2021 marks the 2nd year for this international event, an artificial intelligence/AI Song Contest 2021. The folks at Simon Fraser University’s (SFU) Metacreation Lab have an entry for the 2021 event, A song about the weekend (and you can do whatever you want). Should you click on the song entry, you will find an audio file, a survey/vote consisting of four questions and, if you keep scrolling down, more information about the creative, team, the song and more,
Driven by collaborations involving scientists, experts in artificial intelligence, cognitive sciences, designers, and artists, the Metacreation Lab for Creative AI is at the forefront of the development of generative systems, whether these are embedded in interactive experiences or automating workflows integrated into cutting-edge creative software.
Cale Plut (Composer and musician) is a PhD Student in the Metacreation lab, researching AI music applications in video games.
Philippe Pasquier (Producer and supervisor) is an Associate Professor, and leads the Metacreation Lab.
Jeff Ens (AI programmer) is a PhD Candidate in the Metacreation lab, researching AI models for music generation.
Renaud Tchemeube (Producer and interaction designer) is a PhD Student in the Metacreation Lab, researching interaction software design for creativity.
Tara Jadidi (Research Assistant) is an undergraduate student at FUM, Iran, working with the Metacreation lab.
Dimiter Zlatkov (Research Assistant) is an undergraduate student at UBC, working with the Metacreation lab.
ABOUT THE SONG
A song about the weekend (and you can do whatever you want) explores the relationships between AI, humans, labour, and creation in a lighthearted and fun song. It is co-created with the Multi-track Music Machine (MMM).
Through the history of automation and industrialization, the relationship between the labour magnification power of automation and the recipients of the benefits of that magnification have been in contention. While increasing levels of automation are often accompanied by promises of future leisure increases, this rarely materializes for the workers whose labour is multiplied. By primarily using automated methods to create a “fun” song about leisure, we highlight both the promise of AI-human cooperation as well as the disparities in its real-world deployment.
As for the competition itself, here’s more from the FAQs (frequently asked questions),
What is the AI Song Contest?
AI Song Contest is an international creative AI contest. Teams from all over the world try to create a 4-minute pop song with the help of artificial intelligence.
When and where does it take place?
Between June 1, 2021 and July 1, 2021 voting is open for the international public. On July 6 there will be multiple online panel sessions, and the winner of the AI Song Contest 2021 will be announced in an online award ceremony. All sessions on July 6 are organised in collaboration with Wallifornia MusicTech.
How is the winner determined?
Each participating team will be awarded two sets of points: one a public vote by the contest’s international audience, the other the determination of an expert jury.
Anyone can evaluate as many songs as they like: from one, up to all thirty-eight. Every song can be evaluated only once. Even though it won’t count in the grand total, lyrics can be evaluated too; we do like to determine which team wrote the best accoring to the audience.
Can I vote multiple times for the same team?
No, votes are controlled by IP address. So only one of your votes will count.
Is this the first time the contest is organised?
This is the second time the AI Song Contest is organised. The contest was first initiated in 2020 by Dutch public broadcaster VPRO together with NPO Innovation and NPO 3FM. Teams from Europe and Australia tried to create a Eurovision kind of song with the help of AI. Team Uncanny Valley from Australia won the first edition with their song Beautiful the World. The 2021 edition is organised independently.
What is the definition of artificial intelligence in this contest?
Artificial intelligence is a very broad concept. For this contest it will mean that teams can use techniques such as -but not limited to- machine learning, such as deep learning, natural language processing, algorithmic composition or combining rule-based approaches with neural networks for the creation of their songs. Teams can create their own AI tools, or use existing models and algorithms.
What are possible challenges?
Read here about the challenges teams from last year’s contest faced.
As an AI researcher, can I collaborate with musicians?
Yes – this is strongly encouraged!
For the 2020 edition, all songs had to be Eurovision-style. Is that also the intention for 2021 entries?
Last year, the first year the contest was organized, it was indeed all about Eurovision. For this year’s competition, we are trying to expand geographically, culturally, and musically. Teams from all over the world can compete, and songs in all genres can be submitted.
If you’re not familiar with Eurovision-style, you can find a compilation video with brief excerpts from the 26 finalists for Eurovision 2021 here (Bill Young’s May 23, 2021 posting on tellyspotting.kera.org; the video runs under 10 mins.). There’s also the “Eurovision Song Contest: The Story of Fire Saga” 2020 movie starring Rachel McAdams, Will Ferrell, and Dan Stevens. It’s intended as a gentle parody but the style is all there.
ART MACHINES 2: International Symposium on Machine Learning and Art 2021
The symposium, Art Machines 2, started yesterday (June 10, 2021 and runs to June 14, 2021) in Hong Kong and SFU’s Metacreation Lab will be represented (from the Spring 2021 newsletter received via email),
On Sunday, June 13  at 21:45 Hong Kong Standard Time (UTC +8) as part of the Sound Art Paper Session chaired by Ryo Ikeshiro, the Metacreation Lab’s Mahsoo Salimi and Philippe Pasquier will present their paper, Exploiting Swarm Aesthetics in Sound Art. We’ve included a more detailed preview of the paper in this newsletter below.
Concurrent with ART MACHINES 2 is the launch of two exhibitions – Constructing Contexts and System Dreams. Constructing Contexts, curated by Tobias Klein and Rodrigo Guzman-Serrano, will bring together 27 works with unique approaches to the question of contexts as applied by generative adversarial networks. System Dreams highlights work from the latest MFA talent from the School of Creative Media. While the exhibitions take place in Hong Kong, the participating artists and artwork are well documented online.
Liminal Tones: Swarm Aesthetics in Sound Art
Applications of swarm aesthetics in music composition are not new and have already resulted in volumes of complex soundscapes and musical compositions. Using an experimental approach, Mahsoo Salimi and Philippe Pasquier create a series of sound textures know as Liminal Tones (B/ Rain Dream) based on swarming behaviours
Talk about Creative AI at the University of British Columbia
This is the last item I’m excerpting from the newsletter. (Should you be curious about what else is listed, you can go to the Metacreation Lab’s contact page and sign up for the newsletter there.) On June 22, 2021 at 2:00 PM PDT, there will be this event,
Creative AI: on the partial or complete automation of creative tasks @ CAIDA
Since posting about Science Odyssey, I have received a number of emails announcing event and not all of them are part of the Odyssey experience.
From the looks of things, May 2021 is going to be a very busy month. Given how early it is in the month I expect to receive another batch of notices and most likely will post another May 2021 events roundup.
At this point, there’s a heavy emphasis on architecture (human and other) and design.
Proximal Spaces on May 3, 2021
This is one of those event within an event notices. There’s a festival: FACTT 20/21 – Improbable Times. Trans-disciplinary & Trans-national Festival of Art & Science in Portugal and within the festival there is Proximal Spaces in Toronto, Canada. Here’s more from the ArtScience Salon (ArtSci Salon) May 1, 2021 announcement (received via email),
May 3, 2021 – 3.00 PM (EST) [12 pm PST]
Join us at this poetry reading by six Canadian artists responding to the work of eight bioartists. Event with be streamed on Facebook Live.
Please note that you don’t need to sign up in order to access the streaming as it is public.
Proximal Spaces’ is a multi-modal exhibition that explores the environment at multiple scales in concentric circles of proximity to the body. Inspired by Edward Hall’s [Edward Twitchell Hall or E. T. Hall] 1961 notation of intimate (1.5ft), personal (4ft), social (12ft) and public (25ft) spaces in his “Proxemics” diagrams, the installation portion presents similar diagrams of his concentric circles affixed to the wall of the gallery space, as well as developed in Augmented Reality around the venue. Each of these diagrams is a montage of microscopic and sub-microscopic images of the everyday environment as experienced by a collaborative team of international bioartists, and arrayed in a fractal form. In addition, an AR-enabled application explores the invisible environments of computer generated bioaerosols suspended in the air of virtual space.
