SDIF
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Data in Digital Humanities, and Media production work is usually represented as many variable instances of a small number of fixed predefined schema. CNMAT's SDIF is an example of this that is widely employed in musical sound modeling and musical information retrieval. SDIF represents streams of data as time-stamped discrete matrices signals with predefined row and column data interpretations that are small variations of core types invented by CNMAT and IRCAM at SDIF's inception.

"o."
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CNMAT's "o." system is being developed for situations where the schema themselves vary dynamically. This is of particular value when modeling processes of ontogenesis, morphogenesis and structural change as manifested in many different areas of studies. Scholars who can be readily identified with an emphasis in humanities to structural dynamics include:

- Whitehead: Process and Agency
- Gell: Art as Agency
- Simondon: the technical object and individuation
- Varela: Ethical Know-How: Action, Wisdom and Cognition
- Maturana: Autopoeisis and Structural Coupling
- Latour: Actor Network Theory
- Born: Music, Cultural Temporalities and Human Object relations

Note that articulation of new "forms" and changing "form" is a central frame and concern of twentieth century art.

Simondon uses word play to succintly describe the distinction between static and dynamic schema by inserting a dash in the word "information", producing the dynamic "in-formation"."

Here are some scenarios where the in-formation model is important:

- Extending the kinesphere in dance when bodies dynamically fuse and split
- Emergence in political structures at short-time structure level (protests), and long-time structure (ideology and rhetorical framings).
- Musical gesture understood as perceived structure (melody, chord changes, expressivity), instrumental gesture and compositional design.
- Art "movements"
- Genre
- Aesthetic configuration
- Configuration of the participant body in interactive art
- Robotic building design
- Responsive space

The "o." tools have been designed to model structural change. They include:

- a data encoding (OSC),
- o.expr, a dynamic, object-oriented, functional expression language that can be embedded in other computer languages
- o.io, a library of transcoders to interface to real-time enviironmental and gesture capture devices and actuators
- o.table, a persistent store for OSC streams

The "o." modeling structural is useful both in cultural production activities (music, intermedia arts, dance etc.) and in analysis, recording and data mining activities of Digital Humanities work. This is achieved by embedding the "o." system itself into existing tools, such as Max/MSP, PD, Node.js, and Python, or transcoding streams of data produced and consumed by existing tools. It is intended to augment existing praxis where modeling the dynamics of form is essential.

2015
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The focus of this work in 2015 is representing external, internal and bodily gesture in music and dance.