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7.Notable examples include the artworks of Mark Wattenberg, Nathalie Miebach, Wesley Goatley and Tobias Revell, and the artistic collaborations of Mikael Lundberg and Mats Nordahl, e.g. Traces of an Ongoing Memory. For an overview of the field, see Viégas, F.B. and Wattenberg, M. (2007) Artistic data visualization: beyond visual analytics. In: Proceedings of the International Conference on Online Communities and Social Computing, Beijing, China, Lecture Notes in Computer Science, 456, pp. 182–191.
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12.This concept and the processed version of the Bible were originally conceived as part of a collaborative work by the author and the visual artist Mikael Lundberg in 2005, and programed by the author. However, the work was never finished nor exhibited. The other sound examples were prepared for the keynote presentation that this article is based on.
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14.Cope’s more recent work is more interesting from a novelty point of view, where he personally interacts over time with his probabilistic composition model (which he calls Emily Howell), training it in more complex ways.
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30.This paradigm is not completely new, but distinctly different from the more common way of creating things, which may – greatly simplified – be described as musical artefacts being constructed from scratch and evaluated in an iterated tweaking process.
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37.I am simplifying a bit here, since we know a great deal about genetic low-level mechanisms. But there are still so many things we don’t know about how these detailed changes are expressed in the high-level organism, which is the main point.
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45.For an extended discussion of this problem, see Dahlstedt, P. (2005) Defining spaces of potential art: the significance of representation in computer-aided creativity. In: Description & Creativity Conference, online proceedings, King’s College, Cambridge, UK, 3–5 July 2005.