Cellular automata in generative electronic music and sonic art: a historical and technical review

Burraston, Dave; Edmonds, Ernest

doi:10.1080/14626260500370882

Cited by 37 publications

(27 citation statements)

References 37 publications

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“…To facilitate, I have described here the simplest form of CA, for extensive overviews of CAs, refer to Wojtowicz and Mirek [255] and of CAs and sound to Burraston and Edmonds [57]. In the arts, CA can be found in the 'bions' in Brown's Biotica [55].…”

Section: Cellular Automata the Second Classmentioning

confidence: 99%

On Computational Ecosystems in Media Arts

Antunes

2016

Leonardo

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DECLARATIONI hereby declare that I composed this thesis entirely myself and that it describes my own research.Rui Filipe Nicolau Lima Antunes 10th of October, 2013 2 This research is an exploration of issues surrounding the artistic production of Computational Ecosystems. A Computational Ecosystem is a system of agents designed to emulate, in the computer, biological systems where autonomous individuals are organized in a hierarchical food chain and interact by trading units of energy. This thesis maps out this field and examines the modes of production and functions of these systems. The central claim is focused on how the narratives normally associated with these systems and their functioning are two complementary, but separate entities. By virtue of considering these separately the computational ecosystem is argued to be an abstract generative engine for heterogeneity, spontaneity, and even novelty. It is contended that the set of methods of production developed by exploratory artists using these artefacts might be instrumentalized as generative methods for the animation of general purpose non-player characters in virtual worlds.

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Section: Cellular Automata the Second Classmentioning

confidence: 99%

On Computational Ecosystems in Media Arts

Antunes

2016

Leonardo

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“…The application of these rules results in crystal-like oscillating patterns, an example instance of which is depicted in Figure 10.1C. The rules of the GL and CG CA can also be applied on hypercubes of arbitrary dimensions; for music composition though, only two-and three-dimensional versions have been tested (Burraston and Edmonds, 2005;Miranda and Biles, 2007). The dynamics of the emergent social behavior of these discrete societies has attracted ‡ Rule 30 is also used as a random number generator in the mathematical software Mathematica.…”

Section: Unsupervised Composition With Cellular Automatamentioning

confidence: 99%

“…the attention of composers ever since the epoch of the pioneers of automatic computer composition, like Xenakis (Solomos, 2005). For an extended and thorough review of the methodologies for music production through CA, the reader is referred to Burraston and Edmonds (2005) and Miranda and Biles (2007).…”

Section: Unsupervised Composition With Cellular Automatamentioning

confidence: 99%

Intelligent Music Composition

Καλιακάτσος-Παπακώστας

Floros

Vrahatis

2013

Swarm Intelligence and Bio-Inspired Computation

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“…There have been different mapping attempts [2] ranging from direct assignments of CA values, like in Lasy [3], to higher-level approaches intending to map the overall CA behaviour, like in Chaosynth [6]. We are interested in the second type of approach.…”

Section: Introductionmentioning

confidence: 99%

Algorithmic sound composition using coupled cellular automata

Serquera

Miranda

2011

Chaos Theory

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Abstract:In this paper we introduce a new approach to algorithmic sound composition using a bespoke technique combining coupled Cellular Automata (CA) and Histogram Mapping Synthesis. Two CA are used: a hodge podge machine and a growth model. The latter serves as control of the former. The hodge podge machine can exhibit different kinds of behaviour depending on the values of a set of rule parameters. Our method explores the fact that different simultaneous behaviours can be evolved within the same automaton if we bring into play different sets of parameter values. However, we restrict the number of parameter sets to two. Therefore, the CA growth model will have only two states and will delimit two dynamic zones in the hodge podge machine, each of which governed by a different set of parameter values. The predictable evolution of the two zones will produce a controlled dynamic sound spectrum. Among all the possibilities that this process affords for the composition of a variety of sounds algorithmically, we highlight its application to the attack portion of a sound, making it dynamically more complex than the rest of the sound.

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Cellular automata in generative electronic music and sonic art: a historical and technical review

Cited by 37 publications

References 37 publications

On Computational Ecosystems in Media Arts

On Computational Ecosystems in Media Arts

Intelligent Music Composition

Algorithmic sound composition using coupled cellular automata

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