Art

Art#

Autoencoder

Don’t be trapped by dogma, which is the results of other people’s thinking

                                   1. fo(t)
                                           \
                              2. So(t) ->  4. Xb -> 5. logHR -> 6. S,(t)
                                           /
                                           3. ho(t)

Encoding; Linear 1, 2, 3#

  • Sensory; experiences randomly sampled from normal distribution

  • Memory; restricted time-intervals where \(z>3\)

  • Emotion; mean or \(h_0(t)=k\) in life & great art: think Coen Brothers

Latent-space; Categorical 4#

  • Collective; with categorical variables hierarchical modeling needed

Decoding; Binary 5, 6#

  • Oracle; easy to apply yes/no rules in a univariable sense

  • Personalize; we draw a red line arbitrarily at, say, \(z=1.96\)

                                     1. Chaos
                                         \
                            2. Frenzy ->  4. Dionysian -> 5. Algorithm-> 6. Binary
                                         /
                                         3. Energy

Autoencoder

  • Art must be critiqued

    • More remote overtones of the harmonic series “heard”?

    • Embracing of these as inseperable from earlier overtones?

    • How, then, do our favorite artists perform with regard to one specific overtone?

  • Best of art uses history:

    • Reverence

    • Inference

    • Deliverance

  • Case: Bach’s Air

    • My reverence for him is increased by it

    • Yet its mostly my new inferences about music in general that dominate my experience - From this vantage I'm in better position to critique and provide much neededdeliverance` from the shackles of my earlier exposures to music & genres

Dossier on Mozart & Shakespeare and the “Embarrassment” of Their Moorish Characters#

Overview: Both Wolfgang Amadeus Mozart and William Shakespeare created iconic works that have endured for centuries. However, their portrayals of Moorish characters – Monostatos in Mozart’s “Die Zauberflöte” and Othello in Shakespeare’s “Othello” – present challenges for modern audiences due to their racial implications and stereotypes.

1. Individual/Passion/Challenges#

Mozart:

  • Monostatos: Depicted as a Moor, Monostatos embodies several negative stereotypes prevalent in 18th-century Europe, including being portrayed as lecherous and morally corrupt. Modern audiences find these depictions uncomfortable and offensive, requiring careful handling in contemporary productions.

Shakespeare:

  • Othello: Although Othello is a complex and noble character, his portrayal involves racial stereotypes and highlights themes of jealousy and the “exotic other.” This can make the play challenging to present without reinforcing outdated and harmful views.

2. Knowledge/Capabilities#

Mozart:

  • Musical Genius: Mozart’s ability to compose deeply expressive and innovative music is unmatched. His operas, including “Die Zauberflöte,” showcase his skill in using music to develop characters and advance the plot.

Shakespeare:

  • Literary Mastery: Shakespeare’s talent for crafting intricate plots, complex characters, and poetic dialogue is unparalleled. His ability to explore the depths of human emotion and societal issues makes his works timeless.

3. Tools/Leverage#

Mozart:

  • Leitmotifs: In “Die Zauberflöte,” Mozart uses recurring musical themes to represent characters and ideas. Monostatos’ leitmotif, for instance, helps to characterize his role within the opera, though it also reinforces negative stereotypes. (Not to mention the leitmotif associated with Papagino)

Shakespeare:

  • Language: Shakespeare’s use of language, including metaphors and soliloquies, provides deep insight into his characters’ psyches. In “Othello,” language is a crucial tool for exploring themes of race, jealousy, and manipulation. (Not to mention the leitmotif than is the handkerchief)

4. Communication/Interpersonal#

Mozart:

  • Monostatos: His interactions are marked by coercion and villainy, particularly in his pursuit of Pamina. These interactions highlight his moral corruption and the negative stereotypes associated with his character.

Shakespeare:

  • Othello: Othello’s interactions, especially with Desdemona and Iago, are central to the play’s drama. These interactions explore complex themes of trust, betrayal, and the impact of racial prejudice.

5. Team/Network/Leadership/Decisions/Feedback/Professionalism#

Mozart:

  • Influence on Opera: Despite the problematic aspects of Monostatos, Mozart’s operas have set a high standard for musical and dramatic composition, influencing generations of composers and performers.

Shakespeare:

  • Literary Authority: Shakespeare’s works, including “Othello,” are foundational to the Western literary canon. His exploration of universal themes and human nature continues to influence literature and theater.

6. Accomplishments/Exceptional#

Mozart:

  • Enduring Popularity: “Die Zauberflöte” remains a beloved opera, with its musical brilliance often overshadowing the problematic depiction of Monostatos. Modern productions aim to reinterpret his character to align with contemporary values.

Shakespeare:

  • Canonical Dominance: “Othello” is a cornerstone of Shakespeare’s oeuvre, celebrated for its dramatic intensity and deep psychological insights. The play’s exploration of race and identity continues to provoke important conversations.

Conclusion: Mozart and Shakespeare’s portrayals of Moorish characters in “Die Zauberflöte” and “Othello” respectively, present significant challenges for modern audiences. The stereotypes and racial themes inherent in these characters reflect the historical contexts in which they were created. Today, both works require careful interpretation and contextualization to address their problematic aspects while preserving their artistic and cultural value. Through ongoing reassessment and sensitive production choices, these masterpieces can continue to be appreciated and understood in a contemporary light.

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