Two MA Digital Journalism alumni have taken first prize and runner-up prize for Multimedia Journalist of the Year in The Guardian’s Student Media Awards 2015.
Kara Fox was awarded the top prize for her video profiles of campaigners for legal medicinal cannabis, while runner-up David Blood was awarded for his multimedia report on the hackers, activists and visionaries reimagining the internet.
The MA/MSc Digital Journalism is co-delivered by the Computing and Media departments at Goldsmiths.
The first musical theatre production to be conceived and crafted by computers makes its debut in February 2016, with a premise and plot created by Goldsmiths, University of London’s ‘What-If Machine’.
2016. The computer revolution. In a world becoming ever more technologically advanced and reliant upon computers, machine learning and artificial intelligence are rapidly and fundamentally changing every aspect of human experience.
But how does technology affect art and the creative process? Can a computer ever create an entertaining and emotionally powerful show?
Presented by Wingspan Theatricals and Sky Arts, Beyond the Fence runs at the Arts Theatre in London’s West End from 22 February – 5 March 2016, directed by Luke Sheppard, choreographed by Cressida Carre and produced by Neil Laidlaw.
Beyond the Fence is both conceived and substantially crafted by computer, modeled on a statistical study of the ‘recipe for success’ in hit musicals.
In collaboration with leading experts in music, computation and the science of human creativity, composer Benjamin Till and his husband, writer and actor Nathan Taylor (the award-winning team behind Channel 4’s ‘Our Gay Wedding: The Musical‘), will bring a range of computer-generated material to life.
Designed and co-ordinated by Dr Catherine Gale, the whole process is also being filmed for a Sky Arts TV series titled ‘Computer Says Show’, to be broadcast in spring 2016.
Beyond the Fence started as an experiment, with researchers delving into what makes a good musical, from production and story to music and lyrics.
The process began with a predictive, big data analysis of success in musical theatre conducted at the University of Cambridge. Researchers interrogated everything from cast size to backdrop, emotional structure to the importance of someone falling in love, dying (or both!) – in more and less successful shows – to create a set of constraints to which the musical had to conform, to theoretically optimise chances of success.
Next, the team visited what’s known as the What-If Machine at Goldsmiths.
The Machine was created under a three year initiative, starting in 2013, to answer the question of whether creative software can move to the next level by generating, assessing, and presenting interesting ideas – whether it’s stories, jokes, films or paintings – that are really valued by the people who are exposed to them.
Funded by the European Community’s Seventh Framework Programme and with Goldsmiths Computing’s Professor Simon Colton, Dr Teresa Llano and Dr Rose Hepworth at the helm, the machine generated multiple central premises, featuring key characters, for a show.
From those options, the team selected this as the starting point and the original idea for the musical:
What if a wounded soldier had to learn how to understand a child in order to find true love?
September 1982. Mary and her daughter George are celebrating one year of living at the Greenham Common peace camp. The group of women they have joined are all committed to stopping the arrival of US cruise missiles through non-violent protest. When Mary is faced with losing her child to the authorities, an unlikely ally is found in US Airman Jim Meadow. How can she continue to do what is best for her daughter while staying true to her ideals?
A plot structure for the musical was also generated computationally, thanks to work led by Dr Pablo Gervás (Complutense University of Madrid), with a team then writing lyrics with the assistance of some other computational tools, that fitted all these constraints.
Finally, the music has been provided by Dr Nick Collins (Durham University) through his computer composition system Android Lloyd Webber, based on a machine listening analysis of musical theatre music at Queen Mary and City University, with additional material generated using the FlowComposer system created at Sony Computer Science Laboratory in Paris.
This blog post is an adaptation of a news story written by Sarah Cox, first published on Goldsmiths News.
Post doc teaching & research fellow Sarah Wiseman reports on a talk she recently gave at at the Science Museum’s Night Owls event.
The Science Museum Lates are a staple of any London geek’s calendar – once a month the museum opens its doors for an adults-only evening of events. These range from talks and quizzes, to workshops and printmaking, all of which can be as wine-fuelled as you desire. Each month they are packed with eager adults hoping to get a look around the museum without any children hogging all the fun toys.
The museum is now trying out a new idea for an evening event, and this one has a slightly different aim. A sister event to the morning Early Birds scheme, the Science Museum’s Night Owls events run on a Saturday evening after the museum so that families with children with autism can experience the museum in quieter, calmer settings. In the words of the museum, “Night Owls enables young adults who have Autism to come along and enjoy the museum free from the hustle and bustle of the general public.”
This November I was asked to give an in-depth talk on a topic relating to engineering, physics or maths. I wanted to talk about something I’m excited and passionate about, so naturally I chose to talk about the design of the telephone keypad. This is not only a topic that I myself find fascinating, but it’s a great introduction to the concept of Human Factors Engineering.
Arriving on Saturday evening before the event opened was eerie – I’d never seen the museum so quiet. I had to resist the urge to pretend I was the only one there and go exploring.
