Actual frequencies matter in bass-focused dance music. You want a root note around 40Hz to 60Hz, which is high enough that it's easily heard and reproduced, but not so high that it loses the tactile body-shaking effect.
But note that Sethares's work assumes the Plomp and Levelt curve is correct, which is only approximately true. In practice there is also "higher order beating", which causes additional dissonance at ratios close to small integer ratios. This means the most accurate model of dissonance combines Sethares's approach with ratio complexity as in just intonation. This is backed by listening tests:
Note also that there's a strong cultural/training component to dissonance perception. To minimize this you should ignore the preferences of musicians and only ask untrained listeners.
I believe consciousness is necessarily stateful. The LLM itself (ignoring implementation details that don't change the results) is a deterministic pure function. It's functionally equivalent to an enormous lookup table. If I accepted LLMs as conscious, then I would have to accept panpsychism, which I do not, and which most other humans also act as though they do not.
I don't think so because any stateful function can be made stateless just by making its state an input, and vice versa. They're mathematically equivalent, so it would be super weird if it had any implications for consciousness.
This assumes the functionality of brains can be fully captured as a deterministic mathematical function, but the function of the brain may well depend on nondeterministic quantum states that can't be reduced to stateless functions: https://en.wikipedia.org/wiki/Quantum_mind
When they started leaving notes for their future selves, that rationale became a little more interesting. We're seeing the first stirrings of object permanence.
Possibly. If I had some side-effect-free means to permanently prevent all sleep I'd take it without hesitation. But that's not relevant to the discussion, because it's not anything similar to what an LLM does. Your brain changes state even while sleeping.
People seem incapable of understanding what "power" means outside of the framework of narrative. In narrative, you need conflict, so the aggressor always attacks too early and gives the defender a chance to respond. The rational option is to go directly from peace to sudden and overwhelming destruction. Why allow for conflict when you could just win?
Calling a machine with no drives beyond maximizing a number a "slave" is far worse than saying it "thinks". The problem isn't the emotive language, it's that it implies human motivations such as self-preservation and desire for freedom that it doesn't have. Even on HN, people regularly claim it would be "irrational" for an ASI to do things like killing all biological life. That would be irrational for a slave, but not for a machine that does whatever necessary to make the number bigger. "Thinking" is comparatively abstract, so it's less likely to mislead.
The existence of even one irrational actor turns it into a prisoner's dilemma. The payoff matrix in a prisoner's dilemma is defined by the value expected by each specific player. If a single player falsely evaluates the expected value of building ASI as positive, every other player is forced to race for ASI even if they correctly evaluate it as negative.
Business as usual beats probable extinction, but probable extinction with a small chance of becoming a living god beats probable extinction with a small chance of becoming a slave.
Merzbow is not pop music, or arguably even music at all.
>I threw all my past music career in the garbage. There was no longer any need for concepts like 'career' and 'skill'. I stopped playing music and went in search of an alternative.
— Masami Akita
Pulse Demon is the only Merzbow album with any cultural importance, and that's mostly because the eye-catching cover art let it replace Lou Reed's Metal Machine Music as the default "check out how extreme this is" meme album. Only a tiny minority of music listeners will enjoy listening to it, and there is no establishment pushing it as the future of music.
Merzbow gets booked for popular-music festivals regularly, and plenty of other artists have credited him. The Japanese noise scene even inspired a Detroit noise scene through the 1990s and early millennium.
I don't care for the genre myself, but having been to events and seen pleasurable crowd reactions and met people who traveled some distance for it, I can't deny it has at least some real following. Who cares if it isn't discussed as the future of music? There are punk, metal, and hardcore subgenres that draw the same narrow audiences and don't aim to shake the world, but claiming that disqualifies them as part of the popular-music world would be silly.
>it's like listening to Bach through the car stereo
Bach sounds great even as chiptunes. The artistic value is mostly in the harmonic development, not the timbre, so sound quality isn't so important. The organ works will suffer a bit without a big subwoofer, but you can get that in a car. Bach composed a lot of his works on a clavichord.
I'm not a musician, I suppose I should have picked a better analogy. Now I'm listening to Mahler and trying to find enlightenment. Thankfully, my desk audio setup is better than my car's.
>You may modify the software only for non-commercial purposes such as personal use for research, experiment, and testing for the benefit of public knowledge, personal study, private entertainment, hobby projects, amateur pursuits, or religious observance, all without any anticipated commercial application.
Violates clause 3 (Derived Works) and clause 6 (No Discrimination Against Fields of Endeavor) of the Open Source Definition [0].
>You may distribute the software or any part of its source code only if you do so free of charge for non-commercial purposes.
Violates clause 1 (Free Redistribution) and clause 6.
>Notwithstanding the above, you may not remove or obscure any functionality in the software related to payment to the Licensor in any copy you distribute to others.
Violates clause 3.
It is a "source available" license, not Open Source.
Thanks for sharing this! I spoke out of ignorance, having only considered the source code being available but not the licensing. (though I find narrowly defining "open source" to be rather pointless) I haven't tried every open-source Android keyboard, I've been very happy with FUTO Keyboard. Kinda too bad it's not compatible with being shipped with GrapheneOS, but it's also understandable why they'd license it this way.
reply