I'll be delivering a class/seminar for Friends Of CC Music on The History of A.I., tentatively on Feb. 21 2026. I'm sharing a draft of (some of) the classes/seminars concluding statements here early as both food for thought and commentary.

Music & “A.I.” (Advanced Idiots)
*Concluding Thoughts Draft*

While much of the same can be stated for the arts in the greater general, musically speaking, the term "A.I." is near, if not completely, synonymous with the term "synthesizer". As such, I've been yet to see an argument, be it for or against "A.I." in the musical sphere, that's been anything other than a rehash of past arguments about “synthesizers” in the same sphere .

The first serious modern advent of "analogue (acoustic) synthesizers" driven by "biological A.I." player systems was in fact the orchestra. The various acoustic instrument sections of the orchestra acting in capacities of oscillators and oscillator wave shape selections. People often forget that THE INSTRUMENTALIST DOES NOT EXIST IN A "CREATIVE" ROLL IN THE ORCHESTRA. In fact, the roll of the instrumentalist was and continues to be simply to act in the capacity of “automa”, where they are ready to both receive and interpret procedural instruction AND execute said instruction with a high degree of technical efficiency and accuracy. Achieving "First Chair" in the orchestra being synonymous with being labeled "The most effective biological A.I." at the given roll placement. Subsequently the "Conductor" of the orchestra serving simply as the "player" or "orchestrator" of the acoustical synthesis and biological A.I. driven system. All be it in arguably an esoteric fashion, I feel the film Bill & Ted's Excellent Adventure spoke well to this via it's scene of unleashing historical figures of the past into a later 20th century shopping mall, where among other happenings, Beethoven is introduced to both musical synthesis and sequencing technologies of the later 1980s. Understandably, freed from the constraints of needing extremely high budget concert halls coupled to high cost individual acoustic instruments, and even more high cost biological human ("A.I.") players of the instruments, Beethoven proceeds to joyously lose his mind and go creatively wild.
youtube.com/watch?v=H2DeBG7pAX…

To put some of the film’s more “esoteric” (hidden) message into a more “exoteric” (publicly understood) context, it’s perhaps worth noting that while the 20th century musical technologies of the 80s not only freed Beethoven of his regular high cost finance constraints while also placing him into more direct and efficient rolls of both control and creativity, it also served as what would have been for his time (and effectively proved to be) a huge monetary economics job disrupter, if not full on destroyer. It disrupted/destroyed the need for the design and construction of the large acoustically adapted concert hall, the need for the large multitude of instruments, as well as the needs for not only the players paired to those instruments, but also the time and finance needed to train those players to be technically efficient in reading music, understanding conductor instruction, and executing play instructions on the instruments to high degrees of technical efficiency. However, in order to both gain and take effective use of his liberation, Beethoven himself was required to hold certain degrees of technical knowledge, understanding, and actionable creative prowess that the technology, by itself, did not and could not give him. Toward such ends, the technology proved NOT to be a threat to the sufficiently knowledgeable and creative, but it did prove as an existential threat explicitly to the sufficiently ignorant AND non-creative.

For those musical artist that feel at threat by “A.I.”, I would propose a simple scientific proof of sorts to relieve them of their concerns. Simply get together with a “band” comprised of two or more flexible musicians (meaning they aren’t bound to any set particular style or genre) that they find of respectable merit, insert any given “A.I.” system that will act as a final musician in the ensemble that is to receive no human control or instruction beyond when to begin, and finally, without any pre-writing or rehearsal, simply give a “1, 2, 3, GO!” and proceed to punk rock jazz free improv on the spot. I assure, the weakest link in the chain will be the “A.I.”; quickly, if not immediately, tripping all over itself and everyone else and revealing itself as little more than an “Advanced Idiot” at best. The reasoning for this is, just as in Beethoven’s time, in contrast to when Bill & Ted led to his introduction to the 20th century synthesizer, the “A.I.” not only lacked “soul” (a seemingly key component to the creative arts according to Erik B and Rakim), but by it’s nature, was only ever capable of replacing the rolls of the sufficiently ignorant and non-creative. It is towards such ends that I would argue that “A.I.” fears speak more towards the very real threat that truly meaningful synthesis technologies have always posed towards the sufficiently ignorant and non-creative. Further, that such threats are applicable to not only “producers” of content, but also to the consumer audiences of “A.I.” content. In essence, “A.I.” fears, notably when taken at large scale, may be just as misplaced as the Beethoven of Bill & Ted would have found fears against the musical technologies that liberated him and perhaps, in reality, speak more towards unacknowledged and systemic issues in regards to standing ignorances, relatable lacks of meaningful education systems, and finally, both related and subsequent lacks in publicly understood technologies and accessible tools that enable liberated agency and creativity.

#Music #AI #AdvancedIdiots #FriendsOfCCMusic #Arts #Technology #Synthesizers #Synthesis #MachineIntelligence #Automation #Creativity #Disruption #Economics #BlocSonicRecords #ChurchOfSpace

Groove Thing Is the World’s First “Internal Music Player” – Do You Dare to Feel the Vibes?
by
Adam Douglas

The vibrating musical sex toy Groove Thing that pretty much broke Kickstarter is showing at NAMM as part of the Music Innovation Hub. Warning: definitely not safe for work!
Groove Thing

We all know that vibrations are a big part of music. Anyone who’s ever been to a rave or club and stood near the bass bins (or crawled inside like yours truly – and I wonder why I have tinnitus) will know that sound affects your body just as much as your mind. Musicians have taken advantage of this too. Maryanne Amacher made unique music that vibrated the inside of your ear, while others are exploring extreme low frequencies to create music that’s more of a somatic experience than a listening one.

