#algorithmic experimentations

[avephelis]

i'm not gonna make a big post on the internet's getting worse cause a lot of my thoughts are pretty personal, and most of what i could say has been said already. but i am just like. so glad tommy's able to share something so raw with so many people. and i've been really appreciative of being able to follow his development as a creator and an artist and a person (particularly over the last year or so). so that's pretty cool.

[haleandwellmet]

free handed this patch last week with fabric paint and a scrap of old tshirt :^)

[noisytenant]

Hyperpop is such a broad and general term that refers to many distinct styles with different genre inspirations, but I feel like generally I can identify hyperpop because it almost always sounds like a beautiful experimental electronic producer beginning to emerge from their chrysalis only to be pinned down and chained to obnoxiously conventional melodic structure and forced lyrics

[screamingay]

> gf and i take edibles at the same time

> i take a nap & fall asleep to a cocteau twins album

> music app continues playing tears for fears, slowdive, bjork, etc

> wake up very high and very horny

> lesbian sex ensues

> music is still playing in the background

> notice at one point that the lyrics are literally just baa baa black sheep

> music is still ethereal and pretty so i dont question it

> continue zonked out lesbian sex

> ask afterwards "hey did you notice the music..." "yeah what was that"

> check music queue

> it was a literal song for babies

[jsoliday]

I've got a new track out today on this comp, along with thirty other artists remixing Farmersmanual's nullgera​̈​t Listen to the entire comp here: https://tokinogake.bandcamp.com/album/nullger-t-remixes

and the original Farmersmanual source: https://tokinogake.bandcamp.com/album/nullgera-t

[hydrogenjukeboxphoto]

New Wave Neon Bubbles

[stroaxk]

Algorithmic music composed with Supercollider.

[null404ish]

Cyborg Bunny loves attention 👾🧩

[lunarreign24]

So, following that note about previous AI descriptions, I have a couple experiments I am trying to run using the new PTSD, Kinger, and The Amazing Digital Circus video.

The description is not AI, but looks to the previous AI one as a way to see what worked. I wrote this one with a couple of tests in mind:

The previous one had "We" instead of "I". Will that make a difference in the algorithm considering company channels and their popularity?

The previous one wanted to focus less on my factors and more on the actual media involved. Will adding phrases like "get a deeper look into my psyche" in this description lead to lower or higher viewership?

This is how my brain works. I am a data scientist by trade and by heart. If you have more experiments you would like me to try with the descriptions, let me know. I will no longer be using AI at all following the previous poll, so don't ask about that.

Also let me know if you want to know the results of this experiment. I will specifically taking into account throughput from YouTube itself rather than here or Twitter for the experiment, but I would still love your support either way!

[jcmarchi]

Q&A: Transforming research through global collaborations

New Post has been published on https://thedigitalinsider.com/qa-transforming-research-through-global-collaborations/

Q&A: Transforming research through global collaborations

The MIT Global Seed Funds (GSF) program fosters global research collaborations with MIT faculty and their peers abroad — creating partnerships that tackle complex global issues, from climate change to health-care challenges and beyond. Administered by the MIT Center for International Studies (CIS), the GSF program has awarded more than $26 million to over 1,200 faculty research projects since its inception in 2008. Through its unique funding structure — comprising a general fund for unrestricted geographical use and several specific funds within individual countries, regions, and universities — GSF supports a wide range of projects. The current call for proposals from MIT faculty and researchers with principal investigator status is open until Dec. 10. 

CIS recently sat down with faculty recipients Josephine Carstensen and David McGee to discuss the value and impact GSF added to their research. Carstensen, the Gilbert W. Winslow Career Development Associate Professor of Civil and Environmental Engineering, generates computational designs for large-scale structures with the intent of designing novel low-carbon solutions. McGee, the William R. Kenan, Jr. Professor in the Department of Earth, Atmospheric and Planetary Sciences (EAPS), reconstructs the patterns, pace, and magnitudes of past hydro-climate changes.

Q: How did the Global Seed Funds program connect you with global partnerships related to your research?

Carstensen: One of the projects my lab is working on is to unlock the potential of complex cast-glass structures. Through our GSF partnership with researchers at TUDelft (Netherlands), my group was able to leverage our expertise in generative design algorithms alongside the TUDelft team, who are experts in the physical casting and fabrication of glass structures. Our initial connection to TUDelft was actually through one of my graduate students who was at a conference and met TUDelft researchers. He was inspired by their work and felt there could be synergy between our labs. The question then became: How do we connect with TUDelft? And that was what led us to the Global Seed Funds program. 

McGee: Our research is based in fieldwork conducted in partnership with experts who have a rich understanding of local environments. These locations range from lake basins in Chile and Argentina to caves in northern Mexico, Vietnam, and Madagascar. GSF has been invaluable for helping foster partnerships with collaborators and universities in these different locations, enabling the pilot work and relationship-building necessary to establish longer-term, externally funded projects.

Q: Tell us more about your GSF-funded work.

Carstensen: In my research group at MIT, we live mainly in a computational regime, and we do very little proof-of-concept testing. To that point, we do not even have the facilities nor experience to physically build large-scale structures, or even specialized structures. GSF has enabled us to connect with the researchers at TUDelft who do much more experimental testing than we do. Being able to work with the experts at TUDelft within their physical realm provided valuable insights into their way of approaching problems. And, likewise, the researchers at TUDelft benefited from our expertise. It has been fruitful in ways we couldn’t have imagined within our lab at MIT.

McGee: The collaborative work supported by the GSF has focused on reconstructing how past climate changes impacted rainfall patterns around the world, using natural archives like lake sediments and cave formations. One particularly successful project has been our work in caves in northeastern Mexico, which has been conducted in partnership with researchers from the National Autonomous University of Mexico (UNAM) and a local caving group. This project has involved several MIT undergraduate and graduate students, sponsored a research symposium in Mexico City, and helped us obtain funding from the National Science Foundation for a longer-term project.

