Genetic algorithms for the generation of models with micropopulations

Proceedings of: EvoWorkshops 2003: EvoBIO, EvoCOP, EvoIASP, EvoMUSART, EvoROB, and EvoSTIM Essex, UK, April 14–16, 2003The present article puts forward a method for an interactive model generation through the use of Genetic Algorithms applied to small populations. Micropopulations actually worsen the problem of the premature convergence of the algorithm, since genetic diversity is very limited. In addition, some key factors, which modify the changing likelihood of alleles, cause the likelihood of premature convergence to decrease. The present technique has been applied to the design of 3D models, starting from generic and standard pieces, using objective searches and searches with no defined objective

An experimental comparative study for interactive evolutionary computation problems

Proceeding of: EvoWorkshops 2006: EvoBIO, EvoCOMNET, EvoHOT, EvoIASP, EvoINTERACTION, EvoMUSART, and EvoSTOC, Budapest, Hungary, April 10-12, 2006This paper presents an objective experimental comparative study between four algorithms: the Genetic Algorithm, the Fitness Prediction Genetic Algorithm, the Population Based Incremental Learning algorithm and the purposed method based on the Chromosome Appearance Probability Matrix. The comparative is done with a non subjective evaluation function. The main objective is to validate the efficiency of several methods in Interactive Evolutionary Computation environments. The most important constraint of working within those environments is the user interaction, which affects the results adding time restrictions for the experimentation stage and subjectivity to the validation. The experiments done in this paper replace user interaction with several approaches avoiding user limitations. So far, the results show the efficiency of the purposed algorithm in terms of quality of solutions and convergence speed, two known keys to decrease the user fatigue.This article has been financed by the Spanish founded research MCyT project OPLINK, Ref: TIN2006-08818-C04-02

Supporting Personalized Music Exploration through a Genre Exploration Recommender

Recommender systems have been largely focused on the task of predicting users' current preferences and finding the most relevant items that users currently like. However, this approach is not sufficient as users may want to explore and develop new preferences, for example about a new genre. Allowing users to explore new preferences has many advantages, such as helping users to stay away from the so-called ``filter bubbles'', supporting new preference exploration and development, and promoting under-explored niche tastes, in addition to the mainstream preferences. Therefore, in this dissertation, we explore how recommender systems can be leveraged to support users' new preference exploration in the context of music genre exploration. The research takes a multidisciplinary approach in which we explore music recommendation algorithms and interactive exploration interface design for supporting music genre exploration, paired with insights from individual's music preference evolution and theories on decision making (such as digital nudges). For this purpose, we propose a music genre exploration tool and refine the tool over subsequent studies. We evaluate the music genre exploration tool with multiple single-session user-centric studies and one longitudinal user study on the long-term effectiveness of the tool to drive new preference exploration with various types of users’ objective behavior and their subjective user experience. From the studies, we find that users perceived the music genre exploration tool to be a new and helpful way to explore and develop new music tastes. By allowing users to make trade-offs between their current preferences and the new music genre they want to explore, the music genre exploration helps users make an easy personalized first step out of their comfort zone and towards the new preferences. The newly designed interactive exploration interface of the music exploration tool improves the usability and helpfulness of genre exploration by improving transparency, controllability and understandability. We further investigate individual differences during musical preference evolution by checking individuals' musical preference consistency and identify a relevant personal factor associated with this consistency (i.e., musical expertise). Our findings suggest that users with different musical expertise tend to show different musical exploration behavior. We further enhance the exploration tool with digital nudges to see if digital nudges can promote more exploration from users, and based on insights on individual differences, how this differs among individuals with different expertise levels. Based on our findings, we discuss opportunities and implications for future recommender systems to support new preference exploration and development