I gave two talks through the evening to small groups of people. The small groups meant I felt like I was having a chat with everyone there rather than giving a presentation. It also made the audience participation parts a bit easier for me – it’s far easier to pick on people when you’ve been chatting to them just a moment earlier.
The audiences were enthusiastic and chatty, with plenty of questions for me both during and after the talks. I have to say that this was refreshing, as the room can sometimes be a bit quiet when talking to students this age. But this audience had plenty to ask to me; some even went so far as to suggest new interfaces that could be designed in the future. There was also some post-talk career advice to one eager student, as I explained my experience of moving from my undergraduate to my PhD to my current post doc.
The evening was really fun for me. I love talking about things I’m excited by – and to get an enthusiastic reception makes it all the better. I had a great time talking to the young adults who came along, as well as their friends and family. This was the first of the Night Owls events, and I could see that everyone who came along really appreciated the evening. I only hope this isn’t the last!
Sarah Wiseman is a post doc teaching and research fellow working on Human Computer Interaction at Goldsmiths Computing. Her interests lie in understanding more about number entry and errors, and investigating the use of haptic technologies to improve cultural experiences for people with visual impairments. She has also begun exploring citizen science, and how that might be a useful tool when recruiting for HCI experiments.
She really enjoys talking about research, and has done stand-up comedy based on it. She likes engaging people with science and other interesting ideas. Her other passion is making things – working with arduinos, sifteo cubes and general crafts.
The first musical conceived and crafted by computer, makes its debut in February with a premise and plot created by the Goldsmiths, University of London’s ‘What-If Machine’ program.
In a world becoming ever more technologically advanced, and reliant on computers, machine learning and artificial intelligence are rapidly and fundamentally changing every aspect of human experience. Now we’re about to see how technology can affect art and the creative process.
The show is both conceived and substantially crafted by computer, modeled on a statistical study of the ‘recipe for success’ in hit musicals.
In collaboration with leading experts in music, computation and the science of human creativity, composer Benjamin Till and his husband, writer and actor Nathan Taylor, will bring a range of computer-generated material to life. They have aimed to create an emotionally powerful and exciting West End show, which is, at the same time, the grandest of experiments, designed and co-ordinated by Dr Catherine Gale.
Beyond the Fence started as an experiment, with researchers delving into what makes a good musical, from production and story to music and lyrics. The process began with a predictive, big data analysis of success in musical theatre, conducted at the University of Cambridge. Researchers examined everything from cast size to backdrop, emotional structure to the importance of someone falling in love, dying (or both) – in more and less successful shows – to create a set of constraints to which the musical had to conform, to theoretically optimise chances of success.
Next, the team visited what’s known as the What-If Machine at Goldsmiths.
The Machine was created under a three-year initiative, starting in 2013, to answer the question of whether creative software can generate, assess, and present interesting ideas – whether it’s stories, jokes, films or paintings – that will be appreciated by people who are exposed to them. The team eventually settled on one original idea for the musical – what if a wounded soldier had to learn how to understand a child in order to find true love?
And so Beyond The Fence was born. Set in 1982, Mary and her daughter George are celebrating a year of living at the Greenham Common peace camp. The group of women they have joined are all committed to stopping the arrival of US cruise missiles through non-violent protest. When Mary is faced with losing her child to the authorities, an unlikely ally is found in US Airman Jim Meadow. How can she continue to do what is best for her daughter while staying true to her ideals?
A plot structure for the musical was also generated computationally, thanks to work led by Dr Pablo Gervás of Complutense University of Madrid. Finally, the music has been provided by Dr Nick Collins, of Durham University, through his computer composition system, the wittily-named Android Lloyd Webber.
Beyond The Fence plays at the Arts Theatre from 22 February – 5 March 2015.
This post is an edited abstract of an article published in Stage Review
We are pleased to announce a rare and intimate concert by Laetitia Sonami for the UK premiere of Eliane Radigue’s “OCCAM IX for Electronic Spring Spyre”.
WHEN: Wednesday 2 December 2015. 7.30pm for 8pm start
WHERE: SIML Space (G05), St James Hatcham, New Cross. View map
BOOK TICKETS: Free online registration
There will be an open Q&A session with Laetitia after the performance. Laetitia will also hold a free workshop on 3 December 2015 at Goldsmiths (separate registration required).
ABOUT OCCAM IX
OCCAM IX inscribes itself in a larger series of compositions entitled OCCAM OCEAN created by composer Eliane Radigue for, and with instrumentalists and composers. Compositions for harp, violin, viola, bass clarinet, and cello have been created with Rhodri Davis, Carol Robinson, Charles Curtis, amongst others and received critical acclaim.
This ninth composition was created with Laetitia Sonami on electronics with an instrument designed for the occasion by Sonami, named the Electronic Spring Spyre. Sonami originally studied with Radigue in France in 1976. While her music took on a very different expression through her design of unique controllers and live performance, they both remained vey close. In 2011 Sonami requested Eliane to create a piece for her new instrument. This instrument is made of springs which are being analyzed by neural networks. These “impress” the activity of the mechanical springs onto the sound synthesis in real-time.
