The advancement and accessibility of technology has facilitated a multiplicity of interactions between sound and the body. Miles discusses a number of projects that have investigated interaction through sound within different contexts. One commonality running through these projects is that of immersion, ranging from introspection to social connection. From this basis Miles explores the correlation between sound or tangible media and the human experience.

Miles Thorogood is a practicing sound artist and research student at Emily Carr University, who builds software and hardware technologies for adaptive and interactive artwork systems. Miles has worked with Australia's CSIRO in the development of projects to facilitate physical connection over computer networks, The Australian National University and the Canberra Rep Theatre 3 in the development of interactive immersive environments. He has been involved across disciplines as a freelance media artist and creative and technical consultant with Canadian and international media artists.

We outline a new machine-learning framework called the Hierarchical Sequential Memory for Music (HSMM). The HSMM is an adaptation of the Hierarchical Temporal Memory (HTM) framework, designed to make it better suited to musical applications. The HSMM is an online learner, capable of recognition, generation, continuation, and completion of musical structures.

James Maxwell was born in Vancouver, Canada. He studied composition in Vancouver with Owen Underhill and David MacIntyre, and in Prague with Ladislav Kubik. In 2001 he completed his MFA in Interdisciplinary Studies at Simon Fraser University. His work has been broadcast on CBC’s “West Coast Performance” and “Two New Hours”, and has been performed in Canada, the US, Europe, China, and the UK. In the summer of 2000 he received the audience prize in Vancouver New Music’s BC Emerging Composers Competition. He has worked collaboratively in contemporary dance, theatre, and film, creating music for choreographers Claire French and Helen Walkley, for director Mallory Catlett, and for film makers Alex Williams and Alison Beda. He is also interested in wider and more diverse collaborations, working with visual artist Kathleen Ritter on a project for Modern Fuel Artist Run Centre in Kingston, Ontario, with writer Caleb Johnson on the Western Front’s “Intersections” project, and in an upcoming collaboration with Berlin-based artists Hadley+Maxwell for the Seattle Art Museum in 2010. In 2009 he premiered limina, commissioned by flutist Mark McGregor’s duo Tiresias, and is continuing a collaboration with choreographer Claire French and film maker Allison Beda on a series of one-minute dance films. Recent concert music commissions include co existere, for the Touch of Brass Ensemble, which premiered during Vertical Orchestra 2008, at the Vancouver Public Library, and diffusus, which was recently released on McGregor’s latest CD Different Stones.. In May 2009 his most recent concert work, commissioned by the Vancouver Symphony Orchestra, was premiered at the Orpheum theatre. In 2007, while living in the UK, he established “mr. wheet”, an electronica-inspired side-project, integrating elements of his concert music language with his musical beginnings as a kit drummer. The debut CD, “What to do when you find yourself in Brighouse”, was released in December 2008. James is also active as a researcher and programmer in the field of computer applications for interactive music composition. He is currently a doctoral student at Simon Fraser University, where he is exploring the design and development of computer-assisted composition tools, with a focus on using intelligent, adaptive systems as compositional “collaborators.”