arXiv subjects

Błażej Kotowski

Publications and source records attributed to Błażej Kotowski.

2 recordsLinked to original sources

arXiv2026

Architecture and Affordances of PLAUD: Performative Latents and Unsupervised DDSP

PLAUD (Performative Latents and Unsupervised DDSP) is a neural synthesizer and Max for Live instrument for live electronic music, built on NoiseBandNet and trained on small personal sound corpora. We present its architecture, combining a variational DDSP synthesis model, latent smoothing, multi-scale spectral and adversarial losses, and an optional transformer prior, alongside a set of bending operations that intervene directly in the synthesis chain: component limiting, waveshaping, and prior feedback. The Max for Live interface exposes control generation, trajectory sampling, and modulation as primary modes of interaction. Throughout, we thread an affordance analysis arguing that the system's performative character follows from architectural decisions rather than being designed on top of them. The paper contributes both a technical account of the system and a situated affordance analysis of its role in live electronic music performance.

cs.SD↗

arXiv2025

Exploring Situated Stabilities of a Rhythm Generation System through Variational Cross-Examination

This paper investigates GrooveTransformer, a real-time rhythm generation system, through the postphenomenological framework of Variational Cross-Examination (VCE). By reflecting on its deployment across three distinct artistic contexts, we identify three stabilities: an autonomous drum accompaniment generator, a rhythmic control voltage sequencer in Eurorack format, and a rhythm driver for a harmonic accompaniment system. The versatility of its applications was not an explicit goal from the outset of the project. Thus, we ask: how did this multistability emerge? Through VCE, we identify three key contributors to its emergence: the affordances of system invariants, the interdisciplinary collaboration, and the situated nature of its development. We conclude by reflecting on the viability of VCE as a descriptive and analytical method for Digital Musical Instrument (DMI) design, emphasizing its value in uncovering how technologies mediate, co-shape, and are co-shaped by users and contexts.

cs.HC↗