INSAM Institute for Contemporary Artistic Music (Sarajevo, Bosnia and Herzegovina) was founded in January, 2015.
INSAM Institute connects, brings together and promotes practices of the composers from Bosnia and Herzegovina and international performes/improvisers, musicologists, theoreticians of art, programmers, and transdisciplinary researchers.
Institute’s research team consists of highly qualified international artists and researchers, who work together in finding transcultural models of structural organization in art and science, with the goal of bettering global society.
INSAM Institute works on art and scientific research, publishing musical scores and scientific work, organizing concerts, performances, exibitions, competitions, lectures and masterclasses, and supports projects of young artists and transdisciplinary researchers.
“The idea behind the INSAM Journal of Contemporary Music, Art and Technology is the same one that is nurtured in INSAM Institute for Contemporary Artistic Music’s section Research in Music, Theory of Art / Transdisciplinary Research in Art. This section gathers experts from diverse areas (such as music, musicology, art theory, programming, robotics, architecture, aesthetics, and philosophy), thus feeding the present moment demands for a particular kind of connectivity, education, and ability, which can be encompassed and explained with the appropriate transdisciplinary models. Professional nomadic tendencies of contemporary humans are conditioned and enabled by the societal structures, and our goal is to create – through the work of the section as well as the INSAM Journal – a network of inquisitive researchers and creators which strive toward understanding of the contemporary world through their work and experience.”
Bojana Radovanović, Editor-in-Chief, INSAM Journal
“Sadašnje globalne tendencije u gotovo svim oblastima društvenog djelovanja sve češće se pozivaju na ideje i prakse, koje su donedavno smatrane historijski prevaziđenima. Civilizacijska dostignuća poput ideje o socijalno pravednom društvu, univerzalnosti ljudskih prava te razvoju nauke i umjetnosti kao osnove općedruštvenog progresa u javnom diskursu se sve češće se dovode u pitanje. Ambijent za ovaj anti-prosvetiteljski diskurs stvoren je povratkom globalnih ekonomskih odnosa na principe liberalnog kapitalizma (koji se u sadašnjoj hibridnoj formi naziva korporativni ili neo-liberalni kapitalizam) i čija je doktrina zasnovana na jednoj vrsti ekonomskog fundamentalizma, gdje je ekonomska dobit mjera svih društvenih vrijednosti. Ipak, kao i svi oblici fundamentalizma i doktrinarnog tradicionalizma, i ovaj “povratak” na historijski model osuđen je na svoju hibridnu verziju. Naime, svaki pokušaj “restauracije” historijskih modela u modernom kontekstu nužno traži prilagodbu, stvarajući tako hibrid u kojem model-uzor biva lišen svojih temeljnih svojstava. Tako danas imamo: “kafu bez kofeina” (S. Žižek), religioznost bez boga i sl.; a progresivna relativizacija etičkih vrijednosti porodila je pojmove poput fake news i post-truth.”
Ališer Sijarić (Andrea Andrle, “U potrazi za savršenom linijom: Razgovor sa Ališerom Sijarićem)”, INSAM Journal of Contemporary Music, Art and Technology, 1, I/2018.
“The freedom that musical technology gives musicians comes from its nature; characteristics, possibilities, logic, solutions etc. It is not only a performing resource, but also a compositional one; a resource of musical material and the logic of its development.”
” Can the composer’s need for exclusively specialized artists in the field of contemporary artistic music (who equally participate in the composition process) and the need for almost inaccessible music technology (which has the ability to independently establish musical processes), characterize this composition as a prototype of composer conformism in the world of capitalism?”
Hanan Hadžajlić, “Composition – Interpretation – Improvisation Processes in ‘X O pt. II’ by Dino Rešidbegović: Comparative Analysis of Two Interpretations”, INSAM Journal of Contemporary Music, Art and Technology, 1, I/2018.