This work visualizes the variegated response of the biological environment to unprecedented levels of physical distancing and self-isolation and recent developments in vaccine design that impact our understanding of interpersonal and interspecies ‘messaging’. What continues to thrive in the 6ft ‘dead spaces’ between us? What invisible particles linger on and create a biological archive through our movements through space? The artwork presents an interesting mode of interspecies engagement through hybrid virtual and physical interaction.
In the spring of 2021, six Canadian poets – Kelley Aitken, nancy viva davis halifax, Maureen Hynes, Anita Lahey, Dilys Leman, & Sheila Stewart – came together to pursue a lyric response to Proximal Spaces. They were challenged and inspired by the virtual exhibition with its combination of art, science, and proxemics. The focus of the artworks – what inhabits and thrives in the spaces and environments where we live, work, and breathe—generated six distinctive poems.
Poets: Kelley Aitken, nancy viva davis halifax, Maureen Hynes, Anita Lahey, Dilys Leman, & Sheila Stewart
Bioartists: Roberta Buiani, Nathalie Dubois Calero, Sarah Choukah, Nicole Clouston, Jess Holtz, Mick Lorusso, Maro Pebo, Felipe Shibuya
This project is part of FACTT-Improbable Times (http://factt.arteinstitute.org/), a project spearheaded and promoted by the Arte Institute we are in or production and conception partners with Cultivamos Cultura and Ectopia (Portugal), InArts Lab@Ionian University (Greece), ArtSci Salon@The Fields Institute and Sensorium@York University (Canada), School of Visual Arts (USA), UNAM [National Autonomous University of Mexico], Arte+Ciência and Bioscénica (Mexico), and Central Academy of Fine Arts (China). Together we will work and bring into being our ideas and actions for this during the year of 2021!
Morphogenesis: Geometry, Physics, and Biology on May 5, 2021
i love this image, he seems so delighted to show off the bug (?),
Here’s more from the Perimeter Institute for Theoretical Physics (PI) April 30, 2021 announcement (received via email),
Earth is home to millions of different species – from simple plants and unicellular organisms to trees and whales and humans. The incredible diversity of life on Earth led Charles Darwin to lament that it is “enough to drive the sanest man mad.”
How can we make sense of this diversity of form, which arises from the process of morphogenesis that links molecular- and cellular-level processes to conspire and lead to the emergence of “endless forms most beautiful,” as Darwin said?
In his May 5  lecture webcast, Harvard professor L. Mahadevan [Lakshminarayanan Mahadevan] will take viewers on a journey into the mathematical, physical, and biological workings of morphogenesis to demonstrate how scientists are beginning to unlock many of the secrets that have vexed scientists since Darwin.
Possible Worlds: “How Will We Live Together?” on May 6, 2021
For those who are interested in human architecture, there’s this from a May 3, 3021 Berggruen institute announcement (received via email) about a talk by Chilean architect and 2016 Pritzker Prize winner, Alejandro Gastón Aravena Mori (Alejandro Aravena),
Possible Worlds: How Will We Live Together
May 6, 2021
11am — Virtual
Possible Worlds: The UCLA [University of California at Los Angeles] – Berggruen Institute Speaker Series is a new partnership between the UCLA Division of Humanities and the Berggruen Institute.
Please click here to submit a question to Alejandro Aravena
About Alejandro Aravena Alejandro Aravena is an architect, founder and executive director of the firm Elemental. His works include the “Siamese Towers” at the Catholic University of Chile and the Novartis office campus in Shanghai. In 2016, the New York Times named Aravena one of the world’s “creative geniuses” who had helped define culture. He and Elemental have received numerous honors, including the 2016 Pritzker Architecture Prize, the 2015 London Design Museum’s Design of the Year award and the 2011 Index Award. Aravena currently serves as the president of the Pritzker Prize jury. Aravena’s lecture title, “How Will We Live Together?” echoes the theme of the upcoming international architecture exhibition, Biennale Architettura, in which Elemental will be participating.
