Thank you so I've been the musician and

while I've been a musician before
I was interested in technology.

I played instruments mostly piano.

I work in studios and
when I started working

I started to get interested in technology
and I saw what the cloud you can do.

Much faster.

Sometimes much cheaper in a studio when
you have to kind of you playing instead of

life as I don't feel that
this is the best you.

Relation of technology such as
something that was was missing from me

in the way the technology was being
used in the studio and in practice.

Because making things a little simpler
easier to edit it was a computer save and

make it cheaper is important but I feel
that technology can actually enhance

the core experience of music making that
you can find new ways to create music

that completely changed the way
we thought about music and

well into it's possible but I definitely
felt it's worthwhile trying and

there are three areas that
especially were interesting for me.

One of them was gestures.

This is a very nice gesture and
this is a nice gesture and

this is a nice gesture and this is
a nice gesture and they work exclusively

people like to play this instrument and
I felt that with technology.

I can enhance the arsenal of gestures
that we can play and maybe find new

ways to create music that because of
the limitation of the physical world.

We weren't able to find that up until now.

Maybe this is a very interesting
gestures that we just don't

have the instruments to capture it and
to be able to make it into music and

maybe people have this kind of gesture as
it will be able to experience of new ways.

In other things that was
very interesting for

me was the whole idea of the network
imagines that when you play in a group.

Let's say.

String to your role
playing the violin your.

Gestures.

Will also be captured and sent to
change the cello sound but as a cello

is playing a particular sound internally
you make a sound most of the matter what

how the cello played the cello player will
definitely change the way he plays or she.

Because suddenly he has very sharp attack
of the sound and different emotions with.

Abrupt for example and this motion
can be sent and maybe change of your

life change the scales at the viola plays
into a major and sort of mind and so on.

So there's a whole new experience of
interdependency that I was very interested

to explore by having as
a network the center of.

Musical experience are not the only
ones that control the music that

is being played.

But also other people can change in a
collaborative it can create music in a way

that it was mechanical an acoustic
instrument isn't possible and

the last area of interest was the whole
idea of education because I felt.

I want to make tea and I took some classes
with him a puppet who started the whole

idea of a construction museum a contrast
of Islam based on constructionism idea

is that if you have a computer.

The computer can provide four thousand
taste and soon I say it's because you can

program it to find something
meaningful to the to the learner and

if you learn and
create something that is meaningful for

yourself learning will be much more
enhanced and I thought that it.

For example is a Lego brick.

Based on the constructionism instead of

just creating structures
with a little break.

You can mind from break.

You can actually construct behaviors you
can program a little things that you just

created and tell it you go this way but
if you stumble into a different object

you change the way that you work so people
can actually create twelve learning and

they're learning programming the learning
mathematics or learning a lot of different

things and I try to apply this to music
and have constructionism in music.

So my instrument.

Like a lot of stuff is
some example of the first.

This is really like almost eleven
years old project but I still show it.

I think I will first
year graduate student.

I was interested in taking
gestures at the people that

usually are not affiliated with
creating music in a meaningful manner.

The problem is sometimes even in friends
but I will spare the infant clip.

Let's go with toddlers for
now and put them in

an environment that they that they have
the gestures that are familiar with but

now they can create music
using these gestures.

So this playpen has all kind of sensors in
different tide that kids are familiar with

this from Science Museum and so on and.

They can move around but
the music is not just played better.

Music is generated by the way they move so
if the kid is moving next to one corner

and I have an algorithm that if
their movement is rhythmic will be

most stable mix two different
corner very energetic movement

into higher pitch or the control of the
melody goes and it was in the end right

after that which is easy to do because
you don't need a lot of a compliment.

And I'm not sure the to kids learn
about stability or about control.

But you'll see some moments when I
believe you see that you recount of just

causality I created music power that
up until now probably I wouldn't have.

Some kids now they're just growing
something more thoughtful starting.

Trying

to explain my Specifically
what is a control of the music

and here they were comments
they talked about.

That I still tried.

