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hse-01 [2021/11/06 04:40] – renickhse-01 [2021/11/06 08:39] (current) – renick
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   - the algorithm as an affector   - the algorithm as an affector
  
-====== my path to and through algorithmic music and art ======+======toward a pragmatic aesthetic theory====== 
 + 
 +===== my path to and through algorithmic music and art =====
  
 1981: type-in programs in basic, TI-994A 1981: type-in programs in basic, TI-994A
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 2021: Conductive port to JavaScript 2021: Conductive port to JavaScript
  
-======toward a pragmatic aesthetic theory======+=====research towards a pragmatic aesthetic theory=====
  
 my doctoral research, which became an essential part of my practice my doctoral research, which became an essential part of my practice
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 ===== from dewey to a pragmatic aesthetic theory ===== ===== from dewey to a pragmatic aesthetic theory =====
 +
 +{{:dewey.jpg|}}
  
 John Dewey, Art as Experience: https://plato.stanford.edu/entries/dewey-aesthetics/ John Dewey, Art as Experience: https://plato.stanford.edu/entries/dewey-aesthetics/
 +
 +{{:art-as-experience.jpg?400|}}
  
 dewey's art as experience dewey's art as experience
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 a similar goal to one that i have expressed, to have an aesthetic theory that i can turn into a computation aesthetic judgment system to be employed by AI in the process of algorithmic composition. a similar goal to one that i have expressed, to have an aesthetic theory that i can turn into a computation aesthetic judgment system to be employed by AI in the process of algorithmic composition.
  
-===== a pragmatic aesthetic theory =====+===== a pragmatic aesthetic theory and its application to algorithmic art =====
  
-pragmatic aesthetic theory+==== pragmatic aesthetic theory ====
  
 aesthetic experience: the enjoyment of awareness and the recognition of the affect in those, to some extent dissociated with their material meaning for your personal life aesthetic experience: the enjoyment of awareness and the recognition of the affect in those, to some extent dissociated with their material meaning for your personal life
 +
 +{{:honshinsa-slide-21-affector-affectee.png|}}
  
 affect: a feeling affect: a feeling
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 judgement of aesthetic experience judgement of aesthetic experience
 +
 +{{:honshinsa-slide-27-affector-consequence-flow.png|}}
  
 does the assembled network of affectors achieve the purpose of the work? does the assembled network of affectors achieve the purpose of the work?
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 ====== unanswered questions and discussion ====== ====== unanswered questions and discussion ======
 +
 +  - questions about the presentation so far
 +  - opinions or feelings about the presentation so far
 +  - references you want to suggest
 +  - other questions
 +  - your expectations or hopes for our remaining two sessions
 +  - ... other?
 +
 +== some comments and questions ==
 +
 +gleb - clarify "intentions"
 +
 +ivan - in recorded work, is the algorithm an indirect or direct affector... talked about turning points, music seemed "more formal" than the live recording, the album with fis sounded more like recordings of live performances
 +
 +ivan - if it's all about affect, the algorithm is an affector, made me think about the manipulating the perception, now i see a practice ot use algorithm as an attempt to have more control on music perception
 +
 +ivan - choosing an algorithm, still manipulating yourself, 
 +
 +olga - ai, neural network, representing human ethic problems, reflecting on it and talking about it is one of the solutions, agreed with the media representation of AI, more open and wide discussion it would help
 +
 +ivan - what do you htink about the future of this kind of culture
 +
 +ivan - new extensions, a screen with code, maybe in the future there will be some new kinds of extensions for affecting perception
 +
 +gleb - overview of algorithmic music (musicians, techniques, concepts)
 +
 +vlad - when we learn max and PD, the main thing we learned were creating thigns that are not really difficult and sequencing, like pd but only making sequencers, to make cool sounds it takes a lot of time, hear examples from you how to make it easier to generate complex timbres
 +
 +ivan - learn some warping techniques, interesting techniques of working with samples
 +
 +maria - worried she is slow, and just wants to get the method
 +
 +vlad - how to prepare a big live set in terms of strategy and logic
 +
 +olga - i have lots of struggle with live, i want to control everything, i need some freedom, how to control the parameters
 +
 +maria - inspiriring to hear about poetic text while algorithmic coding, when you interact with people 
 +
 +vlad - maybe i know some examples of other ways to communicate with audience, but not text, maybe sensors, or not with one human or the whole dancefloor, source to take information to generate other things, data sonification, data sonification with feedback is more interesting
 +
  
 ====== part 2, introductions and programming ====== ====== part 2, introductions and programming ======
  
 ===== guided introductions, workshop ===== ===== guided introductions, workshop =====
 +
 +email to renick@gmail.com
  
   - name   - name
 +  - professional status or aspiration
   - three world-view references   - three world-view references
   - your programming experience (including HTML and visual patchers, modular synthesis)   - your programming experience (including HTML and visual patchers, modular synthesis)
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