I stumbled upon the AI dj that Spotify has. It’s plays music you like and music you may like based on history. I used it once and I knew we were all doomed when it played a track of brown noise sounds, sleep sounds not music, then once it was over the dj came back and goes "wow you sure do have great taste in music, how about this next one you may enjoy and plays more brown noise. So yeah, AI is Hella stupid and I’d be embarrassed to listen to ai music
That’s a load of crap, but ok
AI created music will be the reason I cancel Spotify. I haven’t been plagued yet but it will happen. And I will cancel
I’m pretty sure the article is at least mildly ironic. I don’t think he literally believes that “nobody cares if music is real any more.” Towards the end he talks about how AI music is not really art, and it lulls you into oblivion. The writer’s a legit scholar with an academic interest in video games, btw: https://en.wikipedia.org/wiki/Ian_Bogost
no one has cared since record executives have been generating AI generated tier music by hand.
What’s the fucking difference between a rich asshole comissioning music based around market resarch, to be made by some trendy female popstar, written by five different men, the singing gets autotuned, punch clock studio musicians play generic chord progressions and melodies, and it’s all straight ahead 4/4
At least with imaginative gen AI, you can get cool stuff like Pho-que
If you dislike Pho-que, you’ll probably dislike the human counterparts like Shining (Nor) or Naked City
no one has cared since record executives have been generating AI generated tier music by hand.
Reminds me of this NYT video about how a pop song is made: https://www.youtube.com/watch?v=ZaAv5AiBRgY
At the beginning, a musician at a keyboard composes the basic tune. Then a whole series of MFers overproduce it to hell. At the end, the original musician happens to meet the singer who did the human part of the final rendering and is the “star” who everybody watches perform. In a better day, the original musician would be the star, but in this process they are insignificant.
I can still feel some kind of emotion through it. The emotion may just be greed, but it’s at least something. AI generated music doesn’t even have the soul of slime. It gives nothing. It feels like nothing. It’s completely empty and hollow instead of just mostly.
I can still feel some kind of emotion through it.
Ok, I’m pretty sure seeing a sunset behind a forest will also give you a kind of emotion as well. Who is the artist there?
Art is like a greasy mirror, there may be some intent there by the artist, but mostly you see yourself and your own feelings in the work.
Also, the AI generated music doesn’t come from nothing, someone is communicating an idea to the computer which then, based on as much human music as it has consumed, tries to give back something that sounds like what the original person intended. it’s not just a magic “music button”.
So with the AI music, there’s an expression and emotion you can feel coming from the original person (alongside the thousands of other people whose work has been fed into the machine)
If you don’t like it sure.
I’m pretty sure seeing a sunset behind a forest will also give you a kind of emotion as well. Who is the artist there?
I did not say it gives me emotions. I am a super empath; I can feel the emotion put into the work from the artist. AI created shit completely lacks anything to empathize with. There is no soul to feel. The promot given to the AI does not pass anything through into the generated creation.
Sure, whatever. I don’t think that you can tell the difference in a blind test, especially with instrumental music or something like Kraftwerk, but I am willing to assume your subjective sensations are subjective.
Even in that circumstance, the point isn’t that the AI music is “Just as good” it’s “people have been shoveling feelingless, useless slop for decades, and when the audience freaks out about AI being shitty, it rings hollow”.
Jørgen is my spirit animal and Arctopus fucking rules but this take is hot as fuck my dude. Real people making real music with real instruments is art. Generative AI takes our art and makes emotionless, sloppy approximations out of it. If you despise cookiecutter pop now you’re going to be blown away by the absolute drivel that is already being pumped out thanks to genAI. The only reason the song you linked is ‘imaginative’ is because a real human already imagined it only to have it tossed into the slop pile for a computer to root through. Wouldn’t you prefer the ‘actual’ musicians making ‘actual’ music be recognized instead of being buried even further under exponentially growing pools of emotionless notes arranged into emotionless music? The musicians you and I both appreciate for their creativity and skill are having that skill and creativity stolen from them and you’re cool with it because pop doesn’t innovate? Because musicians with decades of knowledge of their instruments and a variety of styles want a paycheck? Record execs have leeched off actual creativity for a solid century now and you want to end them with an even more soulless product that still doesn’t pay artists? It might start with pop but if you think avante-garde, cerebral music will be ignored you’re mistaken.
by the way, do you like Zu as well? To see what I mean, check out the album carboniferous.
