Creativity: Flow and the Psychology of Discovery and Invention

Emotion and Meaning in Music

Thinking and sounding are two terms which complicate one another, hence this thesis follows two trajectories each of which make an original contribution to knowledge. Part 1 (thinking sound) proposes to reground composition away from historically authoritative humanist models, instead suggesting a biopsychosocial approach for a post-acousmatic music. I elaborate a set of models and key concepts, chiefly an eliminativist account of the listener-sound relation; neurocognitively discrete musical domains and dimensions of the Kmatrix; model-based reasoning through a Reception-Interpretation-Action helix; and, mentalizing listening stances based upon dual-process cognition models. This is combined with an art-activist stance where composition is concerned with the effects that a sonic artobject exerts in its vicinity. I propose composition as experimentally concerned with generating new epistemic things through a process of assemblage and heterogeneous engineering. Part 2 (sounding thinking) discusses fixed and live compositions which initiated and respond to my proposed approach. In my practice, I focus on the disruption of specific aesthetic regimens to bring listening into attentional focus, engaging the specificity of the mnemonic traces that sound leaves. The pieces are largely concerned with sonic cultures related to Islam and the MENASA region.

What can a sonic assemblage do? A biopsychosocial approach to post-acousmatic composition

Formalized music is usually based on the asynchronous creation of musical structures by the composer, 
that are later expressed in the form of music notation. This can also be considered as an algorithmic structure that, 
once executed by the musical performer, reaches the state of sonic art; the music per se, formed by the organization 
of sounds along time. This is perceived by the listener whose cognition attributes to it a personal meaning. This article introduces a computational process that aims to artistically explore the inversion of its natural order, respectively 
given by: the composer, the performer and the listener. Throughout a computational model, listener perception data 
is retrieved and used to control the dynamic creation of musical notation in real-time. After this process is over, the 
final result is a structured musical notation, generated by a self-organizing process given by the systemic interaction 
of independent agents, that are: the computer, the composer, the performer and the listeners. 

Keywords: Musical notation; Computer music; Interactive music.

/pdf/studying-the-computing-implementation-of-interactive-musical-jeudach8im.pdf

Studying the Computing Implementation of Interactive Musical Notation

Computational adaptive methods have already been used in Installation art Among them, Generative artworks are those that value the artistic process, rather than its final product, which can now be of multimodal nature Evolutionary Algorithms (EA) can be successfully applied to create a Generative art process that is self-similar yet always new EAs allow the creation of dynamic complex systems from which identity can emerge In computational sonic arts, this is ecological modeling; here named Evolutionary Soundscape This article describes the development and application of an EA computing system developed to generate Evolutionary Soundscapes in a Multimodal Art Installation Its physical structure uses paths of forking pipes attached to fans and microphones that capture audio to feed the EA system that creates the Soundscape Here is described the EA system; its design in PureData (PD); its connection with the physical structure; its artistic endeavor and final sonic accomplishments

https://link.springer.com/content/pdf/10.1007%2F978-3-642-20520-0_33.pdf

Path of patches: implementing an evolutionary soundscape art installation

The creation of an artwork named RePartitura is discussed here under principles of Evolutionary Computation (EC) and the triadic model of thought: Abduction, Induction and Deduction, as conceived by Charles S. Peirce. RePartitura uses a custom-designed algorithm to map image features from a collection of drawings and an Evolutionary Sound Synthesis (ESSynth) computational model that dynamically creates sound objects. The output of this process is an immersive computer generated sonic landscape, i.e. a synthesized Soundscape. The computer generative paradigm used here comes from the EC methodology where the drawings are interpreted as a population of individuals as they all have in common the characteristic of being similar but never identical. The set of specific features of each drawing is named as genotype. Interaction between different genotypes and sound features produces a population of evolving sounds. The evolutionary behavior of this sonic process entails the self-organization of a Soundscape, made of a population of complex, never-repeating sound objects, in constant transformation, but always maintaining an overall perceptual self-similarity in order to keep its cognitive identity that can be recognize for any listener. In this article we present this generative and evolutionary system and describe the topics that permeates from its conceptual creation to its computational implementation. We underline the concept of self-organization in the generation of soundscapes and its relationship with computer evolutionary creation, abductive reasoning and musical meaning for the computational modeling of synthesized soundscapes.

