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We present news developments and their integration within the ACROE’s Hélicanthe creative workstation. These improve the concepts and technologies previously implemented in the CORDIS-ANIMA formalism, the GENESIS software and the TELLURIS station for interactive multisensory simulation of physical objects, TELLURIS including the ACROE’s haptic systems, “Transducteurs Gestuels Rétroactifs” (TGR). After a brief review of the theoretical and technological bases, we present: 1) the new prototype of the fourth generation of GENESIS dedicated to modeling for real time with force feedback systems, G-IV. 2) a new principle of gestural emulation allowing, in the absence of force feedback devices and in non real time, to design physics-based instruments models to be simulated on real time platforms equipped with TGRs. Finally we illustrate through the musical artwork Quetzalcoatl (Cadoz, 2018) composed on Hélicanthe, new ways of musical dialogues: (i) between real gestures on haptic devices and emulated ones; (ii) between several instrumentalists playing on two coupled TGRs. We conclude on the perspective of "writing the gesture" which is by such advancements.

This chapter presents recent work concerning physically modelled virtual musical instruments and force feedback. Firstly, we discuss fundamental differences in the gesture–sound relationship between acoustic instruments and digital musical instruments, the former being linked by dynamic physical coupling, the latter by transmission and processing of information and control signals. We then present an approach that allows experiencing physical coupling with virtual instruments, using the CORDIS-ANIMA physical modelling formalism, synchronous computation and force-feedback devices. To this end, we introduce a framework for the creation and manipulation of multisensory virtual instruments, called the MSCI platform. In particular, we elaborate on the cohabitation, within a single physical model, of sections simulated at different rates. Finally, we discuss the relevance of creating virtual musical instruments in this manner, and we consider their use in live performance.

Cet article propose une reflexion autour du geste instrumental musical, de sa nature physique et de sa place dans le monde numerique. Nous abordons dans un premier temps la difference fondamentale du lien geste-son entre instruments acoustiques et instruments musicaux numeriques, le premier cas etant regi par un couplage physique dynamique et le second par le traitement et la transmission d'informations et de signaux. Nous presentons ensuite une approche permettant le couplage physique avec des instruments virtuels simules, s'appuyant sur le formalisme de modelisation physique CORDIS-ANIMA et l'utilisation de systemes a retour d'effort. En particulier, nous developpons les problematiques de cohabitation et de couplage physique dans le cadre de reseaux physiques multifrequence, Pour terminer, nous presentons des exemples d'instruments virtuels crees de cette maniere et discutons de l'interet de creer un tel lien physique a l'instrument dans le cadre numerique.

We present GENESIS-RT, a Virtual Reality platform conceived for musical creation. It allows the user to (1) interactively create physically-based musical instruments and sounding objects, and (2) play them in real time in a multisensory fashion, by ways of haptics, 3D visualisation during playing, and sound. The design of this platform aims for full physical coupling, or instrumental interaction, between the musician and the simulated instrument. So doing, it differs from both traditional Digital Musical Instrument architectures and Virtual Reality system architectures. By presenting our environment, we discuss several scientific underlying questions: (1) possible ways to manage simultaneous audio-haptic-visual cooperation during real time multisensory simulations; (2) the Computer Aided Design functionalities for the creation of new physically-based musical instruments and sounding objects, and (3) the synchronous real time features, in terms of software and hardware architecture. Finally the article reviews a series of exemplary models and instrumental situations using the proposed platform.

International audience; Recent developments at ACROE-ICA have yielded a first audio- haptic modeller-simulator for real time simulations of mass-interaction physical models. This paper discusses the conceptual and technological considerations for a haptic platform that supports dynamic coupling for audio-haptic interactions, in particular in the case of physical coupling with virtual musical instruments. We present work concerning system calibration and metrology, then demonstrate a model developed with this platform, exhibiting dynamic gesture-sound coupling. The quality of the haptic device’s dynamics along with the modularity of mass interaction physical modelling allow for subtle and highly precise interaction with simulated objects, enabling intricate musical gestures relying on high-bandwidth audio-haptic coupling.

Sound synthesis with mass-interaction physical modeling networks is known as a general paradigm capable of being the central part of complete software environments for both sound synthesis and musical creation. GENESIS 3, resting on the CORDIS-ANIMA formalism and developed by ACROE/ICA Laboratory, is the first environment of this kind. Using it, the artist may be facing an inherent problematic of every creation process: how to use a given tool in order to obtain an expected result. In our context, the question would be: “Considering a sound, which physical model could produce it?” Our work aims at formalizing this inverse problem and therefore at helping the user through his creative process. Therefore, we will consider how he could describe a sound (entry of the inverse problem), how to define a generator model based on mass-interaction physical networks and each one of its subcomponents (formal solution of the inverse problem), and, obviously, how to compute this solution considering an entry (resolution of the inverse problem). In this paper, we will develop each one of those three points and present the first algorithmic resolutions already implemented and used within GENESIS 3.

Colloque C5 (3ème Congrés français d'acoustique) - Supplément au Journal de Physique III; National audience; In an instrument such as the piano, the coupling phenomena between the vibrating structures (the strings) play an important part. Firstly when there are two or three strings for each note, the coupling between these strings produces an "aftersound" phenomenon. Secondly, the vibration of the bridge causes the vibration of the other free strings. In this work, the coupling phenomena are physically modelled and simulated. The design tool is the CORDIS-ANIMA system developped by the ACROE laboratory. CORDIS-ANIMA is a digital instrument simulator based on the principle of concentrated masses (a discrete network of masses springs and dampers). At first was elaborated a model of two coupled strings as close as possible to the coupled strings in the piano. Afterwards this model was generalized to N strings. This new model produced aftersound as for the previous model ; but in addition it also accounted for the vibration transmission to harmonic strings. Finally, other structures than strings were also modelled on this coupling structure.

Special issue: Enaction and Music; International audience; Considering the process of artistic creation to be deeply linked with technology, we propose a conceptual framework which gives a sense to the concept of artistic creation tools in the context of the computer. Starting from an initial, technology-free situation, we introduce the notion of musical instrument as the first appearance of technology in music. Then, introducing step by step the important technological mutations we characterize the creative process that is supported by each stage and the transaction or 'trade-off' which accompanies each change. Under the light of this analysis we discuss interactive multisensory simulation of physical objects, including gestural real-time interactions, as we have been developing for years in our laboratory. An important issue within this article is an attempt to finish with some harmful confusion which comes from too systematically classifying certain situations as instrumental under the pretext that they appeal to gesture and real-time sound production or processing. We present through the concepts of 'supra-instrumental gesture and interaction', several situations that, in non-real time (but also possibly in real-time), and even in the total absence of actual gesture (but also achieved with actual gestures), are more gestural and more instrumental than certain gesticulations effected with sophisticated input devices and real-time sound digital processing.