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We listen and listen to talk
about Artificial Intelligence
(AI), that if it’s good, that
if we will be left without a job.
First of all, we have to know:
what it’s and what is in it?
Artificial Intelligence is a
component of Computer Science
that emerged in 1956 in
the practices of four American
researchers: John McCarthy,
Marvin Minsky, Nathaniel
Rochester and Claude Shannon,
at Dartmouth College, in the
United States.
What does Artificial Intelligence
do: The objective of
Artificial Intelligence is the
simulation with machines of
the faculties of animal, human,
social, plant and phylogenetic
intelligence. UNESCO. Artificial
Intelligence , Promises an d threa ts.
2018. https://unesdoc.unesco.org/
ark:/48223/pf0000265211_spa
At the beginning of the appearance
of AI, concepts were
said that went beyond what it
is.In the 1970’s, research began
on the role of knowledge,
reasoning, comprehension
mechanisms, and the psychology
of memory, which led to
the development of expert
systems, so called because they
reproduce the reasoning of
experts.
With the improvement of
techniques, machine learning
algorithms arise. These
algorithms gave rise to industrial
applications such as voice
recognition and fingerprint
recognition.
AI joined robotics since the late 1990’s to create intelligent
agents that suggest the presence
of emotions and affects.
Many AI applications perform
functions in banking,
industry, healthcare, insurance,
and defense. Many tasks
will be automated, some jobs
disappearing, but others will
emerge.
For those who say that
AI will bring problems to
humanity, it’s not true
because the machines
have no moral exercise.
When we talk about moral,
we refer to the choice to do
good or evil and the application
and use of AI processes are
decided by human beings.
Also love and friendship
are beyond ai processes,
they are symbolic processes
of human beings.
UNESCO. Artificial Intelligence ,
Promises an d threa ts. 2018. https://
unesdoc.unesco.org/ark:/48223/
pf0000265211_spa
Those who say that machines
will think are wrong because
even the brain does not think.
We are living what we know
didn’t happen; that the development
of trade would generate
progress and well-being
for all.
The concept of progress
has been replaced by
innovation. “It should be
recognized that AI technologies
do not necessarily guarantee,
by themselves, the prosperity of humans or of the environment
and ecosystems”. UNESCO.
Reco mmen dation on the ethics of
artificial intelligence . Paris, 2022,
p. 20 https://unesdoc.unesco.org/
ark:/48223/pf0000381137_spa
From the above it follows that
human beings are the ones
who have the autonomy of the
use and application of AI.
AI can be learned in
the programs for this
purpose that appear on
the Internet.
There are many countries,
such as Canada, that invest
heavily in AI education. We
have, to make the poorest
countries benefit from AI.
In Africa there are universities
with programs in this area
of knowledge; summer courses
are also offered. It’s feared for
what this Fourth Industrial
Revolution could do
because rules must be established
to protect data and
private life. Through AI, poor
countries can get out of their
situation of poverty because the economy will be based on
data: Data Economy.
Regarding the relationship of
AI with science, UNESCO says:
“…science, in the broadest
sense, encompassing all
academic domains from the
exact and natural sciences and
medical sciences to the social
and human sciences, as AI
technologies bring new capabilities
and research approaches,
influence in our conception
of scientific understanding and
explanation and create a new
basis for decision-making; …”
UNESCO. Reco mmen dation on the Ethics
of Artificial Intelligence . 2021,
p. 5 https://unesdoc.unesco.org/
ark:/48223/pf0000380455_spa
Regarding AI and Education,
UNESCO held a Consensus
in Beijing from May 16 to 18,
2019. The Consensus made the
following recommendations on
AI in education:
1. AI for the management and
implementation of education
2. AI for the empowerment of
teachers
3. AI for learning and
evaluation
4. AI for the development of
values and skills for life and
work
5. The AI to provide learning
throughout life.
UNESCO seeks that AI be used
to achieve sustainable development
goals, especially proposal
4 that mentions Quality Education. In this quality
education, UNESCO proposes
ethical principles.
We can mention: “…AI
systems raise new types of
ethical questions including, but
not limited to, their impact on
decision-making, employment
and work, social interaction,
health care, education, the media,
access to information, the
digital divide, consumer and
personal data protection, the
environment, democracy, the
rule of law, security and maintenance
of order, dual use and
human rights and fundamental
freedoms, including freedom of
expression, privacy and nondiscrimination”.