You deserve a better reply and I will write you one later, but…
Arctopus fucking rules but this take is hot as fuck my dude.
Bro, the song skullgrid was generated by a Java program that Colin and a programmer friend of his,
possibly Mike, was working on. In 200X. You’ve been rocking out to AI generated music before you even realised. Brian Eno also had some music that was meant to be generated by an automated system, and afaik, so did John cage.Edit : https://colinmarston.bandcamp.com/album/computer-music-2003-2004
the sounds were created in Wire, a program using Jsyn written by Phil Burk, which is a java-based synthesis engine. i created the scores in JMSLscore (a java-based scoring program by Nick Didkovsky). this allowed me to access sounds i created from scratch, but organize them with a traditional musical staff.
“Fore” became the warr guitar part for the song “Skullgrid” from BTA. the first 41 seconds: beholdthearctopus.bandcamp.com/album/skullgridSynthesized music is not AI generated. 🤦♂️
Are you also going to to claim that Bach used AI to create his music because he did so mathematically?
I remember talking to the guy that recorded that song about the composition of that song, and the evidence trail in this message. So yeah, it was generated by a program that is meant to compose music based on loose parameters or something you put into it instead of choosing where all the notes go.
And no, I’m not saying Bach did AI work.
I created the scores in JMSLscore
He created the score. If you equate using scoring software, MIDI and synths to creating slop with genAI we’re done here my dude.
now, not to be an asshole, but I remember 1) talking to Colin before a Gorguts show in 2014 ish and 2) Hearing it confirmed in an interview.
Oh also, in the documentation for JMSL (Java Music Specification Language) its puropuse is to :
It is suited for algorithmic composition, live performance, and intelligent instrument design. At its heart is a polymorphic hierarchical scheduler, which means Java objects that are different from one another can be scheduled together and interact with each other in conceptually clean and powerful ways.
JMSL’s open-ended nature will reward your programming efforts and your creativity by offering you a rich toolkit for making music.
Just to beat on this idea a bit more, with JMSL you can make music based on experimental music theory, statistical processes, any algorithms you can implement… you can notate that music using JMSL Score, or leave it in the abstract. You can use Java’s networking tools to grab data off the Internet and sonify it. You can _________ (fill in the blank and start slingin’ code).
If you want to open a window with standard music staff notation and start entering notes, JMSL Score will let you do that as well. Straight out of the box. Later you can start writing your own custom note transformations, or generating musical material automatically, which JMSL Score will notate for you. Of course all music generated for and within JMSL Score can be mouse-edited, and transformed again!
https://www.algomusic.com/jmsl/download.html
JMSL_v2_20250209\JMSL_v2_20250209\html
I see where you’re coming from and will concede JMSL’s ability to algorithmically create music.
I still maintain an artist using that or similar software (Guitar Pro, etc.) to translate their own ideas into a more manipulateable form for composing/practicing is fundamentally different from prompting a genAI that has been trained on ideas stolen from actual artists.
That said, music written via formula to cater to the lowest common denominator and generate the greatest possible monetary return is certainly closer to how genAI is/will be used, but the human element involved in writing, recording, and performing that music still distinguishes it from the sort of slop showing up on Spotify. AI generated works are an exemplar of derivative beyond that of even the blandest pop. The only human involved is the prompt writer at best; lyrics, melody, the recording itself are statistical approximations and entirely devoid of human creativity and that is an utter tragedy.
I’d much rather the record companies be replaced with systems that don’t alienate the artists from their labor and creativity. Embracing slop is playing into the execs hands and removes all artistic merit from the process.
