Mostrando entradas con la etiqueta Música. Mostrar todas las entradas
Mostrando entradas con la etiqueta Música. Mostrar todas las entradas

martes, 18 de febrero de 2014

Why strange loops could be an argument for artificial intelligence


Strange loops can be many things, including musical tones, mathematical problems, and linguistic riddles. They also can be biological fact, and this fact might be translated into computer code or silicon chips. Here's why a philosophical theory might show true artificial intelligence is possible.

What Are Strange Loops?
When following a simple loop, you know you will go on a single trip that takes you back to where you started. There's one journey, and one destination. Strange loops are a bit more complicated — they form a kind of set of instructions, an ordered hierarchy, that brings you higher and higher, until you're back at the beginning where you started.

Strange Loops were the brainchild of Douglas Hofstadter, a philosopher and scientist who wrote I Am a Strange Loop. They can be simple or complex, but they depend on what Hofstadter called "tangled hierarchies." Instead of a linear progression, these hierarchies balance on each other. Together they encompass a set of instructions that set out two equally valid ways of looking at a situation. The situation cannot be resolved without elevating one view and one part of the set of instructions over the other, but there is no objective way to do that.

Examples of Strange Loops
Hofstadter proposes the Mona Lisa, or any painting, as an example of a strange loop. It's a group of pigments that are spackled onto a canvas, and it's a smiling woman. Obviously one is literally true and one is only figuratively true, but one would have to be deliberately obtuse to talk of the painting as only a grouping of colors under varnish. Examples of strange loops within paintings are the famous impossible object images of M. C. Escher and others — the endlessly descending stairs and rigid cages with bars that cross each other. If we could pin down which part of the object was real we could decide which part violated the laws of that painting's universe, but there's no objective basis to declare one part of the image real rather than any other part.

The Shepard Tones comprise a musical strange loop
. They are a group of tones that seem to continually rise (or fall) but never actually change. Our attention focuses on certain notes that seem to rise, but the lower notes never drop out. We keep waiting for an impossibly high dog whistle that never comes.



There are also linguistic strange loops that require us to make impossible distinctions. There's the famous two-sentence problem: "The following sentence is a lie. The previous sentence is true." And then there's the Berry Paradox, a famous mathematical definition that invalidates itself. It is meant to describe "the smallest positive integer not definable in under 1 words." Of course, whatever integer that is, it is now definable in under 11 words. Meaning there can't possibly be a smallest possible integer definable in under 11 words, except there has to be so that phrase can define it.

Strange Loops and Artificial Intelligence
What does any of this word play have to do artificial intelligence?
Hofstadter meant the title of his book literally. When he said, "I am a strange loop," what he meant was the idea of "I," the concept of the self, was a result of this weird duality of tangled hierarchies.

Ask people if their brains, the actual electrically lit-up matter that sits in their head cases, are what what make them themselves, and they'll probably say yes. We are our brains. Ask them if they are simply a mechanical thing, programmed to respond to stimulus, like a complex adding machine, and they would say no. We have a sense of self. To take the strictly literalist view that we do not have selves, that we are mechanical, would be as obtuse as saying the Mona Lisa is a group of colors or a difference engine is a proto-human. Our electrified protein has constructed a more numinous identity, and both the meat and the idea are valid.
Impossible Arch Image: Till Krech.

So what? So that means that the sense of self will arise organically, from enough data input on sufficiently complex machinery. It doesn't matter if that machinery is made of flesh or anything else. Some people say that computers may imitate intelligent human life very well, but they'll never actually be the equivalent to humans. Others say that a calculator isn't much different from a human brain. The idea of strange loops, as they apply to life and machinery, asserts that calculators are not brains, because they do not construct an identity the way that brains do. However, they can become brains, or more accurately, they can become minds. Minds made of silicon, or anything else, are, when taken as strange loops, in no way distinguishable from human minds. "We" are both physical objects and incorporeal identities constructed from physical objects — and we are constructed so well that no one can say that the physical is more valid than the theoretical.

