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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Perception and Sound Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Tablado
    • Musical creation around Outer Space
    • Campo Abierto
    • Musical creation around Dream Work
    • Biotope
    • EROR
    • IDEA
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2021.22
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • Replay: ManiFeste-2022 Concerts
    • ManiFeste festival from 2012 to 2022
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

    • 2022.23 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • TS2 and Partiels
    • Sound spatialization
    • From PureData to audio plugins
    • Sensors, Interfaces, and Interactive Machine Learning
    • Other training programs
    • Practical Information
    • Advanced Programs
    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
    • Music Doctorate
    • AIMove Master
    • School Programs
    • Studios of Creation
    • Mixed-Music
    • Artistic and Cultural Education
    • Career Discovery Visit
    • Art School Reserach and Creation Workshop
    • Images of a Work Collection
    • ManiFeste-2022, the Academy
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

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  • Soutenance de thèse de Pierre Talbot








Wed 6 June 2018,
2:30 p.m.
Ircam
salle Stravinsky

Free entry, limited seats available.

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Research
Thesis Defense






Soutenance de thèse de Pierre Talbot

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Spacetime Programming: A Synchronous Language for Constraint Search
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Constraint programming is a paradigm for computing with mathematical relations named constraints. It is a declarative approach to describe many real-world problems including scheduling, vehicles routing, biology and musical composition. Constraint programming must be contrasted with procedural approaches that describe how a problem is solved, whereas constraint models describe what the problem is. The part of how a constraint problem is solved is left to a general constraint solver. Unfortunately, there is no solving algorithm efficient enough to every problem, because the search strategy must often be customized per problem to attain reasonable efficiency. This is a daunting task that requires expertise and good understanding on the solver's intrinsics. Moreover, higher-level constraint-based languages provide limited support to specify search strategies.

In this dissertation, we tackle this challenge by designing a programming language for specifying search strategies. It is constructed around two axes: (i) a novel theory of constraint programming based on lattice theory, and (ii) a programming language, called spacetime programming, building on lattice theory for its data structures and on synchronous programming for its computational model.

This paradigm opens the door to new, more complex, search strategies in constraint programming but also in applications requiring backtracking search. We demonstrated its usefulness in an interactive computer-aided composition system where we designed a search strategy to help the composer navigating in the state space generated by a musical constraint problem.

Pierre Talbot will defend his doctoral  carried out  in the Musical Representations team (STMS - CNRS/IRCAM/Sorbonne Université).

Jury

Carlos Agon, Sorbonne Université
Emmanuelle Encrenaz, Sorbonne Université
Antoine Miné, Sorbonne Université
Manuel Serrano, INRIA, Inde
Sylvain Soliman, INRIA, Lifeware
Peter Van Roy, Université Catholique de Louvain

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