Browsed by
Tag: G. Stolyarov II

Individual Empowerment through Emerging Technologies: Virtual Tools for a Better Physical World – Video by G. Stolyarov II

Individual Empowerment through Emerging Technologies: Virtual Tools for a Better Physical World – Video by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 23, 2014
******************************
No realm of human activity in the past century has empowered and liberated the individual as efficaciously as technological advancement. Our personal, political, and economic freedoms – though limited in many respects – today allow us to achieve quality-of-life improvements and other objectives that were inconceivable even a few decades ago. Much libertarian, classical liberal, and Objectivist theory supports this insight, but in our era of increasing salience of advanced technology, this support needs to be made far more explicit and applied toward vocal advocacy of emerging, life-transforming breakthroughs that further raise the capacities of the individual. Gamification, augmented reality, and virtual worlds can play a significant role in enhancing and preserving our physical lives.

***

This video is based on Mr. Stolyarov’s essay “Individual Empowerment through Emerging Technologies: Virtual Tools for a Better Physical World“.

References

Playlist: The Musical Compositions of G. Stolyarov II
– “Ayn Rand, Individualism, and the Dangers of Communitarianism” (2012) – Essay by G. Stolyarov II
– “Carl Menger, Individualism, Marginal Utility, and the Revival of Economics” (2006) – Essay by G. Stolyarov II
– “Ludwig von Mises on Profit, Loss, the Entrepreneur, and Consumer Sovereignty” (2007) – Essay by G. Stolyarov II
– “Open Badges and Proficiency-Based Education: A Path to a New Age of Enlightenment” (2013) – Essay by G. Stolyarov II
Runkeeper
Fitocracy
Fitbit
– “Minecraft” – Wikipedia
– “Oculus Rift” – Wikipedia –
– YouTube Videos of Minecraft Computers (here and here)

Video of Melody and Lyrics for “Progress Unyielding”, Op. 76 (2013) – Space Colonists’ Anthem from “Eden against the Colossus” – by G. Stolyarov II

Video of Melody and Lyrics for “Progress Unyielding”, Op. 76 (2013) – Space Colonists’ Anthem from “Eden against the Colossus” – by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 14, 2014
******************************

“Progress Unyielding” is the anthem celebrating space colonization and humans’ expansion throughout the universe, guided by the principles of individualism, liberty, rationality, and progress. It is originally found in Mr. Stolyarov’s 2004 novel, Eden against the Colossus. In 2013, Mr. Stolyarov was asked to create a composition to convey the music of this anthem, as he imagined it when writing the novel. This composition is not the full orchestration described in “Eden against the Colossus”, but rather the main melody, played on the harp, with accompaniment by the piano and by a string ensemble for the latter third. It communicates the principal direction of “Progress Unyielding” and allows the listener to see the words put to music.

Download a free MP3 file of the melody of Progress Unyielding here.

The meter of this piece would accommodate the following very slightly modified lyrics, which still communicate the same substance as the anthem in the novel.

****

Progress Unyielding

Our souls before these sights dwarfed shan’t become.
Why bow to passive matter of antiquity?
What spreads from it is pandemonium;
Its barrenness is source for all iniquity.

‘Tis in our minds the idols hatch,
Of stone for man to shape and mold.
Such logic does our hands attach
To this domain of lifeless cold,
To every cavern, crater, creek.
Wrong was the man who’d preached the norm
That worlds are destined for the meek!
Our will and strength give matter form.
He who grovels tastes his obsequies;
We float into the void, oases craft.
We are not slaving tribal bees,
And no collective guides our raft.
We are not one, but many knights;
Each does himself his quest ordain,
We thrive on work, and work from rights.
Our well-earned profit’s our domain.

This ground bears meaning solely to our aims.
Its monuments stem from our ingenuity.
Glory to him who savage wildlands tames,
And weeds out every incongruity!

What shall replace the brittle dune?
What shall refine this cratered scar?
Our pavement shall embrace them soon,
And spread to every spawn of star
Yet seen, and into others we shall gaze,
And thus apply the universe’s stock.
This is not but one transient phase.
Forever shall we tame new rock!
Cosmos is Man’s, its means and goal.
Its exiled heirs now seek its wreath:
Supremacy, from atom, oil, and coal.
Our claim to treasures underneath
These jagged lands shall never wane.
Always grand mechanisms will be our guide.
No Luddites shall their betterment profane.
Inventors we exalt and vandals we deride!