Sensoring a Generative System to Create User-Controlled Melodies

[EN] The automatic generation of music is an emergent field of research that has attracted the attention of countless researchers. As a result, there is a broad spectrum of state of the art research in this field. Many systems have been designed to facilitate collaboration between humans and machines in the generation of valuable music. This research proposes an intelligent system that generates melodies under the supervision of a user, who guides the process through a mechanical device. The mechanical device is able to capture the movements of the user and translate them into a melody. The system is based on a Case-Based Reasoning (CBR) architecture, enabling it to learn from previous compositions and to improve its performance over time. The user uses a device that allows them to adapt the composition to their preferences by adjusting the pace of a melody to a specific context or generating more serious or acute notes. Additionally, the device can automatically resist some of the user’s movements, this way the user learns how they can create a good melody. Several experiments were conducted to analyze the quality of the system and the melodies it generates. According to the users’ validation, the proposed system can generate music that follows a concrete style. Most of them also believed that the partial control of the device was essential for the quality of the generated music

On the development of evolutionary artificial artists

The creation and the evaluation of aesthetic artifacts are tasks related to design, music and art, which are highly interesting from the computational point of view. Nowadays, Artificial Intelligence systems face the challenge of performing tasks that are typically human, highly subjective, and eventually social. The present paper introduces an architecture which is capable of evaluating aesthetic characteristics of artifacts and of creating artifacts that obey certain aesthetic properties. The development methodology and motivation, as well as the results achieved by the various components of the architecture, are described. The potential contributions of this type of systems in the context of digital art are also considered.http://www.sciencedirect.com/science/article/B6TYG-4PTMXVB-1/1/265a0f6c8e478822e6de32b87bc2fb1

Designer modeling for personalized game content creation tools

With the growing use of automated content creation and computer-aided design tools in game development, there is potential for enhancing the design process through personalized interactions between the software and the game developer. This paper proposes designer modeling for capturing the designer’s preferences, goals and processes from their interaction with a computer- aided design tool, and suggests methods and domains within game development where such a model can be applied. We describe how designer modeling could be integrated with current work on automated and mixed- initiative content creation, and envision future directions which focus on personalizing the processes to a designer’s particular wishes.peer-reviewe

CHORUS Deliverable 2.2: Second report - identification of multi-disciplinary key issues for gap analysis toward EU multimedia search engines roadmap

After addressing the state-of-the-art during the first year of Chorus and establishing the existing landscape in multimedia search engines, we have identified and analyzed gaps within European research effort during our second year. In this period we focused on three directions, notably technological issues, user-centred issues and use-cases and socio- economic and legal aspects. These were assessed by two central studies: firstly, a concerted vision of functional breakdown of generic multimedia search engine, and secondly, a representative use-cases descriptions with the related discussion on requirement for technological challenges. Both studies have been carried out in cooperation and consultation with the community at large through EC concertation meetings (multimedia search engines cluster), several meetings with our Think-Tank, presentations in international conferences, and surveys addressed to EU projects coordinators as well as National initiatives coordinators. Based on the obtained feedback we identified two types of gaps, namely core technological gaps that involve research challenges, and “enablers”, which are not necessarily technical research challenges, but have impact on innovation progress. New socio-economic trends are presented as well as emerging legal challenges

Moving sounds and sonic moves : exploring interaction quality of embodied music mediation technologies through a user-centered perspective

