Quantifying and comparing stocks of oysters (Crassostrea virginica) within and among estuaries across the Gulf of Mexico is difficult because the sampling equipment used is either inconsistent among studies, or inefficient. In Texas, USA, stock assessments of oyster populations are made using an oyster dredge, which is an inefficient sampling tool. We compared sampling densities estimated by oyster dredges with more accurate estimates taken by diver-quadrat samples to determine a dredge efficiency rate. Our calculated efficiency rate (0.125) was negatively affected by the number of dead oysters, and the number and volume of total oysters in an area, but not affected by sediment grain size, water quality, and other oyster metrics. The dredge efficiency rate calculated in this study can be applied to past and future dredge-collected oyster quantity data to provide more realistic estimates of oyster densities and allow more accurate stock assessments and comparisons among studies and regions.

The 10-item Autism-Spectrum Quotient (AQ10) is a self-report questionnaire used in clinical and research settings as a diagnostic screening tool for autism in adults. The AQ10 is also increasingly being used to quantify trait autism along a unitary dimension and correlated against performance on other psychological/medical tasks. However, its psychometric properties have yet to be examined when used in this way. By analysing AQ10 data from a large non-clinical sample of adults (n = 6,595), we found that the AQ10 does not have a unifactorial factor structure, and instead appears to have several factors. The AQ10 also had poor internal reliability. Taken together, whilst the AQ10 has important clinical utility in screening for diagnosable autism, it may not be a psychometrically robust measure when administered in non-clinical samples from the general population. Therefore, we caution against its use as a measure of trait autism in future research.

Anomaly detection can be seen as an unsupervised learning task in which a predictive model created on historical data is used to detect outlying instances in new data. This work addresses possibly promising but relatively uncommon application of anomaly detection to text data. Two English-language and one Polish-language Internet discussion forums devoted to psychoactive substances received from home-grown plants, such as hashish or marijuana, serve as text sources that are both realistic and possibly interesting on their own, due to potential associations with drug-related crime. The utility of two different vector text representations is examined: the simple bag of words representation and a more refined Global Vectors (GloVe) representation, which is an example of the increasingly popular word embedding approach. They are both combined with two unsupervised anomaly detection methods, based on one-class support vector machines (SVM) and based on dissimilarity to k-medoids clusters. The GloVe representation is found definitely more useful for anomaly detection, permitting better detection quality and ameliorating the curse of dimensionality issues with text clustering. The cluster dissimilarity approach combined with this representation outperforms one-class SVM with respect to detection quality and appears a more promising approach to anomaly detection in text data.

Machines incorporating techniques from artificial intelligence and machine learning can work with human users on a moment-to-moment, real-time basis to generate creative outcomes, performances and artefacts. We define such systems collaborative, creative AI systems, and in this article, consider the theoretical and practical considerations needed for their design so as to support improvisation, performance and co-creation through real-time, sustained, moment-to-moment interaction. We begin by providing an overview of creative AI systems, examining strengths, opportunities and criticisms in order to draw out the key considerations when designing AI for human creative collaboration. We argue that the artistic goals and creative process should be first and foremost in any design. We then draw from a range of research that looks at human collaboration and teamwork, to examine features that support trust, cooperation, shared awareness and a shared information space. We highlight the importance of understanding the scope and perception of two-way communication between human and machine agents in order to support reflection on conflict, error, evaluation and flow. We conclude with a summary of the range of design challenges for building such systems in provoking, challenging and enhancing human creative activity through their creative agency.

In network models for real-world domains, often network adaptation has to be addressed by incorporating certain network adaptation principles. In some cases, also higher order adaptation occurs: the adaptation principles themselves also change over time. To model such multilevel adaptation processes, it is useful to have some generic architecture. Such an architecture should describe and distinguish the dynamics within the network (base level), but also the dynamics of the network itself by certain adaptation principles (first-order adaptation level), and also the adaptation of these adaptation principles (second-order adaptation level), and may be still more levels of higher order adaptation. This paper introduces a multilevel network architecture for this, based on the notion network reification. Reification of a network occurs when a base network is extended by adding explicit states representing the characteristics of the structure of the base network. It will be shown how this construction can be used to explicitly represent network adaptation principles within a network. When the reified network is itself also reified, also second-order adaptation principles can be explicitly represented. The multilevel network reification construction introduced here is illustrated for an adaptive adaptation principle from social science for bonding based on homophily and one for metaplasticity in Cognitive Neuroscience.

Much electroacoustic music composition and sound art, and the commentary that surrounds them, is locked into a materialist sound-object mindset in which the hierarchical organisation of sonic events, especially those developed through abstraction, are considered antithetical to sounds ‘being themselves’. This article argues that musical sounds are not just material objects, and that musical notations, on paper or in computer code, are not just symbolic abstractions, but instructions for embodied actions. When notation is employed computationally to control resonance and gestural actuators at multiple acoustic, psychoacoustic and conceptual levels of music form, vibrant sonic morphologies may emerge from the quantum-like boundaries between them. In order to achieve that result, it is necessary to replace our primary focus of compositional attention from the Digital Audio Workstation sound transformation tools currently in vogue, with those that support algorithmic thinking at all levels of compositional design.