Merit determines worth under our creed.
The self-made prodigy our government defends,
Does our endeavor by example lead,
And never harms one for another’s ends.

What is the trait we deem sublime?
The source which does all virtue render.
It, dauntless, conquers space and time,
And never can its plight surrender.
It is inside us, best within the great,
The ego, mind, one’s self, one’s soul,
Prerequisite to any proper state.
Maintain your own, and you’ve fulfilled your role.
No world beyond this life is real;
Its furthering’s our sole concern.
No godly favor is to steal,
No mystic afterlife to earn.
God’s not above us, but within;
The Self’s the Lord, Reason, His rite.
We have a universe to win.
Join us, great men, in splendid flight!

***

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

All art used in this video is either in the public domain or subject to a Creative Commons license and is used with attribution. See the image captions for more details regarding each artwork and its source.

This video, too, is licensed as a Creative Commons Attribution Share-Alike work and is available for non-commercial use to anyone under the condition that the same license be preserved.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Man’s Struggle Against Death, Op. 57 (2008) – Musical Composition and Video by G. Stolyarov II

Man’s Struggle Against Death, Op. 57 (2008) – Musical Composition and Video by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 11, 2014
******************************

This composition by Mr. Stolyarov depicts the most important challenge facing humankind during all of its existence – the imperative of freeing individual humans from the ghastly and unconscionable fate of eventually ceasing to exist. Indefinite physical life in this world is not only possible with sufficient advances in scientific knowledge and medical technology – it is also supremely desirable, and we who are alive now should work to attain it as early as we can.

As outlined by Dr. Aubrey de Grey of the SENS Research Foundation, there are only seven primary types of damage involved in human biological senescence – which leads to death:

1. Extracellular junk
2. Extracellular crosslinks
3. Dysfunctional cells
4. Intracellular aggregates
5. Mitochondrial mutations
6. Nuclear mutations
7. Cell loss/atrophy

This led Mr. Stolyarov to compose a work where there are seven variations on the same theme – with the theme representing the consistent, unyielding human effort to defeat death and achieve indefinite longevity.

Every time that a variation on the theme is played, this represents one of the causes of death finally being overcome by human ingenuity. Accordingly, the melody becomes more jubilant and determined as the composition progresses, because there are fewer perils awaiting man and the amount of the task remaining is reduced.

Once the seven variations are complete (which corresponds with the attainment of indefinite life), the coda of the work is meant to evoke the last line of John Donne’s sonnet, “Death, Be Not Proud”: “And death shall be no more; death, thou shalt die.”

John Donne was not himself a physical life-extensionist (he was alive too early), but the last line of his poem is an excellent motto for life-extensionists to adopt as we spread awareness of the need and urgency of defeating this greatest of all perils.

This composition was remastered using the Finale 2011 and Finale 2014 software. It is written for organ, two pianos, harpsichord, timpani, a brass section, and a strings section.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

Read more about the quest for indefinite life in Mr. Stolyarov’s book Death is Wrong.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Waltz #5, Op. 48 (2007, 2014) – Musical Composition and Video by G. Stolyarov II

Waltz #5, Op. 48 (2007, 2014) – Musical Composition and Video by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 11, 2014
******************************

This brief and cheerful waltz from 2007 was the first work created by Mr. Stolyarov in Anvil Studio, a musical composition program that permits greater versatility than simply recording a piece played on a piano. The present version has been expanded and remastered using the Finale 2011 and Finale 2014 software. It is composed for two piano parts and one violin.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 33, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Individual Empowerment through Emerging Technologies: Virtual Tools for a Better Physical World – Article by G. Stolyarov II

Individual Empowerment through Emerging Technologies: Virtual Tools for a Better Physical World – Article by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 9, 2014
******************************

No realm of human activity in the past century has empowered and liberated the individual as efficaciously as technological advancement. Our personal, political, and economic freedoms – though limited in many respects – today allow us to achieve quality-of-life improvements and other objectives that were inconceivable even a few decades ago. Much libertarian, classical liberal, and Objectivist theory supports this insight, but in our era of increasing salience of advanced technology, this support needs to be made far more explicit and applied toward vocal advocacy of emerging, life-transforming breakthroughs that further raise the capacities of the individual. Gamification, augmented reality, and virtual worlds can play a significant role in enhancing and preserving our physical lives.

