My artistic practice and research focuses on electroacoustic systems relating to chamber music, performance space augmentation, and sound installation. I am interested in exploring acoustic phenomena – often feedback derived from both real and virtual systems – in live situations, and embedding sounds or gestures into layers of automated live electronic processes. Below are links to a variety of papers, projects, and pieces relating to these areas.
February 2023 – will beNetworked audio auralization and feedback cancellation system and method
October 2021 – AES Las Vegas
Synthesizing Reverberation Impulse Responses from Audio Signals: Auto-Reverberation and Interactive Environments
Sound/Video Examples here.
– SMC 2020 Torino (peer reviewed) Methods for Performing with Feedback in Virtual Acoustics.
Eoin F. Callery and Elliot K Canfield-Dafilou.
A video of my SMC presentation (from 5 hours 4 minutes) is available here.
– AES Dublin 2019 (peer reviewed) A Method for Studying Interactions Between Music Performance and Rooms with Real-Time Virtual Acoustics.
Slides and sound examples from the presentation are available here.
Associated artworks created for real time virtual acoustic environments:
– Double Feature – or The Bard Cheek Takes the Night Shift at the Piano (Jan-Feb 2019)
for Disklavier with or without live performer, live electronics – modified virtual acoustic system, referred to in Methods for Performing with Feedback in Virtual Acoustics – and video. Please contact eoin.callery * ul.ie for access to the video documentation of this piece.
The virtual acoustics for this piece are dynamic, that is they change during the course of the piece, and also involve acoustic environments created from non-real virtual phenomena. In particular, these non-real virtual environments can be heard emerging and evolving over time from the 14th minute of the piece.
Church Rock (with Elliot Kermit Canfield-Dafilou (March/April 2019)
A virtual choir performs music by Felice Anerio (1560–1614) in a real time dynamic virtual acoustic environment. Experiencers are invited to interact and join the choir, and sing along in a constantly evolving simulation of Chiesa di Sant’Aniceto from Rome’s Palazzo Altemps and other virtual acoustic spaces.
– DAFx Aveiro 2018 (peer reviewed) A Feedback Canceling Reverberator.
– Icons of Sound and Capella Romana
An international interdisciplinary project led by Bissera V. Pentcheva and Jonathan S. Abel
My work on the Icons of Sound project included installing and configuring the recording equipment at CCRMA for the recording session with Capella Romana, and consulting/assisting at CCRMA with Jonathan Abel and Elliot Canfied-Dafilou on the 5.1 and Atmos mixes for the Lost Voices of Hagia Sophia album and Documentary Film .
Embedded Sounds and Gestures with Live Electronics:
An interactive installation requiring headphones, MAX, Arduino, photoresistors, and found objects.
For cello, prepared Disklavier (the Disklavier is prepared with several hard cover books placed across and dampening all of the strings), and live electronics controlling feedback generating variable band-pass filters. These live electronics operate independently of the performer. Performed by the incredible Séverine Ballon
An interactive installation using MAX, Arduino, Photoresistor… and cookies
– Skry 2
In Skry 2 a photoresistor is placed underneath a bowl of water. Food coloring is added to the water. The pitch of the electronic sound world changes very slowly as the water changes color. Arduino and SuperCollider
– SMC 2018 Limassol (peer reviewed)
A Portable Impulse Response Measurement System
Elliot K. Canfield-Dafilou, Eoin Callery, and Christopher Jette
– AES 2014 Los Angles (peer reviewed)
eoin.callery * ul.ie or ecallery * ccrma.stanford.edu