Emute Lab @ Sussex

Experimental Music Technologies Lab

Month: September 2016

Arts Research Symposium at the AlgoMech Festival – Call for Proposals

:::: Sunday, November 12th, 10.00am @ Sheffield Hallam University ::::

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Symposium – Call for Proposals

The AlgoMech Arts Research Symposium takes place within the Festival of Algorithmic and Mechanical Movement, on the 13th November 2016 at the Sheffield Hallam University in Sheffield, UK.  AlgoMech will celebrate a resurgence of making in performance, where creative processes are made visible during a live event. Rather than presenting technology as seamless, we pick at the seams, exposing its innards as human-made and reconfigurable. We will also go beyond fashionable notions of technology to take the long view; bringing together mechanical, kinetic, electronic, and software arts, from periods spanning the stone age to present day, building a picture of the human maker as both digital and analogue, thinking and feeling, embodied yet reaching beyond what is bodily possible. The festival will take place across Sheffield, and will include concerts, talks, hands-on workshops, and a club night.

The arts research symposium will focus on the latest developments in this field, drawing on both academic and artistic perspectives. We invite proposals for artist talks and academic papers in the form of short abstracts, describing the theme and structure of your research presentation or artist talk in approximately one page of text. As an inclusive, cross-disciplinary symposium, we are open-minded about the form of your talk and proposal, but please do not hesitate to get in contact if you have questions.

As well as talks accepted from this call, the day will include talks from artists contributing work at the festival, and panel sessions on fictive materials and maker culture.

We welcome submissions from areas that intersect with the following themes:

  • Human and mechanical motion
  • Human-machine interaction and embodiment
  • Creative computing and (live) coding
  • Robotics in the arts
  • Design and physical computing
  • Machine creativity
  • Algorithm aesthetics
  • Mechanical automata in history
  • Kinesthesis and art
  • Machine choreography
  • Maker culture
  • Materialities for motion
  • Generative design and architecture
  • Alternative histories of algorithms and mechanisms


Draft Programme

9:30 – Coffee + live coding performance
10:00 – Paper session (8 papers – we will issue a call for papers soon)
12:00 – Lunch
13:00 – Panel 1 (on speculative hardware and fictive materialities - chair: Derek Hales)
14:00 – Keynote talk with Godfried-Willem Raes
15:00 – Coffee with a performance
16:00 – Panel 2 (on maker culture – chair: Amy Twigger Holroyd)
19:00 – Performances at the Millennium Gallery

Keynote speaker

We will have a keynote by Godfried-Willem Raes, of the Logos foundation. Godfried is a composer and instrument maker, who taught at Ghent Royal Conservatory and the Orpheus Higher Institution for Music. In addition to his reputation as a composer, he is also an expert in computer technology, robotics and interactive electronic art. As an example, he is well known in this country for his work on musical robotics with Aphex Twin.

Submissions

We call for three types of submissions: 15 min talks, panel contributions, and performances.

We invite proposals for 15 minute research presentations or artist talks (10 minutes talk + 5 minutes questions).  Proposals should be a one page abstract describing the presentation.  Please also submit a short (200-300 word) biography for each author and an image describing your project. Submissions should be made in PDF or Word format.

If you are interested in participating in either of the panels on speculative hardware and fictive materialities or maker culture, please send a note to symposium@algomech.com and describe in a sentence or two why you would like to join the panel.

In the evening during symposium we are programming performances (music, dance, robotics, etc.) in the Millennium Gallery in Sheffield from 7pm (time TBC). Please submit your proposal describing the performance and indicating the technical requirements you have. The proposal would typically be a page with your name, title of the piece, a paragraph description of the piece, a representative image (if available), a video of past performance (if available) and a tech spec.

Submission Process

Submissions will be selected by a panel chaired by members of the Experimental Music Technologies (EMuTe) Lab at University of Sussex. Please email your submission in PDF format to symposium@algomech.com

Important Dates

10th October: Submission Deadline
17th October: Notifications
12th-20th November: AlgoMech Festival
13th November: Arts Research Symposium

Venue

Sheffield Institute of Arts, Fitzalan Square, Sheffield S1 2AY, United Kingdom

Contact

Symposium chairs:
Thor Magnusson (university profile with email addresse: http://www.sussex.ac.uk/profiles/164902
Chris Kiefer (university profile with email addresse: http://www.sussex.ac.uk/profiles/208667

Machine Creativity Roundtable at IASPM in Brighton

:::: Saturday, September 9th, 2.00pm @ Clarendon Centre, Brighton ::::

We present a roundtable on Machine Creativity as part of the IASPM conference co-organised by the Sussex Music Department and BIMM. The idea is to set up a dialogue between researchers of machine creativity and popular music to further understanding between the respective fields. Members of the round table are:

 

