Information Technology Reference
In-Depth Information
6.3 Theoretical Considerations
This section takes a formal approach to Live Algorithms. First, a design method-
ology is outlined, then it is shown how this methodology can categorise computer
music systems and be applied as a conceptual tool for describing Live Algorithm
behaviour. The impact of Artificial Intelligence on Live Algorithm design is consid-
ered and a dynamical systems approach is described in detail.
6.3.1 P , Q and f
Our
PQf
architecture, originally presented in Blackwell (
2001
) and described in
this section, identifies three modules which may be combined in various ways to im-
plement computer music systems. The modules are:
P
(listening/analysis),
Q
(per-
forming/synthesis) and
f
(patterning, reasoning or even intuiting). The purpose is
two-fold. The modules represent basic functionalities (the actual software might not
be cleanly divided but the functions of conceptual parts of the system remain well
defined) and their wiring diagram (Fig.
6.1
) helps us to explore what systems are
possible, a possible architecture for the development of any particular system and a
taxonomy of established practice. Secondly, the modules represent actual software
components. The development and distribution of separate modules and a language
for inter-module communication would enable rapid evaluation of computer music
systems, saving much effort, and encouraging novel combinations.
6.3.2 Definition of a Live Algorithm
A Live Algorithm is defined as a system in which these three modules are present,
interconnected, absent of a human controller, and such that the above four charac-
teristics (autonomy, novelty, participation and leadership) are ascribable attributes
of the system.
6.3.3 Architecture
Naively speaking,
P
is to ears as
f
is to brain as
Q
is to voice, but in humans these
compartments are themselves conceptually ambiguous. The boundaries between the
modules can be reconsidered according to different ideas about perception, cogni-
tion and production (including the conceptual status of cochleas, hands and instru-
ments). The same re-evaluation can occur in novel computer music systems. For
example, in an extreme analysis
P
internal dsp
where adc
and dac are converters between analogue (a) and digital (d) representations and dsp
stands for any digital signal processing module.
=
adc
,
Q
=
dac
,
f
=
