Research Statement
Trained as a computational cognitive scientist, I did research to uncover the “genetic code” of music (Narmour, 1989), following a nascent computational memetics approach both synthetic and analytic (Chan & Wiggins, 2002; Chan, 2008). Influenced by the Macy Conferences on Cybernetics in the 1940's (Hayles, 1999), I worked interdisciplinarily on information theory, biologically-inspired computing, cognitive science, and embedded systems, both in industry and academia. The Holy Grail of memetics was to build a complete model of cultural information transmission, detailing how information is transmitted within brains as well as between cultures. I was also interested in hypercomplex signal processing, sparse coding and pattern recognition.
Table of Contents
References
Narmour, E. (1989). The “genetic code” of melody: cognitive structures generated by the implication-realization model. Contemporary Music Review, 4(1):45–63.
Chan, T.-S. T. & Wiggins, G. A. (2002). Computational memetics of music: memetic network of musical agents. In M. Britta & M. Melen (Eds.), Proceedings of the ESCOM 10th Anniversary Conference. Liege, Belgium: ESCOM.
Chan, T.-S. T. (2008). A Cognitive Information Theory of Music: A Computational Memetics Approach. Unpublished PhD thesis, University of London, London, UK.
Hayles, N. K. (1999). How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago: University of Chicago Press. |