Da emergência da sonoridade às sonoridades emergentes: mediação tecnológica, emergentismo e a criação sonora com suporte computacional
Visualizações: 102DOI:
https://doi.org/10.33871/23179937.2017.5.1.1857Resumen
Apresentamos uma visão panorâmica e crítica de como o uso computador enquanto artefato de criação musical pode retroagir sobre os próprios modelos composicionais mediados por este. De maneira similar às mudanças de paradigma que o uso de dispositivos de gravação trouxe à criação musical, emergindo disto a sonoridade como um aspecto central do discurso sonoro, o uso de computadores tem potencializado novos campos de ação criativa não orientados à determinação das estruturas da obra em si, mas à criação de condições ambientais favoráveis ao surgimento de estruturas como um aspecto emergente da própria interação entre as partes do sistema. A partir da discussão de distintos modelos composicionais, trataremos como a criação com suporte computacional tem sido explorada como aporte à emergência de novas estruturas.Descargas
Citas
AL-RIFAIE, M. M.; BISHOP, J. M.; CAINES, S. Creativity and autonomy in swarm intelligence systems. Cognitive computation, v. 4, n. 3, 320–331, 2012. DOI: https://doi.org/10.1007/s12559-012-9130-y
AYDIN, C. The artifactual mind : overcoming the " inside – outside " dualism in the extended mind thesis and recognizing the technological dimension of cognition. Phenomenology and the Cognitive Sciences, v. 217, 2013. DOI: https://doi.org/10.1007/s11097-013-9319-x
BARREIRO, D. L. Considerations on the Handling of Space in Multichannel Electroacoustic Works. Organised Sound, v. 15, n. 3, 290–296, 2010. DOI: https://doi.org/10.1017/S1355771810000294
BEYLS, P. Cellular Automata Mapping Procedures. In: INTERNATIONAL COMPUTER MUSIC ASSOCIATION CONFERENCE, ICMA, Miami, 2004. Proceedings of... Miami: 2004. 1-4.
BILES, J. GenJam: A genetic algorithm for generating jazz solos. INTERNATIONAL COMPUTER MUSIC ASSOCIATION CONFERENCE, ICMA, San Francisco, 1994. Proceedings of... San Francisco: 1994. 131-137.
BLACKWELL, T.; YOUNG, M. Self-organised music. Organised Sound, v. 9, n. 2, 2004. DOI: https://doi.org/10.1017/S1355771804000214
BOWERS, J. Improvising machines: Ethnographically informed design for improvised electro-acoustic music. ARiADATexts (4), 2002.
BOWN, O. A Framework for Eco-System-Based Generative Music. In: SOUND AND MUSIC COMPUTING CONFERENCE, Porto, 2009. Proceedings of... Porto: 2009. 195–200.
BOWN, O.; MCCORMACK, J.; KOWALIW, T. Ecosystemic methods for creative domains: Niche construction and boundary formation. In: IEEE SYMPOSIUM ON ARTIFICIAL LIFE (ALIFE), Paris, 2011. Proceedings of... Paris: 2011. 132-139. DOI: https://doi.org/10.1109/ALIFE.2011.5954651
BRUNO, F. Mediação e Interface: incursões tecnológicas nas fronteiras do corpo. In: FRAGA DA SILVA, D.; FRAGOSO, S. (Org.). Comunicação na Cibercultura. São Lopoldo/RS: Unisinos, 2001. 191–215.
BURRASTON, D.; EDMONDS, E. Cellular automata in generative electronic music and sonic art: a historical and technical review. Digital Creativity, v. 16, n. 3, 165–185, 2005. DOI: https://doi.org/10.1080/14626260500370882
CARIANI, P. A. Emergence and Artificial Life. In: LANGTON, C. G. (Org.). Artificial Life II, vol.X. Boston: Addison-Wesley, 1992. 775–798.
CARIANI, P. A. Creating new informational primitives in minds and machines. In: McCORMACK, J.; D'INVERNO, M. (Org.). Computers and Creativity. Heidelberg: Springer Verlag, 2012. 383–417. DOI: https://doi.org/10.1007/978-3-642-31727-9_15
CATANZARO, T. Transformações na linguagem musical contemporânea instrumental e vocal sob a influência da música eletroacústica entre as décadas de 1950-70. Dissertação (Mestrado) Escola de Comunicação e Artes - Universidade de São Paulo, São Paulo, 2003.
