The Illiac Suite - Music and AI

This is an automated AI transcript. Please forgive the mistakes!

This is the Iliac Suite, a podcast on AI -driven music. Join me as we dive into
the ever -evolving world of AI and music, where algorithms become the composers and
machines become the virtuosos. Yes, this music and text was written by a computer,
and I am not real. But I am and my name is Dennis Kastrup.
Hello humans, welcome to a new episode about the crazy world of AI and music.
The world that just turns round and round and round and faster and faster.
The world that since my last episode announced, that Universal Music group Sony Music
Entertainment and Warner Records are suing Suno and Udio, which in their opinion,
quote, "violated their copyright en masse." We will see where this will lead us and
how long it will take us, that a court will decide about it, I imagine years.
Or how long it will take the different parties to agree on something that suits
both of them and maybe not in the and unfortunately the musicians.
Story to be continued. I keep you updated here in the Illiac Suite. Let's talk about
today. I looked at the recent episodes of the Illiac Suite some days ago and thought
it has been a while since I have talked to those who make music with AI instead
of all the companies that develop AI to make music or support music. Does that make
sense? We had Voice Swap, Fairly Train, Telfos or Audio Shake on the show, but
Portrait XO and Benoist Carré were the last musicians here some weeks ago,
some months ago, who talked about creating music. That's why I reached out to the
Italian Alex Braga. He is a musician, a conceptual artist, an inventor and
entrepreneur. Some years ago, he published an album called "Spleen Machine" to be
precise, 2020 was that. I already back then, before the great AI hype,
was fascinated by his approach and what he thinks and says about AI. As he has new
projects going on, I was curious to know more about that. For the first time in
the Eliax Suite, I will leave you alone with the whole interview I recorded. I
decided to do that because I really loved our conversation and I was unable to cut
out some answers because it just made sense together. So here it is, my talk with
Alex Braga and the music you will hear and you are already listening in the
background all comes from his new installation "Automatic Impermanence".
Curious? He will tell you more about this now.
I've been following you now since a couple of years. We've had an interview five
years ago, I think, five, six years ago, maybe. Tell us a little bit about you.
What you're doing is especially focusing, of course, on your work with AI.
I've been researching in AI for the last 10 years,
I think. I've always been interested into this topic because technology, to me,
has always been the key to be able to overcome my limits as a musician.
I'm not a very talented, skilled virtuoso instrumental musician, so I've studied the
conservatory and I've studied guitar, but as a matter of fact as most electronic
musicians I play keyboard on stage, so let's say that I am not that of a pianist,
so the So the computer and the technology for me has always been a super amazing
key to use. Let's say my soul and my brain as an instrument and not really my
hands, which I think it's far more interesting because it opens up a wider range of
possibilities that of course they go beyond the instrument itself. And ever since I
discovered the potential of artificial intelligence, I told myself, "Wow,
this is the revolution I was looking for." The revolution that it's,
for me, the same revolution that the people back in the 18th century experienced
when they invented the Piano Forte, which was a super revolution that the the
cembalo was before the piano forte back then but the cembalo is a completely
different instrument meaning that it's not loud it doesn't have dynamic and blah blah
blah and so the piano forte completely changed the spectrum of emotions that the
musician could offer to the to his compositions and to the audience and And then it
started the romantic movement, and we all know Mozart and Beethoven and the late
Bach. They were the virtuoso of this new amazing technology. And so we lived in an
era where pretty much everything was invented and everything had been done already.
And so When artificial intelligence popped up, I said to myself, "Wow, this is it.
This is it. This is not a technology that is going to destroy humanity, but if we
do get the right mindful way to interpret this thing,
we can really leave the edge of a super exciting revolution." And So I started to
dig deep into it. I was one of the first musicians to do that, one of the first
artists to use artificial intelligence. I built myself with two professors of the
university in Rome and artificial intelligence, which is very special and very
peculiar. - And you used it for your album, that's what you did. - Yes, and I used
it ever since to produce compose it's like it's basically it's an extension of me
and it's but it's part of the new stuff also right now yeah of course yeah so
maybe explain explain to us what does this AI do this AI since it's not trained
it's like a second and a third and a fourth and a fifth skin for you as a
musician when you play so it detects what you are playing and it keeps adapting and
gives you all the possibilities and all the feedback that you are not playing in
that very moment. So I have 10 fingers. Let's put it very simple. When I play the
keyboard, I can play just 10 notes in one stroke or a hit.
