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Proceedings of the 6th ACM SIGPLAN International Workshop on Functional Art, Music, Modeling, and Design最新文献

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Abstract nonsense 抽象的废话
Júnia Gonçalves
The notion of effect in programming languages has evolved significantly since the works of Lucassen and Gifford – where an effect system tracks memory regions and enables the improvement of parallel execution – to the point where an algebraic characterisation of effects is proposed. In this work, we seize the such notions to design a calculus, λgenArt, tailored to generative art. We provide the semantics and type system of λgenArt, alongside an effect algebra and a new parallel constructor. We also implemented the calculus as an DSL in the Haskell programming language and introduced optimisations based on the effect information. This work is the first step towards the specification and implementation of a declarative, functional language for generative art based on algebraic effects and handlers.
自Lucassen和Gifford的工作以来,编程语言中效果的概念已经有了显著的发展——在Lucassen和Gifford的工作中,效果系统跟踪记忆区域并使并行执行的改进成为可能——到提出效果的代数表征的地步。在这项工作中,我们抓住这些概念来设计一个微积分,λgenArt,为生成艺术量身定制。我们提供了λgenArt的语义和类型系统,以及一个效果代数和一个新的并行构造函数。我们还在Haskell编程语言中实现了作为DSL的微积分,并引入了基于效果信息的优化。这项工作是规范和实现基于代数效果和处理程序的生成艺术的声明式、函数式语言的第一步。
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引用次数: 0
Proceedings of the 6th ACM SIGPLAN International Workshop on Functional Art, Music, Modeling, and Design 第六届ACM SIGPLAN功能艺术、音乐、造型和设计国际研讨会论文集
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引用次数: 0
Compositional computational constructive critique: or, how my computer learned to appreciate poetry 作曲计算建设性批评:或者,我的电脑如何学会欣赏诗歌
Jennifer Hackett
A well-typed work of art should not sound wrong: we can use DSLs to get this boon. Existing work has cover’d this for song, at least so far as harmony and tune. Well, verse contrains the author’s pencil thus: In English verse, the syllables adhere to certain contours. Catenation plus the empty form create a monoid here. But not all poems stay within their meter; some, like this, can be a little free and so our monoid has to let us teeter on the edge, as tunes oft do with key. Our monoid must be fuzzy at its heart to let us teach computers of this art.
一件类型良好的艺术作品听起来不应该是错误的:我们可以使用dsl来获得这种好处。现存的作品已经把这一点写进了歌曲,至少在和声和曲调方面是这样。好吧,诗歌包含了作者的铅笔:在英语诗歌中,音节遵循一定的轮廓。连字符加上空表单在这里创建了一个单oid。但并不是所有的诗都在韵律之内;有些,像这样,可能有点自由,所以我们的单声道必须让我们在边缘上摇摆,就像音调一样。我们的单轴必须是模糊的,才能让我们教计算机这门艺术。
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引用次数: 0
FARM 2018 performances FARM 2018演出
T. Murphy
This is a summary of the performances presented as part of the 2018 ACM SIGPLAN International Workshop on Functional Art, Music, Modeling, and Design, prepared prior to the event.
这是在活动之前准备的2018年ACM SIGPLAN国际功能艺术、音乐、建模和设计研讨会的一部分表演的总结。
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引用次数: 0
FARM 2018 demo summary FARM 2018演示总结
Brent A. Yorgey, Donya Quick
This is a summary of the demonstrations presented at the 6th ACM SIGPLAN International Workshop on Functional Art, Music, Modeling and Design (FARM).
这是第六届ACM SIGPLAN国际功能艺术,音乐,建模和设计研讨会(FARM)上展示的演示摘要。
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引用次数: 0
NNdef: livecoding digital musical instruments in SuperCollider using functional reactive programming NNdef:在SuperCollider中使用函数式反应式编程对数字乐器进行实时编码
M. Negrão
The SuperCollider audio synthesis environment allows the definition of Synths, digital instruments which generate sound using a graph of interconnected unit generators. In SuperCollider the definition of a Synth is mostly declarative, on the other hand the logic for controlling parameters of a Synth using musical controllers is usually implemented in a different context using callbacks and explicit state. This paper presents a different approach where functional reactive programming (FRP) is used to define the control logic of the instrument, taking inputs from musical controllers, mobile apps or graphical user interface (GUI) widgets and sending outputs to the audio graph. Both audio and FRP graphs are defined in the same context and compiled simultaneously avoiding a hard division between audio and control logic. An FRP implementation is used in the NNdef class to enable livecoding of both audio and FRP code, with hot-swap allowing an interactive workflow. Also included is a system to persist the state in the FRP network in order to save and recall the instrument at a later time.
SuperCollider音频合成环境允许定义Synths,即使用相互连接的单元生成器图形生成声音的数字仪器。在SuperCollider中,Synth的定义主要是声明性的,另一方面,使用音乐控制器控制Synth参数的逻辑通常是在使用回调和显式状态的不同上下文中实现的。本文提出了一种不同的方法,其中使用功能反应性编程(FRP)来定义乐器的控制逻辑,从音乐控制器,移动应用程序或图形用户界面(GUI)小部件获取输入,并将输出发送到音频图形。音频和FRP图在相同的上下文中定义并同时编译,避免了音频和控制逻辑之间的硬划分。在NNdef类中使用FRP实现来实现音频和FRP代码的实时编码,并使用热插拔允许交互式工作流。还包括一个在FRP网络中持久化状态的系统,以便在以后保存和召回仪器。
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引用次数: 5
Programming-by-example for audio: synthesizing digital signal processing programs 音频实例编程:合成数字信号处理程序
Mark Santolucito, K. Rogers, Aedan Lombardo, R. Piskac
Programming by example allows users to create programs without coding, by simply specifying input and output pairs. We introduce the problem of digital signal processing programming by example (DSP-PBE), where users specify input and output wave files, and a tool automatically synthesizes a program that transforms the input to the output. This program can then be applied to new wave files, giving users a new way to interact with music and program code. We formally define the problem of DSP-PBE, and provide a first implementation of a solution that can handle synthesis over commutative filters.
示例式编程允许用户在不编码的情况下创建程序,只需指定输入和输出对。我们通过实例(DSP-PBE)介绍了数字信号处理编程的问题,其中用户指定输入和输出波文件,并使用工具自动合成将输入转换为输出的程序。这个程序可以应用到新的wave文件中,为用户提供了一种与音乐和程序代码交互的新方式。我们正式定义了DSP-PBE问题,并提供了一个可以处理交换滤波器上的合成的解决方案的第一个实现。
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引用次数: 4
期刊
Proceedings of the 6th ACM SIGPLAN International Workshop on Functional Art, Music, Modeling, and Design
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