Pedro Pablo Lucas Bravo

• Lindblom, Diana Saplacan; Weng, Yueh-Hsuan; Bravo, Pedro Pablo Lucas; Baselizadeh, Adel & Tørresen, Jim (2026). A Cross-Cultural Video-Based Study between Norway and Japan on Informed Consent and Disclosure Mechanisms on the Use of Social Robots in Public and Private Spaces - Users' Perspectives. In Ishii, Kazuo; Shibata, Tomohiro; Howard, Ayanna; Rossi, Silvia & Clodic, Aurélie (Ed.), Proceedings of The 35th IEEE International Conference on Robot and Human Interactive Communication (RO-MAN 2026). IEEE. ISSN 9798331588656. Full text in Research Archive
• Bravo, Pedro Pablo Lucas; Szorkovszky, Alexander; Fasciani, Stefano & Glette, Kyrre (2025). HS-ims: A Platform for Human-Swarm Interactive Music Systems. In Tei, Kenji & Zambonelli, Franco (Ed.), 2025 IEEE International Conference on Autonomic Computing and Self-Organizing Systems (ACSOS). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331502157. doi: 10.1109/ACSOS-C66519.2025.00067. Full text in Research Archive Show summary

  This paper introduces HS-ims, an integrated virtual environment designed for developing real-time musical multiagent systems. It addresses the need for technological platforms that emphasize sound applications, flexible prototyping, and comprehensive data collection from these multi-agent systems. HS-ims offers a 3D virtual environment with built-in sound synthesis via binaural audio, an Open Sound Control (OSC) API implementation that is language-agnostic, and a data collection module. The platform operates with an External Controller managing multi-agent logic. We present relevant performance metrics and provide examples highlighting how HS-ims has proven valuable in research and education. This encourages further exploration and establishes it as a useful tool for music performance.

• Bravo, Pedro Pablo Lucas; Fasciani, Stefano; Szorkovszky, Alexander & Glette, Kyrre (2025). An Interactive Self-Assembly Swarm Music System in Extended Reality. In Seiça, Mariana & Wirfs-Brock, Jordan (Ed.), AM '25: Proceedings of the 20th International Audio Mostly Conference. Association for Computing Machinery (ACM). ISSN 9798400720659. p. 255–269. doi: 10.1145/3771594.3771620. Full text in Research Archive Show summary

  This paper explores the music-making capabilities of a swarm intelligence type of algorithm known as self-assembly in an interactive context using Extended Reality (XR) technologies. We describe the modifications made to a fully autonomous version of this algorithm, which we proposed in a previous work, allowing us to adapt it for user-interactive music. Moreover, we present the design of an XR system that supports this adaptation, modelled as a human-swarm interactive music system, which is implemented in the Meta Quest 3 headset. An auto-ethnographic study was conducted to discover the affordances of the system in a music improvisation session. The study, supported by empirical measurements collected during the session, enables a comparison between the interactive version and the original autonomous offline version, providing valuable insights into how a user can influence the swarm's behaviour. The results are used to discuss the music performance possibilities and future directions for this type of interactive music system.

• Høffding, Simon; Bergstrøm, Rebecca Josefine Five; Bishop, Laura; Bravo, Pedro Pablo Lucas; Burnim, Kayla & Cancino-Chacón, Carlos Eduardo [Show all 28 contributors for this article] (2025). Introducing the MusicLab Copenhagen Dataset. Music & Science. 8. doi: 10.1177/20592043241303288. Full text in Research Archive Show summary

  MusicLab Copenhagen was a unique research concert featuring the world-renowned Danish String Quartet in a naturalistic setting. The audience was split between one group physically located in the hall, another group listening to a radio broadcast, and a third group watching a live stream. Qualitative and quantitative data were captured from both musicians and audiences, resulting in a comprehensive dataset that can be used to address many research questions. This document introduces the dataset, explains its structure, and reflects on the related data collection, storing, publishing, and archiving processes.

