In the opera The Ghost , artists with backgrounds in music composition, Greek tragedy, creative coding, and opera performance collaborated to create an artwork that engages with philosophy and technology. A light sculpture with a novel Internet of Things (IoT) architecture was adapted for the opera’s stage, where both the sculpture and its controlling interface were programmed to visually represent musical processes within the composer’s approach. During filming, the light sculpture contributed to the dramatic context through movement and gestural interaction between the sculpture and the soprano. Drawing upon human-computer interaction (HCI) research and its inquiry into movement for engaging with new technology expressively, movement and gesture transpiring from mimetic techniques in the opera were central in this interdisciplinary collaboration.

This paper proposes the term “media multiplicities” to describe contemporary media artworks that create multiples of “internet of things” devices. It discusses the properties that distinguish media multiplicities from other forms of media artwork, provides parameters for categorizing media multiplicities, and discusses aesthetic and creative factors in the production of media multiplicities.

ABSTRACT The authors discuss the making and distribution of an audio album that was created using parametric techniques and released in 1,000 distinct variations, as a kind of limited edition for the age of digital distribution. After describing the project, they discuss how the project has affected their thinking about the production of electronic music, the process of musical distribution and the concepts of tracks, musical works and uniqueness.

ABSTRACT In this paper the authors pose 10 questions they consider the most important for understanding generative computer art. For each question, the authors briefly discuss its implications and suggest how it might form the basis for further discussion.