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Posts Tagged ‘electronic’

Photo: juniperphoton via Unsplash.
In a world of increasing isolation and loneliness, a community can encourage people to say “hi.”

In retirement communities, I’m learning, there’s a big push to connect people with other people and combat isolation. When new residents go to the dining room, the hosts invariably ask, “Would you like to sit with some other folks?” That effort, I find, can either be helpful or strange. I had one elderly couple write down all the things I said about my history and our decision to move and then not recognize me the next day!

But I understand why the organization does it. Isolation is historically a problem for older people.

Nowadays it’s a problem for younger people, too, who often communicate through electronic media only and don’t gather in person.

Orla Barry writes at the radio show The World, “Loneliness can be as bad for your health as smoking 15 cigarettes a day, according to an international commission launched by the World Health Organization this month.

“Saying hello to a stranger may not seem like that big of a deal. But Åsa Koski, a social strategist with the Luleå municipality in northern Sweden, believes its impact could be greater than one might think. She started the Säg hej! (‘Say hi!’) campaign in Luleå to try and get people to interact more with each other to combat widespread loneliness.

“Luleå is a coastal city located around 93 miles south of the Arctic Circle. Winters there are long and cold and the average temperature can drop to 5 degrees Fahrenheit.

“But Koski, doesn’t think the weather alone is to blame for the isolation that many Swedes reportedly feel. Recent research by Sweden’s public health agency found that a third of 16-29-year-olds say they experience problems caused by loneliness.

“Koski thinks the continual urbanization of the town and an ever-growing dependence on digital technology are far bigger factors than the long dark winters. …

“California-born Lauren Ell is familiar with the Swedish reticence to engage in friendly banter with a stranger but she thinks it’s a generational thing. Ell first moved to Sweden as a foreign exchange student in 2006. Making friends with Swedish students was almost impossible, she said. 

“Like Koski, Ell thinks digital technology is part of the problem.

“ ‘Even back in 2006 gaming was really big and I remember a lot of my classmates would just go home and play video games all evening.’ Today, everyone is stuck on their phones, she said. Ell, who now lives in Skaulo, a small Swedish town north of Luleå, said she knows things aren’t that different in the US. But she said Swedes appear to have a natural tendency to keep to themselves or just mingle within their own social circles, and that makes it even harder for foreigners to integrate into the community.

“Swedish Italian filmmaker Erik Gandini believes other factors may be driving the problem of loneliness in Sweden.

“ ‘A long time ago, this country really embraced the idea of personal autonomy and independence,’ he said. Gandini was born and raised in Italy to a Swedish mother and Italian father. When he moved to Stockholm at the age of 20 he was struck by the number of people in their late teens already living alone.

“In 2021, Sweden recorded the lowest average age of young people leaving the parental home across the European Union — at 19 years. In Italy, the average age is closer to 30. …

“Gunnar Andersson, professor of demography at Stockholm University said Sweden’s ‘culture of individualism’ dates back centuries, with teenagers in rural communities typically leaving home to go and work on another farm. The strong welfare state allows young adults to live independently without the support of their parents. …

“It’s very different from the traditional Italian family structure that Gandini grew up in and in 2015 he made a documentary about the Swedish system called The Swedish Theory of Love. The film got a mixed response in Sweden. Gandini said it touched a nerve. 

“ ‘The idea is so strong in Sweden of making sure that you never need anybody else, it’s become something sacred here. Swedish people don’t like to see that criticized or questioned,’ he said.

“Gandini believes it’s a double-edged sword. The government changes in the 1970s led to greater female emancipation and pushed Sweden toward becoming a more modern society, he said, but that has left people more prone to isolation and loneliness.

“US native Lauren Ell said she often feels lonely living in Sweden. She never intended to live in the Nordic country long term, but 10 years ago, Ell fell in love with a Swedish man and moved to his hometown of Skaulo.

“In the last couple of years Ell, who now has two small children, set about trying to get to know her community better. She began organizing events to bring local residents together. … But Ell finds that just getting people to show up is not easy. It’s demoralizing, she said. …

“Ell, who’s 35, said she finds it harder to connect with Swedes who are her own age and younger. Many of her best conversations are with older neighbors in their 60s and 70s, she said. …

“Teachers in Luleå have reported that the campaign is already having an effect. Koski said students are now challenging each other to see how many ‘hi’s’ they can get in a day. A teacher told Koski that one student, who usually spends most of his time alone, admitted he was buoyed up when other students began to say ‘hi’ to him.”

More at PRI’s The World, here. No firewall.

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Photo: Sam Odgden via Chamber Music America.
Composer Tod Machover.

With all the furor about artificial intelligence, Rebecca Schmid decided to check in with MIT’s Tod Machover, “a pioneer of the connections between classical music and computers.” Their conversation about how AI applies to music appears on the Chamber Music America website.