. [Via I Am a Strange Loop, Wolfram Math World, Philosophy Now, Strange Loops In Biology]

10 Hours of Infinite Fractal and Falling Shepard's Tone By
Daniel Repasky 
Video: Used with permission from the animated fractal's creator, Vladimir Bulatov. Check out his YouTube page here: http://bit.ly/13jdZ7e , and his DeviantArt page here: http://bit.ly/Yx2S78 .
The video is a fractal version of M.C. Escher's "Circle Limit III" (http://bit.ly/bbJ9P) created by Bulatov. Audio: Shepard's Tone (Shepard's Scale) consisting of rising tones set octaves apart, similar to how to barber's pole always seems to be rising: http://bit.ly/tlSj


ORIGINAL: Io9

viernes, 31 de enero de 2014

Watch: Jazz band serenades cows

An American jazz band entertains a group of moosic-loving cows in France.


BEEF SERENADE: This herd of cattle liked what it heard. (Photo: YouTube)

First it was mariachi for marine mammals, and now this — Dixieland for dairy cows.

The video below features U.S. jazz band the New Hot 5 performing "When the Saints Go Marching In" for an intrigued herd of cattle in Autrans, France. It started with just one band member blaring out a few notes, but quickly escalated as more and more cows stopped grazing and marched over to get a front-row seat.

Or maybe they just thought the song needed more cowbell. 



Via BuzzFeed 
Mon, Sep 12, 2011M

sábado, 14 de septiembre de 2013

A Musical Petri Dish

ORIGINAL: ScienceSunday


Warning: you could spend way too much time on this site.


Seaquence
Seaquence is an experiment in musical composition. Adopting a biological metaphor, Seaquence allows you to create and combine musical lifeforms into dynamic compositions.

Go!
How to play The way each creatures looks and sounds is determined by the step-sequencer pattern, and other parameters you can tweak including their audio waveform, octave, scale, melody, envelope, and volume.

You can add multiple creatures to your dish by clicking the 'add' button at the top right of the screen. The combination of different creatures results in unique compositions that always change due to the creatures movement. You can click and drag on the world to move around your composition.

Compositions can be saved by clicking 'share', which can then be sent to others allowing them to hear what you've made. This demo video gives you a feel for how to create your own Seaquence composition:



Notes:
The 12 blocks under the sequencer represent the scale. Play with different combinations to modify the tonality of your melody.
  • The + and - next to the scale represent the octave of the waveform.
  • The waveform control points that modify the envelope can result in some very unique sound qualities.
  • Click+Drag on the number underneath the waveform to change the waveform length.
  • Mouse-wheel up and down on a creature to change its volume.
Seaquence is an original Gray Area Labs project created by Ryan Alexander, Gabriel Dunne, and Daniel Massey, with support from Gray Area Foundation for the Arts.

Give us feedback
Twitter @seaquence
Email ping@seaquence.org

miércoles, 22 de mayo de 2013

"Caffeine" by Maria Ferrante at TEDxCERN

ORIGINAL: TEDxCERN
May 22, 2013

Maria Ferrante's extraordinary voice was discovered when she sang in a voice class at University. She began studying with some of the greatest singers Franco and continued her studies as far as Beijing to discover aspects of bel canto master, Jiang Jou.

Here Maria sings "Caffeine" from an "Ig Nobel" prize ceremonie opera, with accompanist Alice Martelli, at TEDxCERN.


domingo, 12 de mayo de 2013

A Biologist's Mother's Day Song

ORIGINAL: Cadamole



Lyrics:
To make one me you just add
Half of mom and half of dad
That is what I once believed
But I know now that I was wrong
I got so much more from you mom
Than just half a set of genes
I got nutrients and transcription factors
and nearly everything that matters
plus my prenatal environment (transplacental inheritance)
mRNA, mitochondria,
That back in the day once belonged to ya (theyre cytoplasmic)
and I just want to thank for supplying them

Just like two strands of DNA are spirally entwined
Your nature and your nurture are inspiringly combined
Scientists remind me and I find that it is true
Slightly more than half of everything I am is thanks to you

Mitochondria power my cells
and they have DNA as well
Transcription factors modulate transcription
And since theyre in the cytoplasm
The eggs the only one that has em
and sperm I guess they dont have much ambition

My sex determination gene means that Im a guy
From you I got my X chromosome, from Dad I got my Y
X has over a thousand genes, Y has less than 92
Thats why more than half of everything I am is thanks to you

I roomed in your womb for nine whole months and never paid the rent
Your glucocorticoids shaped my hypothalmic development
I took in your blood and sucked it dry of every nutrient (its gross but true)
Sometimes I wonder where the time went (where did it go)
Sometimes I wonder where it went

I know Ill never understand all you have done for me (Im not that smart)
But since you paid for college Ill get my B. S. degree (bachelor of science)
And I have learned its not BS but absolutely true
Slightly more than half of everything I am is thanks to you.

