Congratulations, it sounds very interesting.
In terms of practice what I am personally involved in and interested in
hearing about is:
Live algorithms for real-time computer-aided composition (rather than
performance)....bringing the computation as near as possible from
idea/improvisation/performance/edit phase while listening.
best
Fabrice Mogini
On 11 July 2014 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
>
> --
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Received on Fri Jul 11 2014 - 12:30:20 BST