Here are pdf’s of some key GenJam publications. Yes, they’re academic papers, so they might get a bit technical, but I’ve always believed that academic writing should not be boring, so give ’em a shot. Actually, the last two (most recent) might be the best ones to sample. For a complete listing check out Google Scholar.

  • ICMC 1994 – The first GenJam paper, which presents GenJam’s representation scheme, genotype to phenotype mapping, and training new soloists with a human mentor. It’s been cited over 700 times.
  • ICMC 1995 – Demo to introduce the notion of audience-mediated performance, where the audience served as crowd mentor to train a new GenJam soloist.
  • SOCO 1996 – Our failed attempts to train a neural network to serve as a fitness mentor to train new soloists.
  • ASA 1997 – Lay paper to accompany GenJam’s participation in a computer improvisation session and concert. This was the first public demo of GenJam’s capability to listen to and develop human phrases when trading fours.
  • ICMC 1998 – Demo that details how GenJam trades fours with a human collaborator in real time.
  • SMC 1999 – Focused on HCI (human-computer interaction) issues of GenJam’s interactions with performers, mentors and audiences.
  • GECCO 2000 – Paper given at a workshop/concert on GAs in Visual Art and Music that proposed a taxonomy for GA-based creative systems. Subsequently reprinted in Leonardo (36)1.
  • GECCO 2001 – Workshop paper that details the autonomous version of GenJam, which evolves its improvisations without a mentor.
  • GA 2002 – Paper on GenJam as Generative Art, which accompanied a concert at this conference.
  • GECCO 2004/5 – Workshops on evolutionary music that formed the basis for my contributions to the following book:
  • Evolutionary Computer Music – Book I co-edited with 2 chapters I wrote: one that expanded the GECCO workshops I gave in 2004/5 and another that used GenJam as an extensive case study of evolutionary improvisation systems.
  • MUME 2013a – Paper that accompanied a demo of GenJam’s then-current configuration. Probably the best overview of how GenJam works and what it can do.
  • MUME 2013b – Focuses on performing with technology in jazz with insights from 20 years of performing with GenJam. Proposes a framework for comparing audience perceptions of technology in performance with the performer’s reality.

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