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--- hse-02 [2021/11/13 02:50] – created renick
+++ hse-02 [2021/11/20 05:49] (current) – renick
@@ Line 15: / Line 15: @@
   - sequence (phrase, at least it starts with an f sound)
   - structure (form)
+  - appendices 1 (other advice) and 2 (future)
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-===== history =====
+===== 1. history =====
 gleb - overview of algorithmic music (musicians, techniques, concepts)
-christopher ariza's www.algorithmic.net
+christopher ariza's www.algorithmic.net, Michael Nyman's Experimental Music (book), Oxford Handbook of Algorithmic Music, etc
 musical dice games
+{{:mozart-game.jpg|}}
+https://www.youtube.com/watch?v=fs7wpfIKFxk
 serialism
 duchamp, cage, and indeterminacy
 analog synthesis (east and west coast schools, subotnick etc)
-computer-aided algorithmic music
+algorithmic composition
+AI, expert systems
 machine learning is just an extension of neural nets
 a note: a lot of algorithmic stuff for me is hugely inspiring, but i don't like it sensually
 at the same time, so much of what we listen to involves the use of computer tools, it's hard to say where the line for "algorithmic composition" is.
 percent? how do you determine that?
 it all becomes computer-aided creativity
 still, we'd be likely to agree that autechre is close to algorithmic music, and something just post-processed on a DAW like a recording of an acoustic guitar, is not
 there aren't many composers using top-down algorithms to produce their music, which is where my interest lies
@@ Line 43: / Line 57: @@
 algorithmic ones
 (lots of electroacoustic stuff bores me, not dynamic enough, feels like it lacks compelling compositional direction, and i also love percussion)
-    autechre
+  - autechre
-    mark fell
+  - mark fell
-    shelly knotts
+  - shelly knotts
-    alo alik
+  - alo allik: https://www.youtube.com/channel/UC0mRyo7NQYtuY2dZJn5bLiQ
-    kindohm (mike hodnick)
+  - kindohm (mike hodnick)
-    live coding scene
+  - live coding scene
-    morton subotnick
+  - morton subotnick
-    richard devine
+  - richard devine
-    David Cope, Experiments in Musical Intelligence, https://www.youtube.com/watch?v=CWDDqxNx5ug&list=OLAK5uy_k2oYlmC7KjxgBBASl0rTqYPy1824GePo0
+David Cope, Experiments in Musical Intelligence, https://www.youtube.com/watch?v=CWDDqxNx5ug&list=OLAK5uy_k2oYlmC7KjxgBBASl0rTqYPy1824GePo0
-    "... top-down approaches... produce more elegant results than linear or note-by-note processes."
+"... top-down approaches... produce more elegant results than linear or note-by-note processes."
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-===== principle =====
+===== 2. principle =====
+"[coarse everyday reality is composed of subatomic indeterminant parts]" Dr. Murray Gell-Mann on Thinking Aloud speaking on quantum theory
-[coarse everyday reality is composed of subatomic indeterminant parts]
-Dr. Murray Gell-Mann on Thinking Aloud speaking on quantum theory
 https://www.youtube.com/watch?v=Hvo6BciUrfQ
+Dr. Murray Gell-Mann https://en.wikipedia.org/wiki/Murray_Gell-Mann
 artificial creativity - an artificially created agent displaying characteristics of original thought
@@ Line 73: / Line 88: @@
 stuff that inspires me sensually
-musicians
-autechre
+  - autechre
-mark fell
+  - mark fell
-bernard parmegiani (must be played at high volume)
+  - bernard parmegiani (must be played at high volume)
-    De Natura Sonorum https://www.youtube.com/watch?v=c_JHjUFfOs8
+      - De Natura Sonorum https://www.youtube.com/watch?v=c_JHjUFfOs8
-    Violostries https://www.youtube.com/watch?v=3XEUZ3aDwU4
+      - Violostries https://www.youtube.com/watch?v=3XEUZ3aDwU4
-s drum and bass
+  - 90s drum and bass
-pan sonic
+  - pan sonic
-fis
+  - fis
-jeff mills
+  - jeff mills
-basic channel
+  - basic channel
-s east coast hiphop
+  - 90s east coast hiphop
-venetian snares
+  - venetian snares
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-===== 1. overview of some types of generation of sounds =====
+===== 3. overview of some types of generation of sounds =====
@@ Line 106: / Line 121: @@
   - waveguide
   - various destructive processes
+in SuperCollider, UGens
 curtis roads books
 Synth Secrets series in Sound on Sound
 advanced algorithmic sound design
-    evosynth (yee-king) http://www.yeeking.net/evosynth/
+  - evosynth (yee-king) http://www.yeeking.net/evosynth/ and http://www.yeeking.net/evosynth/
-    http://www.yeeking.net/evosynth/
+  - alo alik has a conceptually related thing built for supercollider
-    alo alik has a conceptually related thing built for supercollider
 generating complex timbres
 warping techniques (modifying samples)
 my system
-    synthesis techniques
+  - synthesis techniques
-        convolution with strange impulses
+    - convolution with strange impulses
-        filters with envelopes
+    - filters with envelopes
-        vocoders with non-voice inputs and weird carriers
+    - vocoders with non-voice inputs and weird carriers
-        feedback systems (feeback of audio, feedback of control)
+    - feedback systems (feeback of audio, feedback of control)
-        modulation of multiple parameters
+    - modulation of multiple parameters
-        cutting up sounds and rearranging them non-chronologically
+    - cutting up sounds and rearranging them non-chronologically
-    generation of sample sets
+  - generation of sample sets
-        record everything
+    - record everything
-        don't worry about mistakes
+    - don't worry about mistakes
-        not all sounds will be gold, but it doesn't matter
+    - not all sounds will be gold, but it doesn't matter
-    generation of sample patterns
+  - generation of sample patterns
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-===== 2. overview of some types of generation of sequences =====
+===== 4. overview of some types of generation of sequences =====
-    serial techniques
+  - serial techniques
-    randomness
+  - randomness
