Part1: Masahiro Miwa

“Our Favorite Buns at School Lunch” -for an onlooker and 6 pupils on duty-

Fumi Mizuno, Kaho Sasaki, Kouta Tsumagari, Matsuaki Arai, Yuuki Ito, Chinatsu Kondo, Hodaka Nagaya (Voluntary members from Nagoya University of Arts and Sciences)

“Rainbow Machine” The Genesis of Chant

Piano: Takashi Yamane

“Rainbow Machine” The Genesis of Chant

Piano: Player Piano

“The Matarisama” Presentation

Part2: Kiyoshi Furukawa

From “Music by Numbers” Fractal Music (nonlinear structure) 1992

Piano: controlled by computer Kiyoshi Furukawa

• "01 mandelbrot sets1"
• "02 chaotic attractor"
• "03 mandelbrot sets2"
• "04 cellautomaton"
• "05 julia sets1"

“Architecture Dreams Music” Hearing Experience of Architectural Space presentation & performance by AdM-research and creation team New piece/ World premiere

Kiyoshi Furukawa (music, Tokyo University of the Arts), Haruyuki Fujii (architecture, Tokyo Institute of Technology), Takayuki Hamano (system development, Tokyo University of the Arts), Yuki Kobayashi (architecture, Tokyo Institute of Technology)

Part3: After talk

by Masahiro Miwa, Kiyoshi Furukawa and Hideki Nakazawa

Part1: Hirokazu Hiraishi

“A Dim Memory of Spacetime for String Quartet”

“Prismatic Pulsation II for String Quartet”

“Spiral Path of Piano No.5 for Piano” New piece/World premiere

“Pebbles Take Breaths for Piano and String Quartet” New piece/World premiere

“Space Music for Computer and 8ch public-address system”

Piano: Tomoko Yazawa,Violin1: Yuki Ahagon,Violin2: Chikako Kinjo, Viola: Sawako Higa, Cello: Nami Munemoto

Part2: AI Composition and Computational Creativity

Medieval and Renaissance: vocal polyphonies

Jason Sakellariou "In the style of Guillaume de Machaut," "In the style of Ravenscrof," "In the style of Palestrina"

Baroque: Bach's chorale styles

Ray Whorley: "An Wasserflüssen Babylon"
Gaëtan Hadjeres: "Ich ruf' zu Dir," "Vater unser im Himmelreich," "Chorale without words (or constraints)"

Mozart

Stefan and Carlos "Mozart Unchained," "Mozart Constrained: Alla Turca Meccanica KV 415 8/11"

Classical, Romantic, and Modern

David Cope with Experiments in Musical Intelligence "Sonata (after Beethoven)," "Rhapsody (after Brahms)," "Le Prelude (after Debussy)," "Poeme (after Scriabin)," "Eine Kleine Stück (after Schoenberg)," "Drome (After Webern)"

The 20th Century and Contemporary

Brian Bemman "The Computer as Specialist (Who cares if you compose?)" (Milton Babbitt's style)
Izaro Goienetxea "Euskal Herritik Londreseraino" (Basque folk song)
Tsubasa Tanaka "Alchimie Cellulaire" (original style)

Soprano: Hiroe Nakazato, Alto: Ritsuko Chinen, Tenor: Naoki Tasato, Bass: Hirotaka Nakamoto, Flute: Eriko Maeda, Piano: Tatsuya Sakuma, Akiko Taira, Violin 1: Yuki Ahagon, Violin 2: Chikako Kinjo, Viola: Sawako Higa, Cello: Nami Munemoto,Piano: Tomoko Yazawa,Violin1: Yuki Ahagon,Violin2: Chikako Kinjo, Viola: Sawako Higa, Cello: Nami Munemoto

Thanks to Brian Bemman, Geraint Wiggins and David Meredith
Learning to Create (project number 610859, funded by EU FP7)

Part3: After talk

by Hirokazu Hiraishi, Tsubasa Tanaka and Hideki Nakazawa

Part 1: Conlon Nancarrow

“Studies for Player Piano” the first half

Part 2: Conlon Nancarrow

“Studies for Player Piano” the second half

Part 3: After talk

Ayumu Morita, Hideki Nakazawa and special guest

Program

Concerto for voice and audience with live score generated by misled AI ( 2017)

This piece focuses on interactive processes between neural networks and human beings with multi-layered relationships. Three different neural networks are used in the process.