Featuring a discussion with moderator Dana Cuff
Dana Cuff is Professor of Architecture and Urban Design at UCLA, where she is also Director of cityLAB, an award-winning think tank that advances goals of spatial justice through experimental urbanism and architecture (www.cityLAB.aud.ucla.edu). Since receiving her Ph.D. in Architecture from Berkeley, Cuff has published and lectured widely about affordable housing, the architectural profession, and Los Angeles’ urban history. She is author of several books, including The Provisional City about postwar housing in L.A., and a co-authored book called Urban Humanities: New Practices for Reimagining the City, documenting her collaborative, crossdisciplinary research and teaching at UCLA funded by the Mellon Foundation. Based on cityLAB’s design research, Cuff co-authored landmark legislation that permits “backyard homes” on some 8.1 million single-family properties, doubling the density of suburbs across California (AB 2299, Bloom-2016). In 2019, cityLAB opened a satellite center in the MacArthur Park/Westlake neighborhood where a deep, multi-year exchange with community organizations is already demonstrating ways that humanistic design of the public realm can create more compassionate cities. Cuff recently received three awards that describe her career: Women in Architecture Activist of the Year (2019, Architectural Record); Distinguished Leadership in Architectural Research (2020, ARCC); and Educator of the Year (2021, American Institute of Architects Los Angeles).
About the Series Possible Worlds: The UCLA – Berggruen Institute Speaker Series is a new partnership between the UCLA Division of Humanities and the Berggruen Institute. This semiannual series will bring some of today’s most imaginative intellectual leaders and creators to deliver public talks on the future of humanity. Through the lens of their singular achievements and experiences, these trailblazers in creativity, innovation, philosophy and politics will lecture on provocative topics that explore current challenges and transformations in human progress.
UCLA faculty and students have long been at the forefront of interpreting the world’s legacy of language, literature, art and science. UCLA Humanities serves a vital role in readying future leaders to articulate their thoughts with clarity and imagination, to interpret the world of ideas, and to live as informed citizens in an increasingly complex world. We are proud to be partnering in this lecture series with the Berggruen Institute, whose work addresses the “Great Transformations” taking place in technology and culture, politics and economics, global power arrangements, and even how we perceive ourselves as humans. The Institute seeks to connect deep thought in the human sciences — philosophy and culture — to the pursuit of practical improvements in governance.
A selection committee comprising representatives of UCLA and the Berggruen Institute has been formed to make recommendations for lecturers. The committee includes:
• Ursula Heise, Professor and Chair, Department of English; Professor, UCLA Institute of the Environment and Sustainability; Marcia H. Howard Term Chair in Literary Studies • Pamela Hieronymi, Professor of Philosophy • Anastasia Loukaitou-Sideris, Professor of Urban Planning; Associate Provost for Academic Planning • Todd Presner, Associate Dean, Digital Initiatives; Chair of the Digital Humanities Program; Michael and Irene Ross Endowed Chair of Yiddish Studies; Professor of Germanic Languages and Comparative Literature • Lynn Vavreck, Professor, Department of Political Science; Marvin Hoffenberg Professor of American Politics and Public Policy • David Schaberg, Senior Dean of the UCLA College; Dean of Humanities; Professor, Asian Languages & Cultures • Nils Gilman, Vice President of Programs, the Berggruen Institute
Generative Art and Computational Creativity starts May 7, 2021
A Spring 2021 MetaCreation Lab (Simon Fraser University; SFU) newsletter (received via email on April 23, 2021) highlights a number of festival submissions and papers along with some news about a free introductory course. First, the video introduction to the course,
This first course in the two-part program, Generative Art and Computational Creativity [there’s a fee for part two], proposes an introduction and overview of the history and practice of generative arts and computational creativity with an emphasis on the formal paradigms and algorithms used for generation. The full program will be taught by Associate Professor from the School of Interactive Arts and Technology at Simon Fraser University and multi-disciplinary researcher, Philippe Pasquier.
On the technical side, we will study core techniques from mathematics, artificial intelligence, and artificial life that are used by artists, designers and musicians across the creative industry. We will start with processes involving chance operations, chaos theory and fractals and move on to see how stochastic processes, and rule-based approaches can be used to explore creative spaces. We will study agents and multi-agent systems and delve into cellular automata, and virtual ecosystems to explore their potential to create novel and valuable artifacts and aesthetic experiences.