“Sitting at his home in Waltham, Massachusetts, the composer Tod Machover speaks with the energy of someone half his 69 years as he reflects on the evolution of digital technology toward the current boom in artificial intelligence.

“ ‘I think the other time when things moved really quickly was 1984,’ he says — the year when the personal computer came out. Yet he sees this moment as distinct. ‘What’s going on in A.I. is like a major, major difference, conceptually, in how we think about music and who can make it.’

“Perhaps no other figure is better poised than Machover to analyze A.I.’s practical and ethical challenges. The son of a pianist and computer graphics pioneer, he has been probing the interface of classical music and computer programming since the 1970s.

“As the first Director of Musical Research at the then freshly opened Institut de Recherche et Coordination Acoustique/Musique (I.R.C.A.M.) in Paris, he was charged with exploring the possibilities of what became the first digital synthesizer while working closely alongside Pierre Boulez.

“In 1987, Machover introduced Hyperinstruments for the first time in his chamber opera VALIS, a commission from the Pompidou Center in Paris. This technology incorporates innovative sensors and A.I. software to analyze the expression of performers, allowing changes in articulation and phrasing to turn, in the case of VALIS, keyboard and percussion soloists into multiple layers of carefully controlled sound.

“Machover had helped to launch the M.I.T. Media Lab two years earlier in 1985, and now serves as both Muriel R. Cooper Professor of Music and Media and director of the Lab’s Opera of the Future group. …

“Machover emphasizes the need to blend the capabilities of [AI] technology with the human hand. For his new stage work, Overstory Overture, which premiered last March at Lincoln Center, he used A.I. as a multiplier of handmade recordings to recreate the sounds of forest trees ‘in underground communication with one another.’

“Machover’s ongoing series of ‘City Symphonies,’ for which he involves the citizens of a given location as he creates a sonic portrait of their hometown, also uses A.I. to organize sound samples. Another recent piece, Resolve Remote, for violin and electronics, deployed specially designed algorithms to create variations on acoustic violin. …

“Machover has long pursued his interest in using technology to involve amateurs in musical processes. His 2002 Toy Symphony allows children to shape a composition, among other things, by means of ‘beat bugs’ that generate rhythms. This work, in turn, spawned the Fisher-Price toy Symphony Painter and has been customized to help the disabled imagine their own compositions. …

“Rebecca Schmid: How is the use of A.I. a natural development from what you began back in the 1970s, and what is different?
“Tod Machover: There are lots of things that could only be done with physical instruments 30 years ago that are now done in software: you can create amazing things on a laptop. But what’s going on in A.I. is like a major, major difference, conceptually, in how we think about music and who can make it.

“One of my mentors and heroes is Marvin Minsky, who was one of the founders of A.I., and a kind of music prodigy. And his dream for A.I. was to really figure out how the mind works. He wrote a famous book called The Society of Mind in the mid-eighties based on an incredibly radical, really beautiful theory: that your mind is a group of committees that get together to solve simple problems, with a very precise description of how that works. He wanted a full explanation of how we feel, how we think, how we create — and to build computers modeled on that.

“Little by little, A.I. moved away from that dream, and instead of actually modeling what people do, started looking for techniques that create what people do without following the processes at all. A lot of systems in the 1980 and 1990s were based on pretty simple rules for a particular kind of problem, like medical diagnosis. You could do a pretty good job of finding out some similarities in pathology in order to diagnose something. But that system could never figure out how to walk across the street without getting hit by a car. It had no general knowledge of the world.

“We spent a lot of time in the seventies, eighties, and nineties trying to figure out how we listen — what goes on in the brain when you hear music, how you can have a machine listen to an instrument — to know how to respond. A lot of the systems which are coming out now don’t do that at all. They don’t pretend to be brains. Some of the most kind of powerful systems right now, especially ones generating really crazy and interesting stuff, look at pictures of the sound — a spectrogram, a kind of image processing. I think it’s going to reach a limit because it doesn’t have any real knowledge of what’s there. So, there’s a question of, what does it mean and how is it making these decisions?

What systems have you used successfully in your work?
“One is R.A.V.E., which comes from I.R.C.A.M. and was originally developed to analyze audio, especially live audio, so that you can reconstruct and manipulate it. The voice is a really good example. Ever since the 1950s, people have been doing live processing of singing. The problem is that it’s really hard to analyze everything that’s in the voice: The pitch and spectrum are changing all the time.

