Control Improvisation

We formalize and analyze a new automata-theoretic problem termed control improvisation. Given an automaton, the problem is to produce an improviser, a probabilistic algorithm that randomly generates words in its language, subject to two additional constraints: the satisfaction of an admissibility predicate, and the exhibition of a specified amount of randomness. Control improvisation has multiple applications, including, for example, generating musical improvisations that satisfy rhythmic and melodic constraints, where admissibility is determined by some bounded divergence from a reference melody. We analyze the complexity of the control improvisation problem, giving cases where it is efficiently solvable and cases where it is #P-hard or undecidable. We also show how symbolic techniques based on Boolean satisfiability (SAT) solvers can be used to approximately solve some of the intractable cases

The COVID-19 pandemic: resilient organisational response to a low-chance, high-impact event

The global healthcare sector is currently in the midst of the COVID-19 pandemic, a ‘low-chance, high-impact’ event which will require healthcare systems, and the organisations within them, to maintain organisational resilience in order to respond effectively. However, contrary to the instinctive reaction to tighten control, the quality of response depends on healthcare systems’ capacity to loosen control and, subsequently, enhance improvisation. Three factors critical to enhancing an organisation’s capacity for improvisation are highlighted; increasing autonomy, maintaining structure and creating a shared understanding. By drawing on the case of Christchurch Hospital’s response to a major earthquake, this paper demonstrates the vital role that improvisation can play within a clinical setting, when responding to a low-chance, high-impact event. This article is made freely available for use in accordance with BMJ's website terms and conditions for the duration of the covid-19 pandemic or until otherwise determined by BMJ. You may use, download and print the article for any lawful, non-commercial purpose (including text and data mining) provided that all copyright notices and trade marks are retained

Voluntary lane-change policy synthesis with reactive control improvisation

In this paper, we propose reactive control improvisation to synthesize voluntary lane-change policy that meets human preferences under given traffic environments. We first train Markov models to describe traffic patterns and the motion of vehicles responding to such patterns using traffic data. The trained parameters are calibrated using control improvisation to ensure the traffic scenario assumptions are satisfied. Based on the traffic pattern, vehicle response models, and Bayesian switching rules, the lane-change environment for an automated vehicle is modeled as a Markov decision process. Based on human lane-change behaviors, we train a voluntary lane-change policy using explicit-duration Markov decision process. Parameters in the lane-change policy are calibrated through reactive control improvisation to allow an automated car to pursue faster speed while maintaining desired frequency of lane-change maneuvers in various traffic environments

Seeking out the spaces between: Using improvisation for collaborative composition and interactive technology

Copyright © 2010 ISASTThis article presents findings from experiments into piano performance live electronics undertaken by the author since early 2007. The use of improvisation has infused every step of the process---both as a methodology to obtain meaningful results using interactive technology and as a way to generate and characterize a collaborative musical space with composers. The technology used has included pre-built MIDI interfaces such as the PianoBar, actuators such as miniature DC motors and sensor interfaces including iCube and the Wii controller. Collaborators have included researchers at the Centre for Digital Music (QMUL), Richard Barrett, Pierre Alexandre Tremblay and Atau Tanaka. In seeking to create responsive “performance environments” at the piano, I explore live, performative control of electronics to create better connections for both performer (providing the same level of interpretive freedom as with a “pure” instrumental performance) and audience (communicating clearly to them). I have been lucky to witness first-hand many live interactive performances and to work with various empathetic composers/performers in flexible working environments. Collaborating with experienced technologists and musicians, I have witnessed time and again what, for me, is a fundamental truth in interactive instrumental performance: As a living, spontaneous form it must be nurtured and informed by the performer’s physicality and imagination as much as by the creativity or knowledge of the composer and/or technologist. Specifically in the case of sensors, their dependence on the detail of each person’s body and reactions is so refined as to necessitate, I would argue, an entirely collaborative approach and therefore one that involves at least directed improvisation and, more likely, fairly extensive improvised exploration. The fundamentally personal and intimate nature of sensor readings---the amount of tension created by each performer, the shape of the ancillary gestures or the level of emotional involvement (especially relevant when using galvanic skin response or EEG)---makes creating pieces with sensors extremely difficult for a composer to do in isolation. Improvisation therefore provides a way for performer and composer to generate a common musical and gestural language. Related to these issues is the fact that the technical or notational parameters in interactive music are not yet (and may never be) standardized, thereby creating a very real and practical need for improvisation to figure at least somewhere in the process.This study is funded by the Arts and Humanities Research Council

