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All Improv Perfomers All Improv Gigs Ansuman Biswas Viola Performer Bio (Max 1000 characters) London and South East improv gigs Boat-Ting Nov24 4 November 2024 Boat-Ting Oct25 6 October 2025 Boat-Ting Nov 2024 http://Website or social media email or phone number

All Improv Perfomers All Improv Gigs Alan Newcombe Tenor Saxophone Performer Bio (Max 1000 characters) London and South East improv gigs London Improvisers Orchestra #36 7 June 2025 Performer notes, message or style description http://Website or social media email or phone number

All Improv Perfomers All Improv Gigs Charlie Folorunsho Voice Performer Bio (Max 1000 characters) London and South East improv gigs SKRONK #178 16 September 2025 ImproVox #08 14 April 2025 Performer notes, message or style description http://Website or social media email or phone number

All Improv Perfomers All Improv Gigs Adrian Northover Alto & Soprano Sax Performer Bio (Max 1000 characters) London and South East improv gigs Boat-Ting Nov24 4 November 2024 Boat-Ting Oct25 6 October 2025 Boat-Ting Nov 2024 http://Website or social media email or phone number

< Back A Dystopian Nightmare: When Our Fiction is Real George Orwell — 1984. This book is so prolific that people use ‘Orwellian’ as an adjective, even though they might be using it wrongly. Does the concept of inescapable surveillance seem familiar? Instead of a totalitarian state of Big Brother, we might have sub-contracted this control to tech giants who can read your emails, hear your conversations, and monitor your search history. Synopsis of the full article on Medium. Medium 24 Aug 2024 George Orwell — 1984. This book is so prolific that people use ‘Orwellian’ as an adjective, even though they might be using it wrongly . 1984 is often said to be a book about fascism and state control, but it’s a bit more than that. It tells of a vile and gritty world where a totalitarian government wages perpetual war against a changing enemy. 1984 is also a world where all actions and even thoughts are under inescapable surveillance only to be used as weapons of destruction against the individual. Words have no meaning and history no longer exists. Does the concept of inescapable surveillance seem familiar? Instead of a totalitarian state of Big Brother, we might have sub-contracted this control to tech giants who can read your emails , hear your conversations , and monitor your search history. Even Winston Smith had a private notebook. Between WhatsApp, Instagram, and Facebook (Meta?), Google, Apple, and Amazon, you could probably learn more about a person than Orwell could have imagined the Ministry of Love would be able to do. [..] Information, Truth, and Media. The biggest direct comparison between these three books, these three worlds and our own is the way in which information, truth and the media are categorised. They are a tool of escapism, sedation, and oppression. In Brave New World characters have everything they need to avoid facing the truth about their own situations whereas the antipode of this is in 1984, the absence of education and lack of information veracity hide the truth. As a combination to these, in Fahrenheit 451 people are simultaneously denied the truth and bombarded with mass-saturated media to distract them. [...] Overall, we are not in one dystopia, we are not in a dystopia at all. We are in the most liberal, peaceful and progressive time in global history; but there are frankly quite scary existential concepts in fiction that are becoming real. Rejection of modernity, technology and progress is not the cure, but one must be wary of such quickly evolving societal norms, for what today seems progressive may turn out to be Orwellian. Author: Alexander Archer , Dec 5, 2021 https://medium.com/@TheWorldIsHard/a-dystopian-nightmare-when-our-fiction-is-real-675b938b3d7c For more: Algorithm, Neural Network, VR Previous Next