“What you really want to do is be able to understand what’s in the voice, pull it apart and then have all the separate elements so that you can tune and tweak things differently on the other side. And that’s what R.A.V.E. was invented to do. It’s an A.I. analysis of an acoustic signal. It reconstructs it in some form, and then ideally it comes out the other side sounding exactly like it did originally, but now it’s got all these handles so that I can change the pitch without changing the timbre. And it works pretty well for that. You can have it as an accompanist, or your own voice can accompany you. It can change pitch and sing along. And it can sing things that you never sang because it understands your voice. …

“The great thing about A.I. models now is that you can use them not just to make a variation in the sound, but also a variation in what’s being played. So, if you think about early electronic music serving to kind of color a sound — or add a kind of texture around the sound, but being fairly static — with this, if you tweak it properly, it’s a kind of complex variation closely connected to what comes in but not exactly the same. And it changes all the time, because every second the A.I. is trying to figure out, How am I going to match this? How far am I going to go? Where in the space am I? You can think of it as a really rich way of transforming something or creating a kind of dialogue with the performer.” Lots more at Chamber Music America, here. No firewall.

I myself have posted about the composer a few times: for example, here (“Tod Machover,” 2012); here (“Stanford’s Laptop Orchestra,” 2018); and here (“Symphony of the Street,” 2017).

“AI Finished My Story. Does It Matter?” at Wired, here, offers additional insight.

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Composer Tod Machover never stops experimenting. He’s known for music that combines his electronic inventions with traditional instruments, he records street sounds to capture the ambiance of cities, and he works continuously to engage regular folks in the process of creation.

Linda Poon writes at CityLab, “It’s easy to disregard the hum of a city — the incessant honking or indistinct chattering — or to cast it off as noise pollution. … To the likes of Tod Machover, a composer who combines music with technology at the MIT Media Lab, these sounds are what makes a city sing.

“Machover has turned the sounds of Toronto and Edinburgh into symphonies that reflect the characters of each city. His first piece for an American city, Symphony in D, invited Detroiters in 2015 to contribute over 15,000 sounds unique to the city—drumming from the streets, sounds from factories, and spoken words by local poets—that were combined with instruments played by the Detroit Symphony Orchestra.

‘Like so many things in our culture, there’s a growing gap between experts and ordinary people, and I thought music is such a great laboratory to show how things can be different,’ says Machover.

” ‘So I wanted the project to be a representation of connecting people—no matter what their background was in music—as equals.’

“His latest project, called Project 305 and funded by the Knight Foundation, takes him to Miami, where he’s teamed up with the city’s New World Symphony [NWS] academy to create an audio and visual masterpiece. He’s helping lead community tours to collect sounds and videos, and working with schools to teach students how to do the same. …

“Typical urban noise, like the revving of a car engine, the ringing of a bicycle bell, or the pitter-patter of pedestrian footsteps, can be found in virtually any city. So how do you make an audio portrait feel particular to the town it’s supposed to reflect?

“Sometimes, it’s about incorporating the sounds that reflect a city’s history. Detroit, for example, was famously dubbed the Motor City for being the heart of America’s auto manufacturing industry. So Machover asked the community to send in recordings of different car engines, which he merged with Motown riffs, in homage to the city’s music scene. …

“NWS is also gathering clips of human chatter, a way of capturing the diasporas within Miami. The city is often called the capital of Latin America with immigrants from Cuba, Venezuela, Colombia, and other Spanish-speaking countries making up the majority of the population. Spanish has become a dominant language, but ‘you hear the same words inflected with all kinds of different accents,’ says Machover.

“When all is done, the entire performance won’t be confined to the halls of the academy. Instead, it will also be projected onto the facade of the building and simultaneously broadcast in different neighborhoods throughout Miami.” More here.

I have attended two of Machover’s operas. I thought the one based on a story by Tolstoy was lovely, although the one written with former poet laureate Robert Pinsky didn’t work for me. Something about an inventor seeking immortality by entering his electronic system after death.

Photo: Bowers & Wilkins
Endlessly inventive composer Tod Machover is incorporating sounds of the city in his new music.

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John’s son has a friend at the beach, a three-year-old musician whose dad is the contemporary composer Kenneth Kirschner.

5against4 has a word on Kirschner’s work, here: “Ken Kirschner’s second longest release to date is a hypnotic exploration of what we might call ‘mobile stasis’. The complex texture, comprising vibes, electronic tones & strings intermingle in ever-changing permutations. Certainly one of Kirschner’s most ambitious texture works &, for those open to its unique type of language, an immersive, rewarding listening experience.” They link to a free download.

Last.fm has more, here: “Composer Kenneth Kirschner was born in 1970 and lives in New York City. He is known for his open source approach to music, his experiments with software-based indeterminate composition, and his interest in adapting the insights and aesthetics of 20th century composers such as Morton Feldman and John Cage to the context of contemporary digital music.

“His work has been released on CDs from record labels such as 12k, Sub Rosa, Sirr, and/OAR and Leerraum, as well as online through a wide variety of netlabels and other sources. A large selection of Kirschner’s music is freely available for download from his website.” See http://www.kennethkirschner.com.

You can also find remixes of Kirschner’s work at Soundcloud.com, but it doesn’t look like he puts his compositions there himself.

Photo: Last.fm. Uploaded by uf_on.

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