UNESCO. Reco mmen
dation on the Ethics of Artificial
Intelligence . 2021, p. 5 https://
unesdoc.unesco.org/ark:/48223/
pf0000380455_spa
Artificial Intelligence:
1. Model and represent
knowledge
2. Exploit the data
3. Calculate correlations.
It has different methods like:
1. Machine learning
2. Automatic reasoning
We are living important moments
in history; what we
do throughout life depends
on each of us. You can learn
throughout life and always
benefit from being part of
the society in which we live,
receiving its benefits. There are
all the possibilities to learn, it depends on us that we do it. It
translates into a pleasant life
learning always avoiding being
part of the society in which
we find leaders who use, for
their purposes, those who have
less knowledge. We would also
avoid the kind of leaders we
see in many countries: profoundly
lacking in knowledge.
We can’t say that we are
victims of the situation if we
remain as if we didn’t see what
is happening. You are studying
at Atlantic International
University (AIU) and you have
the privilege that it’s an online
education, so AI will be of great
benefit to you.
You can learn the forms of
AI that you want and apply
them in your work being in
the society that UNESCO wants
and desires in its Sustainable
Development proposal, in section
4, Quality Education. You
will also feel useful and satisfied
throughout your life. Also,
your life will become satisfying
by being able to teach those
around you the use of AI. The
life we want to have depends
on each one of us.
You can use AI in the learning
process from experts and
do quality work. Don’t copy
texts, rather learn to take advantage
of the ways of obtaining
reasoning because you will
have knowledge for a lifetime.
Knowledge gives us quality
of life and if you want to work also better job opportunities.
Companies can’t afford, as in
the past, to have employees who
contribute little to their growth.
We are witnessing the many
employees being laid off. If you
become a productive member
in your organization, you will
always have work and activities
that allow you to be useful and
therefore happy in this society.
A considerable number of human
beings think that they only
have, to see what happens in
the world: with the study, with
the rulers and with democracy.
If we study, if we learn something
every day, the world we
live in would be different.
Let’s get to work study,
develop your program learning
as much as possible so that
your life is a blessing for you
and those around you: in your
environment, in your country
and internationally.
BIBLIOGRAPHY. UNESCO. Inteligencia Artificial, Promesas y
amenazas. 2018. Retrieved from: https://unesdoc.unesco.org/ark:/48223/
pf0000265211_spa | UNESCO. La Inteligencia Artificial en la Educación.
Retrieved from: https://es.unesco.org/themes/tic-educacion/inteligenciaartificial
| UNESCO. Recomendación sobre la ética de la Inteligencia
Artificial. 2021. Retrieved from: https://unesdoc.unesco.org/ark:/48223/
pf0000380455_spa | UNESCO. Recomendación sobre la ética de la
Inteligencia Artificial. París, 2022. Retrieved from: https://unesdoc.unesco.
org/ark:/48223/pf0000381137_spa
When there was no music
playing, diners took 3.23
bites per minute, 3.83 bites
per minute when slow music
was playing, and 4.4 bites per
minute when rapid music was
playing (Roballey et al., 1985).
Music’s position as a social
force might be portrayed in a
negative light by research like
the ones mentioned above.
In this regard, it’s important
to note that people appear to
utilize music in this manner
of their own volition. The
so-called ‘experience sampling
approach’ was used to
track the uses and functions
of music in everyday life in
large research conducted in the
United Kingdom (see Sloboda &
O’Neill, 2001 for a summary).
People would be required to
carry an electronic pager with
them throughout the day.
Participants
would be instructed
to note down if the music was
playing, what sort of music
was playing, why it was playing,
and other details when the
pager sounded (which would
happen at random intervals).
The results of this experiment,
on the whole, support the
assumption that music is
employed in a similar way in
everyday life as it is in a film
soundtrack (see chapter 14 for
a discussion of the role of music
in film). That is, individuals
utilize music throughout
the day to alter their emotions
and behavior —a conclusion
that has been supported in
interviews with people on their
usage of music (e.g., DeNora,
2001). Music soothes us when
we are unhappy, energizes us
when we need to be active, and
distracts us from tedious jobs,
among other things. For the
most part, music is a societal
force that we freely embrace.
5. The emotional power
of music in films
In movies, music has always
played a vital part. Even
‘silent’ pictures were hardly
quiet; before sound films,
live musicians’ music covered
the sound of loud projectors
and agitated spectators
and generally underlined the
general atmosphere and movements
depicted on screen. The
soundtrack has been more
significant in adding to the
immersive quality of movies
since the debut of sound films
in the 1920s. Film sound, like
film pictures, is not contained
in a flat, two-dimensional
screen of a predetermined size
(Chion , 1994).
As a result, sound adds
a “third dimension” to the
cinema experience by immersing
the viewer in a “sonority
envelope.” The audience
looks at a rectangular screen
to which they devote the most
of their attention; they are still
surrounded by sound on every
sides. As spectators, we hear
menacing heavy breathing and
accelerated footsteps following
directly behind us, as the noise
of rain showers envelop us on
all sides while witnessing a
figure retreat from imminent
harm amid a severe rainstorm.
