{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,4,13]],"date-time":"2026-04-13T20:45:18Z","timestamp":1776113118741,"version":"3.50.1"},"reference-count":43,"publisher":"MIT Press","issue":"4","content-domain":{"domain":["direct.mit.edu"],"crossmark-restriction":true},"short-container-title":[],"published-print":{"date-parts":[[2022,12,1]]},"abstract":"<jats:title>Abstract<\/jats:title>\n               <jats:p>Somax2 is an artificial intelligence (AI)-based multiagent system for human\u2013machine \u201ccoimprovisation\u201d that generates stylistically coherent streams while continuously listening and adapting to musicians or other agents. The model on which it is based can be used with little configuration to interact with humans in full autonomy, but it also allows fine real-time control of its generative processes and interaction strategies, closer in this case to a \u201csmart\u201d digital instrument. An offspring of the Omax system, conceived at the Institut de Recherche et Coordination Acoustique\/Musique (IRCAM), the Somax2 environment is part of the European Research Council Raising Cocreativity in Cyber\u2013Human Musicianship (REACH) project, which studies distributed creativity as a general template for symbiotic interaction between humans and digital systems. It fosters mixed musical reality involving cocreative AI agents. The REACH project puts forward the idea that cocreativity in cyber\u2013human systems results from the emergence of complex joint behavior, produced by interaction and featuring cross-learning mechanisms. Somax2 is a first step toward this ideal, and already shows life-size achievements. This article describes Somax2 extensively, from its theoretical model to its system architecture, through its listening and learning strategies, representation spaces, and interaction policies.<\/jats:p>","DOI":"10.1162\/comj_a_00662","type":"journal-article","created":{"date-parts":[[2024,1,16]],"date-time":"2024-01-16T19:27:03Z","timestamp":1705433223000},"page":"7-25","update-policy":"https:\/\/doi.org\/10.1162\/mitpressjournals.corrections.policy","source":"Crossref","is-referenced-by-count":4,"title":["Cocreative Interaction: Somax2 and the REACH Project"],"prefix":"10.1162","volume":"46","author":[{"given":"G\u00e9rard","family":"Assayag","sequence":"first","affiliation":[{"name":"Laboratoire Sciences et Technologies de la Musique et du Son (STMS) Institut de Recherche et Coordination Acoustique\/Musique 1 Place Igor Stravinsky, 75004 Paris, France gerard.assayag@ircam.fr"}]},{"given":"Laurent","family":"Bonnasse-Gahot","sequence":"additional","affiliation":[{"name":"Centre d'Analyse et de Math\u00e9matique Sociales (CAMS) \u00c9cole des Hautes Etudes en Sciences Sociales 54 Boulevard Raspail, 75006 Paris, France laurent.bonnasse-gahot@ehess.fr"}]},{"given":"Joakim","family":"Borg","sequence":"additional","affiliation":[{"name":"Laboratoire Sciences et Technologies de la Musique et du Son (STMS) Institut de Recherche et Coordination Acoustique\/Musique 1 Place Igor Stravinsky, 75004 Paris, France joakim.borg@ircam.fr"}]}],"member":"281","published-online":{"date-parts":[[2022,12,1]]},"reference":[{"key":"2024041018542956400_B1","doi-asserted-by":"crossref","first-page":"61","DOI":"10.1142\/9789813140103_0004","article-title":"Improvising in Creative Symbolic Interaction","volume-title":"Mathematical Conversations: Mathematics and Computation in Music Performance and Composition","author":"Assayag","year":"2016"},{"issue":"7\u20138","key":"2024041018542956400_B2","article-title":"Co-cr\u00e9ativit\u00e9 humains-machines: Une r\u00e9flexion sur les 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