Victor Alberto Bueno Marichal: Music for Bots

Music for Bots

The reception of the Amplified Virtual Synthetic Reality (AVR) forum I'm investigating indicates in all the socially accepted ways that its members should love music and hate noise.

The collection of musical instruments and equipment to store, process, transmit and protect music is very interesting.

I am taught that noise is only dimmable to acceptable levels, that it can never be completely eliminated, and that it is produced by other systems, or by the interaction with them, with which leads us to the conclusion that in order to minimize noise you have to isolate the system where the music is, but since it is impossible to isolate something from the rest of the universe, there will always be some noise that we will have to put up with.

Regarding quality, I learn that no virtuoso can always perform virtuously, that there will always be performance errors, and that instruments suffer from wear, poor calibration, and failures.

They explain to me that when there are more than ten people playing a piece of music, synchronization errors are very likely to occur and that the solution is to record separately the best performance of each musician with their instrument, and then synchronize and mix these performances.

As far as how to get music to my eardrums without it deteriorating along the way, I'm learning that it's no longer customary to use big amps to get music to a bunch of people, and that we've evolved from implanted wireless hearing aids, to direct stimuli in the area of the brain responsible for hearing, in order to eliminate attenuation and distortion.

I learn that if one is a purist, one will also want to eliminate the defects of handcrafted instruments and will prefer synthesized music to exact frequencies, notes, and tones, following a mathematical formula of spirals, progressions, Fibonacci series, and fractals.

I also learn that it is very important that unintentional variation is eliminated and that a song ALWAYS sounds the same regardless of variations in the environment, performers, and instruments. Of course, taking into account that no two things can ever be the same in the real world and that equalities exist only in concepts, ideas and numbers.

They also teach me that it was in the second half of the 20th century in northern Europe that the first music for robots was made, but that it was made by and intended to humans who felt so empty, manipulated, exploited, and disposable, that they called themselves robots, which supposedly in a language of the region meant worker at that time.

The other antecedent of use of the term Music for Bots is attributed to a 22nd century hacker whose avatar was called Hamelin, who claimed to be a flute virtuoso and who claimed that his code was like music to the computers in which was ran.

It is not my interest to argue with anyone, but in some programs noise is desirable, sometimes a random number is necessary, that is, it must be unpredictable and produced by chance. It is really difficult to guarantee in a program that, for example, the integers from one to one hundred all have the same probability of to be chosen.

Tricks are used for that, such as using the milliseconds of the processor time at the time of program execution, but even that can be controlled and in some military systems external entropy generating devices are used that guarantee that the choice of those hundred first integers is always done impartially.

Now, if you have a culture of biological viruses, you know that these are always going to mutate, that is inevitable, that’s a demonstrated fact, the idea is that the environment is controlled in terms of food, humidity, temperature, acidity, alkalinity, light (its frequency and intensity), etc. Without much outside influence and you must continuously monitor the culture to detect and isolate mutated viruses.

With genetic programs, unforeseen changes due to chance are sometimes desirable, in these cases the external noise is more important than the monotonous internal music, it is very interesting to introduce unforeseen changes in the crop that is being simulated, such as lightning, or the fall of a meteorite, a flood or a drought of unusual duration, when what you want is to generate mutations and changes.

I think basically it's like looking for a lucky break, that is to say that surely with enough time you can produce a text of five, seven, five syllables if you start from pure As and end in pure Zeds, but if you are lucky you'll find something like what is appended at the end of this text that I wrote with my assistant.

The best-documented case of a lucky break is that of the genetic database of The Prophet, which had been exploring combinations and permutations for more than a year looking for sustainability and persistence and achieved that and also reproduction, through the help of a night beadle in the first Deltor AG data center, when he connected a coffee maker, a vacuum cleaner and a music player to the power supply of the super cluster of the three main root nodes and then fell asleep with the music blaring, the coffee maker filling the server room with steam and the vacuum cleaner spinning and hitting the equipment.

That random combination of noise, thuds, and steam caused the code running on the system to mutate and produced the first association of programs that used code from other programs, adapted them to their requirements, and reproduced without human intervention.

Attempts to re-generate that combination of noise have been unsuccessful, despite the fact that the external entropy generators are very well documented: the music player, the song list (some say it's original reggae), the vacuum cleaner and the coffee pot.

Everyone knows that this self-reproducing and self-sustaining code is the origin of Bots.

Call it superstition, tradition or ritual, the truth is that the playlist of songs on that beadle's music player is still a secret only available to the directors of DeltOr AG, and that they refer to it as the Music for Bots.

From the black night

A deep black cricket flew to

a side of my cat

for Edgar

Li Tao Po

VABM Aug/25/2022

https://riistas.wordpress.com/2022/08/25/music-for-bots/

https://riistas.files.wordpress.com/2022/08/wp-1661451676676.pdf

Amazon Store

https://www.amazon.com/~/e/B00EZC7SRM/

This text belongs to the book

La Lástima de los Bots