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Category: algorithmic

Algorithmic and Systems Music Seminar [es Barcelona]

systems.jpgAlgorithmic and Systems Music. An Introductory Seminar to Generative Systems as Applied to Art and Music in Particular :: December 17-19, 2010 :: Hangar, Passatge del Marquès de Santa Isabel, 40, Barcelona.

Over the past 30 years, and especially during the past decade, several environments and programming languages have been developed leading to a greater interest in that which is often called generative art, which – among other things – proposes an approach to the algorithm as a tool of creation. These generative practices often raise interesting questions about the nature of the creative act, blurring the essence of apparently clear concepts such as authorship, tool, work or process.

This seminar will provide a historical overview, from antiquity to the computer age, on the use of algorithms and rules to generate sound and musical pieces. Continue reading


Dec 13, 2010
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Net_Music_Weekly: Composing with Process 2.2

marcus_schmickler.jpgComposing with Process: Perspectives on Generative and Systems Music 2.2: Marcus Schmickler and EVOL:

Generative music is a term used to describe music which has been composed using a set of rules or system. This series of six episodes explores — written and edited by Mark Fell and Joe Gilmore for Radio Web MACBA (RWM) — generative approaches (including algorithmic, systems-based, formalised and procedural) to composition and performance primarily in the context of experimental technologies and music practices of the latter part of the 20th Century and examines the use of determinacy and indeterminacy in music and how these relate to issues around control, automation and artistic intention. Each episode of the series is accompanied by an additional programme, entitled ‘Exclusives’, featuring exclusive or unpublished sound pieces by leading sound artists and composers working in the field.

This show presents two contrasting generative works by German composer Marcus Schmickler and Catalan collective EVOL.

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Dec 13, 2010
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Creating Music by Evolution

mozart.jpgMozart meets Darwin – Creating music by evolution :: Mozart meets Darwin is a case study where we try to evolve a piece of music, a simple melody. To evolve something, we need a model of the candidates, a method to mutate a candidate (that is apply some random perturbations), a method to recombine two parent candidates into similar children candidates, and a way to assess the fitness of a result. Using the music notes as DNA, we came up with solutions for mutation and recombination. But the assessment of the quality cannot be done by the machine – that is where we need you to indicate which piece of music is better than the other.

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Nov 9, 2010
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Live Stage: (noish) >> trAnsCodE [de Berlin]

noish.jpg[noish] >> trAnsCodE :: Oscar Martin :: October 2, 2010 at 8:00 p.m. – October 3, 2010 at 12:30 a.m. :: NK Elsen str 52 2 HH Neukoelln Berlin 12059

Noish is the experimental sound project of Oscar Martin. A sound explorer, Martin bases his work on the deconstruction of field recordings and the creative use of technology errors. Luthier-digital with a ‚ pure data‚ environment, which he uses to develop his own experimental tools for processing and real time algorithmic-generative composition. He can be placed somewhere between Computer Music, the Aesthetics of Error, and generative Noise. He seeks the creation of virtual sound universes, imaginary soundscapes that encourage active listening and a different sensibility toward the perception of sound phenomena. He works under the open source paradigm. All his work is published under Creative Commons licence, by different labels and netlabels;(dronerecords, tecnoNucleo, costellam, etc.) Continue reading


Aug 21, 2010
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PROCESS Festival Berlin

process.jpgPROCESS Festival Berlin :: Call for Proposals — Deadline: January 2, 2010.

PROCESS Festival Berlin is now accepting proposals for performances and new-media work, to be shown at our 2 day festival in mid-March 2010. The Festival seeks to highlight new and compelling work in the field of generative or process music – focusing on sound pieces which are inspired by or emulate algorithms, biology, or other defined systems.