A full Fourth Portal with a packed performance roster for the first Hypermedia Open Space of 2024 of DIY poetry, spoken word, music, open mic, visuals, art, and discussion. Curated by Gravesend’s own Hypermedia Events, the night attracted audiences and performers from across Kent, London, and Gravesham. Hypermedia DIY Open Space 6 < Back 7 February 2024 A full Fourth Portal with a packed performance roster for the first Hypermedia Open Space of 2024 of DIY poetry, spoken word, music, open mic, visuals, art, and discussion. Curated by Gravesend’s own Hypermedia Events, the night attracted audiences and performers from across Kent, London, and Gravesham. Previous Next Hypermedia Open Space 6 Hypermedia Open Space is an emerging new kind of performance gathering. Developed at Fourth Portal over the past six months by local curators Harriet Hammond and Joe Cleary, Hypermedia offers a unique alternative to standard open mic events. The open-format approach attracts performers and audiences from across London, the Kent coast, and beyond. As Joe Cleary, one of the founders, puts it: "Hypermedia is inclusive to any medium of art." Blending gathering spaces, 1960s happenings, living room gigs, and open mic, Hypermedia creates an alternative experience that’s hard to categorise. Friendly, supportive, and open to all creative disciplines, it is gaining a reputation for transforming the arts scene in Gravesend and North Kent. https://video.wixstatic.com/video/2fcede_706b4890e94a40698b068d920925a30b/1080p/mp4/file.mp4 Performers at Hypermedia 6 Joseph Cleary Clementine Canpont Anthony Hart Sophie Sirota Simeon Smith Chris Porcas Zach Davies Smelliot Lee Campbell Pip McDonald Nic Tony Thorley Dan Clifford Knitted Tongues (Meej Douglas, Em Doodles, Sandra Zanetti) Amy Boyle Borje Melanie Sapiets https://video.wixstatic.com/video/2fcede_0f143f039c4e40f08a53c12d6110f658/1080p/mp4/file.mp4 Knitted Tongues Knitted Tongues Knitted Tongues is a London-based experimental music collective known for its avant-garde performances and innovative soundscapes. Their debut album, No One in Europe Knows How to Scream Anymore, is available for streaming and download. Next Event: Hypermedia Open Space 7 | https://www.instagram.com/knittedtongues/ The next Hypermedia will take place on Wednesday, 13 March 2024. Get in touch: https://www.instagram.com/hypermediaevents/ This event has ended, but the Hypermedia series continues. Visit Event Page MORE ON THIS EVENT BELOW Previous Next Event Documentation Previous Next

< Back Genie: Generative Interactive Environments Genie, a foundation world model trained from Internet videos that can generate an endless variety of playable (action-controllable) worlds from synthetic images, photographs, and even sketches. Deep Mind 1 Mar 2024 A Foundation Model for Playable Worlds The las t few years have seen an emergence of generative AI, with models capable of generating novel and creative content via language, images, and even videos. Today, we introduce a new paradigm for generative AI, generative interactive environments (Genie), whereby interactive, playable environments can be generated from a single image prompt. Genie can be prompted with images it has never seen before, such as real world photographs or sketches, enabling people to interact with their imagined virtual worlds-–essentially acting as a foundation world model. This is possible despite training without any action labels. Instead, Genie is trained from a large dataset of publicly available Internet videos. We focus on videos of 2D platformer games and robotics but our method is general and should work for any type of domain, and is s calable to ever larger Internet datasets. Learning to control without action labels What makes Genie unique is its ability to learn fine -grained controls exclusively from Internet videos. This is a challenge because Internet videos do not typically have labels regarding which action is being performed, or even which part of the image should be controlled. Remarkably, Genie learns not only which parts of an observation are generally controllable, but also infers diverse latent actions that are consistent across the generated environments. Note here how the same latent actions yield similar behaviors across different prompt images. Enabling a new generation of creators It only takes a single image to create an entire new interactive environment. This opens the door to a variety of new ways to generate and step into virtual worlds, for instance, we can take a state-of-the-art text-to-image generation model and use it to produce starting frames that we can then bring to life with Genie. Here we generate images with Imagen2 and bring them to life with Genie. It can even step into human designed creations such as sketches or real world images. A stepping stone for generalist agents Genie also has implications for training generalist agents. Previous works have shown that game environments can be an effective testbed for developing AI agents, but we are often limited by the number of games available. With Genie, our future AI agents can be trained in a never-ending curriculum of new, generated worlds. In our paper we have a proof of concept that the latent actions learned by Genie can transfer to real human-designed environments, but this is just scratching the surface of what may be possible in the future. The future of generative virtual worlds Finally, while we have focused on results from Platformers on this website, Genie is a general method and can be applied to a multitude of domains without requiring any additional domain knowledge. We trained a smaller 2.5B model on action-free videos from RT1 . As was the case for Platformers, trajectories with the same latent action sequence typically display similar behaviours. This indicates Genie is able to learn a consistent action space which may be amenable to training embodied generalist agents. Jake Bruce*, Michael Dennis*, Ashley Edwards*, Jack Parker-Holder*, Yuge (Jimmy) Shi*, Edward Hughes, Matthew Lai, Aditi Mavalankar, Richie Steigerwald, Chris Apps, Yusuf Aytar, Sarah Bechtle, Feryal Behbahani, Stephanie Chan, Nicolas Heess, Lucy Gonzalez, Simon Osindero, Sherjil Ozair, Scott Reed, Jingwei Zhang, Konrad Zolna, Jeff Clune, Nando de Freitas, Satinder Singh, Tim Rocktäschel* *Equal contribution https://sites.google.com/view/genie-2024/ For more: Neural Network, AI, Design, Machine Learning Previous Next

