{"id":{"repo_id":"mit","oai_identifier":"oai:dspace.mit.edu:1721.1/28766"},"canonical_url":"https://search.dev.ndltd.org/etd/mit/oai:dspace.mit.edu:1721.1/28766","repository":{"repo_id":"mit","name":"MIT","base_url":"https://dspace.mit.edu/oai/request"},"display":{"title":"Improvisatory music and painting interface","abstract":"(cont.) theoretical section is accompanied by descriptions of historic and contemporary works that have influenced IMPI.","abstract_html":"(cont.) theoretical section is accompanied by descriptions of historic and contemporary works that have influenced IMPI.","abstract_has_math":false,"creators":["Solís García, Hugo, 1976-"],"institution":"Massachusetts Institute of Technology","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":"Massachusetts Institute of Technology. Dept. of Architecture. 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It presents the theoretical, philosophical and technical framework of the Improvisatory Music and Painting Interface (IMPI) system: a new computer program for the creation of audiovisual improvisations performed in real time by ensembles of acoustic musicians. The coordination of these improvisations is obtained using a graphical language. This language is employed by one \"conductor\" in order to generate musical scores and abstract visual animations in real time. Doodling on a digital tablet following the syntax of the language allows both the creation of musical material with different levels of improvisatory participation from the ensemble and also the manipulation of the projected graphics in coordination with the music. The generated musical information is displayed in several formats on multiple computer screens that members of the ensemble play from. The digital graphics are also projected on a screen to be seen by an audience. 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