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Wednesday, December 20, 2023

Planned economy

From Wikipedia, the free encyclopedia
 
A planned economy is a type of economic system where the distribution of goods and services or the investment, production and the allocation of capital goods takes place according to economic plans that are either economy-wide or limited to a category of goods and services. A planned economy may use centralized, decentralized, participatory or Soviet-type forms of economic planning. The level of centralization or decentralization in decision-making and participation depends on the specific type of planning mechanism employed.

Socialist states based on the Soviet model have used central planning, although a minority such as the former Socialist Federal Republic of Yugoslavia have adopted some degree of market socialism. Market abolitionist socialism replaces factor markets with direct calculation as the means to coordinate the activities of the various socially owned economic enterprises that make up the economy. More recent approaches to socialist planning and allocation have come from some economists and computer scientists proposing planning mechanisms based on advances in computer science and information technology.

Planned economies contrast with unplanned economies, specifically market economies, where autonomous firms operating in markets make decisions about production, distribution, pricing and investment. Market economies that use indicative planning are variously referred to as planned market economies, mixed economies and mixed market economies. A command economy follows an administrative-command system and uses Soviet-type economic planning which was characteristic of the former Soviet Union and Eastern Bloc before most of these countries converted to market economies. This highlights the central role of hierarchical administration and public ownership of production in guiding the allocation of resources in these economic systems.

Overview

In the Hellenistic and post-Hellenistic world, "compulsory state planning was the most characteristic trade condition for the Egyptian countryside, for Hellenistic India, and to a lesser degree the more barbaric regions of the Seleucid, the Pergamenian, the southern Arabian, and the Parthian empires". Scholars have argued that the Incan economy was a flexible type of command economy, centered around the movement and utilization of labor instead of goods. One view of mercantilism sees it as involving planned economies.

The Soviet-style planned economy in Soviet Russia evolved in the wake of a continuing existing World War I war-economy as well as other policies, known as war communism (1918–1921), shaped to the requirements of the Russian Civil War of 1917–1923. These policies began their formal consolidation under an official organ of government in 1921, when the Soviet government founded Gosplan. However, the period of the New Economic Policy (c. 1921 to c. 1928 intervened before the planned system of regular five-year plans started in 1928. Leon Trotsky was one of the earliest proponents of economic planning during the NEP period. Trotsky argued that specialization, the concentration of production and the use of planning could “raise in the near future the coefficient of industrial growth not only two, but even three times higher than the pre-war rate of 6% and, perhaps, even higher”.

After World War II (1939–1945) France and Great Britain practiced dirigisme - government direction of the economy through non-coercive means. The Swedish government planned public-housing models in a similar fashion as urban planning in a project called Million Programme, implemented from 1965 to 1974. Some decentralized participation in economic planning occurred across Revolutionary Spain, most notably in Catalonia, during the Spanish Revolution of 1936.

Relationship with socialism

While socialism is not equivalent to economic planning or to the concept of a planned economy, an influential conception of socialism involves the replacement of capital markets with some form of economic planning in order to achieve ex-ante coordination of the economy. The goal of such an economic system would be to achieve conscious control over the economy by the population, specifically so that the use of the surplus product is controlled by the producers. The specific forms of planning proposed for socialism and their feasibility are subjects of the socialist calculation debate.

Computational economic planning

In 1959 Anatoly Kitov proposed a distributed computing system (Project "Red Book", Russian: Красная книга) with a focus on the management of the Soviet economy. Opposition from the Defence Ministry killed Kitov's plan.

In 1971 the socialist Allende administration of Chile launched Project Cybersyn to install a telex machine in every corporation and organization in the economy for the communication of economic data between firms and the government. The data was also fed into a computer-simulated economy for forecasting. A control room was built for real-time observation and management of the overall economy. The prototype-stage of the project showed promise when it was used to redirect supplies around a trucker's strike, but after CIA-backed Augusto Pinochet led a coup in 1973 that established a military dictatorship under his rule the program was abolished and Pinochet moved Chile towards a more liberalized market economy.

In their book Towards a New Socialism (1993), the computer scientist Paul Cockshott from the University of Glasgow and the economist Allin Cottrell from Wake Forest University claim to demonstrate how a democratically planned economy built on modern computer technology is possible and drives the thesis that it would be both economically more stable than the free-market economies and also morally desirable.

Cybernetics

The use of computers to coordinate production in an optimal fashion has been variously proposed for socialist economies. The Polish economist Oskar Lange (1904–1965) argued that the computer is more efficient than the market process at solving the multitude of simultaneous equations required for allocating economic inputs efficiently (either in terms of physical quantities or monetary prices).

Salvador Allende's socialist government pioneered the 1970 Chilean distributed decision support system Project Cybersyn in an attempt to move towards a decentralized planned economy with the experimental viable system model of computed organisational structure of autonomous operative units through an algedonic feedback setting and bottom-up participative decision-making in the form of participative democracy by the Cyberfolk component.