CHEMILLIER, M. György Ligeti et la logique des textures. Analyse Musicale, v. 38, 75–85, 2001.
CRUTCHFIELD, J. P. Is Anything Ever New? Considering. In: COWAN, G.; PINES, D; MELZNER, D. Complexity: Metaphors, Models, and Reality. Redwood: Addison-Wesley, 1994. 479-497.
DELALANDE, F. Le Son des Musiques Entre Technologie Et Esthetique. Paris: Buchet/Chastel, 2001.
DI SCIPIO, A. Micro-time sonic design and timbre formation. Contemporary Music Review, v. 10, n. 2, 135–148, 1994. DOI: https://doi.org/10.1080/07494469400640371
DORIN, A. The Virtual Ecosystem as Generative Electronic Art. Computer Science, v. 3005, n.1968, 467–476, 2004. DOI: https://doi.org/10.1007/978-3-540-24653-4_48
DRUMMOND, J. Understanding Interactive Systems. Organised Sound, v. 14, n. 2, 124-133, 2009. DOI: https://doi.org/10.1017/S1355771809000235
EL-HANI, C. N.; QUEIROZ, J. Modos de irredutibilidade das propriedades emergentes. Scientiae Studia, v. 3, n. 1, 9–41, 2005.
FALCI, F.; MAIA, A. Evolutive Processes for Granular Synthesis in Extended Gabor Spaces. In: 7TH AES BRASIL CONFERENCE, São Paulo, 2009. Anais... São Paulo, 2009. 1-7.
GARDNER, M. Mathematical games: The fantastic combinations of John Conway"™s new solitaire game "life". Scientific American, v. 223, n. 4, 120–123, 1970. DOI: https://doi.org/10.1038/scientificamerican1070-120
GUIGUE, D. Estética da sonoridade. São Paulo: Editora Perspectiva, 2011.
HEPPNER, F. H. Avian flight formations. Bird-Banding, v. 45, n. 2, 160–169, 1974. DOI: https://doi.org/10.2307/4512025
HOFFMANN, P. Towards an "Automated Art" - Algorithmic Processes in Xenakis"™ Compositions. Contemporary Music Review, v. 21, n. 2/3, 121–131, 2002. DOI: https://doi.org/10.1080/07494460216650
HOLMES, B. Música e tecnomorfismo: surgimento do conceito e estudos preliminares. Resonancias, v. 36, 95–113, 2015. DOI: https://doi.org/10.7764/res.2015.36.6
HORNER, A.; GOLDBERG, D. E. Genetic Algorithms and Computer-Assisted Music Composition. In: 4TH INTERNATIONAL CONFERENCE ON GENETIC ALGORITHMS, San Diego, 1991. Proceedingf of... San Diego, California, 1991.
HUNT, A.; KIRK, R.; ORTON, R. Musical Applications of a Cellular Automata Workstation. In: INTERNATIONAL COMPUTER MUSIC CONFERENCE, Montreal, 1991. Proceedings of... Montreal, 1991
IMPETT, J. Interaction, simulation and invention: a model for interactive music. In: ALMMA 2001 Workshop on Artificial Models for Musical Applications. Proceedings of... Cosenza-Italy, 2001. 108-119.
JACOB, B. L. Algorithmic composition as a model of creativity. Organised Sound, v. 1, n. 3, 157–165, 1996. DOI: https://doi.org/10.1017/S1355771896000222
KIM-BOYLE, D. Spectral Spatialization - An Overview. In: INTERNATIONAL COMPUTER MUSIC CONFERENCE, Berlfast, 2008. Proceedings of... Belfast-Ireland, 2008.
LAI, Y. et al. Automated optimization of parameters for FM sound synthesis with genetic algorithms. In: INTERNATIONAL WORKSHOP ON COMPUTER MUSIC AND AUDIO TECHNOLOGY. Proceedings of... Taiwan, 2006. 33-38.
LATOUR, B. On Technical Mediation - Philosophy, Sociology, Genealogy. Common Knowledge, v. 3, n. 2, 29–64, 1994.
MANZOLLI, J. et al. The evolutionary sound synthesis method. ACM INTERNATIONAL CONFERENCE ON MULTIMEDIA, Otawa, 2001. Proceedings of... Otawa, 2001. 585-587. DOI: https://doi.org/10.1145/500141.500248
MCCORMACK, J. et al. Generative design: a paradigm for design research. In: FUTUREGROUND, DESIGN RESEARCH SOCIETY, Melbourne, 2004. Proceedings of... Melbourne, 2004.