"It's not an even 50/50 split you get a disproportionate share of your DNA coming from your mom. Really important." - Robert Sapolsky
v
CHORDS
Verse: D A G G 
Chorus: A bm G D x2 / G A D-A-bm / G A G D 
Bridge: G A D G x2 / G A D-A-bm / G G A A -- rock on!


domingo, 24 de febrero de 2013

Nahko Bear (Medicine for the People) ღ Aloha Ke Akua

ORIGINAL: http://nahko.com


Oregon-native Nahko, born a mix of Apache, Puerto Rican, and Filipino cultures and adopted into an American family, suffered an identity crisis from an early age. But the unifying power of music entered his life as a healing remedy, when he took up the piano at age six. Armed with his new found talent, he set out to bridge the cultural gaps dividing his own psyche and began producing a public, musical journal of his journey toward personal, spiritual, and communal healing.

From his hometown of Portland to the shores of Hawaii or Bali, wherever he has traveled, Nahko is joined by a tribe of culturally alienated truth seekers for whom Nahko’s story resonates with their own, and who find redemption in his voice, guitar, flute, and drum. Whether solo or with the dynamic group of musical troubadours known as “Medicine for the People,” Nahko delivers a soulful dose of curative vibrations that moves audiences to dance, laugh, and cry. His ‘spirited redemption music’ lays bear the scars of cultural wounds, environmental wrongs, and social injustices. His lyrics bear the burden of heavy messages, but the load is lightened by agile melodies and driving rhythms that coerce all who bear witness into spirited, purifying, movement. His humor disarms, and his lyrical stories open listeners to the power of “Real Talk Music”—songs that reveal an honesty and depth so raw, it inspires an internal revival that echoes out into the world. Sometimes exuberant, sometimes savage, but always transformational, Nahko makes the movement move.

martes, 2 de octubre de 2012

Bloom - Microbial Bebop

ORIGINAL: YouTube

This musical composition was created from data of microbes (bacteria, algae and other microorganisms) sampled in the English Channel. Argonne National Laboratory biologist Peter Larsen created the songs as a unique way to present and comprehend large datasets. 

This composition highlights seasonal patterns in marine physical parameters at the L4 Station. The chords are generated from seasonal changes in photosynthetically active radiation. The melody of each measure is comprised of eight notes, each mapped to a physical environmental parameter, in the following order: 
  • temperature, 
  • soluble reactive phosphate, 
  • nitrate, 
  • nitrite, 
  • saline, 
  • silicate and c
  • hlorophyll A concentrations. 

Photo of cyanobacteria colonies is courtesy Specious Reasons
Creative Commons.

lunes, 17 de septiembre de 2012

"TOY PIANOS DON'T KILL ELEPHANTS" por Margaret Leng Tan

"Margaret did a fantastic reflexion. The music is pure, it's within our soul. Sounds are part of life and should respect life as well. As she stated: Toy pianos don't kill elephants. "
Vanessa Restrepo Schild

Margaret Leng Tan y Vanessa Restrepo Schild. Medellín, 14 de septiembre, 2012
"Los trabajadores de marfil del Valle del Río Connecticut, aprendieron el arte de cortar los colmillos en laminillas para pegarlas en pino de azúcar o en tilo formando teclados de piano. Desde mediados del siglo XIX, su producto dominó el creciente mercado de los pianos, hasta casi llegar excluir a sus competidores. Hubo un momento, en que para poder abastecer el equivalente a la pianomanía nacional, tan solo Pratt Read & Co. estaba cortando 12,000 libras de marfil al mes. En aquella época, los colmillos promediaban un peso de sesenta a setenta libras cada uno, hacienda que los fantasmas de mas de mil elefantes se paseaban en las salas de trabajo cada año. Las fábricas de Deep River y de Ivoryton en Conneticut necesitaban una libra y media de marfil para hacer un sólo teclado." (Richard Conniff: When the Music in our Parlors Brought Death to Darkest África, Audubon July 1987)




£20m de marfil confiscado a cazadores furtivos al volver a su presa 
Grupos conservacionistas piensan que el comercio legal de marfil de China sirve para encubrir el comercio ilegal de África. En las últimas seis semanas, investigadores han confiscado veinte millones de libras esterlinas de marfil ilegal en el Sureste asiático, incluyendo el tercer botín mas grande registrado de colmillos de elefante. 

