Mozart meets Darwin - Creating music by evolution :: Mozart meets Darwin is a case study where we try to evolve a piece of music, a simple melody. To evolve something, we need a model of the candidates, a method to mutate a candidate (that is apply some random perturbations), a method to recombine two parent candidates into similar children candidates, and a way to assess the fitness of a result. Using the music notes as DNA, we came up with solutions for mutation and recombination. But the assessment of the quality cannot be done by the machine - that is where we need you to indicate which piece of music is better than the other.

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Radio Web MACBA :: Composing with Process: Perspectives on Generative and Systems Music 1.1 ::

Composing with Process: Perspectives on Generative and Systems Music is a new Research series for Radio Web MACBA http://rwm.macba.cat/ curated by Mark Fell and Joe Gilmore, which explores generative approaches (including algorithmic, systems-based, formalised and procedural) to composition and performance primarily in the context of experimental technologies and music practices of the latter part of the 20th Century.

The first episode, entitled ‘Continue’, is already available online:
http://rwm.macba.cat/en/research

An MP3 file is available here: http://bit.ly/aWyOYM
Continue reading

Radio Web Macba ::Composing with Process is a series of six episodes, written and edited by Mark Fell and Joe Gilmore, which explores generative approaches (including algorithmic, systems-based, formalised and procedural) to composition and performance primarily in the context of experimental technologies and music practices of the latter part of the 20th Century. Each episode is accompanied by an additional programme, entitled Exclusives, featuring unpublished sound pieces by leading sound artists working in the field. The first one on 21.09.2010 (51′ 59”) presents two contrasting generative works by German artist Florian Hecker and Japanese artist Ryoji Ikeda.

Tracklist:
01:37 Florian Hecker ‘Stereo F.A.N.N.’, 2010 (30 min 2 s)
32:36 Ryoji Ikeda ‘untitled (for John Cage)’, 2005 (19 min 23 s)

mp3: http://rwm.macba.cat/uploads/process/cpwp_01_02_exclusives.mp3

evomusart 2011, 9th European Event on Evolutionary and Biologically Inspired Music, Sound, Art and Design :: April 27 - 29, 2011 :: Torino, Italy :: Call for Papers: Deadline - November 22, 2010.

The use of biologically inspired techniques for the development of artistic systems is a recent, exciting and significant area of research. There is a growing interest in the application of these techniques in fields such as: visual art and music generation, analysis, and interpretation; sound synthesis; architecture; video; poetry; and design.

evomusart 2011 is the ninth european event on Evolutionary Music and Art. Following the success of previous events and the growth of interest in the field, the main goal of evomusart 2011 is to bring together researchers who are using biologically inspired techniques for artistic tasks, providing the opportunity to promote, present and discuss ongoing work in the area. Continue reading

Composing with Process: Perspectives on Generative and System Music is a new Research series for Radio Web MACBA curated by Mark Fell and Joe Gilmore, which explores generative approaches (including algorithmic, systems-based, formalised and procedural) to composition and performance primarily in the context of experimental technologies and music practices of the latter part of the 20th Century.

The first episode, entitled ‘Continue’, is already available online: http://rwm.macba.cat/en/research MP3 file: http://bit.ly/aWyOYM
Continue reading

[noish] >> trAnsCodE :: Oscar Martin :: October 2, 2010 at 8:00 p.m. - October 3, 2010 at 12:30 a.m. :: NK Elsen str 52 2 HH Neukoelln Berlin 12059

Noish is the experimental sound project of Oscar Martin. A sound explorer, Martin bases his work on the deconstruction of field recordings and the creative use of technology errors. Luthier-digital with a ‚ pure data‚ environment, which he uses to develop his own experimental tools for processing and real time algorithmic-generative composition. He can be placed somewhere between Computer Music, the Aesthetics of Error, and generative Noise. He seeks the creation of virtual sound universes, imaginary soundscapes that encourage active listening and a different sensibility toward the perception of sound phenomena. He works under the open source paradigm. All his work is published under Creative Commons licence, by different labels and netlabels;(dronerecords, tecnoNucleo, costellam, etc.) Continue reading

Re-New Digital Arts Festival presents High Spheres by Marco Donnarumma :: May 18, 2010; 7:30 pm :: Huset i Magstræde, Copenhagen, Denmark.

High Spheres is a participative multi-channel concert for found objects and reactive generative music by Edinburgh-based new media artist Marco Donnarumma. The action takes place open air. No musical instruments are provided, but stones and leaves. Audience can use six microphones and a 6.1 surround system to amplify any kind of sound they wish to produce. The whole sonic matter is managed by a Pure Data-based software for generative music developed by the author, which interacts with the audience processing sounds in real-time, analyzing the input signals and generating new sounds and textures out of the collected data. Continue reading

Trace Aureity by Adam Nash (aka Adam Ramona) [Needs Second Life account and client (free)] - Trace Aureity is an interactive, immersive, audiovisual sculpture located in the 3-D synthetic world Second Life. There are eighty-eight manipulated field recordings — from city streets, birdsong, to talkback radio — and ninety-six nested rotating objects densely arranged in a three dimensional grid. Avatars, either solo or in groups, generate sounds by moving through the installation. Some of the innermost nested objects, colored red, also spawn glowing spheres which fly out and bounce around inside the work, triggering sounds as they pass through other objects. Because the playable space is so dense, players are rewarded by slowing down their movements as much as possible, since even miniscule movements create differences in sonic output. Continue reading

Turbulence.org Presents Two World-Premiers at Issue Project Room: The Occupants by Stephan Moore + Moments of Inertia by R. Luke Dubois, with Todd Reynolds :: April 9, 2010; 8:00 pm :: Issue Project Room, At the Old American Can Factory, 232 3rd Street, 3rd Floor, Brooklyn, NY :: Admission: $10 — Tickets.

The Occupants — by Stephan Moore — is a generative composition with some aspects that can be influenced through single- or multi-user interaction. Moore has used the piece to search for answers to both profound and insipid questions, such as: What does it mean to compose a “site-specific” composition when the site is the internet? Can a generative algorithm be imparted with a sense of long-term form that is also not pre-determined? How successfully can humans be programmed to be good collaborators with software algorithms, towards the latters’ goals? Continue reading

Experiments on the Notation of Shapes by Joao Vasco Paiva :: February 12 - April 4, 2010 :: Opening Reception: February 12; 7:00 - 9:00 pm :: Artist Talk: March 24; 7:00 pm :: Unmeasured Music: March 31; 7.30 pm :: I/O (Input/ Output), 31 Wyndham Street, Central, Hong Kong.

Experiments on the Notation of Shapes by Portuguese artist and Hong Kong resident, Joao Vasco Paiva, is a generative multi-channel video installation where Hong Kong cityscapes are used as coordinates for sound synthesis. Computational translation, footage of urban planning and architectural elements are used as a musical score. In this work, a post-apocalyptic aura consumes the concrete form of the metropolis. Two wall-based projections present Hong Kong cityscapes. The city, its emptiness and its structure are kept in “time images” that solicit contemplation. Continue reading