-    cellular automata
+  - cellular automata
-    genetic algorithms
+  - genetic algorithms
-    lsystems
+  - lsystems
-    machine learning (dadabots, romantic piano)
+  - machine learning (dadabots, romantic piano)
-    "All the generated pieces lacked the extent of overall melodic progression or global structure of the original piece" Anna K. Yanchenko, Sayan Mukherjee, https://arxiv.org/pdf/1708.03822.pdf
+"All the generated pieces lacked the extent of overall melodic progression or global structure of the original piece" Anna K. Yanchenko, Sayan Mukherjee, https://arxiv.org/pdf/1708.03822.pdf
+in SuperCollider, Patterns library, other
 my system
-    generate rhythmic phrase
-    generate variations at different densities
-    generate paths through those tables
-    generate sample patterns (to be played by Players)
-    agents to change processes (Conductors)
-    agents to change the agents (also Conductors)
-generation of systems
+{{:conductive-poster.png|}}
+{{:conductive-data-120122-test.png|}}
+{{:play-v2.png|}}
+{{:conductive-user-perspective-120122-test.png|}}
+{{:ioi-explanation.png|}}
+  - generate rhythmic phrase
+    - stochastic
+    - lsystem
+    - euclidean
+      - euclidean patterns in supercollider https://github.com/supercollider-quarks/Bjorklund
+    - cropped/looped euclidian
+{{:honshinsa-slide-12-lsystem.png?800|}}
+  - generate variations at different densities
+    - how density tables work
+    - increase density algorithm
+    - decrease density algorithm
+{{:density-explanation.png|}}
+{{:relationship.png|}}
+  - assign rhythm patterns to Players
+  - generate paths through those tables
+    - density table path patterns (sum of Player, style, global)
+  - generate sample patterns (to be played by Players)
+  - agents to change processes (Conductors)
+    - change playing Player
+    - change rhythm pattern
+    - change density table pattern
+    - change sample pattern
+  - agents to change the agents (also Conductors)
+    - start and stop other Conductors, change Conductor parameters
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-===== 3.overview of some types of interaction =====
+===== 5. overview of some types of interaction =====
 olga - i have lots of struggle with live, i want to control everything, i need some freedom, how to control the parameters
@@ Line 162: / Line 218: @@
 Serenity Prayer, Reinhold Niebuhr, https://en.wikipedia.org/wiki/Serenity_Prayer
-a. my system interaction = relinquishing control to agents
+in SuperCollider, you build it, live code it
-b. make one operation map to several subsystems
-c. remember what cope says: top-down rather than note-by-note; let the indeterminancy speak
+  - my system interaction = relinquishing control to agents
-d. live coding! interaction with symbol rather than physical gesture
-    d1. some things that gesture is good for that i'd like to return to
+{{:butch_morris.jpg|}}
+{{:me-and-robots.jpg|}}
+  - make one operation map to several subsystems
+  - remember what cope says: top-down rather than note-by-note; let the indeterminancy speak
+  - live coding! interaction with symbol rather than physical gesture
+    - some things that gesture is good for that i'd like to return to
+{{:seq-operator.png|}}
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-===== 4. other practical advice on preparing a big live set =====
+===== appendix 1: other practical advice on preparing a big live set =====
 top-down preparation:
-. how long are you going to perform?
+  - how long are you going to perform?
-. how long can you listen to one system state before becoming bored?
+  - how long can you listen to one system state before becoming bored?
-. calculate how many states you need
+  - calculate how many states you need
-. make each state more interesting if you cannot prepare enough states
+  - make each state more interesting if you cannot prepare enough states
 live mastering effects
+{{:signal-flow.png|}}
 make your system robust so that it handles failure easily
 make your system easy to set up and tear down. i tend to fail at this! current working area
+{{:flowchart.png|}}
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-===== 5. the future: =====
+===== appendix 2: the future: =====
 more top-down algorithms
@@ Line 194: / Line 265: @@
 algorithmically produced timbres like alo alik's or yee-king
 algorithms to produce surprising algorithms
@@ Line 210: / Line 282: @@
 ===== discussion, questions =====
+katya:
+so we need more control to construct “interesting something” which actually maybe not organic (not familiar for our audible nature and perception? In this case, in my oppinion, this approach can be comparable with the process of competition, where a man (musician, creatore,  power holder, human) is trying to outdo himself (kinda sport or capitalist race).
+And i also think about super control (profession control) over the sound that is to be heard by the audience. Another question is about the responsibility on “programming” of the recipient perception.
+it would be interesting to analyze what was happening with perception and what were the consequences at the time of the introduction of harmonic music as a norm with what the music constructed by the algorithm now offers. Where does it shift our perception of reality?
+Maybe you know examples of inclusive work with algorithmic music? for example, artists who  are creating algoromitric compositions for hard-of-hearing persons or deaf people?
+>> regarding deaf people, anny is a deaf live coder! https://www.leftlion.co.uk/read/2017/january/talking-algorave-with-notts-based-electronic-music-maker-anny/
+which frequency:
+Renick, I have a question about how you organise the whole live set. Is it more like different "tracks" with their own samples and algorithms, which are then mixed in generative way. Or is it more like a head algorithm that has its own structural path and that picks certain samples or code pieces, where they are needed.