Fictional portrayals

The 1888 novel Looking Backward by Edward Bellamy depicts a fictional planned economy in a United States around the year 2000 which has become a socialist utopia.

The World State in Aldous Huxley's Brave New World (1932) and Airstrip One in George Orwell's Nineteen Eighty-Four (1949) provide fictional depictions of command economies, albeit with diametrically opposed aims. The former is a consumer economy designed to engender productivity while the latter is a shortage economy designed as an agent of totalitarian social control. Airstrip One is organized by the euphemistically named Ministry of Plenty.

Other literary portrayals of planned economies include Yevgeny Zamyatin's We (1924), which influenced Orwell's work. Like Nineteen Eighty-Four, Ayn Rand's dystopian 1938 story Anthem offered an artistic portrayal of a command economy that was influenced by We. The difference is that it was a primitivist planned economy as opposed to the advanced technology of We or Brave New World.

Central planning

Advantages

The government can harness land, labor, and capital to serve the economic objectives of the state. Consumer demand can be restrained in favor of greater capital investment for economic development in a desired pattern. In international comparisons, state-socialist nations have compared favorably with capitalist nations in health indicators such as infant mortality and life expectancy. However, the reality of this, at least regarding infant mortality, varies depending on whether official Soviet or WHO definitions are used.

The state can begin building massive heavy industries at once in an underdeveloped economy without waiting years for capital to accumulate through the expansion of light industry and without reliance on external financing. This is what happened in the Soviet Union during the 1930s when the government forced the share of gross national income dedicated to private consumption down from 80% to 50%. As a result of this development, the Soviet Union experienced massive growth in heavy industry, with a concurrent massive contraction of its agricultural sector due to the labor shortage.

Disadvantages

Economic instability

Studies of command economies of the Eastern Bloc in the 1950s and 1960s by both American and Eastern European economists found that contrary to the expectations of both groups they showed greater fluctuations in output than market economies during the same period.

Inefficient resource distribution

Critics of planned economies argue that planners cannot detect consumer preferences, shortages and surpluses with sufficient accuracy and therefore cannot efficiently co-ordinate production (in a market economy, a free price system is intended to serve this purpose). This difficulty was notably written about by economists Ludwig von Mises and Friedrich Hayek, who referred to subtly distinct aspects of the problem as the economic calculation problem and local knowledge problem, respectively. These distinct aspects were also present in the economic thought of Michael Polanyi.

Whereas the former stressed the theoretical underpinnings of a market economy to subjective value theory while attacking the labor theory of value, the latter argued that the only way to satisfy individuals who have a constantly changing hierarchy of needs and are the only ones to possess their particular individual's circumstances is by allowing those with the most knowledge of their needs to have it in their power to use their resources in a competing marketplace to meet the needs of the most consumers most efficiently. This phenomenon is recognized as spontaneous order. Additionally, misallocation of resources would naturally ensue by redirecting capital away from individuals with direct knowledge and circumventing it into markets where a coercive monopoly influences behavior, ignoring market signals. According to Tibor Machan, "[w]ithout a market in which allocations can be made in obedience to the law of supply and demand, it is difficult or impossible to funnel resources with respect to actual human preferences and goals".

Historian Robert Vincent Daniels regarded the Stalinist period to represent an abrupt break with Lenin's government in terms of economic planning in which an deliberated, scientific system of planning that featured former Menshevik economists at Gosplan had been replaced with a hasty version of planning with unrealistic targets, bureaucratic waste, bottlenecks and shortages. Stalin's formulations of national plans in terms of physical quantity of output was also attributed by Daniels as a source for the stagnant levels of efficiency and quality.

Suppression of economic democracy and self-management

Economist Robin Hahnel, who supports participatory economics, a form of socialist decentralized planned economy, notes that even if central planning overcame its inherent inhibitions of incentives and innovation, it would nevertheless be unable to maximize economic democracy and self-management, which he believes are concepts that are more intellectually coherent, consistent and just than mainstream notions of economic freedom. Furthermore, Hahnel states:

Combined with a more democratic political system, and redone to closer approximate a best case version, centrally planned economies no doubt would have performed better. But they could never have delivered economic self-management, they would always have been slow to innovate as apathy and frustration took their inevitable toll, and they would always have been susceptible to growing inequities and inefficiencies as the effects of differential economic power grew. Under central planning neither planners, managers, nor workers had incentives to promote the social economic interest. Nor did impeding markets for final goods to the planning system enfranchise consumers in meaningful ways. But central planning would have been incompatible with economic democracy even if it had overcome its information and incentive liabilities. And the truth is that it survived as long as it did only because it was propped up by unprecedented totalitarian political power.

Command economy

Planned economies contrast with command economies in that a planned economy is "an economic system in which the government controls and regulates production, distribution, prices, etc." whereas a command economy necessarily has substantial public ownership of industry while also having this type of regulation. In command economies, important allocation decisions are made by government authorities and are imposed by law.

