Although its impact is felt to a greater or lesser extent in all industries, artificial intelligence seems to especially threaten artistic work, especially to music. A more detained look, however, shows that what we live today is nothing more than a new chapter in the long link between technology and soundswhich has radically transformed the way we listen, produce and share melodies and songs. And that it is not the first time that music faces a technological revolution.
At the end of the 19th century, for example, the invention of the phonographer and the gramophone broke with the ephemeral music: the sound ceased to be unassable to become an recorded object. This change was received with resistance: it was feared that the recording will beaten the musical experience, domesticate the noise and will kill the authenticity of the living.
However, that same technology allowed Keep musical traditionsamplify voices that would not have been known for new generations without the microphone and Democratize access to the sounds of the world.
It was, at the same time, a merchant weapon and a conservation tool. Are we not, in a similar situation today?
At present, artificial intelligence generates songs, recreates voices of deceased artists and composes in seconds what a musician can take weeks. Are we facing the end of musical art as we knew it?
At present, artificial intelligence generates songs, recreates voices of deceased artists and composes in seconds what a musician can take weeks.
In his book Resist hemlocks, The Argentine philosopher Mateo Belgrano takes up the ideas of the Frenchman Bernard Stiegler to explain how these platforms can be the prostheses of our will, which presents the risk that if we completely give it our decisions, if we stop exercising the aesthetic judgment or If we replace the experience with the algorithm, then, we could be advancing towards an “artificial idiocy.”
In addition, as the musician Juan Ibarlucía points out in another recent work, Noise newspapers– The hyperproductivity of artificial intelligence has created An economy of the “overreproduction” that threatens to devalue the artistic content. In a world where hundreds of thousands of songs per day are uploaded to Spotify, many of them automatically generated, saturation can make us lose the very meaning of the musical.
Music saturation can make us lose the very meaning of the musical.
But it is in that excess where A counterculture can emerge: The return to the value of the unableable. The only thing that AI cannot replicate is living experience, human error, the unrepeatable gesture. Therefore, today we see that many young people are rediscovering free jazz and improvisationamong others non -programmable and unpredictable expressions.
It is clear that, as for his link with art, Technology is not the enemy. Like any tool, its impact depends on the use you give. The previous technological revolutions did not destroy music; They transformed it. The current challenge is to avoid falling into the trap of passivity.
It is not about resist Artificial intelligence with nostalgia, but to use it critically, taking care of what makes it valuable: the spark of the human.
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