Pub Date : 2022-04-03DOI: 10.1080/03080188.2022.2035104
Gilbert Delor
ABSTRACT Tom Johnson is an interesting case of interdisciplinarity in that he makes music and mathematics coincide in a very obvious and literal way. He was led to this approach in the context of the American avant-garde of the 1970s, in which many artists tried to set artistic creation in the field of the impersonal. In using mathematics, Tom Johnson is in search for something that might allow the music to compose itself automatically. He establishes sequences of numbers and translates them literally into melodies, harmonies or rhythms. In doing so, he manages to make the mathematical background clearly appear. He seems to think of his music as a way of reflecting mathematics in the form of audible phenomena, and ultimately, he attaches some kind of mystical dimension to this experience. Mathematical truths, as he calls them, are unquestionable. Their laws do not depend on human will, they are deeply inscribed in nature, and a composition strictly based on them is necessarily linked to the absolute.
{"title":"Music and mathematics in Tom Johnson’s work: the composer’s view","authors":"Gilbert Delor","doi":"10.1080/03080188.2022.2035104","DOIUrl":"https://doi.org/10.1080/03080188.2022.2035104","url":null,"abstract":"ABSTRACT Tom Johnson is an interesting case of interdisciplinarity in that he makes music and mathematics coincide in a very obvious and literal way. He was led to this approach in the context of the American avant-garde of the 1970s, in which many artists tried to set artistic creation in the field of the impersonal. In using mathematics, Tom Johnson is in search for something that might allow the music to compose itself automatically. He establishes sequences of numbers and translates them literally into melodies, harmonies or rhythms. In doing so, he manages to make the mathematical background clearly appear. He seems to think of his music as a way of reflecting mathematics in the form of audible phenomena, and ultimately, he attaches some kind of mystical dimension to this experience. Mathematical truths, as he calls them, are unquestionable. Their laws do not depend on human will, they are deeply inscribed in nature, and a composition strictly based on them is necessarily linked to the absolute.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43310939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/03080188.2022.2035105
P. Grange
ABSTRACT In 1974 the composer Harrison Birtwistle commented to the author: ‘On film you can show someone at the bottom of the stairs and then at the top.’ This article explores the relevance of this statement to the compositional practices of Philip Grange. The focus is on Grange's Cloud Atlas (2009) for symphonic wind band, and how an adaption of the structure of David Mitchell's eponymous novel of 2004 is combined with a large-scale realisation of Birtwistle's statement to create a work employing structural eclipsing and narrative substitution that enables the 26 minutes of Grange's composition to suggest a duration twice as long. It forms the basis of a discussion involving Hertz's intertexturality to address the possible motivation for employing sources from other domains, while Jakobson's intersemiotic transmutation aids understanding of the processes involved. Finally, the desire to reveal non-musical sources is discussed using Eco's concept of ‘resonances and echoes’.