This is contested by some Marxists. Decentralized planning has been proposed as a basis for socialism and has been variously advocated by anarchists, council communists, libertarian Marxists and other democratic and libertarian socialists who advocate a non-market form of socialism, in total rejection of the type of planning adopted in the economy of the Soviet Union.

Most of a command economy is organized in a top-down administrative model by a central authority, where decisions regarding investment and production output requirements are decided upon at the top in the chain of command, with little input from lower levels. Advocates of economic planning have sometimes been staunch critics of these command economies. Leon Trotsky believed that those at the top of the chain of command, regardless of their intellectual capacity, operated without the input and participation of the millions of people who participate in the economy and who understand/respond to local conditions and changes in the economy. Therefore, they would be unable to effectively coordinate all economic activity.

Historians have associated planned economies with Marxist–Leninist states and the Soviet economic model. Since the 1980s, it has been contested that the Soviet economic model did not actually constitute a planned economy in that a comprehensive and binding plan did not guide production and investment. The further distinction of an administrative-command system emerged as a new designation in some academic circles for the economic system that existed in the former Soviet Union and Eastern Bloc, highlighting the role of centralized hierarchical decision-making in the absence of popular control over the economy. The possibility of a digital planned economy was explored in Chile between 1971 and 1973 with the development of Project Cybersyn and by Aleksandr Aleksandrovich Kharkevich, head of the Department of Technical Physics in Kiev in 1962.

While both economic planning and a planned economy can be either authoritarian or democratic and participatory, democratic socialist critics argue that command economies are necessarily authoritarian or undemocratic in practice. Indicative planning is a form of economic planning in market economies that directs the economy through incentive-based methods. Economic planning can be practiced in a decentralized manner through different government authorities. In some predominantly market-oriented and Western mixed economies, the state utilizes economic planning in strategic industries such as the aerospace industry. Mixed economies usually employ macroeconomic planning while micro-economic affairs are left to the market and price system.

Decentralized planning

A decentralized-planned economy, occasionally called horizontally planned economy due to its horizontalism, is a type of planned economy in which the investment and allocation of consumer and capital goods is explicated accordingly to an economy-wide plan built and operatively coordinated through a distributed network of disparate economic agents or even production units itself. Decentralized planning is usually held in contrast to centralized planning, in particular the Soviet-type economic planning of the Soviet Union's command economy, where economic information is aggregated and used to formulate a plan for production, investment and resource allocation by a single central authority. Decentralized planning can take shape both in the context of a mixed economy as well as in a post-capitalist economic system. This form of economic planning implies some process of democratic and participatory decision-making within the economy and within firms itself in the form of industrial democracy. Computer-based forms of democratic economic planning and coordination between economic enterprises have also been proposed by various computer scientists and radical economists. Proponents present decentralized and participatory economic planning as an alternative to market socialism for a post-capitalist society.

Decentralized planning has been a feature of anarchist and socialist economics. Variations of decentralized planning such as economic democracy, industrial democracy and participatory economics have been promoted by various political groups, most notably anarchists, democratic socialists, guild socialists, libertarian Marxists, libertarian socialists, revolutionary syndicalists and Trotskyists. During the Spanish Revolution, some areas where anarchist and libertarian socialist influence through the CNT and UGT was extensive, particularly rural regions, were run on the basis of decentralized planning resembling the principles laid out by anarcho-syndicalist Diego Abad de Santillan in the book After the Revolution.

Models

Negotiated coordination

Economist Pat Devine has created a model of decentralized economic planning called "negotiated coordination" which is based upon social ownership of the means of production by those affected by the use of the assets involved, with the allocation of consumer and capital goods made through a participatory form of decision-making by those at the most localized level of production. Moreover, organizations that utilize modularity in their production processes may distribute problem solving and decision making.

Participatory planning

The planning structure of a decentralized planned economy is generally based on a consumers council and producer council (or jointly, a distributive cooperative) which is sometimes called a consumers' cooperative. Producers and consumers, or their representatives, negotiate the quality and quantity of what is to be produced. This structure is central to guild socialism, participatory economics and the economic theories related to anarchism.

Practice

Kerala

Some decentralized participation in economic planning has been implemented in various regions and states in India, most notably in Kerala. Local level planning agencies assess the needs of people who are able to give their direct input through the Gram Sabhas (village-based institutions) and the planners subsequently seek to plan accordingly.

Revolutionary Catalonia

Some decentralized participation in economic planning has been implemented across Revolutionary Spain, most notably in Catalonia, during the Spanish Revolution of 1936.

Similar concepts in practice

Community participatory planning

The United Nations has developed local projects that promote participatory planning on a community level. Members of communities take decisions regarding community development directly.

Computer music

 

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Computer_music

Computer music is the application of computing technology in music composition, to help human composers create new music or to have computers independently create music, such as with algorithmic composition programs. It includes the theory and application of new and existing computer software technologies and basic aspects of music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, electrical engineering, and psychoacoustics. The field of computer music can trace its roots back to the origins of electronic music, and the first experiments and innovations with electronic instruments at the turn of the 20th century.

History

CSIRAC, Australia's first digital computer, as displayed at the Melbourne Museum

Much of the work on computer music has drawn on the relationship between music and mathematics, a relationship that has been noted since the Ancient Greeks described the "harmony of the spheres".

Musical melodies were first generated by the computer originally named the CSIR Mark 1 (later renamed CSIRAC) in Australia in 1950. There were newspaper reports from America and England (early and recently) that computers may have played music earlier, but thorough research has debunked these stories as there is no evidence to support the newspaper reports (some of which were speculative). Research has shown that people speculated about computers playing music, possibly because computers would make noises, but there is no evidence that they did it.

The world's first computer to play music was the CSIR Mark 1 (later named CSIRAC), which was designed and built by Trevor Pearcey and Maston Beard in the late 1940s. Mathematician Geoff Hill programmed the CSIR Mark 1 to play popular musical melodies from the very early 1950s. In 1950 the CSIR Mark 1 was used to play music, the first known use of a digital computer for that purpose. The music was never recorded, but it has been accurately reconstructed. In 1951 it publicly played the "Colonel Bogey March" of which only the reconstruction exists. However, the CSIR Mark 1 played standard repertoire and was not used to extend musical thinking or composition practice, as Max Mathews did, which is current computer-music practice.

The first music to be performed in England was a performance of the British National Anthem that was programmed by Christopher Strachey on the Ferranti Mark 1, late in 1951. Later that year, short extracts of three pieces were recorded there by a BBC outside broadcasting unit: the National Anthem, "Baa, Baa, Black Sheep", and "In the Mood"; this is recognized as the earliest recording of a computer to play music as the CSIRAC music was never recorded. This recording can be heard at the this Manchester University site. Researchers at the University of Canterbury, Christchurch declicked and restored this recording in 2016 and the results may be heard on SoundCloud.

Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback. Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956 to 1959, manifested in the 1957 premiere of the Illiac Suite for string quartet. Max Mathews at Bell Laboratories developed the influential MUSIC I program and its descendants, further popularising computer music through a 1963 article in Science. The first professional composer to work with digital synthesis was James Tenney, who created a series of digitally synthesized and/or algorithmically composed pieces at Bell Labs using Mathews' MUSIC III system, beginning with Analog #1 (Noise Study) (1961). After Tenney left Bell Labs in 1964, he was replaced by composer Jean-Claude Risset, who conducted research on the synthesis of instrumental timbres and composed Computer Suite from Little Boy (1968).

Early computer-music programs typically did not run in real time, although the first experiments on CSIRAC and the Ferranti Mark 1 did operate in real time. From the late 1950s, with increasingly sophisticated programming, programs would run for hours or days, on multi million-dollar computers, to generate a few minutes of music. One way around this was to use a 'hybrid system' of digital control of an analog synthesiser and early examples of this were Max Mathews' GROOVE system (1969) and also MUSYS by Peter Zinovieff (1969).

Until now partial use has been exploited for musical research into the substance and form of sound (convincing examples are those of Hiller and Isaacson in Urbana, Illinois, US; Iannis Xenakis in Paris and Pietro Grossi in Florence, Italy).

In May 1967 the first experiments in computer music in Italy were carried out by the S 2F M studio in Florence in collaboration with General Electric Information Systems Italy. Olivetti-General Electric GE 115 (Olivetti S.p.A.) is used by Grossi as a performer: three programmes were prepared for these experiments. The programmes were written by Ferruccio Zulian  and used by Pietro Grossi for playing Bach, Paganini, and Webern works and for studying new sound structures.

The programming computer for Yamaha's first FM synthesizer GS1. CCRMA, Stanford University.

John Chowning's work on FM synthesis from the 1960s to the 1970s allowed much more efficient digital synthesis, eventually leading to the development of the affordable FM synthesis-based Yamaha DX7 digital synthesizer, released in 1983.

Interesting sounds must have a fluidity and changeability that allows them to remain fresh to the ear. In computer music this subtle ingredient is bought at a high computational cost, both in terms of the number of items requiring detail in a score and in the amount of interpretive work the instruments must produce to realize this detail in sound.

In Japan

In Japan, experiments in computer music date back to 1962, when Keio University professor Sekine and Toshiba engineer Hayashi experimented with the TOSBAC [jp] computer. This resulted in a piece entitled TOSBAC Suite, influenced by the Illiac Suite. Later Japanese computer music compositions include a piece by Kenjiro Ezaki presented during Osaka Expo '70 and "Panoramic Sonore" (1974) by music critic Akimichi Takeda. Ezaki also published an article called "Contemporary Music and Computers" in 1970. Since then, Japanese research in computer music has largely been carried out for commercial purposes in popular music, though some of the more serious Japanese musicians used large computer systems such as the Fairlight in the 1970s.

