Researchers believe they've found evidence that brain signals reveal the pitches of notes in imagined musical melodies, reports Medical Express: Study participants were 10 epilepsy patients with electrodes on the surfaces of their brains for clinical monitoring. Participants quietly listened to the first bars of children's tunes, then imagined the melodies of subsequent bars before humming their imagined melodies. Brain activity from the patients carried information about relative pitches within the imagined melodies. Combining note-level pitch predictions over time allowed the research team to recreate melodic changes that reflected the structure of the imagined songs... "The model we created decodes relative pitch classes — such as do, re, mi, fa, sol, and la — rather than exact, absolute pitches," [said tudy co-lead Jii Kwon of Seoul National University]. "This is useful because people often recognize melodies by the relationships between notes, even when the same melody is played in a different key."

Read more of this story at Slashdot.

Tom Vek burst onto the scene in 2005 with his album We Have Sound, which garnered a solid 7.6 from the tastemakers of the day over at Pitchfork. His undeniably catchy brand of dancy indietronica landed him an appearance on The OC and placement on the Grand Theft Auto IV soundtrack. His follow-up, Leisure Seizure, had a lengthy gestation period, but arrived in 2011 to similar success, reaching No. 79 on the UK charts.

Vek has continued to release music at regular intervals over the last 15 years, dropping Newer Symbols in 2022. But in 2020 he started toying with this idea he had for a music player called Sleevenote. Inspired by viny …

Read the full story at The Verge.

Here is yet another clue about how we are both spiritual and physical beings. The two realms are connected in mysterious and remarkable ways.

Source

The cover artist was working on a bit of extra creativity, showing Behe playing poker with Charles Darwin, and holding the winning cards.

Source

O tvOS 27 chegará neste ano com uma leva de novidades para a Apple TV 4K que, embora discretas se comparadas às de outros sistemas da Maçã, trazem melhorias bem-vindas ao dia a dia de quem usa o aparelho — do app Podcasts redesenhado a ajustes de performance por todo o sistema.

Preparamos um vídeo reunindo e demonstrando as principais mudanças da atualização. Confira abaixo:

Entre os destaques está o novo app Podcasts, que ganhou redesenho completo com suporte a programas em vídeo, alinhando a Apple TV às demais plataformas da empresa. O Apple Music também recebeu atenção: agora conta com suporte a áudio Hi-Res Lossless e com o recurso AutoMix, que cria transições automáticas entre as faixas.

Outras novidades incluem ajuste de tamanho de texto, verificação do status do AppleCare diretamente nos Ajustes (Settings) e atualização remota da Apple TV pelo app Casa (Home). O sistema também trará suporte a legendas geradas por IA on-device e melhorias no HomeKit Secure Video, agora com suporte à resolução 4K.

No quesito performance, a Central de Controle ficará mais responsiva, o AirPlay estará mais rápido, as animações ficarão mais suaves em todo o sistema e segundo a Apple os apps abrirão até 30% mais rápido, além de o sistema vir com diversas correções de bugs.

Vale lembrar que o tvOS 27 não é mais compatível com as Apple TVs HD e 4K de primeira geração, funcionando apenas nos modelos 4K de segunda e terceira gerações.

---

Apoio: NordVPN

Proteja sua vida digital com a NordVPN, a VPN mais rápida e confiável do mercado. Navegue com segurança em redes Wi-Fi públicas, mantenha sua privacidade online e acesse conteúdos de qualquer lugar do mundo sem restrições. Assine agora a NordVPN e descubra por que milhões de usuários — incluindo nós, do MacMagazine — confiam nela para uma internet mais livre e segura. Aproveite a oferta exclusiva com mais de 70% de desconto e 4 meses grátis!

NOTA DE TRANSPARÊNCIA: O MacMagazine recebe uma pequena comissão sobre vendas concluídas por meio de links deste post, mas você, como consumidor, não paga nada mais pelos produtos/serviços usando os nossos links de afiliado.

Bayreuth festival theatre, Bayreuth
For the festival’s 150th anniversary, the creative team have turned to AI to generate visuals reflecting Wagner’s tetralogy’s past, present – and future. The hyperactive result is a dismal, mindless mess

Unveiled the same week in which tech company Anthropic admitted that its AI model Claude had gone rogue during testing, Bayreuth festival’s new AI-generated staging of Wagner’s four-part Ring of the Nibelungen is at least timely. But anyone who assumes that the cycle’s obsession with knowledge, power and possession might make it an ideal forum for reflection on AI as a major contemporary frontier will be disappointed, as will anyone hopeful about AI’s creative potential within opera.

Commissioned to mark the festival’s 150th anniversary, the production is “curated” – emphatically not “directed” – by a team led by German stage director Marcus Lobbes. He apparently spent weeks in dialogue with AI models about possible interpretations of the Ring. According to the programme book, “power structures, capitalism, mythology, gender roles, nationalism”, all came up. So far, so mainstream Wagner reception. But if these human-machine exchanges were revelatory, you wouldn’t know it from the resulting staging, which uses AI “as an extension of a cultural memory that is never complete”.

Continue reading...

© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath

© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath

© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath