Evolución, sistemas
evolutivos, enfoque lingüístico, lingüística matemática, reconocimiento
sintáctico de patrones, inferencia gramatical, gramáticas evolutivas,
computación evolutiva, programación genética, matrices evolutivas, redes
neuronales evolutivas, reconocimiento de patrones, autómatas celulares
evolutivos, sistemas complejos, sistemas expertos, aprendizaje de maquinas,
procesos de Markov, recursividad, complejidad, informática, sistemas
adaptativos, hardware
evolutivo.
Crecimiento, aprendizaje, pensamiento, transformación de nuestra imagen de la realidad, inteligencia artificial, vida artificial, procesos de descomposición, el desarrollo y transformación de las empresas, sociedades, organizaciones, países, galaxias y universos, vida, cambio.
Evolución y Educación, Invención por evolución, Sistemas Evolutivos y música, Robótica evolutiva, sistemas evolutivos de la naturaleza, generación de paisajes, árboles, nubes, ríos, etc..
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Evolution and Evolutionary Systems LINKS to EVOLUTION Evolución y Sistemas Evolutivos LIGAS
a EVOLUCIÓN www.fgalindosoria.com/eac/evolucion/
www.fgalindosoria.com/eac/
Fernando Galindo Soria
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Evolución y Sistemas Evolutivos, Sistemas Afectivos y
Sistemas Concientes
Evolución y Sistemas Evolutivos Sistemas Afectivos Sistemas Concientes
Matrices
Evolutivas y Dinámica Dimensional
Creación
de la página www Cd. De México a 2 de Junio del 2001
Ultimas actualizaciones 27 de Mayo del 2007, 9 de Diciembre del
2008, 9 de Julio del 2009, 11 de Julio del 2010
EVOLUTION / EVOLUCIÓN
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******************************************************************* Naui Ollin el que al girar y repetirse cíclicamente genera la evolución Cencahua es la palabra Nahuatl utilizada para describir evolución, y significa movimiento que tiende a la unidad *********************************************************** ************************************************** Evolution /
Evolución
Evolución Fernando Galindo Soria, 20 de Septiembre de
1995 Teoría y Práctica de los Sistemas Evolutivos Versión b, Ciudad de México 1997, Editor Jesús M. Olivares Ceja. “...se plantea en esencia que la evolución, el crecimiento, la vida, el aprendizaje, el pensamiento, la transformación de nuestra imagen de la realidad, los procesos de descomposición, el desarrollo y transformación de las empresas, sociedades, organizaciones, países, galaxias y universos, etc., son manifestaciones de un mismo proceso general de transformación o cambio, y que existen reglas y propiedades generales que se aplican a las diferentes manifestaciones particulares. Por facilidad al concepto general lo denominaremos
Evolución, aunque lo podríamos llamar de muchas otras formas, como cambio o
transformación. O sea que, cuando nos refiramos a la evolución no nos
estaremos refiriendo al concepto particular que tiene asociado, sino al
concepto general con el cual integra y representa a todas las manifestaciones
particulares.” http://www.fgalindosoria.com/eac/evolucion/evolucion/evolucion.htm La más bella historia jamás contada Hubert Reeves “...desde hace quince mil millones de años acontece una
misma aventura que une el universo, la vida y el hombre como los capítulos de
una larga epopeya. Hay una misma evolución, del Big Bang a la inteligencia,
que empuja en el sentido de una creciente complejidad: las primeras
partículas, los átomos, las moléculas, las estrellas, las células, los
organismos, los seres vivientes, hasta estos curiosos animales que somos
nosotros... Todo se sucede en una misma cadena, a todos les arrastra un mismo
movimiento.” (FGS, Link July 4, 2010) http://www.sisabianovenia.com/LoLeido/NoFiccion/ReevesBella.htm ************************************************** Complexity
and Evolution / Complejidad y
Evolución. Cosmic Evolution: The Rise of Complexity in
Nature Harvard
University Press, 2002 - 288 páginas “We are
connected to distant space and time not only by our imaginations but also
through a common cosmic heritage. Emerging now from modern science is a
unified scenario of the cosmos, including ourselves as sentient beings, based
on the time-honored concept of change. From galaxies to snowflakes, from
stars and planets to life itself, we are beginning to identify an underlying
ubiquitous pattern penetrating the fabric of all the natural sciences--a
sweepingly encompassing view of the order and structure of every known class
of object in our richly endowed universe.” (FGS, Link July 4, 2010) http://books.google.com.mx/books?id=KG2SZouhFuIC&dq=cosmic+evolution+chaisson&source=gbs_navlinks_s Cosmic
Evolution: The Rise of Complexity in Nature Harvard
University Press, 2002 - 288 páginas Cosmic
Evolution: The Rise of Complexity in Nature [Paperback] Eric J.
Chaisson (Author) (FGS, Link July 4, 2010) Proof that evolution can create complexity http://www.youtube.com/watch?v=ym4IR_nKGOM&feature=related Midiendo la
Complejidad Wednesday, January 6, 2010 “Uno de los problemas actuales en el estudio de los
sistemas complejos en general y de los Sistemas Adaptativos Complejos en
particular, es cómo podemos medirlos, y dado que la medicion de estos
sistemas es un requerimiento basico a la hora de comparar sistemas de forma
cientifica y de buscar su optimizacion. http://cas-chile.blogspot.com/2010/01/midiendo-la-complejidad.html Complex system “A complex
system is a system
composed of interconnected parts that as a whole exhibit one or more
properties (behavior among the possible properties) not obvious from the
properties of the individual parts. This characteristic of every system is
called emergence
and is true of any system, not just complex ones. A system’s complexity may be of one of two forms: disorganized complexity and organized complexity.[2] In essence, disorganized complexity is a matter of a very large number of parts, and organized complexity is a matter of the subject system (quite possibly with only a limited number of parts) exhibiting emergent properties.” (Wikipedia, 5/vii/2010) http://en.wikipedia.org/wiki/Complex_system Sistema complejo “Un Sistema Complejo está compuesto por varias partes interconectadas o entrelazadas cuyos vínculos contienen información adicional y oculta al observador. Como resultado de las interacciones entre elementos, surgen propiedades nuevas que no pueden explicarse a partir de las propiedades de los elementos aislados. Dichas propiedades se denominan propiedades emergentes. El sistema complicado, en contraposición, también está formado por varias partes pero los enlaces entre éstas no añaden información adicional. Nos basta con saber cómo funciona cada una de ellas para entender el sistema. En un sistema complejo, en cambio, existen variables ocultas cuyo desconocimiento nos impide analizar el sistema con precisión. Así pues, un sistema complejo, posee más información que la que da cada parte independientemente. Para describir un sistema complejo hace falta no solo conocer el funcionamiento de las partes sino conocer como se relacionan entre sí.” (Wikipedia, 5/vii/2010) http://es.wikipedia.org/wiki/Sistemas_complejos Emergence “In philosophy, systems theory, science, and art, emergence is the way complex systems and patterns arise out of a multiplicity of relatively simple interactions. Emergence is central to the theories of integrative levels and of complex systems.” (Wikipedia, 5/vii/2010) http://en.wikipedia.org/wiki/Emergence Emergencia (filosofía) “La emergencia hace referencia a aquellas propiedades o procesos de un sistema no reducibles a las propiedades o procesos de sus partes constituyentes. El concepto de emergencia se relaciona estrechamente con los conceptos de autoorganización y superveniencia y se define en oposición a los conceptos de reduccionismo y dualismo.” (Wikipedia, 5/vii/2010) http://es.wikipedia.org/wiki/Emergencia_(filosof%C3%ADa) Complejidad y Evolución. Esbozo de la lógica de la complejidad Carlos Eduardo Maldonado “TESIS: Pensar en términos de complejidad equivale exactamente a pensar en términos evolutivos.” Carlos Eduardo Maldonado http://www.carlosmaldonado.org/ articulos http://www.carlosmaldonado.org/articulos/ Portal de Carlos H. von der Becke sistema complejo adaptivo http://www.geocities.com/ohcop/adaptivo.html Sistemas Adaptativos Complejos Complex Adaptive Systems -CAS "..donde una inteligencia global emerge de interacciones locales de seres individualmente no inteligentes." -Sociobiology, O.E.Wilson- http://cas-chile.blogspot.com/ Epistemología de la Complejidad Juan Machín, Santiago, Chile, 25 de Enero de 2007 www.pastoraldedrogadiccion.cl/docs2007/intro_epistem.ppt Temas Complejidad Generales http://www.denisenajmanovich.com.ar/htmls/0700_links/ver_links.php?id_categoria=2 ************************************************** Biological evolution /
Evolución biológica Evolution “Evolution
is the change in the inherited traits
of a population
of organisms
through successive generations. After a population splits into smaller groups, these groups
evolve independently and may eventually diversify
into new species. A nested hierarchy of anatomical and genetic
similarities, geographical distribution of similar species and the fossil
record indicate that all organisms are descended from a common
ancestor through a long series of these divergent events, stretching back
in a tree of life that has grown over the 3,500
million years of life on Earth. To distinguish biological
evolution from other senses of the
term "evolution" used outside of the field of biology – such as
cultural evolution, technological evolution and the evolution of language – it is sometimes
referred to as genetic evolution or organic evolution”
(Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Evolution Evolución biológica “La evolución biológica es el conjunto de transformaciones o cambios a través del tiempo que ha originado la diversidad de formas de vida que existen sobre la Tierra a partir de un antepasado común.[3] La palabra evolución para describir tales cambios fue aplicada por vez primera en el siglo XVIII por el suizo Charles Bonnet en su obra "Consideration sur les corps organisés". No obstante, el concepto de que la vida en la Tierra evolucionó a partir de un ancestro común ya había sido formulada por varios filósofos griegos,[6] y la hipótesis de que las especies se transforman continuamente fue postulada por numerosos científicos de los siglos XVIII y XIX, a los cuales Charles Darwin citó en el primer capítulo de su libro El origen de las especies.” (Wikipedia, 26/vi/2010) http://es.wikipedia.org/wiki/Evoluci%C3%B3n_biol%C3%B3gica ************************************************** Evolución Artículos http://www.iieh.com/index.php/evolucion ************************************************** Evolutionary developmental
biology (evolution of development
or informally, evo-devo) Evolutionary developmental
biology “Evolutionary developmental biology (evolution of development or informally, evo-devo) is a field of biology that compares the developmental processes of different animals and plants in an attempt to determine the ancestral relationship between organisms and how developmental processes evolved. It addresses the origin and evolution of embryonic development; how modifications of development and developmental processes lead to the production of novel features, such as the evolution of feathers[1]; the role of developmental plasticity in evolution; how ecology impacts in development and evolutionary change; and the developmental basis of homoplasy and homology.” (Wikipedia, 5/vii/2010) http://en.wikipedia.org/wiki/Evolutionary_developmental_biology evo-devo Biología evolutiva del desarrollo Biología evolutiva del desarrollo “La biología evolutiva del desarrollo (o informalmente evo-devo, del inglés evolutionary developmental biology) es un campo de la biología que compara el proceso de desarrollo de diferentes organismos con el fin de determinar sus relaciones filogenéticas.[1] De igual forma, Evo-Devo, busca identificar los mecanismos del desarrollo que dan origen a cambios evolutivos en los Fenotipos de los individuos (Hall, 2003). El interés principal de esta nueva aproximación evolutiva es entender cómo la forma orgánica (estructuras novedosas y nuevos patrones morfológicos) evoluciona. De este modo, la evolución se define como el cambio en los procesos de desarrollo.” (Wikipedia, 5/vii/2010) http://es.wikipedia.org/wiki/Biolog%C3%ADa_evolutiva_del_desarrollo Pere Alberch “Pere Alberch Vie (Badalona, 2 de noviembre de 1954- 13 de marzo de 1998) Biólogo teórico del desarrollo y embriólogo experimental. Su carrera científica se dedicó principalmente a problemas de morfogénesis durante la evolución (filogenia) y desarrollo embrionario (ontogenia).” (Wikipedia, 5/vii/2010) http://es.wikipedia.org/wiki/Pere_Alberch ************************************************** Evolving Hierarchical Systems Evolving Hierarchical Systems (Hardcover) Publisher: Columbia University Press, Hardcover: 343
pages (September 30, 1985) http://www.amazon.com/Evolving-Hierarchical-Systems-Stanley-Salthe/dp/0231060165 Product Description ************************************************** Signalling
theory Signalling
theory “Within
evolutionary biology, signalling theory refers to a body of
theoretical work examining communication between individuals. The central
question is when animals with conflicting interests should be expected to
communicate "honestly". Mathematical models in which organisms
signal their condition to other individuals as part of an evolutionarily stable strategy are
the principal form of research in this field.” (Wikipedia December 20, 2008) http://en.wikipedia.org/wiki/Signalling_theory Evolutionarily
stable strategy ESS (Sometimes but grammatically incorrectly evolutionary
stable strategy) “In game theory
and behavioural ecology, an evolutionarily stable strategy (ESS) is a strategy which, if adopted by a population of players, cannot be invaded by
any alternative strategy that is initially rare. An ESS is an equilibrium refinement of the Nash
equilibrium -- it is a Nash equilibrium which is
"evolutionarily" stable meaning that once it is fixed in a population, natural
selection alone is sufficient to prevent alternative (mutant) strategies from
successfully invading. The ESS was
