• 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
    • 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.

    • The IRCAM Forum
    • Subscribe to the Forum
    • Softwares
    • Ircam Amplify
    • Industrial Applications
    • Industrial Licenses
    • Forum Vertigo
  • IRCAM
  • Careers & Job Offers
  • Calls for applications
  • Newsletter
  • Arrive
  • Boutique
  • Resource Center
  • Magazine
  • Medias
  • login
  • En
  • Fr
  • IRCAM
  • Careers & Job Offers
  • Calls for applications
  • Newsletter
  • Arrive
  • Boutique
  • Resource Center

Fr | En

  • login
  • 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
    • 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.

    • The IRCAM Forum
    • Subscribe to the Forum
    • Softwares
    • Ircam Amplify
    • Industrial Applications
    • Industrial Licenses
    • Forum Vertigo
  • Home
  • Artificial, Creative, and Autonomous Agents
Publish date


With Published chosen, won't be shown until this time





Sept. 3, 2020
Edit
Article
Research
News






Artificial, Creative, and Autonomous Agents

Edit






The Musical Representations team in the STMS laboratory at IRCAM (UMR 9912 Sciences et technologies de la musique et du son, IRCAM, CNRS, Sorbonne University), under the direction of Gérard Assayag, is working on "cyber-human" systems. Just as cyber-physical systems create a continuity between the digital logic of computers and the physical world by capturing, modeling, and modifying it, they establish a creative continuity between machines and musicians using mathematical modeling and artificial intelligence.

The REACH project (pl: G. Assayag) puts the spotlight on a new concept of co-creativity in cyber-human systems, an emerging phenomenon in a framework of symbolic interaction between humans and artificial devices. This phenomenological approach neutralizes the metaphysical contents of terms such as creativity, intentionality, aesthetics, and emotion by creating objective conditions for the appearance of complex, distributed, and adaptive behaviors, in a two-way learning interaction created by the combined responses of humans and machines. The effects produced are therefore not completely reduced to the isolated production of each of the agents involved, characteristic of complex systems.

This innovative approach has led to the invention of several generations of technologies based on artificial listening, learning, and creative modeling, such as the software for improvisation Omax developed by the team along with its descendants, and continues under the direction of Gérard Assayag in the projects DYCI2 (Dynamiques créatives de l'interaction improvisée), MERCI (Réalité Musicale Mixte avec Instruments Créatifs) supported by the French national research agency, "Agence Nationale de la Recherche", as well as the European project ERC Advanced REACH (Raising co-crEAtivity in Cyber-Human musicianship) supported by the European Research Council. 

The examples selected for this video were produced with ImproteK (M.Chemillier, J. Nika), a variant of Omax, that adds the idea of a scenario to the mechanical “improvisation”.

The system used in Three Ladies (Tre donne in Italian) designed by Georges Bloch with the pianist Hervé Sellin makes it possible to combine different types of music through a scenario; in this case the chord chart of the jazz standard “The Man I Love”. The different musics used— excerpts sung by Piaf, Schwarzkopf and Billie Holiday—are "learned" by the machine and comprise the "knowledge" of the process which then "improvises" by recombining this knowledge in real-time in order to follow the scenario. The virtual vocal presence of the great female singers mingle with Hervé Sellin's piano in an original, and always new, interpretation of “The man I love”.

The memory built up by the creative agents can also be audiovisual, adding to the sound fantasy images of a performance that will never take place, as seen in the example of Tre donne video... 

In addition, memory can be formed at the moment of the interaction by listening artificially to the musician, activating an instantaneous "double" of the latter and allowing this avatar to become autonomous and enter into a totally new creative dialogue. This is illustrated by the creation of Rémi Fox and Jérôme Nika based on Booker T’s piece Rent Party. 

This same technology is used in a modern version in the libDYCI2 environment (J. Nika), for Georges Bloch’s concert Three Ladies Project on September 5th presented at ManiFeste-2020, Centre Pompidou. In this concert the historical performance of the great singer Diane Reeves in Montreux is reconstructed in real-time by the software based on the harmony of the piano played live by Hervé Sellin! We have attained the objective of human-machine co-creativity first introduced by the Omax project.

Learn more

 

Edit
Ircam

1, place Igor-Stravinsky
75004 Paris
T. +33 1 44 78 48 43
Opening times

Monday through Friday 9:30am-7pm Closed Saturday and Sunday
Subway access

Hôtel de Ville, Rambuteau, Châtelet, Les Halles
  • Jobs Offers & Internships
  • The IRCAM team
  • Partners
  • Support IRCAM
Institut de Recherche et de Coordination Acoustique/Musique

go to :
  • Centre Pompidou
  • Legal Notes
  • General Conditions
  • Espace Pro
Copyright © 2022 Ircam. All rights reserved.