{"title":"Philip Grange’s Cloud Atlas: structural eclipsing, narrative substitution, and the use of lacunae in the unfolding of implied alternative temporal trajectories","authors":"P. Grange","doi":"10.1080/03080188.2022.2035105","DOIUrl":"https://doi.org/10.1080/03080188.2022.2035105","url":null,"abstract":"ABSTRACT In 1974 the composer Harrison Birtwistle commented to the author: ‘On film you can show someone at the bottom of the stairs and then at the top.’ This article explores the relevance of this statement to the compositional practices of Philip Grange. The focus is on Grange's Cloud Atlas (2009) for symphonic wind band, and how an adaption of the structure of David Mitchell's eponymous novel of 2004 is combined with a large-scale realisation of Birtwistle's statement to create a work employing structural eclipsing and narrative substitution that enables the 26 minutes of Grange's composition to suggest a duration twice as long. It forms the basis of a discussion involving Hertz's intertexturality to address the possible motivation for employing sources from other domains, while Jakobson's intersemiotic transmutation aids understanding of the processes involved. Finally, the desire to reveal non-musical sources is discussed using Eco's concept of ‘resonances and echoes’.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44396313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/03080188.2022.2042772
Willard McCarty
Readers will have noticed a new design for the cover, which appeared just in time for the previous issue but too late for editorial comment. This design is the most visible of several changes that have been made recently better to communicate the raison d’être of this journal. Apart from the cover image, these include a new brief statement, a longer one beneath it on ISR’s leading web page and improvements in how unsolicited submissions are processed. The image, ‘Two men discussing coming hunt’ (1961), by Inuit artist Qabaroak Qaisiya of Kinngait (formerly Cape Dorset), Nunavut, Canada, was already an altogether too indistinct and incomplete part of ISR’s cover. With communication of the journal’s fundamental purpose in mind, I wanted to foreground Qaisiya’s powerful image so that it would act emphatically on the word ‘science’, by implication enlarging its semantics beyond the natural sciences, back to the larger dimensions of scientia, as is the journal’s actual scope. This is not to exclude, push away or ‘soften’ the scientific but to stretch its meaning (Lloyd 2021). I also wanted by means of the image to suggest ISR’s communal purpose. Students of conversation and of social intelligence more broadly will, I trust, appreciate Qaisiya’s conjuring of the two hunters’ shared mind. To paraphrase cognitive scientist Andy Clark, we are nudged to attend to how, in the betweenness of their relation, they create a common understanding, hence to see that much of what matters about our intelligence is hidden not in the brain, nor invested in any technology, but brought about through the complex and integrated interactions and collaborations between ourselves, each other and the world (Clark 2001, 153–4). Thanks are due to Dorset Fine Arts, Toronto, Canada, for permission to reproduce ‘Two men discussing coming hunt’ and to the staff of Taylor & Francis for patiently translating into an effective design my notions of what would look right. I would also like to welcome to the Editorial Board, Dr Ksenia Tatarchenko (Singapore Management University). In addition I am happy to announce the appointment of our new Communications Editor, Gee Abraham.
{"title":"Editorial","authors":"Willard McCarty","doi":"10.1080/03080188.2022.2042772","DOIUrl":"https://doi.org/10.1080/03080188.2022.2042772","url":null,"abstract":"Readers will have noticed a new design for the cover, which appeared just in time for the previous issue but too late for editorial comment. This design is the most visible of several changes that have been made recently better to communicate the raison d’être of this journal. Apart from the cover image, these include a new brief statement, a longer one beneath it on ISR’s leading web page and improvements in how unsolicited submissions are processed. The image, ‘Two men discussing coming hunt’ (1961), by Inuit artist Qabaroak Qaisiya of Kinngait (formerly Cape Dorset), Nunavut, Canada, was already an altogether too indistinct and incomplete part of ISR’s cover. With communication of the journal’s fundamental purpose in mind, I wanted to foreground Qaisiya’s powerful image so that it would act emphatically on the word ‘science’, by implication enlarging its semantics beyond the natural sciences, back to the larger dimensions of scientia, as is the journal’s actual scope. This is not to exclude, push away or ‘soften’ the scientific but to stretch its meaning (Lloyd 2021). I also wanted by means of the image to suggest ISR’s communal purpose. Students of conversation and of social intelligence more broadly will, I trust, appreciate Qaisiya’s conjuring of the two hunters’ shared mind. To paraphrase cognitive scientist Andy Clark, we are nudged to attend to how, in the betweenness of their relation, they create a common understanding, hence to see that much of what matters about our intelligence is hidden not in the brain, nor invested in any technology, but brought about through the complex and integrated interactions and collaborations between ourselves, each other and the world (Clark 2001, 153–4). Thanks are due to Dorset Fine Arts, Toronto, Canada, for permission to reproduce ‘Two men discussing coming hunt’ and to the staff of Taylor & Francis for patiently translating into an effective design my notions of what would look right. I would also like to welcome to the Editorial Board, Dr Ksenia Tatarchenko (Singapore Management University). In addition I am happy to announce the appointment of our new Communications Editor, Gee Abraham.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47514101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-27DOI: 10.1080/03080188.2022.2047359
Jonah Lynch
ABSTRACT Modelwork, a collection of articles edited by Martin Brückner, Sandy Isenstadt, and Sarah Wasserman (University of Minnesota Press, 2021), contributes to scholarship about human inquiry by exploring the nature and action of models. Models provide access to hidden realities by bridging the gap between the tangible and the abstract; models also alter perceptions and can have deep and lasting effects on human knowing. The collection argues for the importance of attending to this double action of modelling, and explores important epistemological questions.