https://revistas.nics.unicamp.br/revistas/ojs/index.php/nr/article/view/7/6

Abduction and Meaning in Evolutionary Soundscapes

RePartitura e uma instalacao de arte computacional, aqui apresentada e discutida sob seus tres principios constituintes: Arte Processual; Computacao Evolutiva (CE) e Abducao, do modelo triadico de pensamento Peirceano (abducao, inducao e deducao) RePartitura utiliza um algoritmo computacional, especialmente desenvolvido para este fim, que mapeia caracteristicas da imagem digital – de uma colecao de desenhos previamente elaborada – para um modelo musical de CE; a Sintese Sonora Evolutiva (ESSynth) Esta gera dinamicamente um conjunto de objetos sonoros O resultado deste processo e um ambiente sonoro imersivo, ao mesmo tempo variante e similar, que e aqui chamado de Paisagem Sonora Artificial O sistema computacional generativo utiliza principios da CE para interpretar cada desenho como um Individuo pertencente a uma Populacao Todos os individuos tem em comum a caracteristica de serem similares mas nunca identicos O conjunto de caracteristicas especificas de cada desenho e chamado de Genotipo A interacao entre distintos genotipos e suas correspondentes caracteristicas sonoras, produz uma Populacao dinâmica de objetos sonoros evolutivos O comportamento evolutivo deste processo leva a auto-organizacao das paisagens sonoras artificiais, formadas pela Populacao de complexos e singulares objetos sonoros, em constante transformacao, que sempre mantem uma autosimilaridade aproximada, facilmente identificavel por qualquer ouvinte Neste artigo, apresentamos o RePartitura como uma instalacao artistica processual evolutiva, e descrevemos os topicos que a permeiam, desde a criacao conceitual ate sua implementacao computacional Discutimos aqui a emergencia no ambiente sonoro autoorganizado desta instalacao, como uma forma de Abducao sintetica, ocasionada pela acao de operadores geneticos contidos no ESSynth Tal processo gera uma paisagem sonora artificial que, por nunca se repetir acusticamente, apesar de manter uma autosimilaridade cognitiva, toca no conceito de significado sonoro e musical

Abdução e significado em paisagens sonoras: um estudo de caso sobre a instalação artística repartitura

A pesquisa descreve a representacao sonora dos registros visuais de um movimento repetitivo, nos quais, deflagram-se a vivencia do cotidiano, a aprendizagem do corpo no desenvolvimento do gesto e a influencia do ambiente e das emocoes, convergindo para a formacao e quebra de padroes. Enquanto a investigacao de diferentes materiais sonoros procurou aquele que melhor expressasse as caracteristicas plasticas dos registros, foi realizado o mapeamento das manchas e respingos de tinta e da repeticao do gesto - caracteristicas comuns a todos os registros - para alimentar um sistema sonoro de sintese evolutiva. Este ultimo, desenvolvido pelo musico e pesquisador Jose Eduardo Fornari Novo Junior (FORNARI, 2003) 
Abstract

A plasticidade do sonoro

/pdf/aural-robots-evolution-and-algorithmic-composition-4ulmin740c.pdf

AURAL: Robots, Evolution and Algorithmic Composition

This article focuses on the interdisciplinary research involving Computer Music and Generative Visual Art. We describe the implementation of two interactive artistic systems based on principles of Gestural Data (WILSON, 2002) retrieval and self-organization (MORONI, 2003), to control an Evolutionary Sound Synthesis method (ESSynth). The first implementation uses, as gestural data, image mapping of handmade drawings. The second one uses gestural data from dynamic body movements of dance. The resulting computer output is generated by an interactive system implemented in Pure Data (PD). This system uses principles of Evolutionary Computation (EC), which yields the generation of a synthetic adaptive population of sound objects. Considering that music could be seen as "organized sound" the contribution of our study is to develop a system that aims to generate "self-organized sound" - a method that uses evolutionary computation to bridge between gesture, sound and music.

/pdf/evolutionary-sound-synthesis-controlled-by-gestural-data-2aqv4ggc3c.pdf

Mariana Shellard

Papers

Abduction and Meaning in Evolutionary Soundscapes

Abdução e significado em paisagens sonoras: um estudo de caso sobre a instalação artística repartitura

A plasticidade do sonoro

AURAL: Robots, Evolution and Algorithmic Composition

Evolutionary Sound Synthesis Controlled by Gestural Data