- Brazil
Luzilei Aliel
Universidade de São Paulo, ECA - Escola de Comunicações e Artes, Graduate Student
In this paper, we will discuss IoMuSt and ubimus perspectives on Artificial Intelligence taking two different critical directions: (1) we discuss the problem of subjectivity through the prism of text prediction and language-based... more
In this paper, we will discuss IoMuSt and ubimus perspectives on Artificial Intelligence taking two different critical directions: (1) we discuss the problem of subjectivity through the prism of text prediction and language-based learning; and (2) we consider the simulation of subjectivity that may be at stake with AI and reflect on whether it can be effectively disencumbered from what we understand as subjectivity. This discussion aims to help formulate a new conceptual model of the musical internet, the Internet of Musical Stuff, which functions as a complement to the Internet of Musical Things and is characterised by the critical examination of the production and reproduction of ontologies implicit in this model, and by the terminological and operational replacement of the fixed concept of "things" with that of "stuff".
Research Interests:
Research Interests:
Research Interests:
Through an ecological approach to creative practice (henceforth ecomprovisation), this project deals with the expansion of the creative strategies applicable to everyday contexts. Within ubiquitous music (ubimus), we target the... more
Through an ecological approach to creative practice (henceforth ecomprovisation), this project deals with the expansion of the creative strategies applicable to everyday contexts. Within ubiquitous music (ubimus), we target the convergence of sonification methods with the application of ecological models within the context of comprovisation. These conceptual frameworks inform the technological and aesthetic approaches applied in the making of Markarian 335. We describe the creative procedures and the implications of the design choices involved in this artwork. The contributions and shortcomings of our ecomprovisational approach are situated within the context of the current efforts to foster expanded creative possibilities in ubimus endeavours.
Research Interests:
In this paper, we will discuss IoMuSt and ubimus perspectives on Artificial Intelligence taking two different critical directions: (1) we discuss the problem of subjectivity through the prism of text prediction and language-based... more
In this paper, we will discuss IoMuSt and ubimus perspectives on Artificial Intelligence taking two different critical directions: (1) we discuss the problem of subjectivity through the prism of text prediction and language-based learning; and (2) we consider the simulation of subjectivity that may be at stake with AI and reflect on whether it can be effectively disencumbered from what we understand as subjectivity. This discussion aims to help formulate a new conceptual model of the musical internet, the Internet of Musical Stuff, which functions as a complement to the Internet of Musical Things and is characterised by the critical examination of the production and reproduction of ontologies implicit in this model, and by the terminological and operational replacement of the fixed concept of "things" with that of "stuff".
Research Interests:
Research Interests:
Research Interests:
Las prácticas creativas basadas en cognición ecológica conforman una de las líneas consolidadas dentro de la investigación en música ubicua (ubimus). Su fuerte relación con los recursos locales y su perspectiva relacional hacen de este... more
Las prácticas creativas basadas en cognición ecológica conforman una de las líneas consolidadas dentro de la investigación en música ubicua (ubimus). Su fuerte relación con los recursos locales y su perspectiva relacional hacen de este enfoque una herramienta propicia para ampliar las posibilidades creativas del uso de sonidos ambientales. En este trabajo analizamos los resultados de un proyecto artístico multimodal realizado a partir de materiales visuales y sonoros locales, situados en la Amazonia Occidental y trabajados a través de soporte tecnológico en modalidad asíncrona. La videodanza Atravessamentos es analizada como estudio de caso de la aplicación de técnicas de síntesis y manipulación de audio, y como estrategia intermodal y multimodal, incluyendo las disonancias cognitivas, la organización de densidades texturales, el modelado ecológico y las relaciones miméticas. Se destaca la utilización de cuadrículas biofónicas para establecer sistemas de referencia espaciales y temp...
Research Interests:
Research Interests:
This paper explores participatory and socially engaged practices in ubiquitous music (ubimus). We discuss recent advances that target timbre as their focus while incorporating semantic strategies for knowledge transfer among participants.... more
This paper explores participatory and socially engaged practices in ubiquitous music (ubimus). We discuss recent advances that target timbre as their focus while incorporating semantic strategies for knowledge transfer among participants. Creative Semantic Anchoring (ASC from the original in Portuguese) is a creative-action metaphor that shows promising preliminary results in collaborative asynchronous activities. Given its grounding in local resources and its support for explicit knowledge, ASC features a good potential to boost socially distributed knowledge. We discuss three strategies that consolidate and expand this approach within ubiquitous music and propose the label Radical ASC. We investigate the implications of this framework through the analysis of two artistic projects: Atravessamentos and Ntrallazzu.