And with the artificial intelligence, I can bring this up to plus infinite. And it's
still me, but it's not that me in that very moment. It's like what that me could
have done, but didn't do. Okay? You got me. So it learns from what you have played
before. It learns in real time from what you are doing in that real very moment.
So it's every time starts from fresh with no prejudice at all, with no learning and
no knowledge of music which is very important because otherwise it would bottleneck
you into a tunnel where maybe you don't want to go. It's basically yourself
multiplied by the number of neural networks that I'm using in that moment.
Usually it's 16 neural networks that I use in real time so it's me playing plus
other 16 knees, giving me back the feedback of myself,
but not myself. And so I can orchestrate, in real time,
these very deep layers of music that are also influencing the next steps that I am
taking in that very moment. So it's basically a super -hyper loop of creative
feedback that I am doing with myself, basically augmenting my ego and augmenting
myself, timing myself per the neural networks that I am able to switch on in the
machine. And this thing also creates the visuals. So every time I hit a note,
There is a particle in a 3d space that it's popping up So pretty soon there is an
architecture of music coming from myself and all my other selves And there's an
architectures of particles coming from what I am playing and all this thing interacts
creating a
What I call augmented music and an augmented art and an augmented dimension where I
can float freely and just do whatever I feel like doing in that moment.
Help me here on the technical side. I mean, I understand that it augments you,
that it takes what you do as a musician and learns from you as a musician what
you do. But how does the AI then create new stuff because it has to have and I
mean, if you just play a melody, it's not, for me and AI needs a lot of data to
create something new. How does it do it? Wait. AI by itself cannot generate and
create creation is a human skill And it's a unique skill that we have,
and we must be sure that we poster as one of the most precious treasures that we
can have. And there's a particular reason for that. It's because AI,
the so -called deep learning, deep trained models,
they learn from what you've been feeding them. So you feed them thousands and
thousands of hours of music. Let's stay on the music, let's focus on the music
because it comes easier with the examples. You feed the AI with thousands and
thousands of classical music and what AI can do in optimistic,
uh, uh, result is give you a manipulation of this and give you a,
uh, um, reproposition of the same, uh,
data that she's been trained or it has been trained on and new version and not a
new version. It's just a different different angle. It's nothing new. There's no new
things. So another version of the data. Of the data. Another point of view,
you can read data in many different ways. You can read a score in many different
ways. As a matter of fact, the job of the conductor in an orchestra is to
interpretate the score. And the score can sound dramatically different if it's
directed by Muti or Von Karajan. It can sound dramatically different.
And because this is angles, you know, point of views, and what AI does,
it's just doing that. And it cannot create nothing new. It's just a mimic of what
has been. If we believe that that is new, it's just because we have limits in our
knowledge, limits in our perception, and we are superficial in terms of thinking of
what the web is giving us, so it's very fascinating to think and believe that AI
is generating new things. No, that doesn't happen. Machine don't create,
machine don't make art, machine don't generate nothing new. But then here comes the
argument, a lot of tech people always say. Then everything we do as human is also
something new because we also have been
experiencing other music. I mean that's the argument of the tech companies and they
say like you've been doing this all of your life that's the same thing so in the
end we humans don't create something new also. We do create but in a different way
and because we are shaped in a very very different way and this comes here comes
the interesting part. We call it artificial intelligence, and we are shifting the
whole process of our being up here in the head, which is a very dreadful mistake
we should not do, because the act of creation doesn't come from our head.
We, as human beings, have a specific role in our life,
life, and because we are the chain of conjunction between the infinite that is above
our head, which we can call universe, and the infinite, the micro -infinite which is
inside ourselves in the stomach, and here where the fun part comes in.
It's a medical thing. Are you familiar with the theories of macrobioma and
microbiota?
Not really, no. Inside our stomach live billions of colonies of bacteria that
represent the infinite of our of the creation so there are there's inside you Dennis
inside your stomach there is the trace of every single process that has been going
on since the big bang this is what I call the I heard about this a little bit
now I remember yeah this and you hear it inside yourself that's why that's why you
are a magic wand and you are the balance between the universe and the infinite
small and your role is to make these two things resonate and get in conjunction
with the metaphysical world and get the glimpse and here get the glimpse of the
intuition of the new. The
divine touch that comes from these two things and I don't believe in God, don't get
me wrong. I am very spiritual and I really have all my super strong beliefs of a
metaphysical world but I'm not a Catholic person.
