Musical morphogenesis - a self-organizing system

We feel and seize the built environment through senses and body’s interactive movement. During this process, our mind and physical status is processing solutions and methods of integration and adaptation that enable us to integrate and live with and in our surrounding environment. In this paper, we provide an overview on “Musical Morphogenesis” interactive installation, which interacts through colour, light, movement and sound with the environment and its inhabitants. In addition, we intend to take visitors in a sensorial journey to explore the dynamic action of a network of genes during the development of an organism. Finding its roots in the Autopoiesis’ theory (Maturana & Varela 1980), “Musical Morphogenesis” acts and interacts as a self-producing system. This installation results from a multidisciplinary collaboration of six main scientific disciplines: complex systems, computational biology, music, architecture, robotics, and science communication. During the design and implementation of the installation’s components, the specificities of each discipline had to be taken into consideration, resulting in an extremely challenging project.info:eu-repo/semantics/publishedVersio

Thought/ visual processing: ctrl + x, y, z, v

With this text I wish to revisit a long-standing preoccupation of mine which addresses the extent to which the digital medium may have brought about a paradigm shift in creative process; one which has been effectuated through a conversion of the creative medium itself - from atoms to bits. As a visual practitioner, what is particularly significant to my inquiry is that this change in medium is deemed to have brought about a change in language that affects the very nature of autographic work which comes into being as visual output: Following Goodman’s definitions of allographic and autographic output (1976), McCullough (1996) asserts that visual artworks may now be considered to be allographic productions since they presently share the same attributes of notationally based allographic work, which has traditionally manifested only as music or as literary output. The result is a work environment which wide opens the doors to unprecedented levels of non-linear process and experimentation whilst engaged in the visually creative act

The Computational Power of Minkowski Spacetime

The Lorentzian length of a timelike curve connecting both endpoints of a classical computation is a function of the path taken through Minkowski spacetime. The associated runtime difference is due to time-dilation: the phenomenon whereby an observer finds that another's physically identical ideal clock has ticked at a different rate than their own clock. Using ideas appearing in the framework of computational complexity theory, time-dilation is quantified as an algorithmic resource by relating relativistic energy to an $n$th order polynomial time reduction at the completion of an observer's journey. These results enable a comparison between the optimal quadratic \emph{Grover speedup} from quantum computing and an $n=2$ speedup using classical computers and relativistic effects. The goal is not to propose a practical model of computation, but to probe the ultimate limits physics places on computation.Comment: 6 pages, LaTeX, feedback welcom

Creativity and the Brain

Neurocognitive approach to higher cognitive functions that bridges the gap between psychological and neural level of description is introduced. Relevant facts about the brain, working memory and representation of symbols in the brain are summarized. Putative brain processes responsible for problem solving, intuition, skill learning and automatization are described. The role of non-dominant brain hemisphere in solving problems requiring insight is conjectured. Two factors seem to be essential for creativity: imagination constrained by experience, and filtering that selects most interesting solutions. Experiments with paired words association are analyzed in details and evidence for stochastic resonance effects is found. Brain activity in the process of invention of novel words is proposed as the simplest way to understand creativity using experimental and computational means. Perspectives on computational models of creativity are discussed