I find a lot of support for technological progress, self-determination, and the triumph of the individual over the impositions of the collective in the works of Ayn Rand (as an example, see this 2012 essay of mine for a brief analysis of Randian individualism). The Austrian economists Carl Menger and Ludwig von Mises were also great exponents of individualism, and their innovations in value-theory emphasized the importance of subjective preference in the determination of prices, the work of entrepreneurs, and the effects of policy. They grounded their economic work in a deep understanding of philosophy and offered a countervailing view of the world during a time when postmodernism was gaining popularity. They explained that universal laws of economics, derived from the basic fact of human action itself, are at the root of explaining whether societies facilitate flourishing and progress, or misery and stagnation.

Were these great thinkers alive today, it would have been fascinating to observe their insights regarding the power of technology to enable the personal creation of art which was not technically feasible for an individual in prior eras to create. They would surely recognize the amazing influence of the latest generation of technological entrepreneurs on our lives and well-being – not just in the emergence of computers, the Internet, and mobile devices – but also in less-emphasized applications, such as digital art, electronic music, increasingly sophisticated and graphically immersive computer games, and tools for the “quantified self” – an increasing array of metrics for vital bodily attributes and activities. The convergence of these tools is ushering in an era of augmented reality, which rational and determined creators can harness to achieve their goals more effectively and more enjoyably.

I have seen this vast technological improvement affect my ability, for example, to compose music. In a few hours I can create a composition and hear it played back flawlessly by an electronic orchestra, whereas even a decade ago I would have needed to spend weeks internalizing melodies and variations. In order to play my compositions, I would have had to spend months practicing, even then being quite vulnerable to human error. One of my current ongoing projects is to remaster as many of my older compositions (all preserved, thankfully) as I can using the tools now available to me – enabling their flawless playback via synthetic instruments. Today, they can sound exactly as I intended them to sound when I composed them years ago. Many works have already been remastered in this way (available within this video playlist), which has enabled me to hear and to share with the world pieces which have not been in my “finger memory” for over a decade.

Numerous life-improving applications of augmented reality are emerging now and can be expected to expand during the proximate future. Many of these technologies can have strong, immediate, practical benefits in enhancing human survival and functionality within the physical world. Already, mobile applications such as Runkeeper, scoring systems like that of Fitocracy, or devices like the Fitbit allow individuals to track physical activity in a granular but convenient manner and set measurable targets for improvement. Significant additional innovation in these areas would be welcome. For instance, it would be excellent to have access to live readings of one’s vital statistics, both as a way of catching diseases early and measuring progress toward health goals. This vision is familiar to those who have encountered such functionality in virtual worlds. Players track and improve these statistics for their characters in computer games, where it proves both interesting and addictive – so why not bring this feature to our own bodies and other aspects of our lives?

Computer games – one type of virtual world – expand the esthetic and experiential possibilities of millions of people. While not fully immersive, they are far more so than their predecessors of 20 years ago. They can extend the range of human experience by enabling people to engage in actions inaccessible during the course of their daily lives – such as making major strategic decisions in business, politics, or world-building, exploring outer space, or designing and interacting with a skyscraper without the hazards of being a construction worker. (Minecraft comes to mind here as an especially versatile virtual world, which can be shaped in unique ways by the creativity of the individual. I can readily imagine a future virtual-reality game which is a more immersive successor of Minecraft, and where people could create virtual abodes, meeting places, and even technological experiments. Minecraft already has mods that allow the creation of railroads, industrial facilities, and other interesting contraptions.)

One common and highly gratifying feature of computer games that has long fascinated me is the ability to make steady, immediately rewarding progress. Any rational, principled economic or societal arrangement that promotes human flourishing should do the same. Emerging efforts at the “gamification” of reality are precisely a project of imparting these rational, principled characteristics – hopefully remedying many of the wasteful, internally contradictory, corrupt, and fallacy-ridden practices that have pervaded the pre-electronic world.

Tremendous technological, cultural, and moral progress could be achieved if this addictive quality of games were translated into the communication of sophisticated technical concepts or philosophical ideas, such as those underpinning transhumanism and indefinite life extension. If there were a way to reliably impart the appeal of games to knowledge acquisition, it would be possible to trigger a new Age of Enlightenment and a phenomenon never seen before in history: that of the masses becoming intellectuals, or at least a marked rise in intellectualism among the more technologically inclined. This aspiration relates to my article from early 2013, “Open Badges and Proficiency-Based Education: A Path to a New Age of Enlightenment” – a discussion of an open-source standard for recognizing and displaying individual achievement, which could parlay the abundance of educational resources available online into justified reward and opportunities for those who pursue them.

