Resonance and Depth: Composing Timbral Identity and Spatial Form in an Artist-in-the-Loop Co-Creative Multi-Agent Percussive Performance

This performance presents a duet between two intelligent musical instruments, Sù (to trace back; to go upstream) and Agentier (playing on agentic clavier), and their human performers, connected through feedback loops. Rather than treating AI as a tool that responds predictably to input, both systems operate recursively, where past actions continuously influence future behaviour. The Sù operates in the audio space through latent representation. Its performer uses Make Noise 0-series synthesisers and MIDI controllers to work with a neural feedback synthesis system based on a RAVE model, with a latent feedback loop embedded within the model's internal structure. This allows the instrument to remember and reuse its own internal states, influencing ongoing sound generation through its recent sonic history. The Agentier functions in the control space. Its performer interacts with the system using a Roland S-1 synthesiser and Keith McMillen QuNeo touchpad, where control gestures are routed into a recurrent neural network that feeds back into the synthesis process. Through this feedback loop, the system actively shapes the evolution of control signals over time. Contrasting feedback in the audio and control domains, the performance explores shared agency, resistance, and negotiation between humans and intelligent musical systems. Musical phenomena are co-produced through the entangled states of interaction, rather than through pre-existing system configuration or fixed mappings.

This paper introduces Passing, an interactive audiovisual installation that generates an endless journey from a single continuous monorail-window recording by reconstructing it as a spatiotemporal volume. Rather than replaying the footage linearly, the work resamples its spatial and temporal structure along nonlinear trajectories, producing a continuously passing landscape whose depth, speed, and temporal order become unstable. A camera-based viewer-presence detection system estimates whether a viewer is present in the viewing zone and uses this presence state to influence transitions among rendered video sequences. The resulting video stream is fed into SpecMaskFoley, a real-time video-to-audio synthesis model that generates a synchronized soundscape for the reconfigured image. The model is not used to reconstruct an objectively correct soundtrack, but functions as a speculative listener, proposing a possible auditory interpretation of a world whose conventional spatial and temporal premises have been disrupted. Passing distributes creative agency across the artist, who defines the rules of spacetime reconstruction; the AI model, which interprets the emergent visual flow as sound; and the audience, whose embodied presence influences the audiovisual trajectory. Through this structure, the work investigates how authorship and listening may be negotiated among human intention, machine inference, and audience interpretation. Artwork page: https://ryufurusawa.com/passing

As artificial intelligence advances into the era of Embodied AI, live musical interaction urgently needs to break free from the limitations of offline, unidirectional generation, achieving a "virtual synergy" capable of low-latency, dynamic interplay. To address this, this technical report presents LK_Jam, a real-time, bidirectional human-computer interactive music generation system based on a lightweight Gated Recurrent Unit (GRU) and a high-performance audio host architecture. In the algorithmic representation layer, this system abandons the computationally expensive fixed time-grid. Instead, it constructs a multi-dimensional sparse event stream integrating time-shifts, continuous harmonic embeddings, and role-aware encoding, enabling the model to accurately capture turn-taking logic and micro-timing in a single-step inference. In the engineering implementation layer, this paper builds a strict multithreaded lock-free communication bridge using C++ and the JUCE framework, incorporating the RTNeural inference engine designed specifically for real-time audio. By utilizing compile-time network topology solidification and a zero-allocation (allocation-free) mechanism, the end-to-end overhead of autoregressive decoding is strictly locked at $O(1)$ complexity, structurally mitigating the risk of audio thread dropouts in DAW plugin environments. Furthermore, this study designs a three-stage progressive training strategy, achieving a leap from basic chord harmonization to expert-level interaction. Preliminary observations and architectural analysis demonstrate that while ensuring musical coherence and interactive role-play, the proposed system successfully challenges extreme real-time engineering constraints, offering a highly robust and deployable technical paradigm for next-generation AI co-performers in live music.