In the late 1970s these systems became commercialized, notably by systems like the Roland MC-8 Microcomposer, where a microprocessor-based system controls an analog synthesizer, released in 1978. In addition to the Yamaha DX7, the advent of inexpensive digital chips and microcomputers opened the door to real-time generation of computer music. In the 1980s, Japanese personal computers such as the NEC PC-88 came installed with FM synthesis sound chips and featured audio programming languages such as Music Macro Language (MML) and MIDI interfaces, which were most often used to produce video game music, or chiptunes. By the early 1990s, the performance of microprocessor-based computers reached the point that real-time generation of computer music using more general programs and algorithms became possible.

Advances

Advances in computing power and software for manipulation of digital media have dramatically affected the way computer music is generated and performed. Current-generation micro-computers are powerful enough to perform very sophisticated audio synthesis using a wide variety of algorithms and approaches. Computer music systems and approaches are now ubiquitous, and so firmly embedded in the process of creating music that we hardly give them a second thought: computer-based synthesizers, digital mixers, and effects units have become so commonplace that use of digital rather than analog technology to create and record music is the norm, rather than the exception.

Research

There is considerable activity in the field of computer music as researchers continue to pursue new and interesting computer-based synthesis, composition, and performance approaches. Throughout the world there are many organizations and institutions dedicated to the area of computer and electronic music study and research, including the CCRMA (Center of Computer Research in Music and Acoustic, Stanford, USA), ICMA (International Computer Music Association), C4DM (Centre for Digital Music), IRCAM, GRAME, SEAMUS (Society for Electro Acoustic Music in the United States), CEC (Canadian Electroacoustic Community), and a great number of institutions of higher learning around the world.

Music composed and performed by computers

Later, composers such as Gottfried Michael Koenig and Iannis Xenakis had computers generate the sounds of the composition as well as the score. Koenig produced algorithmic composition programs which were a generalization of his own serial composition practice. This is not exactly similar to Xenakis' work as he used mathematical abstractions and examined how far he could explore these musically. Koenig's software translated the calculation of mathematical equations into codes which represented musical notation. This could be converted into musical notation by hand and then performed by human players. His programs Project 1 and Project 2 are examples of this kind of software. Later, he extended the same kind of principles into the realm of synthesis, enabling the computer to produce the sound directly. SSP is an example of a program which performs this kind of function. All of these programs were produced by Koenig at the Institute of Sonology in Utrecht in the 1970s. In the 2000s, Andranik Tangian developed a computer algorithm to determine the time event structures for rhythmic canons and rhythmic fugues, which were then "manually" worked out into harmonic compositions Eine kleine Mathmusik I and Eine kleine Mathmusik II performed by computer; for scores and recordings see.

Computer-generated scores for performance by human players

Computers have also been used in an attempt to imitate the music of great composers of the past, such as Mozart. A present exponent of this technique is David Cope, whose computer programs analyses works of other composers to produce new works in a similar style. Cope's best-known program is Emily Howell.

Melomics, a research project from the University of Málaga (Spain), developed a computer composition cluster named Iamus, which composes complex, multi-instrument pieces for editing and performance. Since its inception, Iamus has composed a full album in 2012, also named Iamus, which New Scientist described as "the first major work composed by a computer and performed by a full orchestra". The group has also developed an API for developers to utilize the technology, and makes its music available on its website.

Computer-aided algorithmic composition

Diagram illustrating the position of CAAC in relation to other generative music systems

Computer-aided algorithmic composition (CAAC, pronounced "sea-ack") is the implementation and use of algorithmic composition techniques in software. This label is derived from the combination of two labels, each too vague for continued use. The label computer-aided composition lacks the specificity of using generative algorithms. Music produced with notation or sequencing software could easily be considered computer-aided composition. The label algorithmic composition is likewise too broad, particularly in that it does not specify the use of a computer. The term computer-aided, rather than computer-assisted, is used in the same manner as computer-aided design.

Machine improvisation

Machine improvisation uses computer algorithms to create improvisation on existing music materials. This is usually done by sophisticated recombination of musical phrases extracted from existing music, either live or pre-recorded. In order to achieve credible improvisation in particular style, machine improvisation uses machine learning and pattern matching algorithms to analyze existing musical examples. The resulting patterns are then used to create new variations "in the style" of the original music, developing a notion of stylistic re-injection. This is different from other improvisation methods with computers that use algorithmic composition to generate new music without performing analysis of existing music examples.

Statistical style modeling

Style modeling implies building a computational representation of the musical surface that captures important stylistic features from data. Statistical approaches are used to capture the redundancies in terms of pattern dictionaries or repetitions, which are later recombined to generate new musical data. Style mixing can be realized by analysis of a database containing multiple musical examples in different styles. Machine Improvisation builds upon a long musical tradition of statistical modeling that began with Hiller and Isaacson's Illiac Suite for String Quartet (1957) and Xenakis' uses of Markov chains and stochastic processes. Modern methods include the use of lossless data compression for incremental parsing, prediction suffix tree, string searching and more. Style mixing is possible by blending models derived from several musical sources, with the first style mixing done by S. Dubnov in a piece NTrope Suite using Jensen-Shannon joint source model. Later the use of factor oracle algorithm (basically a factor oracle is a finite state automaton constructed in linear time and space in an incremental fashion) was adopted for music by Assayag and Dubnov and became the basis for several systems that use stylistic re-injection.