While some critics have expressed concern about a future where immersion in virtual worlds might distract many from the pressing problems of the physical world, I do not see this as a major threat to any but a tiny minority of people. No matter how empowering, interesting, addictive, and broadening a virtual experience might be (and, indeed, it could someday be higher-resolution and more immersive than our experience of the physical world), it is ultimately dependent on a physical infrastructure. Whoever controls the physical infrastructure, controls all of the virtual worlds on which it depends. This has been the lesson, in another context, of the recent revelations regarding sweeping surveillance of individuals by the National Security Agency in the United States and its counterparts in other Western countries. This inextricable physical grounding is a key explanation for the unfortunate fact that the Internet has not yet succeeded as a tool for widespread individual liberation. Unfortunately, its technical “backbone” is controlled by national governments and the politically connected and dependent corporations whom they can easily co-opt, resulting in an infrastructure that can be easily deployed against its users.

A future in which a majority would choose to flee entirely into a virtual existence instead of attempting to fix the many problems with our current physical existence would certainly be a dystopia. Virtual reality could be great – for learning, entertainment, communication (especially as a substitute for dangerous and hassle-ridden physical travel), and experimentation. Some aspects of virtuality – such as the reception of live statistics about the external world – could also be maintained continually, as long as they do not substitute for the signals we get through our senses but instead merely add more to those signals. However, the ideal use of virtual reality should always involve frequent returns to the physical world in order to take care of the needs of the human body and the external physical environment on which it relies. To surrender that physicality would be to surrender control to whichever entity remains involved in it – and there is no guarantee that this remaining entity (whether a human organization or an artificial intelligence) would be benevolent or respectful of the rights of the people who decide to spend virtually all of their existences in a virtual realm (pun intended).

Fortunately, the pressures and constraints of physicality, so long as they affect human well-being, are not easily wished away. We live in an objective, material reality, and it is only by systematically following objective, external laws of nature that we can reliably improve our well-being. Many of us who play computer games, spend time on online social networks, or even put on virtual-reality headsets in the coming years, will not forget these elementary facts. We will still seek food, shelter, bodily comfort, physical health, longevity, and the freedom to act according to our preferences. The more prudent and foresighted among us will use virtual tools to aid us in these goals, or to draw additional refreshment and inspiration within a broad framework of lives where these goals remain dominant.

In a certain sense, virtual worlds can illustrate some imaginative possibilities that cannot be experienced within the non-electronic tangible world – as in the possibility of constructing “castles in the air” in a game such as Minecraft, where the force of gravity often does not apply (or applies in a modified fashion). There is a limit to this, though, in the sense that any virtual world must run on physical hardware (unless there is a virtual machine inside a virtual world – but this would only place one or more layers of virtuality until one reaches the physical hardware and its limitations). A virtual world can reveal essential insights which are obscured by the complexity of everyday life, but one would still remain limited by the raw computing power of the hardware that instantiates the virtual world. In a sense, the underlying physical hardware will always remain more powerful than anything possible within the virtual world, because part of the physical hardware’s resources are expended on creating the virtual world and maintaining it; only some fraction remains for experimentation. People have, for instance, even built functioning computers inside Minecraft (see examples here and here). However, these computers are nowhere close to as powerful or flexible as the computers on which they were designed. Still, they are interesting in other ways and may employ designs that would not work in the external physical world for various reasons.

Most importantly, the fruits of electronic technologies and virtual worlds can be harnessed to reduce the physical dangers to our lives. From telecommuting (which can reduce in frequency the risks involved with physical business travel) to autonomous vehicles (which can render any such travel devoid of the accidents caused by human error), the fruits of augmented reality can be deployed to fix the previously intractable perils of more “traditional” infrastructure and modes of interaction. Millions of lives can be saved in the coming decades because a few generations of bright minds have devoted themselves to tinkering with virtuality and its applications.

The great task in the coming years for libertarians, individualists, technoprogressives, transhumanists, and others who seek a brighter future will be to find increasingly creative and sophisticated applications for the emerging array of tools and possibilities that electronic technologies and virtual worlds make available. This new world of augmented reality is still very much a Mengerian and a Misesian one: human action is still at the core of all meaningful undertakings and accomplishments. Human will and human choice still need to be exerted – perhaps now more so than ever before – while being guided by human reason and intellect toward furthering longer, happier lives characterized by abundance, justice, peace, and progress.