{"title":"Same and Different: How Models Contribute to Knowing. A review of Modelwork","authors":"Jonah Lynch","doi":"10.1080/03080188.2022.2047359","DOIUrl":"https://doi.org/10.1080/03080188.2022.2047359","url":null,"abstract":"ABSTRACT Modelwork, a collection of articles edited by Martin Brückner, Sandy Isenstadt, and Sarah Wasserman (University of Minnesota Press, 2021), contributes to scholarship about human inquiry by exploring the nature and action of models. Models provide access to hidden realities by bridging the gap between the tangible and the abstract; models also alter perceptions and can have deep and lasting effects on human knowing. The collection argues for the importance of attending to this double action of modelling, and explores important epistemological questions.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42868378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-24DOI: 10.1080/03080188.2022.2036520
M. Casey, Robert J. Quon, B. Jobst
ABSTRACT Prior research involving persons with drug-resistant epilepsy has demonstrated that listening to some music decreases the probability of clinical seizures and their related comorbidities. This article reviews recent research designed to elicit the neural mechanisms behind positive outcomes on biomarkers of the disease. Using novel music analytical and neurophysiological experimental methods, our results showed positive effects on epilepsy using 15-second gamma-band (40-Hz) complex tones as well as Mozart's Sonata for Two Pianos in D Major (K448). We also observed greater effects with increased stimulus duration. Further analysis elicited effects localized to bilateral frontal brain regions due to transitions between musical phrases. Finally, music matched for patient preference from a range of musical styles was not as effective as 40-Hz tones or Mozart's K448. Understanding these results required expertise in both music and neuroscience, and could yield reliable music-based interventions for epilepsy that may also be transferable to other brain disorders.
{"title":"Eliciting neural mechanisms of music medicine for epilepsy","authors":"M. Casey, Robert J. Quon, B. Jobst","doi":"10.1080/03080188.2022.2036520","DOIUrl":"https://doi.org/10.1080/03080188.2022.2036520","url":null,"abstract":"ABSTRACT Prior research involving persons with drug-resistant epilepsy has demonstrated that listening to some music decreases the probability of clinical seizures and their related comorbidities. This article reviews recent research designed to elicit the neural mechanisms behind positive outcomes on biomarkers of the disease. Using novel music analytical and neurophysiological experimental methods, our results showed positive effects on epilepsy using 15-second gamma-band (40-Hz) complex tones as well as Mozart's Sonata for Two Pianos in D Major (K448). We also observed greater effects with increased stimulus duration. Further analysis elicited effects localized to bilateral frontal brain regions due to transitions between musical phrases. Finally, music matched for patient preference from a range of musical styles was not as effective as 40-Hz tones or Mozart's K448. Understanding these results required expertise in both music and neuroscience, and could yield reliable music-based interventions for epilepsy that may also be transferable to other brain disorders.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42424935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-22DOI: 10.1080/03080188.2022.2047275
G. Schott
ABSTRACT The averaging of waveforms necessary to detect small cortical evoked potentials which was pioneered by George Dawson, and the periodicity of component waves resulting from interference identified by Thomas Young, reveal selected components of the visual record to be diminished and others to be enhanced and thus salient. Surprisingly, these examples of achieving salience in neurophysiology and physics were anticipated two millennia ago by the Greek artist Zeuxis. When commissioned to paint a portrait of Helen of Troy, Zeuxis used a not dissimilar method of selection which still resonates today in the carnal artistry of Orlan. These examples reveal the important contribution of graphic methods to the depiction and hence the significance of salience in both the sciences and the humanities.