La caza furtiva en países desde Kenia y Tanzania hasta la República Democrática del Congo y Sudán esta llegando a niveles nunca vistos desde que en 1989 se impuso la proscripción global a la venta de marfil, y está poniendo al resto de la población de elefantes en peligro de extinción.

Se calcula que unos 37,000 elefantes africanos son asesinados por cazadores furtivos cada año. El precio promedio de venta del marfil legal era de $162 USD por kilo. El precio promedio de marfil furtivo es de $38 USD por kilo en Kenia.

Considerando que los colmillos de un elefante macho adulto pesan hasta 50 kg., la muerte de un solo elefante puede representar el ingreso anual de un cazador.

(The Independent (Reino Unido), 15 de abril 2009)

Los niveles de caza furtiva aumentan cada año.  2012 ha sido el peor año para los elefantes en los últimos 20 años. (International Fund for Animal Welfare)

Margaret Leng Tan

Margaret Leng Tan. Pieza entregada luego de la interpretación de la obra 0'00" durante su concierto "Through the Silence". Museo de Arte Moderno de Medellín. Septiembre 14 de 2012


domingo, 26 de agosto de 2012

"Child of a Tree" (John Cage) por SÖ Percussion


Child of Tree (Improvisación II)
Para percusión sola, esta pieza aleatoria de John Cage consiste en una serie de instrucciones para ayudar al ejecutante en su interpretación, incluyendo comentarios sobre cuáles instrumentos seleccionar, entre diez, elaborados a partir de material vegetal (cactus, un sonajero producto de la vaina de un árbol mexicano de Poinciana, ramas, hojas, cortezas, entre otros) y de cómo escoger la secuencia y la duración de los distintos eventos sónicos. Luego el intérprete improvisa usando un cronómetro para permanecer dentro del marco de tiempo designado. El niño del árbol fue ejecutado por primera vez para acompañar la obra de Merce Cunningham, Solo (1975) - una danza ondulante inspirada en movimientos animales.

Cage y Cunningham habían decidido mantener la creación de la partitura y la coreografía por separado hasta el ensayo general; pero las correspondencias entre los sonidos puntillistas del cactus y los movimientos serpenteantes de Cunningham crearon inevitablemente un vínculo misterioso y visceral entre danza y sonido. -
Paul Cox




SÖ PERCUSSION: "Thank You for having Us in Medellin"

domingo, 6 de mayo de 2012

Shanthi la elefanta de zoológico que toca armónica y cornetas

ORIGINAL: NPR
por The Associated Press
WASHINGTON 02 de mayo 2012


El clip es breve (3:38). Si usted está corto de tiempo, no se pierda la canción creada Shanthi que comienza a la derecha alrededor de 1:50. Su estructura y su crescendo final, están bastante bien.

WASHINGTON (AP) - Una elefanta llamada Shanti en el Nacional del Smithsonian Zoo toca la armónica con la trompa y parece le encanta hacerlo.

Un video publicado el miércoles por el zoológico de Washington demuestra el elefante asiático de 36 años de edad, tiene una armónica unida a su puesto y reproduce canciones, incluso cuando los seres humanos no están a la vista.

La guardia de elefantes Debbie Flinkman dijo Shanti está "inclinada por la música", interpretando sus propias canciones que siempre tienen un crescendo grande al final. Shanthi también le gusta tocar las cosas, agitar sus orejas contra los objetos para hacer ruido y frotar su pierna hacia arriba y abajo arbustos para repetir sonidos.

"Se trata de enriquecimiento muy bueno, especialmente para esta elefanta en particular" porque ella es muy interesada, Flinkman dijo. Otros elefantes pueden notar la armónica, pero están menos interesados.

Shanthi juega durante varios minutos cada vez, jugando a exhalar un patrón, a continuación, la inhalación de un sonido diferente y pasar a otro extremo de la armónica para una nota diferente. Cada vez, ella termina con una exhalación grande para un sonido fuerte. Después del Día de Año Nuevo, que también jugó un corno de partes de plástico por horas que Flinkman le trajo con ella, soplando tan fuerte como pudo. "Sonó como si estuviera estrangulando a un ganso", dijo Flinkman.

Armónicas de mano se han utilizado con los elefantes durante años, pero éste es el único zoológico recientemente añadió a un muro la actividad en el que de forma permanente, podría montar dos armónicas para que Shanthi use a su gusto. Flinkman dijo que no recompensa a Shanti cuando juega por su cuenta. Es algo que le gusta.