ABOUT LAETITIA SONAMI
Composer, performer, and sound installation artist Laetitia Sonami was born in France and settled in the United States in 1975 to pursue her interest in the emerging field of electronic music. She studied with Eliane Radigue, Joel Chadabe, Robert Ashley and David Behrman.
Laetitia Sonami’s sound installations combine audio and kinetic elements embedded in ubiquitous objects such as light bulbs, rubber gloves, bags and more recently toilet plungers. She collects electrical wire and embroids them in walls.
Her work combines text, music and “found sound” from the world, in compositions which have been described as “performance novels. Her signature instrument, the Lady’s Glove, is fitted with a vast array of sensors which track the slightest motion of her enigmatic dance: with it Sonami can create performances where her movements can shape the music and in some instances visual environments. The lady’s glove has become a fine instrument which challenges notions of technology and virtuosity.
Please note that there will be no admission to the concert once the performance has started. Seating is limited, if you require a seat or have any accessibility requirements please email sh@goldsmithsdigital.com in advance of the concert.
The concert is organised by the Embodied Audio Visual Interaction group (EAVI) and Goldsmiths’ Music department.
DEGENERATION IT, a collaborative community created for IT passionates (in education or not) has been launched by Goldsmiths Computing student Sharon Profita.
Sharon, a third-year BSc Creative Computing student, says: “I know there’s quite a lot out there that could be considered similar, but I want this to be accessible to ‘newbies’ too, most of the forums or websites I visit are very advanced and sometimes I feel too ‘green’ to ask a question. I want everybody to feel welcome and safe.”
Designed to strengthen the young developer community, the site comprises four sections:
Projects
“Post what you’ve done for an assignment or on your spare time. Games, software, cool data visualizations, a particuar algorithm, anything you’d like to share.
“Every year across the UK, hundreds of aspiring programmers complete a ton of coursework and create projects. When they leave university, this work largely disappears. Degeneration IT is a hub for this kind of work, that values ideas even more than execution. All the projects posted end up in your profile, so you have a mini-portfolio where you can also share links to your actual portfolio or linkedin, github, behance.” Go to Projects
News
“This section can range from the latest indie game/software or hardware, to your attendance to an event, a tutorial you made, or whatever you want to share with other ‘degenerates’.” Go to News
Events
“A searchable calendar with events (like hackathons and conferences) around Europe. Not only you can browse, but if you’re organising/attending or heard of an event that’s not listed you’re more than welcome to post it.” Go to Events
Ask a question
“A place where you can ask questions or post requests for specific issues or needs you might have.” Go to Ask
EAVI Gigs return for their second outing this November at the Amersham Arms. A night of free improv, music using interactive textiles, dismantled grime and more, with DJs til late.
Performances from fluxtrio (Hayes/Schroeder/Pestova), Yearning Kru, Phantom Chips, Gorenidal and Chi Po-Hao. Post-show DJs Spacer Woman and Team GBH will be running the whole gamut of human emotions with their excellent selections, so bring dancing shoes and emotional armour.
Where: Amersham Arms, 388 New Cross Road, London SE14 6TY
When: 8pm – late, Thursday 26 November 2015
Tickets £5 – or buy £4.50 tickets online
fluxtrio (Hayes/Schroeder/Pestova)
https://fluxtrio.wordpress.com
fluxtrio brings together three performer/composers who are known for their unique approaches to performance and their use of innovative instrumentation, both acoustic and electronic. This collaboration will combine their diverse skills, which include building digital instruments, pioneering novel technologies, improvisation techniques, and live electronic treatment of acoustic sounds.
Yearning Kru
http://yearningkru.tumblr.com
Yearning Kru combines some of the finest moments of the past twenty years of electronic music: the glitched, disjointed, sad beauty of Fennesz and Mego artists alongside the sample mangling genius of 0PN that finds the alien in the everyday. He has been critically acclaimed by Tiny Mix Tapes and the Wire, and releases on Quantum Natives.
Gorenidal
Gorenidal wrestles algorithmic beats and noise from an Atari and an fm synth running on an iPhone. He has a forthcoming release on Quantum Natives.
Phantom Chips
http://www.phantomchips.com
Tara Pattenden aka Phantom Chips is an artist, musician and maker of electronic noise instruments. For the past 5 years she has been working with soft circuitry to create interfaces that manipulate sound through touch and movement. As Phantom Chips she performs with an array of home-made instruments, concocting rhythms from manipulated found and recorded sounds. Phantom Chips has been known to invite the audience to wear and play her costumes and join her in creating sound through movement.
Chi Po-Hao
http://chipohao.com
Chi Po-Hao is a Taiwan based sound artist. He has been granted residencies at V2_Institute of Unstable Media in Rotterdam and Cité internationale des Arts in Paris. His works involve live electronics, referencing popular music and electroacoustic composition.