Implementations

The first implementation of statistical style modeling was the LZify method in Open Music, followed by the Continuator system that implemented interactive machine improvisation that interpreted the LZ incremental parsing in terms of Markov models and used it for real time style modeling developed by François Pachet at Sony CSL Paris in 2002. Matlab implementation of the Factor Oracle machine improvisation can be found as part of Computer Audition toolbox. There is also an NTCC implementation of the Factor Oracle machine improvisation.

OMax is a software environment developed in IRCAM. OMax uses OpenMusic and Max. It is based on researches on stylistic modeling carried out by Gerard Assayag and Shlomo Dubnov and on researches on improvisation with the computer by G. Assayag, M. Chemillier and G. Bloch (a.k.a. the OMax Brothers) in the Ircam Music Representations group. One of the problems in modeling audio signals with factor oracle is the symbolization of features from continuous values to a discrete alphabet. This problem was solved in the Variable Markov Oracle (VMO) available as python implementation, using an information rate criteria for finding the optimal or most informative representation.

Use of Artificial Intelligence

The use of artificial intelligence to generate new melodies and cover pre-existing music, is a recent phenomenon that has been reported to disrupt the music industry.

Live coding

Live coding (sometimes known as 'interactive programming', 'on-the-fly programming', 'just in time programming') is the name given to the process of writing software in real time as part of a performance. Recently it has been explored as a more rigorous alternative to laptop musicians who, live coders often feel, lack the charisma and pizzazz of musicians performing live.

Improvisation

 

From Wikipedia, the free encyclopedia

Improvisation, often shortened to improv, is the activity of making or doing something not planned beforehand, using whatever can be found. The origin of the word itself is in the Latin "improvisus", which literally means un-foreseen – but it is also related to both the old French word "emprouer" and the English "improve", to improve. Improvisation in the performing arts is a very spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to many different faculties, across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines; see Applied improvisation.

Skills and techniques

The skills of improvisation can apply to many different abilities or forms of communication and expression across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines. For example, improvisation can make a significant contribution in music, dance, cooking, presenting a speech, sales, personal or romantic relationships, sports, flower arranging, martial arts, psychotherapy, and much more.

Techniques of improvisation are widely used in training for performing arts or entertainment; for example, music, theatre and dance. To "extemporize" or "ad lib" is basically the same as improvising. Colloquial terms such as "playing by ear", "take it as it comes", and "making it up as [one] goes along" are all used to describe improvisation.

The simple act of speaking requires a good deal of improvisation because the mind is addressing its own thought and creating its unrehearsed delivery in words, sounds and gestures, forming unpredictable statements that further feed the thought process (the performer as the listener), creating an enriched process that is not unlike instantaneous composition with a given set or repertoire of elements.

Where the improvisation is intended to solve a problem on a temporary basis, the "proper" solution being unavailable at the time, it may be known as a "stop-gap". This applies to the field of engineering. Another improvisational, group problem-solving technique being used in organizations of all kinds is brainstorming, in which any and all ideas that a group member may have are permitted and encouraged to be expressed, regardless of actual practicality. As in all improvisation, the process of brainstorming opens up the minds of the people involved to new, unexpected and possibly useful ideas. The colloquial term for this is "thinking outside the box."

Arts and entertaiment

Performing arts

ComedySportz Austin performing a shortform game based on direction from the audience with the help of Red Dirt Improv; in this case spoofing a hard rock band performing a song made up on the stage

Improvisation can be thought of as an "on the spot" or "off the cuff" spontaneous moment of sudden inventiveness that can just come to mind, body and spirit as an inspiration. Viola Spolin created theater games as a method of training improvisational acting. Her son, Paul Sills popularized improvisational theater, or IMPROV, by using Spolin's techniques to train The Second City in Chicago, the first totally improvisational theater company in the US. However, for some particularly gifted performers, no preparation or training is needed. Improvisation in any life or art form can occur more often if it is practiced as a way of encouraging creative behavior. That practice includes learning to use one's intuition, as well as learning a technical understanding of the necessary skills and concerns within the domain in which one is improvising. This can be when an individual or group is acting, dancing, singing, playing musical instruments, talking, creating artworks, problem-solving, or reacting in the moment and in response to the stimulus of one's immediate environment and inner feelings. This can result in the invention of new thought patterns, new practices, new structures or symbols, and/or new ways to act.

Improvisation was originally rarely used on dramatic television. A major exception was the situation comedy Mork & Mindy where star Robin Williams was allotted specific sections in each episode where he was allowed to perform freely.