A veces Shanthi baja su oreja para estar más cerca del sonido.

"Trato en lo posible de mantenermee al margen de su línea de visión, porque no quiero que ella se inhiba por mí", dijo Flinkman sobre la música de Shanti. "Esto realmente nos divierte. Y me encanta que le divierta."

Shanthi fue un regalo de Sri Lanka en 1976 y es la madre de Kandula del zoológico de ternera de 10 años de edad.

ORIGINAL: NPR
Shanti es una elefanta asiática de 36 años de edad que reside en el Parque Nacional Zoológico del Smithsonian (NZP). Hace unos días, NZP ha publicado este video de Shanthi tocando la armónica y cornetas, que le fueron suministrados a ella cuando los cuidadores observaron la tendencia de los elefantes a utilizar su cuerpo de manera rítmica musical.

El clip es breve (3:38). Si usted está corto de tiempo, no se pierda la canción creada Shanthi que comienza a la derecha alrededor de 1:50. Su estructura y su crescendo final, están bastante bien.

NZP recalca que Shanthi no fue inducido o coaccionado en su juego: era "para su propio placer y  diversión."

Me gustaría que todos los elefantes podría vivir sin peligro en el medio silvestre o en los santuarios. Cuando no lo hacen, este tipo de enriquecimiento creativo es fabuloso para ellos.

Puede mantenerse al día con más de lo que Barbara está pensando en Twitter.

Cuando los cuidadores de elefantes en el Nacional Smithsoniano de Zoológico escuchan el sonido de una armónica, que no es la radio que han dejado encendida. En cambio, es Shanti, la elefanta del parque zoológico de 36 años de edad,  quien, sin solicitársele, tiene una propensión a dar con sus cancioncillas propias utilizando todos los instrumentos que los guardianes han proporcionado. Estos incluyen armónicas, trompetas y matracas otros. El parque zoológico ha capturado a algunos de caprichos más recientes Shanthi en este video.

Los cuidadores siempre dejan instrumentos después de que se diera cuenta de que Shanti, más que otros dos elefantes del zoológico, le gusta hacer ruido con los objetos. De acuerdo a los poseedores, hacía uso de su trompa para cubrir cualquier cosa con un agujero en ella y soplar hasta que haciera un sonido-y con frecuencia lograr que los objetos consiguiesen diferentes tipos de sonidos ella misma. Ella golpea objetos con su trompa y agita sus orejas contra los objetos que hacen ruido. Ahora le dan al meliodoso paquidermo objetos que le permitan hacer sonidos como una forma de enriquecimiento.

Shanti es la madre de  Kandula de 10 años de edad, en el zoológico,. Los elefantes asiáticos están en peligro de extinción en su hábitat natural, donde entre 30.000 y 50.000 elefantes asiáticos todavía viven en los bosques de Asia meridional y sudoriental. Los visitantes del Zoo puede ver una demostración del elefante, que a veces incluye las habilidades musicales de Shanthi a las 11 am en la mayoría de los días en la zona de elefantes del Zoo.

domingo, 8 de abril de 2012

EARTH - One video you NEED to see

ORIGINAL: YouTube

SONG: Two Steps From Hell - Eria

Sit back, relax and enjoy the wonders of Earth.

This video was created by David Bayliss

However, the majority of the footage used in this video is the property of TS Production LLC. The footage is freely available to download and distribute around the world.


* Most of the footage is that of TS production LLC, In this video I have re-mastered the quality, added visual enhancements, effects, adding secondary objects (suns etc), music, extended the video with more clips, titles, a much more. Therefore this video was created by myself but I do not claim to own the footage. I have not mixed any of the original footage around because it was already in the perfect order. If you believe all I have done is taken the original footage and added different music, you would be wrong. The overall quality, effects and feel to the video has been enhanced. In my opinion and those who have commented.

lunes, 2 de abril de 2012

Holographic Principle - Beta Ursae Minoris (Musical Viceo)

ORIGINAL: YouTube

Beta Ursae Minoris (β UMi, β Ursae Minoris) is the second brightest star in the bowl of the "Little Dipper," the constellation Ursa Minor. It has the traditional name Kochab. Kochab's magnitude is 2.07.[1] It is 16 degrees from Polaris. The star is an orange giant and is 126.4 ± 2.5 light years from Earth.[1] It is 130 times more luminous than the Sun. Kochab has a surface temperature of approximately 4,000 K. 

