An acoustic composition in a game piece form. Although following a fixed score, the performers change their performance status dynamically and affect the acoustical behavior of their instruments. The changes come as the result of “stochastic processes”, in which the performers play a game. The pianist, who has the role of the moderator scratches a string, while the other performers play consecutively but freely a gesture and a pause. After an undetermined time interval the pianist stops the scratching and hits the key. At this time point the performers have to choose if they are going to change their performance state to a higher or lower level, according to if they are playing the gesture or pause at this time point. The woodwinds will attach or detach parts of their instruments while the strings will loose or tight their strings. After 5 stochastic processes, they repeat the first part of the piece with the acquired performance states. In every performance various part of the composition will be acoustically colored differently by different instrumental part combinations.

Metabolism

The adaptive listening virtuosity of the pianist will enable him to contract the feedback network system towards a possible point, where space, time and timbre merge.

The set up has a circular form, with the piano in the middle of the circle, an omni-directional microphone above the piano, 12 loudspeakers on the circumference of the circle and the audience sitting in between. The system records the live sound of the piano and plays it back using delay lines with different playback speeds (transpositions) for every loudspeaker. A non-linear feedback process takes place. All 12 channels of sound are physically mixed in the acoustic space, recorded by the microphone and played back again by all 12 loudspeakers with the 12 different transpositions. Through this process all 12 sources are mutually interconnected creating a network of complex behavior. The performer's sound gestures are extended in space and time by the 12 speakers and delay lines. 

At certain moments (overall 12 times) the performer leaves the piano and and make a walk around the circle listening to every speaker. He/she has to locate the speaker with the higher transposition. When he/she comes back to the piano, he/she estimates and press the key associated with the speaker with the highest transposition. The keys and speakers are mapped in a fixed relationship through the piece (speaker 1 → C, sp. 2 → C#, sp. 3 → D, etc.). The feedback system analyze the input note and evaluates a score which contracts the system accordingly by reducing the transposition range of the 12 loudspeakers. After that the system redistributes the new transposition factors to different loudspeakers and a new round begin. 

After the 12th round the system locks the transposition range and reduces the time window of the delay lines. The result is that the audience looses gradually the extended space-time perception which is transformed into timbre perception. Depending on the 12 estimations of the performer, the system will end up with a different transposition range and consequently different timbre for every performance.

Contraction point

Chaotic Oscillation 2

Chaotic Oscillation 3

Chaotic Oscillation 4

Chaotic Oscillation 5

Chaotic Oscillation 6

Ablauf 
für zwei Klaviere (2011) 
Version 3

(12-07-2011) 
Joanna Wicherek – Klavier 1, 
Bobby Mitchell – Klavier 2

Ablauf - Version 3

“Bursty Exorbitance” is an eight-channel computer generated composition developed at the ZKM | Center for Art and Media Karlsruhe in Germany as part of the”graphic notation” residencies. It explores the eruptive sonic qualities which emerge from a far-from-equilibrium drive of a Generative Feedback Network, implemented with the Pure Data programming environment. Eight nodes with self-modulating mechanisms were soft-coupled as non-linear oscillators, which produced continuous sonic streams of explosive and recalcitrant character. Some crucial parameters of the self-modulating mechanisms were controlled by a four-dimensional chaotic attractor discovered in 2017 by M. Ababneh at the Department of Mechatronics Engineering of the Hashemite University in Zarqa Jordan. The visualizations of the attractor served as the “score”, providing proper parameter mappings for the macro development of the composition. Other important sets of parameters were randomized within composed limits while other parameters were manually adjusted during the unfolding of the composition.

Bursty Exorbitance

Fluid sonorities on a crafted shpere

Violin performance:
Miao-Yu Hun

composers:
Takuto Fukuda
Katharina Roth
Carlos G. Hernández
Feliz Anne Reyes Macahis
Alexandros Spyrou
Sehyung Kim
Lula Romero
Yulan Yu

moderators:
Artemi Maria Gioti
Kosmas Giannoutakis

Dialogues - Disappearing

Arthur Lanotte-Fauré - analogue feedback
Kosmas Giannoutakis - digital feedback

Grame centre national de création musicale - Lyon - France

analogue / digital feedback systems coupling - improvisation

CECIA (Collaborative Electroacoustic Composition with Intelligent Agents) is an innovative music project that integrates the creative agency of 5 composers and Machine Learning algorithms, leading to the creation of a unique composition of electroacoustic music. The project explores collaborative music creation, harnessing the creativity of electroacoustic music composers and Intelligent Agents through an online platform. The collaborative process was conducted remotely in an iterative fashion, in which the composers anonymously submitted and evaluated sound material/ideas/suggestions. These data were used for the training of the machine learning algorithms, which generated new sonic structures, which in turn were fed back to the composers as suggestive material. The project implements a synergistic framework between human and algorithms, introducing a novel experimental sound practice for the creation of  electroacoustic music.

Composers
    • Panayiotis Kokoras
    • Mariam Gviniashvili
    • Juan Carlos Vasquez
    • Martyna Kosecka
    • Erik Nyström

Machine learning algorithms
    • Artemi – Maria Gioti

Project coordinator
    • Kosmas Giannoutakis

Kosmas Giannoutakis

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