Generative sound art as poeitic poetry for an information society

This paper considers computer music in relation to broader society and asks what algorithmic composition can learn from the metaphysical shift which is happening in the so-called information societies. This is explored by taking the mapping problem inherent in the use of extra- musical models in generative composition and presenting a simple generative schema which prioritises sound, ex- ploiting the generative potential of digital audio. It is sug- gested that the exploration of such models has more than aesthetic relevance and that the interdisciplinary nature of digital sound art represents a microcosm of an emerging reality, thereby constituting a poietic playground for com- ing to terms with the implications and challenges of the information age

Distance Based Image Classification: A solution to generative classification's conundrum?

Most classifiers rely on discriminative boundaries that separate instances of each class from everything else. We argue that discriminative boundaries are counter-intuitive as they define semantics by what-they-are-not; and should be replaced by generative classifiers which define semantics by what-they-are. Unfortunately, generative classifiers are significantly less accurate. This may be caused by the tendency of generative models to focus on easy to model semantic generative factors and ignore non-semantic factors that are important but difficult to model. We propose a new generative model in which semantic factors are accommodated by shell theory's hierarchical generative process and non-semantic factors by an instance specific noise term. We use the model to develop a classification scheme which suppresses the impact of noise while preserving semantic cues. The result is a surprisingly accurate generative classifier, that takes the form of a modified nearest-neighbor algorithm; we term it distance classification. Unlike discriminative classifiers, a distance classifier: defines semantics by what-they-are; is amenable to incremental updates; and scales well with the number of classes.Comment: accepted by IJC

How do we approach intrinsic motivation computationally? : a commentary on: What is intrinsic motivation? A typology of computational approaches. by Pierre-Yves Oudeyer and Frederic Kaplan

What is the energy function guiding behavior and learningµ Representationbased approaches like maximum entropy, generative models, sparse coding, or slowness principles can account for unsupervised learning of biologically observed structure in sensory systems from raw sensory data. However, they do not relate to behavior. Behavior-based approaches like reinforcement learning explain animal behavior in well-described situations. However, they rely on high-level representations which they cannot extract from raw sensory data. Combinations of multiple goal functions seems the methodology of choice to understand the complexity of the brain. But what is the set of possible goals. ..

Generative image systems and emergent play

Generative Image Systems and Emergent Play is a collection of writings around generative creative processes and the emergent outcomes that can develop from simple systems. The generative systems I utilize in my practice are explored in this writing through the lenses of Instructional Art, Generative Art, Chance and Randomness, the Xerox, Computer Programming, and Emergent Play in games. These texts are a statement about my computational art practice and research, and they explore what it means to create with generative systems inside of other designer’s programs

On the Notion of Creative Personhood

We study here the notion of creative personhood and what it is like to be in the presence of a creative individual. We suggest ideas for what creative personhood means in human society and propose how this may help to develop generative AI systems. Situating the study in the philosophy of computational creativity, we address notions of agency, self-expression, individuality and responsible behaviours associated with human creativity. We apply this analysis to an initial consideration of the ChatGPT generative text system, in terms of its potential to exhibit elements of creative personhood

On the Notion of Creative Personhood

We study here the notion of creative personhood and what it is like to be in the presence of a creative individual. We suggest ideas for what creative personhood means in human society and propose how this may help to develop generative AI systems. Situating the study in the philosophy of computational creativity, we address notions of agency, self-expression, individuality and responsible behaviours associated with human creativity. We apply this analysis to an initial consideration of the ChatGPT generative text system, in terms of its potential to exhibit elements of creative personhood

Accented Body and Beyond: a Model for Practice-Led Research with Multiple Theory/Practice Outcomes

Dance has always been a collaborative or interdisciplinary practice normally associated with music or sound and visual arts/design. Recent developments with technology have introduced additional layers of interdisciplinary work to include live and virtual forms in the expansion of what Fraleigh (1999:11) terms ‘the dancer oriented in time/space, somatically alive to the experience of moving’. This already multi-sensory experience and knowledge of the dancer is now layered with other kinds of space/time and kinetic awarenesses, both present and distant, through telematic presence, generative systems and/or sensors. In this world of altered perceptions and ways of being, the field of dance research is further opened up to alternative processes of inquiry, both theoretically and in practice, and importantly in the spaces between the two

What is the Generative Role for Music in Architecture?

The origin of my design thesis project interests had its first identifi able origin on November 2nd, 2006, shortly after attending a lecture on the life and works of Antoine Predock. Predock talked in great detail about not only his designs, but also his design process. The descriptions he provided of his methods and creative intuition began an internal assessment of my own design process, which, in fact, is where this thesis investigation begins. Methodology is central to this framed investigation, and the design thesis project will allow me to develop a latent and more implicit design thinking regarding architecture. For Predock, the design process includes an image intensive, collage process at the beginning of the design phase of a project. He sees this as an attempt to understand the site, the place, or perhaps the essence of the project. Predock references these external images, and creates a new one – a collage that exists in two dimensions but acts as a kind of a road map for him to discover design ideas. It is this process of referencing ideas and materials which exist beyond the realm of architecture that first excited my thinking about the development of a thesis exploration. Music arrived at the forefront of my mind when considering topics I might reference when creating architecture. This undoubtedly happened due to a personal interest I have in music as it lies at the very core of my upbringing. I grew up surrounded by music, am a lover and performer of all types of choral music, and have learned to play both the piano and the guitar. Upon selecting music as a source for aiding in the making of architectural design decisions, I first imagined that my project would simply answer the question, “What is the Critical Relationship Between Music and Architecture?” This postulation would eventually be debunked, as I knew I did not want the conclusion of this thesis to project a singular, critical relationship that might exist between the two realms. It became clear to me that a ‘critical’ relationship between music and architecture is a highly subjective notion, where different people might view different issues as being critical. For myself, I quickly understood that the lack of a singular critical relationship between music and architecture is likely what drew me to initially connect the two for the purposes of exploring my own creativity. I see endless relationships between the two – many of which seem interesting enough to merit exploration. This project was initially intended to narrow the spectrum of thinking about music and architecture by exploring three compelling relationships and selecting one as the most critical. Now the project is intended to broaden the spectrum of thinking about music and architecture by exploring three compelling relationships, and exciting creative thinking about many more. I have reformed my initial question to now read, “What is the Generative Role for Music in Architecture?” and have attempted to answer this question through the explorations of my design thesis project. My explorations, and my findings are found on the forthcoming pages

What is the Minimum to Trust AI?—A Requirement Analysis for (Generative) AI-based Texts

The generative Artificial Intelligence (genAI) innovation enables new potentials for end-users, affecting youth and the inexperienced. Nevertheless, as an innovative technology, genAI risks generating misinformation that is not recognizable as such. The extraordinary AI outputs can result in increased trustworthiness. An end-user assessment system is necessary to expose the unfounded reliance on erroneous responses. This paper identifies requirements for an assessment system to prevent end-users from overestimating trust in generated texts. Thus we conducted requirements engineering based on a literature review and two international surveys. The results confirmed the requirements which enable human protection, human support, and content veracity in dealing with genAI. Overestimated trust is rooted in miscalibration; clarity about genAI and its provider is essential to solving this phenomenon, and there is a demand for human verifications. Consequently, our findings provide evidence for the significance of future IS research on human-centered genAI trust solutions