Architectural authorship in generative design

The emergence of evolutionary digital design methods, relying on the creative generation of novel forms, has transformed the design process altogether and consequently the role of the architect. These methods are more than the means to aid and enhance the design process or to perfect the representation of finite architectural projects. The architectural design philosophy is gradually transcending to a hybrid of art, engineering, computer programming and biology. Within this framework, the emergence of designs relies on the architect- machine interaction and the authorship that each of the two shares. This work aims to explore the changes within the design process and to define the authorial control of a new breed of architects- programmers and architects-users on architecture and its design representation. For the investigation of these problems, this thesis is to be based on an experiment conducted by the author in order to test the interaction of architects with different digital design methods and their authorial control over the final product. Eventually, the results will be compared and evaluated in relation to the theoretic views. Ultimately, the architect will establish his authorial role

SameSameButDifferent v.02 – Iceland

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

Model transformations and Tool Integration

Model transformations are increasingly recognised as being of significant importance to many areas of software development and integration. Recent attention on model transformations has particularly focused on the OMGs Queries/Views/Transformations (QVT) Request for Proposals (RFP). In this paper I motivate the need for dedicated approaches to model transformations, particularly for the data involved in tool integration, outline the challenges involved, and then present a number of technologies and techniques which allow the construction of flexible, powerful and practical model transformations

Views, Program Transformations, and the Evolutivity Problem in a Functional Language

We report on an experience to support multiple views of programs to solve the tyranny of the dominant decomposition in a functional setting. We consider two possible architectures in Haskell for the classical example of the expression problem. We show how the Haskell Refactorer can be used to transform one view into the other, and the other way back. That transformation is automated and we discuss how the Haskell Refactorer has been adapted to be able to support this automated transformation. Finally, we compare our implementation of views with some of the literature.Comment: 19 page

Confessions of a live coder

This paper describes the process involved when a live coder decides to learn a new musical programming language of another paradigm. The paper introduces the problems of running comparative experiments, or user studies, within the field of live coding. It suggests that an autoethnographic account of the process can be helpful for understanding the technological conditioning of contemporary musical tools. The author is conducting a larger research project on this theme: the part presented in this paper describes the adoption of a new musical programming environment, Impromptu, and how this affects the author’s musical practice

Algorithms as scores: coding live music

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

Screen-based musical instruments as semiotic machines

The ixi software project started in 2000 with the intention to explore new interactive patterns and virtual interfaces in computer music software. The aim of this paper is not to describe these programs, as they have been described elsewhere, but rather explicate the theoretical background that underlies the design of these screen-based instruments. After an analysis of the similarities and differences in the design of acoustic and screen-based instruments, the paper describes how the creation of an interface is essentially the creation of a semiotic system that affects and influences the musician and the composer. Finally the terminology of this semiotics is explained as an interaction model

Towards a Tool-based Development Methodology for Pervasive Computing Applications

Despite much progress, developing a pervasive computing application remains a challenge because of a lack of conceptual frameworks and supporting tools. This challenge involves coping with heterogeneous devices, overcoming the intricacies of distributed systems technologies, working out an architecture for the application, encoding it in a program, writing specific code to test the application, and finally deploying it. This paper presents a design language and a tool suite covering the development life-cycle of a pervasive computing application. The design language allows to define a taxonomy of area-specific building-blocks, abstracting over their heterogeneity. This language also includes a layer to define the architecture of an application, following an architectural pattern commonly used in the pervasive computing domain. Our underlying methodology assigns roles to the stakeholders, providing separation of concerns. Our tool suite includes a compiler that takes design artifacts written in our language as input and generates a programming framework that supports the subsequent development stages, namely implementation, testing, and deployment. Our methodology has been applied on a wide spectrum of areas. Based on these experiments, we assess our approach through three criteria: expressiveness, usability, and productivity