The presentation is illustrated by numerous examples from past and current productions across creative practices such as visual art, new media, music, poetry, literature, performing arts, design, architecture, games, robot-art, bio-art and net-art. Students get to practice these algorithms first hand and develop new generative pieces through assignments and projects in MAX. Finally, the course addresses relevant philosophical, and societal debates associated with the automation of creative tasks.
Music for this course was composed with the StyleMachineLite Max for Live engine of Metacreative Inc.
Artistic direction: Philippe Pasquier, Programmation: Arne Eigenfeldt, Sound Production: Philippe Bertrand
This course is in adaptive mode and is open for enrollment. Learn more about adaptive courses here.
Session 1: Introduction and Typology of Generative Art (May 7, 2021) To start off this course, we define generative art and computational creativity and discuss how these relate through the study of prominent examples. We establish a typology of generative systems based on levels of autonomy and agency.
Session 2: History Of Generative Art, Chance Operations, and Chaos Theory (May 14, 2021) Generative art is nothing new, and this session goes through the history of the field from pre-history to the popularization of computers. We study chance, noise, fractals, chaos theory, and their applications in visual art and music.
Session 3: Rule-Based Systems, Grammars and Markov Chains (May 21, 2021) This session introduces and illustrate the generative potential of rule-based and expert systems. We study generative grammars through the Chomsky hierarchy, and introduce L-systems, shape grammars, and Markov chains. We discuss how these have been applied in visual art, music, design, architecture, and electronic literature.
Session 4: Cognitive Agents And Multiagent Systems (May 28, 2021) This session introduces the concepts underlying the notion of artificial agents. We study the belief, desire, and intention (BDI) cognitive architecture, and message based agent communication resting on the speech act theory. We discuss musical agents, conversational agents, chat bots and twitter bots and their artistic potential.
Session 5: Reactive Agents And Multiagent Systems (June 4, 2021) In this session, we introduce reactive agents and the subsumption architecture. We study boids, and detail how complex behaviors can emerge from a distributed population of simple artificial agents. We look at a myriad of applications from ant painting to swarm music and we discuss artistic approaches to virtual ecosystems.
Session 6: A-Life And Cellular Automaton (June 11, 2021) In this concluding session, we introduce artificial life (A-life). We study cellular automaton, multi-agent ecosystems for music, visual art, non-photorealistic rendering, and gaming. The session also concludes the class by reflecting on the state of the art in the field and its consequences on creative practices.
The human being – so fragile, so ethereal, speaking a sweet language. A piece of architecture – so physically imminent, so solid, speaking a language of hardness.
Photo by Oliviero Godi – Frantoio Ipogeo nel Salento
Join photographer & architect Oliviero Godi as he explores the relationship between the body & the material, the transient & the permanent, in search of the correct balance where neither element prevails.
To make your donation, please send an e-transfer to email@example.com. Thank you!
Learn More [about this other upcoming Cultural Events]
Respiration and the Brain on May 25, 2021
Before getting to the April 29, 2021 BrainTalks announcement, here’s a little bit about BrainTalks from their webspace on the University of British Columbia (UBC) website,
BrainTalks is a series of talks inviting you to contemplate emerging research about the brain. Researchers studying the brain, from various disciplines including psychiatry, neuroscience, neuroimaging, and neurology, gather to discuss current leading edge topics on the mind.
As an audience member, you join the discussion at the end of the talk, both in the presence of the entire audience, and with an opportunity afterwards to talk with the speaker more informally in a catered networking session. The talks also serve as a connecting place for those interested in similar topics, potentially launching new endeavours or simply connecting people in discussions on how to approach their research, their knowledge, or their clinical practice.
For the general public, these talks serve as a channel where by knowledge usually sequestered in inaccessible journals or university classrooms, is now available, potentially allowing people to better understand their brains and minds, how they work, and how to optimize brain health.