This research project deals with the user-experience related to embodied music mediation technologies. More specifically, adoption and policy problems surrounding new media (art) are considered, which arise from the usability issues that to date pervade new interfaces for musical expression. Since the emergence of new wireless mediators and control devices for musical expression, there is an explicit aspiration of the creative industries and various research centers to embed such technologies into different areas of the cultural industries. The number of applications and their uses have exponentially increased over the last decade. Conversely, many of the applications to date still suffer from severe usability problems, which not only hinder the adoption by the cultural sector, but also make culture participants take a rather cautious, hesitant, or even downright negative stance towards these technologies. Therefore, this thesis takes a vantage point that is in part sociological in nature, yet has a link to cultural studies as well. It combines this with a musicological frame of reference to which it introduces empirical user-oriented approaches, predominantly taken from the field of human-computer-interaction studies. This interdisciplinary strategy is adopted to cope with the complex nature of digital embodied music controlling technologies. Within the Flanders cultural (and creative) industries, opportunities of systems affiliated with embodied interaction are created and examined. This constitutes an epistemological jigsaw that looks into 1) “which stakeholders require what various levels of involvement, what interactive means and what artistic possibilities?”, 2) “the way in which artistic aspirations, cultural prerequisites and operational necessities of (prospective) users can be defined?”, 3) “how functional, artistic and aesthetic requirements can be accommodated?”, and 4) “how quality of use and quality of experience can be achieved, quantified, evaluated and, eventually, improved?”. Within this multi-facetted problem, the eventual aim is to assess the applicability of the foresaid technology, both from a theoretically and empirically sound basis, and to facilitate widening and enhancing the adoption of said technologies. Methodologically, this is achieved by 1) applied experimentation, 2) interview techniques, 3) self-reporting and survey research, 4) usability evaluation of existing devices, and 5) human-computer interaction methods applied – and attuned – to the specific case of embodied music mediation technologies. Within that scope, concepts related to usability, flow, presence, goal assessment and game enjoyment are scrutinized and applied, and both task- and experience-oriented heuristics and metrics are developed and tested. In the first part, covering three chapters, the general context of the thesis is given. In the first chapter, an introduction to the topic is offered and the current problems are enumerated. In the second chapter, a broader theoretical background is presented of the concepts that underpin the project, namely 1) the paradigm of embodiment and its connection to musicology, 2) a state of the arts concerning new interfaces for musical expression, 3) an introduction into HCI-usability and its application domain in systematic musicology, 4) an insight into user-centered digital design procedures, and 5) the challenges brought about by e-culture and digitization for the cultural-creative industries. In the third chapter, the state of the arts concerning the available methodologies related to the thesis’ endeavor is discussed, a set of literature-based design guidelines are enumerated and from this a conceptual model is deduced which is gradually presented throughout the thesis, and fully deployed in the “SoundField”-project (as described in Chapter 9). The following chapters, contained in the second part of the thesis, give a quasi-chronological overview of how methodological concepts have been applied throughout the empirical case studies, aimed specifically at the exploration of the various aspects of the complex status quaestionis. In the fourth chapter, a series of application-based tests, predominantly revolving around interface evaluation, illustrate the complex relation between gestural interfaces and meaningful musical expression, advocating a more user-centered development approach to be adopted. In the fifth chapter, a multi-purpose questionnaire dubbed “What Moves You” is discussed, which aimed at creating a survey of the (prospective) end-users of embodied music mediation technologies. Therefore, it primarily focused on cultural background, musical profile and preferences, views on embodied interaction, literacy of and attitudes towards new technology and participation in digital culture. In the sixth chapter, the ethnographical studies that accompanied the exhibition of two interactive art pieces, entitled "Heart as an Ocean" & "Lament", are discussed. In these studies, the use of interview and questionnaire methodologies together with the presentation and reception of interactive art pieces, are probed. In the seventh chapter, the development of the collaboratively controlled music-game “Sync-In-Team” is presented, in which interface evaluation, presence, game enjoyment and goal assessment are the pivotal topics. In the eighth chapter, two usability studies are considered, that were conducted on prototype systems/interfaces, namely a heuristic evaluation of the “Virtual String” and a usability metrics evaluation on the “Multi-Level Sonification Tool”. The findings of these two studies in conjunction with the exploratory studies performed in association with the interactive art pieces, finally gave rise to the “SoundField”-project, which is recounted in full throughout the ninth chapter. The integrated participatory design and evaluation method, presented in the conceptual model is fully applied over the course of the “SoundField”-project, in which technological opportunities and ecological validity and applicability are investigated through user-informed development of numerous use cases. The third and last part of the thesis renders the final conclusions of this research project. The tenth chapter sets out with an epilogue in which a brief overview is given on how the state of the arts has evolved since the end of the project (as the research ended in 2012, but the research field has obviously moved on), and attempts to consolidate the implications of the research studies with some of the realities of the Flemish cultural-creative industries. Chapter eleven continues by discussing the strengths and weaknesses of the conceptual model throughout the various stages of the project. Also, it comprises the evaluation of the hypotheses, how the assumptions that were made held up, and how the research questions eventually could be assessed. Finally, the twelfth and last chapter concludes with the most important findings of the project. Also, it discusses some of the implications on cultural production, artistic research policy and offers an outlook on future research beyond the scope of the “SoundField” project