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Knowledge mentoring as a framework for designing computer-based agents for supporting musical composition learning
An approach to the design of teaching agents in problem-seeking domains - that is based on a systematic relationship between theoretical framework, analysis of empirical data, computational model and computational implementation - has been developed.
The theoretical framework, called the Knowledge Mentoring framework (KMf), was developed to investigate how studies of dialogue and interaction can be exploited in a practical way by designers of computer-based teaching agents. A particular focus was the following musical education problem: when interacting with a computer-based music system, many students do not spontaneously reflect on their activity, they often need to be encouraged to do this. The KMf provides a taxonomy and definitions of the pedagogical goals involved in a 'mentoring' style of teaching. Mentoring is an approach to teaching that aims to support learners' creative, metacognitive and critical thinking, these being essential to musical composition and other open-ended, problem-seeking domains.
This theoretical framework was used to guide the analysis and modelling of data produced by an empirical study of human teacher-learner interactions. Information on the temporal ordering of teacher-learner interactions was revealed (modelled as. state transition networks and a mentoring script). Findings from the analysis also included a pause taxonomy (that provided evidence of a link between pause length and learner ability) and the occurrence of reciprocal modelling (where participants in learning interactions built up models of the other participants' expectations).
The theoretical framework and the analysis findings were then used to develop a computational model for teaching agents in problem-seeking domains. Aspects of our theory, analysis findings and computational model were incorporated into a computational implementation: a pre-prototype teaching agent called MetaMuse. A Cooperative Evaluation of MetaMuse with teacher-composers showed that it had the potential to promote creative reflection in learners
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Phenomenology and Performance: Technology | Architecture + Design Through Music
“Phenomenology” is a design philosophy that was first used to criticize the modern movement and as an urge to return to “place-based” architecture. Juhani Pallasmaa further expanded the ideas by introducing the phenomenological aspects of kinesthetic and multi-sensory perception of the human body into this architecture theory.
“Performance Based” design, with the help of computational tools, is a design paradigm within architecture that has emerged in the 21st Century by using building performance as a guiding design principle for the design of cities and buildings. Current interest in building performance as a design paradigm is largely due to the emergence of sustainability as a defining socio-economic issue and the recent developments in technology and cultural theory. “Phenomenology” and “Performance Based Design, students were asked to develop an interpretive building component (structure, skin, space) inspired by the relationships found between music and architecture. Music has distinct phenomenological qualities that can be thought of in conjunction with the spatial experiences of architecture. Music also has distinct computational or technical qualities that can be thought of in conjunction with building performance and the tectonics of architecture.
Music and architecture have many things in common and have many divergent means for creation. Rhythm is the underlying pattern and found in the beats / repetition of music as well as the structural elements of architecture. Texture is heard in layering different instrument voices and seen in the composition of building materials. Harmony is achieved through note combinations within a musical work or in architecture through the successful relationship of individual spaces becoming one cohesive space. Dynamics in music and architecture deal with quality and emphasis both needing hierarchy and identity as well as feeling. Musicians experience music in very deep ways, e.g. subtle moments in songs / tunes that some people might not notice. Architects similarly feel and experience space in deeper ways than most non-architects. When architects move through space, it becomes a phenomenological journey of tectonic discovery.
The ideas and artifacts were presented in conjunction with the playing of the music initially chosen. As with many art forms, their subjective appreciation and evaluation was quite varied depending on the listener and observer and their personal sensitivities and biases. As a design critic and musician who plays Celtic music, final evaluation was prefaced by the design conversation that led up to the final submission as well as my own phenomenological and performative understanding of the music. Because of these mutual behaviors, music and architecture share a relationship generated by subtle experiences (phenomenology) and underlying computational codes (performance). In that shared relationship lie the creative potential for mutual understanding and discovery
A Standardised Procedure for Evaluating Creative Systems: Computational Creativity Evaluation Based on What it is to be Creative
Computational creativity is a flourishing research area, with a variety of creative systems being produced and developed. Creativity evaluation has not kept pace with system development with an evident lack of systematic evaluation of the creativity of these systems in the literature. This is partially due to difficulties in defining what it means for a computer to be creative; indeed, there is no consensus on this for human creativity, let alone its computational equivalent. This paper proposes a Standardised Procedure for Evaluating Creative Systems (SPECS). SPECS is a three-step process: stating what it means for a particular computational system to be creative, deriving and performing tests based on these statements. To assist this process, the paper offers a collection of key components of creativity, identified empirically from discussions of human and computational creativity. Using this approach, the SPECS methodology is demonstrated through a comparative case study evaluating computational creativity systems that improvise music
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