“Metal-welded sculptures are also catching on, often inspired by transhumanist and futuristic machine-like themes. One specific haunting image of a robot crawling through water focuses on the dark side of transhumanism. It has been connected to the Bilderberg Group and New World Order themes, and was recently featured by American radio host Alex Jones and his site Prison Planet, which caters to ultraconservatives, religious fanatics, luddites and conspiracy theorists, many of whom who are skeptical of transhumanism and its emphasis on technologically upgrading human beings. “
„On the surface, transhumanist art seems like an oxymoron to some. Is it possible to combine the scientific nature of transhumanism with creative works for admiration and self-improvement? The simple answer is yes. Art is not bound by preset rules, which is perhaps why it plays such a special role in society, and why it has the power to push new movements forward. Transhumanism is also not bound by rules. It is, after all, a movement that seeks to improve upon and move beyond what we know and experience as humans. The creation of transhumanist beings – which we are slowly becoming – is perhaps the most artistic endeavor humanity has ever dared to pursue. Transhumanist art will help guide us to becoming masterpieces.“
Zoltan Istvan, “Can Transhumanism Help People Turn Their Lives into Art?”, INSAM Journal of Contemporary Music, Art and Technology, 1, I/2018.
“World population growth will bring about changes and create new needs in a society viewed through the prism of capital. Wealthier people will not only buy special kinds of pets – I assume they will also, be able to choose the exact pet they want in the near future. It is not certain that the poorer layers of society will be able to afford organic pets. Of course, even today there are wealthy people who do not buy special breeds of dogs and cats. They adopt. But in time to come, there will be people who would rather buy robots. That motivation stems from a certain awareness of problems of class inequality, but I’m not utterly optimistic that it will come to represent a more significant percentage of attitudes.”
Milica Arambašić, “Pets as Nonhuman Animals, Companion Species and Robots”, INSAM Journal of Contemporary Music, Art and Technology, 1, I/2018.
“The project Quantum Music opened a new chapter in the relations between science, technology and music, leading to the discovery of new sound worlds. Moreover, for the first time in its history, music was offered the chance to contribute to science by transferring/translating quantum experiments to our audible world. Our long-term goal is to continue to popularize the new hybrid keyboard instrument, the soundbank of quantum sounds and the new music genre to the widest possible audience, but also to further the educational side of the project and to expand and intensify our collaboration with prestigious institutions and individuals in the fields of science, arts and technology worldwide.”
Ivana Medić, “‘Quantum Music’, International interdisciplinary project (2015 – 18), ‘Creative Europe’, EACEA (559695-CREA-1-2015-1-RS-CULT-COOP1)”, INSAM Journal of Contemporary Music, Art and Technology, 1, I/2018.
“Starting with the appearance of DeepDream’s hallucinogenic aesthetic in 2015, the recent wave of art made with AI has been steadily gathering momentum. Initially an outlet for experimentation based on the latest technical developments unveiled by the AI research community, the AI art movement grew, becoming an art world trend with multiple museum exhibitions, gallery shows and media art festivals dedicated to the topic worldwide. Additionally, it had some commercial success with the memorable sale of Obvious’ AI-generated artwork for $432,500 at Christie’s auction.”
Luba Elliott, “The New Wave of AI Art: Reflections on Artistic and Machine Creativity”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“We live in a world driven by software. Software powers and transforms the way we learn, the way we interact with each other, and the way we produce and exchange goods. Similarly, software transforms the way we create experiences and engage in art. Where this transformation has taken place in a marked degree we can talk about computational art and computational creativity.”
Andreja Andrić, “Computational Creativity: A Personal Approach”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“The theory of AMI first requires a summation of basic points of the domain of artificial and musical intelligence. The concept of artificial intelligence is based on Robert Sternberg’s intelligence models, i.e. practical, creative, and analytical intelligence (component, experiential, and contextual). Intelligence is an abstract law, an entity that has the ability to solve problems in specific circumstances and use specialized intelligence in a unique way, as well as the ability to learn from its environment. The adaptive control theory, that deals with the design of machines capable of behaving in unpredictable conditions, and the control theory, which deals with the development of a particular concept of behavior of complex machines, actually determine the contexts in terms of simplified as well as unpredictable conditions and environments and accordingly define and build specific platforms enabling the potential of intelligent machine behavior. The musical intelligence base, according to Howard Gardner, refers to musical competencies, while the production or composition of music represents the highest level of musical intelligence.”
