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Artificial Intelligence Art and Aesthetics Exhibition

Is it the composer's fault that the performer has only 10 fingers?
On the occasion of the event
Artificial Intelligence, which has made remarkable progress in recent years, and Art and Aesthetics, thebases of Human Dignity. This exhibition, with the name of the “Artificial Intelligence Art and Aesthetics
Exhibition” that has been pursued in conjunction with these two, is subtitled “Is it the composer's fault that theperformer has only 10 fingers?” , and will be presented to you today, December 25, 2022, at the Parthenon
Tama Main Hall in Tokyo, as a one-day full orchestra music concert with the chorus, a symposium, and an art
exhibition in the foyer of the Main Hall.
The subtitle “Is it the composer's fault that the performer has only 10 fingers?” is a phrase by theAmerican composer Charles Ives. From here, we can ponder an art that does not self-evidently take on ahuman framework, and in addition, we can even stretch our imaginations to wonder what possibilities AI might
open up.
The largest performance will be the Japanese premiere of the 2011 revised critical edition of Ives'“Symphony No. 4”. Large group of 132 members will be present; Masakazu Natsuda, Main Conductor; Yuki
Urabe, First Assistant Conductor; Ryuta Nishikawa, Second Assistant Conductor and Chorus Master; Tomoki
Akiyama, Solo Piano; Vox humana, Mixed Chorus Ku and Female Chorus Akatsuki, Chorus; Tacticart
Orchestra (Fumiko Kai, Guest Concert Mistress), Orchestral Music; and, Motoko Oya, Ondes Martenot; Hina
Ikawa, Organ.
The program also includes a duo piece for two pianos and four hands (Ives “Three Quarter-Tone Pieces”
and others) performed by Kaori Osuga and Yumi Oikawa, a solo piece for two pianos and two hands (Haas“Hommage à Steve Reich” ) performed by Tomoki Akiyama, and player piano pieces (Nancarrow “Studies” )and others. During the transition time with the orchestra, the 43rd AI Art & Aesthetics Research Meeting
Symposium “Is it the composer's fault that the performer has only 10 fingers?” will be held with music critic
and Keio University Law Professor Morihide Katayama and another Keio University Law Professor Takehiro
Ohya as speakers.
In the foyer of the main hall of the Parthenon Tama, which reopened a few months ago and now houses
several large automatic performance devices, in addition to displays of materials by Ives and Nancarrow, youwill see a new work by the Artificial Intelligence Art and Aesthetics Research Group, “Reverse Cocktail Party
Effect” , a collaboration with Takaaki Mizuno, “Conceptual Virus” , “Artificial Intelligence Art and Aesthetics
Chronology” and other works. The exhibition attempts to present a synthetic concept that is not bound bygenres such as music, art, or science, by connecting the main hall and the foyer in a continuous manner.
This project is held under the sponsorship of Charles Ives Society in America, ALEPO, Inc., and the NPO
Corporation AI Patronage Group. In addition, we have received subsidies from the Agency for Cultural Affairs
under its “ARTS for the future! 2” program, as well as the support of many other people. We are also greatly
supported by all of you who are here today and will be watching the archived broadcasts from December 27
to 31. We would like to take this opportunity to thank all of you.
Thank you very much for joining us today on this program that overlooks from Ives to the future ofArtificial Intelligence. Please enjoy it to the fullest.
December 25, 2022 at Parthenon Tama
Artificial Intelligence Art and Aesthetics Research Group
Hideki Nakazawa
Mika KusakariAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAIAMIAIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMMAIIAMAIIAMAIIAMAIIAMIAIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAIIAMAI