Systems 2014 - Revision history

Rtwomey: /* Final Project */

2014-03-15T23:39:41Z

‎Final Project

Rtwomey: /* Discussion */

2014-02-26T04:46:58Z

‎Discussion

Rtwomey: /* Discussion */

2014-02-26T04:19:27Z

‎Discussion

Rtwomey: /* Xenakis - Free Stochastic Music by Computer */

2014-02-19T19:20:53Z

‎Xenakis - Free Stochastic Music by Computer

Rtwomey: /* Discussion */

2014-02-19T19:20:36Z

‎Discussion

Rtwomey: /* bibs */

2014-02-19T19:20:08Z

‎bibs

Rtwomey: /* Conceptual/Creative Systems */

2014-02-19T16:38:26Z

‎Conceptual/Creative Systems

Rtwomey: /* Embodiment */

2014-02-11T19:17:23Z

‎Embodiment

Rtwomey: /* Rodney Brooks. GHENGIS. 1989 */

2014-02-11T18:47:40Z

‎Rodney Brooks. GHENGIS. 1989

Rtwomey: /* Rodney Brooks. GHENGIS. 1989 */

2014-02-11T18:33:25Z

‎Rodney Brooks. GHENGIS. 1989

@@ Line 435: / Line 435: @@
 Score -> Script -> Literature.
-=Final Project=
+=Project=
 *Ross Ashby - http://www.rossashby.info/

@@ Line 429: / Line 429: @@
 ==Discussion==
 Mallarme - Un Coup de Des - http://www.poetryintranslation.com/PITBR/French/MallarmeUnCoupdeDes.htm
 =Final Project=
 *Ross Ashby - http://www.rossashby.info/

← Older revision		Revision as of 04:19, 26 February 2014
Line 429:		Line 429:
	==Discussion==		==Discussion==
	Mallarme - Un Coup de Des - http://www.poetryintranslation.com/PITBR/French/MallarmeUnCoupdeDes.htm		Mallarme - Un Coup de Des - http://www.poetryintranslation.com/PITBR/French/MallarmeUnCoupdeDes.htm
		+	=Final Project=
		+	*Ross Ashby - http://www.rossashby.info/

@@ Line 425: / Line 425: @@
 *Yes, one may play games with a machine or use it for speculative purposes, but the result will not be "finished": it will represent only an experiment-interesting, perhaps, but no more."
 *Now everything that is rule or repeated constraint is part of the mental machine.
-*But computers are not really responsible for the introduction ofmathematics into music; rather it is mathematics that makes use of the computer in composition. Yet if people's minds are in general ready to recognize the usefulness of geometry in the plastic arts (architecture, painting, etc.), they have only one more stream to cross to be able to conceive of using more abstract, non-visual mathematics and machines as aids to musical composi- tion, which is more abstract than the plastic arts.
+*But computers are not really responsible for the introduction ofmathematics into music; rather it is mathematics that makes use of the computer in composition. Yet if people's minds are in general ready to recognize the usefulness of geometry in the plastic arts (architecture, painting, etc.), they have only one more stream to cross to be able to conceive of using more abstract, non-visual mathematics and machines as aids to musical composi- tion, which is more abstract than the plastic arts. p 132.
 ==Discussion==
 Mallarme - Un Coup de Des - http://www.poetryintranslation.com/PITBR/French/MallarmeUnCoupdeDes.htm

← Older revision		Revision as of 19:20, 19 February 2014
Line 429:		Line 429:

	==Discussion==		==Discussion==
−		+	Mallarme - Un Coup de Des - http://www.poetryintranslation.com/PITBR/French/MallarmeUnCoupdeDes.htm
−	http://www.poetryintranslation.com/PITBR/French/MallarmeUnCoupdeDes.htm

