Indifference Engine (musebots)

Live performance system for performer and musebots

Original system is described here. This version was recoded using musebots. One musebot listens to the live performance, and messages what it considers to be the pertinent musical features. Two other musebots have been trained on recordings of the performer’s improvisations, as well as a corpus of hand-selected recordings; these musebots use IRCAM’s CataRT to respond with granular textures. The musebots decide autonomously when to switch corpora, and which recording most closely matches the live performance.

Matthew Ariaratnam, prepared guitar
Gold Saucer Vancouver, July 2017 Play Nice

Nathan Marsh, prepared guitar
Gold Saucer Vancouver, July 2017 Play Nice

Same system as above (with Matthew Ariaratnam), albeit with two extra audio musebots, and a different training and performance corpus. The idea was to show the potential differences in output of the musebots.

Brady Cranfield, electronic drums; Eldritch Priest, recorded guitar
Gold Saucer, Vancouver, June 2018 Play Nice II

I wanted the musebots to perform with Alfred Jarrey (Eldritch Priest, guitar; Brady Cranfield, electronic drums), but Eldritch wasn’t available for the performance, so I made a FakeEldritchBOT that played snippets of Eldritch’s performance on their recording. FakeEldritchBOT listens to Brady, and the musebots listen to FakeEldritchBOT.

Norman Adams, Nicola Baroni, celli
Venice Biennale, Venice, October 2018 Augmented Cellos

Same system as with Nathan Marsh. I’m controlling which cello the musebots are listening to, as well as adjusting their vitality (which determines how active they are). I got to actually be on stage with these wonderful performers in Venice!

Émilie Girard-Charest, cello
Trading Spaces, Gold Saucer, October 2018

A generated real-time graphic score was presented to Émilie, who could choose to ignore it, just as the musebots could choose to ignore Émilie at any point…