Deep Listening: Early Computational Composition and its Influence on Algorithmic Aesthetics

The popularity of the program DeepDream, created by Google engineer Alexander Mordvintsev, exploded due to the open source availability of its uncanny, hallucinogenic aesthetic. Once used to synthesize visual textures, the program popularized the concept of neural network training through image classification algorithms, inspiring visual art interrogating machine learning and the training of proprietary prediction algorithms; though DeepDream has facilitated the production of many mundane examples of surreal computer art, it has also helped to produce some conceptually rich visual investigations, including MacArthur “genius” awardee Trevor Paglen’s recent installation A Study of Invisible Images . While the significance of trained neural networks is presently considered valuable to computer vision experimentation, a medial archaeological investigation of the conceptual underpinnings of machine learning reveals the fundamental influence early sonic experiments in computational music have in its computational and conceptual framework. Early computational music works, such as Lejaren Hiller Jr. and Leonard Isaacson’s Illiac Suite (1957), the first score composed by a computer, as well as Hiller and John Cage’s ambitious multimedia performance HPSCHD (1969), used stochastic models to automate game-like processes, such as Giovanni Pierluigi da Palestrina’s Renaissance-era polyphonic instruction, as well as the I Ching divination process of casting coins or yarrow stalks. Hiller's concerns regarding the historical use of compositional/mathematical gameplay uncovers a conceptual and performative emphasis anticipating the “training” of visual models. Through the adverse reactions of audiences to Hiller’s compositions, written by what the press deemed derogatorily “An electronic brain” in 1957 parallel public reactions to the disturbing mutations of DeepDream, popular participation in the open source project signals a growing willingness to collaborate creatively with computers to interrogate both computational and cognitive processes.

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Tiffany Funk

Conference

Publication date: August 2019

Publication date (Print): August 2019

Pages: 43-50

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[0001]University of Illinois at Chicago

Chicago, Illinois 60607

Article

DOI: 10.14236/ewic/RESOUND19.7

SO-VID: e3e109fa-d0b1-4fcc-a0c1-84e6b0081090

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology

Conference acronym: RE:SOUND 2019

Conference number: 8

Conference location: Aalborg, Denmark

Conference date: August 20-23, 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Media Art, Science, and Technology

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/RESOUND19.7

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

C. Ariza 2011 Two Pioneering Projects from the Early History of Computer-Aided Algorithmic Composition Computer Music Journal 35 3 40 56
J. Bewley 2004 Lejaren A. Hiller: Computer Music Pioneer exhibition notes for Lejaren A. Hiller: Computer Music Pioneer University at Buffalo, SUNY Music Library
F. Cramer 2005 Words Made Flesh: Code, Culture, Imagination Rotterdam Piet Zwart Institute
C. Dreifus 1998 A CONVERSATION: With Dr. Marvin Minsky; Why Isn’t Artificial Intelligence More Like the Real Thing? The New York Times 28 July
R. Eckhardt 1987 Stan Ulam, John von Neumann, and the Monte Carlo Method Los Alamos Science Special 131 141
Encyclopedia of Statistical Sciences 4 S. KotzN.L. Johnson John Wiley and Sons New York 1983
J. M. HammersleyD. C. Handscomb 1964 Monte Carlo Methods London Chapman and Hall
L.A. Hiller 1959 Computer Music Scientific American 201 6 109 121
L.A. Hiller 1969 Some Compositional Techniques Involving the Use of Computers H. von FoersterJ. W. Beauchamp Music by Computers New York John Wiley and Sons 71 83
L.A. Hiller 1981 Composing with Computers: A Progress Report Computer Music Journal 5 4 7 21
L.A. HillerR. Baker 1964 Computer Cantata: A Study in Compositional Method Perspectives of New Music 3 1 62 90
L.A. HillerL. Isaacson 1959 Experimental Music: Composition with an Electronic Computer New York McGraw-Hill
Z. Lipton From AI to ML to AI: On Swirling Nomenclature & Slurried Thought Approximately Correct: Technical and Social Perspectives on Machine Learning blog http://approximatelycorrect.com/2018/06/05/ai-ml-ai-swirling-nomenclature-slurried-thought/ 5 June 2018
Metro Pictures 2017 Trevor Paglen, A Study of Invisible Images, September 8 - October 21, 2017 press release https://www.metropictures.com/exhibitions/trevor-paglen4/press-release 17 August 2019
A. A. Mills 1998 Vermeer and the Camera Obscura: Some Practical Considerations Leonardo 31 3 213 218
T. Mitchell 1997 Machine Learning New York McGraw-Hill Science/Engineering/Math
T. Mitchell 2006 The discipline of machine learning (CMU ML-06 108)
A. NewellH. A. Simon 1956 The Logic Theory Machine: A Complex Information Processing System RAND Corporation report
J. Reichardt 1969 Cybernetic Serendipity: The Computer and the Arts New York Frederick A. Praeger
C. RobertG. Casella 2011 A Short History of Markov Chain Monte Carlo: Subjective Recollections from Incomplete Data Statistical Science 26 1 102 115
A. L. Samuel 1959 Some Studies in Machine Learning Using the Game of Checkers IBM Journal of Research and Development 3 3 210 229
A. Schoenberg 1975 Style and Idea Berkeley & Los Angeles University of California Press
A. M. Turing 1950 Computing Machinery and Intelligence Mind 49 433 460
T. Winograd 1971 Procedures as a Representation for Data in a Computer Program for Understanding Natural Language MIT AI Technical Report 235 United Press 1956 (ILLIAC) CHAMPAIGN, ILL AUG 10