[UBC School of Medicine Department of Psychiatry]
Onto the April 29, 2021 BrainTalks announcement (received via email),
BrainTalks: Respiration and the Brain
Tuesday, May 25th, 2021 from 6:00 PM – 7:30 PM [PT]
Join us for a series of online talks exploring questions of respiration and the brain. Emerging empirical research will be presented on ventilation-associated brain injury and breathing-based interventions for the treatment of stress and anxiety disorders. We presenters will include Dr. Thiago Bassi, Dr. Lloyd Lalande and Taylor Willi, MSc.
Dr. Thiago Bassi will address the biological connection between the brain and lungs, exploring the potential adverse effects of mechanical ventilation on the brain. Dr. Bassi is a neurosurgeon and neuroscientist, who worked clinically for more than ten years in Brazil. He joined the Lungpacer Medical team and C2B2 lab in 2017, and is currently completing his doctorate in Biomedicine Physiology at Simon Fraser University.
Dr. Lloyd Lalande will describe Guided Respiration Mindfulness Therapy (GRMT), as an emerging clinical breathwork intervention for its effectiveness in reducing depression, anxiety and stress, and in increasing mindfulness and sense of wellbeing. Dr. Lalonde is an Assistant Professor teaching psychology at the Buddhist TzuChi University of Science and Technology, and the developer of GRMT. His current research is based out of the TzuChi Buddhist General Hospital, investigating GRMT as an evidence-based treatment for a variety of outcomes.
Mr. Taylor Willi will present the findings of his dissertation research comparing the effect of performing daily brief relaxation techniques on measures of stress and anxiety. Mr. Willi completed a Masters Degree of Neuroscience at the University of British Columbia, and is currently completing his doctorate in Clinical Psychology at Simon Fraser University.
Each of the speakers will present an overview of their research findings investigating respiration in three unique ways. Following their presentations, the speakers will be available for an audience-drive panel discussion.
I have a number of items from Simon Fraser University’s (SFU) Metacreation Lab January 2021 newsletter (received via email on Jan. 5, 2020).
29th International Joint Conference on Artificial Intelligence and the 17th Pacific Rim International Conference on Artificial Intelligence! or IJCAI-PRICAI2020 being held on Jan. 7 – 15, 2021
This first excerpt features a conference that’s currently taking place,,
Musical Metacreation Tutorial at IIJCAI – PRICAI 2020 [Yes, the 29th International Joint Conference on Artificial Intelligence and the 17th Pacific Rim International Conference on Artificial Intelligence or IJCAI-PRICAI2020 is being held in 2021!]
The tutorial will be held this Friday, January 8th, from 9 am to 12:20 pm JST ([JST = Japanese Standard Time] 12 am to 3:20 am UTC [or 4 pm – 7:30 pm PST]) and a full description of the syllabus can be found here. For details about registration for the conference and tutorials, click below.
The conference will be held at a virtual venue created by Virtual Chair on the gather.town platform, which offers the spontaneity of mingling with colleagues from all over the world while in the comfort of your home. The platform will allow attendees to customize avatars to fit their mood, enjoy a virtual traditional Japanese village, take part in plenary talks and more.
Two calls for papers
These two excerpts from SFU’s Metacreation Lab January 2021 newsletter feature one upcoming conference and an upcoming workshop, both with calls for papers,
2nd Conference on AI Music Creativity (MuMe + CSMC)
The second Conference on AI Music Creativity brings together two overlapping research forums: The Computer Simulation of Music Creativity Conference (est. 2016) and The International Workshop on Musical Metacreation (est. 2012). The objective of the conference is to bring together scholars and artists interested in the emulation and extension of musical creativity through computational means and to provide them with an interdisciplinary platform in which to present and discuss their work in scientific and artistic contexts.
The 2021 Conference on AI Music Creativity will be hosted by the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts of Graz, Austria and held online. The five-day program will feature paper presentations, concerts, panel discussions, workshops, tutorials, sound installations and two keynotes.
The 3rd IEEE Workshop on Artificial Intelligence for Art Creation (AIART) workshop has been announced for 2021. to bring forward cutting-edge technologies and most recent advances in the area of AI art in terms of enabling creation, analysis and understanding technologies. The theme topic of the workshop will be AI creativity, and will be accompanied by a Special Issue of the renowned SCI journal.
