Photo © 2010, Stephanie Hough.

Back, behind-the-scenes, I still have some articles in draft form that both detail the nuts’n’bolts decision-making processes in the construction of a machine improviser, and self-reflective critique such constructions, detailing the trade-offs and shortcomings of such an entity, and its design and implementation. I would like to get back to work on these at some point as they may provide as both cautionary tales and critical guides in future constructions of ‘creative’ automata and machine performances, and to anyone engaged in the critical (reverse-)engineering of such entities and their constructions. (There are so many stories, (self-)reflective and (self-)critical, of shortcoming and failures that get lost in our need to tell tales of technocultural heroics.)

Meanwhile, in this post I’d like to provide a selective index of documentation of io 0.0.1 beta++, its construction and performance, both of material published on this site and elsewhere.

Overview

\ constructor: Han-earl Park
\ copyright 2008 buster & friends' C-ALTO Labs
\
\ www.busterandfriends.com/io
\
\ (Edinburgh, November 1996 -
\ (London, August 1997 -
\ (Den Haag, October 1997 -
\ (Valencia, March 1999 -
\ (Southampton, May 2000 -
\ (Cork, April 2006 -
\
\ (Cork, October 2008 -
\
\ REV: 0.0.1 alpha (Southampton, October 2000)
\ REV: 0.0.1 beta (Southampton, November 2000)
\ REV: 0.0.1 alpha++ (Southampton, July 2004)
\ REV: 0.0.1 beta++ (Cork, May 2010)

io 0.0.1 beta++ is an interactive, semiautonomous technological artifact that, in partnership with its human associates, performs a deliberately amplified staging of a socio-technical network—a network in which the primary protocol is improvisation. Together the cyborg ensemble explores the performance of identities, hybrids and relationships, and highlights the social agency of artifacts, and the social dimension of improvisation. Engineered by Han-earl Park, io 0.0.1 beta++ is a descendant, and significant re-construction, of his previous machine musicians, and it builds upon the work done with, and address some of the musical and practical problems of, these previous artifacts.

Standing as tall as a person, io 0.0.1 beta++ whimsically evokes a 1950s B-movie robot, constructed from ad-hoc components including plumbing, kitchenware and missile switches. It celebrates the material and corporeal; embracing the localized and embodied aspects of sociality, performance and improvisation.

Chronology

• 1996–1999: Coding of early experiments, tests, and software components:
  • Edinburgh, 1996–1997
  • London, 1997
  • The Hague, 1997–1999
• March 1999: Construction of io begins in earnest, Valencia, California.
• April 2000: Debut performance of working prototype of io at the Roy O. Disney Concert Hall, California Institute of the Arts, Valencia.
• October 2000: REV: 0.0.1 alpha, Southampton, England.
• November 2000: REV: 0.0.1 beta, Southampton.
• December 2000: Recording of io 0.0.1 beta at De Illusie, The Hague, The Netherlands.
• July 2004: REV: 0.0.1 alpha++, Southampton.
• January 2008: With funding from the Arts Council of Ireland, major update and revision of io begins, Cork, Ireland.
• May 2010: REV: 0.0.1 beta++, Cork, Ireland.
  • Recording session at Ó Riada Hall, UCC Department of Music.
  • Debut performance at Blackrock Castle Observatory, Cork with funding from Music Network and support from UCC Department of Music.
• August 2011: ‘io 0.0.1 beta++’ (SLAMCD 531) released by SLAM Productions.

Documentation

Audio recordings

We watch and listen carefully because we know we’re seeing a kind of manifesto in action. What is an automaton? A sketch, a material characterization of the ideas the inventor and the inventor’s culture have about some aspect of life, and how it could be. io and its kind are alternate beings born of ideas, decisions and choices. It is because io stands alone, an automaton, that the performance recorded on this CD not only is music, but is about music.

Sara Roberts (from the liner notes)

[Additional recording…]

Articles and publications

My article, ‘In Conversation with an Automaton: Identities and Agency in a Heterogeneous Social and Musical Network’ [local copy…], published in the Leonardo Electronic Almanac: ‘My Favorite Things: The Joy of the Gizmo’ (Volume 15, No. 11-12, November–December 2007) is still probably the best description of the motivations and choices behind the io enterprise.