Quick edit; Generated slop training on generated slop is already a problem and will get exponentially as more platforms are flooded with it. That will only alienate and divorce it even further from reality. It will only get worse.
Here’s the time I’m devoting to your deserved response to both posts you made. Sorry about the delay.
I see where you’re coming from and will concede JMSL’s ability to algorithmically create music.
I still maintain an artist using that or similar software (Guitar Pro, etc.) to translate their own ideas into a more manipulateable form for composing/practicing is fundamentally different from prompting a genAI that has been trained on ideas stolen from actual artists.
Yep yep, true fax.
Quick edit; Generated slop training on generated slop is already a problem and will get exponentially as more platforms are flooded with it. That will only alienate and divorce it even further from reality. It will only get worse.
Yep yep. Feedback loops in neural nets are bad business.
Wouldn’t you prefer the ‘actual’ musicians making ‘actual’ music be recognized instead of being buried even further under exponentially growing pools of emotionless notes arranged into emotionless music? The musicians you and I both appreciate for their creativity and skill are having that skill and creativity stolen from them and you’re cool with it because pop doesn’t innovate?
Right. “buried even further”. It has pained me for about 20 years that the greatest musicians of our time are just fucking left to rot away on random ass jobs and release one or two fucking albums here and there, hold down meaningless day jobs and the corporate shitshovels rake in the big bucks and dictate what music is. The damage has already been done before any computers, AI, or anything of the sort entered the picture.
The article is about how there’s generic AI music on spotify. Before that, there has been a fuckload of generic human music on spotify; but when you said the generic shitty human music was generic, shitty and soulless, you got painted as some heretical elitist. I dunno, maybe I’m too millenial , since while Estradasphere was ignored, Igorrr is at least playing big festivals to big crowds and recognized in places.
The damage has been done already, and I am getting mad at people blaming new tools based on existing compositional ideas for the human failures that have existed, and will continue to exist as long as there are human beings.
Record execs have leeched off actual creativity for a solid century now and you want to end them with an even more soulless product that still doesn’t pay artists?
I don’t particularly want to hear shitty generic AI music any more than I want to hear shitty generic human music. It’s all the same bottom of the barrel crap. Artists have been complaing about getting no money for working with record labels already. No one’s getting fucking paid to begin with.
The take home message for me isn’t “The machines are killing us” it’s “Man is a wolf to man” and blaming tools is distracting us from the actual eternal message and truth. It’s not the fault of an uranium ore that it was used to bomb Nagasaki instead of power a nuclear plant; or improperly disposed of and caused cancer. It’s people that are bombing each other and giving each other diseases. The war in Israel/Palestine/North of Ireland/Northern Ireland isn’t religion; it’s desire for resources and the minds of people.
The only reason the song you linked is ‘imaginative’ is because a real human already imagined it only to have it tossed into the slop pile for a computer to root through. Wouldn’t you prefer the ‘actual’ musicians making ‘actual’ music be recognized instead of being buried even further under exponentially growing pools of emotionless notes arranged into emotionless music? The musicians you and I both appreciate for their creativity and skill are having that skill and creativity stolen from them and you’re cool with it because pop doesn’t innovate?
Right, but there’s many instances of art being made like that and then shoved into museums. Sometimes it’s compositionally interesting to set up a system and try to coerce emergent behaviours, or to create a loose system with randomised parameters and a rough idea of what you want so that it’s different every time.
Sometimes it’s nice to listen to a hand crafted masterpiece where every meticulous detail has been laboured over for years and years.
I don’t want AI to displace human made music, far from it. I love music, I make music, and I want my favourite musicians to be able to make ends meet.
But I don’t want to cloud my objective judgement and say “this is a robot, it has no feelings therefore no one is expressing anything”. The roots and processes that led to the AI have a foundation in both human artistic (music, visual arts) and mechanical (mathematics, programming) creativity and vision. And not just “programmer wrote neural net, fed it human music”.