And then there’s Groove Thing. Part sex toy, part next-level music experience, Groove Thing is a specialized music playing device that is designed to stimulate your, um, special regions. It had an explosively successful campaign on Kickstarter last year, and now it’s showing at NAMM. Does this mean it’s heading to retail soon?
Vibing

So what is it? The company calls it the world’s first internal music player. You get a Bluetooth speaker that also houses the special resonator controls, which get transmitted wirelessly to a resonator puck. To this puck you attach the resonator shape, and it’s this part that goes inside your body (or outside if you prefer). There are three shapes for both men and women, with more coming in the future. There’s also an optional adapter for attaching your own toys.

Groove Thing says the vibrations go beyond the usual kind, “and actually PLAYS music as physical sensation. With enough fidelity that you can feel the difference between high vs low notes, and guitar thrum vs bass shake. You even feel key changes.”

Suddenly practicing your scales doesn’t sound so boring.
Showing at NAMM, Coming to Stores Soon?

The pleasure-focused company is displaying its wares at NAMM right now as part of the Music Innovation Hub booth, which also includes companies like boutique MIDI controller outfit Dog Paw.

The package has heretofore only been available as part of a Kickstarter campaign, and I believe you can still buy it from the site if you’re so inclined. But since the company is showing at NAMM, that could mean it’s hoping to go wider and move into retail.

Is Groove Thing the next SubPac? Soon we may all be testing our mixes not only in the car but in the body. Or not.

gearnews.com/groove-thing-tech…

Around 2002, a White Guy & a Black Guy began making lots of racket.
Black Guy was constantly on synths n things & White Guy would do all sorts of weird stuff like turntablism, playing rubber bands as basses, but also sumtimes hittin synths, e-bass or weird childrens toys he took from his girlfriends kids.
Din around 2005 an idiot by the name of Mark Sandstorm cided to sign them to D-Fault records. Dis confused Black Guy & White Guy cause dey didn get why sum dance indie rock label douche would want anything to do wit em, but guy said "don fret! cause while weird may not get big numbers, it has a way of gaining dedicated numbers!" so both the guys were like "Whatever.....this is all dumb, LETS DO IT!"
Really cool Acid Allstars techno punk White Girl from Stockholm heard da Guys n was like, "YOU THINK LINDSEY LOHAN'S A CUNT! SO DO I!" so she reproduced some of their material n started screaming the reals about Lohan being a cunt wit the guys. So that was cool n she was totally hot which gave the band a sex appeal front lady or sumting as a bonus.
The album got into a production suck hole of endless delays, but the Ants went out doing some shows n tings n d meantime where they'd get people dancing just to lure them in n den they'd wreck minds with weird the last half to quarter set til the people ran away screaming “mommy make the bad men stop” or the promoters kicked em off stage.
White Guy n the Black Guy sm:)ed because they thought most people were stupid n their music sucked, n that's why no one could have nice things.
When people run away they might leave shit behind n take their bad music n art wit em back to mommy. Fact they got multiple bookings, including a co-headlining slot for a big show wit dis formula obviously proves they were idiot savant geniuses or something......or the human race is just really really ENTIRELY without wisdom. Probably both.
The White Guy became part owner o dis restaurant n Juno Florida that was like the Swiss Family Robinson Tree House but on the ground instead of in the sky, n the Black Guy accidentally went to go work 4 techno Nazis round Denver cause he didn know they were Nazis, even though he knew they'd helped the Nazis keep track of dead Jews in the past, but mostly he wanted to make more art in Denver cause South Florida was lame....which proves something about both the White Guy n Black Guy, but we're not sure what other than that they had to stop making the kids run home to mommie n stuff n the Black Guy was smart enough to use Nazi gold to help screw over Nazis until they laid him off.....
Which was basically a Nazi way of saying,
"We thought you'd be like a techno Obama n not a techno Nat Turner!"
Anywho, the Black Guy met The Other White Guy n Denver then The Other White Guy helped em make a song about Nazi Corporate Catholic Jews cause just like Obamas a black Nazi, there's also JewCat Nazi Setianist like Rothschilds n Hitler.
Then came a song bout how Nazis secretly won the war n MK Ultrad n drugged the shit out of just bout everybody in d world that they hadn't killed with bombs, drugs, or Flynt water.
The Black Guy was like, "Hey Other White Guy, this stuff is Ant material n fills in some blanks of material lost....now dat dere's bandcamps, might as well roll it out since D-Fault defaulted on us."
The Other White Guy, was like "HELLZ 2 DA YEAH!"
So now, unless ya found stuff on myspace (but they went by Piss Ant in those days) you basically now have the most awesome band you never got to hear.
And that's the end of the story.

*this album released on a pay what you want basis because money is stupid and also dumb. AND THAT INCLUDES CRYPTOS!
but feel free to give away crypto for the album to help us feed the money zombies when they attack us if you want.
BTC: 1FuWi1jv6aE78nq4uccDeg9XG75tesubE8

Ether (n other ERC20 tokens [Bancor, Qtum, & TenX preferred):
0x1149881887859c5de1a4ae9cb9dd1193d43f7505 *

credits
released November 23, 2017

The White Guy is Jon Sullivan: Synths, Other Weird Shite, Bass, Programming, Production

The Black Guy is Alien Nesby (A23P): Vocals, Synths, Programming, Backing Guitar, Production

The White Girl is Oedla Oedahl Main Jack: Vocals, Production

The Other White Guy is Tim Dowling: Vocals, Lead Guitar

#Music #PistAnt #TheAudacityOfWastedHopeAndTalent