Music

Musical improvisation is usually defined as the spontaneous performance of music without previous preparation or any written notes. In other words, the art of improvisation can be understood as composing music "on the fly". There have been experiments by Charles Limb, using functional magnetic resonance imaging, that show the brain activity during musical improvisation. Limb showed increased activity in the medial prefrontal cortex, which is an area associated with an increase in self-expression. Further, there was decreased activity in the lateral prefrontal cortex, which is an area associated with self-monitoring. This change in activity is thought to reduce the inhibitions that normally prevent individuals from taking risks and improvising.

Improvisation can take place as a solo performance, or interdependently in an ensemble with other players. When done well, it often elicits gratifying emotional responses from the audience. One notable improvisational pianist is Franz Liszt. The origins of Liszt's improvisation in an earlier tradition of playing variations on a theme were mastered and epitomized by Johann Sebastian Bach, Wolfgang Amadeus Mozart, and Ludwig van Beethoven.

Notable improvisational musicians from the modern era include Keith Jarrett, an improvisational jazz pianist and multi-instrumentalist who has performed many improvised concerts all over the world; W. A. Mathieu a.k.a. William Allaudin Mathieu, the musical director for The Second City in Chicago, the first ongoing improvisational theatre troupe in the United States, and later musical director for another improv theatre, The Committee, an offshoot of The Second City in San Francisco; Derek Bailey, an improvisational guitarist and writer of Improvisation: Its Nature and Practice; Evan Parker; British saxophone player, the iconnical pianists Fred van Hove (Be) and Misha Mengelberg (NL) and more recently the Belgian Seppe Gebruers who improvise with two pianos tuned a quartertone apart.

Improvised freestyle rap is commonly practiced as a part of rappers' creative processes, as a "finished product" for release on recordings (when the improvisation is judged good enough), as a spiritual event, as a means of verbal combat in battle rap, and, simply, for fun. As mentioned above, studies have suggested that improvisation allows a musician to relax the control filters in their mind during this exercise. It often incorporates insults similar to those in the African-American game The Dozens, and complex rhythmic and sometimes melodic forms comparable to those heard in jazz improvisation.

In the realm of silent film music, there are a small number of musicians whose work has been recognized as exceptional by critics, scholars and audiences alike; these include Neil Brand and John Sweeney, among others who are all performers at the Pordenone Silent Film Festival in Italy. Their performances must match the style and pacing of those films which they accompany and the knowledge of a wide range of musical styles is required, as well as the stamina to play for films which occasionally run more than three hours, without a pause.

Theatre

Improvisation, in theatre, is the playing of dramatic scenes without written dialogue and with minimal or no predetermined dramatic activity. The method has been used for different purposes in theatrical history.

The Ligue d'improvisation montréalaise [fr] (LIM) is a league of improvisational theatre based in Montreal, Quebec, Canada

Comedy

Improvisational comedy is a theatre art performed throughout the world and has had an on-again, off-again status throughout history.

Some of the more famous improv theatres and training centers in the world include: i.O. (formerly ImprovOlympic) in Chicago and Los Angeles, The Second City in Chicago and Toronto, The Players Workshop in Chicago, National Comedy Theatre in San Diego, New York and Phoenix, Upright Citizens Brigade, the Peoples Improv Theater, the Magnet Theater in New York, The Groundlings in Los Angeles, BATS Improv (Bay Area Theatre Sports) in San Francisco, Wing-It Productions in Seattle, Philly Improv Theater in Philadelphia, Brave New Workshop in Minneapolis, ComedySportz in Milwaukee, Theatresports in Calgary and Improv Comedy Copenhagen.

There are also many well known university improv teams, including Theatre Strike Force at the University of Florida, Gigglepants at the University of Texas at Austin, and Erasable Inc. at the University of Maryland. Improvisation found a home at universities. The origins of the Second City was the Compass Players, an offshoot of theatre programs at the University of Chicago in the 1950s. Later, once improv had been established as an art form, improv groups sprung up on college campuses, starting in the 1980s where crowds were easy to find and teams could perform frequently. Now an improv group is a common staple of college extra curricular activities.

Notable pioneers in the field of improvisation, comedic or otherwise, include Mike Myers, Neil Mullarkey, Paul Merton, Stephen Fry, John Sessions, Josie Lawrence, Viola Spolin, Paul Sills, David Shepherd, Del Close, Josephine Forsberg, Gary Austin, Martin de Maat, and Keith Johnstone. Notable performers include: Paul Merton, Stephen Colbert, Steve Carell, Bill Murray, Harold Ramis, Robert Townsend, Colin Mochrie, Ryan Stiles, Ross Noble, Eddie Izzard, Tony Slattery, Mike McShane, Sandi Toksvig, Wayne Brady, Jonathan Winters, T. J. Jagodowski, Robin Williams, Conan O'Brien and David Pasquesi.