developed in order to define a class of solutions to game theoretic problems,
equivalent to the Nash equilibrium, but which could be applied to the evolution
of social behaviour in animals. Nash equilibria may
sometimes exist due to the application of rational
foresight, which would be inappropriate in an evolutionary context. Teleological
forces such as rational foresight cannot explain the outcomes of trial-and-error
processes, such as evolution, and thus have no place in biological applications. The definition of an
ESS excludes such Nash equilibria.” (Wikipedia December 20, 2008) http://en.wikipedia.org/wiki/Evolutionarily_stable_strategy Estrategia evolutivamente estable “En teoría de juegos, una estrategia evolutivamente estable (o EEE) es una estrategia que, si es adoptada por una población, no puede ser invadida por ninguna otra estrategia alternativa. El concepto es un refinamiento del equilibrio de Nash. La diferencia entre un equilibrio de Nash y una EEE es que un equilibrio de Nash puede existir a veces por la suposición de que la previsión racional evita que los jugadores utilicen una estrategia alternativa sin costes a corto plazo, pero que finalmente será vencida por una tercera estrategia. Una EEE está definida de manera que se excluyen tales equilibrios, y asume solo que la selección natural evita que los jugadores utilicen estrategias que lleven a recompensas menores. La definición de EEE fue introducida por John Maynard Smith y George R. Price en 1973 (para una explicación más detallada, véase el libro de Maynard Smith Evolution and the Theory of Games de 1982) basándose en el concepto de William Donald Hamilton (1967) de estrategia imbatible en la proporción de sexos. La idea puede remontarse a Ronald Fisher (1930) y Charles Darwin (1859).” (Wikipedia, 20 de Diciembre del 2008) http://es.wikipedia.org/wiki/Estrategia_evolutivamente_estable ************************************************** Computational
phylogenetics and Cladistics Computational
phylogenetics Computational
phylogenetics is the
application of computational algorithms,
methods and programs to phylogenetic
analyses. The goal is to assemble a phylogenetic
tree representing a hypothesis about the evolutionary ancestry of
a set of genes, species, or other taxa. For example, these techniques have been used
to explore the family tree of hominid
species[1] and the
relationships between specific genes shared by many types of organisms.[2]
Traditional phylogenetics relies on morphological
data obtained by measuring and quantifying the phenotypic properties
of representative organisms, while the more recent field of molecular
phylogenetics uses nucleotide
sequences encoding genes or amino
acid sequences encoding proteins as the
basis for classification. Many forms of molecular phylogenetics are closely
related to and make extensive use of sequence
alignment in constructing and refining phylogenetic trees, which
are used to classify the evolutionary relationships between homologous genes represented in the genomes of divergent
species. The phylogenetic trees constructed by computational methods are
unlikely to perfectly reproduce the evolutionary
tree that represents the historical relationships between the
species being analyzed. The historical species tree may also differ from the
historical tree of an individual homologous gene shared by those species. Producing a
phylogenetic tree requires a measure of homology
among the characteristics shared by the taxa being compared. In morphological
studies, this requires explicit decisions about which physical
characteristics to measure and how to use them to encode distinct states
corresponding to the input taxa. In molecular studies, a primary problem is
in producing a multiple sequence alignment (MSA) between the genes
or amino acid sequences of interest. Progressive sequence alignment methods
produce a phylogenetic tree by necessity because they incorporate new
sequences into the calculated alignment in order of genetic distance.
Although a phylogenetic tree can always be constructed from an MSA,
phylogenetics methods such as maximum
parsimony and maximum
likelihood do not require the production of an initial or
concurrent MSA. http://en.wikipedia.org/wiki/Computational_phylogenetics ************************** Cladistics Cladistics (ancient Greek: κλάδος,
klados, "branch") is a form of biological systematics which
classifies living organisms on the basis of shared ancestry. It can be
distinguished from other taxonomic
systems, such as phenetics,
by its focus on evolutionary
relationships; while other systems usually use morphological similarities to
group similar species into genera, families and other higher level
classification, cladistics tries to construct a tree representing the
ancestry of organisms and species. Cladistics is also distinguished by its
emphasis on objective, quantitative analysis, rather than subjective
decisions that some other taxonomic systems rely upon. http://en.wikipedia.org/wiki/Cladogram Cladograma Un cladograma es un diagrama representativo en la
clasificación biológica
taxonómica de los
organismos, en el que se muestra la relación entre distintas especies según una
característica derivada, resultado del análisis cladístico de una
especie. Los cladogramas son importantes herramientas filogenéticas para el
estudio de conceptos científicos. Los cladogramas son similares a los diagramas de huevos, o bien a los genogramas. Sin embargo, éstos últimos contienen información de descendencia directa de individuos, mientras que un cladograma sólo representa una descendencia hipotética, además de ser de varias especies y no de organismos de una sola. http://es.wikipedia.org/wiki/Cladograma ************************** Phylogenetic
tree A phylogenetic
tree or evolutionary tree is a tree
showing the evolutionary
relationships among various biological species or other
entities that are believed to have a common ancestor. In
a phylogenetic tree, each node with descendants represents the most recent common ancestor of the descendants, and
the edge lengths in some trees correspond to time estimates. Each node is called a taxonomic
unit. Internal nodes are generally called hypothetical taxonomic units (HTUs)
as they cannot be directly observed. http://en.wikipedia.org/wiki/Phylogenetic_trees Árbol filogenético Un árbol filogenético es un árbol que muestra las relaciones de evolución entre varias especies u otras entidades que se cree que tuvieron una descendencia común. Un árbol filogenético es una forma de cladograma. http://es.wikipedia.org/wiki/%C3%81rbol_filogen%C3%A9tico ************************** Robinson-Foulds
metric The Robinson-Foulds
metric is a way to measure the distance between phylogenetic
trees. It is defined as (A + B)/2 where A is the number of leaf
splits implied by the first tree but not the second tree and B is the number
of leaf splits implied by the second tree but not the first tree. Properties: In
their 1981 paper Robinson and Foulds proved that the distance is in fact a metric. Algorithms for
computing the metric: In 1985 Day gave an algorithm based on perfect hashing
that computes this distance that has only a linear complexity in the number
of nodes in the trees. A randomized algorithm that uses hash tables that are
not necessarily perfect has been shown to approximate the Robinson-Foulds
distance with a bounded error in sublinear time. Specific
applications: The metric has been used to compute distances between
phylogenetic trees using the treedist program in the PHYLIP suite. The
Robinson-Foulds metric has also been used in quantitative comparative linguistics to
compute distances between trees that are supposed to represent how languages
are related to each other. http://en.wikipedia.org/wiki/Robinson-Foulds_metric Metrics for
Phylogenetic Networks I: Generalizations of the Robinson-Foulds Metric ************************** Research
and Teaching site of Pablo Vinuesa http://www.ccg.unam.mx/~vinuesa/ Introducción a la Inferencia Filogenética Pablo Vinuesa http://www.ccg.unam.mx/~vinuesa/pdf/Minicurso_IBT_PDCBq_20_27Mar09.pdf ************************** Substitution
matrix “In bioinformatics and evolutionary
biology, a substitution matrix describes the rate at which
one character in a sequence changes to other character states over time.
Substitution matrices are usually seen in the context of amino acid or DNA sequence
alignments, where the similarity between sequences depends on
their divergence time and the substitution rates as represented in the
matrix.” (Wikipedia December 30, 2009) http://en.wikipedia.org/wiki/Substitution_matrix Matriz de sustitución “En biología
evolutiva una matriz de sustitución, o de puntuación,
describe el ritmo al que un carácter en una secuencia cambia a otro carácter
con el tiempo. Las matrices de sustitución se ven usualmente en el contexto
de alineamiento
de secuencias de aminoácidos o ADN, donde la similitud entre secuencias depende
del tiempo desde su divergencia y de los ritmos de sustitución según se
representan en la matriz.[1] 1. Altschul, S.F. Amino acid substitutions matrices from an information theoretic perspective. J. Mol. Biol. 219, 555-665 (1991).” (Wikipedia, 30 de Diciembre del 2009) http://es.wikipedia.org/wiki/Matriz_de_sustituci%C3%B3n ************************************************** Evolution
of the Universe / Evolución del Universo ************************************************************************* Book The Life of the
Cosmos Lee Smolin Oxford
University Press US, Jan 1999 Description “Lee Smolin
offers a new theory of the universe that is at once elegant, comprehensive,
and radically different from anything proposed before. Smolin posits that a
process of self organization like that of biological evolution shapes the
universe, as it develops and eventually reproduces through black holes, each
of which may result in a new big bang and a new universe. Natural selection
may guide the appearance of the laws of physics, favoring those universes
which best reproduce. The result would be a cosmology according to which life
is a natural consequence of the fundamental principles on which the universe
has been built, and a science that would give us a picture of the universe in
which, as the author writes, "the occurrence of novelty, indeed the
perpetual birth of novelty, can be understood. Smolin is one
of the leading cosmologists at work today, and he writes with an expertise
and force of argument that will command attention throughout the world of
physics. But it is the humanity and sharp clarity of his prose that offers
access for the layperson to the mind bending space at the forefront of
today's physics.” (FGS Link, 26/vii/2010) http://www.oup.com/us/catalog/general/subject/?view=usa&view=usa&ci=9780195126648&cp=24297 The Life of the
Cosmos “The Life
of the Cosmos is a 1997 book by theoretical physicist Lee Smolin.
In the book, Smolin details his fecund universes theory which applies the
principle of natural selection to the birth of universes.
Smolin posits that the collapse of black
holes could lead to the creation of a new universe. This daughter
universe would have fundamental constants and parameters similar to that of
the parent universe though with some changes, providing for both inheritance
and mutations as required by natural selection. However, while there is no
direct analogue to Darwinian selective pressures, it is theorised that a
universe with "unsuccessful" parameters will reach heat death
before being able to reproduce, meaning that certain universal parameters
become more likely than others.” (Wikipedia 26/vii/2010) http://en.wikipedia.org/wiki/The_Life_of_the_Cosmos Fecund universes “The fecund
universes theory (also called cosmological natural selection
theory) of cosmology advanced by Lee Smolin suggests that
a process analogous to biological natural selection applies at the grandest
scales. Smolin summarized the idea in a book aimed at a lay audience called The Life of the Cosmos. The theory
surmises that a collapsing black hole causes the emergence of a new universe on
the "other side", whose fundamental constant parameters (speed
of light, Planck length and so forth) may differ slightly
from those of the universe where the black hole collapsed. Each universe
therefore gives rise to as many new universes as it has black holes. Thus the
theory contains the evolutionary ideas of "reproduction" and
"mutation" of universes, but has no direct analogue of natural selection. However, given any universe
that can produce black holes that successfully spawn new universes, it is
possible that some number of those universes will reach heat death with unsuccessful
parameters. So, in a sense, fecundity cosmological natural selection is one
where universes could die off before successfully reproducing, just as any
biological being can die without having offspring.” (Wikipedia
26/vii/2010) http://en.wikipedia.org/wiki/Lee_Smolin#Fecund_universes Teoría de
los universos fecundos “La teoría de los universos fecundos, también llamada selección natural cosmológica, es una teoría del físico Lee Smolin, que aplica criterios semejantes a los de la selección natural darwiniana a la cosmología, de suerte que el universo conocido podría ser el resultado de una evolución y una mutación de universos anteriores.[1] Esta teoría se expone en el libro "The life of the cosmos" (La vida del cosmos), publicado en 1997 por la Oxford Universitiy Press.” (Wikipedia 26/vii/2010) [] http://es.wikipedia.org/wiki/Teor%C3%ADa_de_los_universos_fecundos ************************************************************************* Andrei
Dmitriyevich Linde Desarrollo
la teoría de un universo que se reproduce a si mismo The
Self-Reproducing Inflationary Universe Recent
versions of the inflationary scenario describe the universe as a
self-generating fractal that sprouts other inflationary universes by Andrei
Linde SCIENTIFIC
AMERICAN November 1994, pag. 48-55 (FGS Link, 26/vii/2010) http://www.stanford.edu/~alinde/1032226.pdf Andrei
Linde “Andrei
Linde was born in Moscow on 2 March 1948. He studied physics in the Moscow
State University and was a graduate student at the Lebedev Physical
Institute, Moscow. In 1972-1974 he together with David Kirzhnits developed a
theory of cosmological phase transitions, which was the subject of his PhD.