Research Interests:
Audiovisual material from the artistic work called Atravessamentos by Luzilei Aliel and Damián Keller (Aliel, L., Keller, D. and Alvim, V. 2019.) Atravessamentos makes use of ecological modelling to expand the available sonic resources... more
Audiovisual material from the artistic work called Atravessamentos by Luzilei Aliel and Damián Keller (Aliel, L., Keller, D. and Alvim, V. 2019.) Atravessamentos makes use of ecological modelling to expand the available sonic resources while keeping close ties to everyday events. A specific contribution of this piece is the incorporation of acoustic-instrumental synthesis within the context of ecologically grounded creative practices. Atravessamentos features sonic-generative techniques based on acoustic-instrumental sources. These emulations are produced by decoding the dynamic spectral structure of the recorded sources to recreate or emulate acoustic-instrumental sounds, consequently yielding an expansion of the instrumental palette. Audio-processing techniques are employed to enhance the perceptual qualities of the recorded materials through timbral bridges linking the synthetic and the recorded resources. Reverberation provides distance cues that sometimes are consistent with th...
Research Interests:
Research Interests: Humanities and Art
Lyapunov Time (LYT) is a comprovisation for solo clarinet and live electronics (Aliel et al. 2019). In this proposal, live electronics will be conducted by cell phones. The play proposes an aesthetic metaphor based on a theory presented... more
Lyapunov Time (LYT) is a comprovisation for solo clarinet and live electronics (Aliel et al. 2019). In this proposal, live electronics will be conducted by cell phones. The play proposes an aesthetic metaphor based on a theory presented by Aleksandr Mikhailovich Lyapunov. According to Lyapunov, some classes of dynamic systems become chaotic in a foreseeable moment. The metaphor of how dynamic systems become chaotic serves as an aesthetic starting point for artistic work. We propose a dynamic system that has guidelines and contingencies (Aliel et. Al, 2019; Aliel, 2017)
Dadas as condições atuais de fazer música que envolvem práticas a distância, principalmente com o auxílio da internet, consideramos formas de produção sonora de forma a ampliar estratégias de apoio. Para contornar os atrasos decorrentes... more
Dadas as condições atuais de fazer música que envolvem práticas a distância, principalmente com o auxílio da internet, consideramos formas de produção sonora de forma a ampliar estratégias de apoio. Para contornar os atrasos decorrentes das práticas musicais via internet e não se limitar à baixa qualidade sonora, abordamos a interação musical coletiva com ênfase nas práticas gestuais e visuais. Com base em conceitos baseados no senso de agenciamento, construímos uma obra para cordas friccionadas, sons eletrônicos e interação online, o projeto Ouija (comprovisação de Luzilei Aliel). Nosso objetivo geral foi investigar o uso de conceitos usados no senso de agenciamento em práticas musicais que evidenciam relações gestuais e visuais. Num segundo momento, pretendemos desenvolver formas recentes de práticas musicais online. No projeto Ouija, as estratégias de agenciamento parecem apoiar o processo de tomada de decisão, ajudando-nos a compreender as relações entre improvisação e planejame...
Research Interests:
Orca is a live coding environment based on one-letter alphanumeric operators, different from the English-based commands of other coding or patching tools. Our main hypothesis is that the one-letter operators that regulate Orca's... more
Orca is a live coding environment based on one-letter alphanumeric operators, different from the English-based commands of other coding or patching tools. Our main hypothesis is that the one-letter operators that regulate Orca's functioning might make it a much more accessible environment, especially for those users that may benefit from an alternative to the dominant English language. In this preliminary paper, we also present our hypothesis in terms of Orca's interactions and contradictions vis-à-vis Creative Semantic Anchoring (ASC).
Audiovisual material from the artistic work called Atravessamentos by Luzilei Aliel and Damián Keller (Aliel, L., Keller, D. and Alvim, V. 2019.) Atravessamentos makes use of ecological modelling to expand the available sonic resources... more
Audiovisual material from the artistic work called Atravessamentos by Luzilei Aliel and Damián Keller (Aliel, L., Keller, D. and Alvim, V. 2019.) Atravessamentos makes use of ecological modelling to expand the available sonic resources while keeping close ties to everyday events. A specific contribution of this piece is the incorporation of acoustic-instrumental synthesis within the context of ecologically grounded creative practices. Atravessamentos features sonic-generative techniques based on acoustic-instrumental sources. These emulations are produced by decoding the dynamic spectral structure of the recorded sources to recreate or emulate acoustic-instrumental sounds, consequently yielding an expansion of the instrumental palette. Audio-processing techniques are employed to enhance the perceptual qualities of the recorded materials through timbral bridges linking the synthetic and the recorded resources. Reverberation provides distance cues that sometimes are consistent with th...
