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- Dahlstedt, Palle, 1971
(författare)
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Musicking with Algorithms: Thoughts on Artificial Intelligence, Creativity, and Agency
- 2021
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Ingår i: Handbook of Artificial Intelligence for Music: Foundations, Advanced Approaches, and Developments for Creativity. - Cham : Springer International Publishing. - 9783030721169 ; , s. 873-914
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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?
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| 2. |
- Diapoulis, Georgios, 1981, et al.
(författare)
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The creative act of live coding practice in music performance
- 2021
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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.
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| 3. |
- Diapoulis, Georgios, 1981, et al.
(författare)
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An analytical framework for musical live coding systems based on gestural interactions in performance practices
- 2021
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Ingår i: Proceedings of the 2021 International Conference on Live Coding (ICLC2021). - Valvidia, Chile.
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Konferensbidrag (refereegranskat)abstract
- Gestural interaction in live coding performance is still in its infancy, albeit the long tradition in music performance studies. Computational challenges in musical live coding have been motivating the research community towards the development of novel programming languages and interfaces. On the other hand, given the maturity of many music systems there is an increasing demand for theory building on live coding systems and practices. Here, we present an observational study from videos of live performances available online and we introduce an analytical framework for live coding music systems. We begin by examining how performance practices differ on potentially equivalent systems. On the spotlight of the framework is the viewpoint of gestural interactions under the prism of music psychology and perception. We examined several systems on three main processes: (i) interface design, (ii) gestural mapping and (iii) user's interaction. These processes are presented as an orthogonal three-dimensional framework, so to facilitate visualizations and readers' understanding. Preliminary assessments of the systems in question agree with ground truth knowledge of the computational classification of the systems. Furthermore, we analyze a few notable systems that are stretching the boundaries of our dimensional framework, indicating that more dimensions may be required. Finally, we discuss the analytical framework in relation to a higher-level description of live coding music performance and we discuss future studies that may be conducted to assess the validity of this approach.
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