In 1975 he started his work at the Lebedev Physical Institute, and in 1985 he
became a Professor of Physics there. In 1989 he joined the Theory Division at
CERN, Switzerland, and in 1990 he became a Professor of Physics at Stanford
University. Andrei
Linde is one of the authors of the inflationary universe scenario, which is
gradually becoming the standard paradigm of modern cosmology, replacing the
previous versions of the Big Bang theory. In 1974 he pointed out that the
energy density of a scalar field plays the role of the vacuum energy density
(cosmological constant) in the Einstein equations. In 1976-1978 he
demonstrated that the energy released during the cosmological phase
transitions may be sufficient to heat up the universe. These observations
became the basic ingredients of the inflationary scenario proposed by Alan
Guth in 1981. In 1982 Andrei Linde suggested the new inflationary universe
scenario, which resolved the problems of the original model proposed by Guth,
while preserving most of its important features. In 1983 he proposed the
chaotic inflationary universe scenario, which became the prototype for the
new generation of inflationary models. Published in 1986, his theory of an
eternal chaotic inflation suggests that our universe is one of many
inflationary universes that sprout from an eternal cosmic tree. In this
scenario, the universe becomes the multiverse consisting of infinitely many
universes of all possible types. The model of hybrid inflation, which he
developed in 1991-1994, became one of the most popular inflationary models in
the context of supergravity and string cosmology. In 2003 he together with
Kachru, Kallosh and Trivedi developed the first mechanism of vacuum
stabilization in string theory. It serves as a basis for most of the recent
attempts to construct realistic models of elementary particle physics,
inflationary cosmology, and the theory of dark energy based on string theory.
At present he continues his work on inflation, creation of matter in the
universe, the theory of the inflationary multiverse, and the cosmological
consequences of string theory. Andrei
Linde works at Stanford University together with his wife, Professor Renata
Kallosh. He has two sons, Dimitri and Alexander. He is an author of more than
230 papers on particle physics, phase transitions and cosmology. He has
written two books on inflationary cosmology: "Inflation and Quantum
Cosmology" and "Particle Physics and Inflationary Cosmology".
In 1978 he was awarded the Lomonosov prize of the Academy of Sciences of the
USSR for the theory of the cosmological phase transitions. In 2001 he was
awarded the Oskar Klein medal in physics by the University of Stockholm. In
2002 he was awarded the Dirac medal by ICTP, Italy. In 2004 he was awarded
the Peter Gruber Prize. In 2005 he was awarded the Robinson Prize for
Cosmology by the Newcastle University, UK. In 2006 he received the medal of the Institute
of Astrophysics in Paris, France for the development of inflationary
cosmology. In 2008 he was elected as a member of the National Academy of
Sciences of the USA, and appointed the Harald Trap Friis Professor in Physics
at Stanford University.” (FGS Link, 26/vii/2010) http://www.stanford.edu/~alinde/cv.html “…A Brief
History of the Multiverse The idea of an
inflationary multiverse (the universe consisting of many universes with
different properties) was first proposed in 1982 in my Cambridge University
preprint Nonsingular Regenerating Inflationary
Universe . A more
detailed discussion of this possibility was contained in my paper The New Inflationary Universe Scenario published in the book "The Very
Early Universe," ed. G.W. Gibbons, S.W. Hawking and S.Siklos, Cambridge
University Press, 1983, pp. 205-249…” (FGS Link, 26/vii/2010) http://www.stanford.edu/~alinde/ Linde's Key Idea Linde is best
known for proposing "eternal chaotic inflation" to explain a number
of problems in cosmology. This variant of cosmic
inflation proposes that the false
vacuum is eternally inflating in exponential growth powered by repulsive
constant random zero point dark energy of negative pressure. This false
vacuum is like supersaturated steam in which liquid bubbles of more stable vacuum form with
Higgs-Goldstone
fields that describe the cohering of most of the pre-inflationary random
dark energy into the smooth fabric of curved spacetime.
Our universe
is only a small causal part of a single bubble, and there are an infinity of
bubbles. In fact, there are an infinity of universes like ours on a single
bubble which is more like an expanding infinite sheet than a finite spherical
surface (suppressing 1 space dimension for ease of visualization).” (Wikipedia
26/vii/2010) http://en.wikipedia.org/wiki/Andrei_Linde “La idea básica de Linde Según el concepto de "inflación caótica eterna", el falso vacío se esta inflando eternamente en un crecimiento exponencial alimentado por una energía oscura (dark energy) repulsiva constante de naturaleza aleatoria y punto nulo con presión negativa. Este falso vacío es muy probablemente vapor supersaturado con gotas de líquido de formas de vacío más estable con campos Higgs-Goldstone que describen la coherencia de la mayoría de la energía oscura aleatoria preinflacionaria en la constitución suave del espaciotiempo curvado. Nuestro universo es solo una pequeña parte causal de una única burbuja. Existe un número infinito de burbujas y de hecho existe un número infinito de universos como el nuestro en una burbuja en particular,...” (Wikipedia 26/vii/2010) http://es.wikipedia.org/wiki/Andrei_Linde Structure
formation “Structure formation refers to a fundamental problem in physical cosmology. The universe, as is now known from observations of the cosmic microwave background radiation, began in a hot, dense, nearly uniform state approximately 13.7 Gyr ago. However, looking in the sky today, we see structures on all scales, from stars and planets to galaxies and, on much larger scales still, galaxy clusters, and enormous voids between galaxies. How did all of this come about from the nearly uniform early universe?” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Structure_formation Formación de estructuras “La Formación de estructuras se refiere a un problema fundamental en cosmología física. El Universo, como se conoce actualmente a partir de las observaciones de la radiación de fondo de microondas, empezó en un estado caliente, denso y casi uniforme hace 13700 millones de años. Sin embargo, mirando el cielo actual, vemos estructuras a todas las escalas, desde estrellas y planetas hasta galaxias y a escalas mucho mayores, agrupaciones galácticas y enormes vacíos entre galaxias. ¿Cómo se ha formado todas estas estructuras a partir del uniforme Universo primigenio?” (Wikipedia, 26/vi/2010) http://es.wikipedia.org/wiki/Formaci%C3%B3n_de_estructuras Galaxy formation and evolution “The study of galaxy
formation and evolution is concerned with the processes that formed a
heterogeneous universe from a homogeneous beginning, the formation of the
first galaxies, the way galaxies change over time, and the processes that
have generated the variety of structures observed in nearby galaxies. It is
one of the most active research areas in astrophysics. Galaxy formation is hypothesized to occur, from structure formation theories, as a result of tiny quantum fluctuations in the aftermath of the Big Bang. The simplest model for this that is in general agreement with observed phenomena is the Λ Cold Dark Matter cosmology; that is to say that clustering and merging is how galaxies gain in mass, and can also determine their shape and structure.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Galaxy_formation_and_evolution Formación y evolución de las galaxias “La formación de galaxias
es una de las áreas de investigación más activas de la astrofísica,
y en cierto sentido, esto también se aplica a la evolución de las galaxias.
Sin embargo, hay algunas ideas que ya están ampliamente aceptadas. Lo que se piensa actualmente que la formación de galaxias procede directamente de las teorías de formación de estructuras, formadas como resultado de las débiles fluctuaciones cuánticas en el despertar del Big Bang. Las simulaciones de N-cuerpos también han podido predecir los tipos de estructuras, las morfologías y la distribución de galaxias que observamos hoy en nuestro Universo actual y, examinando las galaxias distantes, en el Universo primigenio.” (Wikipedia, 26/vi/2010) http://es.wikipedia.org/wiki/Formaci%C3%B3n_y_evoluci%C3%B3n_de_las_galaxias ************************************************** Organization Evolution /
Evolución de las Organizaciones
Ciclo de Nolan 1 1 Tecnologías de la información en las organizaciones 11.2 El ciclo de Nolan: una explicación epidémica para la incorporación de TI en la organización http://pis.unicauca.edu.co/moodle/file.php/24/Recursos_2da_JF/Cap11.pdf ************************************************** Evolutionary Linguistics
/ Lingüística Evolutiva
Evolutionary linguistics “Evolutionary linguistics is the scientific study of the origins and development of language. The main challenge in this research is the lack of empirical data: spoken language leaves practically no traces. This led to an abandonment of the field for more than a century. Since the late 1980s, the field has been revived in the wake of progress made in the related fields of psycholinguistics, neurolinguistics, evolutionary anthropology and cognitive science.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Evolutionary_linguistics Evolutionary
linguistics
History “August Schleicher (1821–1868) and his Stammbaumtheorie
are often quoted as the starting point of evolutionary linguistics. Inspired
by the natural sciences, especially biology,
Schleicher was the first to compare languages to evolving species. He
introduced the representation of language families as an evolutionary tree in
articles published in 1853. Joseph
Jastrow published a gestural theory of the evolution of language in the
seventh volume of Science, 1886. The
Stammbaumtheorie proved to be very productive for comparative linguistics, but didn't solve
the major problem of evolutionary linguistics: the lack of fossil records.
