gether researchers from diverse disciplines. The workshop featured prominent discussions of how literary
and cognitive models are used in narrative technologies. Michael Mateas (University of California, Santa
Cruz) delivered a keynote lecture highlighting a
wealth of real-world narrative craft practices that
could be explored in narrative technologies. His
speech also emphasized the need for intelligent narrative technologies researchers to build playable systems.
The Workshop on Intelligent Narrative Technologies also explored challenges of knowledge engineering in narrative through a panel on encoding the story of the Iliad in the PDDL planning domain
language. Three teams discussed their experiences in
encoding the Iliad. Panel members discussed issues in
the application of knowledge representation for interactive storytelling and other narrative technology
applications. The domains created will be available
online in the future.
Marc Cavazza (Teesside University), Mei Si (
Rensselaer Polytechnic Institute), and Alexander Zook
(Georgia Institute of Technology) organized the
workshop. The workshop papers were published as
AAAI Press Technical Report WS- 13-21.
The Second International Workshop
on Musical Metacreation
There are many forums presenting the advances in
the practice and theory of computer music, or com-
putational creativity. However, no academic peer-re-
viewed event focuses solely on generative music. As
explicit in its name, this new workshop series was
created to fill this gap, with a strong focus on musi-
cal metacreation, that is, endowing software with
musical creativity. Building on the success of the first
edition, the Second International Workshop on Mu-
sical Metacreation was extended to a two-day event
that marked a significant step toward the formation
of an international research network focused on the
automatic generation of music, and its application to
professional music creation, new music composi-
tions and performance, interactive game music, and
While open to the usual problems covered in com-
puter music, such as providing computational mod-
els for music perception, representation, and cogni-
tion, the workshop focused on the challenges specific
to generative music. For example, the composition
problem is to generate a composition (often repre-
sented as a score), while the interpretation problem
is to generate an audio rendering of a given compo-
sition. Systems that address these two canonic prob-
lems or any related ones cover the whole spectrum
between: ( 1) symbolic computing vs. raw audio sig-
nal processing, ( 2) corpus-based systems that have
been exposed to musical compositions or interpreta-
tions versus systems that generate from first princi-
ples, computational heuristics, and expert knowl-
edge, ( 3) individual vs. collective musical creativity,
( 4) entirely generative systems vs. interactive com-
puter-assisted musical creativity.
In its second iteration, the workshop included 21
contributions selected through peer reviewing out of
34 submissions. Technical papers, position papers,
and demonstrations were evenly spread across theory and practice. Topics included deep learning for
music, computational music theory, the evaluation
and aesthetics of automated music generation, as
well as exploration of the various ways to interact
with, or control, such generative systems. As a novelty in this edition, two industrial talks were included
in the program that helped shape a discussion on
how best to integrate these generative systems into
existing music and audio production software.
As the field matures, more and more generative
music systems get applied and meet their audience.
This is for example the case with the MUME-WE concert series, as well as with the Algorave movement.
One of the main outcomes of this year’s workshop
was a question regarding the best ways to present and
frame these systems when they meet their audience,
whether it is in live shows, on records, or as part of
This workshop was cochaired by Philippe Pasquier,
Arne Eigenfeldt, and Oliver Bown, and the proceedings of the workshop were published as AAAI Press
Technical Report WS- 13-22.
Antonios Liapis is a Ph.D. student at the Center for Computer Games Research, IT University of Copenhagen, Denmark.
Michael Cook is a Ph.D. student and research associate in
the Computational Creativity Group, Goldsmiths College
Adam M. Smith is a postdoctoral researcher at the University of Washington.
Gillian Smith is an assistant professor in the College of
Computer and Information Science and the College of Arts,
Media, and Design at Northeastern University.
Alexander Zook is a Ph.D. student at the School of Interactive Computing, Georgia Institute of Technology.
Marc Cavazza is a professor at Teesside University.
Mei Si is an assistant professor at Rensselaer Polytechnic Institute.
Philippe Pasquier is an associate professor in the School of
Interactive Arts and Technology, Simon Fraser University,