• Bravo, Pedro Pablo Lucas; Szorkovszky, Alexander; Fasciani, Stefano & Glette, Kyrre (2024). Self-Assembly and Synchronization: Crafting Music with Multi-Agent Embodied Oscillators. In IEEE, IEEE (Eds.), 2024 IEEE International Conference on Autonomic Computing and Self-Organizing Systems (ACSOS). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798350363876. p. 145–150. doi: 10.1109/ACSOS61780.2024.00034. Full text in Research Archive Show summary

  This paper proposes a self-assembly algorithm that generates rhythmic music. It uses multiple pulsed oscillators embedded in cube-shaped agents in a virtual 3D space. When these units connect with each other, their oscillators synchronize, triggering regular sound events that produce musical notes whose sound dynamics change based on the size of the structures formed. This study examines the synchronization time of these oscillators and the emergent properties of the structures formed during the algorithm’s execution. Moreover, the resulting sound, determined by multiple interactions among agents, is analyzed in the time and frequency domains from its signal. The results show that the synchronization time slightly increases when more agents participate, although with high variability. Also, a quasi-regular pattern of increase and decrease in the number of structures over time is observed. Additionally, the signal analysis illustrates the effect of the self-assembly strategy in terms of rhythmical patterns and sound energy over time. We discuss these results and the potential applications of this multi-agent approach in the sound and music field.

• Bravo, Pedro Pablo Lucas; Fasciani, Stefano & Glette, Kyrre (2024). Csound vs. ChucK: Sound Generation for XR Multi-Agent Audio Systems in the Meta Quest 3 Using the Unity Game Engine, Proceedings of the Sound and Music Computing Conference 2024. SMC Network. ISSN 9789893520758. doi: 10.5281/zenodo.14339046. Full text in Research Archive Show summary

  Extended Reality (XR) technologies, particularly headsets like the Meta Quest 3, are revolutionizing the field of immersive sound and music applications by offering new depths of user experience. As such, the Unity game engine emerges as a preferred platform for building such auditory environments. As part of its capabilities, Unity allows the programming of sound generation through a low-level digital signal processing API, which requires specialized knowledge and significant effort for development. However, wrappers that integrate Unity with programming languages for sound synthesis can facilitate the implementation of this task. In this work, we focus on applications for the Meta Quest 3 involving multiple spatialized audio sources; such applications can be framed as XR multi-agent audio systems. We consider two wrappers, CsoundUnity and Chunity, featuring Csound and ChucK programming languages. We test and analyze these wrappers in a minimal XR application, varying the number of audio sources to measure the performance of both tools in two device environments: the development machine and the Meta Quest 3. We found that CsoundUnity performs better in the headset, but Chunity performs better in the development machine. We discuss the advantages, limitations, and computational issues found on both wrappers, as well as the criteria for choosing them to develop XR multi-agent audio applications in Unity.

• Bravo, Pedro Pablo Lucas; Fasciani, Stefano; Szorkovszky, Alexander & Glette, Kyrre (2024). Interactive Sonification of 3D Swarmalators, Proceedings of the International Conference on New Interfaces for Musical Expression. NIME. p. 252–260. doi: 10.5281/zenodo.13904846. Full text in Research Archive Show summary

  This paper explores the sound and music possibilities obtained from the sonification of a swarm of coupled oscillators moving in a virtual space called “Swarmalators”. We describe the design and implementation of a Human-Swarm Interactive Music System based on the 3D version of the Swarmalator model, which is used for signal analysis of the overall sound output in terms of scalability; that is, the effect of varying the number of agents in a swarm system. We also study the behaviour of autonomous swarmalators in the presence of one user-controlled agent, which we call the interactive swarmalator. We observed that sound frequencies barely deviate from their initial values when there are few agents, but they diverge significantly in a highly dense swarm. Additionally, with the inclusion of the interactive swarmalator, the group’s behaviour tends to adjust towards it. We use these results to explore the potential of swarmalators in music performance under various scenarios. Finally, we discuss opportunities and challenges to use the Swarmalator model for sound and music systems.