But to be able to create, to be able to do this, it's a divine act that we are
only able to do not because of our brain, not because of our intelligence, not the
first intelligence, but what we call the second brain, which is in the stomach. And
this thing, machines will never be able to do. Machine cannot see outside their
self. They don't have a consciousness. They might fake a consciousness.
They might give you a SIM, But that's going to be a sin, and there's no way out
of this, Dennis. And so the enormous,
ginormous paradoxical difference between machines and human beings lies in our stomach
and how we use the metaphysical connection. Machines will never be able to do that.
We are conditioned by our morality, by our education. So we tend to limitate our
visions in terms of what you have experienced before. And this is the argument of
the big text. But then the big text means the real big step, which is, hey, but I
can free myself from that. I can study, I can raise my consciousness, and there's
thousands of ways to do that. I use music, but you can use yoga, you can use
Love, you can use tantra and sex, you can use whatever you want. Machine will never
be able to do that.
♪ Drops of reality, because it's that moment ♪ ♪
And on this
later, be united
♪ ♪ Where can we go?
Reality's over
But the quality's on now
It's like a hangover
I mean, I'm always saying, like, nothing we can do is de -connected with the body.
I mean, we feel bad. If we feel bad, if we experience something in our brain and
we see something, we feel bad in the stomach. We can see the reaction of both
things coming together and the music is the same thing. You can feel it vibrating
in your body, which is not just a reaction of the brain and listening to something.
So I'm totally, totally with you. And coming from this, what you just mentioned me,
it's interesting. Yes, your fascination for AI with the project we just talked about
was there, but what do you try to, because that's in your new work part of it,
You try to I don't know what you just told me I also have to think you embrace
that feeling a little bit into the new work you're doing and to make a I kind of
put it in a context where we believe there's something beautiful we can do this and
not just something detached to humans so maybe tell us a little bit what your new
project is about and what you want to not achieve with it, but what is your hope
for this project that will maybe reflect on other people? I have no hope. It just
works really well for me. That's why it's called automatic impermanence. The concept
of impermanence, it's very familiar to whoever is familiar with yoga and the Oriental
and spiritual life. So there is no future and there's no past.
So there's only a sequence of nows.
So we live in the now and we should take all the advantages of this philosophy,
meaning that regret is something that lives in the past and stress and worrying is
something that lives in the future, okay? There is no regret and no worries and no
stress in the now, because there's nothing you can do about it. It's now, and
you're living the now. So if you take away this equation, your life becomes
amazingly simple and beautiful. And to be able to reiterate this sequence of nows
into a pattern that is ever changing for me requires a lot of skills,
because you have to, you know, you have to practice a lot,
you have to do a lot of exercise, a lot of raising your consciousness and stuff
like that. And for me, music and artificial intelligence is an artistic and spiritual
way to achieve this. Of course, the concept of automatizing the impermanence for me
means that the way I have designed Amint,
which is the AI that I use, is to be able to rate a rate the present in a never
-changing dimension. So nothing is ever the same, but nothing escapes from that,
because we are finite in this world, but we look for the infinite in the finite
world. How do we reach the infinite in boundaries?
Raterating the now, and I do with using artificial intelligence in this way so it
reiterates the moments but it keeps changing, it keeps shifting, it keeps augmenting,
augmenting and layering and layering and layering and I can get lost and hopefully
who's listening to my work and who's watching the live performances, which is a big
part of my work of course because there's also the visual that is doing this, gets
caught into the same process of the structuring is constrained of past,
future, anxiousness, stress, regret and gets squashed into a very powerful now that
frees you into the infinite. And can you describe this for me like for somebody who
was I've seen the pictures I've seen some some video stuff but you are the master
of this piece, so you can you can describe it better because I haven't seen it
live, unfortunately. And I hope to see it live soon somewhere on this world, on
this planet. Describe for me the different parts that there's this installation and
then there's this live performance. Describe for me what is happening there, not just
for me, but for the listeners, of course. Yeah, of course. I have I I I'm going
down a very awkward path. So I decided to do a record but not to release a
record. So the record is not on any algorithm driven platform and centralized
algorithm driven platform because I don't believe in that. I do believe that music
and art is a sacred thing and it's a sacred experience that you have to care
Therefore, and so it's of course the best thing for me is to experience it live.
And I have designed this so that automatic impermanence can work as an installation.
So there is a screen, a big screen and the PA where the music is playing and the
music keeps shifting because there's the AI working. So I write the mother track,
and then as the mother track goes on, all the other layers stack up and gives you
this sense of being in a unique moment because it's never going to be the same.