As a result, rather of being
a spectator, sound positions
the viewer at the center of the
experience.
Various soundtracks may
lead to different assumptions
about more nuanced features
within this working narrative,
such as a character’s objectives
or the nature of a character’s
connection (e.g., Boltz, 2001;
Bullerjahn & Gülden ring, 1994).
Participants in Boltz’s (2001)
study were more likely to describe
the interaction between
two characters in a scenario as
harmonious or romantic when the scene was accompanied
by music expressing a ‘positive’
mood. Participants who
saw the identical scenario with
music that conveyed a ‘negative’
tone were more inclined
to believe that one actor would
injure the other. When the
scene was accompanied by
positive music, more positive
personality descriptions were
ascribed to the male character
(e.g., kind, loving, protective),
whereas when the scene
was accompanied by negative
music, more negative personality
descriptions were ascribed
to the male character (e.g.,
deranged, evil, manipulative).
Studies on the influence of
diverse musical soundtracks
on the interpretation of animal
behavior (Bolivar et al., 1994,
described previously) and even
the qualities of geometric
forms (Marshall & Cohen , 1998)
in short videos have given
similar results.
While several studies have
demonstrated that adjusting
the soundtrack may change
how people perceive onscreen
pictures, more modest
soundtrack modifications can
also have unexpected results.
Tan, Spackman, and Wakefield
(2008), for example, looked
at the differences between dietetically
and non-dietetically
presenting the identical piece
of music. ‘All that belongs...
to the world postulated or
presented by the film’s narrative,’
says the diegesis (Sou riau ,
quo ted in Gorbman , 1987). Rapid
music soundtrack for a vehicle
pursuit would be nondiegetic,
but a jukebox playing in the
background during a bar fight
would be diegetic because it
is meant to exist within the
imaginary universe inhabited
by the characters.
In certain circumstances,
music can transmit emotional
content that isn’t visible on
the screen. Past and future occurrences,
for example, can be
conveyed in cinema through
the use of leitmotifs, a term
adopted from Wagner’s operas
that refers to a recurrent
theme that comes to symbolize
a character, idea, or event
throughout a work by association.
John Williams’ original
soundtrack for Star Wars (Lucas,
1977), a picture that has been
properly described as an epic
space opera, exemplifies the
skilled usage of leitmotifs.
Darth Vader, Luke Skywalker,
Princess Leia Organa, and Obi-
Wan Kenobi, among others,
have their own leitmotifs that
are introduced and skillfully
interwoven into the rich orchestral
soundtrack, frequently
at emotional high points.
Young Luke, for example, sees
the double sunset of Tatooine
in one scene. In the words
of composer John Williams,
“the subject of emotional
transmission is a major concern
for those interested in
cross-cultural distinctions
linked to music.” If music is
claimed to have “meaning,”
part of that meaning is the
communication of emotion, as
previously noted. One of the
authors (PQP) recalls seeing
Kaige Chen’s film Farewell My
Concubine as one of his earliest
exposures to Chinese opera
(1993). This video concentrates
on a certain moment
that is replayed numerous
times (from an opera of the
same name). During the initial
presentation, it sounded peculiar
to the author —entertaining
but without transmitting
any distinct emotional
message. However, towards
the conclusion of the movie,
the music had grown more
recognizable.
The emotional outlines of the
sequence grew clearer as a result
of this familiarity, and the
sad message of the sequence
emerged. It’s reasonable to
believe that regular exposure is
required to comprehend emotional
communication from
any ‘foreign’ culture.
Is that the case? In fact,
research reveals that even after
the first exposure, listeners can
recognize the emotion being
expressed in music from
a foreign culture, even if they
are not as moved inwardly by
that song as a listener who
is more familiar with that
music. Balkwill and Thompson
(1999) discovered that listeners
from North America could
identify the intended emotions
in Hindustani rags based
mostly on features of musical
structure that are not peculiar
to that cultural system,
such as pace and pitch range,
discovered that if recordings
featured a certain timbral cue,
Western listeners perceived the
emotional purpose of Russian
laments as more mournful and
internally cohesive.
The timbral cue in this
example was a ‘gasping’ sound
made when the lamenter
inhaled deeply (an exaggerated
and sustained bout of inspiration).
Long falling phrases
describe laments, in which
the vocalist communicates her
intense sadness.
Although the manner of
musical representation differs
widely between cultures
(for example, tonal structure
and rhythmic rhythms), there
appears to be a common set
of emotional archetypes to
examine. Daniel Levitin’s latest
book, The World in Six Songs,
makes a compelling case for
this viewpoint (2008). All civilizations,
according to Levitin,
have generated songs that
reflect key shared feelings such
as friendship, joy, comfort,
wisdom, religion, and love.
