BIAS II (2022)
for piano and interactive music system

BIAS (2020)
for bass clarinet and interactive music system

BIAS II (2022)
for piano and interactive music system

ARTEMI-MARIA GIOTI BIAS II (2022)
for piano and interactive music system
Bias II for piano and interactive music system is part of a series of works engaging with the materiality and limitations of Machine Learning (ML) algorithms and data. During its interactions with different pianists, the computer music system collects data pertaining to the way performers navigate a set of 7 timbral clusters (pools of timbrally similar musical actions). Each second of the performance, a Recurrent Neural Network (RNN) trained on these data predicts how the   performance might continue (i.e., which timbre is likely to follow next) and plays back sound material based on its predictions. Historical data, collected by the computer music system in past performances, influence the system's future behavior, setting the performer in an explicit dialogue with the work's interpretative history. The ML algorithm used in this piece was trained on data collected with pianists Magda Mayas and Xenia Pestova-Bennett. This work was funded by ZKM     Karlsruhe and the ERC advanced grant 'MusAI - Music and Artificial Intelligence: Building Critical Interdisciplinary Studies' (innovation programme under European Research Council grant agreement no. 101019164).

ARTEMI-MARIA GIOTI BIAS (2020)
for bass clarinet and interactive music system
In Bias, for bass clarinet and interactive music system, neural networks trained to simulate my own aesthetic judgments perform an aesthetic evaluation of the mucisian's live audio input and determine whether the computer will 'imitate' the sounds played by them, propose new sound material or simply remain silent. The work aims to draw parallels between aesthetic judgments as inherently 'biased' (i.e., subjective) and AI bias, a phenomenon that consists in machine learning algorithms making arbitrary assumptions about data, or amplifying human bias present in the data. The composition takes a critical and subversive approach to machine learning, the aim of which is not to simulate my aesthetic preferences as accurately as possible, but rather to use them as a departure point for the development of AI bias.

ARTEMI-MARIA GIOTI
Artemi-Maria Gioti, compositrice e ricercatrice, si occupa di Musica e Intelligenza Artificiale (IA). Docente di “New Media and Digital Technologies for Music” presso University of Music "Carl Maria von Weber" di Dresda e Ricercatrice in “Music and AI” presso University College London (UCL), dove lavora al progetto ERC MusAI. Ha conseguito un dottorato in Music Composition presso University of Music and Performing Arts di Gratz. Premio Giga-Hertz Production Award (ZKM, Karlsruhe) e Menzione d'onore Prix Ars Electronica 2023. Le sue composizioni sono basate sull’interazione real-time tra performer umani e sistemi ML, ridefinendo i concetti di autorialità, composizione, performance e opera.

ALICE CORTEGIANI
Si diploma in Clarinetto e Musica da Camera presso il Conservatorio di Roma e si perfeziona presso l’Accademia Nazionale di Santa Cecilia con A. Carbonare. La sua attività concertistica l’ha condotta a esibirsi in prestigiose sedi quali Teatro Arsenale per La Biennale di Venezia, Cappella Paolina del Palazzo del Quirinale, Auditorium Parco della Musica di Roma, Teatro dell’Opera di Roma e Auditorio Nacional de Musica de Madrid. La sua attitudine è rivolta verso la ricerca artistica musicale attraverso collaborazioni con compositori e laboratori di sperimentazione, interrogando il ruolo dell’interprete come ponte tra tradizione e con- temporaneità. Questa ricerca confluisce naturalmente nella sua attività didattica, dove trasmette tanto la padronanza del repertorio classico quanto l’apertura verso altri linguaggi.

CHAREN DE CAROLIS
Pianista con un forte interesse per la musica contemporanea, attualmente studia al Conservatorio G. Nicolini di Piacenza. Ha partecipato a numerose masterclass, tra cui una dedicata all’improvvisazione con Markus Stockhausen. Ha eseguito opere di compositori contemporanei, tra cui 'Traiettoria deviata' di Marco Stroppa, presentata al festival 'Camino Contro Corrente'. Collabora con compositori emergenti e ha preso parte alla prima assoluta di un’opera contemporanea al Teatro Municipale di Piacenza.