ABOUT THE REAL-TIME COMPOSITION AUDIO EXAMPLES FROM CICN I & CICN II (from Meta Creation in NEOS VR)
Using Dr. Tatar’s Musical AI Meta-Composition software (MASOM) and with the LogiX programming help of Lucas Rossetti within NEOS VR, Dr. Turner trained each NPC to link Turner’s electroacoustic samples with the overall approximate infrastructure of 4 possible requiem forms from the classical music canon (ca. 18th to 20th centuries). This linkage was done through having a MASOM software agent traverse through the terrain of these requiem infrastructures in order to select certain sample fragments while exploring this terrain.
Each NPC in NEOS VR acts as a finite-state machine (model-based reflex agent) where each requiem form is assigned to respond to a perceptual state relating to the NPC’s cyber-alien awareness of “death” in its situated virtual world. In other words, each NPC plays its own freshly composed generative requiem in real-time to acknowledge some kind of virtual “death”. Each “death awareness” composition state corresponds with a particular requiem from the past. These forms are composed and performed by the NPC with pre-assigned tempos ranging from the near-ambient 20 BPM to the inhuman 7777 BPM.
These requiem forms were trained with Dr. Turner’s current sample set which contains electroacoustic samples that he has created over the years for other compositions from 1999 to 2006. Each NPC re-composes its own new cyber-alien requiem approximation in an improvised manner with every performance. None of the output is composed and performed by the NPC the same way more than once.
The following are wavefile audio recordings that document excerpts (less than 10 minutes each) from each NPC’s real-time composition/performance process. These wavefiles just document some snapshot in time and act as a preview showing what each NPC is capable of with each requiem approximation state. These wavefiles recorded real-time composition/performance sessions where Dr. Turner manually stopped the sample selection process at apx. the 09:30 mark. These NPCs can perpetually play these compositions indefinitely without stopping (or at least, until they detect a new death-awareness state). However, the affective variety of each form (esp. climax points) lasts the length of the original classical requiem (if the requiem form were to be played at the default 120 BPM).
CICN I & CICN II share the same overall electroacoustic sample-bank. However, Dr. Turner pruned CICN II’s sample-bank to differentiate the aesthetic personality of its composition style from CICN ICICN I’s composition/performance excerpt wavefile archives –
CICN I’s composition/performance excerpt wavefile archives
1. Approximating Maderna’s Requiem (1946) at 188 BPM
2. Approximating Brahms’ Requiem (1861) at 400 BPM
3. Approximating Suppé’s Requiem (1855) at 7777 BPM
4. Approximating Cherubini’s Requiem (1816) at 88 BPM
CICN II’s composition/performance excerpt wavefile archives
1. Approximating Kozlovsky’s Requiem (1798) at 188 BPM
2. Approximating Duruflé’s Requiem (1947) at 88 BPM
3. Approximating Verdi’s Requiem (1868) at 20 BPM
4. Approximating Mozart’s & Mozart & Süssmayr’s Requiem (1791) at 88 BPM