Abstract

io 0.0.1 beta is an interactive, semi-autonomous technological artifact that, in partnership with its human associates, performs a deliberately amplified staging of a socio-technical network—a network in which primary protocol is improvisation. In this paper, I explore the performance of identities, hybrids and relationships, illustrating the space between myself (human partner and constructor) and io through imaginary conversations between us. Considering that io highlights, in particular, the social agency of artifacts, I find it fitting that my own notions about the nature of improvisation, the technical and the social have changed through my interactions with io.

[Read the rest…] [Local copy…]

In addition, this site has the following short pieces about the construction of io 0.0.1 beta++:

Han-earl Park, ‘frankenmusic(s),’ November 25, 2008:

Fifteen days ago, during the break between beta test sessions, Franziska Schroeder asked a pithy question that cut to the core of this enterprise: what do I hope to achieve? My answer surprised me even as it reminded me of Sara’s observation: my goal with io (and io++) is to encapsulate my take on improvisation—its mechanisms, its sociality, its significance. [Read the rest…]

Franziska Schroeder, ‘io + I met,’ November 24, 2008:

Who is io? What does she sound like? How would she react to me? Would she respond? Would she challenge me (musically, that is). In other words, would she adopt sensitively to changes, make creative contributions and develop musical ideas suggested by me? [Read the rest…]

Images

images © 2010 Stephanie Hough, and © 2010–2011 Han-earl Park [additional images (google gallery)…]

Source code

Download all source files (requires HMSL to run):

• io 0.0.1 beta++ (322kB .zip archive)…
• Supporting components (180kB .zip archive)…

View individual source files linked below:

\ additional midi stuff

include?  task-midi_plus  myt:midi_plus


\ device classes

include?  task-device           myt:device
include?  task-midi_device      myt:midi_device
include?  task-interpreter      myt:interpreter
include?  task-ctrl_interpreter myt:ctrl_interpreter
include?  task-fan_out          myt:fan_out


\ input components

include?  task-parser         myt:parser
include?  task-mono_parser    myt:mono_parser
include?  task-mono_parser+   myt:mono_parser+
include?  task-poly_parser    myt:poly_parser
include?  task-guitar_parser  myt:guitar_parser

include?  task-parser_list    myt:parser_list

include?  task-pulse_tracker  myt:pulse_tracker
include?  task-pulse_tracker+ myt:pulse_tracker+

include?  task-banalyzer      myt:banalyzer
include?  task-banalyzer+     myt:banalyzer+


\ output components

include?  task-gm_instrument myt:gm_instrument
include?  task-gm_drumkit    myt:gm_drumkit
include?  task-gm_patch      myt:gm_patch

include?  task-vl_sysex      myt:vl_sysex
include?  task-vl_instrument myt:vl_instrument
include?  task-vl_patch      myt:vl_patch


\ "henri poincare"

include?  task-floatingpoint      hsys:floatingpoint

include?  task-hp_util            myt:hp_util
include?  task-hp_fputil          myt:hp_fputil

include?  task-hp_particle        myt:hp_particle
include?  task-hp_force           myt:hp_force
include?  task-hp_space           myt:hp_space
include?  task-hp_gravity         myt:hp_gravity
include?  task-hp_fpgravity       myt:hp_fpgravity

include?  task-hp_particle_player myt:hp_particle_player


\ graphics

include?  task-graph_plus    myt:graph_plus
include?  task-gr_view       myt:gr_view
include?  task-screen+       myt:screen+
include?  task-ctrl_numeric+ myt:ctrl_numeric+


\ io -- globals and configuration

include?  task-io_config   io:io_config
include?  task-io_glob     io:io_glob


\ io -- modules

include?  task-io_interp_table io:modules:io_interp_table
include?  task-io_interp       io:modules:io_interp
include?  task-io_player       io:modules:io_player

include?  task-io_particle     io:modules:io_particle
include?  task-io_space        io:modules:io_space
include?  task-io_patches      io:modules:io_patches

include?  task-io_pdur_dlog    io:modules:io_pdur_dlog


\ io -- main components

io_test? .IF
	
	include?  task-hp_screen   myt:hp_screen
	include?  task-hp_screen+  myt:hp_screen+
	
