Kirjahaku

Virtual Music is about artificial creativity. Focusing on the author's Experiments in Musical Intelligence computer music composing program, the author and a distinguished group of experts discuss many of the issues surrounding the program, including artificial intelligence, music cognition, and aesthetics.The book is divided into four parts. The first part provides a historical background to Experiments in Musical Intelligence, including examples of historical antecedents, followed by an overview of the program by Douglas Hofstadter. The second part follows the composition of an Experiments in Musical Intelligence work, from the creation of a database to the completion of a new work in the style of Mozart. It includes, in sophisticated lay terms, relatively detailed explanations of how each step in the process contributes to the final composition. The third part consists of perspectives and analyses by Jonathan Berger, Daniel Dennett, Bernard Greenberg, Douglas R. Hofstadter, Steve Larson, and Eleanor Selfridge-Field. The fourth part presents the author's responses to these commentaries, as well as his thoughts on the implications of artificial creativity.The book (and corresponding Web site) includes an appendix providing extended musical examples referred to and discussed in the book, including composers such as Scarlatti, Bach, Mozart, Beethoven, Schubert, Chopin, Puccini, Rachmaninoff, Prokofiev, Debussy, Bartok, and others. It is also accompanied by a CD containing performances of the music in the text.

I have been much absorbed in David Cope's poetry as necessary continuation of tradition of lucid grounded sane objectivism in poetry following the visually solid practice of Charles Reznikoff & William Carlos Williams. Though the notions of 'objectivism' were common for many decades among U. S. poets, there is not a great body of direct-sighted "close to the nose" examples of poems that hit a certain ideal objectivist mark-"No ideas but in things" consisting of "minute particulars" in which "the natural object is always the adequate symbol", works of language wherein "the mind is clamped down on objects", and where these "Things are symbols of themselves. " The poets I named above specialized in this refined experiment, and Pound touched on the subject as did Zukofsky and Bunting, and lesser but inter­ esting figures such as Marsden Hartley in his little known poetry , and more romantic writers such as D. H. Lawrence. In this area of phanopoeiac "focus," the sketching of particulars by which a motif is recognizably significant, David Cope has made, by the beginning of his third decade, the largest body of such work that I know of among poets of his own generation. Allen Ginsberg Table of Contents Foreword, Allen Ginsberg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v THE STARS The Line-up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 . . . . . . . . . . . . Empty Street . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 The River. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Down on the Farm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 The Storm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 6 American Dream. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 . . . . . . . . . . Baseball. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 . . . . . . . . . . . . Crash. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 . Lunch Hour. . . . . . . . . . . . . . . . . . . . . . . . . 9 . . . . . . . . . . . . . . . . . . . Winter Camp. . . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . . . . . . . A Circle of Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 . . . . . . . . . . GO Labor Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . . . Peace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 . . . . . . . . . . . . .

I have been much absorbed in David Cope's poetry as necessary continuation of tradition of lucid grounded sane objectivism in poetry following the visually solid practice of Charles Reznikoff & William Carlos Williams. Though the notions of 'objectivism' were common for many decades among U. S. poets, there is not a great body of direct-sighted "close to the nose" examples of poems that hit a certain ideal objectivist mark-"No ideas but in things" consisting of "minute particulars" in which "the natural object is always the adequate symbol", works of language wherein "the mind is clamped down on objects", and where these "Things are symbols of themselves. " The poets I named above specialized in this refined experiment, and Pound touched on the subject as did Zukofsky and Bunting, and lesser but inter­ esting figures such as Marsden Hartley in his little known poetry , and more romantic writers such as D. H. Lawrence. In this area of phanopoeiac "focus," the sketching of particulars by which a motif is recognizably significant, David Cope has made, by the beginning of his third decade, the largest body of such work that I know of among poets of his own generation. Allen Ginsberg Table of Contents Foreword, Allen Ginsberg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v THE STARS The Line-up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 . . . . . . . . . . . . Empty Street . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 The River. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Down on the Farm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 The Storm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 6 American Dream. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 . . . . . . . . . . Baseball. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 . . . . . . . . . . . . Crash. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 . Lunch Hour. . . . . . . . . . . . . . . . . . . . . . . . . 9 . . . . . . . . . . . . . . . . . . . Winter Camp. . . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . . . . . . . A Circle of Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 . . . . . . . . . . GO Labor Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . . . Peace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 . . . . . . . . . . . . .

In David Cope's strikingly intense new collection, Fragments for the Stars, we see the continued development of a highly original art. Rising directly out of Williams' graphic American measure, Cope's voice is everywhere infused with a characteristic stark lyricism-producing the powerful work that Carl Rakosi has called his "compassionate realism".

In David Cope's strikingly intense new collection, Fragments for the Stars, we see the continued development of a highly original art. Rising directly out of Williams' graphic American measure, Cope's voice is everywhere infused with a characteristic stark lyricism-producing the powerful work that Carl Rakosi has called his "compassionate realism".

