Kinect-ed Piano

We describe a gesturally-controlled improvisation system for an experimental pianist, developed over several laboratory sessions and used during a performance [1] at the 2011 Conference on New Inter- faces for Musical Expression (NIME). We discuss the architecture and performative advantages and limitations of our gesturally-controlled improvisation system, and reflect on the lessons learned throughout its development. KEYWORDS: piano; improvisation; gesture recognition; machine learning

Improvising Linguistic Style: Social and Affective Bases for Agent Personality

This paper introduces Linguistic Style Improvisation, a theory and set of algorithms for improvisation of spoken utterances by artificial agents, with applications to interactive story and dialogue systems. We argue that linguistic style is a key aspect of character, and show how speech act representations common in AI can provide abstract representations from which computer characters can improvise. We show that the mechanisms proposed introduce the possibility of socially oriented agents, meet the requirements that lifelike characters be believable, and satisfy particular criteria for improvisation proposed by Hayes-Roth.Comment: 10 pages, uses aaai.sty, lingmacros.sty, psfig.st

Crisis response, organizational improvisation and the dispassionate communicative genre during the 2003 French heat wave.

Ce papier examine le rôle joué par les technologies de l’information et de la communication (TIC lorsque les organisations qui répondent à des crises doivent improviser à l’échelle organisationnelle. La littérature sur le management de la crise et dans le domaine des systèmes d’information ne rend pas compte de toute la complexité du phénomène d’improvisation. Nous proposons donc de mener une étude qualitative rétrospective de la canicule de 2003 en France. En suivant une démarche inductive, nous identifions le genre de communication que nous qualifions de dépassionné, développé par les administratifs autour du fax et de l’email qui a compromis leur participation à l’improvisation organisationnelle.This paper seeks to understand the role played by Information and Communication Technologies (ICT) in organizational improvisation during crisis response. The crisis management literature and the IS literature do not fully capture the complexity of improvisation and crisis response. Due to the lack of theoretical background in relation to ICT support to crisis improvisation, we conduct a retrospective qualitative analysis of the 2003 French heat wave crisis response. Going back and forth between theory and data, we identify the dispassionate communicative genre, developed by the administrative actors around emails and faxes that hindered their participating in organizational improvisation.Organizational improvisation; communicative genre; crisis response; Improvisation organisationnelle; genre de communication; réponse à la crise;

Query-based Deep Improvisation

In this paper we explore techniques for generating new music using a Variational Autoencoder (VAE) neural network that was trained on a corpus of specific style. Instead of randomly sampling the latent states of the network to produce free improvisation, we generate new music by querying the network with musical input in a style different from the training corpus. This allows us to produce new musical output with longer-term structure that blends aspects of the query to the style of the network. In order to control the level of this blending we add a noisy channel between the VAE encoder and decoder using bit-allocation algorithm from communication rate-distortion theory. Our experiments provide new insight into relations between the representational and structural information of latent states and the query signal, suggesting their possible use for composition purposes

Interfaith-Cross-Cultural Improvisation: Music and Meaning Across Boundaries of Faith and Culture

This article explores the social value and meaning of interfaith-cross-cultural improvisation (musical improvisation between people from differing cultural and faith traditions) and its unique quality of engaging widely different cultural and faith-based groups. It draws concepts from evolutionary biology, ethnomusicology, religious experience, the emerging field of community music, and the insight of first-hand participants. Interfaith-cross-cultural improvisation can be seen as a form of “deep play” with the ability to signal and evoke empathy across participants who identify with divergent beliefs, cultures, and practices. The article attempts to illuminate the process of interfaith-cross-cultural improvisation as a meaningful undertaking of interfaith and multicultural practice, important to the formation of group empathy, sense of connection, and ultimately creating a deep sense of community

What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity?

The purpose of this thesis is to define the terms improvisation, cognition, and creativity, and therefore find the direct correlation between all three, and how they can all be involved within dance. The main intention is to determine whether or not improvisational dance can positively influence one’s creative mindset, thus improving the cognitive learning process. Furthermore, it is to discover if the development of a creative mindset can be established through dance improvisation at an early age. In this exploration, the majority of my research will come from the examination of previously conducted experiments, as well as guiding and observing an improvisation class of young adults, gaining insight simply from a dance teacher’s perspective in order to explore the idea of cognition leading to creativity through movement. In addition to the bulk of my research, I will also take a look at a class of younger students when attempting to answer the sub questions proposed, regarding the similarities within the correlation of dance improvisation and cognition, based upon different age ranges. Constructed from gathered sources, as well as my own personal explorations, research has found that there is a direct positive correlation between improvisational dance and the development of creativity, primarily due to the cognitive comprehension, retention and exploration capabilities improvisation provides for the mind. The enhancement of creativity allows for the mind to discover new and unfamiliar information that furthers one’s knowledge. This idea of creativity and the thinking/learning process stems further than just simply within the dance and arts realm. It can be influential within any part of society and can heighten the level of thinking and learning, as we know it

MindMusic: Brain-Controlled Musical Improvisation

MindMusic explores a new form of creative expression through brain controlled musical improvisation. Using EEG technology and a musical improviser system, Impro-Visor (Keller, 2018), MindMusic engages users in musical improvisation sessions controlled with their brainwaves. Brain-controlled musical improvisation offers a unique blend of mindfulness meditation, EEG biofeedback, and real-time music generation, and stands to assist with stress reduction and widen access to musical creativity

Organizational time: a dialectical view

We present twelve propositions constituting a contribution to a contingency view of time in organizations and synthesize apparently opposite perspectives of time. To articulate them, we relate the planning, action and improvisation strategic orientations to the dependent, independent and interdependent perspectives of the environment. Then, we relate these strategic orientations related to approaches to the problems of scheduling, synchronization and time allocation. Action strategies rely on event time to handle scheduling, use entrainment to synchronize with their environment and view time as linear. Planning strategies use even time to handle scheduling, impose their internal pacing upon the environment and view time as cyclic. Improvisation strategies use even-event time to handle scheduling, synchronize via internal-external pacing and hold a spiral view of time. Our argument strengthens the case for a more deliberate approach to time in organizations and favors a dialectical view of organizational phenomena.action, contingency, dialectics, improvisation, planning, synthesis, time