Like I mentioned various times throughout these rambling, asenine posts, mechanical composition and using chance in music generation have been in place for fucking ages. Eno, Cage, Russolo and I’m sure someone, some point in history has set up a musical performance near birds on purpose to have them accompany.
People have made art through collages and songs through sampling and distoring samples. Programmers have been writing procedural music generation for a long time; I have no idea since when, but I’m sure it has existed; dynamic music in games has existed since the 00s at least, probably longer.
I think, and I need to emphasise this : in a non mass market, corporate media way, these AIs are a way of experimenting with music, and having fun, seeing what comes out when you change parameters. These things are meant to have the entirety of human creative works (or close enough to it) lying in them, surely you can get some interesting things to come out of it if you fiddle it enough and then think about it.
That said, music written via formula to cater to the lowest common denominator and generate the greatest possible monetary return is certainly closer to how genAI is/will be used, but the human element involved in writing, recording, and performing that music still distinguishes it from the sort of slop showing up on Spotify.
Yeah, and it sucked when it was some random pop musician getting paid through the ass for no fucking reason than being a product. You know what, it’s worse with a person, because it sets the bar of musicality through the floor and says “this is what people can aspire to do : the bare minimum and it will yield the best life for them. No need to try harder for music! Just replay the same fucking chord progression and you too can make millons.”. At least if it’s a shitty AI song, everything is transparently stupid. “Of course it made #1, it was mathematically engineered to offend no one and make no statements in a computer”. Removing the human element at least lays bare the transparent money trap the generated sound is.
AI generated works are an exemplar of derivative beyond that of even the blandest pop. The only human involved is the prompt writer at best; lyrics, melody, the recording itself are statistical approximations and entirely devoid of human creativity and that is an utter tragedy.
But that’s the thing man, it all boils down to what the prompt writer is doing. If they put in “make new pop song” than yeah, of course it’s going to sound like nothing. If they actually take the time to write out a clearer vision of metaphors and feelings and ideas, perhaps it will come out with something better and unexpected; For example, Shining does some pretty cool saxophone tricks, but I have never heard his voice actually turn into the saxophone and back again the way I heard it in a passage in Pho Que. These kinds of accidents and emergent behaviours can come about because of glitches or the vision of the person controlling the music generation. It can be done by hand in regular music creation, sure, but the AI generated music can do fun cool things as well that can inspire.
Again, I don’t want AI music to replace human music. But I think it’s a really simplistic way of looking at things whenever I see “AI bad” all over lemmy. I mean, I also don’t like seeing the fake bands pop up on YT and spotify, especially when they pretend they are “real musicans”, especially when what they are doing has already been done by people and now they are overshadowing the actual people.
But that’s not the fucking neural net doing it; it’s some asshole trying to make a quick buck, or someone who had an idea that they got carried away with. We’re back to the central theme : “Man is a wolf to man” .
Anyway, that’s it for now, I have some other ideas I wanted to bring up but couldn’t find a good place to crowbar them in (The evolution of Shining’s sound for example). I hope you read this and thank you if you did. I value your opinion and I’m glad to run into someone else into BTA and heavy music with saxophones.
I have felt for a long time now that it was a shame that Rock ‘n’ Roll stopped having saxophones in it. Some bands are bringing it back, but some of them use it too smoothly in serene passages wheras I want the saxophones to screech and make hell noises over heavy guitars.
Hey dude, I do appreciate the thorough and thoughtful response. I respect where you’re coming from and largely agree with most of what you’ve said, but I think a key point where we differ lies in our respective interpretations of homo homini lupus.
I’ll have to simmer on it for awhile myself to develop a more nuanced argument, but my first instinct is two-fold; there have always been wolves among us eager to rip our throats out, yet humanity continues to grow and progress despite (and frankly to spite) them. Man may be a wolf to man, but ape together strong and we are capable of overcoming the wolves in our midst.
