About

The research in our lab uses advanced data science techniques to understand how water, plants, geology and climate interact in a tightly coupled system – and how humans are changing this system.

Research topics

• Computer Science

Selected publications

• Music Derived from Other Sources

  DOAJ (DOAJ: Directory of Open Access Journals) · 2021 · 5 citations

  1st authorCorresponding
  • Computer Science
  • Computer Science

  One imagines composed music as originating in the mind of an author. Indeed, I have for the last six decades been composing music in this fashion. However, for the last five decades I have also been repeatedly attracted to various methods of deriving music from sources both inside and outside of music, viz. linguistic, acoustic, visual and mathematical as well as other works of music. For most of these operations I have resorted to strict algorithmic means and the use of computer programming. For instance the linguistic: I have used text orthography, spectral analyses of human speech, digital recordings of the human voice, and synthetic semantic structures. This paper is the most comprehensive text on my work in this field.

  PublisherOA PDFDOI

• On the Structural and the Abstract in My Compositional Work

  Computational music science · 2017-01-01

  book-chapter1st authorCorresponding
  PublisherDOI

• CREATE Studio Report 2016.

  The Journal of the Abraham Lincoln Association · 2016-01-01

  articleOpen accessSenior author

  Embracing the shores of the Pacific Ocean in Santa Barbara, the Center for Research in Electronic Art Technology (CREATE) serves the Music Department and the Media Arts and Technology (MAT) program at the University of California, Santa Barbara (UCSB).The Center provides a dynamic environment for students, researchers, and media artists to pursue research and realize a wide array of works.The UCSB AlloSphere is a unique immersive R&D instrument with a 54.1 Meyer Sound system.

  Publisher

• Chorale Synthesis By The Multidimensional Scaling Of Pitches

  The Journal of the Abraham Lincoln Association · 2014-09-14

  articleOpen access1st authorCorresponding

  (Abstract to follow)

  PublisherDOI

• Music Derived from Other Sources

  The International Journal of the Humanities Annual Review · 2012-01-01 · 2 citations

  article1st authorCorresponding

  One imagines composed music as originating in the mind of an author.Indeed, I have for the last six decades been composing music in this fashion.However, for the last five decades I have also been repeatedly attracted to various methods of deriving music from sources both inside and outside of music, viz.linguistic, acoustic, visual and mathematical as well as other works of music.For most of these operations I have resorted to strict algorithmic means and the use of computer programming.In this paper I will outline the sources mentioned above.For instance the linguistic: I have used text orthography, spectral analyses of human speech, digital recordings of the human voice, and synthetic semantic structures.In the case of the visual, it was the conversion of pixellated photographs, abstract films and geometric models as well as the visualisation of algorithmically generated music that played a central role in the compositional plan.This paper is the most comprehensive text on my work in this field.

  PublisherDOI

• Algorithmic Composition, illustrated by my own work

  2011-12-01

  article1st authorCorresponding

  Since 1971, marking my first departure from fourteen years of spontaneous composition, my work has been mainly algorithmic in nature. Some of it was generated by single algorithm sets developed for multiple use, the properties of the results deriving from the input. In other cases, the algorithms were used once only, with the dedicated purpose of generating a single work. The algorithms ranged from verbal instructions to complex computer programs. Of the eighty-odd pieces I have composed since 1971, about a quarter arose from three verbal scores, Textmusic (converting written text into notes), ...until...(working systematically with interval ratios) and Relationships (working with levels of complexity of melody and rhythm in the context of harmony and meter). Another quarter of the pieces were generated by three individual computer programs ? TXMS (Textmusic packaged into software), Autobusk(for the generation of MIDI pitch sequences from scales and meters as well as twelve as twelve real-time variable parameters such as tonal and metric field strength) and PAPAGEI (for the generation of MIDI events based on patchable live interaction with an improvising performer). Yet another quarter of my compositions since 1971 have resulted from dedicated sets of algorithms for one-time use. Further computer programs such as Synthrumentator and Spectasizer (for the conversion of speech sounds into instrumental scores) were used to generate parts of other compositions. In this paper I will refer to TXMS, Autobusk and Synthrumentator as well as to two compositions generated by dedicated software, ...or a cherish’d bard... (in which the algorithms generate all aspects of the piece from pitch and rhythm to the overall form) and Approximating Pi (in which algebraically defined algorithms generate the sound waves).