AIART is inviting high-quality papers presenting or addressing issues related to AI art, in a wide range of topics. The submission due date is January 31, 2021, and you can learn about the wide range of topics accepted below:
SFU’s Metacreation Lab January 2021 newsletter also features a kind of musical toy,
MMM : Multi-Track Music Machine
One of the latest projects at the Metacreation Lab is MMM: a generative music generation system based on Transformer architecture, capable of generating multi-track music, developed by Jeff Enns and Philippe Pasquier.
Based on an auto-regressive model, the system is capable of generating music from scratch using a wide range of preset instruments. Inputs from one or several tracks can condition the generation of new tracks, resampling MIDI input from the user or adding further layers of music.
To learn more about the system and see it in action, click below and watch the demonstration video, hear some examples, or try the program yourself through Google Colab.
Finally, for anyone who was wondering what happened at the 2020 International Symposium of Electronic Arts (ISEA 2020) held virtually in Montreal in the fall, here’s some news from SFU’s Metacreation Lab January 2021 newsletter,
ISEA2020 Recap // Why Sentience?
As we look back at one of the most unprecedented years, some of the questions explored at ISEA2020 are more salient now than ever. This recap video highlights some of the most memorable moments from last year’s virtual symposium.
The video is a slick, flashy, and fun 15 minutes or so. In addition to the recap for ISEA 2020, there’s a plug for ISEA 2022 in Barcelona, Spain.
The proceedings took my system a while to download (there are approximately 700 pp.). By the way, here’s another link to the proceedings or rather to the archives for the 2020 and previous years’ ISEA proceedings.
Both of these bits have a music focus but they represent two entirely different science-based approaches to that form of art and one is solely about the music and the other is included as one of the art-making processes being investigated..
Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University
Laurel Trainor and Dan J. Bosnyak both of McMaster University (Ontario, Canada) have written an October 27, 2019 essay about the LiveLab and their work for The Conversation website (Note: Links have been removed),
The Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University is a research concert hall. It functions as both a high-tech laboratory and theatre, opening up tremendous opportunities for research and investigation.
As the only facility of its kind in the world, the LIVELab is a 106-seat concert hall equipped with dozens of microphones, speakers and sensors to measure brain responses, physiological responses such as heart rate, breathing rates, perspiration and movements in multiple musicians and audience members at the same time.
Engineers, psychologists and clinician-researchers from many disciplines work alongside musicians, media artists and industry to study performance, perception, neural processing and human interaction.
In the LIVELab, acoustics are digitally controlled so the experience can change instantly from extremely silent with almost no reverberation to a noisy restaurant to a subway platform or to the acoustics of Carnegie Hall.
Real-time physiological data such as heart rate can be synchronized with data from other systems such as motion capture, and monitored and recorded from both performers and audience members. The result is that the reams of data that can now be collected in a few hours in the LIVELab used to take weeks or months to collect in a traditional lab. And having measurements of multiple people simultaneously is pushing forward our understanding of real-time human interactions.
Consider the implications of how music might help people with Parkinson’s disease to walk more smoothly or children with dyslexia to read better.
[…] area of ongoing research is the effectiveness of hearing aids. By the age of 60, nearly 49 per cent of people will suffer from some hearing loss. People who wear hearing aids are often frustrated when listening to music because the hearing aids distort the sound and cannot deal with the dynamic range of the music.
The LIVELab is working with the Hamilton Philharmonic Orchestra to solve this problem. During a recent concert, researchers evaluated new ways of delivering sound directly to participants’ hearing aids to enhance sounds.
Researchers hope new technologies can not only increase live musical enjoyment but alleviate the social isolation caused by hearing loss.
Imagine the possibilities for understanding music and sound: How it might help to improve cognitive decline, manage social performance anxiety, help children with developmental disorders, aid in treatment of depression or keep the mind focused. Every time we conceive and design a study, we think of new possibilities.
The essay also includes an embedded 12 min. video about LIVELab and details about studies conducted on musicians and live audiences. Apparently, audiences experience live performance differently than recorded performances and musicians use body sway to create cohesive performances. You can find the McMaster Institute for Music & the Mind here and McMaster’s LIVELab here.