Secondly, I think you’re letting the misanthropy in too deep. I think the injustices you and I and many others are witnessing, both in the music industry and the world at large, are the product of small men wielding outsized control, power and influence over those without. The music industry is a prime example of capital alienating the worker from their labor and that, I think, is the true root of the issues informing your disillusionment. I won’t go too deep down the anti-capitalism rabbit hole (this time) but I will pose to you a question; who benefits more from generative AI, the wolves or the apes?
As I said, I’ve got more thoughts to distill into coherency but that must needs happen in the light of day, not the grey of dawn.
That said, I’m absolutely capable of coherency when it comes to discussing heavy avant-garde and especially saxophone. Frankly you are likely the only person I’ve interacted with who is capable of appreciating this story;
I emailed Jørgen about…15 years ago at this point? After Ihsahn released After but likely before/around Blackjazz dropping. I was playing tenor sax in high school at the time and wanted to know if he’d transcribed any of his work on After. He replied! And told me “Sorry I made it all up on the spot” which was disappointing but also made me respect him all the more. I was on the barrier for the Nightside Eclipse anniversary tour a few months ago when I recognized the man setting the synth up. You should’ve seen the doubletake he did when I called out his name! Emperor obviously slayed, but that little interaction with Jørgen is my favorite memory of that night. His work has inspired me for a long time and I absolutely agree that saxophone as well as other traditionally orchestral/symphonic instrumentation is capable of fitting into metal and other non-traditional genres. Ne Obliviscaris is another prime example with their violinist.
The level of deconstruction (shoutout Hevy Devy) required to dismantle a genre and piece it back together in new ways, with new instruments and concepts and to make it all coherent is human creativity at it’s finest. You mentioned the sax to voice transition in Pho Que as an example of emergent creativity, but I posit (and insist) that those pieces already existed within the realm of humanities creativity. Vocoders have been in use in some form or another for a very very long time (Cynic’s Focus being my personal favorite) and connecting the dots between them and saxophone isn’t much of a leap IMO.
True musical innovation, true creativity comes from connecting much more disparate dots in new ways and our current socioeconomic systems are more than happy to replace those qualities with generative AI trained on stolen human creativity in order to line their pockets further. You’re absolutely correct that the machines aren’t killing us; their owners, however, are more than happy to build orphan-crushing machines. The wolves are absolutely the problem and they are shoveling slop at us to make us slow, stupid, and fat. Don’t fall for it.
That is by no means AI generated, and certainly not by today’s understanding of the term. If I write a score and design an instrument (or sound, etc), that is still a creative process. Brian Eno literally created ambient music with algorithms like that, but it is still his creative work.
My point is just computer-generated ≠ ai-generated in general discourse.
What’s the difference? Why isn’t it seen as a collaboration between the person writing the prompt (using a scripting language) and the programmer/designer of the generation software and curator of the Data set?
I’m not sure I entirely follow you (I’m only half awake, sorry), but programmed music is only generated by computers insofar the computer is generating 44100 samples every second based on a set of mathematical rules the composer made. AI music is generated based on huge datasets and probability; the composer has very little to no specific control.
If I program a instrument/synth in Supercollidor or Pure Data or some hardware synth, and then sample the instrument/synth or create and sequence a melody for it on my MIDI (piano) keyboard or Schism Tracker, etc., I have complete and absolute control over everything, down to the very waveform. In that case I am truly and purely the creator of the piece.
If I type in a prompt, I am just playing a probability lottery. I have done jack shit more than describing a piece of music.
I might have misunderstood you though. For now, I’m going to bed. Good night!
First read this post I already wrote (TL;DR : the software he used was software for generating music, not writing a composition) : https://lemmy.world/post/32532002/18110617
Second, apologies for mixing metaphors and rambling about many things at the same time that are similar. The callout about synthesisers is about them reducing band sizes, not about composition.
If I program a instrument/synth in Supercollidor or Pure Data or some hardware synth, and then sample the instrument/synth or create and sequence a melody for it on my MIDI (piano) keyboard or Schism Tracker, etc., I have complete and absolute control over everything, down to the very waveform. In that case I am truly and purely the creator of the piece.
I agree with this complely.
