{"id":18183,"date":"2024-11-21T16:47:52","date_gmt":"2024-11-21T21:47:52","guid":{"rendered":"https:\/\/hexagram.ca\/?p=18183"},"modified":"2025-11-20T16:06:58","modified_gmt":"2025-11-20T21:06:58","slug":"the-strangest-music-in-the-world-self-supervised-creativity-and-nostalgia-for-the-future-in-robotic-rock-band-the-three-sirens","status":"publish","type":"post","link":"https:\/\/hexagram.ca\/fr\/the-strangest-music-in-the-world-self-supervised-creativity-and-nostalgia-for-the-future-in-robotic-rock-band-the-three-sirens\/","title":{"rendered":"The Strangest Music in the World: Self-Supervised Creativity and Nostalgia for the Future in Robotic Rock Band \u201cThe Three Sirens\u201d"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\"><strong>Sofian Audry, Victor Drouin-Trempe et Ola Sibert<\/strong><\/h2>\n\n\n\n<h3 class=\"wp-block-heading\"><a href=\"https:\/\/doi.org\/10.3390\/arts12010002\">MDPI<\/a>, collection <em>Review of Machine Art<\/em>, 2023.<\/h3>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">R\u00e9sum\u00e9<\/h2>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>L\u2019\u00e9mergence de l\u2019apprentissage profond depuis le milieu des ann\u00e9es 2010 et son application r\u00e9ussie \u00e0 des activit\u00e9s cr\u00e9atives remettent en question des conceptions anthropocentriques de longue date sur l\u2019art et la musique, ravivant des id\u00e9es sur la cr\u00e9ativit\u00e9 machine qui avaient \u00e9t\u00e9 explor\u00e9es auparavant au XXe si\u00e8cle. <\/p>\n\n\n\n<p>En particulier, dans les ann\u00e9es 1990, certains artistes, compositeurs et musiciens ont commenc\u00e9 \u00e0 travailler avec l\u2019apprentissage machine et d\u2019autres syst\u00e8mes de calcul adaptatifs. Le travail de Nicolas Baginsky est embl\u00e9matique de cette \u00e9poque. En 1992, il a cr\u00e9\u00e9 la guitare robotique <em>Aglaopheme<\/em>, qui est devenue la premi\u00e8re interpr\u00e8te d\u2019un groupe robotique auto-apprenant d\u00e9velopp\u00e9 tout au long des ann\u00e9es 1990, bient\u00f4t rejointe par la basse robotique <em>Peisinoe<\/em>, la batterie robotique <em>Thelxiepeia<\/em> et, finalement, d\u2019autres agents artificiels, formant le groupe robotique autonome <em>The Three Sirens<\/em>. <\/p>\n\n\n\n<p>Dans cette \u00e9tude, nous d\u00e9crivons les aspects technologiques, musicaux et imaginatifs des instruments robotiques de Baginsky. L\u2019histoire irr\u00e9elle et en coulisses des trois sir\u00e8nes mythologiques est essentielle pour comprendre comment ces robots sont con\u00e7us et ce qu\u2019ils sont cens\u00e9s faire. Dans le contexte de l\u2019intelligence artificielle, le concept de recherche d\u2019un effet musical surprenant nous pousse \u00e0 r\u00e9imaginer des notions telles que la cr\u00e9ativit\u00e9 musicale et l\u2019improvisation dans la composition algorithmique, offrant ainsi des opportunit\u00e9s de discuter de la nostalgie de la musique du futur et de la performance en direct.<\/p>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-small-font-size\">Photo: Violoncelles contr\u00f4l\u00e9s par des robots dans <em>Empty Vessels<\/em> (2022) par Montreal Life Support et Woulg. Avec l\u2019aimable autorisation des artistes. Cr\u00e9dit photo : Myriam M\u00e9nard.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">Publi\u00e9 le 21 novembre 2024<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Sofian Audry, Victor Drouin-Trempe et Ola Sibert MDPI, collection Review of Machine Art, 2023. R\u00e9sum\u00e9 L\u2019\u00e9mergence de l\u2019apprentissage profond depuis le milieu des ann\u00e9es 2010 et son application r\u00e9ussie \u00e0 des activit\u00e9s cr\u00e9atives remettent en question des conceptions anthropocentriques de longue date sur l\u2019art et la musique, ravivant des id\u00e9es sur la cr\u00e9ativit\u00e9 machine qui [&hellip;]<\/p>\n","protected":false},"author":95,"featured_media":18184,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[31,33],"tags":[326,320,324,317,325,318,345,322,323,319],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Strangest Music in the World: Self-Supervised Creativity and Nostalgia for the Future in 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