Q: You both mentioned the involvement of your graduate students. How exactly has the GSF augmented the research experience of your students?

Carstensen: The collaboration has especially benefited the graduate students from both the MIT and TUDelft teams. The opportunity presented through this project to engage in research at an international peer institution has been extremely beneficial for their academic growth and maturity. It has facilitated training in new and complementary technical areas that they would not have had otherwise and allowed them to engage with leading world experts. An example of this aspect of the project’s success is that the collaboration has inspired one of my graduate students to actively pursue postdoc opportunities in Europe (including at TU Delft) after his graduation.

McGee: MIT students have traveled to caves in northeastern Mexico and to lake basins in northern Chile to conduct fieldwork and build connections with local collaborators. Samples enabled by GSF-supported projects became the focus of two graduate students’ PhD theses, two EAPS undergraduate senior theses, and multiple UROP [Undergraduate Research Opportunity Program] projects.

Q: Were there any unexpected benefits to the work funded by GSF?

Carstensen: The success of this project would not have been possible without this specific international collaboration. Both the Delft and MIT teams bring highly different essential expertise that has been necessary for the successful project outcome. It allowed both the Delft and MIT teams to gain an in-depth understanding of the expertise areas and resources of the other collaborators. Both teams have been deeply inspired. This partnership has fueled conversations about potential future projects and provided multiple outcomes, including a plan to publish two journal papers on the project outcome. The first invited publication is being finalized now.

McGee: GSF’s focus on reciprocal exchange has enabled external collaborators to spend time at MIT, sharing their work and exchanging ideas. Other funding is often focused on sending MIT researchers and students out, but GSF has helped us bring collaborators here, making the relationship more equal. A GSF-supported visit by Argentinian researchers last year made it possible for them to interact not just with my group, but with students and faculty across EAPS.

[nostalgiafordarkness]

Listen to Nostalgia for Darkness on Suno! 🎵

[burlveneer-music]

William Fields - quube

The limits of control. Turning the idea of 'limit' on its head - taking it as a generative, rather than a destructive approach. A dream that - if impossible to reach in human societies - has its natural space in algorithmic artistic practices. Here, paths can be created, drawn and followed on the borders of control - lines of code, functions, variables. William Fields' latest EP, quube - to appear in April 2024 on SØVN Records - traces pathways through this dream in four pieces that were recorded with the attitude of a dancer rather than that of a composer: following and constantly reinterpreting the performative flow. The music in quube, drawing from a relatively restricted palette of simple waves and minimal processing, is often exciting - conveying an urgency similar to the one which is felt in a free improv concert. It is not surprising, then, to learn that the four pieces were recorded as a live take, with no editing or overdubs. The flow of sounds becomes almost playful in its enthusiastic impatience, eager to cross the limits of control only to bounce back for another unexpected dance step. William Fields is an electronic musician from Philadelphia, USA, working from 30 years at the intersection between algorithmic composition and improvisation. His music has been described by the legendary Richard Devine as “some of the most mind-blowing algorithmically generated music I'd ever heard” and has been published by - among others - SUPERPANG, tokinogake, EVEL, 3OP.

[kristo-flowers]

Most of the time i post photo's here, but my main occupation is composing experimental music. Check out my newest album: Compositions with pure tones

A series of very abstract compositions, for which the source material was generated through additive synthesis with pure sine tones. The pitch, envelope and volume of 100 oscillators was controlled via algorithms to create a wide variety of sounds and sonic evolutions. A selection of those sounds was then further processed and combined in several layers in a more intuitive way.

Best listened to on good quality speakers or headphones on moderate volume. Contains a lot very high and low frequencies which will not reproduce correctly on cheap speakers like the ones builtin in laptops or smartphones.

Listen/purchase: Compositions with pure tones by kristof lauwers

[teaboot]

mr boot sir what do I do when my -history- teachers in college give me ai generated "essays" to "improve"

Report them to head office. I’m not kidding. You are paying thousands of dollars hand over fist to receive an education for a trained and experienced professional, not an experimental generative algorithm. Write a detailed email with copies of what you have received and how you know it is AI and file a complaint. They are not your boss, you are their customer. This is a big deal.

EDIT: I may have misunderstood your question. If the professor is having you read AI essays and study them at face value, I stand by the above.

HOWEVER, if they are giving you AI essays, TELLING YOU they are AI, and asking you to critique and edit them, correcting false statements and errors, that is GOOD. They’re teaching you how to spot misinformation and how to verify suspicious claims. THAT is absolutely fine and a very very important assignment to learn from.

My apologies for the confusion.

[trashpandaqc]

ripping myself off: a playlist of tracks I've released in multiple versions

lost gnome (Plain Music Compilation) vs This Is Going (Bonus Jump)

hdonkx49A/B (ET Mulch Madness) = loose remake of an hoyondonkx (Sinkhole Racer 2015 2010 2017)

colorful666 (nice mix) (Is Under Location Surfaces) vs colorful666 (fall folded)

agile nester pm & ws var q (Bonus Jump) vs Dicey & el pío (Jumps 19)

vy, fReet- (Jumps 19) vs sip from boat ytuality (Hyperchaos Vol 1)

Eels Repeating (Hack The Planet Vol 2) vs hollows (s:t ~ray)

b wave (-1) (s:t ~ray) vs Obwave (Dropup)

everything on Shape Variations vs everything on Out Of Shape

plus too many alternative live takes to mention on Additions Megabus, Warmup Clips 2012-2015, and various recorded live sets