Continuing with the idea of
networks of the of gestures.

I was very interested in soft touch
most of them some of that you know

have some kind of heart touch soft touch
I think it can be squeezed that can

be pulled that can be similar to
just played on people love to play.

I was focusing on kids at that time
we developed conductive fabric

that basically sense how much you squeeze
different and basically you can embroider

embroidery your own instrument but
just deciding where to embroider and

have a kind of nice design that
you can squeeze and create movie.

In this case there was jello
inside just just to get a feeling

here we have inside which I forced into
misters was all kind of different angle

between this cluster of balls
creating music and I've a clip.

That is a little bit.

I think but that's only one that I have so
I'll try to

set

about that.
A different

approach with a conductor probably but

it is just mixing in a studio mix usually
with sliders which is important and

people like accuracy but how about giving
more expressive way to mix and create

different sounds by squeezing different
electrodes and bringing different sounds.

Changing the tumblers
a kind of different sound.

Another played the flute

here is a piano and

even harmonies of

the same thing on its own separate

music in a higher level by expressive
gestures combining gestures and

network led to the development of the big
bugs the big bugs are network instruments

that explore new ways to
create music specifically for

an obvious but also adults when we went
through this project which was part of

the transfer of a person from the project.

That was one of the product or.

We came to an orchestra for example
Berlin for the money and the B.B.C.

Glasgow and other countries around the
world and spent a week with the education

system of their of us to work with kids
teach them how to play the instrument.

This is the conductor.

This is the electric based
instrument you see here.

There's a little piazza that you can hit.

And you can record what you play then you
can change what you play with antenna and

you gesture but
the big idea here is that after you done

was a tribute you can send
the sound to someone else.

And this person can listen to what you
just created and develop what you created

further change what you played send it to
someone else and collaborative go back and

forth and create music together at any
given point you can actually tell you or

not if as well.

If you want to keep the things
that you've got and together.

There's like seven minutes of
collaborative composition building that

and we performed in concert public concert
that shows a little bit about how this

works not

really a change of the my person had
a video also contains There is an alderman

to stop it.

That's something else.

People just supposed to allow even someone

with no experience at all to believe it
was good and create in one of the real

if you're

happy with the bad about
anything to them if you

play the god they can save you but
I can do with you.

The middle ground because I thought there
was a and when you please come with me.

I can play with you and
that idea of in the dependency.

I can go to other people
where they can look across my

music books

maybe one of the very public appearances
in the trial really blew him away here.

If you're going to spend
about a week not eating it.

You know that already.

Maybe a short clip from
the concert with B.B.C.

Glasgow you see how the first kid is just
entering something he doesn't know whether

he was going to get to have surprise or
when another kid gets out if

they can decide whether to develop it or
to enter something new and

then they keep what they get and
they can control each other's music and

we see players from from the from
the participating as well.

Because what makes a claim that it's
simple enough for kids to play but

rich enough from professional
musicians to participate.

So she entered I'm a thief.

He's manipulating it changing it.

Now when pointing to her
manipulate as music in this case

she just manipulates a metronome
because there's only so that she and

her send it to someone else
pretend to be this girl and so on.

What you also found that in order to
create this collaborative social aspect.

They really tried to make much clearer
the fact that they're playing with you and

they had all kind of large measure that
we didn't sense we didn't have a lot of

that that point.

Let me show you some of the gestures
of people develop just to talk.

This is a piece and this is a section of
the composition where the system waits for

everyone to get together and
whenever everyone heads together.

You just randomly couple the quartets and
that different people to

play with each other and see what the kids
did there in order to make it clear and

I don't know if they hear the sound from
the bags but feel it because it's vibrate.

But just to make it clear that they play
with each other they did all of this

and letters are developed other
gestures that in a second.

You see like the way from the soccer field
this is from inner city Glasgow kids

soccer was very big for them so
they came up with this idea of doing this.

And of course you cannot see
how the sound going around in

the fun exciting because I haven't
used stand only lighting there but

audience could actually see how the sounds
go in space which was very nice.

