Physically based sound models have the potential to produce rich sound with intuitive controls. However, computer music languages have been designed with the needs of sound processing, rather than model manipulation, in mind and so are limited in their use for truly expressive control of physical models. In this ongoing research project, we are investigating new programming language paradigms, both symbolic and graphical, for use with physical models.

Synchronous Objects, reproduced reimagines the web-based Synchronous Objects project, creating a physical, spatial extension of that project's analysis and interpretation of William Forsythe's One Flat Thing, reproduced. The multipart installation includes projections, a physically realized interactive Counterpoint Tool, synchronized video and audio from several of the project's choreographic objects, and more.

A procedural animation created for a live performance of Christopher Adler's Signals Intelligence. The animation uses the score of the piece to create a shifting network of communicating beacons.

A technique for producing high-quality sound and secondary animation effects by coupling a standard rigid body simulation to a finite-difference sound synthesis model. The technique considers fine-grained contact at audio rates, which allows for the production of richer impact sounds and damping from contact as well as the feedback of forces to the rigid body simulation. Sound is produced at interactive rates, in part through the assistance of a CPU vector processing unit.

Synchronous Objects is a piece of interactive dance literature which describes, illuminates, and expands upon the piece One Flat Thing, reproduced by the choreographer William Forsythe. It is the product of a collaboration among people from many disciplines, including dance, design, computer science, architecture, and geography. The site uses animation to annotate and explain the choreographic systems at work within the dance; has interactive tools to teach and to enable visitors to create their own work; and includes reinterpretations of the dance's data through such diverse means as statistical analysis, a furniture system, and generative computer graphics.

One of my major contributions was to the design and implementation of the interactive Counterpoint Tool. This tool presents simple geometric performing creatures; the user may then give them broad choreographic direction using sliders and buttons, learning about the construction of contrapuntal choreography by working directly with it in a simplified system. Visitors can go further and make their own creative work through use of the choreographic rule system.

A procedural animation created for a live performance of Steve Reich's New York Counterpoint, arranged for mallet percussion by Joseph Krygier. The animation is created by a choreographic system that maps the score to geometry, color, and light.

Murmur is an interactive dance and music system which explores the relation of space and sound. Performers are tracked by a computer vision system and control a shifting soundscape through changes in location and movement. Sounds and voices from throughout the world are mapped to different parts of the performance space.

Performances have included a collaboration with New Circus artists at ICMC 2007; a solo work by Norah Zuniga Shaw; and a piece by Ariadne Mikou.