The question of the origin of language was abandoned as unsolvable. Famously,
the Société Linguistique de Paris
in 1866 refused to admit any further papers on the subject. The field has re-appeared in 1988 in the Linguistic Bibliography, as a subfield of psycholinguistics. In 1990, Steven Pinker and Paul Bloom published their paper "Natural Language & Natural Selection" which strongly argued for an adaptationist approach to language origins. Their paper is often credited with reviving the interest in evolutionary linguistics. This development was further strengthened by the establishment (in 1996) of a series of conferences on the Evolution of Language (now known as "Evolang"), promoting a scientific, multidisciplinary approach to the issue, and interest from major academic publishers (e.g., the Studies in the Evolution of Language series has been appearing with Oxford University Press since 2001) and scientific journals.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Evolutionary_linguistics#History Evolución del lenguaje (Historia) “La evolución del lenguaje es el campo teórico de
la Biolingüística que trata acerca de cómo emergió y
evolucionó el lenguaje en la linea evolutiva del ser humano. El primero en plantear una teoría seria al respecto fue Lord Monboddo, quien en 1773 publicó The Origin and Progress of Man and Language (El origen y progreso del hombre y el lenguaje), obra de gran erudición en la que explicaba el surgimiento del lenguaje humano a partir las ventajas evolutivas que confirió el mismo: concluía que el lenguaje se desarrolló como un método de supervivencia ventajoso cuando una comunicación clara podía ser determinante para evitar peligros, explicando además las principales características de los idiomas primitivos. En dicha obra, Monboddo emplea argumentos antropológicos y lingüísticos que dejan entrever claramente su compresión y aceptación de mecanismos análogos a la selección natural de Darwin, en el que podría haber influido. Las teorías de Monboddo no fueron muy seguidas, debido sobre todo a las numerosoas excentricidades del lord, que nunca fue tomado muy en serio. El asunto cayó en un relativo olvido hasta la publicación de El origen de las especies: pocos años después de la publicación de El origen de las especies, el tema se convierte en algo muy polémico. En 1866 la Sociedad Lingüística de París decidió prohibir el tema aludiendo que todas las teorías al respecto eran tan contradictorias entre sí que jamás se podría llegar a un acuerdo. Así, el problema de la evolución del lenguaje quedo suspendido por casi un siglo, siendo luego revivido con la esperanza de que los avances en genética, psicología evolutiva, lingüística y antropología fueran capaces de dar una respuesta.” (Wikipedia, 26/vi/2010) http://es.wikipedia.org/wiki/Evoluci%C3%B3n_del_lenguaje La evolución de la facultad lingüística Carlos Muñoz Pérez Facultad de Filosofía y Letras, UBA http://cmunozperez.files.wordpress.com/2007/12/la_evolucion_de_la_facultad_linguistica.pdf Language change “Language change or the evolution of language is the phenomenon whereby phonetic, morphological, semantic, syntactic, and other features of language vary over time. All languages change continually. At any given moment the English language, for example, has a huge variety within itself: descriptive linguists call this variety synchronic variation. From these different forms comes the effect on language over time known as diachronic change. Two linguistic disciplines in particular concern themselves with studying language change: historical linguistics and sociolinguistics. Historical linguists examine how people in the past used language and seek to determine how subsequent languages derive from previous ones and relate to one another. Sociolinguists study the origins of language changes and want to explain how society and changes in society influence language.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Language_change Cambio lingüístico “Se llama cambio lingüístico al proceso de modificación y transformación que, en su evolución histórica, experimentan todas las lenguas en general, y las unidades lingüísticas de cada uno de sus niveles en particular. El cambio lingüístico se diferencia de la variación lingüística en que en el primero las modificaciones son diacrónicas y, por tanto, las estudia la lingüística histórica, mientras que las variaciones son sincrónicas y la analiza, entre otras disciplinas, la sociolingüística. Dos factores que han intervenido desde siempre en el cambio lingüístico han sido los préstamos y la analogía, el primer es un ejemplo de causa externa y el segundo de causa interna. Los cambios lingüísticos se agrupan por conveniencia en tres niveles: el cambio fonético, el cambio morfosintáctico y el cambio léxico-semántico.” (Wikipedia, 26/vi/2010) http://es.wikipedia.org/wiki/Cambio_ling%C3%BC%C3%ADstico ***************************************** Quantitative
comparative linguistics Quantitative
comparative linguistics is a branch of comparative linguistics that applies mathematical models
to the problem of classifying language relatedness. This includes the use of computational phylogenetics and cladistics to define
an optimal tree (or network) to represent a hypothesis about the evolutionary
ancestry and perhaps its language contacts. The probability of relatedness of
languages can be quantified and sometimes the proto-languages can be
approximately dated. A goal of
comparative historical linguistics is to identify instances of genetic
relatedness amongst languages. The steps in quantitative analysis are (i) to
devise a procedure based on theoretical grounds, on a particular model or on
past experience, etc (ii) to verify the procedure by applying it to some data
where there exists a large body of linguistic opinion for comparison (this
may lead to a revision of the procedure of stage (i) or at the extreme of its
total abandonment) (iii) to apply the procedure to data where linguistic
opinions have not yet been produced, have not yet been firmly established or
perhaps are even in conflict . Applying
phylogenetic methods to languages is a multi-stage process (a) the encoding stage
- getting from real languages to some expression of the relationships between
them in the form of numerical or state data, so that those data can then be
used as input to phylogenetic methods (b) the representation stage - applying
phylogenetic methods to extract from those numerical and/or state data a
signal that is converted into some useful form of representation, usually two
dimensional graphical ones such as trees or networks, which synthesise and
"collapse" what are often highly complex multi dimensional
relationships in the signal (c) the interpretation stage - assessing those
tree and network representations to extract from them what they actually mean
for real languages and their relationships through time. http://en.wikipedia.org/wiki/Quantitative_comparative_linguistics ************************************************************************* Evolutionary
Game Theory and Linguistic Typology:
a Case Study Gerhard Jäger “The paper
deals with the typology of the case marking of semantic core roles. The
competing economy considerations of hearer (disambiguation) and speaker
(minimal effort) are formalized in terms of evolutionary game theory. It will
be shown that the case marking patterns that are attested in the languages of
the world are those that are evolutionary stable for different relative
weightings of speaker economy and hearer economy, given the statistical
patterns of language use that were extracted from corpora of naturally
occurring conversations.” (FGS Link, 25/vii/2010) http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.94.8693&rep=rep1&type=pdf Teoría evolutiva de juegos en lingüística “Recientemente Gerhard Jäger ha aplicado las ideas de la teoría evolutiva de juegos a la lingüística[1] explicando porqué aun habiendo una gran número de posibilidades de marcaje de caso la mayoría de lenguas se decantan entre unos pocos sistemas, probando que en las lenguas con orden básico muy libre la estrategia óptima es un sistema de ergatividad escindida, mientras que en lenguas con un orden de palabra muy rígido el óptimo es el marcaje ocasional del acusativo o la ausencia total de caso, situación que se observa en las lenguas del mundo. Además el esquema de Jäger muestra que las tipologías encontradas en las lenguas del mundo con mayor frecuencia corresponden a equilibrios de Nash de un juego en que tanto el hablante como el oyente tratan de maximizar el entendimiento mutuo.” (Wikipedia 25/vii/2010) Grammatical
case “In grammar, the case
of a noun or pronoun is a
change in form that indicates its grammatical function in a phrase, clause, or
sentence. For example, a noun may play the role of subject ("I kicked the
ball"), of direct object ("John kicked me"),
or of possessor ("My
ball"). Languages such as ancient
Greek, Latin,
and Sanskrit
had ways of altering or inflecting nouns to mark roles which are not specially
marked in English, such as the ablative
case ("John kicked the ball away from the house")
and the instrumental case ("John kicked the ball with
his foot"). In ancient Greek those last three words would be
rendered tō podi (τῷ ποδί), with
the noun pous (πούς, foot) changing to podi
to reflect the fact that John is using his foot as an instrument (any
adjective modifying "foot" would also change case to match).
Usually a language is said to "have cases" only if nouns change
their form (decline) to reflect their case in this way. Other
languages perform the same function in different ways. English, for example,
uses prepositions like "of" or "with" in front of a noun
to indicate functions which in ancient Greek or Latin would be indicated by
changing (declining)
the ending of the noun itself. More formally,
case has been defined as "a system of marking dependent nouns for the
type of relationship they bear to their heads."[1] Cases should
be distinguished from thematic roles such as agent
and patient. They are often closely related,
and in languages such as Latin several thematic roles have an associated
case, but cases are a syntactic notion, while thematic roles are a semantic
one. Languages having cases often exhibit free
word order, since thematic roles are not dependent on position in a
sentence.” (Wikipedia
25/vii/2010) http://en.wikipedia.org/wiki/Grammatical_case Caso (gramática) “En lingüística moderna, caso es la asignación de un marcaje morfosintáctico a un elemento de la oración según el papel temático que desempeña en la predicción verbal. En gramática tradicional el término caso sirve para denotar cada una de las diversas formas, según la flexión, de un núcleo de sintagma nominal (sustantivo, adjetivo o pronombre). En cada lengua el mismo caso marca sistemáticamente las mismas relaciones gramaticales. Caso morfológico y caso sintáctico El término caso morfológico se refiere a la posibilidad que existe en algunas lenguas de añadir una marca morfológica o distintiva a sustantivos, adjetivos o pronombres según la función sintáctica que estén realizando en la oración. Muchas lenguas, como el español, poseen casos sólo en los pronombres y otras lenguas, como el chino no poseen caso en ningún tipo de palabra. El caso sintáctico o caso abstracto, por el contrario, es una categoría abstracta postulada por la gramática generativa para todas las lenguas. La teoría del caso explica como el núcleo de todo sintagma nominal recibe una y sólo una interpretación semántico-temática a instancias de un asignador de caso (verbo o preposición), lo cual permite reconocer su función en la oración.” (Wikipedia 25/vii/2010) http://es.wikipedia.org/wiki/Caso_gramatical Morfosintaxis “La morfosintaxis se refiere al conjunto de elementos y reglas que permiten construir oraciones con sentido y con carentes de ambigüedad mediante el marcaje de relaciones gramaticales, concordancias, indexaciones y estructura jerárquica de constituyentes sintácticos. Para muchas lenguas el estudio del nivel morfosintáctico puede dividirse en: · Sintaxis Sin embargo, para muchas estructuras lingüísticas particulares los fenómenos morfológicos y sintácticos están estrechamente entrelazados y no siempre es posible separarlos. En el caso de las lenguas polisintéticas la distinción es aún más difícil y ni siquiera parece ser posible separar entre morfología y sintaxis, ya que una oración puede estar formada por una única palabra a la que se han añadido un gran número de morfemas. La morfosintaxis da sentido a las oraciones.” (Wikipedia 25/vii/2010) http://es.wikipedia.org/wiki/Morfosintaxis ************************************************** Creative evolutionary systems / Sistemas Evolutivos creativos
Book Creative
evolutionary systems David
Corne, University of Reading, Peter Bentley, University College London, U.K. Kindle
Edition, January 15, 2001
“The use
of evolution for creative problem solving is one of the most exciting and
potentially significant areas in computer science today. Evolutionary
computation is a way of solving problems, or generating designs, using
mechanisms derived from natural evolution. This book concentrates on applying
important ideas in evolutionary computation to creative areas, such as art,
music, architecture, and design. It shows how human interaction, new
representations, and approaches such as open-ended evolution can extend the capabilities
of evolutionary computation from optimization of existing solutions to
innovation and the generation of entirely new and original solutions.” Contents http://www.elsevier.com/wps/find/bookdescription.cws_home/677950/description#description ************************************************** Evolutionary Art /
Arte Evolutivo
Evolutionary
art “Evolutionary
art exploits the process of evolution to create an artwork which continually
changes according to an evolutionary algorithm. In common with natural selection and animal
husbandry, the members of a population undergoing artificial evolution
modify their form or behavior over many reproductive generations in response
to a selective regime. In interactive evolution the
selective regime may be applied by the viewer explicitly by selecting individuals
which are aesthetically pleasing. Alternatively a selection pressure can be generated
implicitly, for example according to the length of time a viewer spends near
a piece of evolving art. Equally, evolution may be employed as a mechanism for generating a dynamic world of adaptive individuals, in which the selection pressure is imposed by the program, and the viewer plays no role in selection, as in the Black Shoals project.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Evolutionary_art Generative art “Generative
art refers to art
that has been generated, composed, or constructed in an algorithmic
manner through the use of systems defined by computer software algorithms,
or similar mathematical or mechanical or randomised
autonomous processes. Description Generative art is a system oriented art practice where the common denominator is the use of systems as a production method. To meet the definition of generative art, an artwork must be self-contained and operate with some degree of autonomy. The workings of systems in generative art might resemble, or rely on, various scientific theories such as Complexity science and Information theory. The systems of generative artworks have many similarities with systems found in various areas of science. Such systems may exhibit order and/or disorder, as well as a varying degree of complexity, making behavioral prediction difficult. However, such systems still contain a defined relationship between cause and effect. Wolfgang Amadeus Mozart's "Musikalisches Würfelspiel" (Musical Dice Game) 1757 is an early example of a generative system based on randomness. The structure was based on an element of order on one hand, and disorder on the other.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Generative_art Arte generativo “Arte generativo
se refiere arte
eso se ha generado, se ha compuesto, o se ha construido en algorítmico
manera con el uso de los sistemas definidos cerca computadora
software algoritmos,
o similar matemático o mecánico o seleccionado
al azar procesos autónomos. El arte generativo
es una práctica orientada sistema del arte donde está el uso el denominador
común de sistemas como método de producción. Para resolver la definición del
arte generativo, las ilustraciones deben ser autónomas y funcionar con un
cierto grado de autonomía. Los funcionamientos de sistemas en arte generativo
pudieron asemejarse, o confían encendido, las varias teorías científicas por
ejemplo Ciencia de la complejidad y Teoría de información. Los sistemas de
ilustraciones generativas tienen muchas semejanzas con los sistemas
encontrados en varias áreas de la ciencia. Tales sistemas pueden exhibir
orden y/o desorden, así como un grado que varía de complejidad, haciendo la
predicción del comportamiento difícil. Sin embargo, tales sistemas todavía
contienen una relación definida entre la causa y el efecto. Wolfgang Amadeus Mozart's “Musikalisches Würfelspiel“(Juego
musical de los dados) 1757 es un ejemplo temprano de un sistema generativo
basado en aleatoriedad. La estructura fue basada en un elemento de la orden
por un lado, y desorden en el otro.” http://www.worldlingo.com/ma/enwiki/es/Generative_art ************************************************** Roger Alsing
Weblog Evolutionary
misconceptions ““This is
goal oriented evolution, in real life there is no goal” This is the
first misconception, there is no “goal” in the application. http://rogeralsing.com/2008/12/12/evolutionary-misconceptions/ Genetic
Gallery http://rogeralsing.com/2008/12/11/genetic-gallery/ Fractal mona lisa http://rogeralsing.com/2008/12/07/genetic-programming-evolution-of-mona-lisa/ Evolving
Lindenmayer Systems http://www.cs.ucl.ac.uk/staff/W.Langdon/pfeiffer.html Garabatos, programa generador de arte evolutivo. ************************************************************************* Evolutionary Music / Música Evolutiva
Sistemas Evolutivos compositores Zanya Sistema Evolutivo compositor de música Música y software Índice e introducción http://www.olincuicatl.com/indiceweb.htm Contenido
http://www.olincuicatl.com/tesisweb.htm#intromus Prototipo para la harmonización automática de una melodía por
computadora http://mx.geocities.com/tt0317/ Tecnologías Emergentes incluyendo Música Evolutiva http://www.wired.com/news/technology/0,1282,59857,00.html Desarrollo de un Sistema de Apoyo en la Composición Musical. Daniel Ignacio Matienzo Iriarte “El sistema analizará las partituras musicales que se introduzcan, creara una matriz evolutiva de ellas composición musical. Se utilizara otra matriz evolutiva para decidir las notas que el sistema acomodara para encontrar las notas con mayor frecuencia y de esta manera también encontrara reglas básicas de al momento de componer su propia música y la mostrara en un pentagrama.” http://www.cs.umss.edu.bo/rep_tesis.jsp?codigo=630&tipo_tes=2 PCs que crean música de la nada Autor: David Martín, MuyComputer, Fecha: 24/11/2008 “En la Norwegian University of Science and Technology (NTNU) uno de sus estudiantes de doctorado ha desarrollado un software que es capaz de improvisar canciones y música a partir de la nada, al más puro estilo del género jazz. Oyvind Brandtsegg, el responsable de esta aplicación, es un aficionado a este tipo de música y su "instrumento computerizado" es capaz de tomar sonidos, dividirlos y recombinarlos para crear melodías.” Sistema de composición musical automática Aproximaciones Preliminares Miguel Gómez-Zamalloa Gil http://gaia.fdi.ucm.es/people/pedro/aad/miguel_zamalloa.pdf ************************************************************************* Opportunities
for Evolutionary Music Composition Andrew R.
