Can we do much with stuff like this? I've noticed a very heavy focus on Theory in DH so far - especially on race, gender, and class. Can we apply any of those theories to music composed algorithmically on the numbers of pi, or, say, the Mandelbrot fractal? Does it become necessary to invent new Theory to interact with AI-generated works like these, or are we going to find new ways to analyze them under the spectrum of the traditional trinity?

How easily can these techniques be used to recreate the acoustic soundscapes in the physical world? Is that their primary intention, or is it more to preserve the function and shape of the soundscape as it existed in the past rather than for revival purposes?

This really shows off the potential of AI - it seems in these past few years we've come up with AI algorithms that would've been near science-fiction only a decade ago. I wonder - what do AI theorists generally consider as a candidate for true AI creativity? Does stuff like this count, or would they argue that logical, algorithmic creativity is a different thing than the creativity humans use?

That's pretty cool! Sounds a lot like the Digital Humanities - focusing on collaborative, open-source methods of creation. A little bit guerrilla, too, from the sounds of it.

Sounds like they're using an AI - I might be able to do something with this for my Computational Creativity presentation.

Why on earth would any of those things be at odds with creative work?

Is this referring to music made by computers (i.e. AI) or is it referring to music made by people using computers, I wonder?

I would be interested to see some examples of what the author had in mind when writing this. What sort of 'ears' can we appeal to? Aside from the obvious considerations of auditory disability, how can acoustics be interpreted differently, how can these signals be interpreted differently?

It's very interesting to compare computer-generated music like this to what we'd expect from a human author. Notably, while there are variations in pitch, there doesn't seem to be much temporal play - it adheres to a very rigid beat.