If you listen to the music,
of course,
is not going to be the same. So it keeps changing. So it's like Amint. So it's a
mother, you say it's a mother track. Yes, the mother track is typically the one
that I compose. So it's a melody because it's something that I feel like bringing
up. And playing this mother track Amint starts multiplying myself and so this becomes
a section of strings and then becomes a super powerful synths,
percussions and other pianos, voices and everything stacks up and everything moves,
moves around the same moment of the now by making it different all the time.
- Every time, so every time you experience it, somebody else experiences it, it's
always different. - It's always different. And of course, when I play it live,
it's the same because every live is always different. It's, there is a part that
it's the same. It's the mother tribe. But what happens in the surrounding can drive
me to a super dense, intense layer of music or a super minimal pattern,
depending on what I feel in that very moment, how the crowd reacts, but that means
that every time it's different. And here comes the visual, which is completing in a
very powerful way the whole concept, because speaking about creating the universe and
being the balance between different kind of microcosmos and huge,
infinite macrocosmos. There is a cosmos that is composing on the screen,
and you see all the little particles, and these particles come from the music. But
also come from the tree. What do you mean by the music? Every time I press a
note, there is a particle that is born like a star in this new universe.
So if you think that the AI is also working on it, every time I press a key,
there is 17 particles being born and being brought to life.
And then they have a life in this cosmos and they start to react with the music
and they start to attract the end repulse and creating hybrid shapes,
changing their motion as the music is changing. And then there's also the 3D
scanner. The 3D scanner takes your image and translates it into a cloud of points
in a 3D space. So pretty soon, in the installation,
when you enter the room as a spectator, your image is taken by the treaty scanner
and is decomposed into this universe. So you start interacting with this cosmos,
with your hands, with your movements, with whatever. So you actually become part of
this process, okay? In the live show at the moment is just me because I am on
stage, so we haven't implemented yet also an additional camera for the crowd,
but at the moment it's me dancing on stage and moving with the music and
interacting with all the particles. So pretty soon my idea of life that is
decomposing into a single moment and recreating the infinite into a single boundary
is perfectly represented on stage, by the music and by the visuals,
because you are inside a new world and you can interact with it and you can make
it, you can make it one particle or you can make it a whole thick,
rich dimension, full of colors and all depends on you,
on what you do on what is your decision in that very second and that very moment,
how you decide to move to interact with it? And how do you,
I mean, how does it make you feel to see this?
Let's call the AI, let's say AEMENT, to say AEMENT working. How does it feel for
you? You've been working now with it, with her, with him, whatever you want to call
it, her or him, since 10 years or so, you said. Yeah,
pretty much. And how is it evolving for you and like focusing now on this new
pace? What is your attachment and maybe also your your feelings about this this this
thing out there that is working with you now since many years? How did it develop?
And also maybe in the context of what's happening today? I mean, there's so much AI
around us right now. How did it evolve into what it is now and how do you feel
about it and are there any fears, hopes, whatever? Well, it's very amazing
to perform with Amint because it's like an exercise of clashing with your ego.
So since it's not pre -fed with no knowledge of nothing,
it's just you augmented. It's like you facing yourself in multiple ways.
So it's really amazing and it's really a leverage for the consciousness.
I mean, because this is, you're like, this is what I can do. My possibilities can
grow bigger and bigger and bigger. It's just take effort and consciousness,
mindfulness and knowledge, and there's no limit to what we can do.
And in this sense, the frontier of art right now, it's super interesting because
We've never been on the verge of something like this so big, but but then there's
the fear and the fear is The fear it's not on AI and music the fear is on AI
and humanity because if we don't use this wisely It can easily destroy mankind
And we were talking before,
you know, how many things went on in this weekend. We forgot to mention the big,
big, big one, the crash of the computers. And I think this is the most interesting
thing for our conversation, even more than Biden resigning,
because
In that stupid thing, we understand how much humanity we have lost and how much
humanity we have to gain back really quickly if we don't want to destroy ourselves.
Because you see, I am an optimist,
an optimistic person, and I can tell you Dennis AI is taking us on the verge of a
new frontier of art. If I were a pessimistic person,
I could tell you Dennis music is over. It's finished because once there's a machine
you can prompt to music and you know this new hype,
you write a prompt and the machine parts out something that they call music.
What is that doing? That is leveling into the lowest level of mediocrity music and
it's filling up of mediocre data.
all the platforms that are stupid and they work with an algorithm and that is
the verge of destroying music. So I am on the verge of discovering, my view brings
us all together on the verge of discovering new amazing fertile fields of art,
But there's another very scary perspective which is the verge of destroying everything
because we drain everything out, like we're doing with the resources of our planet.