  • Elaine Chew - http://www.eecs.qmul.ac.uk/~eniale/ Chew is a musician (pianist) and mathematician (operations researcher) who designs mathematical and computational tools to model, analyse, and visualise music structures: structures constructed in the process of listening, performing, composing, and improvising.
  • Rebecca Fiebrink - http://www.doc.gold.ac.uk/~mas01rf/Rebecca_Fiebrink_Goldsmiths
    Fiebrink is an expert in machine learning and has created systems using neural networks that can quickly learn gestural and compositional styles of performers and composers.
  • Andrew McPherson - http://www.eecs.qmul.ac.uk/people/view/20095/dr-andrew-mcpherson
    How can computer algorithms add to and shape musical performance? Can instruments learn about the performers playing them? Can they contribute to the playing? Andrew will bring the NIME (New Instruments for Musical Expression) expertise to this round-table.
  • Bob Sturm - http://www.eecs.qmul.ac.uk/~sturm/
    Sturm’s research seeks to interrogate the “creative” and/or “intelligent” machine. Though a machine may appear creative and/or intelligent, what has it actually learned to do? How can it be changed to do what we want it to do? Sturm will discuss various approaches to answering these questions, and how such “learned machines” can provide useful assistance and inspiration to the human creator.
  • Thor Magnusson (chair) - http://www.sussex.ac.uk/profiles/164902
    Thor Magnusson is a musician with a PhD in Computer Science and Artificial Intelligence, focusing on music software and the role of computers in musical creativity.

 

The Tree of PorphyryIASPM 2016 conference poster

The abstract for our roundtable is the following:

Recent academic fields such as software studies, digital humanities, and the philosophy of technology have directed focus on big data, machine agency, and the role of algorithms in contemporary culture. We are slowly gaining a clearer understanding of the power, as well as pitfalls, of machinic involvement in daily human tasks. With machines that learn and communicate, we will see their powers used in domains that were seen as exclusively human, for example artistic creativity. However, the use of computational creativity in the domain of music is nothing new and one of the earliest computer music compositions – the Illiac Suite by Hiller and Isaacson – was composed applying Artificial Intelligence techniques.

Machine creativity in the creative process can range from minor “suggestions” in filtering or mixing, or intelligent mapping between a controller and a sound generator, to a stronger involvement where the computer aids in writing in the style of a certain genre or a composer, even composing a whole musical piece without any human involvement. This raises both technical and philosophical questions about the nature of composition, performance, and creativity in general.

This proposed round-table addresses recent developments in machine learning, musical corpus analysis, and related computational creativity techniques. The session includes specialists in machine creativity, who will present and discuss diverse aspects of how computers will be more involved in the creative process of future musical works. The panel will explore the potential of computational creativity in the musical domain, ranging from the use of AI in musical instruments, musical corpus analysis for deeper understanding and regeneration of music, and the use of AI for non-human music. The potential of semantic audio techniques will be questioned for the domains of film music, game sound and other fields where music has a specific context-aware functionality.

The round-table will also discuss the role of the listener when musical works become open for interaction. How do new computational playback devices, in the form of mobile media, enable the listener to become part of the creative process of generating the music? What do these new technologies afford to composers, and how will they use AI as part of the new compositional context?

We will be discussing questions of computuational creativity and machine learning, and hoping to open up a dialogue with specialist in popular music studies. Some of the topics discussed include:

 

  • How is machine creativity being best applied in the field of music?
  • Does machine creativity belong equally in performance and in composition/studio work?
  • What is creativity? How does this concept operate in your field of research?
  • Under which conditions can we declare a machine to be creative?
  • What can a machine do that humans can’t?
  • Is there a difference in how computational algorithms would engage with established genres vs. experimental music?
  • Wherein lies the art of music making? Will it perhaps always escape the machine?

 

 

Our session will be at 1pm, on Saturday 10th of September. See full programme here.

The header image of this post is Al-Jazari’s Diagram of a hydropowered perpetual flute from The Book of Knowledge of Ingenious Mechanical Devices from 1206. From Wikimedia Commons

 

DiDIY workshop at ACCA

:::: Thursday, October 6th, 7.00pm @ ACCA ::::

  • Does making matter?
  • Can making promote change?
  • Can it foster creativity and entrepreneurship?
  • Does it just make you feel good?

This workshop is for anyone who uses digital tools to make or be creative: including learning techniques from Youtube, sharing code on Github, using software to compose or perform music, making instuments with microcontrollers, sharing music on Soundcloud, or selling media on Bandcamp.

This is an active making workshop where you will use Lego and other simple materials to make some things, discuss your making practice, and share ideas and experiences in the company of other makers.

Led by David Gauntlett, author of Making is Connecting, the workshop is designed to be an enjoyable way to take time out and reflect on your own practice and the meanings of making. It will give you the chance to do some creative exercises, share with other makers and contribute your perspective to our research.

This workshop is FREE, but spaces are limited, so please sign up here, and if you can’t make it, let us know so we can release your ticket to someone else.

Sign-up here

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