Aida Adžović, “‘The Basic Principle of Contemporary Art is the Synthesis of Science, Art and Technology’: Interview with Hanan Hadžajlić”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“Indeed, computer-aided musical creation can be considered a fundamentally transhumanist endeavor in that it extends the capabilities of humans to bring into being music that is not constrained by the limitations of the biological human organism. A specific celebration of this premise can be found in my Transhumanist March, Op. 78 (Stolyarov 2014). This march for piano depicts the accelerating improvement of the human condition and the overcoming of human limitations through technological progress. An ambitious and benevolent melody intensifies throughout the piece, pushing onward to champion the radical improvement of the human condition through lifting of age-old barriers and the conquest of both space and time. While the initial theme could be played by a human, the subsequent variations on it become increasingly challenging.”
Gennady Stolyarov II, “Empowering Musical Creation through Machines, Algorithms, and Artificial Intelligence”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“Hatsune Miku can also be understood as a rather extreme and quite literal example of how social norms govern one’s gender construction and performance, showing, in a radical way, that even the body, a biological entity, can be socially constructed. Lastly, Hatsune Miku is obviously the result of a highly traditional, patriarchal, conservative society which imposes strict gender norms on its people, a society whose every aspect is dominated by capitalism and consumerism and defined by the imperative of technological advancement.”
Adriana Sabo, “Hatsune Miku: Whose Voice, Whose Body?”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“It makes sense that the bulk of the critical attention has, so far, been paid to machine learning applications outside of music. For example, financial institutions have begun to incorporate algorithmic recommendations into their decisions about whether to grant home loans; the question of whether those algorithms will tend to reproduce the structural injustice implicit in their ground truth data is an urgent concern for critics of digital culture. In a similar way, the algorithmic aids used in prison sentencing have been the subject of extensive reporting by, among others, the news organization Pro Publica. Machine bias in music, by comparison, feels less urgent.”
Asher Tobin Chodos, “What Does Music Mean to Spotify? An Essay on Musical Significance in the Era of Digital Curation”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“The AI of the installation is controlled by an application based on openFrameworks. The snapshots are analyzed by the im2txt caption generator in Google’s Tensorflow framework and textualized into descriptions of what can be seen in the picture. This could be seen as an entertaining gimmick, because the work neither recognizes itself as what it is, i.e. a work of art, nor can it go beyond the status of an animal that does not know or recognize its mirror image. But this is not the intention of the piece either, simply because the text output is descriptive (a …) and not reflexive (I am a …), this means that the point of the exhibit is not about the self-knowledge of the AI. The artists are much more concerned with the concept of the viewer’s self-confidence in their own self-awareness and how they project it onto the robotic Narcissus: “The project Narciss aims to question our self-righteous model of self-awareness, the quality of our subjective findings while investigating ourselves and the resulting unequal distribution of dignity” (Waltz Binaire 2019).”
Daniel Becker, “The Intelligent Work of Art: How the Narcissus Theme Echoes in New Media Art”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“Since the beginning of the 21st century, we have witnessed an enormous increase in the use of artificial intelligence in science and art. Its development has led to change in human thought, due to an understanding of communication technology that allows us to ignore the confines of geography, while compressing space and time constituting a virtual reality. With the more frequent use of artificial intelligence in the field of music, some musicians feel threatened, while others remain amazed at the opportunities that it uncovers. The fact is that artificial intelligence has become an inevitable factor in our future. Today, many artists collaborate with artificial intelligence in creative endeavors and in the future, this link between artists and artificial intelligence will become even more recognizable. All the strides in artificial intelligence discussed in this paper are just the beginning of a new era, which will truly begin in the next decade of this century.”
Harun Zulić, “How AI can Change/Improve/Influence Music Composition, Performance and Education: Three Case Studies”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“The only optical illusions known to humans have either been created by evolution (for instance, eye patterns in butterfly wings) or by human artists. Both artistic designers of illusion images and the glacial process of evolution have access to active vision systems to verify their work against. An illusion artist can make an attempt at creating an illusion, observe its effect on their own eyes, and add or remove elements to try to create a more powerful illusion. In an evolutionary process, every agent has a physical appearance and a vision system, allowing for patterns to be verified in their environment constantly. A GAN trained on existing illusions would have none of these advantages, and it seems unlikely that it could learn to trick human vision without being able to understand the principles behind the illusions. Because of these limitations, it seems that a dataset of illusion images might not be sufficient to create new illusions and a deeper understanding of human vision would need to be obtained by the network somehow. This could be done by having a human giving feedback as the network learned, or by learning an accurate proxy for human vision and trying to deceive the proxy as in Elsayed et al. (2018)”
Robert Max Williams and Roman V. Yampolskiy, “Optical Illusion Images Dataset”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“In 2018, Device_art 6.018 delivered its audience a conceptual turn by inviting renowned curator ZHANG Ga to co-create a thematic exhibition named: Machines are Not Alone. The theoretical basis of the concept was derived from works by Gilles Deleuze, Felix Guattari, Brian Massumi, Erich Hörl, Gilbert Simondon and Thomas Lamarre, whose selected texts in the festival catalogue support a new, open-plane approach to our understanding of what constitutes a machine or being a machine, agency of subject and object, as well as envisioning a broader, fluid approach to what we consider to be part of nature, and the ecological system that surrounds us.”
