CNMAT](cnmat.berkeley.edu) was a collaboration with Adrian Freed. Our goal was to build upon ideas present in the Monome, which has the limitation of on/off status for button interactions.
+
+One way to circumvent this is to augment button toggles with pressure so that you simultaneously have pressure in one dimension, and a button with LED feedback in another. This idea can also be seen captured in newer devices like the Keith McMillen Instruments QuNeo, which has a similar topology, but implemented with MIDI. Instead of leaving the colorspace at a single LED, we also wanted each LED to have a uniquely addressable/showable color. Essentially the project became an RGB pressure sensitive Monome. Adrian had already worked out the tricky bits with resistive fabrics he had been experimenting with, and asked me to get the multiplexing and Arduino code set up. This project led into a research paper about the various technics and affordances beyond a standard Monome device.
+
+#### My blog post: [link](http://cnmat.berkeley.edu/content/rgb-pressure-sensitive-monome)
+
+#### Adrian's blog post: [link](http://cnmat.berkeley.edu/content/rgb-pressure-sensitive-monome-0)
+
+
+---
+
+++ /dev/null
----
-layout: project
-title: "RGB Pressure Sensitive Monome"
-date: 2008-09-06
-categories: academia research RGB pressure instrument interface gesture
----
-
-# RGB pressure sensitive monome
-
-
-One of my first projects at [CNMAT](cnmat.berkeley.edu) was a collaboration with Adrian Freed. Our goal was to build upon ideas present in the Monome, which has the limitation of on/off status for button interactions.
-
-One way to circumvent this is to augment button toggles with pressure so that you simultaneously have pressure in one dimention, and a button with led feedback in another. This idea can also been seen captured in newer devices like the Keith McMillen Instruments QuNeo, which has a similar topology, but impelmented with MIDI. Instead of leaving the colorspace at a single LED, we also wanted each LED to have a uniquely addressable/showable color. Essentially the project became an RGB pressure sensitive monome. Adrian had already worked out the tricky bits with resistive fabrics he had been experimenting with, and asked me to get the multiplexing and Arduino code set up. This project led into a research paper about the various technics and affordances beyond a standard Monome device.
-
-#### My blog post: [link](http://cnmat.berkeley.edu/content/rgb-pressure-sensitive-monome)
-
-#### Adrian's blog post: [link](http://cnmat.berkeley.edu/content/rgb-pressure-sensitive-monome-0)
-
-
----
-
layout: project
title: "Subjective Spaces in Hearing Research"
date: 2008-10-13
-categories: academia research auditory-scene hearing-science hearing-aid
+categories: research hearing-science
---
-CNMAT research with SHRC (Starkey Hearing Research Laboratories)
+# CNMAT research with SHRC (Starkey Hearing Research Laboratories)
+
---
+
In 2008, I started work with [CNMAT](http://cnmat.berkeley.edu/) on a research project with the late David Wessel, involving the development of hearing aids. Other PIs were Brent Edwards, Sridhar Kalluri, and Kelly Fitz. Subjects were able to use our test suite to custom calibrate a 16-band compressor in order to come up with weighted interpolations that made more sense to them than a standard preset. The goal was to put the hearing impaired in control rather than administering fittings for customers without feedback. We then compared these choices with the outcome of a neural network in order to do further research and analyses on the data. This work was done in Max/MSP, and the UI had to be used by people with no knowledge of programming.
---
layout: job
title: "CNMAT: The Center for New Music and Audio Technologies"
date: 2008-11-01
-categories: academia research development music-technology
+categories: academia research
---
# CNMAT
layout: project
title: "HAPL: Hafter Auditory Perception Lab"
date: 2008-11-01
-categories: academia research auditory-scene hearing-science dichotic-listening
+categories: research hearing-science
---
HAPL
---
-In 2008 I worked with Professor Ervin Hafter on a research project involving dichotic listening. Subjects were invited to answer questions issued in a virtual cocktail party that I programmed, both through visual stimulus on screen and a 48-channel speaker array in an anechoic chamber. The goal was to track how people pay attention with simultaneous streams of information, and how often they are able to tune in subconsciously. This work was completed with both Matlab and Max/MSP/Jitter as the framework, and the interface for the subjects was an array of switches that allowed them to answer the questions, which we could then catalogue.
+In 2008 I worked with Professor Ervin Hafter on a research project involving dichotic listening. Subjects were invited to answer questions issued in a virtual cocktail party that I programmed, both through visual stimulus on screen and a 48-channel speaker array in an anechoic chamber. The goal was to track how people pay attention with simultaneous streams of information, and how often they are able to tune in subconsciously. This work was completed with both Matlab and Max/MSP/Jitter as the framework, and the interface for the subjects was an array of switches that allowed them to answer the questions which we could then catalogue.
