Proceedings of the International Conference on New Interfaces for Musical Expression

Human-AI co-creativity involves both humans and AI collaborating on a shared creative product as partners. In a creative collaboration, interaction dynamics, such as turn-taking, contribution type, and communication, are the driving forces of the co-creative process. Therefore the interaction model is a critical and essential component for effective co-creative systems. There is relatively little research about interaction design in the co-creativity field, which is reflected in a lack of focus on interaction design in many existing co-creative systems. The primary focus of co-creativity research has been on the abilities of the AI. This paper focuses on the importance of interaction design in co-creative systems with the development of the Co-Creative Framework for Interaction design (COFI) that describes the broad scope of possibilities for interaction design in co-creative systems. Researchers can use COFI for modeling interaction in co-creative systems by exploring alternatives in this design space of interaction. COFI can also be beneficial while investigating and interpreting the interaction design of existing co-creative systems. We coded a dataset of existing 92 co-creative systems using COFI and analyzed the data to show how COFI provides a basis to categorize the interaction models of existing co-creative systems. We identify opportunities to shift the focus of interaction models in co-creativity to enable more communication between the user and AI leading to human-AI partnerships.

pdf/designing-creative-ai-partners-with-cofi-a-framework-for-24ebkvxl.pdf

Designing Creative AI Partners with COFI: A Framework for Modeling Interaction in Human-AI Co-Creative Systems

Entrainment theory focuses on processes in which interacting (i.e. coupled) rhythmic systems stabilize, producing synchronization in the ideal sense, and forms of phase related rhythmic coordination in complex cases. In human action, entrainment involves spatiotemporal and social aspects, characterizing the meaningful activities of music, dance, and communication. How can the phenomenon of human entrainment be meaningfully studied in complex situations such as dance? We present an in-progress case study of entrainment in William Forsythe's choreography Duo, a duet in which coordinated rhythmic activity is achieved without an external musical beat and without touch-based interaction. Using concepts of entrainment from different disciplines as well as insight from Duo performer Riley Watts, we question definitions of entrainment in the context of dance. The functions of chorusing, turn-taking, complementary action, cues and alignments are discussed and linked to supporting annotated video material. While Duo challenges the definition of entrainment in dance as coordinated response to an external musical or rhythmic signal, it supports the definition of entrainment as coordinated interplay of motion and sound production by active agents (i.e., dancers) in the field. Agreeing that human entrainment should be studied on multiple levels, we suggest that entrainment between the dancers in Duo is elastic in time and a propose how to test this hypothesis empirically. We do not claim that our proposed model of elasticity is applicable to all forms of human entrainment nor to all to examples of entrainment in dance. Rather, we suggest studying higher order phase correction (the stabilizing tendency of entrainment) as a potential aspect to be incorporated into other models.

/pdf/doing-duo-a-case-study-of-entrainment-in-william-forsythe-s-hyeikbj717.pdf

Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo".

This article develops the dancers’ choreographic notebook as a cross-disciplinary documentational device in the representation and analysis of multi-sensual qualitative sources. Drawing upon fieldw...

/pdf/a-choreographic-notebook-methodological-developments-in-18m21nylcb.pdf

A choreographic notebook: methodological developments in qualitative geographical research

This paper considers the role of annotation in three recently developed dance ‘scores’. Synchronous Objects for One Flat Thing, reproduced (Forsythe/OSU 2009), Using the Sky (Motion Bank/Hay 2013) and A Choreographer's Score (De Keersmaeker and Cvejic 2012), each utilize annotation in various ways to analyse, re-present and reveal the shapes, relations and traces of movement. At times annotation provides a hidden methodological tool, helping researchers to systematize features of the works; in other cases it takes the form of written notes, digital inscriptions and spoken articulations. I consider how such methods relate to a codified notational system and draw on perspectives from philosophy (Apostolou-Holscher 2014; Sabisch 2011) and human geography (McCormack 2013) to consider the aesthetics and ‘affect’ of annotation, highlighting its potential to offer innovative ways to observe, understand and experience dance.

Affective Traces in Virtual Spaces: Annotation and emerging dance scores

Directing a group behavior towards interesting and complex motion can and should be intuitive, iterative, and often participatory. Toward this end, we present a choreographic system that enables designers to explore a motion space based on a parametric model of behaviors. Designers may work with the system by moving back and forth through two complementary stages: first, using an evolutionary algorithm to traverse the space of behavior possibilities, allowing designers to emphasize desired kinds of motion while leaving room for an element of the unexpected, and second, using selected behaviors to direct the group motion of simple performing creatures. In the second stage, evolved group motion behaviors from the first stage are used alongside existing high-level parametric rules for local articulated motion.

Creating choreography with interactive evolutionary algorithms

Physically based sound models have a “natural” setting in dimensional space: a physical model has a shape and an extent and can be given a position relative to other models. In our experimental system, we place procedurally animated agents in a world of spatially situated physical models. The agents move in the same space as the models and can interact with them, playing the models and changing their configuration. The result is an ever-varying audiovisual landscape. This can be seen as purely generative—as a method for creating algorithmic music—or as a way to create instruments that change autonomously as a human plays them. A third perspective is in between these two: agents and humans can cooperate or compete to produce a gamelike or interactive experience.

/pdf/a-physically-based-sound-space-for-procedural-agents-2uh0rpbors.pdf

A Physically Based Sound Space for Procedural Agents

The Visible String, a Direct Audiovisual Model

The first great computer music language was Music V [2]. It set the stage for the next forty years: nearly all of today’s computer music languages are philosophical descendants of the Music N family. This family of languages is organized around the paradigm of a unit generator network. A unit generator provides a stream of audio samples; simple examples are a sinusoid generator and a generator which adds two signals together. Individual generators are kept simple and fast; waveform generators were originally implemented as flexible table lookups. This supports a method of producing sound by means of operations on other sounds: filtering, splitting, recombining. The unit generator paradigm has been very successful, partly because it is flexible and partly because synthesis using unit generators can be (relatively) computationally inexpensive. However, it can be difficult to reproduce a wide variety of realistic playing techniques and instrument responses using this kind of synthesis.

New Languages For Physical Modeling Synthesis

In this research, we embed physically-based sound models in a spatial, interactive, multi-modal context to make a workbench for exploring new musical ideas. Instruments made with the workbench make sounds that are physically plausible, and they may be controlled in familiar ways, but they go beyond the physical to do things impossible or difficult to do in the real world. Our system outputs both real-time sound and real-time animation in response to users' actions.

A spatial workbench for physically-based sound

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