Modelling and Simulating the Behaviour of Adult Stem Cells using Agent-Based Systems
Users in a public space could text a range of commands such as chill, energise, dance to control music output. In this way users would collaborate and negotiate to build there collective sonic soundscape. The degree of responsiveness from such installations is potentially infinite and enables users to become an active creator as opposed to a passive (often disgruntled) consumer.
I would suggest checking our the Intelligent Street, Interactive Institute and ambigence group websites for the most comprehensive information or even downloading a small quicktime video of the project in action (.mov file)
Summary Project Description.
We have designed and implemented an environmental sound installation that is able to respond to the requests of users. The range of responses that the installation is able to make is much larger than with conventional sound systems (such as a hifi) because both the 'form' of the music, and the sounds themselves are defined algorithmically. This is commonly not the case where music is either a fixed sound file (a record), or is comprised of midi files that trigger small sound files called samples (which would commonly be found in a recording studio). Users control the performance of the installation using simple text commands from mobile phones. These commands are translated into musical operations and reflected in what is output, so that users can affect different qualities of the music including mood, energy and style. The output of the installation thus reflects the sum of the commands of users. As far as we know this is the first example of an algorithmic sound installation that can respond to text-based commands. Some of our aims are given here.
a. To investigate the relationship between algorithmic manipulation of music and sound and individual/social emotional response.
b. To investigate possible mechanisms for users to have more flexible control over a responsive sonic landscape.
c. To create social spaces where users collectively compete, discuss, evaluate the aesthetics of the music and its responses.
d. To provide a forum for algorithmic composition and challenges existing notions of musical composition.
e. To develop ways for us to converse with musical performance in real time.
Background, Collaborators and Suggested Publications
The project originally came about from meeting John Eacott who has been working as a musician, arranger and algorithmic composer for several years but the team quickly grew and included the following.
The ambigence group,
The University of Westminster
The Interactive Institute, Sweden,
Vodafone UK
Vodafone Sweden
Some publications to look at:
J. Eacott and M. d’Inverno, Ambient Intelligent Embedded Sound, d’Inverno and Eacott, Journal of Digital Creativity, 14:2, 67-73, 2003
M. d'Inverno and J. Eacott, The Intelligent HiFi, Cybersonica, First Sympoisium on digital music and technology , Institute for Contemporary Arts, London, UK, 2003.
M. d’Inverno, J. Eacott, H. Lorstad and F. Oloffson, The Intelligent Street, Responsive Sound Environments for Social Interaction, ACM SIGCHI International Conference on Advances in Computer Entertainment Technology, ACE 2004, published ACM.