---
layout: project
title: "0.9 (Zero Point Nine)"
date: 2015-04-20
-categories: academia research LFO deaf-music instrument interface gesture
+categories: research instrument
---
# 0.9 instrument for deaf performers
Location: RPI, Troy, New York
- Pauline Oliveros
+- Johannes Goebel
- Julia Alsarraf
- Jad Atoui
-- Johannes Goebel
- Matt O'Hare
- Evan-Daniel Rose-González
- Jeff Lubow
--- /dev/null
+---
+layout: project
+title: "Recasting the Tsar Bell"
+date: 2016-04-15
+categories: research instrument
+---
+
+# Recasting the Tsar Bell
+
+
+
+I worked with Chris Chafe, Greg Niemeyer, Edmund Campion, and Perrin Meyer to help realize two pieces in which a reconstructed virtual model of the Tsar Bell used as a performable element. Since this is/was one of the world's largest bells (although it never rung), it was the interest of a number of researchers to hear it. [John Granzow](http://bcnm.berkeley.edu/news-research/1568/recasting-the-tsar-bell-with-john-granzow) did a lot of work on the modeling of the bell to
+
+A quote from Greg Niemeyer on the physical characteristics of bells:
+
+"Although bronze bells don't appear to be elastic, when struck, they deform. The deformation moves throughout the bell, and since the bell is round, the deformation circulates until its energy is absorbed by the environment. The sound comes from the deformation moving the air surrounding the bell. The deformations' constituent frequencies and their amplitudes form waves which define the pitch, volume and timbre of the bell's sound."
+
+[BCNM: Recasting the Tsar Bell](http://bcnm.berkeley.edu/news-research/997/revisited-recasting-the-tsar-bell)
+
+[KQED Article](https://www.kqed.org/arts/11494671/what-does-a-200-ton-bell-sound-like)
+
+#### Performance site: UC Berkeley
+
+[BCNM Event](http://bcnm.berkeley.edu/events/109/special-events/998/recasting-the-tsar-bell)
+
+[Here](https://theta360.com/s/qYS02d3V9RhEg302IAoe6KJpQ) is a 360 degree view of the performance site, near UC Berkeley's Carillon.
+
+Location: UC Berkeley, Berkeley, California
+
+A host of researchers and artist were involved in this project:
+
+- Greg Niemeyer
+- Chris Chafe
+- Edmund Campion
+- Jeff Lubow
+- Olya Dubatova
+- John Granzow
+- Perrin Meyer
+- DJ Spooky (Paul D. Miller)
\ No newline at end of file
--- /dev/null
+---
+layout: project
+title: "Modulations Festival w/ Reza Ali"
+date: 2014-04-05
+categories: sound performance
+---
+
+2014 Modulations Festival
+
+
+
+Carr Wilkerson invited me to be a featured artist in 2014's Modulations festival. It was a great opportunity to catch up with a number of folks I'd gotten to know there over the years, and to spend some time working in their facilities leading up to the show. Dave Kerr did a great job documenting. I had a fun time in the collaboration with [Reza Ali](https://www.syedrezaali.com/) who performed visual magic during my set.
+
+[Reza's documentation](https://www.syedrezaali.com/ccrmamodulations/)
+
+---
+
+Themes
+
+- Improvisation
+- Collaboration
+
+---
+
+
+
+
+
+
---
layout: project
-title: "Finite 00 - A quarterly series: Miller, Kanaga, Merkey"
+title: "Finite 00 - A quarterly series: Miller, Equilet, Kanaga, Merkey"
date: 2016-01-30
-categories: music improvisation collaboration
+categories: sound performance
---
Finite Series #00
---
layout: project
-title: "Finite 01 - A quarterly series: Miller, Dunne, Rene Hell, Easy Simple"
+title: "Finite 01 - A quarterly series: Miller, Dunne, Equilet, Rene Hell, Easy Simple"
date: 2016-04-30
-categories: music improvisation collaboration
+categories: sound performance
---
Finite Series #01
---
layout: project
-title: "Finite 02 - A quarterly series: Miller, Last, Jelinek, Scy1e"
+title: "Finite 02 - A quarterly series: Miller, Equilet, Last, Jelinek, Scy1e"
date: 2016-07-30
-categories: music improvisation collaboration
+categories: sound performance
---
Finite Series #02
layout: project
title: "Bergen Assembly opening: Tarek Atoui's Infinite Ear"
date: 2016-09-01
-categories: music improvisation collaboration research instrument-design
+categories: sound installation
---
Tarek Atoui partnered with [Council](http://www.council.art) to create a masterful installation in the Sentral Badet community space of Bergen, Norway. My role was to set up the 0.9 instrument, calibrate it to the room, develop the software further with Tarek leading up to rehearsals, and train people on it through subsequent days of the exhibition prep. We worked with professional musicians and newcoming performers alike, many of them deaf persons. It was an eye opening experience to see the ways in which something of my own creation could be used to teach people how to create abstract music for the first time in their life. There were onsite interpreters to translate between sign and spoken language, and many interesting aspects of the space and partitions of the installation to explore and engage in as the time went by.