Dance

Dance improvisation as a choreographic tool: Improvisation is used as a choreographic tool in dance composition. Experimenting with the concepts of shape, space, time, and energy while moving without inhibition or cognitive thinking can create unique and innovative movement designs, spatial configuration, dynamics, and unpredictable rhythms. Improvisation without inhibition allows the choreographer to connect to their deepest creative self, which in turn clears the way for pure invention. This cognitive inhibition is similar to the inhibition described by Limb for musical improvisation, which can be found in the music section above.

Contact improvisation: a form developed in 1973, that is now practiced around the world. Contact improvisation originated from the movement studies of Steve Paxton in the 1970s and developed through the continued exploration of the Judson Dance Theater. It is a dance form based on weight sharing, partnering, playing with weight, exploring negative space and unpredictable outcomes.

Sculpture

Sculpture often relies on the enlargement of a small model or maquette to create the final work in a chosen material. Where the material is plastic such as clay, a working structure or armature often needs to be built to allow the pre-determined design to be realized. Alan Thornhill's method for working with clay abandons the maquette, seeing it as ultimately deadening to creativity. Without the restrictions of the armature, a clay matrix of elements allows that when recognizable forms start to emerge, they can be essentially disregarded by turning the work, allowing for infinite possibility and the chance for the unforeseen to emerge more powerfully at a later stage.

Moving from adding and taking away to purely reductive working, the architectural considerations of turning the work are eased considerably but continued removal of material through the rejection of forms deemed too obvious can mean one ends up with nothing. Former pupil Jon Edgar uses Thornhill's method as a creative extension to direct carving in stone and wood.

Film

The director Mike Leigh uses lengthy improvisations developed over a period of weeks to build characters and story lines for his films. He starts with some sketch ideas of how he thinks things might develop but does not reveal all his intentions with the cast who discover their fate and act out their responses as their destinies are gradually revealed, including significant aspects of their lives which will not subsequently be shown onscreen. The final filming draws on dialogue and actions that have been recorded during the improvisation period.

Writing

Improvisational writing is an exercise that imposes limitations on a writer such as a time limit, word limit, a specific topic, or rules on what can be written. This forces the writer to work within stream of consciousness and write without judgment of the work they produce. This technique is used for a variety of reasons, such as to bypass writer's block, improve creativity, strengthen one's writing instinct and enhance one's flexibility in writing.

Some improvisational writing is collaborative, focusing on an almost dadaist form of collaborative fiction. This can take a variety of forms, from as basic as passing a notebook around a circle of writers with each writing a sentence, to coded environments that focus on collaborative novel-writing, like OtherSpace.

Science and technology

Engineering

An improvised surveyors level made from a camera tripod, a torpedo level and a sniper scope.

Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Examples of such improvisation was the re-engineering of carbon dioxide scrubbers with the materials on hand during the Apollo 13 space mission, or the use of a knife in place of a screwdriver to turn a screw.

Improvised bass drum in Trafalgar Square, London.
An improvised cowbell, used for sheep or goats. The bell was found in 1988 in a field near Tuqu' (Tekoa) in the West Bank. The bell's body is made of aluminum, probably a broken kitchen utensil, while the clapper is a brass cartridge case (SMI 25 NATO, probably 7.62×51mm).
Improvised hat cover of an Orthodox Jew on a rainy day in Tel Aviv.

Engineering improvisations may be needed because of emergencies, embargo, obsolescence of a product and the loss of manufacturer support, or just a lack of funding appropriate for a better solution. Users of motor vehicles in parts of Africa develop improvised solutions where it is not feasible to obtain manufacturer-approved spare parts.

The popular television program MacGyver used as its gimmick a hero who could solve almost any problem with jury rigged devices from everyday materials, a Swiss Army knife and some duct tape.

Artificial intelligence

Electronic art

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Electronic_art

Stelarc Parasite: Event for Invaded and Involuntary Body, at the 1997 Ars Electronica Festival

Electronic art is a form of art that makes use of electronic media. More broadly, it refers to technology and/or electronic media. It is related to information art, new media art, video art, digital art, interactive art, internet art, and electronic music. It is considered an outgrowth of conceptual art and systems art.

Background

The term electronic art is almost synonymous to computer art and digital art. The latter two terms, and especially the term computer-generated art are mostly used for visual artworks generated by computers. However, electronic art has a much broader connotation, referring to artworks that include any type of electronic component, such as works in music, dance, architecture and performance. It is an interdisciplinary field in which artists, scientists and engineers often collaborate when creating their works. The art historian of electronic art Edward A. Shanken works to document current and past experimental art with a focus on the intersection of art, science, and technology. Other writers on the topic of electronic art include Frank Popper, Dominique Moulon, Sarah Cook, and Christiane Paul.

Electronic art often features components of interactivity. Artists make use of technologies like the Internet, computer networks, robotics, wearable technology, digital painting, wireless technology and immersive virtual reality. As the technologies used to deliver works of electronic art become obsolete, electronic art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects are underway to improve the preservation and documentation of the fragile electronic arts heritage (see DOCAM – Documentation and Conservation of the Media Arts Heritage).

Art festivals that use the term "electronic art" in their name

Pain and pleasure

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Pain_and...