ABSTRACT This article introduces an ensemble of mechatronic sound-sculptures designed and developed to realize glitch music outside of computers; the sculptures instead create glitches mechanically, physically and visibly. A brief description of the three different instrument types forming the ensemble is followed by a discussion of how the sound-sculptures employ a Brutalist “anti-beauty” approach in terms of both design and ideology.

ABSTRACT Musical robotics is a rapidly growing field, with dozens of new works appearing in the past half decade. This paper explores the foundations of the discipline and how, due to the ability of musical robots to serve as uniquely spatialized musical agents, it experienced a rebirth even in the face of loudspeaker technology's dominance. The growth of musical robotics is traced from its pre-computer roots through its 1970s renaissance and to contemporary installation-oriented sculptures and performance-oriented works. Major figures in the field are examined, including those who in recent years have introduced the world to human/musical robot interaction in a concert setting. The paper closes with a brief speculation on the field's future, with a focus on the increasing ease with which new artists may enter the field.

ABSTRACT The advent of on-line communities has democratized the process of musical interface design and allowed users to directly participate in the future development of the devices they use. On-line communities, acting as centralized repositories for information pertaining to the development of an interface, allow users to discuss their experiences and ideas as well as providing a framework for managing information pertaining to an interface. This centralized access to information regarding the design, use and development of an interface both focuses and accelerates the developmental process.