.THEN

include?  task-io_hp      io:io_hp
include?  task-io_matrix  io:io_matrix
include?  task-io_input   io:io_input
include?  task-io_output  io:io_output


\ io - user interface

include?  task-io_ui      io:io_ui
include?  task-io_screen  io:io_screen

io_file? .IF
	
	include?  task-file_elmnts     myt:file_elmnts
	include?  task-file_elmnts_mac myt:file_elmnts_mac
	
	include?  task-io_file_scene   io:modules:io_file_scene
	include?  task-io_file_glue    io:modules:io_file_glue
	include?  task-io_file         io:modules:io_file
	
.THEN

io_turnkey? .IF
	
	include?  task-dialog     myt:dialog
	include?  task-midi_menu  myt:midi_menu
	
	include?  task-io_menus   io:modules:io_menus
	
.THEN


\ io - top level

include?  task-io_top  io:io_top

© 2002, 2018 Han-earl Park

Tuesday, December 11, 2018, at 3:30pm: I will be giving a presentation at the Instituut voor Sonologie. Among other topics, I’ll be talking about my work constructing, and performing with, musical automata:

Improvising automata, and improvising cyborgs; performing stories of salvation through technology, and amplifying the voices of everyday artifacts. Cautionary tales, and small triumphs, from the practice of an institutionally unaffiliated artist-engineer, as he attempts to evolve techniques and approaches while riding the lines between ambiguity, didacticism, the improvisative, virtuosity, and neo-Ludditism.

The Colloquium takes place at the Varèsezaal, Koninklijk Conservatorium (Juliana van Stolberglaan 1, 2595 CA The Hague, The Netherlands).

Also, the next day (Wednesday, December 12, 2018 ) at 7:30pm: I’ll be performing a duo with Richard Barrett as part of the Sonology Discussion Concert. That event takes place at the Arnold Schoenbergzaal, Instituut voor Sonologie/Koninklijk Conservatorium (Juliana van Stolberglaan 1, 2595 CA The Hague, The Netherlands). Free entrance.

In teoria è tutto aperto, free, non ci sono quasi pre-istruzioni, tranne la durata approssimativa della performance — come in qualunque contesto improvvisativo — che va inserita nel sistema. Ogni atto — suono, rumore — è del tutto autonomo o almeno sotto la supervisione di ciascun agente interattivo, uomo o macchina che sia. io 0.0.1 beta++ è stato costruito secondo le pratiche comuni dell’improvvisazione aperta: non ci sono interventi non-musicali, quindi nessun interruttore a pedale, niente tonalità o tempi prestabiliti — per certi versi una blackbox. In pratica traccia i confini attorno al possibile: vedi le discrepanze tra finzione scientifica e realtà pratica, ma sono più che compensate dai musicisti umani. Se c’è qualcosa che manca, qualcosa che è divenuto sempre più evidente in questo lavoro di anni a stretto contatto con Bruce [Coates] e Franziska [Schroeder] nel perfezionare e costruire il sistema è il senso di evoluzione individuale.

[In theory, entirely open—free—almost no prescription (except for the rough duration of each performance which can be set in the system) just like it would be in any other open improvisative context. Every gesture, every bloop and bleep, is entirely autonomous, or at least under the supervision of each interactive agent whether human or machine. io 0.0.1 beta++ was constructed according to the common practices of open improvisation: no non-musical cues (thus no ‘footswitch’), no prearranged tempo, key, etc (it is, to some extent, a blackbox). In practice, there’s some interesting… boundaries around the possible (where you see the discrepancy between science fiction and practical reality), but those are more than compensated for by the human performers. If there’s one thing the system lacks, something that became increasingly apparent working closely with Bruce [Coates] and Franziska [Schroeder] over the years debugging and constructing the system, it is a sense of individual evolution.]