So I had tried to take this as a first
a student of the graduate program.

I was touch and
go to school on the big bags and

embedded all kind of new technology in
them such as a kilometer is a consensus

gestures not only that will change
the whole so I think to adjust performance

where you can record things
that maybe you cannot play but

you like a pianist playing you can
record what he or she is playing and

then you can manipulate and
personalize it send it to someone else.

We also kept the audio and so on.

Let me show you a little
clip from performance of try

play something Travis started
it with something else

but I think it digs a different voice

and

so I shall keep on the hunt.

If time out.

But the short clip about how it works.

Maybe if I can't grab it.

Maybe not have it so.

So the research aspect of
it was coming up with this

algorithm in trying to use perceptual
modeling of how people perceive music and

try to model a computer program
that can do something similar.

So we looked at studies of how people
look at similarities it's going to be

similar to this one.

This is less similar we try to come up
with a mathematical relationship between

the notes to create a computer
that understand what similar

to what the computers
understand what's stable and so

on and
then try to allow people to manipulate it.

So this all works very well and
I was pretty much happy with

the new gestures that we explored
as a network and education system.

But something was missing in
the something that was missing was

when I started to be into the music and
that was acoustic sound.

There was something that I want.

I was just missing.

The richness of actually playing and
moving in the wild moving air in the world

in a much more than just
a membrane of a speaker going.

What was missing for me I wanted to.

It's something that that can
allow me to to use algorithms and

the interesting modeling and perceptual
modeling and collaborative approaches and

I want to use a computer for
what it's good at pushing the envelope but

have acoustic sound and create
acoustic sound and have visual cues.

So I can actually look when I play
together with some money from the drummer

and this is the guitar
player when I do this

it's important because Adama
can see it and do that so.

The only thing that I could thought that
I would think about that can have this

little brain but have acoustic output

is Roberts and I started with the whole
idea of putting musicianship.

Now the musical robots before but

they're pretty much automated machines
that you just feed was a file and

to just move and play different kind
of instruments the big problems here.

I tried to push the envelope
was to have a listening what

that I can actually understand what.

Humans around it.

Play and then improvise and
then accompany and then have all kind

of interactions with humans that
you cannot have with other humans.

So the idea is to combine the benefits
of computer power with sound and

the visual cues.

And to lead to new music interaction and

human machine interaction that push the
envelope of music that create new kind of

music you know to do that we wanted to
create a machine that listens like a human

in other words have some models of what
is density stability similarity and

so on but if you put improvised
like human that would probably be

not such a good idea that what I thought
because probably it will not listen as

good as human probably cannot play as
good as human if I want to do that.

Playing with humans great.

So the promise was let's try to make it.

Listen like human but improvise like
something that no human will play.

And I'll show you some some clips using

genetic algorithms which I I don't
know if anyone human ever can.

Even And it's good that people don't think
about genetic algorithm with improvising.

Humans and
I bring something else to the table.

Fractals you know factors create a kind of
interesting graphical if you put them in

a graphical static results that were
never there before where they were

like in the now you know it's something
Novell why not music and so on.

So listen acumen impressed
the commission like a robot and

we had to design look at design.

So there's a click between the human and

the I want to show that original design
and then how it became anthropomorphic

because the reason is I wasn't and
didn't create the kind of relationship.

The mechanics of it how to make it
visual and sound good and all this.

Good stuff as a perceptual
I'll go with them to make it

something that people understand yet.

I realize that he answered to me he used
something that I read I can hear that but

he did it in a new way.

So improvisation is present and
the whole idea of interaction.

So there is no you don't design
which was which was nice but

it didn't create the feeling of playing
with something that you were familiar

with so with help of that trance would.

We were able to build I think
one of the fuel wouldn't robots.

I think wouldn't underappreciated
in dramatic industry.

I think it can be great.

Actually it has problems but
it's it's unique that differently.

Not many robots made of wood.

You can think to hand one of them to
the solenoid which was playing very fast

faster than humans do so or even even in
that it's something that I want to explore

how the town going to play so fast
fifteen Hertz fifteen hits per second.

