Parallel Dimensions | Berlin
Artificial intelligence in the context of music
GROVES on the role of Artificial Intelligence in the context of music, media and composition at Parallel Dimension in Berlin on 8 November.
Christoph Groß-Fengels, Managing Partner of GROVES Sound Branding, Hamburg takes part in the panel discussion with Kjartan Olafsson from Calmus Waves about AI and its impact and diversity on media, art and music.
Artificial intelligence is influencing and revolutionising the world we live in. So what are the opportunities, challenges and risks in the future use of artificial intelligence in the context of music makers?
This exciting event is taking place this week under the Nordic flag at the Nordic Embassies in Berlin. Each autonomous, yet together.
An exploration of space, time and perception
25 leading contemporary Icelandic artists, designers and innovators present a variety of media and materials at the Nordic Embassies – Felleshus in Berlin. The Nordic Embassies, consisting of the countries Denmark, Finland, Iceland, Norway and Sweden, already initiated this exciting, transnational format in February 2022 with part 1 of 2. The continuation will now start on 8 November with a highly relevant topic:
Calmus Waves, an interdisciplinary art project in which choreography, music and lighting are generated in real time with the help of artificial intelligence (AI). Calmus stands for “Calculated Music” and is based on a series of algorithmic methods that are linked together in a larger hierarchy to create and manipulate musical material. The structure and the basic material are usually constructed and selected by the user, but the programme itself can compose the material object at a certain level.
„For these reasons I began the construction of CALMUS (Calculated Music), a computer program for musical composition where I attempted to create functions that more directly deal with musical problems, both compositional and technical. The program has been constructed and developed through compositional exercises and actual compositions. Each piece has brought up new technical and musical problems that have pushed forward the development of the program“.
The temporal and register positioning of the musical objects is done manually by the user.
Technically, this is a relatively simple procedure, but the evaluation of the overall musical result of the objects, such as sonority, colour, density and the overall development within the object, can be so complex that it can be too difficult to evaluate them in the process of creating the composition.
The programme only deals with the musical object of the composition, i.e. the basis of its structure. It does not evaluate the final sonority of the object, but the temporal and register positioning of sounds and events in the objects of the composition.
We are delighted to be part of this transnational and interdisciplinary format. After all, our industry, which brings together music and brands, is also significantly affected by these developments. AI is not only used to analyse consumer behaviour, but also to create and disseminate the sonic identity of a brand via various “listening points”. This can include the use of AI to create personalised audio experiences, such as tailored music recommendations or customised voice assistants.