Brian Eno literally created ambient music with algorithms like that, but it is still his creative work.>
If I type in a prompt, I am just playing a probability lottery. I have done jack shit more than describing a piece of music.
This is the center of the kind of point I’m trying to get to with John Cage and Brian Eno. They made partially completed pieces that were to be re-assembled algorhymically by machines later on, giving up complete creation of authorship to an inhuman entity. Tie that to :
Why isn’t it seen as a collaboration between the person writing the prompt (using a scripting language) and the programmer/designer of the generation software and curator of the Data set?
There are very structured and algorithm based ways of writing music , that can be automated in a computer, and varied with parameters. Composers/programmers were already doing this in experimental music. They do , and continue to do it in video games with dynamic soundtracks that react to combat intensity. What’s the difference between these and writing a prompt that says “generate a 3 minute song based off a popular jazz standard chord progression, instead of saxophones use Neys, instead of a double bass use a church organ, make the drums sound like they are from the 1900s, use the song stucture of intro-chorus-interlude-chorus-solo-outro , set the tempo to 150 bpm but make it get faster between structure changes, and use 4/4 time for the intro, swing in the rest.”
Do I have to go record several pieces of music or have a synthesiser play through variations of the chord progressions, cut them up and roll a dice by hand for it to be my composition?
The core idea is that record executives have been doing that since pop music existed. No one involved in the process wanted anything other than to make money. It’s the same fucking picture. No one gave a damn before, but now they do. It seems stupid to not care back then.
What’s the fucking difference between[…]
Multiple people are getting paid so they can make a living, more money flows through the economy and even if you don’t personally find it to your taste, it’s still the result of cumulative human efforts.
Gen AI has its uses in personal entertainment but I will spit on the corpo who tries to make me pay for art a person didn’t actually compose/play.
Spotify is no paragon of morality but at least I can find real, human artists via the platform and see/support them in other ways.
When it comes to human expression, I only want my money to go to human expression (even if it’s deemed “soulless”).
even if you don’t personally find it to your taste,
This is the bit that pisses me off though. Corporate music has always been soulless slop, and when you point it out “oh that’s just like your opinion man”.
To get philosophical, because that’s what the topic is; mathematics, life, human conciousness are based off similar patterns. Conway’s game of life demonstrates purely mathematical cellular automata; when you go down to the chemical level, life is cellular automata with chemicals, which give way to cells, and complex structures and human beings.
Corporate pop does the same fucking shit the godless AI does. People don’t sing, they don’t give a shit, and it’s just there as another piece of slop for idiots to fucking consume. It works in a similar way to the AI; it catches onto patterns, rigid bullshit defined by someone moron that says “hey, the millenial whoop is popular this decade, cram it into the songs we’re releasing for fiscal quarter 3”. “this year’s hot rhythmn is the reggeton clave, shove that in”. Then the zillionaire that teenage girls somehow get 1k dollars in order to see goes on stage , dances a bit and DOESN’T EVEN FUCKING SING.
The AI does the same shit “Oh, the guy put in sad, make it pianos and minor chords”. But now it’s not about fucking opinion, it’s a fucking abomination that must be extinguished. “It all sounds like slop” My brother in christ, have you heard 80s pop music?
It’s the same fucking pattern.
“oh noz, the AI is putting the real musicians out of bidness” Yeah, corporate pop doesn’t do anything like that. That’s why the greatest composers of our modern era have to manage touring schedules with working real fucking jobs and making losses on their tours, becuase fuck me, my opinion is worth fucking nothing. It’s the same thing. Fucking DJ sets are walking around using synths instead of analog instruments, but that wasn’t the crime putting honest musicians out of business, no, it’s the fucking guy in india typing in a generic description into sumo ai to turn a quick buck.
How do fake bands dominate spotify when regular ones don’t? It’s easy; corporate business practices mean that the business side of music (or any endevour, let’s fucking face it) is a zillion times more important than the actual musician aspect of music.