Some highlights:
-- We worked with the [Bit20 Ensemble](http://bit20.no/home-english/) to aid them in particular pieces they would air on 9/2/2016 (the opening).
+- Tarek and I worked with the [Bit20 Ensemble](http://bit20.no/home-english/) to aid them in particular pieces they would air on 9/2/2016 (the opening).
+- Tarek and I worked with deaf performers to learn how to play the [zeropointnine](/research/instrument/zeropointnine.html)
- [Grégory Castéra and Sandra Terdjman](http://www.council.art/) set up a museum of sonic artifacts around the interior of the space, which taught people about the ways in which sound has been interpreted and used throughout history
- There was a sound massage room where you could book an appointment for 1 hour increments
- Johannes Goebel installed his [SubBassProtoTon](http://empac.rpi.edu/events/2017/fall/subbassprototon), which is an acoustic bass generator room construction in which the occupant of the box can control a low tone with a sliding window in which air passes through and creates vibration
layout: job
title: "CNMAT: live electronics"
date: 2018-05-18
-categories: music improvisation collaboration CNMAT
+categories: sound performance
---
CNMAT [presented](http://cnmat.berkeley.edu/events/john-bischoff-w-jeffrey-lubow-cullen-miller) an evening with John Bischoff, myself, and Cullen Miller.
layout: job
title: "Starkey Hearing Research Center"
date: 2009-01-01
-categories: academia research auditory-scene hearing-science hearing-aid
+categories: research hearing-science
---
Starkey Hearing Research Laboratories (SHRC) position
---
Goals
---
+
- Develop and maintain software that subjects used for hearing-related experiments
- Correlate data in findings and do further analysis
- Report to SHRC team regarding updates and research goals
layout: job
title: "DJTT: ENTER / Orbit instrument"
date: 2014-05-04
-categories: industry research product-design collaborative-music gesture-recognition
+categories: industry product-design
---
DJ Techtools: Orbit Instrument for Richie Hawtin's ENTER exhibition
---
-Plastikman's "Enter." club featured an entire level to house "Orbit" - Interactive music table with up to 6 performers (12 hands).
-Worked with team at DJ Techtools to build an interactive music experience for club in Ibiza, Spain.
+Plastikman's "Enter." club featured an entire level to house "Orbit". Orbit is an interactive music table that allows up to 6 performers (12 hands) to perform collaboratively.
+Worked with team at DJ Techtools to build an interactive music experience for club in Ibiza, Spain. In addition to headphones, [Subpacs](https://subpac.com/) were used in order to allow performers to differentiate the low frequencies coming from their input from adjacent rooms in which DJing was happening.
-[Ibiza link](http://enteribiza.com/?p=1045)
+[Enter](http://enterexperience.com/)
+
+[Subpac](https://subpac.com/enter-ibiza/)
---
layout: job
title: "Cycling '74"
date: 2014-08-01
-categories: industry testing max7 maxmspjitter
+categories: industry software
---
Cycling '74: Max 7
[Cycling HQ](http://cycling74.com/)
-David Zicarelli's [first look article] on Max 7(https://cycling74.com/articles/a-first-peek-at-max-7)
+David Zicarelli's [first look article] on [Max 7](https://cycling74.com/articles/a-first-peek-at-max-7)
---
## Jeffrey M. Lubow
-I am an interdisciplinary artist and researcher concerned with the space between body and technology. My influences are spread amongst a number of mentors and colleagues the likes of David Wessel, Adrian Freed, Leslie Stuck, John Bischoff, Pauline Oliveros, and Patrick Clancy.
+I am an interdisciplinary artist and researcher concerned with the space between body and technology. My influences are spread amongst a number of mentors and colleagues the likes of [David Wessel](https://asa.scitation.org/doi/10.1121/1.4987551), [Adrian Freed](http://adrianfreed.com/), [Leslie Stuck](http://www.lesstuck.com/), [John Bischoff](http://www.johnbischoff.com/), [Pauline Oliveros](http://www.paulineoliveros.us/), and Patrick Clancy.
I studied conceptual art at the Kansas City Art Institute, and electronic music practice at Mills College in Oakland, California. Since, I have worked with various organizations, including Cycling '74, The Hafter Auditory Perception, and Starkey Hearing Research Center.
-In 2008, I commenced a research position at CNMAT (The Center for New Music and Audio Technologies), UC Berkeley, focusing on instrument building, music technology, pedagogy, and experimental software development, where I currently occupy the role of Music Systems Designer.
+In 2008, I commenced a research position at [CNMAT](http://cnmat.berkeley.edu/) (the Center for New Music and Audio Technologies), UC Berkeley, focusing on instrument building, music technology, pedagogy, and experimental software development, where I currently occupy the role of Music Systems Designer.
+
+I perform and record my own music under the moniker 'equilet'.
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