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--- hse-02 [2021/11/13 02:54] – 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
@@ Line 32: / Line 37: @@
 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
@@ Line 53: / Line 60: @@
   - mark fell
   - shelly knotts
-  - alo alik
+  - alo allik: https://www.youtube.com/channel/UC0mRyo7NQYtuY2dZJn5bLiQ
   - kindohm (mike hodnick)
   - live coding scene
@@ Line 65: / Line 72: @@
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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
 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 95: / Line 104: @@
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-===== 1. overview of some types of generation of sounds =====
+===== 3. overview of some types of generation of sounds =====
@@ Line 112: / Line 121: @@
   - waveguide
   - various destructive processes
+in SuperCollider, UGens
 curtis roads books
@@ Line 141: / Line 152: @@
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-===== 2. overview of some types of generation of sequences =====
+===== 4. overview of some types of generation of sequences =====
   - serial techniques
@@ Line 151: / Line 162: @@
 "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
+{{: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
-generation of systems
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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 170: / Line 217: @@
 "God, grant me the serenity to accept the things I cannot change, courage to change the things I can, and wisdom to know the difference."
 Serenity Prayer, Reinhold Niebuhr, https://en.wikipedia.org/wiki/Serenity_Prayer
+in SuperCollider, you build it, live code it
   - my system interaction = relinquishing control to agents
-  - make one operation map to several subsystems
+{{: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:
@@ Line 188: / Line 246: @@
 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 220: / 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.