Improvising with the threnoscope: integrating code, hardware, GUI, network, and graphic scores

Live coding emphasises improvisation. It is an art practice that merges the act of musical composition and performance into a public act of projected writing. This paper introduces the Threnoscope system, which includes a live coding micro-language for drone-based microtonal composition. The paper discusses the aims and objectives of the system, elucidates the design decisions, and introduces in particular the code score feature present in the Threnoscope. The code score is a novel element in the design of live coding systems allowing for improvisation through a graphic score, rendering a visual representation of past and future events in a real-time performance. The paper demonstrates how the system’s methods can be mapped ad hoc to GUI- or hardware-based control

Using bricolage to facilitate emergent collectives in SMEs

Starting a new business is often done in a realm of improvisation if resources are scarce and the business horizon is far from clear. Strategic improvisation occurs when the design of novel activities unite. We conducted an investigation of so called ‘emergent collectives’ in the context of a small and medium-sized enterprise (SME). Emergent collectives are networks of information nodes with minimal central control and largely controlled by a protocol specification where people can add nodes to the network and have a social incentive to do so. We considered here emergent collectives around an enterprise resources planning (ERP) software and a customer relation management (CRM) software in two open source software (OSS) communities. We investigated how the use of bricolage in the context of a start-up microenterprise can facilitate the adoption of an information system (IS) based on emergent collectives. Bricolage is an improvisational approach that allows learning form concrete experience. In our case study we followed the inception of a new business initiative up to the implementation of an IS, during a period of two years. The case study covers both the usefulness of bricolage for strategic improvisation and for entrepreneurial activity in a knowledge-intensive new business. We adopted an interpretative research strategy and used participatory action research to conduct our inquiry. Our findings lead to the suggestion that emergent collectives can be moulded into a usable set of IS resources applicable in a microenterprise. However the success depends heavily on the ICT managerial and technological capabilities of the CEO and his individual commitment to the process of bricolage. Our findings also show that open ERP and CRM software are not passing delusions. These emergent collectives will not take over proprietary ERP and CRM software all of a sudden, but clearly the rules of the game are slowly changing due to the introduction of new business models. The study contributes to the research of OSS as emergent collectives, bricolage and IS adoption in SMEs

Kinect-ed Piano

We describe a gesturally-controlled improvisation system for an experimental pianist, developed over several laboratory sessions and used during a performance [1] at the 2011 Conference on New Inter- faces for Musical Expression (NIME). We discuss the architecture and performative advantages and limitations of our gesturally-controlled improvisation system, and reflect on the lessons learned throughout its development. KEYWORDS: piano; improvisation; gesture recognition; machine learning

Affect and Metaphor Sensing in Virtual Drama

We report our developments on metaphor and affect sensing for several metaphorical language phenomena including affects as external entities metaphor, food metaphor, animal metaphor, size metaphor, and anger metaphor. The metaphor and affect sensing component has been embedded in a conversational intelligent agent interacting with human users under loose scenarios. Evaluation for the detection of several metaphorical language phenomena and affect is provided. Our paper contributes to the journal themes on believable virtual characters in real-time narrative environment, narrative in digital games and storytelling and educational gaming with social software

Philosophy of Music Education

A philosophy of music education refers to the value of music, the value of teaching music, and how to practically utilize those values in the music classroom. This thesis explores the philosophies of Emile Jacques-Dalcroze, Carl Orff, Zoltan Kodaly, Bennett Reimer, and David Elliott, and suggests practical applications or their philosophies in the orchestral classroom, especially in the context of ear training and improvisation. From these philosophies, the author develops their own personal philosophy of music education, most broadly defined by the claim that music is key to experiencing and understanding feelingful experiences