Klara Petrović and Luja Šimunović, “Device_art 6.018: Machines are Not Alone”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“In the era of technology and artificial intelligence, it is not a question of if, but, rather, when will robots become part of our everyday life. Between dystopian and utopian ways of seeing this robotic future, it is definitely more appealing to choose to side with the utopian perspective. Bruno Siciliano, the editor of the Springer Tracts in Advanced Robotics (STAR) stresses in his Foreword that STAR is devoted to bringing the most recent advances in the robotics field to the entire research community. The collection of scientific papers published in this volume, Musical Robots and Interactive Multimodal Systems, edited by Jorge Solis and Kia Ng are the first in the series to cover the subject of musical robotics, a new emerging field of human-robot interaction. The volume consists of fifteen chapters divided into three parts: one introductory chapter1 and two sections with seven chapters each.”
Jelena Čupić, “Jorge Solis and Kia Ng (Eds.), Musical Robots and Interactive Multimodal Systems (Springer Tracts in Advanced Robotics 74), Berlin Heidelberg: Springer Verlag 2011, ISBN 978-3-642-22291-7″, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
“O čemu govorimo kad spominjemo inteligenciju? Ako tvrdimo da rapidnim razvojem novih tehnologija mašine postaju umjetno inteligentne, na osnovu koje definicije prirodne inteligencije povlačimo ovu paralelu/analogiju? Catherine Malabou, prominentna suvremena francuska filozofkinja, hegelijanka, učenica Jacquesa Derride, posvetila je posljednje decenije svoga rada izučavanju neuroznanosti, posebice uloge mozga – organa na osnovu čijih operacija se u svjetlu novih uzbudljivih neuroznanstvenih otkrića razumijevamo ljudima kao – inteligentnim subjektima. Upravo su karakteristike mozga, točnije njegova plastičnost tj. sposobnost promjene i readaptacije neurosinaptičkih spona koje ga čine funkcionalnim uslijed izvanjskih utjecaja okoline, kulture ili traume, ono što nas kao inteligentnu vrstu, prema autoričinoj knjizi Što da radimo sa svojim mozgom? iz 2004. godine, značajno distingvira od sintetičkih inteligentnih entiteta u povoju. Plastičnost je koncept kojim se Malabou bavi tokom cijele svoje akademske karijere, preuzimajući nasljeđe iz Hegelove Fenomenologije duha.”
Boris Filipić, “Osvrt na knjigu Preobražaji inteligencije: Šta da radimo sa njihovim plavim mozgom? Catherine Malabou”, INSAM Journal of Contemporary Music, Art and Technology, 2, I/2019.
SARADNJA: INSAM INSTITUT & OSLOBOĐENJE KUN
“Spektakularizacija unutar postmoderne kulture, koja je između visoke i popularne kulture, izvedena je sredstvima totalizujuće i eklektične masovne potrošačke kulture – nauka, tehnologija, politika i umetnost su pokazane kao kulturalne kategorije totalizujuće potrošnje. Umetnik je postao neka vrsta postdišanovskog potrošača. U savremenoj kulturi, koja se uspostavila nakon kriza postmoderne, a to znači devedesetih i dvehiljaditih godina, došlo je do kritičke politizacije nauke i efekata nauke i tehnologije umetničkim praksama. Nastajali su “artivizmi” (art + aktivizam) koji “spektakularizaciju” vide kao polje istraživačkog i subverzivnog rada sa normativnim modalitetima nauke, tehnologije i umetnosti u savremenom svetu lokalnih i globalnih društvenih antagonizama i kontradikcija. Umetnik je postao neka vrsta nezavisnog istraživača ili islednika koji ulazi u zavere, konflikte i netransparentnosti odnosa politike, nauke i umetnosti.”