Kochab and its neighbor Pherkad are both naked eye stars and are sometimes referred to as the "Guardians of the Pole". They served as twin pole stars, Earth's North pole stars, from 1500 BC until 500 AD. Neither star was as proximitous to the pole as Polaris is now. Due to precession of the equinoxes, the previous holder of the title was Thuban, and the next was the present-day Polaris. This succession of pole stars is a result of earth's precessional motion. 

The origin of the name Kochab is unclear. It comes from the Hebrew word for star, "kokhav"[2], כוכב. It appears to be cognate with Arabic الكوكب al-kawkab "the star", short for الكوكب الشمالي al-kawkab al-šamāliyy "the north star" (lit. heavenly body), named when it was still the pole star. 

In Chinese, 北極 (Běi Jí), meaning North Pole, refers to an asterism consisting of β Ursae Minoris, γ Ursae Minoris, 5 Ursae Minoris, 4 Ursae Minoris and Σ 1694.[3] Consequently, β Ursae Minoris itself is known as 北極二 (Běi Jí èr, English: the Second Star of North Pole.),[4] representing 帝 (Dì), meaning Emperor

lunes, 19 de marzo de 2012

Hacerse preguntas, Expectativas, Ideas. Es tiempo de TED. La Sinfonía de la Ciencia (Remix)

ORIGINAL: TED 2012. Sinfonía de la Ciencia 
Subtitulos en Español por Aaabistru en YouTube



Lyric:
------------------------------------
Wonder, Insight, Ideas,
It's time to TED.

We can change the world if we defy the impossible.
We have the tools, we have the passion.
We can be more, we can be much more.
Let's turn the World inside out, it's just a beginning.
We have achieved remarkable things,
We can be more, we can be much more.

Science is clever, (science is clever), the great creativity is more magical
And now we need that magic (that magic, that magic, that magic)

The miracle of your mind, is that you can see the world as it isn't
We can imagine the future, we can remember the past (the past, the past)
The miracle of your mind, is that you can see the world as it isn't
We can imagine what it's like to be some other person in some other place
(in some other place, some other place, some other place....)

Take a moment, take a breath.

I'm a believer.
The science is clear.
We have to get off of oil
We owe it...we owe it to our children and grandchildren
I'm a believer.
We can't just drill our way out, we can't just bomb our way out
We're going to invent our way out, working together
(working together, working together)
We need to think big, we need to think cheap
We need to think about the problem differently.

Wonder, Insight, Ideas
It's time to tell.

The miracle of your mind, is that you can see the world as it isn't
We can imagine the future, we can remember the past (the past, the past)
The miracle of your mind, is that you can see the world as it isn't
We can imagine what it's like to be some other person in some other place.

Keep your eyes on the prize, hold on, keep your eyes on the prize, hold on.
The city of the future calls on you to see it through (see it through, see it through)
Will you dream of me, (will you dream of me),
Will you build with me (will you build with me)

We have the tools, we have the passion.
We can be more, we can be much more.
I'm a believer.
We can change the world if we defy the impossible.

We have 3 billion new minds coming on-line (coming on line, coming on line)
To do that which we must do, to do that which we must do.
We need to think big, we need to think cheap,
We need to think about the problem differently.

Wonder, Insight, Ideas,
It's time to tell.
The miracle of your mind, is that you can see the world as it isn't
We can imagine the future, we can remember the past (the past, the past)
(The miracle of your mind, imagine the future, remember the past)

Wonder, Insight, Ideas,
It's time to TED.



John Boswell — he created the “Symphony of Science” videos — came to TED this week. Not to talk, but to listen and remix. Hear his mix of TED2012, with some classic TED moments mixed in.

Find out more about each speaker in the mashup in our “Live from TED2012″ coverage on the TED Blog.

Update: as suggested on reddit, the list of speakers:

martes, 6 de marzo de 2012

Alisa Weilerstein, Serenata en el Acuario. Grabaciones de Campo NPR.

ORIGINAL: NPRMUSIC


Alisa Weilerstein, una de las violonchelistas más destacadas del momento, está acostumbrado a tocar en las salas de todo el mundo los mejores conciertos. Esta temporada solamente la ha llevado a Seúl, Hamburgo, Los Angeles, Londres y Sydney. Pero había otro lugar en su agenda de viajes: el Acuario Nacional en Baltimore.

