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.

中文翻译：

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美学、交互和机器即兴创作

本文从奥斯陆挪威音乐学院主办的艺术研究项目 Goodbye Intuition (GI) 出发，讨论机器即兴创作的美学。玩一个像本文描述的系统，智力有限，没有真正的认知能力，显然会暴露出系统的弱点，但也会传达出人类即兴演奏者给游戏带来的部分前提条件和审美框架。桌子。如果我们希望自主系统拥有我们在人类玩家的即兴练习中通常所重视的那种自由，我们是否准备接受它可能会朝着背离我们最初的审美野心的方向发展？分析基于一些记录在案的工作室和实验室中音乐家之间的相互作用。简要讨论了在这种即兴创作中什么构成了伦理关系的问题。体现的方面成为发展机器音乐即兴创作的主要障碍。