Grand Procession, Op. 14 (2001-2002) – Musical Composition and Video by G. Stolyarov II

Grand Procession, Op. 14 (2001-2002) – Musical Composition and Video by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 9, 2014
******************************

“Grand Procession” was composed by Mr. Stolyarov in 2001 and 2002. It was Mr. Stolyarov’s first attempt at a multi-instrumental composition. Since MIDI sequencers were not available to him then, Mr. Stolyarov had to play each track by hand and attempt to align it with the played-back recording of all the other tracks. The present version is remastered using the SynthFont 2 software, with the Evanescence 2 and GMR Basico 1.1 instrument packs.

This composition is written for piano, flute, organ, harpsichord, and a string section. As the name suggests, it is meant to evoke images of a triumphal procession – of a civilian rather than military nature (since most of the instruments involved would not be available to a military band or orchestra).

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is “The Coronation of Napoleon” by Jacques-Louis David, painted in 1805 and available as a public-domain image here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Lullaby, Op. 47 (2005) – Musical Composition and Video by G. Stolyarov II

Lullaby, Op. 47 (2005) – Musical Composition and Video by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 8, 2014
******************************

This is a peaceful, gentle, innocent lullaby for piano, composed by Mr. Stolyarov in 2005.

This work was remastered using the SynthFont2 software, with the Evanescence 2 and GMR Basico 1.1 instrument packs.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is “Alabama Kitten” by Wendy D. Stolyarov, painted in 2009 and available for free download here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Fibonacci Rondo (Rondo #1), Op. 54 (2008) – Musical Composition and Video by G. Stolyarov II

Fibonacci Rondo (Rondo #1), Op. 54 (2008) – Musical Composition and Video by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 7, 2014
******************************

The Fibonacci Rondo, a 2008 composition by Mr. Stolyarov, was inspired by the Fibonacci Sequence of numbers, where each subsequent number is the sum of the two previous numbers. If the Fibonacci Sequence begins with 1 and 1, then the first six numbers of the sequence are 1, 1, 2, 3, 5, and 8.

The recurring theme of this composition – which occurs once at 0:32 and again at 1:30 represents musically the beginning of the Fibonacci Sequence and the process of its formation.

If we assign the value 1 to the note C, then we can assign the following values to other notes in relation to it:

2 = D

3 = E

5 = G

8 = C one octave above the “1” note.

Then, through two eighth notes, we can represent the numbers being added, while the following quarter note represents their result.

So two eighth-note C’s will be followed by a quarter-note D to represent “1 + 1 = 2.”

Then the eighth notes C and D, followed by a quarter-note E, represent “1 + 2 = 3.”

Then the eighth notes D and E, followed by a quarter-note G, represent “2 + 3 = 5.”

Then the eighth notes E and G, followed by a quarter-note C from the next octave, represent “3 + 5 = 8.”

Thereafter, the same pattern is applied to other harmonies – both major and minor – to ensure a melodic progression.

The timpani accompaniment in the second appearance of the theme relates this basic structure without any other notes added to reinforce the harmony. Quite a bit of harmonic reinforcement is added in the parts for all the other instruments, however.

This composition is written for a piano, two string sections, and timpani, and remastered using the Finale 2011 software. It probably could not be played by a human orchestra, as the 32nd notes in one of the string sections are simply too fast to be played by human musicians. The ability to reproduce music of this sort is yet another way in which computers have expanded the range of human creativity.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Escalation, Op. 53 (2008) – Musical Composition and Video by G. Stolyarov II

Escalation, Op. 53 (2008) – Musical Composition and Video by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 6, 2014
******************************

This 2008 composition by Mr. Stolyarov for string orchestra, piano, organ, and timpani conveys an impression of increasing intensity and complexity as the same theme is varied by the addition of new instrumental parts. The melody in the strings is the same throughout the work, and once a melody has been established in any of the other parts, it does not change. The change and movement in this piece come from the “layering” of  newer instrumental parts on top of the older ones.

This work was remastered using the Finale 2011 software, with the Full Strings Arco, Full Strings Tremolo, Steinway Grand Piano, Church Organ, and Timpani instruments.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 45, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Composition for Harpsichord and Piano, Op. 50 (2008) – Musical Composition and Video by G. Stolyarov II

Composition for Harpsichord and Piano, Op. 50 (2008) – Musical Composition and Video by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
November 4, 2014
******************************

This experimental composition, Mr. Stolyarov’s first attempt at polyphony in 2008, explores the interplay between two instruments, including their potential to simultaneously play two different but complementary melodies. The mood of this piece also alternates between tense and jubilant.

This work was remastered using the Finale 2011 software, with the Steinway Grand Piano and Harpsichord instruments.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 57, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.