Estratégicamente ubicada por encima de un tanque lleno de rayas, Weilerstein ha desempacado su violonchelo para ofrecer una serenata a las criaturas del mar - y decenas de visitantes del acuario gratamente sorprendidos - con música de Johann Sebastian Bach. Ella eligió el Preludio de la Suite de Bach N º 5 para violonchelo solo. El poder de la música tranquila y las melodías sinuosas se convirtieron en una banda sonora extraordinaria a los rayas majestuosos mientras vagaban por el agua, elevándose de vez en cuando para "pescar" una o dos notas.

Productores: Mito Habe-Evans, Dena Trugman, Tom Huizenga
Ingeniero de Audio: Espera Kevin
Los coordinadores del evento: Amanda Ameer, Otis Hart
Adicional Videografía: Cristina Fletes
Productores Ejecutivos: Anya Grundmann, Keith Jenkins

Björk explora el Universo Interior para el video de "Hollow"

ORIGINAL: NPR
por DAN RABY
Modelos microscópicos de ADN y proteínas para visualizar otro tema del álbum "Biophilia" de Björk
Se necesita un artista como Björk para convertir el complejo proceso de la replicación y transcripción del ADN en algo tan simple y hermosa como una canción pop. Para el video de su canción "Hollow", de la aplicación basada en disco del año pasado "Biophilia", Björk ha colaborado con el animador biomédico, Drew Berry para crear una representación, en parte-científica de la inolvidable canción.

Crédito: Cortesía del artista

En "Hollow", la instrumentación es escasa - un ritmo de órgano como el pulso y la voz resonante de Björk. La mezcla de la manipulación electrónica de las voces, es lo que hace que suene como que hay toda una tribu de Björks cantando al unísono, y las notas electrónicas de sonidos sordos dan a la canción una sensación de que es primitiva pero futurista. La canción a la sensación de mirar hacia atrás cientos de generaciones: Bjork anhela "pertenecer" a las "generaciones de madres" que pulso a través de su cuerpo, para ser parte de el collar de "joyas después de las joyas."

En un correo electrónico, Björk describió su idea de "Hollow":
Es sólo la sensación cuando usted comienza a pensar acerca de sus antepasados ​​y el ADN que los espacios abiertos debajo de usted y usted puede sentir que su madre y su madre, y su madre, y su madre, y su madre, 30.000 años atrás. Así que de repente eres un poco de este túnel, o en el maletero del ADN ... Todos estos fantasmas vienen por lo que terminó comenzar una canción de Halloween y muy gótico de una manera ... Es como ser parte de este collar eterno cuando estás a una cuenta en una cadena y una especie de quiero pertenecer y ser parte de ella y es como un milagro.
El video de la canción podría ser un documental de un mundo extraño alienígena o el comienzo de la vida en la Tierra. Cada cuadro está lleno de vida hiperactivo. Es una sensación extraña, viendo el ADN giro hilos y la forma como pequeños fragmentos de proteínas se escabullen por el fondo. Esto es el caos incesante que está pasando dentro de cada uno de nosotros. El video podría ser una pieza de un museo que explica nuestro proceso biológico si no fuera por la cara extraña molecular que aparece cerca del final. Esa pequeña adición le da un toque de misticismo a la pieza y se pone un poco de humanidad en un universo sin sentido de los procesos químicos.

El director Drew Berry nos habló de la mezcla de su trabajo científico y la música de Björk:
El video musical "Hollow" es una exploración magnificada en potencias-de-10 de los paisajes microscópicos y moleculares, dentro del cuerpo de Björk. La animación se construye a partir de modelos moleculares de ADN y proteínas derivadas de diversas formas de datos científicos, tales como cristalografía de rayos X.
Mi trabajo es generalmente definido por los objetivos de la educación científica didáctica y precisión, por lo que esta es la primera vez que me he desviado de lleno en el mundo del arte, con la posibilidad de perder el tiempo con los datos científicos para crear un viaje caprichoso y juguetón.
Dentro de un núcleo de la célula de la audiencia se encuentra con espíritu ancestral de Björk - su fantasma en la máquina - que vela por sus genes a medida que el flujo de una generación a la siguiente. El espíritu se manifiesta como un gran complejo molecular que fue modelado a partir de un examen de la cabeza tridimensional de Björk. La inspiración para la cara vino de las pinturas "cara de frutas" por el artista italiano del siglo 16 Giuseppe Arcimboldo que tomó los objetos, tales como frutas, verduras, o libros, y los dispuso de tal manera que forman un retrato.
Biofilia Björk ya está disponible a partir de One Little Indian / Nonesuch Records.

jueves, 28 de octubre de 2010

This Rocking Lead Singer (Hatsune Miku) is a 3D Hologram.

