On October 14th, I’m presenting the core of my dissertation at The 2nd International Workshop on Musical Metacreation in Boston. The paper is called Composing with All Sound Using the FreeSound and Wordnik APIs, and it details my strategy for using aural and lexical relationships to generate music from the graph of sounds on FreeSound.org.
This week Erin and I will be down in Long Beach to participate in SoundWalk 2013. The End of My Career will be played at one of the locations.
This week What Will Come from the Vacuum is being played in Trauenkirchen, Germany, as part of a exhibition called Physik und Musik. This piece was written as a response to images of scientific equipment.
This fall Signal Culture will publish the Signal Culture Cookbook containing a chapter called The Mapping Problem: Swarm Intelligence in Music that I wrote earlier this year. The chapter deals with all the potential problems that artists must deal with when using swarm intelligence in music, and shares shource code for several interesting mappings that I’ve used in the past.
I really enjoyed working with Brandon Buczek on the score for the newest episode of Office Problems.
Published in Hz Journal #18.
In this essay I am going to review the topic of creativity in algorithmic music , focusing on three perspectives on creativity offered by three groups of composers. The first section will review the definition of creativity offered by computational psychologist Margaret Boden. The second section will examine one possible measure of creativity. The next section will look at three different composers, their attitudes toward creativity and the way their algorithms embody those attitudes. Finally, I will critically examine the core questions that are being asked by algorithmic