I think for the art side there will be so many new things coming up and beauty
and possibilities and I'm really looking forward to see what's gonna happen with the
help of AI and what we can create as humans and this is the most important thing
because no AI can write a song without humans. So even if an AI writes something
it's always humanity who's in there, what is So it's it's all is based on human
creations what have been Who have been working on creation since hundreds thousands
of years? So this is an I cannot do something out of human out of nothing. This
is always important But yeah, but I'm also what I'm also repeating on this podcast
many times. It's like I believe that this is a beauty And I leave this but there's
the danger also that the this is for me the most danger that the big tech
companies will take It's it's it's it This will take all the art of the world and
make a lot of money and the artist will not profit from this. This is the only
fear I'm having and this is the danger, I think, on the horizon. And I fight a
specific battle against this and Amint has been designed as a statement to fight
this Because the fact that it's not trading brings you to very important points.
First one, it doesn't drain energetic resources.
Training the very first model of chat GPT costed 80 million dollars just of
electricity, just of electricity.
So running the model now we are chat GPT -4 and skyrocketing and there's thousands
of models now doing that. That's draining so much power from the world that it's
insane. My model and my philosophy of AI doesn't do any of this so it's just codes
working as a very super low level but in real time and they're training on you in
real time so there's no electricity gap in that it's just having one computer on
yeah that's that's a tremendous statement super important and I fight for that and I
will fight that till I die. Second one is if you don't feed with somebody else's
art, you're not stealing from anybody. So you build a sustainable artificial
intelligence because it's both climate positive, sustainable and existentially
sustainable because there is no need of stealing and draining the culture that we
have produced in order to augment yourself and produce more and and what's going to
happen this is what I'm I call it and now we see machine hallucination.
So we have the phenomena of AI hallucination. When an AI makes mistake and starts
to hallucinate and gives you a result that it's could be right, but it's completely
wrong. That's AI hallucination. Pretty soon we're going, I think my theory is that
we are going to see AI overdosing from data.
Because what's happening?
There is no more culture to drain charge EBT has drained 5 ,000 years of culture in
what three months. Mm -hmm. Okay. Where do we go from there? since We have stated
and me and you at least and hopefully everybody that listens to your podcast, we do
firmly believe that AI does not create anything new, which brings me to state,
AI doesn't make culture, okay? We have drained all the culture because ChudgeGPT has
it all in the most horrific way. And where do we go next?
You know where? All these hallucinations and all these different point of views,
but all of the same data are the new models where the AI is training,
but it's nothing new. It's something that it's going to be sterilized, sterilized,
sterilized, and they're going to produce a huge overflow amount of useless data that
are going to make the machine overdose because they're not gonna take nobody anywhere
and they're not going to be useful in no ways to anybody.
So in order to do that, we have to start right now to invest all the profits that
it's made by all this tech in fostering culture. That's all we should worry about.
All we should worry about is spending a shit load of money Fostering new culture
and we don't do that because where we spend it in defense and weapons Yes,
that's that that's that's why in the end Culture in music and culture is also kind
of connected to all that stuff Well, you just tap your head and say why are we
not giving the money to those people who really deserve it, who really should live
by it and not spend it on stuff which is destroying the world because the money is
not where it's supposed to be. I totally agree with this and this is a thing I
think we have to fight most. We shouldn't fight AI, we just should fight the fact
that it is in the hands of people who don't use it the right way and which comes
always back to the point that whenever new technology comes up, it is not the
technology, that's what people always say that destroys people, destroys stuff, it is
the humans who use it. And I think that's what we should focus on. And if we
focus too much on AI is destroying stuff, we're not focusing on the people behind
the AI. And that's the most important thing. That's why I think it's, it's important
we talk about this and make people clear and not people because people still think,
oh, there's an AI out there who does this and this. No, my friend. There's a human
behind it. There are many humans. There are a million humans behind it who fed it
and other humans who control it. It's not a ghost in somewhere who's doing stuff.
It still reacts on what we say and what we give to it, what it will create. So
it's always important to mention this throughout the time. So that's interesting what
your AI is doing because I believe we will have personal AI's in the future.
I think everybody of us will have it's his or her personal AI feet just with her
or his music, art, books or whatever to help maybe the person who has been already
working 20 years on something has
- That's what I've been doing for the past 10 years. - Yeah, and then you feed your
AI with your piece of work and you can work with that, what you have always been
doing. And I think this will be, that's the direction where we're really going, that
everybody maybe has its own AI and at one point we'll be, artists will be there,
"Oh, my AI is doing this, and my AI is doing this, and my creator is doing this."