• Bravo, Pedro Pablo Lucas & Fasciani, Stefano (2023). A Human-Agents Music Performance System in an Extended Reality Environment. In Ortiz, Miguel & Marquez-Borbon, Adnan (Ed.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidad Autónoma Metropolitana. p. 10–20. doi: 10.5281/zenodo.11189090. Full text in Research Archive Show summary

  This paper proposes a human-machine interactive music system for live performances based on autonomous agents, implemented through immersive extended reality. The interaction between humans and agents is grounded in concepts related to Swarm Intelligence and Multi-Agent systems, which are reflected in a technological platform that involves a 3D physical-virtual solution. This approach requires visual, auditory, haptic, and proprioceptive modalities, making it necessary to integrate technologies capable of providing such a multimodal environment. The prototype of the proposed system is implemented by combining Motion Capture, Spatial Audio, and Mixed Reality technologies. The system is evaluated in terms of objective measurements and tested with users through music improvisation sessions. The results demonstrate that the system is used as intended with respect to multimodal interaction for musical agents. Furthermore, the results validate the novel design and integration of the required technologies presented in this paper.

• Bravo, Pedro Pablo Lucas & Glette, Kyrre (2023). Human-Swarm Interactive Music Systems: Design, Algorithms, Technologies, and Evaluation. In Kitahara, Tetsuro; Aramaki, Mitsuko; Kronland-Martinet, Richard & Ystad, Sølvi (Ed.), Proceedings of the 16th International Symposium on Computer Music Multidisciplinary Research. Zenodo. ISSN 9791097498047. p. 347–358. doi: 10.5281/zenodo.10113081. Full text in Research Archive Show summary

  This paper presents considerations for developing Human-Swarm Interactive Music Systems (IMS), based on previous work in the field. We discuss design principles, algorithms, technologies, and evaluation methods for creating user-centered Human-Swarm IMSs using architectural ap­proaches, swarm strategies, and levels of embodiment in implementation. Our contribution aims to establish a framework for future applications and research studies on swarm-based music platforms.

• Bravo, Pedro Pablo Lucas & Peláez, Enrique (2019). A Granular Synthesis Strategy Based on Musical Harmony Theory Through a Fuzzy Logic Approach. IEEE Xplore Digital Library. doi: 10.1109/LA-CCI47412.2019.9036760. Full text in Research Archive
• Bravo, Pedro Pablo Lucas (2019). AuSynthAR: A simple low-cost modular synthesizer based on Augmented Reality. Proceedings of the International Conference on New Interfaces for Musical Expression. ISSN 2220-4792. doi: 10.5281/zenodo.3673011. Full text in Research Archive
• Bravo, Pedro Pablo Lucas (2019). A MIDI Controller Mapper for the Built-in Audio Mixer in the Unity Game Engine. Proceedings of the International Conference on New Interfaces for Musical Expression. ISSN 2220-4792. doi: 10.5281/zenodo.3673009. Full text in Research Archive
• Bravo, Pedro Pablo Lucas; Loayza, Kleber & Peláez, Enrique (2018). A Distributed Control of Movements and Fuzzy Logic-Based Task Allocation for a Swarm of Autonomous Agents. IEEE Xplore Digital Library. doi: 10.1109/FUZZ-IEEE.2018.8491460. Full text in Research Archive
• Bravo, Pedro Pablo Lucas; Vaca, David; Domínguez, Federico & Ochoa, Xavier (2018). Virtual Circuits: An Augmented Reality Circuit Simulator for Engineering Students. IEEE Xplore Digital Library. doi: 10.1109/ICALT.2018.00097. Full text in Research Archive
• Loayza, kleber; Bravo, Pedro Pablo Lucas & Peláez, Enrique (2017). A centralized control of movements using a collision avoidance algorithm for a swarm of autonomous agents. IEEE Xplore Digital Library. doi: 10.1109/ETCM.2017.8247496. Full text in Research Archive
• Bravo, Pedro Pablo Lucas; Astudillo, Efraín & Peláez, Enrique (2016). Human–Machine Musical Composition in Real-Time Based on Emotions Through a Fuzzy Logic Approach. In Nedjah, Nadia (Eds.), Designing with Computational Intelligence. Springer Publishing Company. ISSN 9783319447353. doi: 10.1007/978-3-319-44735-3_8. Full text in Research Archive
• Bravo, Pedro Pablo Lucas; Astudillo, Efraín & Peláez, Enrique (2015). Human-machine musical composition in real-time based on emotions through a fuzzy logic approach. IEEE Xplore Digital Library. doi: 10.1109/LA-CCI.2015.7435963. Full text in Research Archive
• Astudillo, Efraín; Bravo, Pedro Pablo Lucas & Peláez, Enrique (2015). Adquisición del Conocimiento en el Proceso de Composición Musical en Base a Técnicas de Inteligencia Artificial. In Gomez, Omar S. (Eds.), XI Jornadas Iberoamericanas de Ingenieria de Software e Ingenieria del Conocimiento 2015. Curran Associates, Inc.. ISSN 9781510802087. Full text in Research Archive Show summary