← Older revision		Revision as of 19:20, 19 February 2014
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	==bibs==		==bibs==
	*The Cleaving of House and Home: A Lacanian Analysis of Architectural Aesthetics. Sarah E. Thorne, The University of Western Ontario http://ir.lib.uwo.ca/etd/1014/		*The Cleaving of House and Home: A Lacanian Analysis of Architectural Aesthetics. Sarah E. Thorne, The University of Western Ontario http://ir.lib.uwo.ca/etd/1014/
		+
		+
		+	=Sound and Music Feb 19=
		+	==John Cage - Composition as Process==
		+	*"structure", "method", "material"
		+	*"structure and method... the proper concern of the hear","method and material, together with form... equally the proper concern of the heart"
		+	*composition integrates the opposite.
		+	*"the form was as natural as my taste permitted" Sonatas and Interludes.
		+	*"nothing about the structure was determined by the materials which were to occur in it; it was conceived, in fact, so that it could be s well expressed by the absence of these materials as by their presence." p 19-20.
		+	*the mind, though stripped of its right to control, is still present... Where none of these or other goals is present, silence becomes something else--not silence at all, but sounds, the ambient sounds. p 22.
		+	*where the ears are in connection with a mind that has nothing to do, that mind is free to enter into the act of listening, hearing each sound just as it is, not as a phenomenon more or less approximating a preconception. p 23.
		+	*The mind reappears as the agent which established the boundaries within which this small play took place. p 27.
		+	*Williams Mix. p 29.
		+	*with tape and music-synthesizers, action with the overtone structure of sounds can be less a matter of taste and more thoroughly an action in a field of possibilities. p 31.
		+	*The are therefore not preconceived objects, and to approach them as objects is to utterly miss occasions for experience.. p 31.
		+	*Composing, if it is writing notes, is then actually writing p 34.
		+	==Manfred Werder - Text Scores - Statement (1)==
		+
		+	==Nick Prior - Putting a Glitch in the Field==
		+	*In both cases, the sounds of technological failure had become an inherent part of the arrangement, re-aligning a malfunction (a machinic dis- turbance, an annoyance) with a creative gesture (a human expression, a joy). p 8.
		+	*One needs to be guarded against work that claims a self-organized, machinic evolution and genesis of technology independent of its uses and meanings amidst social spheres of practice... sensitizing us to the fact that instruments and associated devices are not passive intermediaries but active mediators. p 17.
		+	==Kollias - Self-Organizing Work of Music==
		+	*Is it possible to talk about representation in natural self-organizing systems?
		+	*What are the limits between the system and its environment?? p 3.
		+	*Self-Organizing Music p 3.
		+	a self-organising work emerges during a performance from the interactions defined by an interpretational model, interactions between the structures constituting the self-organising work and the given context of performance.
		+	*As Di Scipio puts it, the composer, instead of compos- ing the music, ‘composes the interactions’ (Di Scipio 2003) p 4.
		+	*Ephemeron’s existence begins from the moment the process of the sound’s projection starts from the speakers and its existence ends with the completion of the sound’s emission. There is no Ephemeron before or after the performance. p 5.
		+	==Baldwin - Wiring John Cage==
		+	*for RB: why radios, today?
		+	==Xenakis - Free Stochastic Music by Computer==
		+	*The general public has a number of different reactions when faced by the alliance of the machine with artistic creation
		+	*Yes, one may play games with a machine or use it for speculative purposes, but the result will not be "finished": it will represent only an experiment-interesting, perhaps, but no more."
		+	*Now everything that is rule or repeated constraint is part of the mental machine.
		+	*But computers are not really responsible for the introduction ofmathematics into music; rather it is mathematics that makes use of the computer in composition. Yet if people's minds are in general ready to recognize the usefulness of geometry in the plastic arts (architecture, painting, etc.), they have only one more stream to cross to be able to conceive of using more abstract, non-visual mathematics and machines as aids to musical composi- tion, which is more abstract than the plastic arts.
		+	p 132.
		+
		+	==Discussion==
		+
		+	http://www.poetryintranslation.com/PITBR/French/MallarmeUnCoupdeDes.htm

@@ Line 37: / Line 37: @@
 Inviting the computer in to disrupt, circmvent, augment, monkey about with, model human cognitive creative circuits.
 *Keith Tyson - ''Art Machine''
 *Jonas Lund - ''Fear Of Missing Out''
 **http://jonaslund.biz/works/the-fear-of-missing-out/

@@ Line 78: / Line 78: @@
 ==Embodiment==
 ===BeAnotherLab. ''The Machine to Be Another''. 2014===
 * BeAnotherLab. ''The Machine to Be Another''. 2014 (?)

@@ Line 87: / Line 87: @@
 ===Rodney Brooks. ''GHENGIS''. 1989===
 *Rodney Brooks. ''GHENGIS''. 1989.
-*''Elephants Don't Play Chess'' 1990.
+*''Elephants Don't Play Chess'' 1990:
 <blockquote>Nouvelle AI is based on the physical grounding hypothesis. This hypothesis states that to build a system that is intelligent it is necessary to have its representations grounded in the physical world. Our experience with this approach is that once this commitment is made, the need for traditional symbolic representations soon fades entirely. The key observation is that the world is its own best model. It is always exactly up to date. It always contains every detail there is to be known. The trick is to sense it appropriately and often enough.
 </blockquote>