Actually I looked at look it up and
there's competition of the fastest drama

in the world every year it's about
ten to eleven here it's their gold

medal holder the other hand is actually
about ten to eleven hurt because

it was a linear motor but
we used it to have larger visual cues

because people didn't really see that
certainly going up and down and also.

The sounds.

Let me show you some clips
of musicianship project.

OK so your system usually

the computer is a chronic sound and
you don't have the visual cues and

you don't have the acoustic sound he
would try to do exactly that I mentioned

Scott who actually was instrumental
to building it is a mechanical.

But also a computer science and
it was a design he was about into music.

He improvised was highly highly there
about how to take some of that all

the plays but improvise has been something
and I'm really happy with it because I'm

not happy with it as a lot of things to be
done but when I am happy when it is when

I like copters I Different got to develop
it further and then Scott copters I'm back

with Heidi come up with and
throw to a different direction.

So we have the right direction interaction
point it to you when you get there.

The

bass rhythm is still there but
it's improvised.

And

so on so that's the first thing that we
wanted to just establish because as you

can see them later we are.

Melodic based on how many based
interaction but this is with them.

We just want to see that
highly can detect a beat.

So if it is a tempo.

We have an algorithm similarity
to understand what is a tempo and

also what weighs a strong bit so it can
actually adjust and if Scott is playing

faster you can see how highly is adjusting
because his playing style and so on.

A pick sometimes but
you know it takes some time for

humans as well right to clap to their.

What is being faster.

What is being faster.

So just most of it's a bit
better after we start

to beat want to do something interesting
with it and if you want to call perceptual

a complement because when highly listens
to us the microphone inside the drums and

see what we place pass then
her not only that he takes

motifs from different players and
combine them so the pitch from the sky and

the within from these guys and
create something new and so

me play faster to play softer the same.

Thing which is also something
that humans do not do so well

with

the right and some of the

other

tricks of how to can do
if you just add that.

Let's see if it could do it because most
women cannot I look up to the flat I

played which was nine beats which
goes come to that dump that on

top of that that I'm from students asked
to clap for me I was better but a crank.

And then another another if it is
come to that at that time to that

dump that dump that dump that
dump that dump that seven.

And when he plays
the nine was one hand and

then asked to play the one with the seven
and then I asked him to do what I do that

which is playing the simultaneously and
see how everything the street converge and

diverging just small interesting
ways to create interesting rhythms.

Let's see how we try for

example one two three five six seven one
two three four five six seven together.

That's from Denmark with from then
together with the very big on about

except that it's a whole city was about
about X. a week with St Charles and so on.

This is from from Paris and
sometime we just play in unison.

We just put them in the file very crowded
and just play with them about in unison.

You know always get the get clap so
we fishing from forty or so.

Usually we end the piece was a unison.

Time

for maybe it is a perception study because
obviously there's a lot of research

going there about how to
perception American position.

This is a little study that music
students to figure out if they

perceive the concept of stability
similar to what how do you play so

the students are playing
highly skeptical motive

then how do you place what he
thinks is most able less table.

And similar stability kind of motif.

And we ask this and the students do not
know what he paid when but the price and

then we ask them to imagine we got some
very good relation of course it wasn't

hundred percent but most humans would not
agree on stable in one hundred percent or

not stable.

So

if your goal is highly but

that's what highly thought about most
a bit less there and if you want to do.

OK so let the clapping hand.

And then I decided to grow

melodic Actually we decided
that I don't go melodic.

It's an interesting story.

What happened there.

I put the video online and
someone kept the video and

put it on youtube and it was it was
getting out of reach on You Tube and

it is one point I got a call from
the C.N.N. You saw the C.N.N.

piece we saw your clip on You Tube to
make a piece about it I said Sure why

not you know the Web differently this
way if you put in C.N.N. Sure why not.

So C.N.N. came and went the day.

C.N.N. came with a piece on there about.

