32,917 research outputs found

    Algorithms as scores: coding live music

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    The author discusses live coding as a new path in the evolution of the musical score. Live-coding practice accentu- ates the score, and whilst it is the perfect vehicle for the performance of algorithmic music it also transforms the compositional process itself into a live event. As a continuation of 20th-century artistic developments of the musical score, live-coding systems often embrace graphical elements and language syntaxes foreign to standard programming languages. The author presents live coding as a highly technologized artistic practice, shedding light on how non-linearity, play and generativity will become prominent in future creative media productions

    Herding cats: observing live coding in the wild

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    After a momentous decade of live coding activities, this paper seeks to explore the practice with the aim of situating it in the history of contemporary arts and music. The article introduces several key points of investigation in live coding research and discusses some examples of how live coding practitioners engage with these points in their system design and performances. In the light of the extremely diverse manifestations of live coding activities, the problem of defining the practice is discussed, and the question raised whether live coding will actually be necessary as an independent category

    The sound motion controller: a distributed system for interactive music performance

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    We developed an interactive system for music performance, able to control sound parameters in a responsive way with respect to the user’s movements. This system is conceived as a mobile application, provided with beat tracking and an expressive parameter modulation, interacting with motion sensors and effector units, which are connected to a music output, such as synthesizers or sound effects. We describe the various types of usage of our system and our achievements, aimed to increase the expression of music performance and provide an aid to music interaction. The results obtained outline a first level of integration and foresee future cognitive and technological research related to it

    Crowd in C[loud] : Audience Participation Music with Online Dating Metaphor using Cloud Service

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    Presented at the 2nd Web Audio Conference (WAC), April 4-6, 2016, Atlanta, Georgia.In this paper, we introduce Crowd in C[loud], a networked music piece designed for audience participation at a music concert. We developed a networked musical instrument for the web browser where a casual smartphone user can play music as well as interact with other audience members. A participant composes a short tune with five notes and serving as a personal profile picture of each individual through- out the piece. The notion of musical profiles is used to form a social network that mimics an online-dating website. People browse the profiles of others, choose someone they like, and initiate interaction online and offline. We utilize a cloud service that helps build, without a server-side programming, a large-scale networked music ensemble on the web. This paper introduces the design choices for this distributed musical instrument. It describes details on how the crowd is orchestrated through the cloud service. We discuss how it facilitates mingling with one another. Finally we show how live coding is incorporated while maintaining the coherence of the piece. From rehearsal to actual performance, the crowd takes part in the process of producing the piece

    Improving User Involvement Through Live Collaborative Creation

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    Creating an artifact - such as writing a book, developing software, or performing a piece of music - is often limited to those with domain-specific experience or training. As a consequence, effectively involving non-expert end users in such creative processes is challenging. This work explores how computational systems can facilitate collaboration, communication, and participation in the context of involving users in the process of creating artifacts while mitigating the challenges inherent to such processes. In particular, the interactive systems presented in this work support live collaborative creation, in which artifact users collaboratively participate in the artifact creation process with creators in real time. In the systems that I have created, I explored liveness, the extent to which the process of creating artifacts and the state of the artifacts are immediately and continuously perceptible, for applications such as programming, writing, music performance, and UI design. Liveness helps preserve natural expressivity, supports real-time communication, and facilitates participation in the creative process. Live collaboration is beneficial for users and creators alike: making the process of creation visible encourages users to engage in the process and better understand the final artifact. Additionally, creators can receive immediate feedback in a continuous, closed loop with users. Through these interactive systems, non-expert participants help create such artifacts as GUI prototypes, software, and musical performances. This dissertation explores three topics: (1) the challenges inherent to collaborative creation in live settings, and computational tools that address them; (2) methods for reducing the barriers of entry to live collaboration; and (3) approaches to preserving liveness in the creative process, affording creators more expressivity in making artifacts and affording users access to information traditionally only available in real-time processes. In this work, I showed that enabling collaborative, expressive, and live interactions in computational systems allow the broader population to take part in various creative practices.PHDComputer Science & EngineeringUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/145810/1/snaglee_1.pd

    SameSameButDifferent v.02 – Iceland

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    The history of computer music is to a great extent the history of algorithmic composition. Here generative approaches are seen as an artistic technique. However, the generation of algorithmic music is normally done in the studio, where the music is aesthetically valued by the composer. The public only gets to know one, or perhaps few, variations of the expressive scope of the algorithmic system itself. In this paper, we describe a generative music system of infinite compositions, where the system itself is aimed for distribution and to be used on personal computers. This system has a dual structure of a compositional score and a performer that performs the score in real-time every time a piece is played. We trace the contextual background of such systems and potential future applications

    A Networked Hybrid Interface for Audience Sonification and Machine Learning

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    Lick the Toad is an ongoing project developed as a web based interface that runs in modern browsers. It provides a custom made platform to collect user data accessed from mobile devices, such as smartphones, tablets etc. The system offers a tool for interactive collective sonification supporting networked music performance. It can be used in various contexts, such as an onsite installation, or for the distribution of raw data for live coding performances making it a versatile component for an array of creative practices. Of these, live coding which is one of the author's artistic approach to create live performances is demonstrated in this article highlighting and elaborating on technical and musical aspects of this approach. Final sections outline the system as a tool for live coding performances and cover a series of potential interactions integrating audience and/or using it independently alike
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