Russian art market in 2017

[Seriy]

Vladimir, the music robot analyzes the preferences, but offers live music of the original authors.
These are different things.

[artcol]

Сообщение от Vladimir

This technology will likely in the foreseeable future. True, we must avoid the word "artist" , as the car is not a generator of new meanings . Rather, it will be e- Configurator design images. The user fills in the questionnaire , said test masterpieces, which he liked, and the program gives him a set of images, according to your preferences . For example, the posters for decoration of office space . Many options - you can dream up .
Now it is being done in music. The machine analyzes the kind of music you listen to and shoved news, you might like .

And the technology is ready - the question of implementation. Plus 3D Printing. It would be a revolution akin to the revolution in music >
But the elite , high art will remain an art. You have it.

[Кирилл Сызранский]

Сообщение от artcol

It would be a revolution akin to the revolution in music >

And what a revolution in music?

I missed something?

[artcol]

Сообщение от Cyril Syzran

And what a revolution in music?
I missed something?

Yes, the phenomenon of the Internet type:

In the late seventies of the last century created a digital musical instrument, which implements a fundamentally different approach to the synthesis of music, called "sampling". Literally the word means sampling. Synthesizers, which embodies this principle are called samplers, and sound samples - samples. The recording process is called digitizing samples or sampling.
Any sampler itself is an ordinary piece of iron or program. To him was of at least some sense, necessary samples, that he can play. No matter how expensive and professional sampler would not you, the most important thing - it's high-quality samples. Conversely, even if you are a beginner and do not use very powerful sampler, a high-quality samples are able to transform and enrich the sound.
The method of playing samples allows to achieve high realism. The reason is that the playback device, samples have to deal with acoustic and synthetic sounds of real musical instruments. When the sample playback device receives Note On, then instead of creating a sound it reproduces digital sample, which can contain any actual sounds - from piano to a wolf howl or sound of any synthesizer or drum machine.
With the samples you can do anything. You can leave them like there is, and the sampler will be heard voices, almost indistinguishable from those instruments, voices of primary sources. Samples can be subjected to modulation, filtering, and effects of exposure to get the most fantastic, unearthly sounds.
The difference between samples from normal audio is that their length is small (though not always). In addition, there are actually several kinds of samples: one-time samples (One-shot samples), which are commonly used for sound effects and percussion sounds and played once from start to finish, there is no recurrence, and cyclic samples (Loop samples), and called sample-based loops or loops (Loops) - they simulate the entire instrumental parts, such as four strokes drum instruments.
At the moment, thanks to the wide dissemination of software devices play samples, the opportunity to create full-featured music by combining the cyclic samples, while no longer required. You can even purchase a collection of cyclic samples, stored on a CD-ROM in a professional studio.

[Кирилл Сызранский]

Сообщение от artcol

an opportunity to create full-featured music by combining the cyclic samples

A wonderful opportunity.
Of course.
I understand this - samples, and even cyclic.

But where is the musical revolution?

[artcol]

Сообщение от Cyril Syzran

A great opportunity. Of course. I understand this - samples, and even cyclic.
But where is the musical revolution?

From an article about industrial style.

The idea of ​​using sound as a musical element has its origins in the Italian futurist manifesto Luigi Russolo (Luigi Russolo) «The Art of Noise," published in 1913. By itself, the manifesto of the artist was inspired by the work of Russolo Futurist composer Balilla Pratella (Balilla Pratella), whose "Technical Manifesto of Futurist Music" (1911) contained the following sentence: "[Music] shall transmit the spirit of the masses of huge industrial complexes, trains, ocean aircraft, military fleets of cars and airplanes. All this should add to the great central theme of the poem the area of ​​machinery and winning the sphere of electricity. " Pratella own music was much more conservative than you might think of him. Even a few years before Pratella more famous classical composers began to talk about the development of music.
In 1907, Ferruccio Buson (Ferruccio Busoni) wrote in the "Outline of a new musical aesthetics": "In what direction should be sent to the next step? to abstract sound, free equipment and unlimited tonal material ». Buson also did not follow this next step, but it did Schoenberg, Ives and Cowell (Cowell), from 1907 to 1919 to experiment with music, which by growing rapidly develops into atonality dissonance, as well as (in the case of Cowell) with ways to use old methods tools.
Separately, we must mention, and Alexander Scriabin, who tried in the 20s to create their own music system and experimenting with the interaction of sound and light. Industrial musicians, by the way, give him a debt of respect - Genesis Pee Orridzh, for example, at different times, recorded two large-size items, one of which was used musical principles formulated by Scriabin («Mouth of the knight»), while the other was devoted to its memory («Scriabianism »).

The massive use of this approach became possible after the so-called the figures.

[Кирилл Сызранский]

Сообщение от artcol; 1943241"

Mass use of this approach became possible after the so-called the figures .

So I knew about the " made ​​possible ", but I do not see a revolution in music.

should be mentioned separately and Alexander Scriabin , who tried in the 20s to create their own music system and experimenting with the interaction of sound and light.

He tried , yes, but not in the 20s and earlier - Scriabin in 1915 is dead , and we know it is not due to some sort of "attempts " and on the works he wrote and executable - on "Poem ecstasy , for example, or on " Prometheus ."

[artcol]

Сообщение от Cyril Syzran, 1943251

, we know its not because of some sort of "attempts"

Well, someone in this connection his name knows.

Added after 4 minutes

Сообщение от Cyril Syzran

I do not see a revolution in music.

It depends what you mean by music and revolution.
Ambient, industrial - many call it a revolution.

[Кирилл Сызранский]

Сообщение от artcol; 1941771"

in 2017 will be the first robot-artist, and he was immediately released on the Internet. Hello, I'm E-VanGog, I'll draw a qualitative picture for everyone, please answer the following questions: Do you want a picture in the style of: 1) the vanguard of 2) impressionism 3) academic, etc.

Draw me sometimes imagination
Most of the electronic machine
Tungsten and nickel, plastic and glass.
It lays the artist themes:
"Lilacs," "Bread," "Sunset on the Volga," "Fish" ...
Includes contacts, distributed
Shmelinoe bass drone,
And immediately there on the canvas
The only possible strokes.
And the artist himself
In a comfortable overalls
Only occasionally podvichivaet terminals
Yes briskly rub with a chamois
And without that shiny metal,
So that night, among his fellows.
Say, blowing with a thick foam cups:
- Today the work the glory!
For change issued five large canvases! ..

Looks like just around the corner this time,
Because today there are artists,
Such a machine similar to the electronic
That inevitably takes frightened ...

But it seems to me that if
In the proton-electron it tomorrow
There will be fools, they will eagerly
Digging a decrepit antiques
The old "cottage" canvases.

[artcol]

Сообщение от Cyril Syzran

Because today there are artists,

Such a machine similar to the electronic

That inevitably takes frightened ...

What is it and ...