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• Bravo, Pedro Pablo Lucas (2024). Self-Assembly and Synchronization: Crafting Music with Multi-Agent Embodied Oscillators. Full text in Research Archive Show summary

  This paper proposes a self-assembly algorithm that generates rhythmic music. It uses multiple pulsed oscillators embedded in cube-shaped agents in a virtual 3D space. When these units connect with each other, their oscillators synchronize, triggering regular sound events that produce musical notes whose sound dynamics change based on the size of the structures formed. This study examines the synchronization time of these oscillators and the emergent properties of the structures formed during the algorithm's execution. Moreover, the resulting sound, determined by multiple interactions among agents, is analyzed in the time and frequency domains from its signal. The results show that the synchronization time slightly increases when more agents participate, although with high variability. Also, a quasi-regular pattern of increase and decrease in the number of structures over time is observed. Additionally, the signal analysis illustrates the effect of the self-assembly strategy in terms of rhythmical patterns and sound energy over time. We discuss these results and the potential applications of this multi-agent approach in the sound and music field.

• Bravo, Pedro Pablo Lucas (2024). Csound vs. ChucK: Sound Generation for XR Multi-Agent Audio Systems in the Meta Quest 3 using the Unity Game Engine. Full text in Research Archive Show summary

  Extended Reality (XR) technologies, particularly headsets like the Meta Quest 3, are revolutionizing the field of immersive sound and music applications by offering new depths of user experience. As such, the Unity game engine emerges as a preferred platform for building such auditory environments. As part of its capabilities, Unity allows the programming of sound generation through a low-level digital signal processing API, which requires specialized knowledge and significant effort for development. However, wrappers that integrate Unity with programming languages for sound synthesis can facilitate the implementation of this task. In this work, we focus on applications for the Meta Quest 3 involving multiple spatialized audio sources; such applications can be framed as XR multi-agent audio systems. We consider two wrappers, CsoundUnity and Chunity, featuring Csound and ChucK programming languages. We test and analyze these wrappers in a minimal XR application, varying the number of audio sources to measure the performance of both tools in two device environments: the development machine and the Meta Quest 3. We found that CsoundUnity performs better in the headset, but Chunity performs better in the development machine. We discuss the advantages, limitations, and computational issues found on both wrappers, as well as the criteria for choosing them to develop XR multi-agent audio applications in Unity.

• Bravo, Pedro Pablo Lucas (2024). Interactive Sonification of 3D Swarmalators. Full text in Research Archive Show summary

  This paper explores the sound and music possibilities obtained from the sonification of a swarm of coupled oscillators moving in a virtual space called "Swarmalators". We describe the design and implementation of a Human-Swarm Interactive Music System based on the 3D version of the Swarmalator model, which is used for signal analysis of the overall sound output in terms of scalability; that is, the effect of varying the number of agents in a swarm system. We also study the behaviour of autonomous swarmalators in the presence of one user-controlled agent, which we call the interactive swarmalator. We observed that sound frequencies barely deviate from their initial values when there are few agents, but they diverge significantly in a highly dense swarm. Additionally, with the inclusion of the interactive swarmalator, the group's behaviour tends to adjust towards it. We use these results to explore the potential of swarmalators in music performance under various scenarios. Finally, we discuss opportunities and challenges to use the Swarmalator model for sound and music systems.