{"title":"From brainwaves and ripples to Helen of Troy and Orlan: the depiction and significance of salience","authors":"G. Schott","doi":"10.1080/03080188.2022.2047275","DOIUrl":"https://doi.org/10.1080/03080188.2022.2047275","url":null,"abstract":"ABSTRACT The averaging of waveforms necessary to detect small cortical evoked potentials which was pioneered by George Dawson, and the periodicity of component waves resulting from interference identified by Thomas Young, reveal selected components of the visual record to be diminished and others to be enhanced and thus salient. Surprisingly, these examples of achieving salience in neurophysiology and physics were anticipated two millennia ago by the Greek artist Zeuxis. When commissioned to paint a portrait of Helen of Troy, Zeuxis used a not dissimilar method of selection which still resonates today in the carnal artistry of Orlan. These examples reveal the important contribution of graphic methods to the depiction and hence the significance of salience in both the sciences and the humanities.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46895377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-19DOI: 10.1080/03080188.2022.2035106
M. Helmuth, M. Schedel
ABSTRACT The authors investigate works by four composers who employed technology in the creation of music employing audification, sonification and algorithmic composition techniques. These compositions involve interdisciplinary collaborations either with scientific researchers, in the case of Annea Lockwood's Dusk and Carla Scaletti's hàgg, or artificial intelligence, in George Lewis's Voyager, and Bob Sturm's The Waters of Heanny. Each composer's choice of input data, custom-designed tools and personal compositional processes result in unique, expressive works that challenge the listener to expand their view of music and reality.
{"title":"Links between sonification and generative music","authors":"M. Helmuth, M. Schedel","doi":"10.1080/03080188.2022.2035106","DOIUrl":"https://doi.org/10.1080/03080188.2022.2035106","url":null,"abstract":"ABSTRACT The authors investigate works by four composers who employed technology in the creation of music employing audification, sonification and algorithmic composition techniques. These compositions involve interdisciplinary collaborations either with scientific researchers, in the case of Annea Lockwood's Dusk and Carla Scaletti's hàgg, or artificial intelligence, in George Lewis's Voyager, and Bob Sturm's The Waters of Heanny. Each composer's choice of input data, custom-designed tools and personal compositional processes result in unique, expressive works that challenge the listener to expand their view of music and reality.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45493189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-19DOI: 10.1080/03080188.2022.2035101
A. Hugill
ABSTRACT This introduction sets out the key themes of this special issue of Interdisciplinary Science Reviews which is devoted to Music and/as Science. After identifying some initial provocative questions, it outlines the interdisciplinary, methodological and epistemological aspects of the various articles in the journal. It concludes with some personal reflections on the author’s own involvement in music over more than fifty years.
{"title":"The continuous in motion: music and/as science","authors":"A. Hugill","doi":"10.1080/03080188.2022.2035101","DOIUrl":"https://doi.org/10.1080/03080188.2022.2035101","url":null,"abstract":"ABSTRACT This introduction sets out the key themes of this special issue of Interdisciplinary Science Reviews which is devoted to Music and/as Science. After identifying some initial provocative questions, it outlines the interdisciplinary, methodological and epistemological aspects of the various articles in the journal. It concludes with some personal reflections on the author’s own involvement in music over more than fifty years.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42527631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-17DOI: 10.1080/03080188.2022.2035103
B. Truax
ABSTRACT The author discusses the relationship between experiential listening knowledge and scientific interdisciplinary knowledge in regard to sound, with particular emphasis on soundscape composition and electroacoustic signal processing.