You can read more in the current issue of jazzColo[u]rs. [More from this interview…]

It was about four years ago that—totally by chance: I found the CD in my mailbox—I listened to guitarist Han-earl Park for the very first time. While at first I believed that the only featured musicians on the album besides Park were Bruce Coates and Franziska Schroeder, a closer examination revealed that, besides being the name of the album, the tag ‘io 0.0.1 beta++’ was also the name of the fourth member of the line-up: a “musical automata” that was fully engaged in an improvising role, in deep dialogue with those three “humans”. Something that, though not totally unprecedented—I’ll only mention trombonist George Lewis and his software program called Voyager—involved a lot of interesting issues. I have to add that the work appeared interesting and stimulating anyway, a feeling of quality staying with the listener well after all those intellectual preoccupations had been thoroughly investigated. [Read the rest…] [In Italian…]

[More info on the recording…] [All reviews…]

‘io 0.0.1 beta++’ (SLAMCD 531) [details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

Anomic Aphasia (SLAMCD 559) [details…]

personnel: Han-earl Park (guitar), Catherine Sikora (tenor and soprano saxophones), Nick Didkovsky (guitar), and Josh Sinton (baritone saxophone and bass clarinet).

© 2015 Han-earl Park.
℗ 2015 SLAM Productions.

I’m creating YouTube samplers of some of the more recent items in my discography, and I’ve started by uploading a trailer for ‘io 0.0.1 beta++’ (SLAMCD 531) [more info on the recording…].

On the stage: two men, a woman, and an artifact, a freestanding mélange of industrial, military, and domestic hardware. The humans hold graceful, polished objects, but the domed assemblage stands alone. And while the woman and men make sound (vibrate the air) holding and fingering the graceful objects, the artifact, named io 0.0.1 beta++, makes sounds without being touched at all. io and the humans improvise together, listening to each other, responding to each other’s musical gestures.

Sara Roberts (from the liner notes)

Music by Han-earl Park, Bruce Coates and Franziska Schroeder.
Images © 2010 Han-earl Park, and © 2010 Stephanie Hough.
Video collage © 2014 Han-earl Park. ℗ 2011 SLAM Productions.

‘io 0.0.1 beta++’ (SLAMCD 531) is available from SLAM Productions. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

Intellectually, if nothing else, the pair [Richard Barrett and Han-earl Park] are an intriguing match. Before his meeting with Barrett, in May 2010, Park recorded an album, io 0.0.1 beta++ (SLAM), with two human companions, both saxophonists, and the titular automaton, io 0.0.1 beta++, which Park constructed himself.

Park describes io 0.0.1 as: “not an instrument to be played but a non-human artificial musician (‘constructed from ad-hoc components including plumbing, kitchenware, speakers and missile switches’) that performs alongside its human counterparts.” Performing with an automaton, Park says: “demonstrates alternative modes of interfacing the musical and the technological, and illuminates the creative and improvisative processes in music.”

In his duo [‘Numbers’] with the abstracted electronics of Barrett, Park explores pretty similar sonic terrain…. [Read the rest…]

[More info on the recording…] [All reviews…]

‘io 0.0.1 beta++’ (SLAMCD 531) is available from SLAM Productions. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

‘Numbers’ (CS 201 cd).

personnel: Richard Barrett (electronics) and Han-earl Park (guitar). [About this duo…]

© + ℗ 2012 Creative Sources Recordings.

Image © 2012 Leonardo Electronic Almanac

The Leonardo Electronic Almanac’s archives, a project to reissue articles that document over fifteen years of techno-cultural activity, has caught up with ‘My Favorite Things: The Joy of the Gizmo’ (Volume 15, No. 11-12, November–December 2007). That issue of the LEA, a companion to Leonardo Music Journal, Volume 17, featured my article, ‘In Conversation with an Automaton: Identities and Agency in a Heterogeneous Social and Musical Network’:

Abstract

io 0.0.1 beta is an interactive, semi-autonomous technological artifact that, in partnership with its human associates, performs a deliberately amplified staging of a socio-technical network—a network in which primary protocol is improvisation. In this paper, I explore the performance of identities, hybrids and relationships, illustrating the space between myself (human partner and constructor) and io through imaginary conversations between us. Considering that io highlights, in particular, the social agency of artifacts, I find it fitting that my own notions about the nature of improvisation, the technical and the social have changed through my interactions with io.

