https://www.um.edu.mt/library/oar/handle/123456789/62343 Tue, 23 Jun 2026 23:11:06 GMT 2026-06-23T23:11:06Z https://www.um.edu.mt/library/oar/handle/123456789/70325 Title: Searching for the unexpected : evolution through surprise Abstract: In this dissertation we present a new approach called surprise search that realises the concept of surprise for the serendipitous discovery in a computational search space. Inspired by the notion of surprise in computational creativity, surprise search seeks unconventional solutions and equips computational creators with the ability to search for unexpected outcomes. This new approach contrasts the traditional paradigm of rewarding progress towards the objective, and rewards unexpected discoveries to handle hard and deceptive problems. According to the literature in computational creativity, surprise is a key element for the discovery of highly creative and unconventional solutions. Furthermore, theories of intrinsic motivation situate surprise, along with novelty, as primary factors for the elicitation of interest, for the enhancement of learning, and for enabling discovery. This thesis tests the hypothesis that surprise can be an effective drive for the discovery of solutions in hard and deceptive testbeds and it also examines how surprise may complement other forms of divergent search such as novelty and quality diversity algorithms. The main contributions of this work include: (1) the introduction of surprise search; (2) the validation of surprise search for problem-solving; (3) the exploration of how surprise can be effectively coupled with novelty search; (4) and the testing of the effectiveness of surprise as a reward for quality diversity. The fi ndings of this thesis support the idea that deviation from expected behaviours can be a powerful alternative for divergent search and quality diversity with key benefi ts over state-of-the-art evolutionary approaches. Description: PH.D.DIGITAL GAMES Tue, 01 Jan 2019 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/70325 2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/62365 Title: Musicking with digital games Abstract: This dissertation applies the concept of ‘musicking’, introduced by musicologist Christopher Small, to the analysis of digital games. According to Small, “to music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practising, by providing material for performance (composing) or by dancing” (Small, 1998, p. 9). If that is the case, in what capacity players of digital games take part in musical performances? This dissertation provides a detailed answer to this question, situating it within the discipline of Game Studies. Digital games are considered for their cybernetic qualities (Aarseth & Calleja, 2015) as objects that can be traversed and reconfigured by means of ergodic effort. (Aarseth, 1997). The intersection of ergodic effort and musicking practices manifested in digital games generates a new musicking form : ergodic musicking. Ergodic musicking is identified as a modern form of musicking, capable of deconstructing established musical roles such as composing, improvising, or dancing. Ergodic musicking, however, is not just a mixture of previous forms: it is instead a unique musicking, only available to digital games. Thanks to their cybernetic qualities, digital games have provided music with an unprecedented platform, actualising a new form of musical participation. The subject matter of musicology of digital games is therefore to be understood as the study of musical forms of participation in digital games. Musicking is debated as a new paradigm for musicological enquire of digital games, challenging critical perspectives that have predominantly focused on the study of musical contents. Ostensibly musical digital games such as ‘Guitar Hero’ (Harmonix/RedOctane, 2005) or ‘Taiko no Tatsujin’ (Namco, 2001) are analysed for their musicking potential. These examples are then contrasted with musical games that do not remediate known musical situations, like ‘Thumper’ (Drool, 2016) or ‘BIT.TRIP RUNNER’ (Gaijin Games, 2010). This dissertation includes a detailed case study of the digital games designed by Japanese media artist Toshio Iwai, understood as a pioneer of musicking. Ergodic musicking is presented as a modality also available in digital games that feature sparse and occasional musical content, detailing an ‘experimental’ modality drawn from theories of indeterminate works. Finally, ergodic musicking is situated within the larger frame of technological musicking defined by Borgo as transmusicking (2007 ; 2013), realising the futuristic possibilities of digital and networked technologies. Description: PH.D.DIGITAL GAMES Tue, 01 Jan 2019 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/62365 2019-01-01T00:00:00Z