Anthony Wiggins | Middle Tennessee State University (original) (raw)
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Papers by Anthony Wiggins
Artificial Intelligence and Creativity in Arts and Science Symposium, 2003
N-gram models have been employed for a number of musical tasks including the development of pract... more N-gram models have been employed for a number of musical tasks including the development of practical applications providing computational support for creative individuals as well as theoretical studies of creative processes. Our goal in this research is to evaluate, in an application independent manner, some recent techniques for improving the performance on monophonic music of a subclass of such models based on the Prediction by Partial Match (PPM) algorithm. These techniques include the use of escape method C, ...
Artificial neural nets and …, 1999
We describe a series of experiments in generating traditional musical harmony using Genetic Algor... more We describe a series of experiments in generating traditional musical harmony using Genetic Algorithms. We discuss some problems which are specific to the musical domain, and conclude that a GA with no notion of meta-level control of the reasoning process is unlikely to solve the harmonisation problem well. 1. the use of knowledge-rich structures and procedures within the algorithm itself, as opposed to the more traditional use of GA components which are not problem-specific; 2. the strict use of objective methods, in the sense that any reasoning encoded in the GA should be stated explicitly, rather than being implicit in the expressed opinion of a human user. These criteria are important because we are working in the wider context of simulating and understanding aspects of human behaviour, so we are not interested just in achieving a musical result: we wish to be able to examine the internal behaviour of our methods, and attempt to form some notion of why the answer we achieve is produced. In particular, we wish to compare the behaviour of our harmonisation system with human behaviour, and attempt to explain any discrepancies. This paper is structured as follows. We present a brief statement on the issues interaction vs. noninteraction in GAs from the point of view of this study. We then outline existing applications of GAs in computer music. We present a case study of a knowledge-rich musical GA, including a discussion of some significant problems, and then draw conclusions about the implications of the work for musical GAs in general.
The American Journal of Sports Medicine
Background: Patients often have quadriceps or hamstring weakness after anterior cruciate ligament... more Background: Patients often have quadriceps or hamstring weakness after anterior cruciate ligament reconstruction (ACLR), despite postoperative physical therapy regimens; however, little evidence exists connecting nerve blocks and ACLR outcomes. Purpose: To compare muscle strength at return to play in patients who received a nerve block with ACLR and determine whether a specific block type affected subjective knee function. Study Design: Cohort study; Level of evidence, 3. Methods: Patients were recruited 5 to 7 months after primary, isolated ACLR and completed bilateral isokinetic strength tests of the knee extensor/flexor groups as a single-session return-to-sport test. Subjective outcomes were assessed with the International Knee Documentation Committee (IKDC) score. Strength was expressed as torque normalized to mass (N·m/kg) and limb symmetry index as involved/uninvolved torque. Chart review was used to determine the type of nerve block and graft used. Nerve block types were cla...
British journal of neurosurgery, 2018
Arterial vasospasm is a major cause of death and long-term disability following subarachnoid haem... more Arterial vasospasm is a major cause of death and long-term disability following subarachnoid haemorrhage (SAH). The use of medically induced hypertension, hypervolaemia and/or haemodilution is widely practiced for prophylaxis and treatment of vasospasm following SAH. We aimed to determine if the quality of available research is adequate to inform use of haemodynamic management strategies to prevent or treat vasospasm following SAH. Individual searches of the following databases were conducted: The Cochrane Database of Systematic Reviews, The Cochrane Central Register of Controlled Trials, MEDLINE, EMBASE and OpenSIGLE. Pertinent randomised clinical trials and cohort studies comparing any element or combination thereof: medically induced hypertension, hypervolaemia, and haemodilution were included. Data were extracted using standardised proformas and risk of bias assessed using a domain-based risk of bias assessment tool. 348 study reports were identified by our literature search. Ei...
Brain Injury, 2013
To assess clinical outcome following restoration of cranial contour in a young male who had suffe... more To assess clinical outcome following restoration of cranial contour in a young male who had suffered a severe traumatic brain injury. Case report. A young male was assessed before and after cranial reconstructive surgery with a custom-made titanium plate. The patient had previously required a bifrontal decompressive craniectomy in order to control intractable intracranial hypertension due to neurotrauma. Following an autologous cranioplasty he made very little neurological recovery and remained wheelchair-bound with severe contractures and was only able to follow single stage commands. Over the following 2 years he developed extensive resorption of his bone flap such that it required augmentation. After surgery he clinically improved such that he was able to communicate more effectively and, although he remained severely disabled and fully dependent, he was able to communicate that he would have provided consent for the initial decompressive procedure even if he had known that the eventual outcome would be survival with severe disability and total dependence. Long-term follow-up is required for patients with severe traumatic brain injury not only to assess outcome and complications, but also to assess how acceptable that outcome is for the patient and their families.