Bojana Radovanović, “‘Neoliberalizam obnavlja državnu moć’: Intervju sa Miškom Šuvakovićem”, Oslobođenje KUN, Juni, 2019.
“Nauka i naučni rad su jedna od osnovnih predispozicija za napredak i dobrobit čovečanstva. Tako smo, manje-više, svi naučeni. Oko toga šta tačno ’napredak’ podrazumeva mogla bi se otvoriti diskusija, ali činjenica jeste da su uz pomoć nauke ljudi uspevali da savladaju bolesti, razotkriju zagonetke prirode i sveta oko nas, otkriju i objasne odakle smo došli, šta smo sve usput radili i, najzad, da naslute gde ćemo dalje ići.”
“INSAM Journal of Contemporary Music, Art and Technology, naučni časopis INSAM instituta za savremenu umjetničku muziku iz Sarajeva, u potpunosti podržava pokret otvorene nauke i borbu za otvoreni pristup najnovijim naučnim dostugnućima. U skladu sa emancipatorskom politikom časopisa i samog Instituta, svi članci su dostupni u otvorenom formatu na sajtu Instituta, a autorima se ne naplaćuje nikakva naknada.”
Bojana Radovanović, “Nauka bi trebala biti dostupna svima”, Oslobođenje KUN, Maj, 2019.
“Tek umjetnička muzika prevazilazi okvir ispunjavanja kulturno-identifikacijske funkcije. Svako istinsko umjetničko stvaralaštvo suštinski je zapravo pokušaj (re)kreiranja svijeta. Kroz kreaciju umjetničkih svjetova, koji se prema realnom svijetu uvijek odnose u potenciji, realizira se umjetnička istina, koja se razlikuje od naučne, doktrinarne ili društveno prihvaćene istine. Shodno ovome, filozofska i kulturna stanovišta i vjerovanja u muzici se ostvaruju na razini koda, a ne posredstvom koda kao što je to slučaj u govornom jeziku. Odnos prema tradiciji u umjetničkoj muzici realizira se kroz transformaciju samog muzičkog koda. Kako onda prosječan slušalac može prevazići kulturni/stilski okvir i pokušati da razumije vrstu muzike na kakvu nije navikao? Inkulturacija je zapravo navika koja se usađuje ponavljanjem i izloženošću određenim kulturnim obrascima kroz vrijeme. Ispod kulturnih naslaga naslućujemo određene egzistencijalne osnove za razumijevanje muzike, koje su po sebi transkulturalne, odnosno primordijalne.”
Ališer Sijarić, “Potvrđujemo li kroz muziku identitet?”, Oslobođenje KUN, Februar, 2019.
“Ideja da se prezentira rad mladih i zrelih kompozitora koji žive i rade u BiH je osnovni pokretač nastanka INSAM Instituta, koji je inicirala Hanan Hadžajlić. Savremena umjetnička kompozicija nastala u BiH jeste u najvećem broju djelo Muzičke akademije u Sarajevu, zato je neophodno to i predstaviti na adekvatan način, jer ovo nije muzika vezana za crossover kulturu narodnih i modernih hibrida, već se odnosi na muziku savremenih društava zapadnog svijeta. Nažalost, važno je istaći da bez obzira na resurse u današnjem vremenu možda baš u ovom aspektu umjetnosti, kompozitorstvo u BiH u nekim segmentima posjeduje više novuma nego u drugim razvijenijim društvima. Razlog tome je pokretački mehanizam koji je u našoj zemlji možda jedini izlaz iz svakodnevnog života pojedinca. INSAM Institut doprinosi budućnosti umjetničke muzike/kompozicije i predstavlja jednu od najvažnijih organizacija za savremenu umjetničku muziku u BiH. Izuzetno je bitno spomenuti i organizaciju SONEMUS, koju vode Ališer Sijarić i Azra Ramić, koja djeluje kroz koncertne aktivnosti, radionice i SONEMUS Festival, jedini festival savremene umjetničke muzike u BiH.”
Đorđe Krajišnik, “‘Ja sam istraživač zvučnih promjena’: Intervju sa Dinom Rešidbegovićem”, Oslobođenje KUN, April, 2019.