Differences

This shows you the differences between two versions of the page.

--- hse-02 [2021/11/13 03:25] – renick
+++ hse-02 [2021/11/20 05:49] (current) – renick
@@ Line 26: / Line 26: @@
 musical dice games
+{{:mozart-game.jpg|}}
+https://www.youtube.com/watch?v=fs7wpfIKFxk
 serialism
@@ Line 56: / Line 60: @@
   - mark fell
   - shelly knotts
-  - alo alik
+  - alo allik: https://www.youtube.com/channel/UC0mRyo7NQYtuY2dZJn5bLiQ
   - kindohm (mike hodnick)
   - live coding scene
@@ Line 72: / Line 76: @@
 "[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 160: / Line 166: @@
 my system
+{{:conductive-poster.png|}}
+{{:conductive-data-120122-test.png|}}
 {{:play-v2.png|}}
-{{:honshinsa-slide-12-lsystem.png|}}
+{{:conductive-user-perspective-120122-test.png|}}
+{{:ioi-explanation.png|}}
   - generate rhythmic phrase
@@ Line 169: / Line 181: @@
     - 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
@@ Line 185: / Line 206: @@
   - agents to change the agents (also Conductors)
     - start and stop other Conductors, change Conductor parameters
 --------------------------------------------------------------------------
@@ Line 198: / Line 221: @@
   - my system interaction = relinquishing control to agents
+{{: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
@@ Line 204: / Line 232: @@
 {{:seq-operator.png|}}
 --------------------------------------------------------------------------
@@ Line 216: / 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|}}
 --------------------------------------------------------------------------
@@ Line 248: / 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.