I got an e-mail from the N.S.F. saying
We saw you I can see and then please

submit a proposal to develop the fans
a new version of highly which for

me it's really interesting because you
know I would have thought that C.N.N.

we go into fast lane and look for projects
to write about and not vice versa.

But in fact there is an S.F.
proposal that awaits.

But differently and

I want a proposal which I finally found
it was going to work but I started work.

What I proposed even before which was
let's do melodic let's let's try to do

some things that that actually was
melodies and here's where we used to

take our guns and I will briefly
mention what what what we did here.

I played multiple motifs
music on cliffs to create.

How many people know
what genetic algorithm.

If you were to create some kind of
a database appropriation if you want

of of organisms in which again is and was.

Not if.

Then we have what's called the fitness
function or fitness function is you

look at this population and try to come up
with the best one thing about genetics.

And usually you don't look at fifty
percent to create a percent of their

population every time when we try to make
to figure out what the fitness function is

and the fitness function of similarity.

So there's a little motifs that were more
similar to what the robot is listening in

real time we're chosen and
this is a been really really fast.

So obviously the motives.

Beginning with very different
from each other not so

similar to what they're about
is listen to in real time but

if you run look at the generation
think about evolution.

You can get better and better fit.

Yes but highly listened to.

Now if I want it enough times
like hundreds thousands of times

I would get a match because
what we do in the population

think about genes now we have mutations
something random mutation will change

every generation will change
some of their of their motives.

We also of course crossbred So we take
part of the matter from here on a platform

to from here and make some part basically
trying to make some better fit to the new

environment that they got with the metal
right and everything so after a while.

It could have been similar but

we stopped before all this while comes
just to create something that is

a hybrid some kind of gimmick thing
between the original population.

So highly when he plays back there
is some aspects of my original

population that are based because I didn't
find the generation enough times but

there's also a lot of trying to be similar
to what you can sense when time and we

come often for
people was about that similarity and

you can see that there's some relationship
between place but has almost no.

Enough family but

enough to create hopefully some kind of
a spark between human and I know about

generations between

the sound.
It's not great

and

I'm not big fans of free
jazz like this but a lot of.

Put is not an easy option
when that's highly

when the right is it you know that was

where the generated on stuff was
a balance of everything has to be dynamic

and that's that's a big problem and
we study how humans do it and

then we focus groups and so
on to implement some kind of this is

all of us together here which having from
the department pieces by faculty and

students every year but
from the twenty seventh.

This is from last year
students are playing.

And you try to give

a very fast compliment again the sound is
not right because it's just going to focus

the

company went bust

and

he's highly improvising
with a genetic algorithm.

This is what we can.

About something.

Pamela about and will be great.

We won't know not how many will contract
our mental factors as something at

the height of the what we
paid based on control.

So this article that you pay for
that report was to have the whole

idea of modeling the pool operating
here with us from as a college just fan.

She does robotics and
she does social cues between robots and

we are going to have several but
just nodding his head head banging

both on the temple just to prep
a better gaze looking at us and

it's not fair that I can listen and
look at the robot and I'm working on it.

Listen to me right.

So it's going to have a comma.

It's going to look at us and
figure out what's going on.

Rejoining as well with them with
a smile the early breakfast.

I'm looking for your networking

something

so much of this improvisation.

How much education.

Always result in you

never have to show somebody else just.

And if you listen to

it and then speech in

different sounds

problem what this is going and

what this

is about

devices and having just for

fun is.

You know it's

just we can.

All

right.

Or you have

very very

rarely hear.

So

a lot of

sense.

Now let's hold on for

just a way

that we're looking for something

more functional but still funny.

You can't

deal

with

how easy.

I don't know wondering what the robot.

Number there for that robot.

How would you know it's
almost like a human

so you have a goal or break technology.

The way people were trying to

draw it was a player and now we're going

to be trying for a musician.

So there wasn't

such a number

anymore so I just think yes

and this is a expression

together expression.

I'm always changing things don't

try to write

something that looks like water.

Not something that I

thank you so much for having me.

Next four weeks from today.

I'm obliged to speak out.

You know.