This article explores how computation opens up possibilities for new musical practices to emerge through technology design. Using the notion of the cultural probe as a lens, we consider the digital musical instrument as an experimental device that yields findings across the fields of music, sociology and acoustics. As part of an artistic-research methodology, the instrumental object as a probe is offered as a means for artists to answer questions that are often formulated outside semantic language. This article considers how computation plays an important role in the authors’ personal performance practices in different ways, which reflect the changed mode-of-being of new musical instruments and our individual and collective relations with them.

Music history is full of examples of composers drawing upon traditional repertoires for their works. Starting from the late nineteenth century in particular, many of them have looked at this specific sound material for several reasons: overcoming the limitations of tonal system, discovering different compositional strategies, finding new inspiration and aesthetics, evoking exoticism. Electronic music is no exception. Since the emergence of sound recording, sonic artists and electronic music composers have experimented with new technologies trying to integrate traditional elements in their works with different results and various purposes. In the present time, the preservation of these traditional elements could represent one of the most crucial goals. In a world characterised by a widespread globalisation, traditional music might be at risk of being neglected or even forgotten, as for local identities and cultures in general. As electronic music composers and sonic artists we should ask ourselves if it is possible to create a link between tradition and innovation, connecting these two apparently opposite realities. Can we safeguard at-risk traditions and at the same time re-present them through contemporary artistic practices and technologies? Is there a way to develop a form of expression that could reach a wide and diverse range of listeners, taking into account recent trends and studies in electronic music while preserving the main distinctive features of the traditional repertoires? The article attempts to answer the above-mentioned questions with the support of a case study: the personal research conducted into the use of traditional music from the southern Italian region of Campania in the scope of electronic music composition.

Departing from the artistic research project Goodbye Intuition (GI) hosted by the Norwegian Academy of Music in Oslo, this article discusses the aesthetics of improvising with machines. Playing with a system such as the one described in this article, with limited intelligence and no real cognitive skills, will obviously reveal the weaknesses of the system, but it will also convey part of the preconditions and aesthetic frameworks that the human improviser brings to the table. If we want the autonomous system to have the same kind of freedom we commonly value in human players’ improvisational practice, are we prepared to accept that it may develop in a direction that departs from our original aesthetical ambitions? The analyses is based on some of the documented interplay between the musicians in a group in workshops and laboratories. The question of what constitutes an ethical relationship in this kind of improvisation is briefly discussed. The aspect of embodiment emerges as a central obstacle in the development of musical improvisation with machines.

In three previous issues of OS (10/1, 2005, 13/3, 2008 and 19/2, 2014) a range of scholars explored non-Western instrumentation in electroacoustic music. These issues addressed concerns about sensitive cultural issues within electroacoustic music. This article builds upon this discussion through an examination of a number of electroacoustic composer-performers using non-Western instrumentation. This discussion will include the voices of ‘Western’ electroacoustic composers using non-Western instruments or sounds sources. It will also document some of the work of non-Western electroacoustic composers who incorporate traditional material or indigenous instruments in their music. Special attention will be given to the complexity of being in-between musical cultures through a critical engagement with theories relating to hybridity, orientalism and self-identity. In particular, this article will focus on my own practice of composing and performing electroacoustic music with the North Indian lute known as the sarode. It will discuss both cultural and artistic concerns about using the sarode outside the framework of Indian classical music and question whether Indian classical music can ever be ‘appropriately appropriated’ in an electroacoustic context. Two of my recent compositions will be explored and I will outline the development of my practice leading to the creation of a new ‘hybrid’ instrument especially for playing electroacoustic music.

This article explores the relationship and disparities between human and computational creativity by addressing the following questions: How well are computational creativity systems currently performing at creative tasks? Could computers outperform human composers? And, if not, is computational creativity a utopia? Automatic composition systems are examined with respect to Boden’s three criteria of creativity (novelty, surprise and value), as well as their assumptions about the nature of creativity. As an alternative to a competitive relationship between human and computational creativity, the article proposes the concept of a distributed human–computer co-creativity, in which computational creativity extends – rather than replaces – human creativity, by expanding the space of creative possibilities.

ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era music and contemporary electronic music; providing new and creative insights into the subject of topic theory and its potential for reappropriation within the sonic arts.

This article discusses technical and aesthetic aspects of sound synthesis in the context of anacoustic modes of sound construction – a neologism that underscores the unique ontology of information in the digital domain. Anacoustic modes address the computer at its most fundamental level: the syntactic level of information. This changes the nature of signification as sound is considered first as an informational construct rather than a material circumstance, rupturing the front-loaded meaning that arises from our acoustic experience. Following certain concepts encompassed by N. Katherine Hayles’s posthumanism, anacoustic modes can be viewed as an expression of the materiality of information.

Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.