ORIGINAL: Singularity Hub


October 20th, 2010 by Aaron Saenz


The internet is such a big place that sometimes I stumble onto huge trends that I’ve never even heard of before. Case in point: Hatsune Miku. She’s a Japanese pop diva who’s just started to play massive stadium concerts to sold out crowds. Her hair is blue, she dresses like Sailor Moon, and she’ll only appear in concerts via a 3D ‘hologram’. Oh, and did I forget to mention that she’s completely fictional? Created by Crypton Future Media, Hatsune Miku is a virtual singing avatar that you can purchase for your PC and program to play any song you create. She and her virtual colleagues have gone on limited tours in Japan and virtual avatar song writing is a growing trend all over the world. Surprising? Perhaps, but the thing that really blows me away is that I actually like her songs. Check out Hatsune Miku’s performance of Stargazer in the video below. Not bad for JPop.


Watching Miku sing live is pretty amazing. The 3D ‘hologram’ isn’t that impressive, it looks to be a modern version of the pepper’s ghost illusion we’ve seen before, but the crowd reaction is intense. I’ve been to concerts where the band’s fan base was considerably less enthusiastic. How must it feel to be a musician and see this virtual character getting way more love than you? Hatsune Miku and her ‘friends’ may only have played a few tours, but there’s little doubt that these guys are rock stars:


In order to create a character that sounds believably human, Crypton uses a real person’s voice as the basis for the avatar’s distinct singing style. The adaptation of someone’s singing voice into a character that a user can program to sing anything has lead to controversy. Real musicians have been loathe to step forward and submit their voices for fear that they’ll be replaced by a virtual copy of themselves. Instead of professional singers, Crypton has hired cartoon voice actors to provide the basis for their avatars. Miku is reportedly created from the voice of Saki Fujita.

The technology for Crypton’s Hatsune Miku program comes from Yamaha’s Vocaloid software which provides the means to create a realistic synthesized singing voice. You can hear samples of the raw Vocaloid synthesizer (which hasn’t been styled to fit any particular character like Hatsune Miku) on its website here. Miku and other avatars retail for ¥15,750 (~$193) and allow users to compose music and connect it to vocals note by note. You can share the songs you create via sites like Piapro (JP). Writing music for virtual avatars has become so popular that Crypton has established a music label, KarenT, and you can see many of the associated music videos for these songs on their YouTube channel.

It’s hard to quantify how large of an impact Vocaloid software is having on popular music. Yamaha doesn’t directly market the software itself, instead relying on licensed developers like Crypton (in Japan) and Zero-G (in the UK) to sell various products based on the technology. There are many sites like Piapro where users can share their work, and many simply skip forums and go straight to YouTube. There are various blogs and sites dedicated to discussing the Vocaloid phenomenon (I recommend you start with Vocaloidism), and there are karoake and music-composing video games featuring some of the most popular avatars.

It seems clear that virtual characters like Hatsune Miku are on the upward swing of their popularity. Crypton’s avatars have played several live concerts in the past year. Miku’s first ’solo’ performance took place on March 9th, and was titled Miku no Hi Kanshasai 39’s Giving Day – this is where the Stargazer performance was recorded. DVD and Blu-ray copies of the performance are set to be released globally, and there have been screenings of the concert in San Francisco and New York. The tour coincides with the release of the Hatsune Miku Project Diva video game from Sega.

Having just been introduced to the Vocaloid scene, I’m sort of in awe. Not by the quality of music – some of it is good, but mostly it’s pretty generic mainstream stuff. No, I’m impressed by the possibilities created by such virtual avatars. YouTube is already full of videos where users mix and match songs to various pieces of art, and remixing/sampling is a global music phenomenon. Now, these secondary source musicians have a whole other tool in their belt. They can have high quality virtual characters sing whatever they want. Modern technology is merging producers and consumers of art into a new being – the prosumer. Avatars like Hatsune Miku are accelerating that process, allowing us to generate more quality content on our own, and share that content with anyone via the web. In the future we will all be a part of this exchange of creative prosumerism. Ask not for whom the 3D hologram pop star sings – it sings for thee.

[image credit: Segabits]

[video credit: Miku39GivingDay]