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[1] C. Ariza 2011 Two Pioneering Projects from the Early History of Computer-Aided Algorithmic Composition Computer Music Journal 35 3 40 56

[2] J. Bewley 2004 Lejaren A. Hiller: Computer Music Pioneer exhibition notes for Lejaren A. Hiller: Computer Music Pioneer University at Buffalo, SUNY Music Library

[3] F. Cramer 2005 Words Made Flesh: Code, Culture, Imagination Rotterdam Piet Zwart Institute

[4] C. Dreifus 1998 A CONVERSATION: With Dr. Marvin Minsky; Why Isn’t Artificial Intelligence More Like the Real Thing? The New York Times 28 July

[5] R. Eckhardt 1987 Stan Ulam, John von Neumann, and the Monte Carlo Method Los Alamos Science Special 131 141

[6] Encyclopedia of Statistical Sciences 4 S. KotzN.L. Johnson John Wiley and Sons New York 1983

[7] J. M. HammersleyD. C. Handscomb 1964 Monte Carlo Methods London Chapman and Hall

[8] L.A. Hiller 1959 Computer Music Scientific American 201 6 109 121

[9] L.A. Hiller 1969 Some Compositional Techniques Involving the Use of Computers H. von FoersterJ. W. Beauchamp Music by Computers New York John Wiley and Sons 71 83

[10] L.A. Hiller 1981 Composing with Computers: A Progress Report Computer Music Journal 5 4 7 21

[11] L.A. HillerR. Baker 1964 Computer Cantata: A Study in Compositional Method Perspectives of New Music 3 1 62 90

[12] L.A. HillerL. Isaacson 1959 Experimental Music: Composition with an Electronic Computer New York McGraw-Hill

[13] Z. Lipton From AI to ML to AI: On Swirling Nomenclature & Slurried Thought Approximately Correct: Technical and Social Perspectives on Machine Learning blog http://approximatelycorrect.com/2018/06/05/ai-ml-ai-swirling-nomenclature-slurried-thought/ 5 June 2018

[14] Metro Pictures 2017 Trevor Paglen, A Study of Invisible Images, September 8 - October 21, 2017 press release https://www.metropictures.com/exhibitions/trevor-paglen4/press-release 17 August 2019

[15] A. A. Mills 1998 Vermeer and the Camera Obscura: Some Practical Considerations Leonardo 31 3 213 218

[16] T. Mitchell 1997 Machine Learning New York McGraw-Hill Science/Engineering/Math

[17] T. Mitchell 2006 The discipline of machine learning (CMU ML-06 108)

[18] A. NewellH. A. Simon 1956 The Logic Theory Machine: A Complex Information Processing System RAND Corporation report

[19] J. Reichardt 1969 Cybernetic Serendipity: The Computer and the Arts New York Frederick A. Praeger

[20] C. RobertG. Casella 2011 A Short History of Markov Chain Monte Carlo: Subjective Recollections from Incomplete Data Statistical Science 26 1 102 115

[21] A. L. Samuel 1959 Some Studies in Machine Learning Using the Game of Checkers IBM Journal of Research and Development 3 3 210 229

[22] A. Schoenberg 1975 Style and Idea Berkeley & Los Angeles University of California Press

[23] A. M. Turing 1950 Computing Machinery and Intelligence Mind 49 433 460

[24] T. Winograd 1971 Procedures as a Representation for Data in a Computer Program for Understanding Natural Language MIT AI Technical Report 235 United Press 1956 (ILLIAC) CHAMPAIGN, ILL AUG 10

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