Generative software in concert situations—two cases

The work will focus on two case studies. These are two works created by artists from the City of Buenos Aires in the first decade of the 2000s that are based on software programming that generates music: Oveja eléctrica(2003-2008), by Santiago Peresón, and Kimi (since 2009) by Luciano Azzigotti. Kimi is a program that creates generative scores to be read by a variety of instrumental ensembles. Oveja eléctrica applies artificial intelligence techniques to create a machine that learns to compose. Based on an analysis of the presentations of these works, it can be seen that the products derived from the programs developed by the artists are inserted into different spaces of circulation and modalities: concerts (virtual and in person), publications through record labels, interactive websites, and sound installations. It is observed that both works escape the fate of being presented in a traditional concert format and subvert the composer-score-performer triad.