We discuss the contributions of a ubimus-oriented artistic project - Maxwell's Demon (The Maxwell Demon) - highlighting the specific challenges of lay-musician interaction. Using the MoMuPlat environment, we implemented the TMD... more
We discuss the contributions of a ubimus-oriented artistic project - Maxwell's Demon (The Maxwell Demon) - highlighting the specific challenges of lay-musician interaction. Using the MoMuPlat environment, we implemented the TMD sound-synthesis tool for portable and fixed devices. Five musicians and three lay people of both sexes participated in the study, targeting improvisational group activities based on simple verbal instructions. Through interviews with participants, on-site observations and analysis of audio and video recordings, we obtained results that indicate advantages and limitations of the knowledge-transfer strategies applied during the activities. The items covered include, on the one hand, problems in the activity-preparation stage; the generation of new materials was encouraged but the reuse of sound resources was low. On the other hand, the participants' body movements served to expand their creative engagement; the layman-musician interaction was effective ...
Picture a world with no mobility. Planes are landed. Urban transportation stopped. Large gatherings are non-existent and everybody is at home. That's 2020, today. Most countries have reduced social interactions to a minimum. Food... more
Picture a world with no mobility. Planes are landed. Urban transportation stopped. Large gatherings are non-existent and everybody is at home. That's 2020, today. Most countries have reduced social interactions to a minimum. Food markets, drugstores and gas stations remain open. But shopping malls, cinemas, coffee shops and pubs have closed their doors for the foreseeable future. The Covid-19 pandemic is among us, ready to strike the most vulnerable and sometimes also the healthy, rich and posh. Covid-19 impacts every social strata. This is a key difference between this disease and the plagues that have been taking lives in the peripheral countries for decades. Pulmonary and respiratory diseases are among the leading causes of death worldwide. But according to the WHO 1 (2018), the so-called Group I conditions (communicable diseases, maternal conditions arising during pregnancy and childbirth, and nutritional deficiencies) are particularly devastating among the low-income popula...
Audiovisual material from the artistic work called Atravessamentos by Luzilei Aliel and Damián Keller (Aliel, L., Keller, D. and Alvim, V. 2019.) Atravessamentos makes use of ecological modelling to expand the available sonic resources... more
Audiovisual material from the artistic work called Atravessamentos by Luzilei Aliel and Damián Keller (Aliel, L., Keller, D. and Alvim, V. 2019.) Atravessamentos makes use of ecological modelling to expand the available sonic resources while keeping close ties to everyday events. A specific contribution of this piece is the incorporation of acoustic-instrumental synthesis within the context of ecologically grounded creative practices. Atravessamentos features sonic-generative techniques based on acoustic-instrumental sources. These emulations are produced by decoding the dynamic spectral structure of the recorded sources to recreate or emulate acoustic-instrumental sounds, consequently yielding an expansion of the instrumental palette. Audio-processing techniques are employed to enhance the perceptual qualities of the recorded materials through timbral bridges linking the synthetic and the recorded resources. Reverberation provides distance cues that sometimes are consistent with th...
Originally composed by Marcello Messina, Ntrallazzu is a cycle of pieces for live score and electronics built on Max, and involving various instrumental line-ups. In particular, Ntrallazzu 4 was performed by Luzilei Aliel on the pifano... more
Originally composed by Marcello Messina, Ntrallazzu is a cycle of pieces for live score and electronics built on Max, and involving various instrumental line-ups. In particular, Ntrallazzu 4 was performed by Luzilei Aliel on the pifano and electric guitar in Sao Joao del Rei during the VIII UbiMus workshop. Aliel's particular setup also involved a further layer of processing: namely, the usage of Pure Data alongside Ableton Live in order to literally hijack the original piece and open a whole set of unforeseen possibilities that abundantly transcend the original intentions. In this paper, we signify our experience by means of the concept of comprovisation, while we situate Ntrallazzu 4 within the domain of ubiquitous music. Furthermore, we make use of the Heideggerian concept of Gelassenheit and of the Derridean concept of Metaphysics of Presence (as reformulated by Joseph Pugliese) in order to make sense of the piece.
Research Interests:
This paper aims to expand the research on ecological synthesis (Keller, 1999) through the inclusion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositional environments (targeting... more
This paper aims to expand the research on ecological synthesis (Keller, 1999) through the inclusion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositional environments (targeting comprovisation), based on ecologically grounded creative practices. Our approach entails the use of socio-ecological models that deal with complex adaptive systems [Sibertin et al., 2011]. We developed a performance/experiment called The Maxwell Demon, as a case study. The observations done during the case study indicate that imitation is an important strategy for creative activities in socio-ecological systems. Improvisation may provide a relevant source of sonic content in ecological environments, enhancing their flexibility without losing consistency.
