The Musical Metacreation Concert at the
Eighth International Conference on Computational Creativity,
Monday June 19th. Doors 7pm. Music 8pm. Mammal Gallery. Atlanta. Tickets $20.
Presented in conjunction with the International Conference on Computational Creativity at Georgia Institute of Technology.
Musical Metacreation is the creation of computer programs that make music with some degree of autonomy. With the rise of artificial intelligence, strategies to assign creative composition tasks to computers are emerging. We are a long way from computational systems that can understand musical concepts and exhibit taste and creative intentions, but a growing community of computer scientists and artists are mapping out the strange zone between stupid algorithms and human creativity. Musical metacreation has become a creative practice in its own right, with artists using techniques such as machine learning, artificial evolution, statistical modelling and complex rule-based systems. The context of live performance introduces additional creative possibilities and questions about how we can use algorithms in the automated creation of music, with many artists creating systems that they improvise with, often treating the systems as prostheses: extensions of their own instruments and playing styles. In this concert, artist-researchers from the Musical Metacreation community come together to present work in a diversity of styles, from autonomously generated scores (and lyrics), performed by live musicians, to improvised works with software agents that exhibit adaptive machine listening, and biomimetic systems that attempt to reproduce the sounds they are exposed to.
The Musical Metacreation research group have teamed up with the Chamber Cartel, Atlanta’s leading experimental music ensemble, to perform several of the works.
Works include compositions composed by deep learning algorithms, networks of “musebots” that jam together and communicate using network messages, compositions inspired by biomimicry and live improvisations with semi-autonomous systems.
Maya Ackerman, James Morgan, Joshua Palkki, David Loker – Composed by Machine: Songs by ALYSIA, ROBOCCINI, and MABLE
Scott Barton – Experiment in Augmentation 1
Paul Bodily, Ben Bay, Dan Ventura – Hello, World!
Shlomo Dubnov, Cheng-i Wang, Jaime Arias – Mumento
Arne Eigenfeldt – Moments: Monochromatic
Eric Lyon – Loose Canon
Bob Sturm – The Ranston Cassock
Kıvanç Tatar, Philippe Pasquier – MA_Test SOM_Pattern
Adam Wilson – Skronkbot II
Paul Paroczai – vorbei
Arne Eigenfeldt, Andrew Brown, Ollie Bown, Toby Gifford – Byron Bay Musebots
- Oliver Bown, University of New South Wales
- Andrew Brown, Griffith University
- Nick Collins, Durham University
- Roger Dannenberg, Carnegie Mellon University
- Arne Eigenfeldt, Simon Fraser University
- Alice Eldridge, University of Sussex
- Jason Freeman, Georgia Institute of Technology
- Caleb Herron, Artistic Director, Chamber Cartel
- Cat Hope, Sir Zelman Cowen School of Music
- Matthew Horrigan, independent artist
- Anna Jordanous, University of Kent
- Alex McLean, University of Leeds
- James Maxwell, independent artist
- Philippe Pasquier, Simon Fraser University
- Robert Rowe, NYU Steinhardt School of Culture, Education, and Human Development
- Margaret Schedel, Stony Brook University
- Gil Weinberg, Georgia Tech Center for Music Technology
Members of Chamber Cartel
The Mammal Gallery
91 Broad St SW, Atlanta, GA 30303
14 minutes by metro from Georgia Tech; 40 minutes on foot.
Mammal has a two channel club sound system, with limited microphones.
Dr. Arne Eigenfeldt
Professor, The School for the Contemporary Arts,
Simon Fraser University
arne_e at sfu.ca, or visit his website.
Dr. Oliver Bown
Senior Lecturer, Art and Design,
University of New South Wales
o.bown at unsw.edu.au, or visit his website.
MUME 2017 Workshop
In parallel with the MUME 2017 Concert, we also organise the MUME 2017 Workshop. Details are available here.