MCCORMACK, J.; BOWN, O. Life"™s what you make: Niche construction and evolutionary art. In: Applications of Evolutionary Computing, Berlin-Heidelberg: Springer-Verlag, 2009. DOI: https://doi.org/10.1007/978-3-642-01129-0_59
MCCORMACK, J.; DORIN, A. Art, emergence and the computational sublime. In: SECOND ITERATION: A Conference on Generative Systems in the Electronic Arts, Melbourne: CEMA. Proceedings of... Melbourne, 2001.
MERIC, R.; SOLOMOS, M. Audible Ecosystems and Emergent Sound Structures in Di Scipio"™s Music : Music Philosophy Helps Musical Analysis Agostino Di Scipio"™s music : emergent sound structures and audible ecosystems. Journal of Interdisciplinary Music Studies, v. 3, n. 1, 57–76, 2005.
MIRANDA, E. R. Granular synthesis of sounds by means of a cellular automaton. Leonardo, v. 28, 297–300, 1995. 297-300. DOI: https://doi.org/10.2307/1576193
MIRANDA, E. R.; AL BILES, J. Evolutionary computer music. London: Springer, 2007. DOI: https://doi.org/10.1007/978-1-84628-600-1
MORONI, A. et al. Vox populi: An interactive evolutionary system for algorithmic music composition. Leonardo Music Journal, v. 10, 49–54, 2000. DOI: https://doi.org/10.1162/096112100570602
PEIRCE, C. S. Collected Papers (Vols. 1-8) Cambridge: Harvard University Press, 1931. (citado como CP seguido pelo número do volume e parágrafo).
PUCKETTE, M. Computing while composing. The OM Composer"™s Book, v. 1, Paris: Editions Delatour/IRCAM, 2006.
QUEIROZ, J.; LOULA, Â.; GUDWIN, R. Computação, Cognição e Semiose. Salvador: EDUFBA, 2007. DOI: https://doi.org/10.7476/9788523217297
REYNOLDS, C. W. Flocks, herds and schools: A distributed behavioral model. ACM SIGGRAPH computer graphics, v. 21, n. 4, 25–34, 1987. DOI: https://doi.org/10.1145/37402.37406
RIMOLDI, G.; MANZOLLI, J. Medidas de quantificaçãoo recorreÌ‚ncia: uma proposta de análise para Audible Ecosystems de Agostino Di Scipio. XXVI CONGRESSO DA ASSOCIAÇíO NACIONAL DE PESQUISA E POÌS-GRADUAÇíO EM MÚSICA, Belo Horizonte, 2016. Anais... Belo Horizonte: ANPPOM, 2016.
SIMS, K. Evolving virtual creatures. 21ST ANNUAL CONFERENCE ON COMPUTER GRAPHICS AND INTERACTIVE TECHNIQUES, Orlando, 1994. Proceedings of... NY: ACM, 1994. DOI: https://doi.org/10.1145/192161.192167
SKAGESTAD, P. Thinking with machines: Intelligence augmentation, evolutionary epistemology, and semiotic. Journal of Social and Evolutionary Systems, v. 16, n. 2, 157–180, 1993. DOI: https://doi.org/10.1016/1061-7361(93)90026-N
SOLOMOS, M. Cellular automata in Xenakis "™ s music . Theory and Practice Makis Solomos. INTERNATIONAL SYMPOSIUM IANNIS XENAKIS, Athens, 2005. Procedings of... Athens, Greece: 2006
WATERS, S. Performance Ecosystem: Ecological approaches to musical interaction. EMS : Electroacoustic Music Studies Network, 1–20, 2007.
WHITELAW, M. Metacreation: art and artificial life. Cambridge: Mit Press, 2004.
WOLFRAM, S. Universality and complexity in cellular automata. Physica D: Nonlinear Phenomena, v. 10, n. 1, 1–35, 1984. DOI: https://doi.org/10.1016/0167-2789(84)90245-8
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2017 Gabriel Rimoldi, Jônatas Manzolli
Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
Los autores conservan los derechos de autor y conceden a la revista el derecho de primera publicación, con el trabajo simultáneamente bajo la licencia Creative Commons Attribution Licence que permite compartir el trabajo con reconocimiento de autoría y publicación inicial en esta revista.