Research Interests:
This article presents and discusses the process of creation and development of a sonic art installation entitled “Firefly Destination”; a multimodal interactive artwork developed in PureData (Pd). This is a sonic artwork that aims to... more
This article presents and discusses the process of creation and development of a sonic art installation entitled “Firefly Destination”; a multimodal interactive artwork developed in PureData (Pd). This is a sonic artwork that aims to explore the remote interaction of distinct soundscapes manipulated in real-time by a single performer. This also focuses on the main goals of ubiquitous music by tackling the interaction of multiple soundscapes and their relations with the performer and listeners. This work uses Skype – a well-known VoIP (voice over internet protocol) – to allow the interaction of performer and soundscapes as agents of a complex open system. Together they create an interactive meta-soundscape, which is a sonic environment formed by sonic features of distant and distinct soundscapes modulated by the performer. This category of artwork may present aspects of self-organization by emerging aesthetical meaning through the ecological modeling of remote soundscapes linked in a...
Research Interests: Music and Musicology
We describe the development of a new ubiquitous music metaphor for creative action involving the use of hand gestures, Handy. The metaphor was deployed through two proof-of-concept, low-cost prototypes based either on motion sensors... more
We describe the development of a new ubiquitous music metaphor for creative action involving the use of hand gestures, Handy. The metaphor was deployed through two proof-of-concept, low-cost prototypes based either on motion sensors connected to an embedded micro-controller (Handy H) or by repurposing the webcam of a portable computer (Handy S). The evaluations showed positive results (slightly better with musicians than with non-musicians) in the following factors: ease of use and productivity (Handy H); engagement, productivity and collaboration support (Handy S). We discuss the implications of this outcome, targeting the interaction with the Internet of Musical Things.
Research Interests: Psychology and New Music
This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic... more
This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and p...
Research Interests:
Este trabalho é dedicado à análise da série de obras Five Places to Remember do compositor/pesquisador Fernando Iazzetta. A série possui cinco trabalhos, entretanto, nos dedicamos a analisar três deles: Praga, Paraty, Bruxelas (as obras... more
Este trabalho é dedicado à análise da série de obras Five Places to Remember do compositor/pesquisador Fernando Iazzetta. A série possui cinco trabalhos, entretanto, nos dedicamos a analisar três deles: Praga, Paraty, Bruxelas (as obras podem se visualizadas em: https://soundcloud.com/iazzetta). Devido às características estéticas dos trabalhos relacionados à paisagem sonora, discutimos algumas propriedades desse tipo de manifestação que procuramos entrelaçar com o trabalho analisado. Utilizamos como levantamento bibliográfico para análise, a espectromorfologia, em conjunto com os desenvolvimentos propostos por Coelho de Souza (2013). Duas características foram relevantes: 1) Marcadores de Som Transmutados - conceito proposto a partir da proposta de marcação sonora (soundmarks) (Schafer, 1977), onde os pontos de referência da paisagem sonora são drasticamente alterados por ferramentas eletroacústicas, permitindo a geração de novos materiais mantendo a organização macro. 2) Processo ...
We tackle the philosophical implications of post-2020 music practices. To situate our discussion, we address pending issues in current definitions of music-making. Our analysis indicates that post-2020 definitions of music should feature... more
We tackle the philosophical implications of post-2020 music practices. To situate our discussion, we address pending issues in current definitions of music-making. Our analysis indicates that post-2020 definitions of music should feature sonic information and events, framed through social interactions and through the material grounding of the musical activity. Ubiquitous music (ubimus) furnishes a promising playing field for the emerging aspects of creative music-thinking. New frameworks that encompass the dynamic, multimodal and situated characteristics of music while skewing an anthropocentric perspective on creativity may provide meaningful targets for ubimus research toward a new notion of musicality. Three artistic projects serve to exemplify key aspects of this proposal: Atravessamentos, Memory Tree and Lyapunov Time. We address the philosophical implications of these artistic endeavors toward the construction of ubimus philosophical frameworks.
