Computational composition strategies in audiovisual laptop performance

We live in a cultural environment in which computer based musical performances have become ubiquitous. Particularly the use of laptops as instruments is a thriving practice in many genres and subcultures. The opportunity to command the most intricate level of control on the smallest of time scales in music composition and computer graphics introduces a number of complexities and dilemmas for the performer working with algorithms. Writing computer code to create audiovisuals offers abundant opportunities for discovering new ways of expression in live performance while simultaneously introducing challenges and presenting the user with difficult choices. There are a host of computational strategies that can be employed in live situations to assist the performer, including artificially intelligent performance agents who operate according to predefined algorithmic rules. This thesis describes four software systems for real time multimodal improvisation and composition in which a number of computational strategies for audiovisual laptop performances is explored and which were used in creation of a portfolio of accompanying audiovisual compositions

Algorithmic Compositional Methods and their Role in Genesis: A Multi-Functional Real-Time Computer Music System

Algorithmic procedures have been applied in computer music systems to generate compositional products using conventional musical formalism, extensions of such musical formalism and extra-musical disciplines such as mathematical models. This research investigates the applicability of such algorithmic methodologies for real-time musical composition, culminating in Genesis, a multi-functional real-time computer music system written for Mac OS X in the SuperCollider object-oriented programming language, and contained in the accompanying DVD. Through an extensive graphical user interface, Genesis offers musicians the opportunity to explore the application of the sonic features of real-time sound-objects to designated generative processes via different models of interaction such as unsupervised musical composition by Genesis and networked control of external Genesis instances. As a result of the applied interactive, generative and analytical methods, Genesis forms a unique compositional process, with a compositional product that reflects the character of its interactions between the sonic features of real-time sound-objects and its selected algorithmic procedures. Within this thesis, the technologies involved in algorithmic methodologies used for compositional processes, and the concepts that define their constructs are described, with consequent detailing of their selection and application in Genesis, with audio examples of algorithmic compositional methods demonstrated on the accompanying DVD. To demonstrate the real-time compositional abilities of Genesis, free explorations with instrumentalists, along with studio recordings of the compositional processes available in Genesis are presented in audiovisual examples contained in the accompanying DVD. The evaluation of the Genesis system’s capability to form a real-time compositional process, thereby maintaining real-time interaction between the sonic features of real-time sound objects and its selected algorithmic compositional methods, focuses on existing evaluation techniques founded in HCI and the qualitative issues such evaluation methods present. In terms of the compositional products generated by Genesis, the challenges in quantifying and qualifying its compositional outputs are identified, demonstrating the intricacies of assessing generative methods of compositional processes, and their impact on a resulting compositional product. The thesis concludes by considering further advances and applications of Genesis, and inviting further dissemination of the Genesis system and promotion of research into evaluative methods of generative techniques, with the hope that this may provide additional insight into the relative success of products generated by real-time algorithmic compositional processes

A Benchmarks Library for Extended Parametric Timed Automata

Parametric timed automata are a powerful formalism for reasoning on concurrent real-time systems with unknown or uncertain timing constants. In order to test the efficiency of new algorithms, a fair set of benchmarks is required. We present an extension of the IMITATOR benchmarks library, that accumulated over the years a number of case studies from academic and industrial contexts. We extend here the library with several dozens of new benchmarks; these benchmarks highlight several new features: liveness properties, extensions of (parametric) timed automata (including stopwatches or multi-rate clocks), and unsolvable toy benchmarks. These latter additions help to emphasize the limits of state-of-the-art parameter synthesis techniques, with the hope to develop new dedicated algorithms in the future.Comment: This is the author (and extended) version of the manuscript of the same name published in the proceedings of the 15th International Conference on Tests and Proofs (TAP 2021

Non-Standard Sound Synthesis with Dynamic Models

Full version unavailable due to 3rd party copyright restrictions.This Thesis proposes three main objectives: (i) to provide the concept of a new generalized non-standard synthesis model that would provide the framework for incorporating other non-standard synthesis approaches; (ii) to explore dynamic sound modeling through the application of new non-standard synthesis techniques and procedures; and (iii) to experiment with dynamic sound synthesis for the creation of novel sound objects. In order to achieve these objectives, this Thesis introduces a new paradigm for non-standard synthesis that is based in the algorithmic assemblage of minute wave segments to form sound waveforms. This paradigm is called Extended Waveform Segment Synthesis (EWSS) and incorporates a hierarchy of algorithmic models for the generation of microsound structures. The concepts of EWSS are illustrated with the development and presentation of a novel non-standard synthesis system, the Dynamic Waveform Segment Synthesis (DWSS). DWSS features and combines a variety of algorithmic models for direct synthesis generation: list generation and permutation, tendency masks, trigonometric functions, stochastic functions, chaotic functions and grammars. The core mechanism of DWSS is based in an extended application of Cellular Automata. The potential of the synthetic capabilities of DWSS is explored in a series of Case Studies where a number of sound object were generated revealing (i) the capabilities of the system to generate sound morphologies belonging to other non-standard synthesis approaches and, (ii) the capabilities of the system of generating novel sound objects with dynamic morphologies. The introduction of EWSS and DWSS is preceded by an extensive and critical overview on the concepts of microsound synthesis, algorithmic composition, the two cultures of computer music, the heretical approach in composition, non- standard synthesis and sonic emergence along with the thorough examination of algorithmic models and their application in sound synthesis and electroacoustic composition. This Thesis also proposes (i) a new definition for “algorithmic composition”, (ii) the term “totalistic algorithmic composition”, and (iii) four discrete aspects of non-standard synthesis

Methodological framework and design process for applying evolutionary simulation to musical interactions

This paper focuses on a methodological framework where the creative design process evolves through iterative cycles. The design process undertakes a complex network of tasks for integrating two domain models: dynamical simulation and musical interaction. The framework accounts for engi-neering technical and compositional affordances to accom-modate evolving behaviors to be expressed in real time per-formance interplay. This is illustrated with a case study of simulated swarms of heterogeneous agents. Highly integrat-ed parallel work streams are elucidated with sub-process elicitation in simulation, system integration and software engineering, composition, and performance. Framework formalization draws upon the established RAD model with significant modification to present the extended version that can be multi-threaded for concurrent creative processes. Two landmarks of 20th century music automation are drawn diachronically to frame the technical discussion in a social context of listening practice, developed by modeling crea-tive process and testing musical assumptions. Revisited cannon is redirected from bygone exemplars to ongoing practice, illuminating three baseline requirements for a methodological framework: interdisciplinary platform archi-tecture, complex systems model of music creation, and agile listening. Concluding theses on second order listening and interdisciplinary architecture summarize the proposed methodological framework addressing contextual listening and technical culture