Skip to main content

What Happens When Artificial Intelligence Listens to John Coltrane’s Interstellar Space & Starts to Create Its Own Free Jazz

Some enjoy free jazz as soon as they first hear it; others think it sounds like music from an alien civilization, a listening experience fit only for a jazz fan as high as a kite. But how about as high as a space probe? Outerhelios, a 24/7 stream of artificial intelligence-generated free jazz, comes designed for broadcast into outer space by Dadabots, a collaboration between musicians-turned-programmers CJ Carr and Zack Zukowski (or, according to their about page, "a cross between a band, a hackathon team, and an ephemeral research lab"). Having previously built an AI-generated death metal stream (about whose creation you can read in this computer science paper), they've looked to the skies and trained their neural network on John Coltrane's Interstellar Space.

"These duets between Coltrane on tenor (and bells) and Rashied Ali on drums sound like an annoyance until you concentrate on them," writes Robert Christgau in his original review of the 1974 album, "at which point the interactions take on pace and shape." The neural network "listened to the album 16 times," says the official Databots description on the Outerhelios stream, "then continued to make music in the style."

The project draws inspiration from NASA's probes Voyager 1 and 2, which "launched in 1977 carrying a mixtape Carl Sagan made called The Sounds of Earth. It featured Blind Willie Johnson, Chuck Berry, recordings of laughter, Beethoven, Bach, Stravinsky, along with diagrams of human reproductive organs," all "intended for an audience of intelligent extraterrestrial lifeforms."

Whereas The Sounds of Earth "used a static music format previously recorded by people," Outerhelios follows on Brian Eno's ideas about generative music by inventing a Coltrane album that never sounds the same twice. "For a few minutes, it’ll produce plausible-sounding free jazz," writes Futurism.com's Jon Christian. "Then the drums will segue into an inhuman trill, or the horns will disintegrate into a cacophonous wash of sound. Let’s just say that it’s not your dad’s jazz" — even if your dad happens to be John Coltrane, or indeed Brian Eno. But perhaps it will give NASA just the inspiration it needs to get the next Voyager launched. The sound of the original Interstellar Space got Christgau thinking beyond nations: "European, Oriental, African — I don't know. But amazing." Could the likes of Outerhelios get us thinking beyond the solar sytem?

Related Content:

Carl Sagan Sent Music & Photos Into Space So That Aliens Could Understand Human Civilization (Even After We’re Gone)

Hear the Declassified, Eerie “Space Music” Heard During the Apollo 10 Mission (1969)

The Secret Link Between Jazz and Physics: How Einstein & Coltrane Shared Improvisation and Intuition in Common

Artificial Intelligence Program Tries to Write a Beatles Song: Listen to “Daddy’s Car”

Nick Cave Answers the Hotly Debated Question: Will Artificial Intelligence Ever Be Able to Write a Great Song?

Space Jazz, a Sonic Sci-Fi Opera by L. Ron Hubbard, Featuring Chick Corea (1983)

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

What Happens When Artificial Intelligence Listens to John Coltrane’s Interstellar Space & Starts to Create Its Own Free Jazz is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/2GkKLh6
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their music wi

Moral Philosophy on TV? Pretty Much Pop #32 Judges The Good Place

http://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/partiallyexaminedlife/PMP_032_2-3-20.mp3 Mark Linsenmayer, Erica Spyres, and Brian Hirt discuss Michael Schur's NBC TV show . Is it good? (Yes, or we wouldn't be covering it?) Is it actually a sit-com? Does it effectively teach philosophy? What did having actual philosophers on the staff (after season one) contribute, and was that enough? We talk TV finales, the dramatic impact of the show's convoluted structure, the puzzle of heaven being death, and more. Here are a few articles to get you warmed up: "The Good Place’s Final Twist" by Karthryn VanArendonk "The Good Place Was a Metaphor All Along" by Sophie Gilbert "The Two Philosophers Who Cameoed in the Good Place Finale on What They Made of Its Ending" by Sam Adams "5 Moral Philosophy Concepts Featured on The Good Place" by Ellen Gutoskey If you like the show, you should also check out The Official Good Place Podca