[Read the article…]

Planetariums are cathedrals

I’m moved by the planetarium: I travel to the stars I cannot see, struggle with the scale of what I cannot fathom. Modern planetariums demonstrate the grandeur of God’s creation, but in a secular scientific context. They bring the distant close; make visible the imperceptible; make manifest the abstract.

They are also, like the panoramas of old, playgrounds made of technics.

Visualizing the artificial and the far away

A favorite moment: our tour-guide and pilot of the planetarium refers to the image of the Earth suspended in the dome as a ‘data set.’ Isn’t the discipline of data visualization one of the most impressive of recent human enterprises? It changes everything—science, politics, culture. It affects the way we study and think about music. It affects how we make decisions about war.

I imagine that Bruno Latour’s Janus would point out that data visualization is technoscientific rhetoric. I imagine that Donna J. Harraway’s cyborg would remind us that (imperfect) high-resolution imaging lubricates the military-industrial complex.

Are we still Victorians?

The forgery is as old as the dream of the artificial and the simulated. In the museum, surrounded by simulated environments of reptiles and amphibians, I’m again reminded of the panoramas and dioramas (also technologies for bringing the distant close) of old colonial exhibitions. In the bad old days, scientists didn’t exist as a discreet class or occupation; science was a hobby of the economically comfortable. And here we are, glasses of wine in hand, costumed in geek wear.

Is culture more durable than technoscience?

Fritz Lang’s (blond) Woman in the Moon reappears eighty years later as a (blond) Woman in Mars.

Even as our scientific understanding of the universe changes—demonstrating admirable and jaw-dropping mutability—does our culture stubbornly lag behind? I ask this as, although theories of the origin of the universe, the nature of intelligence, or the treatment of disease has changed radically in my lifetime (sometimes between issues of my favorite science magazine), our dreams are not keeping-up. Can we not apply this mutability to our culture? or are our cultural imaginations still those of cave men (that we recognize in the male, square-jawed astro-hero of George Pal’s films).

How does our culture shape our view of Out There?

Does George Pal’s free-market enterprise of Destination Moon inform Richard Branson’s dream? Does that pulp/Hollywood context make Virgin Galactic culturally intelligible? Traveling Out There stands-in for dreams of expansion. We are still territorial animals reaching for higher ground.

Is Out There Frontier Myth one of White Flight?

George Pal replayed the Pioneer myth; transposing Out West and Back Then to Out There and Way Out When. Sometimes the dreams of the future, however apocalyptic, played out fantasies of racial purging—let’s dream of starting again without the impurities of the Right Here and Right Now. For all the secular humanist transcendence and technology (and war machines) as poetry, Stanley Kubrick and Arthur C. Clarke couldn’t help but portray a future as white as the space station interior. Lightness—a glow that eventually engulfing the innocent, pure, embryonic übermensch—contrasting with the unknowable, perfect, inscrutability of the monolith, the blackness of space, and the darkness of our fur-covered savage ancestors.

Twitter transcript: @hanearlpark+#amnhsciam

modern planetariums are like old cathedrals: demonstrate the grandeur of god’s creation… but w/in a secular scientific context #amnhsciam

Thanks to @amnh and @sciam for an eye opening, questions raising event (and food for a future article or two). #amnhsciam

final one for Charles Ives fans #amnhsciam #charlesives pic.twitter.com/sbWgSP9L

how much do our enterprises—scientific, curatorial, social—owe to older dreams of imperialism and empire? #amnhsciam pic.twitter.com/axRoxVJC

inexplicable need to hear a maniacle laugh #amnhsciam

blond woman on mars? are we still in Fritz Lang’s pre-WW II dream? #retrofuture #amnhsciam pic.twitter.com/fT72O80C

