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In 2015, Google engineer Alexander Mordvintsev presented DeepDream as technique to visualise the feature analysis capabilities of deep neural networks that have been trained on image classification tasks. For a brief moment, this technique enjoyed some popularity among scientists, artists, and the general public because of its capability to create seemingly hallucinatory synthetic images. But soon after, research moved on to generative models capable of producing more diverse and more realistic synthetic images. At the same time, the means of interaction with these models have shifted away from a direct manipulation of algorithmic properties towards a predominance of high level controls that obscure the model's internal working. In this paper, we present research that returns to DeepDream to assess its suit-ability as method for sound synthesis. We consider this research to be necessary for two reasons: it tackles a perceived lack of research on musical applications of DeepDream, and it addresses DeepDream's potential to combine data driven and algorithmic approaches. Our research includes a study of how the model architecture, choice of audio data-sets, and method of audio processing influence the acoustic characteristics of the synthesised sounds. We also look into the potential application of DeepDream in a live-performance setting. For this reason, the study limits itself to models consisting of small neural networks that process time-domain representations of audio. These models are resource-friendly enough to operate in real time. We hope that the results obtained so far highlight the attractiveness of Deep-Dream for musical approaches that combine algorithmic investigation with curiosity driven and open ended exploration.
Strings P
(2021)
Strings is an audiovisual performance for an acoustic violin and two generative instruments, one for creating synthetic sounds and one for creating synthetic imagery. The three instruments are related to each other conceptually , technically, and aesthetically by sharing the same physical principle, that of a vibrating string. This submission continues the work the authors have previously published at xCoAx 2020. The current submission briefly summarizes the previous publication and then describes the changes that have been made to Strings. The P in the title emphasizes, that most of these changes have been informed by experiences collected during rehearsals (in German Proben). These changes have helped Strings to progress from a predominantly technical framework to a work that is ready for performance.
Strings
(2020)
This article presents the currently ongoing development of an audiovisual performance work with the title Strings. This work provides an improvisation setting for a violinist, two laptop performers, and two generative systems. At the core of Strings lies an approach that establishes a strong correlation among all participants by means of a shared physical principle. The physical principle is that of a vibrating string. The article discusses how this principle is used in both natural and simulated forms as main interaction layer between all performers and as natural or generative principle for creating audio and video.