  Publisher

• Visualizando el sonido - Sonificando lo visual

  Dialnet (Universidad de la Rioja) · 2010-01-01 · 1 citations

  articleOpen access1st authorCorresponding

  Over the past decade various clinical trials have used monoclonal antibodies as therapeutic agents against solid tumours. No consistent pattern of response or improved survival has yet emerged although antigenic heterogeneity and insufficient accessibility of cells in advanced tumours have been offered as explanations for these failures. We designed a study in which a monoclonal antibody was used to target minimal residual disease in an early stage of tumour cell dissemination in patients with colorectal cancer. Only patients in Dukes' stage C who had undergone curative surgery and were free of manifest residual tumour were admitted. 189 patients with colorectal cancer of stage Dukes' C were randomly assigned to an observation regimen or to postoperative treatment with 500 mg of 17-1A antibody, followed by four 100 mg infusions each month. A balance of risk factors in the two groups was achieved by dynamic randomisation procedure. After a median follow-up of 5 years, antibody treatment reduced the overall death rate by 30% (Cox's proportional hazard, p = 0.04, log-rank p = 0.05) and decreased the recurrence rate by 27% (p = 0.03, p = 0.05). The effect of antibody was most pronounced in patients who had distant metastasis as first sign of a relapse (p = 0.0014, p = 0.002), an effect that was not seen for local relapses (p = 0.74, p = 0.67). Toxic effects of 17-1A antibody were infrequent, consisting mainly of mild constitutional and gastrointestinal symptoms. During 371 infusions four anaphylactic reactions were seen, all controllable by intravenous steroids and none necessitated admission to hospital. Adjuvant therapy with 17-1A antibody extends life and prolongs remission in patients with colorectal cancer of Dukes' stage C.

  PublisherOA PDFDOI

• PAPAGEI: An Extensible Automatic Accompaniment System for Live Instrumental Improvisation

  The Journal of the Abraham Lincoln Association · 2009-01-01

  articleSenior author
  Publisher

• ISIS, AN ALTERNATIVE APPROACH TO SOUND WAVES

  The Journal of the Abraham Lincoln Association · 2005-01-01 · 4 citations

  articleOpen access1st authorCorresponding

  ISIS, for 'Intra-Samplar Interpolating Sinusoids', is a means of mathematically interpolating sine wave segments between the samples of a sound wave recording (the word "sample" is here used as in "sample rate").The sound wave is thus representable as a sequence of sine-tone pitches in extremely small time windows in the microsecond domain, rendering the wave audible as a rapid sine-tone 'melody' e.g. by slowing it down 4000 times, a feature given neither by regular time-stretching methods nor by cubic splineinterpolations. Conversely, this ISIS-extracted sequence can be accelerated to regain the original sound; indeed any melody can be similarly sped up to form a sound wave.The main application of ISIS is at present in the technical unification -for compositional purposes -of the micro-and the macro-temporal domains (pitch, timbre and rhythm) into one comprehensive field.Methodologically, ISIS comprises the three areas Analysis, Morphosis and Synthesis, described below after the following historical account ('Morphosis' is a biological term for the "sequence of development or change in an organism or in any of its parts").

  Publisher

• Songs Within Words: the Programme TXMSand the Performance of Pingon the Piano

  1998-01-29

  book-chapter1st authorCorresponding

  Abstract It was in early 1971 that I first treated music as an abstract art. My compositions previous to this show an abundance of permutatory and probabilistic mechanisms, but their methods of application and the resultant sounds were invariably and obviously a product of my cultural background, a phenomenon even more evident in my recent work. In 1971, however, a passing need to purge my methods of personal traits drove me to a closer awareness of the role of cultural roots within the act of composing. In my eyes, the work of John Cage, then meaningful to me, sought to circumvent musical tradition by generating unpredictable sounds through multiple and complex operations. These he entrusted nonetheless to musicians, without whose cultural specialization the intended work could neither be realized nor performed.

  PublisherDOI

Frequent coauthors

• Curtis Roads

  University of California, Santa Barbara

  2 shared

• R. Stratton

  1 shared

• Lois V. Vierk

  1 shared

• Henning Lohner

  1 shared

• Salman Bakht

  1 shared

• D. R. Powell

  Texas Instruments (United States)

  1 shared

• Curtis Abbott

  1 shared

• JoAnn Kuchera-Morin

  University of California, Santa Barbara

  1 shared

Awards & honors

• Seattle Public Library 'Making Visible the Invisible' perman…
• John Simon Guggenheim Fellowship in Visual Arts (2016)
• Creative Capital Foundation support
• Daniel Langlois Foundation for the Arts, Science and Technol…
• National Endowment for the Arts support