| 1. |
- Dahlstedt, Palle, 1971
(författare)
-
Musicking with Algorithms: Thoughts on Artificial Intelligence, Creativity, and Agency
- 2021
-
Ingår i: Handbook of Artificial Intelligence for Music: Foundations, Advanced Approaches, and Developments for Creativity. - Cham : Springer International Publishing. - 9783030721169 ; , s. 873-914
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- In this chapter, I present a pragmatic, critical, and sometimes speculative view of what Machine Learning (ML) and Artificial Intelligence (AI) bring to the table for art and music. It is pragmatic in the sense of analyzing what can actually be done today by musicians and composers working with AI, and what is missing in terms of creative agency. How does AI relate to other technologies in the context of art? Yet critical about the popular expectations of AI, its ascribed abilities and agency, and how AI is written and talked about today in terms of creativity. No, computers cannot paint like van Gogh or compose like Bach. What is really the role of humans, as designers, programmers, users, and tweakers, behind current AI applications? Still, I try to be visionary about the long-term future of AI in art and music. Will we ever see autonomous AI artists, composers, and musicians? If so, why would they even care to make art and music for humans?
|
|
| 2. |
- Dahlstedt, Palle, 1971
(författare)
-
Between Material and Ideas: A Process-Based Spatial Model of Artistic Creativity
- 2012
-
Ingår i: Computers and Creativity. - Berlin, Heidelberg : Springer Verlag. - 9783642317279 ; , s. 205-233
-
Bokkapitel (refereegranskat)abstract
- In this chapter, I propose a model of an artistic creative process, based on study of my own creative processes over twenty years of activities as composer and improviser. The model describes the creative process as a structured exploration of the space of the possible, emphasising the interplay between a dynamic concept and the changing material form of the work. Combining ideas, tools, material and memory, creativity is described as a coherent, dynamic, and iterative process that navigates the space of the chosen medium, guided by the tools at hand, and by the continuously revised ideas, significantly extending previous spatial models of creativity. This involves repeated misinterpretation and coincidences, which are crucial in human creative processes, adding meaning and depth to the artwork. A few examples from real life are given as illustrations of the model, together with a discussion of phenomena such as appreciation, skill and collaborative creativity. Finally, I discuss how the proposed model could form a foundation for computer implementations of artistic creative process, to increase our understanding of human creativity, and to possibly enable believable artistic behaviour in machines.
|
|
| 3. |
- Dahlstedt, Palle, 1971
(författare)
-
Pencil Fields
- 2012
-
Ingår i: 2 concerts, Levande Musik, May 5, 2011 Lecture/recital, Tokyo Metropolitan University, September 25, 2011 Concert, VARIA Festival, Atalante, Göteborg, Oct 26, 2011 Concert, Battering Ram, Kyoto, Japan, October 2, 2011 Concert, Artisten, Göteborg, April 13, 2012 Concert/demo/paper presentation, New Interfaces for Musical Expression 2012 (NIME), conference, University of Michigan, USA, May 21-23, 2012 Lecture/performance/demo, Geiger Festival, Teater Cinnober, Göteborg, Nov 5, 2012.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- A live performance of 10-15 minutes by Palle Dahlstedt on a custom built instrument, using a simple pencil drawing as a gestural interface for controlling complex analog synthesis (on a Bugbrand Modular). The instrument works by creating a voltage potential field in the graphite/pencil markings on the paper using custom movable electrodes made from coins. Then, control voltages are extracted from other points on the paper, controlling various aspects of the synthesized sound.
|
|
| 4. |
- Nilsson, Per Anders, 1954, et al.
(författare)
-
duo pantoMorf möter AMM
- 2013
-
Ingår i: IAC Malmö, Kulturhuset Sandviken, Kulturhuset Luleå, FRIM Stockholm.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- RANK-turné med Palle Dahlstedt och Per Anders Nilssonduo i pantoMorf som spelar egenutvecklade elektroniska instrument och AAM, en legendarisk brittisk fri improvisationsgrupp som består av Eddie Prévost, slagverk och John Tilbury, piano.
|
|
| 5. |
- Nilsson, Per Anders, 1954, et al.
(författare)
-
Systemic Improvisation, for pads and dice
- 2018
-
Ingår i: Music at Stanford, October 9, 2018 at CCRMA at Stanford University.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)
|
|
| 6. |
- Diapoulis, Georgios, 1981, et al.
(författare)
-
The creative act of live coding practice in music performance
- 2021
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Live coding is the creative act of interactive code evaluations and online multimodal assessments. In the context of music performance, novel code evaluations are becoming part of the running program and are interrelated to acoustic sounds. Performers’ and audience ability to experience these novel auditory percepts may involuntary engage our attention. In this study, we discuss how live coding is related to auditory and motor perception and how gestural interactions may influence musical algorithmic structures. Furthermore, we examine how musical live coding practices may bring forth emergent qualities of musical gestures on potentially equivalent systems. The main contribution of this study is a preliminary conceptual framework for evaluation of live coding systems. We discuss several live coding systems which exhibit broad variations on the proposed dimensional framework and two cases which go beyond the expressive capacity of the framework.
|
|
| 7. |
|
|
| 8. |
- Dahlstedt, Palle, 1971
(författare)
-
Big Data Music
- 2013
-
Ingår i: IVA Conference Center, Stockholm.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- I was invited to give an artistic view on Big Data, and composed/programmed a live interactive performance piece where a huge data set is explored through sound, in real time.
|
|
| 9. |
- Dahlstedt, Palle, 1971
(författare)
-
Circle Squared
- 2012
-
Ingår i: Konsert, Kungliga Musikhögskolan, Stora salen, Stockholm, 20 april.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Ett verk för självspelande piano, dator och musiker. Ett komplext system av fyra virtuella musiker kontrolleras gestiskt från 16 trycksensorer, med hjälp av en mappningsteknik som jag utvecklat under de senaste åren. Det musikaliska resultatet är en komplex improvisativ pianomusik, som på makronivå kontrolleras i ögonblicket av tonsättaren, samtidigt som dess detaljer är komplexa och oförutsägbara.
|
|
| 10. |
- Dahlstedt, Palle, 1971
(författare)
-
Circle Squared and Circle Keys – Performing on and with an Unstable Live Algorithm for the Disklavier
- 2014
-
Ingår i: Proceedings of the Internationational Conference on New Interfaces for Musical Expression, NIME 2014. - 2220-4792 .- 2220-4806. - 9781906897291 ; , s. 114-117
-
Konferensbidrag (refereegranskat)abstract
- Two related versions of an unstable live algorithm for the Disklavier player piano are presented. The underlying gen- erative feedback system consists of four virtual musicians, listening to each other in a circular configuration. There is no temporal form, and all parameters of the system are controlled by the performer through an intricate but direct mapping, in an attempt to combine the experienced mu- sician’s physical control of gesture and phrasing, with the structural complexities and richness of generative music. In the first version, Circle Squared, the interface is an array of pressure sensors, and the performer performs on the sys- tem without participating directly, like a puppet master. In the second version, control parameters are derived directly from playing on the same piano that performs the output of the system. Here, the performer both plays with and on the system in an intricate dance with the unpredictable output of the unstable virtual ensemble. The underlying mapping strategies are presented, together with the struc- ture of the generative system. Experiences from a series of performances are discussed, primarily from the perspective of the improvising musician.
|
|