摘要作者讨论了体验式听力知识与科学跨学科声音知识之间的关系，特别是声景合成和电声信号处理。
{"title":"Speech, music, soundscape and listening: interdisciplinary explorations","authors":"B. Truax","doi":"10.1080/03080188.2022.2035103","DOIUrl":"https://doi.org/10.1080/03080188.2022.2035103","url":null,"abstract":"ABSTRACT The author discusses the relationship between experiential listening knowledge and scientific interdisciplinary knowledge in regard to sound, with particular emphasis on soundscape composition and electroacoustic signal processing.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41756947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-17DOI: 10.1080/03080188.2022.2036408
Ambrose Field
ABSTRACT According to Brooks [2017. “The Big Problem with Self-driving Cars Is People”. IEEE Spectrum: Technology, Engineering, and Science News], artificial intelligence has had a variable track-record of usefulness in situations where context and environmental knowledge are responsible for shaping human interactions. In 2021, providing contextually aware training to supervised machine learning is still a non-trivial task for AI models that involve complex systems. In addition, knowledge held only across distributed members of a community, within culture, or tacitly within the wider environment of the ambient commons [McCullough 2013. Ambient Commons: Attention in the Age of Embodied Information. Cambridge, MA: MIT Press] evades consistent generalizable modelling – even in technical domains such as traffic flow management, atmospheric chemistry, or the prediction of election results. Yet it is precisely these interactions of context, community, culture and environment that also define how music can be created. The creative arts can themselves be thought of as a complex system. Assuming that creativity is non-generalizable, this paper assesses creative processes through a humanities-centric lens of machine learning and robotics, aiming to better understand relationships between context, environment and experimental system in artistic research. These relationships are now themselves significantly digitally mediated, requiring a change in academic discourse away from artefacts which need discrete research justification towards a more holistic, and often non-linear view of networks that require cultural situation. In doing so, issues of creative accountability [Field 2021. “Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical Rationality.” In Sound Work: Composition as Critical Technical Practice, edited by J. Impett, 303–317.Orpheus Institute Series. Leuven: Leuven University Press] and the implications of substituting “creative question” for “research question” are examined within creative research. Early twentieth century ideas related to progressivism which have instrumentalized creative practice, particularly where technology forms part of art making, are challenged by re-thinking change through new models. The Three Horizons change model [Sharpe 2016. “Three Horizons: A Pathways Practice for Transformation.” Ecology and Society 21 (2): 47] originally intended to describe environmental ecosystems, is assessed as a practical tool for designing creative research.
{"title":"Mining the ambient commons: building interdisciplinary connections between environmental knowledge, AI and creative practice research","authors":"Ambrose Field","doi":"10.1080/03080188.2022.2036408","DOIUrl":"https://doi.org/10.1080/03080188.2022.2036408","url":null,"abstract":"ABSTRACT According to Brooks [2017. “The Big Problem with Self-driving Cars Is People”. IEEE Spectrum: Technology, Engineering, and Science News], artificial intelligence has had a variable track-record of usefulness in situations where context and environmental knowledge are responsible for shaping human interactions. In 2021, providing contextually aware training to supervised machine learning is still a non-trivial task for AI models that involve complex systems. In addition, knowledge held only across distributed members of a community, within culture, or tacitly within the wider environment of the ambient commons [McCullough 2013. Ambient Commons: Attention in the Age of Embodied Information. Cambridge, MA: MIT Press] evades consistent generalizable modelling – even in technical domains such as traffic flow management, atmospheric chemistry, or the prediction of election results. Yet it is precisely these interactions of context, community, culture and environment that also define how music can be created. The creative arts can themselves be thought of as a complex system. Assuming that creativity is non-generalizable, this paper assesses creative processes through a humanities-centric lens of machine learning and robotics, aiming to better understand relationships between context, environment and experimental system in artistic research. These relationships are now themselves significantly digitally mediated, requiring a change in academic discourse away from artefacts which need discrete research justification towards a more holistic, and often non-linear view of networks that require cultural situation. In doing so, issues of creative accountability [Field 2021. “Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical Rationality.” In Sound Work: Composition as Critical Technical Practice, edited by J. Impett, 303–317.Orpheus Institute Series. Leuven: Leuven University Press] and the implications of substituting “creative question” for “research question” are examined within creative research. Early twentieth century ideas related to progressivism which have instrumentalized creative practice, particularly where technology forms part of art making, are challenged by re-thinking change through new models. The Three Horizons change model [Sharpe 2016. “Three Horizons: A Pathways Practice for Transformation.” Ecology and Society 21 (2): 47] originally intended to describe environmental ecosystems, is assessed as a practical tool for designing creative research.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48204347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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