02-28-2019, 09:31 PM
(02-27-2019, 02:52 PM)Eric the Green Wrote:(02-26-2019, 09:05 PM)pbrower2a Wrote: There will be a powerful movement to preserve intellectual work, for that can be the most human of all work. We will insist upon the human touch -- and being the human touch. Musicians themselves will insist upon being live orchestras instead of having synthesized orchestras.
At the least, live music and live theater are usually far superior to the recorded, let alone synthesized, varieties.
I think you're talking about the kind of work Bregman is praising, work that adds meaning, not just work that uses the mind to make money (like computer programming or robot design, or as he said, work to entice people to click on ads). Intellectual work which directly replaces factory jobs won't need as many people. But there will be a market for creative intellectual and artistic work. That would include all of the above, live and recorded, orchestral and synthesizer.
True -- but it is often the technical work that creates the wealth that funds some expensive activities in theater, music, and visual art.
I predict that the American economy will be obliged to heavily tax robot-based production as well as property rents to support a welfare system that keeps people from hunger and exposure. People are precious, lest the social order become 'disposable' in a revolution.
Quote:It's all the human touch; just different media. Myself I love recordings because you can hear them again and listen intimately. Playing records has been a lifelong pastime of mine, and I have played them over the radio and the internet on my programs. I love synthesizer music, especially the ambient variety. The latter is the best music made today. That instrument has come a long way. I still love the orchestra too though, and always have; and since I was 14 in 1964 I love a good rock band too. These days, the original creative talent is not so much evident for either orchestra OR rock band, though. It would be nice if it were again.
Of course. Recordings are the only way a living person can now have of how Pavarotti (let alone Caruso!) sang; how Artur Rubinstein played the piano, how Mstislav Rostropovich played the cello, how Jascha Heifetz played the violin, or how George Szell conducted. (Add musicians of other categories too). Recordings are one way to rediscover music that has gone undeservedly out of style.
But this said, you are not going to get people to spend real money to go to a concert hall to listen to a recording. Obviously the copyrights get in the way... Recordings always lose something, and in the era of digital recording they really lose something. Compression and decompression? Or did recording companies and recording engineers get excessively complacent with the word "digital" that they lost the concept of musicality?
In my experience, the late analogue era of recording (1970s), before record companies pushed "DDD" as if it were a revolutionary improvement instead at times of a mangling, offered some superbly-recorded recording of music. Digital recording was great for the bean-counters in the recording cartel.
But that topic goes to sound quality.I might take that discussion to an old thread for revival.
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.