new classics and SCI FI sentiment robots : Trygve Seim and company

much like Motzart and Bach theese artists represent the future lost somewhere in a category for late history to be searched for perhaps because of their original feel
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Could a robot ever be behind the future of music or would it be trapped in trying to comprehend the music at the heart of sentimental types of sounds much like the music that is NOW being made by artists like :

ARVE ERIKSEN
FRODE HALTILI
TRYGVE SEIM
TORD GUSTAVSON

sounds strange but movies like BLADE RUNNER are developed on the KITCHY feel of robots trying to comprehend the basis of emotion’
and a lot of its been new age

So what is the style of new age music for robots and does it have sentimental value, would it be a style of music that defines the human return to its own mechanical and unavoidable sentiment of the wastes of a robot circuit as a type of philosophy of transient TRANSISTORS
Well the music presented here is quite serious
but it does have some SCI FI value.
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OPT FUTURE is a usage of everything sentimental in rrelations to advanced expression of digital musics of the 3rd world types and the dreary but real feelings of humans who have long ago given up of ever falling in love with a human

Much like Harrison Ford and the character of a Sean Young playing the role of a humanoid in which he falls in love for.
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as regards the ABC of humanoid LAWS
the image below is reffered to as LAW A)

basic ABC of ROBOT LAWS
A)
If you wait long enough in the presence of a robot you will only realise the same wastage of energy by both the wasted LAWS A and C
B)
If you have a circuit you will waste its energy trying to comprehend time in law A
C)
If you avoid using a circuit but are waiting for a answer you will loose law A by durational extensions into law B as the feeling of SENTIMENT as a shared reality of circuits going nowhere
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as regards the Humanoid LAWS ABC
the image below is related to LAW C)

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perhaps being the best in a age where there is so much data that everything has one value
the conservation of energy would define thoose artists using a minimal amount of fame are the ones that make it through the ARTIST ENERGY CRISIS

actually this defines the law of sentimentality in robots as seen with this kind of new classical presentations of music that would fit well into a SCI FI type of environement

here is some data on robots with the stress put on the SENTIMENT of robots

Robots have been a part of science fiction since the Czech playwright Karel Čapek coined the word in 1921. In early films, robots were usually played by a human actor in a boxy metal suit, as in The Phantom Empire, although the female robot in Metropolis is an exception. The first depiction of a sophisticated robot in a US film was in The Day the Earth Stood Still.
Robots in films are often sentient and sometimes sentimental, and they have filled a range of roles in science fiction films. Robots have been supporting characters, such as Robby the Robot in Forbidden Planet, sidekicks (e.g., C-3PO and R2-D2 from Star Wars), and extras, visible in the background to create a futuristic setting. As well, robots have been formidable movie villains or monsters (e.g., the robot Box in the 1976 film Logan’s Run. In some cases, robots have even been the leading characters in science fiction films; in the 1982 film Blade Runner, many of the characters are bioengineered android “replicants”.
Films like Bicentennial Man and A.I. Artificial Intelligence depicted the emotional fallouts of robots that are self aware.
One popular theme in science fiction film is whether robots will someday replace humans, a question raised in the film adaptation of Isaac Asimov’s I, Robot, or whether intelligent robots could develop a conscience and a motivation to take over or destroy the human race (as depicted in The Terminator).

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