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Design is not exclusively about a marketable end product. Design is also a process that might be less about solving problems and more about improvisatory and speculative thinking. To de-sign is to sketch, mark out, experiment. In this talk I will present a method of improvisatory design thinking that is based on a technical library we call the Organium. The library consists of technical elements and work processes that support quick and agile design processes, brainstorming and hacking. Drawing from examples in creative coding, networked performance, and experimental instrument design, I argue that hacking is not just a technical activity but a mode of thinking through improvisation—an engagement with the affordances and constraints of technology that reshapes our technical imaginaries and opens new creative possibilities for Web Audio.
Thor Magnusson is a research professor at the University of Iceland and a professor of future music in the Music Department at the University of Sussex. His research interests include musical performance, improvisation, new technologies for musical expression, live coding, musical notation, artificial intelligence and computational creativity. He runs the Intelligent Instruments Lab (<www.iil.is>) at the University of Iceland. His research has roots equally in practice and theory and recent books include 'Sonic Writing: Technologies of Material, Symbolic and Signal Inscription' and 'Live Coding: A User's Manual', published by Bloomsbury Academic and MIT Press respectively.
WAC is an international conference dedicated to web audio technologies and applications. The conference addresses academic research, artistic research, development, design, evaluation and standards concerned with emerging audio-related web technologies such as Web Audio API, Web RTC, WebSockets and Javascript.
The conference welcomes researchers, developers, designers, artists, and all people interested in the fields of web development and music technology.
Web Audio Conferences were previously held in 2015 at IRCAM and Mozilla in Paris, in 2016 at Georgia Tech in Atlanta, in 2017 at the Centre for Digital Music, Queen Mary University of London in London, in 2018 at TU Berlin in Berlin, in 2019 at the Norwegian University of Science and Technology in Trondheim, in 2021 at Universitat Pompeu Fabra and SonoSuite, Barcelona, Spain (virtual event), in 2022 at Université Côte d'Azur, Cannes, France and in 2024 at Purdue University, US.
For this 10 year anniversary, the proposed theme "Hacking and Making with Web Audio", is intended to invite scholars, researchers, developers, designers and artists to explore and engage with new usage of the Web Audio API across various disciplines and contexts. In particular, we will welcome original contributions that re-question and propose novel use of Web and Audio technologies, e.g. in their relation to more traditional music technologies and ecosystem, with or without the Internet or mixing paradigms such as mobile or IoT technologies.
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Audio Compost is a web application that enables partici- pants in a single location to contribute sound to an ongoing, collaborative frippertronic loop using their mobile devices and voice. The system tightly synchronizes audio samples acro
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This paper presents the planned experimental design of an online virtual reality learning environment (VRLE) to investigate the effect of authentic spatial sound on verbal work- ing memory. Despite the increasing integration of virtual real
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Professional audio editing software needs a robust persistence strategy to preserve audio data captured in real time. As modern web browsers have expanded their capabilities, web applications are now able to write arbitrary data to disk in
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Technology has radically changed educational systems and teaching strategies over the last decades. The use of inter- active applications for training and exams has become in- creasingly common. Even audio and music production edu- cation b
November 19, 2025
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