I have one question, like, if I would feed your aim and play really bad piano.
Would it continue playing really bad piano? Of course. It's going to be you
multiplied by your really bad performance that you're doing.
It is given the premises that we have stated in this amazing chat that we are
having, it couldn't be anything else. I mean AI doesn't create,
doesn't correct in my opinion. It has to be you and your capabilities multiplied by
the extensions of your limbs, you know.
And so if you play shit, it comes a shit, augmented shit. If you play beautiful
art it comes it comes out augmented amazing beautiful and the magic of artists that
somebody who listens to my shit that I created make something beautiful that's that's
how artworks take some shit and create something golden on diamonds out of this
that's how it goes that's how art goes and but but but in order to do that We
have to make no compromise and we have to start investing in the only wise
investment that we can make at the moment. We have spent the last 200 years or
something in history investing in efficiency. So humans became machines and it was
good. I mean, the more you produce, the better you are in society, the more you
earn, the better you are. Isn't that our model? And then comes certificate of
intelligence that rings the bell and says, "Hey man, hey woman, hey humanity,
mankind,
I am a billion times more efficient with just one click. So what do you do now?
Either you invest in your humanity, or you're fucked. There is no way out.
So for me, it's also a super amazing opportunity that we have to raise our hands
and say we were wrong. We invested in the wrong field and now there is so much
talent out and we are risking to waste all this talent because people then get
depressed, they don't make it and they just locked inside their tiny little cages
and don't make it out. we have to go to every single one of them and invest on
the amazing humanity that we can display in this amazing world.
That's the only way out and there's no fucking other way. If we keep investing in
efficiency, we're screwed because machines are going to do it better and better and
better and better. So who needs a stupid human That it's imitating a machine nobody,
but I believe but I believe we will also head into an era where humans are View
as seen more precious than ever before as musicians. I mean we were because we will
we will we will really Appreciate a person singing a person playing a piano a
person playing a guitar a person sweating on stage, a person making mistakes on
stage, we will heading into that era where this will be another prosperity for an
artist to be on stage and to be a hope, I really hope, but I think so because if
we are flooded one day with all this bad, non -really interesting music,
not really interesting music, We will we will look at real musicians again and
Pressure be very very happy about to see those musicians on stage I hope so this
will happen, but on the other hand who knows everything is so shaky everything is
so so so so lively I don't know where it's going and I you know I've done this
podcast now since 12 months I think everything I said in the beginning is totally
wrong right now in the first episode and the second episode And I it's funny
because when I listen would listen back to my podcast I can see a development of
me in there, too And that's really funny and interesting to see and I think that
would be a good statement made to maybe to finish it up Here we should develop a
sense for
Everyday also challenging challenging yourself about ideas about AI and Everything that
is on us and everything what is happening, which is really happening so fast. I
just wrote a piece about it. And I think I finished it in March. And I also think
it's so old. It's crazy. So I think we should keep up the pace a little bit and
try to find our ways in there and don't condemn everything, learn about it and also
find a way to embrace the artists who are suffering. Yes, there are artists
suffering who don't make much money right now because AI taking over And we should
focus on this and we should all come together and work for the artist to design a
new future, which is also possible, because that is also AI and music is possible
in a good sense, and we just have to fight for it. That's what I would say.
Signed, sealed and approved. Good. Thank you very much, Alex. - Thank you very much.
- That was really fun. And yeah, it's a subject you probably could talk for ever
and ever and ever. It's never ending, yeah. - No, it's generative and it's adaptive.
So every day it's a challenge, but isn't that the thrilling part of it?
I mean, I really feel in a good way like I am living in a revolution at the
moment and I've never felt so thrilled in my life, so with the good and the bad,
but that what means to be alive, right? Yes, signed and sealed.
What an interesting interview. Thanks again Alex Prager for talking to me and getting
so deeply into the current state of AI and music these days. This was the new
episode of the Iliac Suite. Follow me on Instagram and YouTube just type in Iliac
Suite podcast. And if you want to reach out for me, write me, mail DenysKastrup
.com, mail at DenysKastrup .com. You also find my contact details in the notes to
this episode as usual. Tune in for the next episode. End of August. Enjoy the
summer if you're in the northern hemisphere of this planet. If not, enjoy the
winter. Take care and behave.
(upbeat music)