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‘Blocking Behaviours’ concerns the real-time interpretation of two simulations of complex behaviour through an agent-based system. The simulations enforce a way of thinking that revolves around balancing behaviours, an attitude that considers musical output as something that emerges from an interaction with an autonomous system. The simulation acts as a generative, rule-based system producing output that is subject to different kinds of observation algorithms. The idea is that evolving processes are set in motion where the creator/composer becomes an observer of various developments. The output can not always be controlled in detail but is instead interpreted and further processed. The interpretation involves a mapping between different modes of representations in order to simplify or combine. In ‘Blocking Behaviours’ the idea is to explore the boundary of generative behaviour, control and and direct access to computer sound synthesis.
The abstract is displayed here for proof-reading and will only be part of the published proceedings, not of the final version of this web catalogue.
Concieved as an experiment for mapping agent-based interaction to sound synthesis ‘Blocking Behaviours’ is a software, piece and performance created using SuperCollider and the Terra.js Javascript library. Using Terra.js allows for setting up local interactions with the goal of “creating and analyzing biological simulations.” (https://rileyjshaw.com/terra). Terra.js runs in a web browser where the visual outcomes of the simulations are displayed. ‘Blocking Behaviours’ reconsiders the relationship between generative activities using the Terra.js simulations that are ‘interpreted’ by sound processes in SuperCollider that in turn shape the simulation, creating a feedback network.
Running the simulations becomes the carrier of the musical development. The simulations enforce a way of thinking that revolves around balancing behaviours, an attitude that considers musical output as something that emerges from an interaction with an autonomous system. The simulation acts as a generative, rule-based system producing output that is subject to different kinds of observation algorithms. The idea is that evolving processes are set in motion where the creator/composer becomes an observer of various developments. The output can not always be controlled in detail but is instead interpreted and further processed.
Observation as a mode of composition is what drives many of the possible applications of ‘Blocking Behaviours’. The observer (live-coder) attaches sound-producing algorithms to the simulations that take place so that the resulting music becomes an interpretation of their development. Interaction emerges through the observation of a rule-based system by attaching operations instead of controlling interactions.
Besides attaching and detaching different interpretation processes, two other important modes of control are supported: configuring the context (initial states) and interfering (or blocking) the generated behaviours. For all three of the interaction modes both manual commands can be used as well as audio-driven operations. This way of working introduces an operational space within which highly detailed synthesis instructions algorithms interact and clash with blind generators of computational behaviours such as the biological simulations. The relationship of influence goes in both directions and across different time-scales.
‘Blocking Behaviour’ questions the concepts of generative activity, control, sound-synthesis through an ongoing reconfiguration and live-coding.