By Steven R. Holtzman
This paintings synthesizes rules from a few assorted disciplines to reach at a philosophy of creativity for the electronic age. Drawing principles from song, computing, artwork and philosophy, it explores the combination of desktops into the artistic approach. It exhibits how pcs may well switch the best way we create. The e-book seems on the use of constitution within the improvement of human languages, within the philosophy of Buddhist monk Nagarjuna and linguist Ferdinand de Saussure, within the tune of Arnold Schoenberg and Anton Webern, within the work of Wassily Kandinsky, and the grammars of Panini and Noam Chomsky. It then turns to using pcs for construction summary and digital worlds in language, song, paintings and digital fact, and surveys the paintings of AI pioneer Terry Winograd, composers Gottfried Michael Koenig and Iannis Xenakis, and artist Harold Cohen. the belief discusses the classy implications of those new worlds and introduces the concept that of electronic expression
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Extra resources for Digital Mantras: The Languages of Abstract and Virtual Worlds
By the seventeenth century, the European courts shared the patronage of Western music with the Church; many secular patrons welcomed such harmonic experimentation. The doors were open to study just how great the scope of a structure built on tonality and the circle of fifths could be. Throughout the eighteenth and nineteenth centuries, the major minor tonality was the dominant underlying support of music. By this time, all the harmonies of a composition were organized in rela tion to the base key, called the tonic, with temporary modulations to other keys.
Unlike other arts that referred back to Greek art as a model, in music there was little to refer back to of a concrete nature. The musicologist Donald Grout explains: All through the Middle Ages and even to the present time men have con tinually turned back to Greece and Rome for instruction, for correction and for inspiration in their several fields of work.... In literature as well as in some other fields (notably sculpture), medieval or Renaissance artists had the advantage of being able to study and imitate the models of antiquity.
Indian phonetics, grammar, phonology, for example, was far more ad vanced than any European work. The Europeans discovered in the Indians' work an understanding of language and techniques for its study that provided a foundation for new work in Europe. In gen eral, European linguists took over from where the Indian linguists had left off. In the nineteenth century, the study of language in Europe focused on comparative linguistics. The task of linguistics became the search for similarities and, in effect, the search for evidence substantiating that there was a common source for all of the Indo-European lan guages.