It might be worth pointing out that Drawing Center thinks Xenakis
benefitted a great deal as a composer, from being able to draw. Is that
intuition, visualization, or algorithm design?
Al
On Tue, Aug 26, 2014 at 11:20 AM, alex <alex_at_slab.org> wrote:
> Just to break the silence and say thanks so much for all the input..
> We received a really generous outpouring of ideas in response to our
> mail, which we are just digesting now..
>
> Best wishes
>
> alex
>
> On 13 August 2014 16:45, Tom HALL <lst_at_ludions.com> wrote:
> >
> > ...and not forgetting music notation and the wealth of C20th music
> scores that indicate indeterminate outcomes, but also include algorithmic
> aspects that may need 'realising'. Such scores provide interesting case
> studies, because algorithms, abeit often simple, are clearly visible.
> >
> > On 13 Aug 2014, at 16:21, Tom HALL <lst_at_ludions.com> wrote:
> >
> >> Just catching up with this, hopefully of use still.
> >>
> >> Good news indeed, as others have said. I think it might be a great
> opportunity to bring together CS perspectives with analytical and
> historical musicology (as well as other areas you mention).
> >>
> >> One angle from such a standpoint could be to examine different musical
> styles and/or genres WRT algorithmic music, affordances constraints-wise,
> and if possible offer a few 'close readings' / analysis of relevant musical
> repertoire - beyond the composer's perspective. E.g. what sort of
> algorithms are useful for _this_ type of music, but not that, and why?
> >>
> >> Emphasis could also be given to overlooked historical examples
> (including in the UK!), and it's you might even consider a book section
> just for that (unless that is included in your 'grounding' section).
> There's a sense that some historical sections in electronic music books are
> there because they ought to be, rather than demonstrating a close
> engagement with the actual music (or algorithms).
> >>
> >> Tom
> >>
> >>
> >>
> >>
> >> On 11 Jul 2014, at 13:00, alex <alex_at_slab.org> wrote:
> >>
> >>>> From Alex McLean a.mclean_at_leeds.ac.uk and Roger Dean
> roger.dean_at_uws.edu.au
> >>>
> >>> Dear Colleagues,
> >>>
> >>> We are happy to share the news that we have had our proposal for the
> Oxford Handbook on Algorithmic Music accepted. Before we start approaching
> authors to contribute chapters, we are keen to canvas opinions within our
> communities that may diverge from or complement our present ideas. The
> purpose of this mail is to invite such comments, preferably by 25th July
> 2014, when we will move to the next stage.
> >>>
> >>> First, a couple of motivational quotes:
> >>> ‘… computers will be able to write better poems than we can. So we
> must now add to logopoeia, phanopeia and melopoeia: algorhythmia.’
> >>> ‘The job of poetry is not to get syntax back in the corral but to
> follow its wild journey into the unchained’.
> >>> Charles Bernstein Recalculating (2013, pp. 6, 86, Kindle Edition).
> >>>
> >>> ‘.. at the same time that narratives of use are converted by
> technology into algorithmic structures, these structures are themselves put
> to use within the ongoing activities of inhabitants, and through the
> stories of this use they are
> >>> reincorporated into the field of effective action within which all
> life is lived.’
> >>> Tim Ingold, Being Alive (20, pp. 62, 2011)
> >>>
> >>> Perhaps the above gets across our interest in how algorithms extend
> our creative reach, and also the cultural processes which bring them back
> into the human realm.
> >>>
> >>> We are particularly interested to receive your thoughts on the
> conceptual arena in which algorithmic music operates (see general issues
> below); and any specific suggestions you might have on individual topics
> that merit coverage (see preliminary sectional organisation below) and
> which you think we may not have considered. In line with policy of this
> book series, this is not intended as a call for people to propose
> themselves as contributors; rather it is a call for ideas that may help us
> to make the book as far-reaching and useful in its coverage as we can.
> Nevertheless, if you suggest a topic, please feel free to suggest potential
> authors. Please email us directly, or if you prefer, open up a broader
> public discussion on the present forum, which we would be happy to follow.
> >>>
> >>> GENERAL ISSUES.
> >>> The concept of algorithm which we propose to use will have a wide
> range, though the majority of the book will focus on computational
> algorithms. Put simply, it may range between a dictionary definition of an
> algorithm and of a heuristic. It will take a historical perspective,
> respect the arithmetic origins, and discuss both analogue and digital
> processes. Just as provocation points we abstract these two terms from the
> Apple dictionary:
> >>>
> >>> Algorithm: a process or set of rules to be followed in calculations or
> other problem-solving operations, especially by a computer.
> >>>
> >>> Heuristic: (a means of) enabling a person to discover or learn
> something for themselves.
> >>>
> >>> We plan to open the book with a chapter with working title
> “Algorithmic art: Algorithmic Music”, providing historical and cross-arts
> background and perspective (from Gertrude Stein and George Brecht, to
> Stockhausen, Xenakis and live coding). After this there will be about 25 in
> depth chapters focusing largely on algorithmic music and computational
> approaches, and many shorter contributions by those reflecting on their own
> algorithmic music practice.
> >>>
> >>> The book will include some emphasis on computational creativity, and
> relationships with perception, cognition and cognitive modeling, as well as
> cultural issues, critical theory, and practical detail of how algorithmic
> music is made. It will explore algorithmic work in terms of generative
> processes and outcomes that are fixed or variable, and notated and executed
> via a range of media including physical objects; movement; image; word;
> sound; mathematics/statistics; and of course programming languages.
> >>>
> >>> SECTIONAL ORGANISATION
> >>> The working titles for book sections are “Grounding algorithmic
> music”, “What can Algorithms in Music do?”, “Purposes of Algorithms for the
> Music Maker”, and “Algorithmic culture”. Our idea is to provide a firm
> basis for notions of algorithms in music, then shift focus from the
> algorithm, to the musician, and to the place of algorithms in culture. In
> addition we will interleave “Perspectives on Practice” chapters, which will
> provide the opportunity for selected practitioners to reflect upon their
> own work. Appendices will include a substantial discography.
> >>>
> >>> Thanks very much for your attention, and we look forward to any
> comments you may have on the above.
> >>>
> >>> Best wishes,
> >>>
> >>> Roger Dean and Alex McLean
> >>>
> >>> --
> >>>
> >>> Read the whole topic here: livecode:
> >>> http://lurk.org/r/topic/lYmGSX9tS15K1CVhU8nXi
> >>>
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> email subject: unsubscribe
> >>
> >>
> >> --
> >>
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> >>
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> >
> >
> > --
> >
> > Read the whole topic here: livecode:
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> >
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>
>
> --
> http://yaxu.org/
>
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Received on Tue Aug 26 2014 - 15:28:59 BST