- The Oxford Handbook of Critical Improvisation Studies
- Contributors to Volume 2
- Introduction: On Critical Improvisation Studies
- Improvisation Technology as Mode of Redesigning the Urban
- Lots Will Vary in the Available City
- Improvising the Future in Post-Katrina New Orleans
- Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation
- A Computationally Motivated Approach to Cognition Studies in Improvisation
- A Consciousness-Based Look at Spontaneous Creativity
- In the Beginning, There Was Improvisation
- Landmarks in the Study of Improvisation: Perspectives from Ethnomusicology
- Saving Improvisation: Hummel and the Free Fantasia in the Early Nineteenth Century
- Negotiating Freedom and Control in Composition: Improvisation and Its Offshoots, 1950 to 1980
- Musical Improvisation: Play, Efficacy, and Significance
- Improvisation in Freestyle Rap
- Speaking of the I-Word
- Modernist Improvisations
- Diversity and Divergence in the Improvisational Evolution of Literary Genres
- Improvisatory Practices and the Dawn of the New American Cinema
- Brilliant Corners: Improvisation and Practices of Freedom in Sent for You Yesterday
- Improvisation in Contemporary Experimental Poetry
- Subjective Computing and Improvisation
- Improvisation and Interaction, Canons and Rules, Emergence and Play
- Imposture as Improvisation: Living Fiction
- Role-Play, Improvisation, and Emergent Authorship
- Bodies, Border, Technology: The Promise and Perils of Telematic Improvisation
- She Stuttered: Mapping the Spontaneous Middle
- Live Algorithms for Music: Can Computers Be Improvisers?
- Improvisation of the Masses: Anytime, Anywhere Mobile Music
Abstract and Keywords
Live algorithms are an ideal concept: computational systems able to collaborate proactively with humans in the creation of group-based improvised music. The challenge is to achieve equivalence between human and computer collaborators, both in formal terms and in practice (evident to both performers and audience alike). The fundamental question is the capacity for computational processes to exhibit “creativity.” The problems inherent in computer music performance are considered, in which computers are quasi-instruments or act in proxy for another musician. Theories from social psychology and pragmatics are explored to help understand live music-making as a special case of social organization; namely, Kelley’s covariation model of Attribution Theory and Grice’s Maxims of Cooperation. This chapter outlines a description of how human beings and computers might engage on an equivalent basis and proposes how social psychology theories, rendered in formal language, can point to new horizons in human-computer performance practice.
Dr. Michael Young, Goldsmiths, University of London.
Tim Blackwell, Goldsmiths, University of London
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