If this sounds like I’m on the side of AI; it’s not. The point is that it’s been too late for fucking decades, acting outraged about what’s happening now because it uses new tech is blaming the statistic department for rises in heatwaves.
I wholeheartedly agree with you for the most part, but one thing confuses me. You say
Fucking DJ sets are walking around using synths instead of analog instruments […]
Synthesizers can be both analog or digital. Neither is even remotely comparable to AI music, as there is still a very real composer. Is this a typo/misunderstanding? Thanks for clarification!
just trying to contrast the use of synths to replace musicians that would have to perform with the DJ. Or drum machines, or whatever.
I wasn’t trying to contrast analog/digital synths, just “fake” instruments to “real” ones.
Sorry, I’m not sure what you mean?
DJs never performed with bands? Disc Jockey. They’ve always played pre-recorded music.
Synthesizers also aren’t used to replace musicians. It’s a totally different sound. That’s like saying the piano replaced the upright bass because it can hit all the same notes. Just not how that works.
Also why throw shade at synths at all? They’re very far from fake instruments, if you’ve ever sat down to actually understand them and listen to synthesizer dominant music outside of the 80s pop you dislike so much
The idea is drawing paralels to already established bullshit that’s been “putting musicians out of business”. A person doing a DJ set for a “live gig” like Skrillex should be seen as putting musicians out of business if this stupid elevator music tier AI BS is being put up on spotify. Compare and contrast Skrillex with modern Igorrr, he has like 4 people on stage with him doing a DJ set, Skrillex (or insert solo DJ "performer here) is just alone on stage.
They had the same fear with synthesisers, “who needs a trumpet or flute player when the Moog synthesizer can do it all?! Look at it play an orchestra’s worth of sounds on “Switched on Bach”!”
I guess I need to put a signature or whatever on these AI posts : “my point isn’t that AI is awesome, it’s that human beings have been doing this shit long before neural net AIs came along to make this shit up”. The point of the post is “Nobody Cares If Music Is Real Anymore” My point is “They haven’t for fucking ages, why the tears now?”. It’s not “AI generated music great” , its “Humans have been making soulless slop forever”
Also : “Artists already made art worthless during the post modern era with Warhol and Pollock; what are you getting mad at software developers for?”
No I get what you’re trying to say, the problem is your arguments make no sense
The number of musicians on the stage is irrelevant. I’ve seen plenty of shows with a single guitarist. They aren’t costing other musicians anything by doing their own thing
You also are trying to make the point that people “suddenly” care just because it’s AI even though you reference nearly 50 year drama in the same post
Yea there are parallels between the AI slop situation and other technological advances (invention of the camera, moving pictures, typewriters, and so on) which you are trying to illustrate but your illustrations are misguided. There’s a clear difference, and your strategy of throwing artists under the bus isn’t going to accomplish anything. Not that you seem to actually want to accomplish anything other than making some grand proclamation about society
You still pay people, not AI. It’s people who do it, people who maintain it. People who maintain the AI itself etc. It just shifted from one tech-field to another tech-field. If you’d compare the soulless calculated success pop-shit with the ai-shit that is.
But I get your point.
Your down votes are basically “programmers aren’t people”
He he, yup. And all the others around that. REAL artists will never be replaced. The replaceable “artists” probably will. Those that do what the LLM does, just inferior.
The main difference is that AI can’t be innovative at all
Corporate pop has never been innovative; at its most Avant Garde it takes experimental aesthetics and crams them into tin pan alley song structures.
Agreed. Ultra commercial music has always existed. With AI, the threshold to creating it is simply much lower. There’s nothing magic about music just because it’s created by a human, they are very capable of producing bland and uninteresting music too.
I listened to whatever that is for a full minute and it was literally a long screeching note the whole time… Wtf is it supposed to be? Music?
Great, it fucked up. I have heard other people complain about this when I used it as an example, but I JUST NOW heard it too. Fucking whatever. If you actually care try again a few times. If you don’t whatever.
i stopped listening to new music in 1995, still haven’t finish exploring past records
