Spomenik I

for flute, violin, vibraphone, tuba, resonant metal, and fixed media

Rachel Reyes, flute
Justin Zeitlinger, violin
Cole Henslee, tuba
Melissa Wang, vibraphone

“A concept is a brick. It can be used to build the courthouse of reason. Or it can be thrown through the window." —Brian Massumi, in Pleasures of Philosophy, a translator’s foreword to Deleuze & Guattari’s A Thousand Plateaus

Spomenik means “monument” in various Slavic languages, which is particularly used for the massive abstract sculptures erected in the Former Yugoslavia countries after WWII. The piece relates to its namesake by depending on a 3D graph, a spomenik, which represents a dataset of musical parameters that is used to train a generative AI process.

The commercials that interrupt the musical flow are products of generative AI processes as well. Do they simply exist as caricatures of over-hyped products in generative AI startup space? Is it only about taking a jab at an ill-defined form of “accessibility” in new music? Or, are they suggesting that what they are doing is the only viable approach to generative AI in a capitalist society?

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