Brown, Queensland University of Technology Australasian
Computer Music Conference. Melbourne: ACMA, pp. 27-34. Abstract “Traditional
compositional techniques and many computer-assisted composition systems have
been focused on the production of linear musical products. In an age where
non-linear media are increasingly prominent there is a need to reassess these
technologies in the light of new opportunities for making music with
non-linear outcomes. This paper examines the current state of music making
for non-linear media with a particular emphasis on evolutionary music and how
and where it might be applied. In addition, some of the implications for
computer-based tool design will be outlined.” (FGS Link, December,
2009) http://eprints.qut.edu.au/5906/1/5906.pdf ************************************************************************* Exploiting
functional relationships in musical composition Amy K. Hoover, Kenneth O. Stanley Evolutionary
Complexity Research Group, School of Electrical Engineering and Computer
Science, University of Central Florida, Orlando, FL, USA, June 2009 Connection Science , Volume 21 Issue 2-3 Publisher: Taylor & Francis, Inc. ABSTRACT “The
ability of gifted composers like Mozart to create complex multipart musical
compositions with relative ease suggests a highly efficient mechanism for
generating multiple parts simultaneously. Computational models of human music
composition can potentially shed light on how such rapid creativity is
possible. This article proposes such a model based on the idea that the
multiple threads of a song are temporal patterns that are functionally
related, which means that one instrument's sequence is a function of another's.
This idea is implemented in a program called NEAT Drummer that interactively
evolves a type of artificial neural network called a compositional
pattern-producing network, which represents the functional relationship
between the instruments and drums. The main result is that richly textured
drum tracks that tightly follow the structure of the original song are easily
generated because of their functional relationship to it.” (FGS Link, January,
2010) Exploiting
Functional Relationships in Musical Composition Amy K.
Hoover and Kenneth O. Stanley Evolutionary
Complexity Research Group, School of Electrical Engineering and Computer
Science, University of Central Florida Connection Science Special Issue on Music, Brain,
& Cognition, Abington, UK: Taylor & Francis, 21:2, 227-251,
June 2009. (FGS Link, January,
2010) http://eplex.cs.ucf.edu/papers/hoover_connectionscience09.pdf The drum
tracks in the following 24 MIDI music files were generated by NEAT Drummer
and discussed in the Connection Science Special Issue on Music, Brain, &
Cognition paper, Exploiting Functional Relationships In Musical
Composition. (FGS Link, July, 2010) http://eplex.cs.ucf.edu/neatmusic/ ****************************** Evolutionary
Complexity (EPlex) Research Group at the University of Central Florida
“Welcome to the Evolutionary Complexity (EPlex) Research Group at the
University of Central Florida. Our research focuses on abstracting the
essential properties of natural evolution that made it possible to discover
astronomically complex structures such as the human brain. If such
properties can be abstracted into computer algorithms, then they can be
leveraged to automate the discovery of large-scale neural networks (which is
called neuroevolution), robot morphologies, building and vehicle
architectures, art, and music.” (FGS Link, July, 2010) ************************************************************************* Evolving
Cellular Automata Music: From Sound Synthesis to Composition Eduardo Reck Miranda, Sony
Computer Science Laboratory Paris Abstract “This
paper focuses on issues concerning musical composition practices whereby the
emergent behaviour of cellular automata is used to model generative processes
for synthesised sound and musical forms. We introduce two cellular
automata-based systems, Chaosynth and CAMUS, that we have designed for our
investigation and discuss their performance and role in the composition of a
number of professional pieces of music. Chaosynth
is a granular synthesis system whose parameters are controlled by a variant
of a cellular automaton that has been used to model Belousov-Zhabotinskii
chemical reactions. CAMUS is a composition system that takes advantage of the
pattern propagation properties of cellular automata in order to generate
musical forms” (FGS Link, January,
2010) http://www.csl.sony.fr/publications/item/?reference=miranda%3A01f PDF http://www.csl.sony.fr/downloads/papers/2001/miranda-almma2001.pdf http://galileo.cincom.unical.it/Music/workshop/articoli/miranda.pdf ************************************************************************* New
challenges for evolutionary music and art Jon McCormack, Monash University, Australia, April
2006 ACM
SIGEVOlution, Volume 1 , Issue 1 (April 2006), Pages: 5 – 11, 2006 Publisher: ACM ABSTRACT
“Art, it
was once said, is anything you can get away with. So it is not surprising
that evolutionary approaches to music and art research are challenging our
notions of what is classified as "Art" and who is the
"creator" of this work. The relatively new field of Evolutionary
Music and Art (EMA) falls within the spectrum of Evolutionary Computing. If
EC is a relatively young discipline, then EMA is even more so, if we consider
Richard Dawkins' "Blind Watchmaker" software (1986) as the epoch in
this field.1 Dawkins' goal was to demonstrate the power of evolution as a
design algorithm, one that could design complexity without the need for an
explicit designer. It did not take long for people interested in creativity
and aesthetics to grasp the significance of this idea and how it might be
used to create a new class of art and design: one that was evolved rather
than directly created.” (FGS Link, July, 2009) Full text available for ACM Digital
Library Members:
**************************************** Life's What
You Make: Niche Construction and Evolutionary Art Jon Mccormack, Oliver Bown, April 2009 Centre for Electronic Media Art, Monash
University, Clayton, Victoria, Australia 3800 Lecture
Notes In Computer Science; Vol. 5484 Proceedings
of the EvoWorkshops 2009 on Applications of Evolutionary Computing:
EvoCOMNET, EvoENVIRONMENT, EvoFIN, EvoGAMES, EvoHOT, EvoIASP, EvoINTERACTION,
EvoMUSART, EvoNUM, EvoSTOC, EvoTRANSLOG Section: EvoMUSART Contributions, Pages: 528 – 537, Tübingen, Germany, 2009 Publisher: Springer-Verlag, Berlin, Heidelberg ABSTRACT
“This
paper advances new methods for ecosystemic approaches to evolutionary music
and art. We explore the biological concept of the niche and its role in
evolutionary dynamics, applying it to creative computational systems. Using
the process of niche construction organisms are able to change and adapt
their environment, and potentially that of other species. Constructed niches
may become heritable environments for offspring, paralleling the way genes
are passed from parent to child. In a creative ecosystem, niche construction
can be used by agents to increase the diversity and heterogeneity of their
output. We illustrate the usefulness of this technique by applying niche
construction to line drawing and music composition.” (FGS Link, July, 2009) Serie del libros Lecture Notes in Computer Science Editor Springer Berlin / Heidelberg Libro Applications of Evolutionary
Computing Páginas
528-537 Subject
Collection Informática Fecha
de SpringerLink sábado, 11 de abril de 2009 (FGS Link, July, 2009) http://www.springerlink.com/content/j604803h56337485/ Life’s
What You Make: Niche Construction and Evolutionary Art Jon McCormack and Oliver Bown Centre for Electronic
Media Art Monash University,
Clayton, Victoria 3800, Australia (FGS Link, July, 2009) http://www.csse.monash.edu.au/~jonmc/research/Papers/McCormack_EvoMUSART09.pdf ************************************************************************* An
evolutionary approach to algorithmic composition Jontas
Manzolli, Interdisciplinary
Nucleus of Sound Communication (UNICAMP/NICS), University of Campinas, Rua da
Reitoria, 165-13081-970, Campinas SP, Brazil Artemis
Moroni, The
Automation Institute (CTI/IA), Technological Center for Informatics, Via Dom
Pedro I, KM143/6, Campinas SP, Brazil Fernando Von
Zubens Interdisciplinary Nucleus of Sound
Communication (UNICAMP/NICS), University of Campinas, Rua da Reitoria,
165-13081-970, Campinas SP, Brazil Ricardo
Gudwin, The
Automation Institute (CTI/IA), Technological Center for Informatics, Via Dom
Pedro I, KM143/6, Campinas SP, Brazil Organised Sound , Volume 4 Issue 2, Pages: 121 - 125 Publisher: Cambridge University Press, June 1999 ABSTRACT “This
paper presents an end-user interface that allows realtime parametric control
of sound events resulting in an interactive environment, in which
evolutionary computation is applied to algorithmic composition. The resulting
system, Vox Populi, uses genetic algorithms to generate and evaluate a
sequence of chords played as MIDI data. Harmonic, tonal and voice range
fitness are used to control musical features. Based on the ordering of
consonance of musical intervals, the notion of approximating a sequence of
notes to its harmonically compatible note or tonal centre is used. This
method employs fuzzy formalism and is posited as an optimisation approach
based on factors relevant to hearing music.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=972860.972868&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 **************************************** Vox populi:
evolutionary for music evolution Artemis
Moroni, Technology
Center for Informatics, Brazil Jonatas
Manzolli, Univ. of
Campinas, Brazil Fernando Von
Zuben, Univ. of
Campinas, Brazil Ricardo
Gudwin, Univ. of Campinas, Brazil July 2001 Book Creative evolutionary systems Section: Evolutionary music, Pages: 205 – 221, 2001 Publisher Morgan Kaufmann Publishers Inc. San Francisco, CA, USA (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=510349.510359&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 **************************************** The
evolutionary sound synthesis method Jônatas Manzolli, Adolfo Maia, Jr., Jose Fornari, Furio Damiani University of Campinas - Unicamp, Brazil,
October 2001 International
Multimedia Conference; Vol. 9 MULTIMEDIA '01: Proceedings of
the ninth ACM international conference on Multimedia, Ottawa, Canada ABSTRACT
“A
mathematical model for interactive sound synthesis based on the application
of Genetic Algorithms (GA) is presented. The Evolutionary Sound Synthesis
Method (ESSynth) generates sequences of waveform variants by the application
of genetic operators on an initial population of waveforms. We describe how
the waveforms can be treated as genetic code, the fitness evaluation
methodology and how genetic operations such as crossover and mutation are
used to produce generations of waveforms. Finally, we discuss the results evaluating
the generated sounds.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=500141.500248&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 Full text available for ACM Digital
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**************************************** Interactive
spatialization and sound design using an evolutionary system Jose Fornari, Adolfo Maia,
Jr, Jônatas
Manzolli Interdisciplinary Nucleus for Sound
Studies, Campinas, Brazil June 2007 NIME '07: Proceedings of the 7th international conference on New interfaces for
musical expression Publisher: ACM ABSTRACT
We
present an interactive sound spatialization and synthesis system based on
Interaural Time Difference (ITD) model and Evolutionary Computation. We
define a Sonic Localization Field using sound attenuation and ITD azimuth
angle parameters and, in order to control an adaptive algorithm, we used
pairs of these parameters as Spatial Sound Genotypes (SSG). They are
extracted from waveforms which are considered individuals of a Population
Set. A user-interface receives input from a generic gesture interface (such
as a NIME device) and interprets them as ITD cues. Trajectories provided by
these signals are used as Target Sets of an evolutionary algorithm. A Fitness
procedure optimizes locally the distance between the Target Set and the SSG
pairs. Through a parametric score the user controls dynamic changes in the
sound output. (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=1279740.1279803&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 Full text available for ACM Digital Library
Members:
**************************************** AURAL: evolutionary sonification with robots Artemis
M.F.S. Moroni, Center
for Information Technology Renato Archer, Campinas, Brazil Jônatas
Manzolli, University
of Campinas, Campinas, Burkina Faso March 2009 ACM/IEEE
International Conference on Human-Robot Interaction SESSION: HRI video abstracts, Pages:
199-200, 2009 Publisher: ACM ABSTRACT
“This
study aims to provide a platform for exploring robotic navigation in line
with evolutionary computation of sound control data. Real world devices, two
mobile robots and an omnidirectional vision system are integrated to sonify
trajectories of robots in real time.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=1514095.1514134&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 Full text available for ACM Digital
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************************************************************************* Frankensteinian Methods
for Evolutionary Music Composition Peter M. Todd, Gregory M.
