A new user interface for musical timbre design

This thesis characterises and addresses problems and issues associated with the design of intuitive user interfaces for timbral control. The usability of a range of synthesis methods and representative implementations of these methods is assessed, and three interface architectures - fixed architecture, architecture specification and direct specification - are identified. The characteristics of each of these architectures, as well as problems of usability inherent to each of them are discussed; it is argued that none of them provide intuitive tools for the manipulation and control of timbre. The study examines the nature of timbre and the notion of timbre space; different kinds of timbre space are considered and criteria are proposed for the selection of suitable timbre spaces as vehicles for synthesis. A number of listening tests, designed to demonstrate the feasibility of subsequent work, were devised and carried out; the results of these tests provide evidence that, where Euclidean distances between sounds located in a given timbre space are reflected in perceptual distances, the ability of subjects to detect relative distances in different parts of the space varies with the perceptual granularity of the space. Three contrasting timbre spaces conforming to the proposed criteria for use in synthesis are constructed; the purpose of these spaces is to provide an environment for a novel user interaction approach for timbral design which incorporates a search strategy based on weighted centroid localization. Two prototypes which exemplify the proposed approach in alternative ways are designed, implemented and tested with potential users in order to validate the approach; a third contrasting prototype which represents a simple contrasting alternative is tested for purposes of comparison. The results of these tests are evaluated and discussed, and areas of further work identified

Converting images to music using their colour properties

Presented at the 12th International Conference on Auditory Display (ICAD), London, UK, June 20-23, 2006.Music is associated to colors since ancient years. Different mappings between attributes of sound and images allow the efficient conversion between the two types of media. The proposed method for converting images to music using the concept of chromaticism provides the area of computer music with a parameterized environment for audio-visual presentations. The auditory display of colour images may bring the different ways that a listener perceives a musical piece (because of colour transitions) to light. A design template for chromatic synthesis is described. A short example, based on a graphical digital icon, demonstrates the preliminary results

On the Simultaneous Perception of Sound and Three-Dimensional Objects

Although examples of work investigating the perceptual relationship and possibilities of sound and image are common, relatively litle work has been carried out into multimedia works combining sound and three-dimensional objects. A practice-based investigation into this subject is presented with original artworks and contectual material from sound art, sculpture, moving image and psychology. The project sets out to more examine the perception of multimedia work, specifically through the creation and analysis of artworks combining sound and physical objects. It considers three main areas of study: sound’s ability to draw attention to, or modify, the existing properties of an object; techniques which encourage sound and object to appear cohesively as part of the same work; and a discussion of cognitive effects that may occur as a result of their simulataneous perception. Using the concept of the search space from evolutionary computing as an example, the case is made that multimedia artworksde can present a larger field of creative opportunity than single-media works, due to the enhanced interplay between the two media and the viewer's a priori knowledge. The roles of balance, dynamism and interactivity in multimedia work are also explored. Throughout the thesis examples of original artworks are given which exemplify the issues raised. The main outcome of the study is a proposed framework for categorising and analysing the perception of multimedia artworks, based on increasing semantic separation between the sensory elements. It is claimed that as the relationship between these elements becomes less obvious, more work is demanded of the viewer's imagination in trying to reconcile the gap, leading to active engagement and the possibility of extra imaginary forms which do not exist in the original material. It is proposed that the framework and ideas in this document will be applicable beyond the sound/object focus of this study, and it is hoped they will inform research into multimedia work in other forms

Proceedings of the 1st International Conference on Live Coding

Open Access peer reviewed papers on live coding published at the 1st International Conference on Live Coding (ICLC) in Leeds

Artificial general intelligence: Proceedings of the Second Conference on Artificial General Intelligence, AGI 2009, Arlington, Virginia, USA, March 6-9, 2009

Artificial General Intelligence (AGI) research focuses on the original and ultimate goal of AI – to create broad human-like and transhuman intelligence, by exploring all available paths, including theoretical and experimental computer science, cognitive science, neuroscience, and innovative interdisciplinary methodologies. Due to the difficulty of this task, for the last few decades the majority of AI researchers have focused on what has been called narrow AI – the production of AI systems displaying intelligence regarding specific, highly constrained tasks. In recent years, however, more and more researchers have recognized the necessity – and feasibility – of returning to the original goals of the field. Increasingly, there is a call for a transition back to confronting the more difficult issues of human level intelligence and more broadly artificial general intelligence