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Webinar Thursday 13th April: “The concept of ROMA and posthumanist robots”

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On April 12, 2023

In Webinars

Warm welcome to The Posthumanities Hub & The Eco- and Bioart Lab Webinar “The concept of ROMA and posthumanist robots”
with Dr. Tanja Kubes and Prof.Thomas Reinhardt

When: 13th April 2023, 13:15 – 15:00 CEST 
Where: on Zoom http://bit.ly/3U4j0xZ

In recent decades, biosciences have re-defined and re-divided “life” (βίος) in numerous ways. However, despite all modifications, the semantic scope of the term has remained largely untouched. The “living” still encompasses the two realms of procaryotes and eukaryotes, the latter further subdivided into several kingdoms (plants, fungi, animals, etc.). Humans may no longer be thought of as the logical telos of evolution, but their special position in the whole of nature is rarely questioned. 

Recent developments in the field of artificial intelligence have profoundly challenged the underlying naturalistic ontology. Drawing from neo-animistic and perspectivist approaches in anthropology and STS, our approach of a relational ontology of multi-species assemblages (ROMA) breaks with dualistic conceptions of man and nature and proposes a monistic perspective instead – one that explores the potential of new forms of interconnectedness and rhizomatic entanglements between humans and a world transcending the boundaries between species and material spheres.

Dr. Tanja Kubes is a sociologist at the FU Berlin and researches human-robot relationships. As an expert on socio-technical topics and gender studies she worked as a researcher and lecturer at TU Munich, TU Berlin, TU Graz, University of Vechta, and LMU Munich. In addition to gender studies and science and technology studies (STS), she also focuses on STEM, digitalisation, AI, sociology of the body, autoethnography, ethnology of the senses, anthropology beyond the human, and trans- and posthumanism.

Thomas Reinhardt is professor for Social and Cultural Anthropology at LMU Munich. His research interests cover nature/cultures, new ontologies, semiotics, morphology, and history of science and consciousness.




The Ai Music Generation Challenge 2023: “Artificial Music Traditions”

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On March 15, 2023

In Call for applications, KTH, posthumanist performativity

Associate Professor, Bob Sturm from KTH is putting on The Ai Music Generation Challenge 2023, which focuses on “Artificial Music Traditions”: https://github.com/boblsturm/aimusicgenerationchallenge2023


Unlike the previous three editions (2020, 2021, 2022), the 2023 challenge is focused on generating an artificial music tradition rather than generating a particular form of existing traditional music.

What is the challenge?

Use any kind of artificial intelligence (one system or many different systems) in any way to generate an artificial music tradition. This could entail symbolic music, audio recordings, lyrics, dances, imagery, costumes, myths, instruments, ephemera, websites, ethnomusicological or anthropological studies, and so on. To make this more concrete some possibilities could be:

  • Instrumental music from an imaginary country
  • Teetotaler songs of a Nordic community
  • Music to accompany royal visits to medieval garderobes
  • Alien music practices resulting from the discovery and “decoding” of the record on Voyager 1

Particular inspirations for the 2023 challenge include:

How?

  1. By SEPTEMBER 4, register your intent to participate by notifying the organizer.
  2. Start generating documentary evidence of your artificial music tradition.
  3. Write a document describing your team and technical process, as well as reflecting on issues surrounding cultural appropriation in the submitted work, and clarity regarding its use of data and its intentions.
  4. By DECEMBER 8, email the organizer:
  • a link to download the documentary evidence of your artificial music tradition.
  • your document (pdf).

Evaluation

One can see this challenge as a call for work to be considered for a future festival. The judges are “curators”, who are looking to create a compelling program of “music traditions” generated entirely by, or with the assistance of, artificial intelligence. This future festival aims to delve deep into theoretical and practical questions of the application of artificial intelligence to culture, raising awareness of the many issues and dilemmas involved, from the economic and political to the technological and (post)humanistic. The curators seek to programme works showcasing a diversity of approaches and outcomes, and are especially interested in multi-layered work crossing material boundaries, all the while using artificial intelligence in some way or another. The curators are not necessarily looking for finished or complete work, but instead work that has a clear connection to the theme of the festival, showing evidence of deep reflection on the associated issues, and that can contribute to engaging and productive discussion.

The curators retain the right to not programme submitted work for a variety of reasons, including a lack of transparency, a lack of consideration of the use of data from existing cultures, and so on.

Postdoc Position in Interactive AI for Interdisciplinary Artistic Practices

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On March 13, 2023

In Call for applications, JOBS

Assistant Professor, Kıvanç Tatar (Chalmers), and colleagues are looking for candidates for the position, Postdoc in Interactive AI for Interdisciplinary Artistic Practices at Chalmers University of Technology in Sweden. The deadline for applications is May 1st, 2023.

Description for the Position (provided by Dr. Tatar)

We are excited to share this position as a part of a new research group that I am initiating within my WASP-HS project. The focus of this Post-doctoral Fellowship is researching and understanding interactivity in the applications of Machine Learning and Artificial Intelligence in interdisciplinary art and technology practices. The position responsibilities include research and development of novel interactive systems using machine learning and artificial intelligence for artistic applications such as live performances, artwork installations, tools for artistic practices etc. The research methodologies cover exciting approaches such as research through design, soma design, and post-phenomenology. The research perspective takes a multidisciplinary position to pursue discussions in aesthetics, ethics, and societal aspects of Artificial Intelligence. The candidate is expected to work closely with the current research group members while actively engaging with the development and establishment of the new research group.

