De-instrumentalizing HCI: Social Psychology, Rapport Formation, and Interactions with Artificial Social Agents

Banerji, Ritwik

doi:10.1007/978-3-319-73356-2_4

Cited by 4 publications

(2 citation statements)

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“…Tatar 2019 present such a survey, categorizing and discussing seventy-eight "musical agents," many of which improvise and many of which model style in some form. See also Banerji 2018b andLinson et al 2015 for particularly notable approaches to algorithmic free improvisation, and Wilf 2013a and 2013b for another example of robotic mainstream jazz. Return to text 11.…”

Section: Discussionmentioning

confidence: 99%

“…Return to text 11. Ethnomusicologist Ritwik Banerji's (2018aBanerji's ( , 2018b work leverages a related claim, treating algorithmic improvisation not only as music cognition but as ethnography. By observing and discussing performers' interactions with a free-improvising agent named "Maxine," he interrogates received notions of free improvisation's egalitarian ethics and of ethnography's methodological commitments.…”

Section: Discussionmentioning

confidence: 99%

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“All of the Rules of Jazz”

Miller

2020

MTO

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Though improvising computer systems are hardly new, jazz has recently become the focus of a number of novel computer music projects aimed at convincingly improvising alongside humans, with a particular focus on the use of machine learning to imitate human styles. The attempt to implement a sort of Turing test for jazz, and interest from organizations like DARPA in the results, raises important questions about the nature of improvisation and musical style, but also about the ways jazz comes popularly to stand for such broad concepts as “conversation” or “democracy.” This essay explores these questions by considering robots that play straight-ahead neoclassical jazz alongside George Lewis’s free-improvising Voyager system, reading the technical details of such projects in terms of the ways they theorize the recognition and production of style, but also in terms of the political implications of human-computer musicking in an age of algorithmic surveillance and big data.

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

“All of the Rules of Jazz”

Miller

2020

MTO

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Artificial Intelligence and Phenomenological Ethnography

Banerji

2022

The Oxford Handbook of the Phenomenology of Music Cultures

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While phenomenological ethnography is primarily concerned with the structure of an individual subject’s experience of the sociocultural world, the contents of that experience itself remain a vital concern and problem for phenomenological ethnography given the several problems any ethnographer faces in trying to access what their subjects experience. This chapter describes an experimental methodology in which the ethnographer uses an artificially intelligent, improvising, musical social interactant to address this problem by staging encounters between performers active in free improvisation and these nonhuman virtual systems. Results of this method illustrate its efficacy as a novel means of understanding human social interaction as a distinct form of culture as experience.

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