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Category: media & arts – Page 45

The first 100 people to use code UNIVERSE at the link below will get 60% off of Incogni: https://incogni.com/universe.

Researched and Written by Colin Stuart.
Check out his superb Astrophysics for Beginners course here: https://www.colinstuart.net/astrophysics-course-for-beginner…on-online/

Edited by Manuel Rubio.
Narrated and Script Edited by David Kelly.
Thumbnail art by Ettore Mazza, the GOAT: https://www.instagram.com/ettore.mazza/?hl=en.
Animations by Jero Squartini https://fiverr.com/freelancers/jerosq.
Stock footage taken from Videoblocks and Artgrid, music from Epidemic Sound, Artlist, Silver Maple and Yehezkel Raz.
Space imagery also used from NASA and ESO.

Specific image credits:

Continue reading “Is Time Travel Possible In Our Universe?” | >

Either the great copyright battle pitting the record industry against generative artificial intelligence has begun or someone’s clout-chasing AI headlines.

The generative AI music hype train only needed about 48 hours to go from “oh, that’s interesting” to full Balenciaga pope territory, and while it’s clear someone is using the technology to run a scheme, we’re still not sure who it is.

Here’s the short version:

Continue reading “What’s really going on with “Ghostwriter” and the AI Drake song?” | >

Collossus the forbin project soundtrack.

Universal Pictures presents the debut title in the Universal Pictures Film Music Classics Collection — the world premiere release of renowned composer Michel Colombier’s (UNE CHAMBRE EN VILLE, AGAINST ALL ODDS, RUTHLESS PEOPLE, THE GOLDEN CHILD) original motion picture score to the 1970 classic sci-fi feature film COLOSSUS: THE FORBIN PROJECT, starring Eric Braeden, Susan Clark and Gordon Pinsent, and directed by Joseph Sargent. Never before officially available in any format, Colombier’s wildly inventive score finally gets the deluxe treatment it deserves. It’s a musical marvel, and key to the film’s unending cult status, as it expertly balances cold suspense and unrelenting dread with moving emotion and even romance. The music program of this release was produced, mixed into stereo from 3-channel split elements, and mastered by Mike Matessino.

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A song featuring the voices of Drake and The Weeknd called “Heart On My Sleeve” has amassed over 250,000 Spotify streams and 10 million views on TikTok. But the two renowned musicians had nothing to do with the song — an artist going by the name “ghostwriter” generated the song using AI.

Drake and The Weeknd have not yet responded to the song, but Drake recently commented on AI-generated music that rips off his voice. When Drake noticed an AI model of himself singing “Munch” by Ice Spice, he wrote on his Instagram story, “This is the final straw AI.” It’s possible he was messing around, but he would be far from the first major artist to take issue with the rising count of deepfake songs.

In 2020, Jay-Z’s agency Roc Nation submitted copyright strikes against YouTube uploads of AI-generated Jay-Z deepfakes, but YouTube ended up reinstating the videos. And just last week, the same thing happened to Eminem; UMG, which represents both of these rappers, issued a copyright strike on AI-generated YouTube videos of Eminem rapping about cats.

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One evening, some 40 years ago, I got lost in time. I was at a performance of Schubert’s String Quintet in C major. During the second movement I had the unnerving feeling that time was literally grinding to a halt. The sensation was powerful, visceral, overwhelming. It was a life-changing moment, or, as it felt at the time, a life-changing eon.

It has been my goal ever since to compose music that usurps the perceived flow of time and commandeers the sense of how time passes. Although I’ve learned to manipulate subjective time, I still stand in awe of Schubert’s unparalleled power. Nearly two centuries ago, the composer anticipated the neurological underpinnings of time perception that science has underscored in the past few decades.

The human brain, we have learned, adjusts and recalibrates temporal perception. Our ability to encode and decode sequential information, to integrate and segregate simultaneous signals, is fundamental to human survival. It allows us to find our place in, and navigate, our physical world. But music also demonstrates that time perception is inherently subjective—and an integral part of our lives. “For the time element in music is single,” wrote Thomas Mann in his novel, The Magic Mountain. “Into a section of mortal time music pours itself, thereby inexpressibly enhancing and ennobling what it fills.”

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An illustrated mid-career monograph exploring the 30-year creative journey of the 8-time Academy Award-nominated writer and director

Paul Thomas Anderson has been described as “one of American film’s modern masters” and “the foremost filmmaking talent of his generation.” Anderson’s films have received 25 Academy Award nominations, and he has worked closely with many of the most accomplished actors of our time, including Lesley Ann Manville, Julianne Moore, Daniel Day-Lewis, Joaquin Phoenix, and Philip Seymour Hoffman. In Paul Thomas Anderson: Masterworks, Anderson’s entire career—from Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), Punch Drunk Love (2002), There Will Be Blood (2007), The Master (2012), Inherent Vice (2014), and Phantom Thread (2017) to his music videos for Radiohead to his early short films—is examined in illustrated detail for the first time.

Anderson’s influences, his style, and the recurring themes of alienation, reinvention, ambition, and destiny that course through his movies are analyzed and supplemented by firsthand interviews with Anderson’s closest collaborators—including producer JoAnne Sellar, actor Vicky Krieps, and composer Jonny Greenwood—and illuminated by film stills, archival photos, original illustrations, and an appropriately psychedelic design aesthetic. Masterworks is a tribute to the dreamers, drifters, and evil dentists who populate his world.

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Disclaimed: None of it is real. It’s just a movie, made mostly with AI, which took care of writing the script, creating the concept art, generating all the voices, and participating in some creative decisions. The AI-generated voices used in this film do not reflect the opinions and thoughts of their original owners. This short film was created as a demonstration to showcase the potential of AI in filmmaking.

#AI #Filmmaking #Aliens #Movies #ScienceFiction #SciFi #Films

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