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Software Agents in Music and Sound Art Research/Creative Work: Current State and a Possible Direction

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Software Agents in Music and Sound Art Research/Creative Work: Current State and a Possible Direction Software Agents in Music and Sound Art Research/Creative Work: current state and a possible direction IAN WHALLEY The University of Waikato, Private Bag 3105, Hamilton, New Zealand E-mail: [email protected] Composers, musicians and computer scientists have begun to answer the critique, a hybrid model is proposed based use software-based agents to create music and sound art in on non-linear generative improvisation coupled with both linear and non-linear (non-predetermined form and/or a conversational model of human–computer inter- content) idioms, with some robust approaches now drawing on action that takes into account music/sound as an various disciplines. This paper surveys recent work: agent affective language. technology is first introduced, a theoretical framework for its The intention here is then to broaden debate and use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of stimulate further discussion – and also to signal areas neglect in recent research, a possible direction for further work of contention that might be useful to address in is then briefly explored. Finally, a vision for a new hybrid model future work. that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed. 1.1. What are software agents? An agent is generally understood as somebody or something that acts on behalf of another in a process. 1. INTRODUCTION A software agent, put simply, is a computer program The grounding assumption in this paper is that it is that works on tasks specified by a user. As with their worthwhile to attempt to draw on and integrate physical counterparts, software agents can exhibit technical and human reception perspectives to ad- varying degrees of persistence, independence, commu- vance new music research and/or creation, towards nication and collaboration with other software agents implementing robust solutions that can usefully or people. In addition, ‘intelligent’ agents might have inform both fields of interest. Towards addressing the capability to make decisions, the capacity to learn this, a part of the new technology experimentation within an environment, and the ability to be mobile process is the opportunity to reflect on the balance over computer networks. Increasingly more ‘intelligent’ between technical input and communicative outputs, agents monitor environments, can glean information, and to raise issues that might be useful towards make decisions to react or not, and even modify their developing significant lines of further enquiry. behaviour according to the results received (see Bigus The emerging use of software agent technology as and Bigus 2001; Consoli, Ichalkaranje, Jarvis, Phillips- a tool in music/sound art creation, part of a wider Wren, Tweedale and Sioutis 2006). interest in the deployment of interactive music sys- As the use of software agents has become more tems such as those applying complementary techni- widespread, a variety of independent development ques from evolutionary arts (Brown 2002) and A-Life environments (IDE) have been created for building (Miranda 2003), presents the chance to take a agent-based systems, including IBM’s Aglets,or reflective step aside. Grasshopper, Jade and Zeus (see Balogh, Budinska, This paper is firstly a survey of recent software- Dang, Hluchy, Laclavik and Nguyen 2002; Detlor based agents in music/sound art in both linear and and Serenko 2002). The technology is now used in non-linear idioms. After the technology is introduced, academia across several disciplines, particularly in a theoretical framework is put forward towards an simulating multicausal situations, examples being understanding of the work, followed by a conceptual found in the annual conference proceedings of Auto- overview that characterises and illustrates common nomous Agents and Multi-Agent Systems (AAMAS). approaches. Secondly, areas of neglect in recent It is also increasingly used in real-time industrial research are then identified, particularly in affective and military applications in areas such as scheduling (emotion-based) approaches and narrative mapping, and simulation, fields as diverse as architecture, and a possible future direction based on affective engineering and construction (Anumba, Ren and music briefly explored. Finally, to conclude and Ugwu 2005), and in business (see Aronson, Liang and Organised Sound 14(2): 156–167 & 2009 Cambridge University Press. Printed in the United Kingdom. doi:10.1017/S1355771809000260 Software Agents in Music and Sound Art Research/Creative Work 157 Turban 2004). Useful conceptual introductory texts systems. The scope of music interactivity then gives a include Bigus and Bigus (2001) and Weiss (2000). sense of the range of the field. Graugaard’s (2006: Beyond using a single software agent to do something 125) interactivity schema, although not without lim- on your behalf, there are three broad technical software- itations, integrates various perspectives (see figure 1). based deployments of the technology. A Multi-Agent The focus in this paper is largely on the dialectic Systems (MAS) is one where a computational system between computer science, ‘musical’, narrative, and allows agents to cooperate or compete with others to emotional parameters relating to agent technology achieve some individual or collective task(s). A Dis- given in figure 1. tributed Artificial Intelligence (DAI) approach is a cooperative system where agents act together to solve a 2.2. Functional decision space problem, and can include agents being used in decision In making new works, creators do not begin in a support systems where the outcome is based on inter- vacuum. Gimenes, Miranda and Johnson (2006), for actions between human and agent input. Finally, there example, note that each artwork one creates is embed- are Multi-Agent Based Simulations (MABS) of com- ded in a cultural inheritance, and pieces of music reflect plex situations, although there is some debate in the both composer choices and the history of influences on field as to the degree to which MABS actually use agent a work. A computer-based composer/sound artist or technology (Drogoul, Meurisse and Vanbergue 2002). programmer in making new works, either consciously or unconsciously, is likely to draw on their view of 2. SCOPE AND THEORETICAL APPROACH music/sound art, the purposes for which the output is intended, and the knowledge, techniques and conven- To understand the scope of the field, offer a theore- tions developed through artistic and technical training. tical framework in which decisions are made, and A theoretical approach to the multidimensional propose a theoretical test of potential deployment of decision space that integrates software-based agent agent technology in music/sound art works, there technology is proposed in figure 2, accepting that this are useful perspectives in prior literature that can be neglects engineering aspects of Graugaard’s model drawn on and amalgamated on which to base sub- (figure 1) that are beyond the focus of this paper. sequent understanding. Elaborating on figure 2, the GOALS a creator has influence the type of system built technically and 2.1. Interactivity artistically. Weinberg (2005: 31–2) characterises the Interactivity is integral to agent technology deploy- two possible approaches as being musical structure/ ment, either in self-contained (closed) or HCI (open) composer controlled (based in the late European Figure 1. Disciplinary context of interactive music. 158 Ian Whalley Figure 2. Decision space. avant-garde position), and a processes-based approach to be creator focussed, or based in reception studies (explored by American composers such as John Cage and/or human physiology: see Landy (1999) or Weale and Steve Reich). Technically, a structure-centred (2006) on electroacoustic music reception, for example, approach allows participants (agents and/or humans) and Patel (2008), Mithen (2005), and Brown, Merker to fulfil prescribed musical or performance outcomes. and Wallin (2001) on evolutionary approaches to A process-centred approach concentrates on explor- explaining human musical abilities and responsiveness. ing possibilities or fulfilling goals through colla- A part of choices about language, and a reflection boration or competition, and the experience may of those choices, is also sometimes a decision about differ with each session. Expanding the notion of knowledge. Many artificial intelligence (AI) approa- making linear approaches to notation or acousmatic/ ches to music centre around four methods to applying sound art works beyond one possible ‘frozen’ form, artificial intelligence methodologies to notation (see Chadabe’s (1996, 2004) concept of a ‘process’-based Camurri’s 1993 classification). In summary, a sym- rather than ‘product’-based approach to creation is bolic approach sees knowledge as being represented in useful here, explaining how musical structures are a an appropriate language, and machine manipulation reflection of wider paradigms. Chadabe’s ‘non-linear’ of symbols gives new knowledge (see Cope 1991, for perspective allows for structures to be created by the example). The logic approach assumes that using dynamic interplay of the behaviour of participants, logical formalisms represents knowledge, and by rather than being predetermined by scores or set manipulating this logic-based knowledge we can then forms. In addition, Dorin’s (2001) conceptual work on infer the new information. In a sub-symbolic
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