Software agents in music and sound art research/creative work: Current state and a possible direction

Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed

A Model of Emotion as Patterned Metacontrol

Adaptive systems use feedback as a key strategy to cope with uncertainty and change in their environments. The information fed back from the sensorimotor loop into the control architecture can be used to change different elements of the controller at four different levels: parameters of the control model, the control model itself, the functional organization of the agent and the functional components of the agent. The complexity of such a space of potential configurations is daunting. The only viable alternative for the agent ?in practical, economical, evolutionary terms? is the reduction of the dimensionality of the configuration space. This reduction is achieved both by functionalisation —or, to be more precise, by interface minimization— and by patterning, i.e. the selection among a predefined set of organisational configurations. This last analysis let us state the central problem of how autonomy emerges from the integration of the cognitive, emotional and autonomic systems in strict functional terms: autonomy is achieved by the closure of functional dependency. In this paper we will show a general model of how the emotional biological systems operate following this theoretical analysis and how this model is also of applicability to a wide spectrum of artificial systems

PAC: A Novel Self-Adaptive Neuro-Fuzzy Controller for Micro Aerial Vehicles

There exists an increasing demand for a flexible and computationally efficient controller for micro aerial vehicles (MAVs) due to a high degree of environmental perturbations. In this work, an evolving neuro-fuzzy controller, namely Parsimonious Controller (PAC) is proposed. It features fewer network parameters than conventional approaches due to the absence of rule premise parameters. PAC is built upon a recently developed evolving neuro-fuzzy system known as parsimonious learning machine (PALM) and adopts new rule growing and pruning modules derived from the approximation of bias and variance. These rule adaptation methods have no reliance on user-defined thresholds, thereby increasing the PAC's autonomy for real-time deployment. PAC adapts the consequent parameters with the sliding mode control (SMC) theory in the single-pass fashion. The boundedness and convergence of the closed-loop control system's tracking error and the controller's consequent parameters are confirmed by utilizing the LaSalle-Yoshizawa theorem. Lastly, the controller's efficacy is evaluated by observing various trajectory tracking performance from a bio-inspired flapping-wing micro aerial vehicle (BI-FWMAV) and a rotary wing micro aerial vehicle called hexacopter. Furthermore, it is compared to three distinctive controllers. Our PAC outperforms the linear PID controller and feed-forward neural network (FFNN) based nonlinear adaptive controller. Compared to its predecessor, G-controller, the tracking accuracy is comparable, but the PAC incurs significantly fewer parameters to attain similar or better performance than the G-controller.Comment: This paper has been accepted for publication in Information Science Journal 201

Affective games:a multimodal classification system

Affective gaming is a relatively new field of research that exploits human emotions to influence gameplay for an enhanced player experience. Changes in player’s psychology reflect on their behaviour and physiology, hence recognition of such variation is a core element in affective games. Complementary sources of affect offer more reliable recognition, especially in contexts where one modality is partial or unavailable. As a multimodal recognition system, affect-aware games are subject to the practical difficulties met by traditional trained classifiers. In addition, inherited game-related challenges in terms of data collection and performance arise while attempting to sustain an acceptable level of immersion. Most existing scenarios employ sensors that offer limited freedom of movement resulting in less realistic experiences. Recent advances now offer technology that allows players to communicate more freely and naturally with the game, and furthermore, control it without the use of input devices. However, the affective game industry is still in its infancy and definitely needs to catch up with the current life-like level of adaptation provided by graphics and animation