Researchers believe they've found evidence that brain signals reveal the pitches of notes in imagined musical melodies, reports Medical Express: Study participants were 10 epilepsy patients with electrodes on the surfaces of their brains for clinical monitoring. Participants quietly listened to the first bars of children's tunes, then imagined the melodies of subsequent bars before humming their imagined melodies. Brain activity from the patients carried information about relative pitches within the imagined melodies. Combining note-level pitch predictions over time allowed the research team to recreate melodic changes that reflected the structure of the imagined songs... "The model we created decodes relative pitch classes — such as do, re, mi, fa, sol, and la — rather than exact, absolute pitches," [said tudy co-lead Jii Kwon of Seoul National University]. "This is useful because people often recognize melodies by the relationships between notes, even when the same melody is played in a different key."

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Tom Vek burst onto the scene in 2005 with his album We Have Sound, which garnered a solid 7.6 from the tastemakers of the day over at Pitchfork. His undeniably catchy brand of dancy indietronica landed him an appearance on The OC and placement on the Grand Theft Auto IV soundtrack. His follow-up, Leisure Seizure, had a lengthy gestation period, but arrived in 2011 to similar success, reaching No. 79 on the UK charts.

Vek has continued to release music at regular intervals over the last 15 years, dropping Newer Symbols in 2022. But in 2020 he started toying with this idea he had for a music player called Sleevenote. Inspired by viny …

Read the full story at The Verge.

Here is yet another clue about how we are both spiritual and physical beings. The two realms are connected in mysterious and remarkable ways.

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The cover artist was working on a bit of extra creativity, showing Behe playing poker with Charles Darwin, and holding the winning cards.

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Bayreuth festival theatre, Bayreuth
For the festival’s 150th anniversary, the creative team have turned to AI to generate visuals reflecting Wagner’s tetralogy’s past, present – and future. The hyperactive result is a dismal, mindless mess

Unveiled the same week in which tech company Anthropic admitted that its AI model Claude had gone rogue during testing, Bayreuth festival’s new AI-generated staging of Wagner’s four-part Ring of the Nibelungen is at least timely. But anyone who assumes that the cycle’s obsession with knowledge, power and possession might make it an ideal forum for reflection on AI as a major contemporary frontier will be disappointed, as will anyone hopeful about AI’s creative potential within opera.

Commissioned to mark the festival’s 150th anniversary, the production is “curated” – emphatically not “directed” – by a team led by German stage director Marcus Lobbes. He apparently spent weeks in dialogue with AI models about possible interpretations of the Ring. According to the programme book, “power structures, capitalism, mythology, gender roles, nationalism”, all came up. So far, so mainstream Wagner reception. But if these human-machine exchanges were revelatory, you wouldn’t know it from the resulting staging, which uses AI “as an extension of a cultural memory that is never complete”.

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© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath

© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath

© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath