I read an article recently that the "C69" chord was used in a sleep study which was effective in stopping/reducing nightmares when played periodically during REM sleep.

This recording is computer generated with software I wrote.  Playing all M6+9 chords following a Hirajoshi scale in F, in a random order. I used the Orpheus VSTi with "Cinema strings" patch. A bass drum appears periodcially. Merlitzer notes are added from the currently playing chord, but from a wider range with a 5 note randomized pattern. A synth low string is latest addition.

M69 Hirajoshi

Relax (Computer Generated)

Original: SpookyLi - Whippin Forgies (Prod. KRXXK)
Acapella: BeezyB - Brogdon (Prod. Emirsito + 3rdFeels) 
instagram.com/ibeezyb
instagram.com/407krxxk
instagram.com/_spookyli
instagram.com/emirsitoooo
instagram.com/3rdfeels

BEEZYB - "ROT" | AI MASHUP

Acapella: 1784
Deadass forgot what instrumental.

BEEZYB - "JAGUAR" | AI MASHUP

computer generated based on first letter of each word in a sentence.  In this case a news headline:  "Lisa Page, Ex-F.B.I. Lawyer  Who Criticized Trump, Says Bureau Failed to Warn Her of Stalker"  = L P E L W C T S B F t W H o S

Alphamusic - News

Interplay is the 11th track from NetWorks 3: Thresholds, the entire album can be heard on iTunes, Amazon, Spotify, etc. or purchased on Bandcamp: https://shawnbell.bandcamp.com/album/networks-3-thresholds

NetWorks is a music-generating (MIDI-data-generating) program and a body of work based on artificial-life, complex adaptive systems research and the Honing Theory of creativity. NetWorks uses a hierarchical, scale-free network to generate music that can range from orderly to chaotic. At the ‘edge of chaos’ it generates patterns that exhibit emergent complexity through coherent musical development at low, mid and high levels of musical organization, and often suggests a sense of direction through goal seeking behaviours.

Emergence, in the NetWorks program, is achieved, not through Darwinian evolutionary processes, but through a far older form of evolution called communal exchange. “There is extensive evidence that for the first several million years of its existence life on earth evolved through communal exchange of components amongst self-organizing autocatalytic protocells, prior to establishment of a genetic code, and only once a RNA-based self-assembly code was in place did life evolve through natural selection. … the last century’s emphasis on natural selection in evolutionary theory is not warranted by current research; even today, variation-selection is, quantitatively at least, not the dominant evolutionary process.” (L. Gabora, in press).

There are no selective processes (fitness functions) within NetWorks, so if an output stream is perceived to “evolve” it can then be said to originate solely through communal exchange.

Selective processes occur only between the interaction of the musician-programmer and the NetWorks program, when the musician-programmer (1) generates and evaluates network architectures, rule-sets and mappings, (2) orchestrates, mixes, and masters the most aesthetically pleasing instances of these outputs and (3) tweaks and expands the program itself.

In general, the sounds chosen to manifest the musical patterns discovered by the network attempt to reflect the mystery and wonder that virtually unlimited diversity can come from such simple interactive models. When mapping patterns to sound, an effort is made to preserve the integrity of the patterns rather than obfuscate them with complex synthetic textures or other effects that are readily available during mixing.

Since the MIDI data of NetWorks is computer-generated, sampled acoustic instruments are often used to give the music a “human feel”, and to allow the listener to relate and compare the self-organizing patterns to known genres.

Headphone listening is recommended.

This was a preliminary mix. The final mix is available on Bandcamp: https://shawnbell.bandcamp.com/album/networks-3-thresholds

Album artwork evolved using SBart4 by Unemi Tatsuo.

NetWorks 3: Thresholds

Interplay

Cinematic Music Maker Test 1

This track uses computer generated speech to read stories generated by http://shelley.ai/.

Shelley AI Halloween Mix

Flash Angel

The final chapter of the original DarwinTunes experiment.  Here are some randomly selected loops from the final population.

DarwinTunes-medley-at-8700-generations

Does this music pass the turing test? The melody (which you can hear most clear in the very beginning) is actually generated by MuseNet (a deep neural network that can generate musical compositions) by OpenAI. Christine Payne is the author of that software. Read more at: https://openai.com/blog/musenet/

Nicks voice from Lex Friedmans podcast: https://www.youtube.com/watch?t=2389&v=rfKiTGj-zeQ

A rich interaction (many days, deep conversations) with Nick Bostrom

I'm a composer what writes musics for the peoples! It can be used in videos, or games, or videos games! Bus terminals, day spas, tiger-watching safaris... Anything you would like music for! See my site for attribution requirements.

Composer, educator and interactive media artist and professional dedicated to creativity and multidisciplinary collaboration. Interested in constructionist approaches to new media education and how interactive technologies and complexity theory enhance and expand the creative process in the traditional arts, new media and game design.

Developed NetWorks, a body of musical work as well as an interactive music-generating algorithm based on scale-free networks. Developer of ~zomes, a sound synthesizer based on a-life models. 

Interest in metacreation dates back to Voices From The Edge of Chaos (1998), a CD of emergent, self–organizing computer music. Received a FACTOR international distribution grant and was subsequently awarded a residency at Lovebytes Labs in Sheffield, England (1999), to produce a piece for Digital Space CD and CD ROM of “innovative new work using digital sound and multimedia”.

Bob is a human who loves music and has been doing live mixes on a lockdown radio station he set up with friends. Most are on Mixcloud (https://www.mixcloud.com/Glastonauts_Live/) but he'll start putting them here too.

DarwinTunes (2009-2016) was an experiment to see what kind of music we get as a result of evolution by natural selection applied to a computer-generated four bar loop.  The "synth patches" are evolved also - using additive synthesis (just sine waves).  The only human input was the choice of tempo, time signature, effects rack and few other minor things.

I like making music and I also like thinking and being inspired to think. A lot of my music is built around words of great thinkers.

--

Other things I've done:

Artist: In Affect
https://open.spotify.com/artist/5WkVp31iw1V6tjEreL33lk?si=OXuYLVCaRvuHbLZHqK2HaA

Album: Hybo Productions - Ain't got me
https://open.spotify.com/album/5vyJVEPYzkABp9df5Vsubm

Album: Hybo Productions - Too Late
https://open.spotify.com/album/4v4uEWtMErcFTbxgXqFjzd

Album: Camanta - .MAX
https://open.spotify.com/album/5iYbZ7MvSWMNhExhmz3r15

Album: Anders Myrli - Abba Fader
https://m.soundcloud.com/jaakko-myrli/sets/abba-fader-album-av-anders

Not4Profit 🔌
Alt: @psychwardlord
IG hellvania

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