Virtual reality and artificial intelligence at the service of music: Web Summit Lisbon
Virtual Reality and Artificial Intelligence are topics we hear more and more often. Notably, for the favorable effects, they can have in every field of our life, including music and also artistic production.
When we talk about virtual reality (VR), we think about commercials, video games, or films between science fiction and reality. You have only to wear apposite VR headsets to jump into a parallel universe where the imagination takes pleasure in capturing every detail! Indeed, virtual reality is a simulated reality: a three-dimensional space recreated digitally that can be explored without geographical barriers. The interaction takes place through devices such as visors, 3D glasses, gloves, and virtual reality headsets. Wearing these devices, the person feels wholly projected into a scene so realistic that it seems almost real. New worlds, new settings, and exciting flow of time: this is virtual reality. At this point, it is easy to imagine what can mean for an artist to guarantee a total immersion of the listener in his music product or video clip. He has the possibility of communicating his message on a much more engaging and effective level and of bringing users to a life adventure.
At the same time, artificial intelligence is slowly becoming good friends with artists. Yes, friend. AI does not set itself the task of replacing the human component, but of expanding capabilities. Thanks to AI, the creative industry finds new potential in the musical composition through artificial neural networks and complex algorithms that, however, always require human sensitivity to function well. Human-machine interaction is, in fact, fundamental in every phase: from programming to recording, from production to arrangements, up to checking algorithm learning criteria.
Moreover, the combination of music and computer is not new. Since the mid-fifties, attempts have been made to create compositions with algorithms, not to mention the generative music of Brian Eno in the mid-nineties. The same streaming platforms that we all use utilize sophisticated algorithms and artificial intelligence, analyzing the tastes of users and suggesting new music and artists that they might like.
A conference about Music, virtual reality and artificial intelligence
Given these necessary premises, this year at Web Summit in Lisbon (7th November ), there is a specific conference to artificial intelligence and virtual reality applied to music. We are present there as Media / Press at the Music Notes stage.
The title is Welcome to Planet Jarre. The speaker of excellence is Jean-Michel Jarre, composer, performer, record producer, and pioneer of French electronic music. On this occasion, Jean-Michel Jarre makes a summary of his career, with some reflections on how an artist can benefit today from AI and virtual reality in creative production.
Let’s not forget that AI, virtual reality, and augmented reality will be increasingly present even in live concerts. Thanks to the devices mentioned, the listener will live a much more personal and interactive experience, with decidedly active and memorable participation.
Something more about the Welcome to Planet Jarre speakers at Web Summit
Jean-Michel Jarre is an award-winning musician and performer, globally famous for leading the way in the electronic music genre and the live scene after the release of his debut album Oxygène in 1976 (14 million copies sold) made in one improvised home recording studio.
He was the first Western musician to perform in China and is in the Guinness Book of World Records of the biggest concerts in history, such as the one in Moscow in 1997. To date, he has sold around 80 million albums worldwide.
During the Welcome to Planet Jarre conference, we also find as moderator Rob Schwartz, entertainment journalist, music producer, and entrepreneur. For over 20 years, he has been living between Asia and the United States. He is today Asia Bureau Chief of Billboard, the well-known US weekly magazine dedicated to music.