AI Magazine, 2009
When heckled, professional comedians frequently lament that "everyone's a comedian!". It's easy t... more When heckled, professional comedians frequently lament that "everyone's a comedian!". It's easy to see why: professional comedians don't possess different kinds of brains from others, or engage in radically different kinds of behaviours from others, and, moreover, the success of their acts is predicated on others' shared ability to understand and reason about comic situations they describe. The difference between comedians and their audience is a matter not of kind, but of degree, a difference that is reflected in the vocational emphasis they place on humour. Researchers in the field of computational creativity find themselves in a similar situation. As a sub-discipline of Artificial Intelligence, computational creativity explores theories and practices that give rise to a phenomenon, creativity, that all intelligent systems, human or machine, can legitimately lay claim to. Who is to say that a given AI system is not creative, insofar as it solves non-trivial problems or generates useful outputs that are not hard-wired into its programming? As with comedians' being funny, the difference between studying computational creativity and studying artificial intelligence is one of emphasis rather than one of kind: the field of computational creativity, as typified by a long-running series of workshops at AI-related conferences, places a vocational emphasis on creativity, and attempts to draw together the commonalities of what human observers are willing to call "creative" behaviours. The study of creativity in AI is not new, but it is unusual. When Margaret Boden included a chapter on creativity in her textbook , Artificial Intelligence and Natural Man (Boden, 1977), colleagues asked "Why on earth are you doing that?" (Boden, 1999). Sometimes, it seems that creativity is, for AI-believers, that place beyond the pale, where lies intelligence itself for AI-skeptics. Since the mid-1990s, interest in creativity from an AI perspective has begun to blossom. Workshops dedicated to computational creativity now occur yearly or more, the foremost being the International Joint Workshop on Computational Creativity (IJWCC). This series grew out of a number of events in the 1990s, including the International Workshop on Computational Humor at the university of Twente in 1996, the Mind II conference on Creative Computation at Dublin City University in 1997, and the Convention of the Society for the Study of Artificial Intelligence and Simulation of Behaviour (AISB) in Edinburgh in 1999, whose central theme was creativity in AI. This last was probably the largest AI/creativity-focused conference to be held to date, attracting 225 participants. Subsequent to these developments, in 2000, the AISB Convention hosted the first of several workshops on various aspects of AI and creativity; one year later, a workshop series on Creative Systems began holding workshops jointly with major AI-related conferences, namely ICCBR 2001, ECAI 2002 and IJCAI 2003; in 2008, AAAI held its first Spring Symposium on Computational Creativity. It seems clear that a relatively small and new community would struggle to sustain so much activity, and therefore, in 2004, the Creative Systems series merged with the AISB workshops to form the International Joint
Artificial Intelligence and Creativity in Arts and Science Symposium, 2003
N-gram models have been employed for a number of musical tasks including the development of pract... more N-gram models have been employed for a number of musical tasks including the development of practical applications providing computational support for creative individuals as well as theoretical studies of creative processes. Our goal in this research is to evaluate, in an application independent manner, some recent techniques for improving the performance on monophonic music of a subclass of such models based on the Prediction by Partial Match (PPM) algorithm. These techniques include the use of escape method C, ...
Artificial neural nets and …, 1999
We describe a series of experiments in generating traditional musical harmony using Genetic Algor... more We describe a series of experiments in generating traditional musical harmony using Genetic Algorithms. We discuss some problems which are specific to the musical domain, and conclude that a GA with no notion of meta-level control of the reasoning process is unlikely to solve the harmonisation problem well. 1. the use of knowledge-rich structures and procedures within the algorithm itself, as opposed to the more traditional use of GA components which are not problem-specific; 2. the strict use of objective methods, in the sense that any reasoning encoded in the GA should be stated explicitly, rather than being implicit in the expressed opinion of a human user. These criteria are important because we are working in the wider context of simulating and understanding aspects of human behaviour, so we are not interested just in achieving a musical result: we wish to be able to examine the internal behaviour of our methods, and attempt to form some notion of why the answer we achieve is produced. In particular, we wish to compare the behaviour of our harmonisation system with human behaviour, and attempt to explain any discrepancies. This paper is structured as follows. We present a brief statement on the issues interaction vs. noninteraction in GAs from the point of view of this study. We then outline existing applications of GAs in computer music. We present a case study of a knowledge-rich musical GA, including a discussion of some significant problems, and then draw conclusions about the implications of the work for musical GAs in general.
The American Journal of Sports Medicine
Background: Patients often have quadriceps or hamstring weakness after anterior cruciate ligament... more Background: Patients often have quadriceps or hamstring weakness after anterior cruciate ligament reconstruction (ACLR), despite postoperative physical therapy regimens; however, little evidence exists connecting nerve blocks and ACLR outcomes. Purpose: To compare muscle strength at return to play in patients who received a nerve block with ACLR and determine whether a specific block type affected subjective knee function. Study Design: Cohort study; Level of evidence, 3. Methods: Patients were recruited 5 to 7 months after primary, isolated ACLR and completed bilateral isokinetic strength tests of the knee extensor/flexor groups as a single-session return-to-sport test. Subjective outcomes were assessed with the International Knee Documentation Committee (IKDC) score. Strength was expressed as torque normalized to mass (N·m/kg) and limb symmetry index as involved/uninvolved torque. Chart review was used to determine the type of nerve block and graft used. Nerve block types were cla...