All Improv Perfomers All Improv Gigs Haymont Tesfa Voice Performer Bio (Max 1000 characters) London and South East improv gigs Boat-Ting Oct18 1 October 2018 Boat-Ting Oct 2018 http://Website or social media email or phone number

< Back Fusing Audio and Semantic Technologies (FAST) In 2018, the Fourth Portal curated delivery of the £5m EPSRC FAST programme to the music industry at Abbey Road studios, demonstrating the very latest technologies for end-to-end music production and delivery. The videos that follow provide an overview of the programme and demonstrators developed. C4DM, Queen Mary, University of London 3 Mar 2024 The Fusing Audio and Semantic Technology (FAST) programme was presented to the music industry at Abbey Road Studios in 2018. Its mission was to demonstrate the very latest technologies to bear on the complete industry, end-to-end, producer-to-consumer, making the production process more fruitful, the consumption process more engaging, and the delivery and intermediation more automated and robust. https://vimeo.com/297989936 Background Music is probably the most pervasive of the performing arts, and perhaps, the most abused (think of your recent shopping trips!). It has tremendous power to influence our emotions, often subliminally. The advent of recording in the 19th Century made it possible to enjoy music at a time, and in a place, different from the performance. Compression, broadband and the ever-increasing capacity to aggregate large collections mean that the issues confronting music consumers have totally changed in nature: equally so for professionals, such as broadcasters (playlists for radio, music for documentaries, etc.) and those at the creative heart of the process: musicians, sound engineers and producers. The recorded music industry has grappled unsuccessfully with digital technology and the rate of adoption of new technologies has been slow, ironically, mostly in fear of piracy and loss of revenue. Given the social and economic importance of music, it is vital that the industry's crisis is averted and its decline reversed. Simple semantics and metadata are already helping (for example in recommendation and sharing services) but this is just the beginning. The next-generation semantic technologies that are the focus of this proposal have the power to exact the turnaround that music (and other content industries) needs but this should be established via a fundamental and principled exploration of how semantic technologies underpin music throughout the value chain. The proposal brought the latest technologies to bear on the complete industry, end-to-end, producer to consumer, making the production process more fruitful, the consumption process more engaging, and the delivery and intermediation more automated and robust. In this project we will address 3 premises: (i) that Semantic Web technologies should be deployed throughout the content value chain from producer to consumer; (ii) that advanced signal processing should be employed in the content production phases to extract "pure" features of perceptual significance and represent these in standard vocabularies; (iii) that this combination of semantic technologies and content-derived metadata leads to advantages (and new products and services) at many points in the value chain, from recording studio to end-user (listener) devices and applications. https://vimeo.com/297974486 Partners The project will work with partners from industry - BBC R&D, Microsoft Research Cambridge and Omnifone) as well as internationally - the International Audio Labs, a joint initiative of the Fraunhofer Institute in Erlangen and the local university, and the Internet Archive, one of the world's major on-line libraries. We will engage with other universities in the UK supported by a partnership fund and via the BBC Audio Research Partnership. https://vimeo.com/297981584 Present Impact This programme is fostering new ways for professionals to work with music in the studio and for consumers to engage in their homes. It will support new business models that emphasise the whole experience of musical involvement, and discover ways to monetise the metadata as well as the essential content. The technologies to be researched support new ways of learning (about and playing) music as well as new ways of teaching and performing. And because the project will encompass vast quantities of music data and metadata, from heterogeneous sources, and will stress test emerging principles of big data, distributed intelligence and future generation web, it also addresses key questions of wide significance to EPSRC's ICT Programme, particularly relating to Intelligent Information Systems and Working Together. https://vimeo.com/297970119 https://www.semanticaudio.ac.uk/software/ For more: Meta Tags, Algorithm, Linked Data, AI, Design, Audio, Standards Previous Next

All Improv Perfomers All Improv Gigs Benji Performer Bio (Max 1000 characters) London and South East improv gigs SKRONK #1 31 May 2016 Performer notes, message or style description http://Website or social media email or phone number

All Improv Perfomers All Improv Gigs Mihee Kim Performer Bio (Max 1000 characters) London and South East improv gigs SKRONK #2 21 June 2016 Performer notes, message or style description http://Website or social media email or phone number

All Improv Perfomers All Improv Gigs Andrei Abramov Electronics Performer Bio (Max 1000 characters) London and South East improv gigs London Improvisers Orchestra #38 9 July 2025 Performer notes, message or style description http://Website or social media email or phone number