In the first stage, some new characters, which were synthesized by a neural network from Chinese characters and Raoul Hausmann’s visual poem, were tried to establish proper pronunciations by mutual process between Adachi and a neural network. Everyday he pronounced the characters for the neural network following the shape of the characters without any other notations, the neural network storages the sound patterns and classifies. This part is a parallel process of neural networks of human brain and computer. In the final stage, the neural network analyses his voice performance, classifies the voice movement to the specific characters, the classification is transformed to some instructions to audience and guest performers in realtime. At the same time, the neural network plays some recorded samples which was generated by a neural network leaning Adachi’s voice. The voice performance reacts to both the sounds from the audience and the guest performers as well as the synthesized voices. In this final stage, an extremely complex network, which involves all peoples and machine in the place around the voice performance and gestures of the neural network, is realised.

Unreasonable reading of AI Synthesized Poetry: Raoul Hausmann + Kokin Wakashū ( 2017 )

This is a conceptual reading of Adachi’s visual poem “AI Synthesized Poetry: Raoul Hausmann + Kokin Wakashū”. A neural network generated the visual poem as a synthesized image of Raoul Hausmann’s visual poem and a calligraphy of poems by Fujiwara no Okikaze in the 10th century in Japan, both were written on Japanese paper. There is not any cue how to read, Adachi tries to read it with his voice with a help of his invented technology. A basic attitude is that writing gesture and reading gesture are the same, it was inspired by essay on Dance by Stéphane Mallarmé.

For each piece, Raoul Hausmann, German Dadaist is a main reference. He left some collage works which suggest a new image of man-machine, especially a transition between human brain and mechanics in a highly political context.

【Profile】

Tomomi Adachi is a performer/composer, sound poet, instrument builder and visual artist. Known for his versatile style, he has performed his own voice and electronics pieces, sound poetry, improvised music and contemporary music, also presented site-specific compositions, compositions for classical ensembles, choir pieces for untrained musicians in all over the world including Tate Modern, Maerzmusik, Centre Pompidou, Poesiefestival Berlin and Walker Art Center.

He has been working with a wide range of materials; self-made physical interfaces and instruments, brainwave, artificial satellite, twitter texts, 3D printer and even paranormal phenomenas. As the only Japanese performer of sound poetry, he performed Kurt Schwitters' "Ursonate" as a Japan premiere in 1996. CDs include the solo album from Tzadik, Omegapoint and naya records. He was a guest of the Artists-in-Berlin Program of the DAAD for 2012.

Program

Concerto for voice and audience with live score generated by misled AI ( 2017)

This piece focuses on interactive processes between neural networks and human beings with multi-layered relationships. Three different neural networks are used in the process.

In the first stage, some new characters, which were synthesized by a neural network from Chinese characters and Raoul Hausmann’s visual poem, were tried to establish proper pronunciations by mutual process between Adachi and a neural network. Everyday he pronounced the characters for the neural network following the shape of the characters without any other notations, the neural network storages the sound patterns and classifies. This part is a parallel process of neural networks of human brain and computer. In the final stage, the neural network analyses his voice performance, classifies the voice movement to the specific characters, the classification is transformed to some instructions to audience and guest performers in realtime. At the same time, the neural network plays some recorded samples which was generated by a neural network leaning Adachi’s voice. The voice performance reacts to both the sounds from the audience and the guest performers as well as the synthesized voices. In this final stage, an extremely complex network, which involves all peoples and machine in the place around the voice performance and gestures of the neural network, is realised.

Unreasonable reading of AI Synthesized Poetry: Raoul Hausmann + Kokin Wakashū ( 2017 )

This is a conceptual reading of Adachi’s visual poem “AI Synthesized Poetry: Raoul Hausmann + Kokin Wakashū”. A neural network generated the visual poem as a synthesized image of Raoul Hausmann’s visual poem and a calligraphy of poems by Fujiwara no Okikaze in the 10th century in Japan, both were written on Japanese paper. There is not any cue how to read, Adachi tries to read it with his voice with a help of his invented technology. A basic attitude is that writing gesture and reading gesture are the same, it was inspired by essay on Dance by Stéphane Mallarmé.

For each piece, Raoul Hausmann, German Dadaist is a main reference. He left some collage works which suggest a new image of man-machine, especially a transition between human brain and mechanics in a highly political context.

【Profile】

Tomomi Adachi is a performer/composer, sound poet, instrument builder and visual artist. Known for his versatile style, he has performed his own voice and electronics pieces, sound poetry, improvised music and contemporary music, also presented site-specific compositions, compositions for classical ensembles, choir pieces for untrained musicians in all over the world including Tate Modern, Maerzmusik, Centre Pompidou, Poesiefestival Berlin and Walker Art Center.

He has been working with a wide range of materials; self-made physical interfaces and instruments, brainwave, artificial satellite, twitter texts, 3D printer and even paranormal phenomenas. As the only Japanese performer of sound poetry, he performed Kurt Schwitters' "Ursonate" as a Japan premiere in 1996. CDs include the solo album from Tzadik, Omegapoint and naya records. He was a guest of the Artists-in-Berlin Program of the DAAD for 2012.