Happy 2026! We are SO back. More snow, more ice, and more podcasts! After taking a much needed pause over the holidays, Music, Movement, Machines continues with new episodes coming out roughly every couple weeks. As always, thank you for tuning in, and if you know of others who might like to listen, please share it with them.

In this episode, I sat down for a conversation with my former PhD co-supervisor, Marcelo Wanderley. Marcelo is a professor of Music Technology at McGill University where he leads the Input Devices and Musical Interaction Laboratory. He is also the current director of the Centre for Interdisciplinary Research in Music Media and Technology, a multidisciplinary research centre that serves several Quebec universities.

Marcelo is well-known across the world of music technology, and especially in the area of musical interface and digital musical instrument design. His ongoing work, teaching, and supervision has helped music tech research evolve as a truly interdisciplinary field, and under his leadership CIRMMT continues to redefine what this can mean for the future.

Below is a list of relevant links and information about some of the things that we talk about in the episode.

• The Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT)
• The Input Devices and Music Interaction Laboratory (IDMIL)
• Guests continue to be closely affiliated with IRCAM and NIME, and Marcelo is no different. Fun fact: Marcelo Wanderley is the Most Cited Author in the first 20 years of the NIME Conference! (source)
• Trends in Gestural Control of Music (2000) is an e-book (originally published as a CD-ROM) edited by Wanderley and Marc Battier. It is one of the earliest sources of literature on gesture and interaction for computer music.
• Also mentioned in the episode: Problems and Prospects for Intimate Musical Control of Computers (2001) by David Wessel and Matt Wright, which should have been in Trends... but instead was published at the first year of NIME!
• Finally, Marcelo mentions one of the publications he and I co-authored, Stability, Reliability, Compatibility: Reviewing 40 Years of DMI Design (2018) as we discussed expanded musical practice (one of CIRMMT's four research axes).

Sarah Fdili Alaoui is a Reader at the Creative Computing Institute at the University of the Arts London and also a dancer and choreographer. She conducts research in human-computer interaction (HCI) and computer science with a focus on dance, movement, and technology. Prior to her position in London, Sarah was Associate Professor in the ex)situ research group at LISN-Université Paris-Saclay. She supervised my postdoctoral work there from 2022 to 2024, and together we created the dance/music/AI work For Patricia. We talk about Sarah's background as a dancer and engineer, and how these areas coalesced into her current and future interdisciplinary work, which cover dance technology, research through design, responsible AI, decolonization of dance technology and research, and more.

This podcast episode is available everywhere you get your podcasts from and, additionally, available ad-free and in video form on Patreon.

• Sarah's professional website is saralaoui.com.
• She mentions IRCAM, l'Institut de Recherche et de Coordination Acoustique/Musique, a public research centre dedicated to musical expression and scientific research. Located in Paris, it is one of the most important and well-known centres for research in music and technology.
• We talk here and there about For Patricia, the live work we co-created. (Note: Patreon members can see the full performance from last year's Sõltumatu Tantsu Festival in Tallinn, Estonia.)
• Sarah discusses the work of Léo Chedin (For Patricia collaborator and Ph.D. student at ex)situ / LISN-U. Paris-Saclay), and Liz (Santoro) and Pierre (Goddard), choreographers and collaborators.
• Liz and Pierre's company le principe d'incertitude creates contemporary dance works that often involve layers of technology and experimental, genre-defying performances. I worked with them on the piece "The Game of Life" to create the interactive elements that structured the piece. The four of us, Liz, Pierre, Sarah and I, published a paper about the development of the piece, based on my firsthand experience and interviews with the team. I also published a "Making of..." blog post about the design process.
• Coming full circle, Léo has worked with Liz and Pierre in their newest work, "This is unreal", developing AI tools that can learn and generate dance choreographies.

Finally: As always, if you enjoyed this podcast, please also check out the companion "Music, Movement, Machines" newsletter at johnnyvenom.substack.com. If you would like to directly support my work, please consider becoming a Patreon supporter at patreon.com/johnnyvenom. And of course, please share this with others who you think might be interested!

In this episode, I connect with Alex Tibbitts, a.k.a. "The Bionic Harpist". A longtime Montrealer currently residing in Mexico City, Alex is a classically trained harpist whose practice over the last several years has evolved into contemporary electroacoustic and electronic music. Alex and I are longtime collaborators, with an ongoing research-creation project involving analysis of gesture in harp performance and the design of bespoke digital musical interfaces that attach to her harp, which she uses in her live performances. In our conversation, we recap the research we have done together and track Alex's evolution from classical to the avant-garde. We discuss some of the key collaborators that Alex is working with to bring her live performances and recorded music to life. Alex's debut solo album "Impressions" drops November 28th, and the single "Night of Violet" is out now.

• Find Alex online: Linktree
• "Night of Violet" (single): Streaming links (watch the video on YouTube!!!)

About our collaboration on the Bionic Harpist controllers:

• Project info
• In depth: Designing the Bionic Harpist

Alex's collaborators:

• Techno Para Dos (Raúl Villamil)
• David Jonathan Romero