artful robotics for fans of io 0.0.1 beta++ #amnhsciam #robotics #automata pic.twitter.com/P15HTGSW

so what is the gender/race make up of a mission to mars? #wearestillchildrenofgeorgepal #amnhsciam pic.twitter.com/vh1cI3wq

overheard: “I want to blow something up!” #michaelbayhasalottoanswerfor

public service announcement to fans of Mathilde 253 #amnhsciam #charleshayward #iansmith pic.twitter.com/fumpcnrp

snapshot #theselfreflexivetweetup #amnhsciam pic.twitter.com/Ccd0ceCd

update on uniform at tweetup. women wear cardigans, men wear beards #amateuranthropology #amnhsciam

is this just a rerun of George Pal’s capitalist imperialism in space? #amnhsciam #capitalism #wevebeenherebefore pic.twitter.com/jYl2GJbc

iPhone camera, meet Hubble CCD; Hubble, meet iPhone. #cyborgencounters #amnhsciam pic.twitter.com/1VIdaRrE

you really were flying in a tin can #davidbowie #astronautics #amnhsciam pic.twitter.com/2avRrAGZ

you really were flying in a tin can #davidbowie #amnhsciam #astronautics

you guys have got to come down. Iggy Pop doing a presentation! #notreally #amnhsciam

“the universe is a much more interconnected thing” #thingsscientistssay #amnhsciam

musicologists need to say things like “if a bacterium ate Manhattan” to get the public excited @drmelmarshall #musicology #amnhsciam

possible reaction to goat’s cheese? #amphibian #cheese #amnhsciam #blugh pic.twitter.com/8etXDA91

favorite use of language: (image of) earth referred to as a data set. #language #dreamsoftheartificial #simulacrum #amnhsciam

in among exotic animals, post planetarium, I am reminded of old panoramas and colonial exhibitions. we are still Victorians… #amnhsciam

science as a bourgeois pastime? in many ways we are still Victorians. #wineandcheese #amnhsciam

what’s the opposite of emergent behavior? combine free food with circular tables #emergence #amnhsciam

Lunar flyby. #socool #amnhsciam

those same astronaut archetypes #amnhsciam

Dark Star. Carpenter’s vietnam era social satire. Our propensity for mindless violence transposed into space. #retrofuture #amnhsciam

HAL 9000 cultural shaper our expectations of machine intelligence #amnhsciam #retrofuture #AI

thus far, space travel is reserved for white folk #amnhsciam #retrofuture #scifi #race

all hail Doug Trumbull! #amnhsciam #retrofuture

when worlds collide: revisiting my childhood #amnhsciam #retrofuture

do we still expect our astronauts to be square jawed heros, good hearted comic sidekicks, or elderly scientists? #amnhsciam #archetypes

In so many ways Fritz Lang was the Michael Bay his time #amnhsciam #retrofuture

echoes of George Pal’s irony-free, free-market rhetoric in Richard Branson’s enterprise? #amnhsciam #culturalcapitalism #retrofuure

where’s Steve Mirsky? #amnhsciam

amphibians are beyond beyond planet earth #amnhsciam #itmakessensereally

exit under a artificial blue sky #amnhsciam #dreamsoftheartificial #simulacrum #panorama pic.twitter.com/Uad1087x

smart casual? metrosexual? slackerwear? Informal initial survey of the (male) dress code at #amnhsciam. #amateuranthropology

sitting in the planetarium within a sea of glowing smart phones. #amnhsciam #dailydada

participating in the @sciam @AMNH tweetup at 6pm EST today. #planetology #space #robotics

image © 2011 NASA/JPL-Caltech

Nothing directly to do with io 0.0.1 beta++, but I will be participating in the Scientific American / American Museum of Natural History Beyond Planet Earth Tweetup on January 18, 2012, starting at 6:00 pm (EST). [More info…]

What does this, however indirectly, have to do with improvisation, semi-autonomous machine musicians, and real-time interactive musical automata? The answer lies between one of the most artful robotics projects, and the relationship between io’s generative innards and the harmony of the planets….

Here are the relevant twitter handles: @hanearlpark, @AMNH and @SciAm.