Ag

"Ag" is a live, generative audiovisual performance, commissioned and premiered by the Animator International Animated Film Festival, Poznan, Poland. More information is available at http://BatHatMedia.com/Gallery/ag.htm

Nodewebba: Software for Composing with Networked Iterated Maps

Nodewebba software provides a GUI implementation of the author’ s “Variable-Coupled Map Networks” (VCMN) approach to algorithmic composition. A VCMN node consists of a simple iterated map, timing controls, and controls for mapping the node output to musical parameters. These nodes can be networked, routing the outputs of nodes to control the variables of other nodes. This can enable complex emergent patterning and provides a powerful tool for creating musical materials that exhibit interrelated parts. Nodewebba also provides API hooks for programmers to expand its functionality. The author discusses the design and features of Nodewebba, some of the technical implementation issues, and a brief example of its application to a compositional project

Editing Strategies for Bézier-Modeled Continuous Expression Curves

PICACS (Pitch Curve Analysis and Composition System) is a software prototype inspired in part by study of Indian classical music. The primary motivation of the system is to facilitate analysis, composition, and convincing computer rendering of music that is characterized by detailed, expressive shaping of the continuum between scale steps. The system creates models of pitch, amplitude, and spectral-centroid expression envelopes by utilizing nonlinear least-squares fitting of constrained Bézier spline curves. Details of the modeling system have been published elsewhere; this paper focuses on the unique challenges that arise in designing an editing system for such models to support compositional purposes. While some of the challenges are specific to the Bézier model, it is clear that many of the challenges would apply to any system that seeks to support modelling and editing of continuous expression using sets of linked curves and multiple layers of expression data

Towards a Fluid Audiovisual Counterpoint

The author critiques and expands his concept of "fluid audiovisual counterpoint" by investigating the relevance of the species counterpoint tradition in music to conceptualizing audiovisual relationships in abstract video music. He points out both gains and limitations of such an approach, considering in particular issues of temporal and perceptual hierarchy, atomism, and gesture. He also considers how this might relate to Adam Basanta's 2013 proposed three-axes model of audiovisual relationship typologies. Ultimately, he proposes elements of a "phenomenological theory of audiovisual counterpoint", with fluidity being a subcategory. As an example, he considers how this subcategory might be informed by the relationship between the gestures of Indian classical vocalists and the music they are singing. Ultimately, the argument is made that complete systematization of audiovisual counterpoint is not possible, or even desirable, and that informing the artistic intuition by expanding possibilities and sensitivities would be the primary goal of an audiovisual counterpoint pedagogy

Review of Cipriani Alessandro, and Giri Maurizio 'Electronic Music and Sound Design: Theory and Practice with Max/MSP'.

A book review of Cipriani and Giri's "Electronic Music and Sound Design: Theory and Practice with Max/MSP, Volume 1"

Sound synthesis and composition with compression-controlled feedback

This paper introduces a method of sound synthesis that is based on the use of automatic gain control (AGC) in a time-delayed feedback loop. The approach, which the author calls "Compressed Feedback Synthesis" (CFS), can be conceptualized as a special expansion of a generalized comb filter, where feedback gain can be unity or greater. The system can be expanded with additional processing in the feedback loop to create a highly flexible and sensually engaging sound materials. The use of CFS in the author's audiovisual composition Sinus Aestum is discussed, including specific solutions to the challenging of controlling such a system compositionally

Book Review: Marko Ciciliani, Barbara Lüneburg and Andreas Pirchner (eds.), Vol. 1: Ludified: Artistic Research in Audiovisual Composition, Performance & Perception and Vol. 2: Game Elements in Marko Ciciliani’s Audiovisual Works.

open access articl

Haptic Control of Multistate Generative Music Systems

Force-feedback controllers have been considered as a solution to the lack of sonically coupled physical feedback in digital-music interfaces, with researchers focusing on instrument-like models of interaction. However, there has been little research applied to the use of force-feedback interfaces to the control of real-time generative-music systems. This paper proposes that haptic interfaces could enable performers to have a more fully embodied engagement with such systems, increasing expressive control and enabling new compositional and performance potentials. A proof-of-concept project is described, which entailed development of a core software toolkit and implementation of a series of test cases

Creative Computing and the Generative Artist

This article addresses the research agenda of creative computing from the perspective of a generative artist/composer, someone for whom processes of software creation and art creation inseparably intertwine. Using his audiovisual composition Clonal Colonies (2011) as a case study, the author addresses the dynamic of generative artistic creation when it is a process of discovery and dialog with artist-created, often unpredictable software systems. He provides technical specifics regarding his use of his variable-coupled map networks approach for music and his Brownian Doughnut Warper visual algorithm. Finally, he proposes a set of principles applicable to the creation of generative artwork, considers how tools and systems could better support such work, and proposes that creative computing research also focus on helping creatives surmount the fundamental personal challenges encountered in creative work of all types

Here Comes the Sun: Constraining Russian Aggression and Ambition in the Arctic Through the Analysis of Structural Realism

This paper is a broad case study attempting to reconcile how structural realism can use different liberal theories and concepts to accomplish realist ends. That being said, the current situation in the Arctic has real-world significance that draws equal importance with the theoretical implications of this thesis. As climate change is opening the Arctic to economic exploitation in the near future, this paper addresses the rising importance of the Arctic and the issue of how the U.S. and its allies should respond to Russian militarization of the Arctic while ensuring their own interests. By the utilization of structural realism in the analysis of the situation, this paper argues that an efficient way to prevent Russia from gaining economic capabilities in the Arctic is through a political agreement based on the common interests of the “Arctic Five”: the United States, Russia, Canada, Denmark, and Norway. Preference schedules analyzes and compares each state’s individual interests, resource sovereignty, continued peaceful operations and cooperation, and environmental sustainability. The analysis of UNCLOS and the Antarctic Treaty System reveal both relevant provisions and crucial mistakes to be taken into account while constructing this political agreement. After a discussion of specific policy, this thesis concludes that a political agreement is the most effective way to constrain Russian aggression and ambition in the Arctic