British journal of neurosurgery, 2018
Arterial vasospasm is a major cause of death and long-term disability following subarachnoid haem... more Arterial vasospasm is a major cause of death and long-term disability following subarachnoid haemorrhage (SAH). The use of medically induced hypertension, hypervolaemia and/or haemodilution is widely practiced for prophylaxis and treatment of vasospasm following SAH. We aimed to determine if the quality of available research is adequate to inform use of haemodynamic management strategies to prevent or treat vasospasm following SAH. Individual searches of the following databases were conducted: The Cochrane Database of Systematic Reviews, The Cochrane Central Register of Controlled Trials, MEDLINE, EMBASE and OpenSIGLE. Pertinent randomised clinical trials and cohort studies comparing any element or combination thereof: medically induced hypertension, hypervolaemia, and haemodilution were included. Data were extracted using standardised proformas and risk of bias assessed using a domain-based risk of bias assessment tool. 348 study reports were identified by our literature search. Ei...
Brain Injury, 2013
To assess clinical outcome following restoration of cranial contour in a young male who had suffe... more To assess clinical outcome following restoration of cranial contour in a young male who had suffered a severe traumatic brain injury. Case report. A young male was assessed before and after cranial reconstructive surgery with a custom-made titanium plate. The patient had previously required a bifrontal decompressive craniectomy in order to control intractable intracranial hypertension due to neurotrauma. Following an autologous cranioplasty he made very little neurological recovery and remained wheelchair-bound with severe contractures and was only able to follow single stage commands. Over the following 2 years he developed extensive resorption of his bone flap such that it required augmentation. After surgery he clinically improved such that he was able to communicate more effectively and, although he remained severely disabled and fully dependent, he was able to communicate that he would have provided consent for the initial decompressive procedure even if he had known that the eventual outcome would be survival with severe disability and total dependence. Long-term follow-up is required for patients with severe traumatic brain injury not only to assess outcome and complications, but also to assess how acceptable that outcome is for the patient and their families.
AI Magazine, 2009
When heckled, professional comedians frequently lament that "everyone's a comedian!". It's easy t... more When heckled, professional comedians frequently lament that "everyone's a comedian!". It's easy to see why: professional comedians don't possess different kinds of brains from others, or engage in radically different kinds of behaviours from others, and, moreover, the success of their acts is predicated on others' shared ability to understand and reason about comic situations they describe. The difference between comedians and their audience is a matter not of kind, but of degree, a difference that is reflected in the vocational emphasis they place on humour. Researchers in the field of computational creativity find themselves in a similar situation. As a sub-discipline of Artificial Intelligence, computational creativity explores theories and practices that give rise to a phenomenon, creativity, that all intelligent systems, human or machine, can legitimately lay claim to. Who is to say that a given AI system is not creative, insofar as it solves non-trivial problems or generates useful outputs that are not hard-wired into its programming? As with comedians' being funny, the difference between studying computational creativity and studying artificial intelligence is one of emphasis rather than one of kind: the field of computational creativity, as typified by a long-running series of workshops at AI-related conferences, places a vocational emphasis on creativity, and attempts to draw together the commonalities of what human observers are willing to call "creative" behaviours. The study of creativity in AI is not new, but it is unusual. When Margaret Boden included a chapter on creativity in her textbook , Artificial Intelligence and Natural Man (Boden, 1977), colleagues asked "Why on earth are you doing that?" (Boden, 1999). Sometimes, it seems that creativity is, for AI-believers, that place beyond the pale, where lies intelligence itself for AI-skeptics. Since the mid-1990s, interest in creativity from an AI perspective has begun to blossom. Workshops dedicated to computational creativity now occur yearly or more, the foremost being the International Joint Workshop on Computational Creativity (IJWCC). This series grew out of a number of events in the 1990s, including the International Workshop on Computational Humor at the university of Twente in 1996, the Mind II conference on Creative Computation at Dublin City University in 1997, and the Convention of the Society for the Study of Artificial Intelligence and Simulation of Behaviour (AISB) in Edinburgh in 1999, whose central theme was creativity in AI. This last was probably the largest AI/creativity-focused conference to be held to date, attracting 225 participants. Subsequent to these developments, in 2000, the AISB Convention hosted the first of several workshops on various aspects of AI and creativity; one year later, a workshop series on Creative Systems began holding workshops jointly with major AI-related conferences, namely ICCBR 2001, ECAI 2002 and IJCAI 2003; in 2008, AAAI held its first Spring Symposium on Computational Creativity. It seems clear that a relatively small and new community would struggle to sustain so much activity, and therefore, in 2004, the Creative Systems series merged with the AISB workshops to form the International Joint