Werner Book Musical
networks, Pages:
313 – 339, Year of Publication: 1999 Niall
Griffith, Peter M. Todd (Eds.). Cambridge, MA, USA MIT Press. (FGS Link, December,
2009) http://portal.acm.org/citation.cfm?id=346629 Abstract “Victor
Frankenstein sought to create an intelligent being imbued with the rules of
civilized human conduct, who could further learn how to behave and possibly
even evolve through successive generations into a more perfect form. Modern
human composers similarly strive to create intelligent algorithmic music
composition systems that can follow prespecified rules, learn appropriate
patterns from a collection of melodies, or evolve to produce output more
perfectly matched to some aesthetic criteria. Here we review recent efforts
aimed at each of these three types of algorithmic composition. We focus
particularly on evolutionary methods, and indicate how monstrous many of the
results have been. We present a new method that uses coevolution to create
linked artificial music critics and music composers, and describe how this
method can attach the separate parts of rules, learning, and evolution
together into one coherent body.” PDF http://www-abc.mpib-berlin.mpg.de/users/ptodd/publications/99evmus/99evmus.doc ************************************************************************* Autonomous
evolutionary music composer Y. Khalifa, State University of New York, New Paltz, NY M. Basel
Al-Mourad, Aston
University, Birmingham, UK July 2006 GECCO '06: Proceedings of the 8th annual conference on Genetic and evolutionary
computation Publisher: ACM ABSTRACT
“A
second-generation autonomous music composition tool is developed using
Genetic Algorithms. The composition is conducted in two Stages. The first
Stage generates and identifies musically sound patterns (motifs). In the
second Stage, methods to combine different generated motifs and their
transpositions are applied. These combinations are evaluated and as a result,
musically fit phrases are generated. Four musical phrases are generated at
the end of each program run. The generated music pieces will be translated
into Guido Music Notation (GMN) and have alternate representation in Musical
Instrument Digital Interface (MIDI). The Autonomous Evolutionary Music
Composer (AEMC) was able to create interesting pieces of music that were both
innovative and musically sound.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=1143997.1144306&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 Full text available for ACM Digital
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************************************************************************* Evolutionary
music composer integrating formal grammar Yaser M. A. Khalifa, Badar K. Khan, Jasmin Begovic, Airrion Wisdom, Andrew Maxymillian Wheeler, State
University of New York, New Paltz, NY July 2007 GECCO '07: Proceedings of the 2007 GECCO conference companion on Genetic and
evolutionary computation, London, United Kingdom Publisher: ACM ABSTRACT “In this paper, an autonomous music composition tool is developed using
Genetic Algorithms. The production is enhanced by integrating formal grammar
rules. A formal grammar is a collection of either or both descriptive or
prescriptive rules for analyzing or generating sequences of symbols. In
music, these symbols are musical parameters such as notes and their
attributes. The composition is conducted in two Stages. The first Stage
generates and identifies musically sound patterns (motifs). In the second
Stage, methods to combine different generated motifs and their transpositions
are applied. These combinations are evaluated and as a result, musically fit
phrases are generated. Four musical phrases are generated at the end of each
program run. The generated music pieces will be translated into Guido Music
Notation (GMN) and have alternate representation in Musical Instrument
Digital Interface (MIDI). The Autonomous Evolutionary Music Composer (AEMC)
was able to create interesting pieces of music that were both
innovative and musically sound.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=1274000.1274020&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 Full text available for ACM Digital
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PDF ************************************************************************* Genetic
algorithms and the abc music notation language for rock music composition Tomasz Michal Oliwa, The
University of Georgia, Athens, GA, USA, July 2008 GECCO '08: Proceedings of the 10th annual conference on Genetic and evolutionary
computation, Atlanta, GA, USA Publisher: ACM ABSTRACT “In this
paper a music composition system based on genetic algorithms (GAs) will be
presented. It can create multi-instrumental, guitar-orientated rock music
using objective measures for its fitness functions. The output of this system
is a song in the MIDI format. Along with this system, a unique conversion
procedure from numerical values to the abc language (and vice versa), which allows
the combination of numerical optimization with the rich expressiveness of a
music description language, will be shown. The described music composition
system will be further compared to other composition systems.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=1389095.1389399&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 Full text available for ACM Digital
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************************************************************************* OMax
brothers: a dynamic topology of agents for improvization learning Gérard Assayag, IRCAM-CNRS UMR Stms, Paris, France Georges Bloch, University of Strasbourg, Strasbourg France Marc Chemillier, University of Caen, Caen Cedex France Arshia Cont,
IRCAM-UCSD, Paris, France Shlomo Dubnov, UCSD, La Jolla, CA October 2006 AMCMM '06: Proceedings of the 1st ACM workshop on Audio and music computing
multimedia, Santa
Barbara, California, USA Publisher:ACM ABSTRACT “We
describe a multi-agent architecture for an improvization oriented
musician-machine interaction system that learns in real time from human
performers. The improvization kernel is based on sequence modeling and statistical
learning. The working system involves a hybrid architecture using two popular
composition/perfomance environments, Max and OpenMusic, that are put to work
and communicate together, each one handling the process at a different
time/memory scale. The system is capable of processing real-time audio/video
as well as MIDI. After discussing the general cognitive background of
improvization practices, the statistical modeling tools and the concurrent
agent architecture are presented. Finally, a prospective Reinforcement
Learning scheme for enhancing the system's realism is described.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=1178723.1178742&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 Full text available for ACM Digital
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************************************************************************* Interactive
music composition with the CFE framework Ying-ping Chen, National Chiao
Tung University, Taiwan, April 2007 SIGEVOlution , Volume 2 Issue 1, (Spring 2007) Publisher: ACM ABSTRACT “This
article presents an interactive music composition system which utilizes the
black-box optimization model of evolutionary computation. The core CFE
framework---Composition, Feedback, and Evolution---is presented and
described. The music composition system produces short, manageable pieces of
music by interacting with users. The essential features of the system include
the capability of creating customized pieces of music based on the user
preference and the facilities specifically designed for generating a large
amount of music. Finally, several pieces of music composed by the described
system are demonstrated as showcases. This work shows that it is feasible and
promising for computers to automatically compose customized or personalized
music.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=1268573.1268575&coll=ACM&dl=ACM&CFID=46014229&CFTOKEN=26545706 Full text available for ACM Digital
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*********************************** Evolutionary
interactive music composition Tao-yang Fu, Tsu-yu Wu, Chin-te Chen, Kai-chu Wu, Ying-ping
Chen National Chiao Tung University, HsinChu,
Taiwan, July 2006 GECCO '06: Proceedings of the 8th annual conference on Genetic and evolutionary
computation, Seattle, Washington, USA Publisher: ACM ABSTRACT “This
paper proposes the CFE framework---Composition, Feedback, and Evolution---and
presents an interactive music composition system. The system composes short,
manageable pieces of music by interacting with users. The most important
features of the system include creating customized music according to the
user preference and providing the facilities specifically designed for
producing large amounts of music. We present the structure as well as the
implementation of the system and the auxiliary functionalities that enhance
the system. We also introduce the auto-feedback test with which we verify and
evaluate the interactive music composition system.” (FGS Link, July, 2009) http://portal.acm.org/citation.cfm?id=1143997.1144301&coll=ACM&dl=ACM&CFID=46014229&CFTOKEN=26545706 Full text available for ACM Digital
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************************************************************************* Book Creative
evolutionary systems Editors Peter J. Bentley, Univ.
College London, London, UK David W. Corne, Univ.
of Reading, Reading, UK Publisher Morgan Kaufmann Publishers Inc. San Francisco, CA, USA Pages: 576, Year of Publication: 2001 ABSTRACT “The use of
evolution for creative problem solving is one of the most exciting and
potentially significant areas in computer science today. Evolutionary
computation is a way of solving problems, or generating designs, using
mechanisms derived from natural evolution. This book concentrates on applying
important ideas in evolutionary computation to creative areas, such as art,
music, architecture, and desgn. It shows how human interaction, new
representations, and approaches such as open-ended evolution can extend the
capabiities of evolutionary computation from optimization of existing
solutions to innovation and the generation of entirely new and original
solutions. This book takes a fresh look at creativity, exploring what it is
and how the actions of evolution can resemble it. Examples of novel evolved
solutions are presented in a variety of creative disciplines. The editors
have compiled contributions by leading researchers in each discipline.” (FGS Link, July, 2010) http://portal.acm.org/citation.cfm?id=510349&coll=ACM&dl=ACM&CFID=47166338&CFTOKEN=60514033 ************************************************************************* Book The Art of Artificial Evolution: A Handbook on Evolutionary Art and
Music by Juan Romero
and Penousal Machado (Editors) Springer - Natural Computing Series November
2007 “While improvements in computer performance
are dramatically changing the computer-generated art industry, scientists in
natural computing have teamed up with artists to examine how bioinspired
systems can influence art, technology and even aesthetic appreciation. This
comprehensive book gives an up-to-date survey of the relevant bioinspired computing
research fields -- such as evolutionary computation, artificial life, swarm
intelligence and ant colony algorithms -- and examines applications in art,
music and design…” (FGS Link, July, 2010) http://art-artificial-evolution.dei.uc.pt/ The Art of Artificial Evolution: A Handbook on Evolutionary Art and
Music Summaries (FGS Link, July, 2010) http://art-artificial-evolution.dei.uc.pt/abstracts.htm#chap5 ************************************************************************* Speech interfaces
from an evolutionary perspective Clifford Nass, Li Gong, Stanford Univ.,
Stanford, CA Communications
of the ACM Volume 43, Number 9 (2000), Pages 36-43 “How does the
human brain react when confronted by a talking computer? Answers from
psychological research and its design implications help define the limits of
what computers should say and how they might say it.” (FGS Link, December,
2009) http://portal.acm.org/citation.cfm?id=348941.348976 Full text available for ACM Digital
Library Members:
PDF http://www-siepr.stanford.edu/programs/SST_Seminars/Evolution_and_Speech.Final1.pdf ************************************************** GenJam
(short for Genetic Jammer) “GenJam
(short for Genetic Jammer) is an interactive genetic algorithm
that learns to improvise jazz. It may well be the only evolutionary
computation system that is a "working musician." I developed the
original version during my sabbatical leave in the 1993-94 academic year and
have been extending it ever since. In addition to playing full-chorus
improvised solos, GenJam listens to what I play on trumpet and responds
interactively when we trade fours or eights. It also engages in collective
improvisation, where we both solo simultaneously and GenJam performs a smart
echo of my improvisation, delayed by anywhere from a beat to a measure.
Finally, it listens to me as I solo and play the "head" of a tune
and breeds my measures with its ideas, which steers its solo on a tune in the
direction of what I've just played on that tune.” http://www.ist.rit.edu/~jab/GenJam.html GenJam:
Evolutionary Computation Gets a Gig John A.