David Cope's fourth collection, Coming Home, binds together the two major strands of his life and art. In poem after poem, Cope is by turn the clear-eyed strider of our broken cities, or the profoundly lyrical explorer of nature, of redemptive human intimacy in all its silence and nakedness. And often there is an extraordinary synthesis, as in: The Abandoned City if we sit long enough, will our love grow wise? the roman mottos tumble from facades & crash. where statesmen argued the language of law, cedars split paving stones & broken pillars crumble. atop the giant boulder, a maple's single thick root grips granite all the way to soil below, where we stand amazed. lovers go to sing their love hand in hand, passing a drunken cursing hulk who pitches headlong toward a red-faced hooker- she shrieks, pushing trash cans in his path, her mouth a red circle of moaning terror. O air pregnant with mouths opening like new petals, O silence humming with coos & shrieks, O rays revving cells in a single juniper needle!

David Cope's fourth collection, Coming Home, binds together the two major strands of his life and art. In poem after poem, Cope is by turn the clear-eyed strider of our broken cities, or the profoundly lyrical explorer of nature, of redemptive human intimacy in all its silence and nakedness. And often there is an extraordinary synthesis, as in: The Abandoned City if we sit long enough, will our love grow wise? the roman mottos tumble from facades & crash. where statesmen argued the language of law, cedars split paving stones & broken pillars crumble. atop the giant boulder, a maple's single thick root grips granite all the way to soil below, where we stand amazed. lovers go to sing their love hand in hand, passing a drunken cursing hulk who pitches headlong toward a red-faced hooker- she shrieks, pushing trash cans in his path, her mouth a red circle of moaning terror. O air pregnant with mouths opening like new petals, O silence humming with coos & shrieks, O rays revving cells in a single juniper needle!

David Cope's fifth book, Silences for Love, is framed in elegies, prophet Martin King to old friend Allen Ginsberg, opening with lights fading & flaring over Lake Superior, closing with one leaf in the hidden meadow. Here are the weary traveler & one-eyed boy, Gettysburg sundown, sighs over Sarajevo & massacre at the Patriarch's tomb, snowstorm canoe trip ending with a brother beneath Northern Lights-deaths & weddings, reunions in companion love, Oklahoma City trail of tears, asking blessing to learn healing. Here too are long silence & welcome home: in aging harlequin & his gypsy, in the runes of the Two-Hearted River, in dreams & visions going & coming, memory of a lost friend trapped on corpse detail, rush hour traffic jam, old bridge & hidden meadow, snowstorm near-death car crash, old friend fired hence with a last call for love, free clothes, & newly unfurling leaf. Silences for Love also offers "skillful technique, attention to minute particulars & variable foot," continuing to extend the demotic traditions of American poetry established by Walt Whitman, William Carlos Williams, and Charles Reznikoff.

David Cope's fifth book, Silences for Love, is framed in elegies, prophet Martin King to old friend Allen Ginsberg, opening with lights fading & flaring over Lake Superior, closing with one leaf in the hidden meadow. Here are the weary traveler & one-eyed boy, Gettysburg sundown, sighs over Sarajevo & massacre at the Patriarch's tomb, snowstorm canoe trip ending with a brother beneath Northern Lights-deaths & weddings, reunions in companion love, Oklahoma City trail of tears, asking blessing to learn healing. Here too are long silence & welcome home: in aging harlequin & his gypsy, in the runes of the Two-Hearted River, in dreams & visions going & coming, memory of a lost friend trapped on corpse detail, rush hour traffic jam, old bridge & hidden meadow, snowstorm near-death car crash, old friend fired hence with a last call for love, free clothes, & newly unfurling leaf. Silences for Love also offers "skillful technique, attention to minute particulars & variable foot," continuing to extend the demotic traditions of American poetry established by Walt Whitman, William Carlos Williams, and Charles Reznikoff.

This novel was created by computer software called ALMA for Artificial Linguistic Machine Algorithm programmed by David Cope in 2019 and described in detail in his book The Creative Machine (2020). ALMA is capable of producing over 2,432,902,008,176,640,000(or two-and-a-half quintillion) other novels without human intervention except initiating the software to do so (usually takes less than a half-second per book). This is the first novel to be thus created (apologies for the occasional lack of punctuation marks and capitalizations). For those expecting a hundred-thousand-word first attempt, I mention Hemmingway's The Old Man and the Sea (winner of the Pulitzer Prize in 1953) as example of a short masterpiece: barely twenty-seven-thousand words while this book is filled with over thirty-thousand (not that we're keeping track). At this point, I am still fine-tuning the ALMA software attempting to smooth out its remaining rough edges. So the output will come out at different times maybe a month or so apart. Hopefully, you will discover fewer and fewer mistakes, and paragraphs that you may find difficult to understand or even translate into English. This is the second output of a series, the book titled Futures Past being the first. I'm doing this in an attempt to keep the record accurate if there should be interest in the future, people may find the order intact and, to my embarrassment, as inaccurate as it may be.