Neste ensaio focamos as formas-pensamento que embasam o conceito de Gelassenheit (HEIDEGGER, 1966) nas praticas criativas fundamentadas na cognicao ecologica. Heidegger categoriza as formas-pensamento em dois casos: o pensamento... more
Neste ensaio focamos as formas-pensamento que embasam o conceito de Gelassenheit (HEIDEGGER, 1966) nas praticas criativas fundamentadas na cognicao ecologica. Heidegger categoriza as formas-pensamento em dois casos: o pensamento calculista e o pensamento meditativo. No primeiro a tecnologia e usada como um fetiche. No segundo o pensamento humano procura transcender suas limitacoes atraves da incorporacao de eventos imprevistos. Descrevemos e discutimos projetos artisticos multimodais recentes, em particular, as pecas Markarian 335 e Lyapunov Time . Com base nas anotacoes de Heidegger, sugerimos contribuicoes para a incorporacao dos instrumentos acusticos nas praticas cognitivo-ecologicas, utilizando o inexpressavel para provocar desafios aos processos de estruturacao musical.
This paper aims to expand the research on ecological synthesis models (KELLER, 1999) through the inclu- sion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositio- nal environments... more
This paper aims to expand the research on ecological synthesis models (KELLER, 1999) through the inclu- sion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositio- nal environments (targeting comprovisation), based on ecologically grounded creative practices. Our approach en- tails the use of socio-ecological models that deal with complex adaptive systems [SIBERTIN et al., 2011]. We develo- ped a performance/experiment called The Maxwell Demon, as a case study. The observations done during the study indicate that imitation is an important strategy for creative activities in socio-ecological systems. Improvisation may provide a relevant sonic content in ecological environments, enhancing their flexibility without losing consistency. Keywords: Comprovisation; Socio-Ecological System; Performance/Experiment
Neste artigo discutimos a influência das práticas criativas ecocognitivas no campo da música ubíqua. Em particular, focamos a relação entre improvisação e criatividade musical, destacando a contribuição dos métodos de suporte para a... more
Neste artigo discutimos a influência das práticas criativas ecocognitivas no campo da música ubíqua. Em particular, focamos a relação entre improvisação e criatividade musical, destacando a contribuição dos métodos de suporte para a criatividade na ampliação dos aspectos participativos do fazer musical instrumental. Como estudos de caso, discutimos os métodos e os resultados de dois projetos composicionais: o projeto Destino Pirilampo e o projeto Tocaflor. Aplicamos o Modelo Dentro-Fora para analisar as limitações e as vantagens das propostas de suporte à criatividade destas duas propostas de aplicação das práticas criativas ecocognitivas.
Research Interests:
Música ubíqua é aqui entendida como uma derivação natural da música eletroacústica na qual equipamentos eletrônicos são ubiquamente interconectados para juntos criarem música. Com este ambiente, é atualmente possível fazer uma composição... more
Música ubíqua é aqui entendida como uma derivação natural da música eletroacústica na qual equipamentos eletrônicos são ubiquamente interconectados para juntos criarem música. Com este ambiente, é atualmente possível fazer uma composição de paisagens sonoras (soundscapes) criada de material sonoro advindo de distantes e distintos soundscapes. Nós chamamos a este resultado de meta-soundscape. Este artigo apresenta e discute o processo de criação e desenvolvimento da instalação de arte sonora intitulada "Destino Pirilampo" (DP) que explora esta premissa. DP é uma instalação performática multimodal desenvolvida pra gerar meta-soundscapes. Esta explora a interação remota entre soundscapes cujo material é manipulado em tempo-real por um único performer. DP usa um aplicativo de VoIP (voice over internet protocol) para coletar e enviar dados sonoros dos soundscapes para o performer. Juntos, estes tornam-se agentes de uma sistema aberto e complexo de onde significado estético emerge através de um processo de auto-organização. Sem utilizar sons gravado, DP cria um meta-soundscape interativo e artificial, que é um ambiente sonoro composto por um processo de música ubíqua contendo objetos sonoros sintetizados e naturais, manipulados em tempo-real pelo performer. Este trabalho é também um estudo de sonologia, o campo interdisciplinar de pesquisa sonora em suas diferentes formas de expressão e aspectos, tais como em: performance musical, acústica, psicoacústica, música eletrônica e soundscapes.
Research Interests:
O objetivo deste artigo é investigar uma alternativa metodológica para as práticas ecocomposicionais através da utilização da sistemática da comprovisação. Procurando embasamento nas perspectivas filosóficas, em manifestos e nos produtos... more
O objetivo deste artigo é investigar uma alternativa metodológica para as práticas ecocomposicionais através da utilização da sistemática da comprovisação. Procurando embasamento nas perspectivas filosóficas, em manifestos e nos produtos artísticos vinculados à comprovisação, analisamos esse enfoque como mecanismo capaz de contribuir para a produção e elucidação dos conceitos de composição e improvisação desde a perspectiva ecocomposicional.