Metacreation Lab at Simon Fraser University (SFU)
I just recently discovered that there’s a Metacreation Lab at Simon Fraser University (Vancouver, Canada), which on its homepage has this ” Metacreation is the idea of endowing machines with creative behavior.” Here’s more from the homepage,
As the contemporary approach to generative art, Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning to develop software that partially or completely automates creative tasks. Through the collaboration between scientists, experts in artificial intelligence, cognitive sciences, designers and artists, the Metacreation Lab for Creative AI is at the forefront of the development of generative systems, be they embedded in interactive experiences or integrated into current creative software. Scientific research in the Metacreation Lab explores how various creative tasks can be automated and enriched. These tasks include music composition [emphasis mine], sound design, video editing, audio/visual effect generation, 3D animation, choreography, and video game design.
Besides scientific research, the team designs interactive and generative artworks that build upon the algorithms and research developed in the Lab. This work often challenges the social and cultural discourse on AI.
Much to my surprise I received the Metacreation Lab’s inaugural email newsletter (received via email on Friday, November 15, 2019),
We decided to start a mailing list for disseminating news, updates, and announcements regarding generative art, creative AI and New Media. In this newsletter:
ISEA 2020: The International Symposium on Electronic Art. ISEA return to Montreal, check the CFP bellow and contribute!
2015: A transcription of Sara Diamond’s keynote address “Action Agenda:
Vancouver’s Prescient Media Arts” is now available for download.
Art, the book: we are happy to announce the release of the first
comprehensive volume on Brain Art. Edited by Anton Nijholt, and
published by Springer.
Here are more details from the newsletter,
ISEA2020 – 26th International Symposium on Electronic Arts
Montreal, September 24, 2019 Montreal Digital Spring (Printemps numérique) is launching a call for participation as part of ISEA2020 / MTL connect to be held from May 19 to 24, 2020 in Montreal, Canada. Founded in 1990, ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media. For 2020, ISEA Montreal turns towards the theme of sentience.
ISEA2020 will be fully dedicated to examining the resurgence of sentience—feeling-sensing-making sense—in recent art and design, media studies, science and technology studies, philosophy, anthropology, history of science and the natural scientific realm—notably biology, neuroscience and computing. We ask: why sentience? Why and how does sentience matter? Why have artists and scholars become interested in sensing and feeling beyond, with and around our strictly human bodies and selves? Why has this notion been brought to the fore in an array of disciplines in the 21st century?
CALL FOR PARTICIPATION: WHY SENTIENCE? ISEA2020 invites artists, designers, scholars, researchers, innovators and creators to participate in the various activities deployed from May 19 to 24, 2020. To complete an application, please fill in the forms and follow the instructions.
You can apply for several categories. All profiles are welcome. Notifications of acceptance will be sent around January 13, 2020.
Important: please note that the Call for participation for MTL connect is not yet launched, but you can also apply to participate in the programming of the other Pavilions (4 other themes) when registrations are open (coming soon): mtlconnecte.ca/enTICKETS
Registration is now available to assist to ISEA2020 / MTL connect, from May 19 to 24, 2020. Book today your Full Pass and get the early-bird rate!
The first book that surveys how brain activity can be monitored and manipulated for artistic purposes, with contributions by interactive media artists, brain-computer interface researchers, and neuroscientists. View the Book Here
As per the Leonardo review from Cristina Albu:
“Another seminal contribution of the volume is the presentation of multiple taxonomies of “brain art,” which can help art critics develop better criteria for assessing this genre. Mirjana Prpa and Philippe Pasquier’s meticulous classification shows how diverse such works have become as artists consider a whole range of variables of neurofeedback.”Read the Review
Should this kind of information excite and motivate you do start metacreating, you can get in touch with the lab,
Our mailing address is: Metacreation Lab for Creative AI School of Interactive Arts & Technology Simon Fraser University 250-13450 102 Ave. Surrey, BC V3T 0A3 Web: http://metacreation.net/ Email: metacreation_admin (at) sfu (dot) ca