Music is fascinating in part
because it is culturally distinct
while still being universal.
The meaning of music is both
confined by and extended across civilizations. A linguistic
contrast is instructive.
Linguists often think that the
world’s languages are various
specialized representations of
a shared core of more basic
principles, similar to how musicologists
believe. Music, on
the other hand, differs from
language in that the meaning
of a foreign language is
largely opaque to non-native
speakers. Research suggests,
on the other hand, that music
can transmit its intent to the
unschooled listener. At the
same time, the purpose of
music isn’t set in stone. Finally,
it’s possible that music
unites people more effectively
than language while also serving
as a medium for cultural
variation in the same way that
language does.
6. Conclusions
What conclusions can we
draw from the existing studies?
Clearly, it is far too early to say
whether musical sound importance
is a result of culturally
taught standards or universally
shared brain and cognitive
processes. Music is almost certainly
the outcome of interactions
between culturally unique
and universal components.
Exploring the manifestation of
universal traits in diverse cultures
is the most exciting study
path to take.
Although generalizations
from present research may be
premature, several fascinating
possibilities for future study
might be generated. First, it
appears that cultures contain
similar ‘core’ characteristics
but that these fundamental
characteristics are embellished
in ways that appeal
to diverse audiences. As a
result, musical complexity is
the greatest place to look for
cultural distinctiveness. Second,
according to some of the studies described
above, the temporal
domain of music
has more ‘universal’
qualities than
the pitch domain.
Finally, it appears
that there are
cultural disparities
between ‘art’
music and ‘folk’ (or
‘popular’) music
when it comes
to performance.
Furthermore, cross-cultural
comparisons should be careful
not to mix the terms “culture”
and “musical style”
(e.g., classical versus popular).
These concepts are, of course,
speculative and illustrative
rather than definitive. As we
said earlier, cross-cultural attention
is a ‘growing’ field in
music psychology, and while
it is progressing quickly, we
still have a long way to go. We
have purposefully utilized this
chapter on culture and music
as the book’s last debate. In
our perspective, music psychology
encompasses the full
range of musical experience,
from the physical vibrations of
sound to the sort of profound
meaning that drives people to
dedicate so much time, money,
and emotional energy to music
and music-making. Furthermore,
the universality of music
throughout civilizations —
despite their similarities and variations— demonstrates the
basic relevance of music to
human life.
As a result, we’ll end with a
musing about music’s overall
relevance. It might be argued
that music serves as a mirror
of human experience, in the
vein of Levitin’s (2008) recent
suggestion (and reflecting
previous Socratic thought).
The essence of this mirroring
was mentioned before, in
that music might be structurally
‘isomorphic’ to interior
emotional experiences (Lan ger,
1942). Furthermore, certain
parts of music might be
claimed to be global to the
extent that emotions are universal.
Cultural differences can
be compared to linguistic differences
in this sense, as both
are used to transmit universal
concepts and sentiments. Music
communicates comparable
concepts through diverse tonal
and rhythmic frameworks,
much as languages express
the same ideas with different
vocabulary and grammar. The
profound significance of music
and the tremendous delight it
has brought people throughout
history is very definitely due
to music’s ability to convey
the complexities and depths of
human life. The End
BIBLIOGRAPHY. Boltz, M. G. (2004). The cognitive processing of film and
musical soundtracks. Memory & Cognition. | Bullerjahn, C., & Güldenring,
M. (1994). An empirical investigation of effects of film music using qualitative
content analysis. Psychomusicology. | Cohen, A. J. (2001). Music as
a source of emotion in film. In P. N. Juslin & J. A. Sloboda (Eds.), Music
and emotion: Theory and research (pp. 249–272). Oxford: Oxford University
Press. | Cohen, A. J. (2001). Music as a source of emotion in film. In
P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research
Oxford: Oxford University Press. | Langer, S. K. (1953). Feeling and form.
London: Routledge and Kegan Paul. | Levitin, D. J., & Menon, V. (2003).
Musical structure is processed in ‘language’ areas of the brain: A possible
role for Brodmann Area 47 in temporal coherence. NeuroImage. | McKeage,
K. M. (2004). Gender and participation in high school and college
instrumental jazz ensembles. Journal of Research in Music Education. |
North, A. C., Colley, A. M., & Hargreaves, D. J. (2003). Adolescents’ perceptions
of the music of male and female composers. Psychology of Music.
| Siu-Lan Tan, Peter Pfordresher and Rom Harré (2010). The psychology of
music, Psychology Press. | Wehr-Flowers, E. (2006). Differences between
male and female students’ confidence, anxiety, and attitude toward learning
jazz improvisation. Journal of Research in Music Education.
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