• Bravo, Pedro Pablo Lucas (2023). A Human-Agents Music Performance System in an Extended Reality Environment. Full text in Research Archive Show summary

  This paper proposes a human-machine interactive music system for live performances based on autonomous agents, implemented through immersive extended reality. The interaction between humans and agents is grounded in concepts related to Swarm Intelligence and Multi-Agent systems, which are reflected in a technological platform that involves a 3D physical-virtual solution. This approach requires visual, auditory, haptic, and proprioceptive modalities, making it necessary to integrate technologies capable of providing such a multimodal environment. The prototype of the proposed system is implemented by combining Motion Capture, Spatial Audio, and Mixed Reality technologies. The system is evaluated in terms of objective measurements and tested with users through music improvisation sessions. The results demonstrate that the system is used as intended with respect to multimodal interaction for musical agents. Furthermore, the results validate the novel design and integration of the required technologies presented in this paper.

• Bravo, Pedro Pablo Lucas (2023). Sonic Explorations for 3D Swarmalators. Full text in Research Archive Show summary

  A swarmalator is a type of self-organizing system where agents or particles interact with each other through local rules. The term "swarmalator" is a combination of "swarm," which refers to a group of agents, and "oscillator," which refers to a system that exhibits periodic behavior. In a swarmalator system, each agent has an internal oscillator that determines its behavior, and the agents interact with their neighbors, affecting each other's oscillations and leading to synchronization. This synchronization can result in collective behaviors such as coordinated motion or pattern formation. Both the phase dynamics and spatial dynamics of the oscillators are coupled in swarmalators. Swarmalators are related to the concept of entrainment, which refers to the synchronization of rhythmic patterns in biological or physical systems. Swarmalator systems can be used to model entrainment and the emergence of collective behavior in natural systems. Sonic and musical properties can be explored using the parameters involved in swarmalators, leading to interesting self-organized compositions and emergent behaviors capable of interacting with humans in a synchronized environment. Some of these sonical mappings will be presented for a 3D version of swarmalators, and future directions for interactive music systems based on synchronized swarms will be discussed.

• Bravo, Pedro Pablo Lucas (2023). Human-Swarm Interactive Music Systems: Design, Algorithms, Technologies, and Evaluation. Full text in Research Archive Show summary

  This paper presents considerations for developing Human-Swarm Interactive Music Systems (IMS), based on previous work in the field. We discuss design principles, algorithms, technologies, and evaluation methods for creating user-centred Human-Swarm IMSs using architectural approaches, swarm strategies, and levels of embodiment in implementation. Our contribution aims to establish a framework for future applications and research studies on swarm-based music platforms.

• Bravo, Pedro Pablo Lucas (2026). Human-Swarm Interactive Music Systems: Exploring Collaborative Sonic Creation Between Humans and Autonomous Agents. Universitetet i Oslo. Full text in Research Archive Show summary

  This dissertation aimed to design, implement, and evaluate “Human-Swarm Interactive Music Systems” within 3D virtual and physical-virtual environments. In these systems, agents are virtual objects in space that can produce sound and music, and are controlled by virtual interfaces. The physical-virtual setting is delivered using Extended Reality (XR) through a Head-Mounted Display (HMD), particularly using mixed reality; that is, combining the physical space with virtual objects that can be manipulated with hands. Two of these systems were evaluated from two perspectives: system-centered and human-centered. System-centered evaluations, which involved simulations and benchmarking, identified emergent properties of the autonomous swarms for sound and music. Human-centered evaluations, including auto-ethnographies and a large-scale user study, showed that effective human-swarm collaboration requires carefully designed control interfaces. Additionally, the strategies users utilized for music improvisation were identified. The work contributes to research on artistic explorations in musical multi-agent systems, as well as to a range of real-world applications, including contemporary digital arts, interdisciplinary artistic practices, game development, and XR systems. Ultimately, the results of this work show that collaboration between a human and autonomous agents creates a synergy that reflects an acclaimed quote on “emergence”: “the whole is greater than the sum of its parts.”

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