From scores generated from nature (Mamoru Fujieda’s “Patterns of Plants”) or mathematics (John Cage’s “Sonatas and Interludes”), to interactives which allow users to create music (Brian Eno’s Bloom for iPhone) or a system as simple as 2 tape recorders (“It’s Gonna Rain” by Steve Reich), this space has enjoyed a compelling history. Continue reading


Dec 5, 2009
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Live Stage: Paweł Janicki [pl Warsaw]

nano.jpgUpgrade! Warsaw: Paweł Janicki :: November 3, 2009; 6:00 pm :: 2.0 Gallery, The Academy of Music, 58/60 Krakowskie Przedmieście, Warsaw, Poland.

Paweł Janicki (1974) is an independent media artist and producer working in the field of media art, microsound aesthetics and algorithmic composition, is a creator of audiovisual interactive systems, installations and performances. He creates and continuously develops software tools and interfaces. Special place in his activity takes developing software according to his own projects – and broadly – creating his own media either sabotaging already existing solutions. Continue reading


Oct 27, 2009
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Live Stage: Transfer at Goldsmith’s [uk London]

292495725_f6cf65e75d_o-300×225.jpg[image: Leafcutter John]

Transfer — an evening of beautiful experiments in music from humans and computers as part of the knowledge futures conference :: microfolk, brainjazz, robotic theramin cabaret and livecoding :: October 16, 2009; 7:00 – 10:00 pm :: Goldsmiths Great Hall, New Cross, London.

Featuring: Leafcutter John :: Leafcutter John’s experimental approach to music, including handmade synthesis algorithms, contact microphones and handmade interfaces like his “electric breasts” beloved him to a crowd more used to industrial techno through his chaotic Planet Mu releases. Continue reading


Sep 25, 2009
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Storage in Collaborative Networked Art

networked.jpgRead | Write Storage in Collaborative Networked Art by Jason Freeman — in Networked: a (networked_book) about (networked_art):

ABSTRACT: This chapter explores the role of storage in media art and, more specifically, its role in collaborative creativity within the field of networked music. Through a series of paired analyses of works that differentially emphasize transmission and storage or which employ different approaches to storage, the chapter discusses different opportunities, challenges, and issues related to storage in collaborative, networked art. Music by the Rova Saxophone Quartet and by Nick Collins frames a discussion of composition and improvisation; two works by The Hub initiate an analysis of the influence of technology on network design and on collaborative models of shared material and shared control; broadcast works by Max Neuhaus introduce the concept of active storage systems; the online sites WebDrum and Jamglue raise questions about network latency and the persistency of storage; and Bicycle Built for 2,000 and Graph Theory manipulate the level of awareness of storage mechanisms by various participants.


Jul 31, 2009
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The UPIC System (1977-2009)

xenakis.jpgUPIC is a computerised musical composition tool, devised by the composer Iannis Xenakis. It was developed at the Centre d’Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris, and was completed in 1977. The name is an acronym of Unité Polyagogique Informatique du CEMAMu. Xenakis used it on his subsequent piece Mycènes Alpha (1978), and it has been used by composers such as Jean-Claude Risset (on Saxatile (1992)), Takehito Shimazu (Illusions in Desolate Fields (1994)), and Curtis Roads.

Physically, the UPIC is a digitising tablet linked to a computer, which has a vector display. Its functionality is similar to that of the later Fairlight CMI, in that the user draws waveforms and volume envelopes on the tablet, which are rendered by the computer. Once the waveforms have been stored, the user can compose with them by drawing “compositions” on the tablet, with the X-axis representing cumulative duration, and the Y-axis representing pitch. Continue reading


May 13, 2009
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Social Behavior in Music [ca Vancouver]

vancouver-bc-large.jpgIEEE International SocialCom-09 Conference :: August 29, 2009 :: Vancouver, Canada :: Social Behavior in Music: Final Call for Papers — Deadline: May 17, 2009.

Music making and listening are a clear example of human activities that are above all interactive and social. On the one hand, however, nowadays mediated music making and listening is usually still a passive, non-interactive, non-context sensitive, and non-social experience. The current electronic technologies have not yet been able to support and promote these essential aspects. Continue reading


May 8, 2009
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Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

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