Biles, Information
Technology Department, RIT Abstract “GenJam
(short for Genetic Jammer) is an evolutionary computation-based, real-time
interactive jazz improvisation agent. GenJam improvises spontaneous
autonomous solos and performs interactive and collective improvisation with a
human performer by listening to what the human improvises, mapping what it
heard to its internal chromosome representation, and using intelligent
mutation and crossover operators to develop what the human plays into what it
plays in response. After an
overview of GenJam’s architecture in performance settings, this paper
describes GenJam’s chromosome structure for representing melodic material,
and explains how it interacts in real time with a human performer. Where
GenJam gets its musical ideas is discussed next, followed by HCI aspects from
both the audience’s and the performer’s perspectives. Finally, a discussion
of GenJam as an IT application and a brief prediction of its future conclude
the paper.” http://www.ist.rit.edu/~jab/CITC3/GenJamPaper.pdf Evolutionary
Computer Music Book Miranda,
Eduardo Reck; Biles, John Al (Eds.), Springer, 2007 “About
this book The
evolutionary computation approach to music is an exciting new development for
composers and musicologists alike. For composers, it provides an innovative
and natural means for generating musical ideas from a specifiable set of
primitive components and processes. For musicologists, these techniques are
used to model the cultural transmission and change of a population's body of
musical ideas over time. In both cases, musical evolution can be guided by a
variety of constraints and tendencies built into the system, such as
realistic psychological factors that influence the way music is expressed,
experienced, learned, stored, modified, and passed on among individuals. This book
discusses not only the applications of evolutionary computation to music, but
also the tools needed to create and study such systems. These tools are drawn
in part from research into the origins and evolution of biological organisms,
ecologies, and cultural systems on the one hand, and from computer simulation
methodologies on the other. They can be combined to create surrogate
artificial worlds populated by interacting simulated organisms in which
complex musical experiments can be performed that would otherwise be
impossible. This
authoritative book, with contributions from experts from around the globe,
demonstrates that evolutionary systems can be used to create and to study
musical compositions and cultures in ways that have never before been
achieved.” Table of
contents “Foreword by David Goldberg.- Preface.- An
Introduction to Evolutionary Computing for Musicians.- Evolutionary
Computation for Musical Tasks.- Evolution in Digital Audio Technology.-
Evolution in Creative Sound Design.- Experiments in Generative Musical
Performance with a Genetic Algorithm.- Composing with Genetic Algorithms:
GenDash.- Improvising with Genetic Algorithms: GenJam.- Cellular Automata
Music: From Sound Synthesis to Musical Forms.- Swarming and Music.-
Computational Evolutionary Musicology.” http://www.springer.com/computer/information+systems/book/978-1-84628-599-8 Al Biles (John A. Biles) Evolutionary Music Tutorial, GECCO 2005, Al Biles http://www.ist.rit.edu/~jab/EvoMusic/BilesEvoMusicSlides.pdf Evolutionary
Music Bibliography, - Al Biles to accompany
the Evolutionary Music Tutorial given at GECCO 2005 http://www.ist.rit.edu/~jab/EvoMusic/EvoMusBib.html ************************************************** Evolutionary
music “Evolutionary music is the audio counterpart to Evolutionary art, whereby algorithmic music is created using an evolutionary algorithm. The process begins with a population of individuals which by some means or other produce audio (e.g. a piece, melody, or loop), which is either initialized randomly or based on human-generated music. Then through the repeated application of computational steps analogous to biological selection, recombination and mutation the aim is for the produced audio to become more musical. Evolutionary sound synthesis is a related technique for generating sounds or synthesizer instruments. Evolutionary music is typically generated using an interactive evolutionary algorithm where the fitness function is the user or audience, as it is difficult to capture the aesthetic qualities of music computationally. However, research into automated measures of musical quality is also active. Evolutionary computation techniques have also been applied to harmonization and accompaniment tasks. The most commonly used evolutionary computation techniques are genetic algorithms and genetic programming.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Evolutionary_music ************************** Musikalisches
Würfelspiel “A Musikalisches
Würfelspiel (Musical dice game) was a system for using dice to randomly 'generate'
music (long
before computer
systems).
These games were quite popular throughout Western
Europe in the 18th century. Several different games were devised, some
that did not require dice, but merely 'choosing a random number.' Other
famous examples are Johann Philipp Kirnberger's The Ever
Ready Composer of Polonaises and Minuets (1757 1st edition; revised 2nd
1783) and Joseph Haydn's Philharmonic Joke (1790). Mozart's Alleged Musikalisches Würfelspiel The most
well-known was published in 1792, by Mozart's publisher Nikolaus
Simrock in Berlin. The game was attributed to Mozart, but this
attribution has not been authenticated (Cope 7). The dice rolls randomly selected
small sections of music, which would be patched together to create a musical
piece. A 'computerised' version of the Musikalisches Würfelspiel making a
MIDI file is available here. Mozart's manuscript K 516f, written in 1787, consisting of numerous two-bar fragments of music, appears to be some kind of game or system for constructing music out of two-bar fragments, but contains no instructions and there is no evidence that dice were involved.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Musikalisches_W%C3%BCrfelspiel ************************** How a
computer program became classical music's hot, new composer 'Emily
Howell' is a computer program that composes classical music by following
rules of music its programmer taught it. By Matt
Rocheleau, /
Contributor / June 17, 2010 Christian
Science Monitor “Earlier
this year, 6-year-old musical prodigy Emily Howell released an 11-track debut
album, resembling the work of history's most renowned classical composers. But
instead of receiving the praise given to Beethoven, Mozart, or Bach, the
California native has become a lightning rod for controversy within the
musical community. Why?
Because Emily is not human. Emily is
a computer program, and "her" ability to write original
compositions has called into question whether art is as uniquely human as
many like to believe. "Can
computers be creative? In the sense that they are creating something that
wasn't there before, yes," says David Cope, Emily's programmer and professor
emeritus at the University of California, Santa Cruz. "But so can birds
and insects and volcanoes. We have reserved this notion of creativity for
humans for a long time, and we are enamored of it." As he
sees it, creativity has never been a human-defining trait. This feeling of
his stretches back three decades, to when Mr. Cope first dabbled in teaching
music to computers. After hitting a dead end while trying to write new music
on his own, Cope created a program called EMI, which he pronounces as
"Emmy." EMI
(Experiments in Musical Intelligence) would analyze the work of human
composers, pick up on their musical styles, and generate new work seemingly
written by the original musician. EMI created "zillions" of
compositions before being scrapped for Cope's latest project, he says. Created
in 2003, Emily has only written around 20 songs. It synthesizes its own
compositions according to the rules of music that Cope has taught it. And
Emily is only fed music that EMI had composed, which gives the new work its
own contemporary-classical style.” Method
Developed to Identify Musical Notes at any Venue viernes, 23 de abril de 2010 Plataforma SINC “A team
of telecommunications engineers from the University of Jaen (UJA) has created
a new method to automatically detect and identify the musical notes in an
audio file and generate sheet music. The system identifies the notes even
when the type of instrument, musician, type of music or recording studio
conditions vary.” http://www.alphagalileo.org/ViewItem.aspx?ItemId=74333&CultureCode=en ************************************************** Generative
music “Generative
music is a term popularized by Brian Eno
to describe music that is ever-different and changing, and that is created by
a system. ·
Theory (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Generative_music Generative
music / Linguistic/Structural “Music composed from analytic theories that are so explicit as to be able to generate structurally coherent material (Loy and Abbott 1985; Cope 1991). This perspective has its roots in the generative grammars of language (Chomsky 1956) and music (Lerdahl and Jackendoff 1983), which generate material with a recursive tree structure.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Generative_music#Linguistic.2FStructural Heinrich
Schenker “Heinrich
Schenker (June 19, 1868
- January 13, 1935) was a music theorist, best known for his approach to musical
analysis, now usually called Schenkerian analysis. …Schenker's
ideas on analysis were first explored in his Harmony (Harmonielehre, 1906)
and Counterpoint (Kontrapunkt,
2 vols., 1910 and 1922), and were developed in the two journals he published,
Der
Tonwille (1921-24) and Das Meisterwerk in der Musik (1925-30),
both of which included content exclusively by Schenker. Schenker regarded his
analyses as tools to be used by performers for a deeper understanding of the
works they were performing. This is demonstrated by his editions of Ludwig van Beethoven's late piano sonatas,
which also include analyses of the works. In 1932, Schenker published Five Graphic Music Analyses (Fünf Urlinie-Tafeln), analyses of five works using the analytical technique of showing layers of greater and lesser musical detail that now bears his name. Following Schenker's death, his theoretical work Free Composition (Der freie Satz, 1935) was published. It was first translated into English by T. H. Kreuger in 1960 as a dissertation at the University of Iowa; a second translation, by Ernst Oster, was published in 1979.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Heinrich_Schenker Heinrich Schenker “Heinrich Schenker (19 de junio de 1868 - 13 de enero de 1935) fue un teórico de la música, más conocido por su aproximación al análisis musical, ahora llamado análisis schenkeriano. Schenker nación en Wisniowczyki, en Galitzia, Polonia. Se trasladó a Viena, donde estudió con Anton Bruckner y se dio a conocer como pianista, acompañando a cantantes de lieder y tocando música de cámara. Impartió clases particulares de piano y teoría de la música, estando Wilhelm Furtwängler, Anthony van Hoboken y Felix Salzer entre sus alumnos. Las ideas de Schenker sobre el análisis fueron exploradas primero en su Tratado de armonía (Harmonielehre, 1906) y Contrapunto (Kontrapunkt, 2 vols., 1910 y 1922), y fueron desarrolladas en los dos periódicos que publicó, Der Tonwille (1921-24) y Das Meisterwerk in der Musik (1925-30), incluyendo ambos contenidos exclusivos de Schenker. El deseo de Schenker de que sus análisis fueran herramientas usadas por los intérpretes para un conocimiento más profundo de las obras que estuvieran interpretando se muestra en el hecho de que su edición de la últimas sonatas para piano de Ludwig van Beethoven incluyeran también análisis de las obras. En 1932, Schenker publicó Cinco Análisis Musicales Gráficos (Fünf Urlinie-Tafeln), análisis de cinco obras utilizando la técnica analítica de mostrar capas de mayor y menor detalle musical, que ahora lleva su nombre. Tras la muerte de Schenker, se publicó su obra teórica incompleta Composición libre (Der freie Satz, 1935) (primero traducida al inglés por T. H. Kreuger en 1960 como una disertación en la Universidad de Iowa; una segunda y mejor traducción, por Ernst Oster, se publicó en 1979). ...Mientras sus teorías han sido puestas a prueba desde mitad de siglo por su rigidez y su ideología organicista, la amplia tradición analítica que inspiraron ha permanecido como principal en el estudio de la música tonal.” (Wikipedia, 26/vi/2010) http://es.wikipedia.org/wiki/Heinrich_Schenker Schenkerian
analysis “Schenkerian
analysis is a method of musical
analysis of tonal music based on the theories of Heinrich Schenker. The goal of a Schenkerian analysis
is to reveal the underlying structure of a tonal work; in fact its basic
tenets can be viewed as a way of defining tonality in
music. The primary means of describing the structure of a musical passage for
the Schenkerian analyst is to show hierarchical relationships among the
pitches of the passage. This can be done through making reductions of the
music and through a specialized symbolic form of musical notation that
Schenker devised to demonstrate various prolongational techniques. The musical reductions of Schenkerian analysis are usually arrhythmic. This reflects Schenker's belief that the deep, long-range structure of a piece of music has no particular rhythm. This long-range structure is called the Fundamental Structure (Ursatz) in Schenkerian analysis, while the more surface aspects of the music are called the foreground or surface layer. So one could rephrase the previous statement as "the background of a musical composition is arhythmic," or, better yet, "rhythm is a characteristic of the musical foreground" (See Der Freie Satz section 21 and chapter 4). Open and closed noteheads, beams, and flags, which show rhythm in ordinary musical notation, are used in Schenkerian analysis to show hierarchical relationships between the pitch-events being analyzed.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Schenkerian_analysis Fundamental
structure (Redirected
from Ursatz) “In Schenkerian analysis, the fundamental structure
(German: Ursatz) is a
specific musical pattern that occurs at the most remote (or "background")
level
of structure. A basic elaboration of the tonic
triad,
it consists of the fundamental line accompanied by the bass
arpeggiation. Hence the fundamental structure, like the
fundamental line itself, takes one of three forms, according to which tonic
triad pitch is the primary
tone. The following is an example in C major, with
the fundamental line descending from scale
degree” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Ursatz ************************** A Generative Theory of Tonal Music / Teoría generativa de la música tonal LERDAHL, Fred y
JACKENDOFF, Ray: A Generative Theory of Tonal Music Preface http://www.johnhalle.com/bard.classes/musilanguage/week3/lj.preface.pdf RAR File books.google AMAZON http://www.amazon.ca/Generative-Theory-Tonal-Music/dp/026262107X A Generative
Theory of Tonal Music Annotation
(by Bill Tilghman): http://www.music.indiana.edu/som/courses/rhythm/annotations/lerdahl83.html Symposium “Around
Fred Lerdahl & Ray Jackendoff’s Generative
Theory of Tonal Music” Ircam
& ENS 11-12
January 2008 PROGRAM http://recherche.ircam.fr/equipes/repmus/mamux/PrSympAng.pdf Teoría generativa de la música tonal Ediciones AKAL, 2003 - 407 páginas “Convertida en un clásico desde su publicación en 1983, la presente obra construye un modelo de la comprensión musical desde el punto de vista de la ciencia cognitiva. El punto de partida es la búsqueda de una gramática de la música con la ayuda de la lingüística generativa. La teoría, ilustrada con numerosos ejemplos tomados de la música clásica occidental, pone en relación la superficie audible de una pieza con la estructura musical deducida inconscientemente por el oyente experimentado. Desde el punto de vista de la teoría de la música tradicional, ofrece muchas innovaciones, tanto por lo que respecta a la notación como al fondo de las teorías rítmica y de reducción.” http://books.google.com.mx/books?id=91Ozkk-TRmoC&dq=isbn:8446015986 Teoría generativa de la música tonal EDITORIAL Akal Traductor Juan González-Castelao Martínez N.° páginas 432 Año edición 2003 http://www.akal.com/libros/TeorIa-generativa-de-la-mUsica-tonal/9788446015987 Teoría generativa de la música tonal Escrito por Fred Lerdahl, Ray Jackendoff ************************** TESIS DOCTORAL ESTRUCTURA Y SIGNIFICADO EN LA MÚSICA SERIAL Y
ALEATORIA Alicia Díaz de la Fuente Departamento de Filosofía y Filosofía Moral y Política Facultad de Filosofía, Universidad Nacional de Educación a Distancia, 2005 Departamento de Filosofía y Filosofía Moral y Política, Facultad de Filosofía Director de tesis: Dr. D. Simón Marchán Fiz . Índice ……………………………………………………………...………….... 3 . Introducción ………………………………...……………………………….... 7 1. Singularidades del arte
sonoro …………………………………..……….... 13 1.1. La música como lenguaje
……………………….………………..………....13 1.1.1. Sintáctica y
semanticidad del sonido....………………….….…… 18 1.1.2 Formalismo versus contenidismo
……………………………….... 26 1.2. La música como actividad
creadora y experiencia estética …………...……33 2. Fin de la tonalidad y quiebra de la representación.