We encourage candidates with a background in interdisciplinary Art and Technology topics, such as machine learning, artificial intelligence, evolutionary computation, computational creativity, co-creativity and augmented creativity with machines, embodied performance with technology, robotics, bio-art, music technology, sound synthesis, live coding, new interfaces for musical expression, musical performance, musical improvisation, virtual reality, augmented/extended reality, music-dance practices, cognitive science, cognitive and psychological computational models, human-computer interaction, soma-design, somaesthetics, etc.

This postdoc position is a full-time temporary employment for three years, and the expected start date is September 1st, 2023.

We are looking forward to receiving your applications. The full details of this position and the link to the application portal can be found at the official call.

Film och samtal: AI, människan och juridiken

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On February 28, 2023

In Events

Välkomna till visning av den prisbelönta kortfilmen GUILTY NOT GUILTY med tillhörande forskarsamtal och dialog.

Vad händer när juridiken inte går jämna steg med tekniken? 

Hur ska ansvar utkrävas när det inte längre är en människa som ligger bakom besluten? 

Hur förhåller sig lagen till ”Deep fake” och andra exempel på kreativ AI?

Filmen Guilty Not Guilty är en 5 min kort, fri fiktionsfilm som twistar komplexa frågor och där filmskaparna utmanar känslor och tankar kring etiska och filosofiska aspekter av autonoma system och artificiell intelligens. Här ser vi filmen tillsammans med Karin Wegsjö, regissör och filmskapare, Eva Krutmeijer, forskningskommunikatör och forskarna Gregor Noll, vars forskning inspirerat till filmen, och Katja de Vries.

Vi träffas i Filmhusets restaurang för ett glas bubbel kl 17.30. Filmvisningen startar kl 18 i Bio Victor. 

Evenemanget är gratis men du behöver anmäla dig

https://www.eventbrite.com/e/film-och-samtal-ai-manniskan-och-juridiken-biljetter-544585809817

Varmt välkomna önskar Karin Wegsjö och Eva Krutmeijer

AI-seminar invite: “Interaction with generative music frameworks”

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On March 25, 2022

In Webinars

The Creative-Ai (AI and the Artistic Imaginary – WASP-HS) and MUSAiC project teams at KTH kindly welcome you to the first seminar in our series “dialogues: probing the future of creative technology” on Thursday 31 March, 10:00(sharp)-11:00.

In this seminar, we talk about “Interaction with generative music frameworks”, and have Dorien Herremans and Kıvanç Tatar as guests. We start with short presentations by both guests (more info below), followed by a discussion.

The seminar will be held on zoom (https://kth-se.zoom.us/j/67706212115).

We look forward to seeing you all!

On behalf of the project teams

Andre Holzapfel & Bob Sturm

Read about Ai and the Artistic Imaginary – the Creative AI project

Read about MUSAiC project

Short biographies of the speakers:

Dorien Herremans: Controllable deep music generation with emotion

Abstract: In its more than 60-year history, music generation systems have never been more popular than today. While the number of music AI startups are rising, there are still a few issues with generated music.

Firstly, it is notoriously hard to enforce long-term structure (e.g.

earworms) in the music. Secondly, by making the systems controllable in terms of meta-attributes like emotion, they could become practically useful for music producers. In this talk, I will discuss several deep learning-based controllable music generation systems that have been developed over the last few years in our lab. These include TensionVAE, a music generation system guided by tonal tension; MusicFaderNets, a variational autoencoder model that allows for controllable arousal; and seq2seq a controllable lead sheet generator with Transformers. Finally, I will discuss some more recent projects by our AMAAI lab, including generating music that matches a video.

Bio: Dorien Herremans is an Assistant Professor at Singapore University of Technology and Design, where she is also Director of Game Lab. At SUTD she teaches Computational Data Science, AI, and Applied Deep Learning. Before being at SUTD, she was a Marie Sklodowska-Curie Postdoctoral Fellow at the Centre for Digital Music at Queen Mary University of London. She received her Ph.D. in Applied Economics on the topic of Computer Generation and Classification of Music through Operations Research Methods, and graduated as a business engineer in management information systems at the University of Antwerp in 2005.

After that, she worked as a Drupal consultant and was an IT lecturer at the Les Roches University in Bluche, Switzerland. Dr. Herremans’research interests focus on AI for novel applications such as Music and Audio.

Kıvanç Tatar: Musical Artificial Intelligence Architectures with Unsupervised Learning in Improvisation, Audio-Visual Performance, Interactive Arts, Dance, and Live Coding

Abstract: Generalized conceptualization of music suggests that music is “nothing but organised sound”,  involving multiple layers where any sound can be used to produce music, and strong connections exist between pitch, noise, timbre, and rhythm. This conceptualization indicates two kinds of organization of sound: 1- organization in latent space to relate one sound to another, 2- organization in time to model musical actions and form. This talk covers different Artificial Intelligence architectures that were developed with the perspective of generalized understanding of music. These architectures train on a dataset of audio recordings using unsupervised learning, which make these technologies to cover a wide range of aesthetic possibilities, and enable them to be incorporated into various musical practices. The example projects will span musical agents in live performances of musical improvisation and audiovisual performance, interactive arts and virtual reality installations, music-dance experiments, and live coding approaches.

Bio: Kıvanç Tatar works in the field of advanced Artificial Intelligence in Arts and Music, active both as a researcher (with important theoretical and technical contributions) and an artistic practitioner, as an experimental musician and audiovisual artist, often in artistic collaborations. His research has expanded to multimodal applications that combine music with movement computation, and visual arts, and his computational approaches have been integrated into musical performances, interactive artworks, and immersive environments including virtual reality. Tatar has a dual educational background in music and technology, with a PhD from Simon Fraser University in Canada (2019) and started as Assistant Professor in Interactive AI in Music and Art at Chalmers in 2021, funded by a WASP-HS grant until 2026.

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