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In Proceedings of xCoAx2013: Computation Communication Aesthetics and X (2013)
posted to no-tag
by yaxu
on 2013-04-15 11:18:54
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In Art++ (2011), pp. 77-87
posted to no-tag
by yaxu
on 2012-10-12 22:30:40
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In Proceedings of International Computer Music Conference (2012)
posted to no-tag
by yaxu
on 2012-06-23 20:49:09
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In Music and Human-Computer Interaction (May 2012)
posted to no-tag
by yaxu
on 2012-03-13 21:51:27
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Computer Music Journal, Vol. 35, No. 4. (2011), pp. 119-137
posted to no-tag
by yaxu
on 2012-02-15 19:22:45
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(in press)
posted to no-tag
by yaxu
on 2011-12-28 21:07:06
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(November 2011)
posted to no-tag
by yaxu
on 2011-12-01 22:34:47
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Leonardo Music Journal, Vol. 18 (2008), 92
posted to no-tag
by yaxu
on 2011-09-28 21:27:07
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In Computers and Creativity (in press)
posted to no-tag
by yaxu
on 2011-08-31 16:40:24
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In Proceedings of BCS HCI 2011 Workshop - When Words Fail: What can Music Interaction tell us about HCI? (2011)
posted to no-tag
by yaxu
on 2011-06-20 12:11:34
Abstract
In this position paper we present some themes of our research, strands of which reflect our title’s assertion in various ways. Our focus here is on live musicmaking, in particular improvised or part-improvised performances which incorporate digital technologies. ...
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In Proceedings of the International Computer Music Conference 2011 (2011), pp. 612-628
posted to pattern
by yaxu
on 2011-04-20 09:15:43
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In read_me 2.3 reader (2003)
posted to no-tag
by yaxu
on 2011-02-07 14:44:34
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posted to no-tag
by yaxu
on 2010-12-11 17:34:58
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posted to no-tag
by yaxu
on 2010-12-01 14:23:13
along with 1 person
matjajuri
Abstract
We examine Gärdenfors’ theory of conceptual spaces, a geometrical form of knowledge representation (Conceptual spaces: The geometry of thought, MIT Press, Cambridge, 2000 ), in the context of the general Creative Systems Framework introduced by Wiggins (J Knowl Based Syst 19(7):449–458, 2006a ; New Generation Comput 24(3):209–222, 2006 b ). Gärdenfors’ theory offers a way of bridging the traditional divide between symbolic and sub-symbolic representations, as well as the gap between representational formalism and meaning as perceived by human minds. We ...
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In Proceedings of the 7th Sound and Music Computing conference 2010 (2010)
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In read_me Software Art and Cultures (2004), pp. 161-174
posted to aesthetics code
by yaxu
on 2010-05-26 10:15:38
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In Proceedings of the 1st International Conference on Computational Creativity 2010 (2010)
posted to creativity live-coding toplap
by yaxu
on 2010-05-25 23:45:39
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In 22nd Psychology of Programming Interest Group 2010 (2010)
posted to creativity music programming psychology
by yaxu
on 2010-05-25 23:04:40
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In Proceedings of the International Computer Music Conference 2010 (June 2010)
posted to no-tag
by yaxu
on 2010-04-16 23:41:15
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In Proceedings of Electronic Visualisation and the Arts London 2010 (2010), pp. 26-30
posted to code geometry live-coding visualisation
by yaxu
on 2010-04-15 16:56:39
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In International Conference on Generative Art (2000)
posted to aesthetics code
by yaxu
on 2009-11-26 11:12:29
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In Proceedings of the 4th International Symposium on Voronoi Diagrams in Science and Engineering (2007)
posted to voronoi
by yaxu
on 2009-06-19 16:19:43
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In Proceedings of New Interfaces for Musical Expression 2009 (2009)
posted to vocables
by yaxu
on 2009-06-19 16:17:03
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In Proceedings of Music without walls (2001)
posted to hackers
by yaxu
on 2009-06-19 16:14:44
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Abstract
Seeking new forms of expression in computer music, a small number of laptop composers are braving the challenges of coding music on the fly. Not content to submit meekly to the rigid interfaces of performance software like Ableton Live or Reason, they work with programming languages, building their own custom software, tweaking or writing the programs themselves as they perform. Often this activity takes place within some established language for computer music like SuperCollider, but there is no reason to stop ...
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In FLOSS+Art (29 August 2008)
Abstract
FLOSS+Art critically reflects on the growing relationship between FreeSoftware ideology, open content and digital art. It provides a view onto thesocial, political and economic myths and realities linked to this phenomenon.Topics include: digital art licensing, copying and distributing under opencontent models, the influence of FLOSS on digital art practices, the use offree software to produce art and the art of producing free software, FLOSS asan embedded political message in digital art, paradoxes and limitations ofopen licenses for digital art, FLOSS as ...
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In Proceedings of International Joint Workshop on Computational Creativity 2008 (2008)
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In Proceedings of International Computer Music Conference 2008 (2008)
Abstract
In many cultures musicians describe the sounds made by their instruments by speaking, singing or transcribing them as words. This paper proposes applying this approach to synthesised sounds, where these vocable words control physical modelling synthesis systems. We aim to produce instruments played by typing words, allowing a rich range of musical expression. A working prototype of a system for music improvisation is presented, and future work and applications are considered. ...
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(2007)
Abstract
In the context of the live coding of music and computational creativity, literature examining perceptual relationships between text, speech and instrumental sounds are surveyed, including the use of vocable words in music. A system for improvising polymetric rhythms with vocable words is introduced, together with a working prototype for producing rhythmic continuations within the system. This is shown to be a promising direction for both text based music improvisation and research into creative agents. ...
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In read\_me --- Software Art and Cultures (2004)
posted to live-coding toplap
by yaxu
on 2007-11-28 14:05:26
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