La música entre el azar y la serie. ……………………...………………………………….……...……... 37 2. 1. Antecedentes de la
música serial y aleatoria: la ruptura gramatical de Schoenberg
y Kandinsky …………………………………………………….... 37 2.1.1. Fin de la tonalidad y
quiebra de la representación …………….... 37 2.1.1.1. El significado de la
vanguardia ………………………... 38 2.1.1.2. Debussy y el dominio
de lo simbólico ……………….... 44 2.1.1.3. Schoenberg, Kandinsky
y la autonomía del sonido y el color.... 53 2.1.2. Tras la pista de una
nueva gramática ……………………………. 76 2.1.2.1. Del Kandinsky
analítico al Schoenberg dodecafónico…. 76 2.2. Radicalización de las
vanguardias: ¿determinación o indeterminación? ..… 87 2.2.1. Una apuesta por la
indeterminación ………………………………90 2.2.1.1. El azar en el arte:
del happening de Cage al dripping de Pollock .... 90 2.2.1.2. Principios
estético-musicales de John Cage ………… ...99 2.2.2. Una apuesta por la
determinación ……..……………….……… 112 2.2.2.1. La matemática en el
arte: de la geometrización de Klee a las matrices boulezianas
………...………………………….… 112 2.2.2.2 Principios
estético-musicales del serialismo de Pierre Boulez ……. 121 2.3. Consecuencias del
serialismo y la aleatoriedad ………..………………… 131 2.3.1. De la matemática
bouleziana a la fractalidad ……...…………… 134 2.3.2. Más allá de Cage: la
conquista de la intemporalidad ...………… 137 3. El lenguaje musical como expresión de nuevos principios estéticos …….142 3.1. La apertura del signo
musical …………….……………………………… 142 3.1.1. Naturaleza del signo
musical …………...……………………… 143 3.1.2. Semanticidad del signo
musical …..…………………………… 145 3.1.3. ¿Es la partitura gráfica
un código notacional lingüístico? …..… 149 3.1.4. La apertura del signo
musical, propiciadora de la dimensión intersubjetiva del lenguaje
…………………………..………………. 157 3.2. El giro lingüístico en
las vanguardias musicales de los años cincuenta del siglo XX.
……………………………………………………………………… 162 3.2.1. Quiebra sintáctica y
semántica de la música aleatoria …...…….. 162 3.2.2. Proliferación de signos
y mutabilidad sincrónica …..………….. 164 3.2.3. Lenguaje serial y
lenguaje aleatorio: homogeneidad psicoperceptiva, heterogeneidad gramatical
..………..………………………………… 171 4. Los modos de ser de la
obra artística …………………………………….180 4.1.Génesis del acto creador: el azar y la matemática como principios generadores de arte ………………………………………………………………………… 180 4.1.1. El nuevo juego de la
reflexión poética ………..……………….. 182 4.1.2. Obras autográficas
versus obras alográficas: denotación y ejecución .. 187 4.1.3. Estatuto ontológico de
la música serial y aleatoria ……..……… 191 4.2. Las distintas
manifestaciones del serialismo y la aleatoriedad .……….… 199 5. Una lectura
deconstructiva de Cage y Boulez ..………………………….
204 5.1. Análisis estético-musical
del Concierto para piano preparado y orquesta de cámara de John Cage ……………...………………………………………….. 204 5.1.1. Una nueva estética a
través del azar ……………………………. 208 5.1.2. Concierto para piano
preparado y orquesta de cámara ……..….. 215 5.1.2.1. Análisis
deconstructivo ……...……………………….. 216 5.1.2.2. Ejecución y escucha
………………………………….. 227 5.2. Análisis estético-musical
de las Estructuras para dos pianos Ia de Pierre Boulez………………………………………………………………………….
231 5.2.1. Una nueva estética a
través de la hiper-formalización ..……….. 236 5.2.2. Estructuras para dos
pianos ……..……………………………... 240 5.2.2.1. Análisis
deconstructivo ………………………………..241 5.2.2.2. Ejecución y escucha
……………………………..……256 6. Los modos de ser de la
experiencia estética ….…………….…………… 266 6.1. La experiencia estética
como proceso …………………………………… 266 6.1.1. Aplazamiento y
deconstrucción ………….…………………….. 271 6.1.2. La interpretación entre
el azar y la serie …………..…………… 282 6.2. Serialismo y
aleatoriedad: un posible estrato común ..…………………… 288 6.2.1. Cuando serie y azar se
dan la mano …………………...……….. 298 .Conclusión …………………………………………………………………… 312 .Anexo ……... ………………………………………………………………… 319 .Bibliografía ……………………………………………..……………………
378 http://www.uned.es/dpto_fim/publicaciones/alicia_1.pdf ************************************************** Ambient
music Ambient music “Ambient
music is a musical genre that focuses largely on the timbral characteristics
of sounds, often organized or performed to evoke an "atmospheric".
"visual” or "unobtrusive" quality. …The roots of ambient music go back to the early 20th century. In particular, the period just before and after the first world war gave rise to two significant Art Movements that encouraged experimentation with various musical (and non musical) forms, while rejecting more conventional, tradition-bound styles of expression. These art movements were called Futurism and Dadaism. Aside from being known for their painters and writers, these movements also attracted experimental and 'anti-music' musicians such as Francesco Balilla Pratella of the pre-war Futurism movement and Kurt Schwitters and Erwin Schulhoff of the post-war Dadaist movement. The latter movement played an influential role in the musical development of Erik Satie.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Ambient_music Ambient “El ambient es un género
musical en el cual el sonido es más importante que las notas.
Generalmente se identifica por ser profundamente atmosférica y ambiental. La
música ambient evolucionó desde las formas musicales semi-audibles de
principios del Siglo XX, del impresionismo
de Erik
Satie, a través de la música concreta y el minimalismo
de Terry
Riley y Philip Glass, y el deliberado acercamiento
subaudible de Brian Eno, hasta su uso en la música electrónica. Acontecimientos posteriores encontraron elementos "soñadores" no-lineales de la música ambient aplicados a algunas formas de música rítmica presentes en las salas de chill-out en los raves y otros eventos de baile, pero siempre con la característica primaria que la música intenta atravesar la conciencia del oyente mientras crea su efecto sobre éste.” (Wikipedia, 26/vi/2010) http://es.wikipedia.org/wiki/Ambient Brian Eno “Brian Peter George St John le Baptiste de la Salle Eno (born 15 May 1948), commonly known as Brian Eno and previously as simply Eno (pronounced /ˈiːnoʊ/), is an English musician, composer, record producer, music theorist, singer and visual artist, best known as one of the principal innovators of ambient music.” (Wikipedia, 26/vi/2010) http://en.wikipedia.org/wiki/Brian_Eno Brian Eno “Brian Peter George St. John le Baptiste de la Salle Eno, Brian Eno o, simplemente, Eno (Woodbridge, Suffolk, Reino Unido, 15 de mayo de 1948) es un compositor de música electrónica que empezó tocando con Roxy Music. Tras abandonar el grupo comenzó una carrera en solitario que partió del art rock para llegar a la música ambient y a todo tipo de experimentos de vanguardia. El propio término «música ambient» se acuñó a partir de su serie de álbumes inspirados en el muzak, entre ellos Music for Airports, The Plateaux of Mirror, Day of Radiance y On Land.” (Wikipedia, 26/vi/2010) http://es.wikipedia.org/wiki/Brian_Eno El británico Brian Eno trae su “arte generativo” a México 77 millones de pinturas se compone de 360 cuadros permutadas de cuatro en cuatro El creador vanguardista impartirá una conferencia magistral en el Teatro de la Ciudad Juan José Olivares, Periódico La Jornada, Jueves 25 de
marzo de 2010, p. 3 “trae a México su reciente “paisaje sonoro”: 77 millones de pinturas, pieza de arte generativo audiovisual que se sirve de un software (hay que recordar que es el creador del archivo de sonido de inicio de sesión de Windows 95, que aún se encuentra en las versiones actuales) desarrollado específicamente para mezclar elementos visuales –como cuadros, pinturas, grabados en diapositivas– y sonoros realizados por él mismo a lo largo de 20 años.” http://www.jornada.unam.mx/2010/03/25/index.php?section=cultura&article=a03n1cul Brian Eno 77
Million Paintings Interview http://www.youtube.com/watch?v=VRkNrWp6tLg ************************************************** Evolución y
Educación Chaos seems to
aid learning “Researchers
from Core Research for Evolutional Science and Technology (CREST) in Japan
have built a computer simulation of the inferior olive, a portion of the
brain that probably relays errors in movement to the cerebellum. It has been
difficult to explain the mechanics of this relationship because inferior
olive cells that connect to the cerebellum fire slowly, and this does not fit
well with the common hypothesis that high-fidelity error signals are needed
for efficient learning.” http://www.trnmag.com/Stories/2004/050504/Chaos_seems_to_aid_learning_050504.html CCK08: Chaos is
good! Posted by Sarah
Stewart, Saturday, September 27, 2008 “Chaos appears
to be inevitable in courses where a connectivist approach is taken to learning. You only have to
look at the 'Connectivism and
Connective Knowledge'
online course that is currently running, and to a lessor degree 'Facilitating Online
Communities'.” http://sarah-stewart.blogspot.com/2008/09/cck08-chaos-is-good.html International
Society for Presence Research (ISPR) “The
International Society for Presence Research (ISPR) supports academic research
related to the concept of (tele)presence, commonly referred to as a sense of
'being there' in a virtual environment and more broadly defined as an
illusion of nonmediation in which users of any technology overlook or
misconstrue the technology's role in their experience.” International
Society for Presence Research (ISPR) Examples of
Presence http://www.temple.edu/ispr/frame_examples.htm Evolution as Fact, Theory, and Path T. Ryan Gregory http://www.springerlink.com/content/21p11486w0582205/fulltext.pdf Evolution: Education and Outreach revista con artículos disponibles libremente http://www.springerlink.com/content/120878/ *********************************************************** Researchers
teach 'Second Life' avatar to think By Michael Hill,
Associated
Press, May 18, 2008 “Edd Hifeng
barely merits a second glance in "Second Life." A steel-gray robot
with lanky limbs and linebacker shoulders, he looks like a typical avatar in
the popular virtual world. But Edd is
different. His actions are
animated not by a person at a keyboard but by a computer. Edd is a creation
of artificial intelligence, or AI, by researchers at Rensselaer Polytechnic
Institute, who endowed him with a limited ability to converse and reason. It
turns out "Second Life" is more than a place where pixelated
avatars chat, interact and fly about. It's also a frontier in AI research
because it's a controllable environment where testing intelligent creations
is easier.” http://ap.google.com/article/ALeqM5jZy-cAS6fmqoTCIH9TXL8JHu6frAD90O7EDG0 ************************************************** Smart
Computer Learns From Video PhysOrg.com,
June 23, 2010 Provided
by ETH Zurich “Swiss researchers
have written a computer programme that is able to analyse temporal and
spatial patterns of moving objects, and on top of that is capable of
learning. This would be a significant aid in traffic monitoring.” http://www.physorg.com/news196521871.html ************************************************** Immortal
avatars: Back up your brain, never die Linda
Geddes,
New Scientist, 07 June 2010 “…Ultimately, however, they aim to create a personalised, conscious avatar
embodied in a robot - effectively enabling you, or some semblance of you, to
achieve immortality. "If you can upload yourself into this digital form,
it could live forever," says Nick Mayer of Lifenaut,
a US company that is exploring ways to build lifelike avatars. "It
really is a way of avoiding death."” *********************************************************** |
