THE RISE AND FALL OF AN ARTIFICIAL IDIOT, AKA FOOL

AN ARTIFICIAL FOOL WRITES

The Western alphabet has 26 letters.

Each vocal has a number of alternatives based on the different languages, 34 alternatives in total. 
8 for “a”,
7 for “e”,
6 for “I”,
8 for “o”,
5 for “u”

There are 13 symbols of punctuation.
«.»
«,»
«;»
«:»
«!»
«?»
«*»
«
»
«/»
«( )»
«-»
«–»

A total of 73 letters and symbols of punctuation.
The Chinese alphabet has 85,000 characters…


The total number of 73 permutations with repetitions allowed is a staggering
10,533,405,146,807,286,720,373,659,460,502,060,785,759,379,112,212,598,116,064,998,418,834,781,689,316,645,387,966,435,364,502,141,349,866,164,216,580,595,609,788,325,190,062,013,833

It is the result of a simple function that every high school student must know.

This staggering number contains every text ever written by mankind, in any language, converted in Western letters and symbols of punctuation, since the dawn of civilisation, and every text that will ever be written until the extinction of mankind.

Now, how can an Artificial Fool decide, with its own “intelligence”, what to select from the above staggering number the characters and punctuations to reproduce all books, studies, researches, all separated by chapters, paragraphs, ever written by mankind on all subjects?
It cannot, it is just a fool.

How can an Artificial Fool write a literary masterpiece that reaches the height of human mind?
It cannot, it is just a fool.

Libraries, Universities, schools, research institutes and bookshops have it all, in printed or in digital form.

AN ARTIFICIAL FOOL COMPOSES MUSIC

In Western music, seven musical clefs, which make up the so-called “setticlavio” (system of seven clefs), are symbols placed at the beginning of the staff to determine the exact pitch of the notes.

Fundamental scales

Major scale: 12 different keys, based on a fixed sequence of whole tones and semitones.
Minor scales: 3 different types—natural, harmonic, and melodic minor.
Modal scales: 7 main modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian).
Pentatonic scales: 5 notes per octave; widely used in blues and rock.
Note values: whole note, half note, quarter note, eighth note, sixteenth note, thirty-second note, sixty-fourth note.

27 tones and values.

Simple time metres

In simple time metres, each beat is divided into two equal parts. The numerator indicates the number of beats in the measure:
Duple (2 beats): 2/4, 2/2, 2/8.
Triple (3 beats): 3/4, 3/2, 3/8.
Quadruple (4 beats): 4/4, 4/2, 4/8.

9 simple time metres.

Compound metres

In compound metres, each beat is divided into three parts. The numerator indicates the total number of subdivisions (which are multiples of 3).
Compound duple meters (2 beats divided into three): 6/8, 6/4, 6/16.
Compound triple meters (3 beats divided into three): 9/8, 9/4, 9/16.
Compound quadruple meters (4 beats divided into three): 12/8, 12/4, 12/16.

9 compound metres.

Slow tempos and their significance, all terms are in Italian

Larghissimo — very, very slow, extremely slow, slower than *largo*
Adagissimo — very slow or extremely slow, slower than *largo*
Lentissimo — very slow or extremely slow, not as slow as *larghissimo*
Grave — slow or very slow and solemn
Largo or Lento or Largamente or Lentamente — broad or *largo*, solemn, stately, slowly, slow or very slow
Larghetto — rather broad or somewhat broad, rather slow, not as slow as or less slow than *largo*
Tenuto — sustained, held
Sostenuto — sustained
Adagio — at ease, broad and formal, slow or very slow, between *largo* and *andante*, not as slow as *largo*
Adagietto — somewhat *adagio*, slow or rather slow, between *largo* and *andante*, less slow than or slightly faster than *adagio*
Andante moderato — slightly slower than *andante*
Andante — moderately slow, *andante*, moderate or very moderate, at a walking pace, between *largo* and moderate
Andantino — moderately slow, *andante*, moderate or very moderate, slightly faster or slower than *andante*, slightly faster than *adagio*, slower than moderate
Con moto or Mosso — animated, with motion or with a certain speed
Marcia moderato — moderately, in the manner of a march
Moderato — controlled, moderate, moderately

16 slow tempos.

Fast tempos

Rapido — rapid
Veloce — with speed, quickly
Allegretto — rather fast or moderately fast, somewhat joyful, fairly animated and lively; slower than *allegro*, between *allegro* and *moderato*
Allegro moderato — moderately fast
Allegro or Allegramente — fast, lively, joyful, animated, and brilliant; between *allegretto* and *vivace*
Vivace — lively and spirited, moderately fast or fast; faster than *allegro*
Vivo — lively, spirited, and animated, rather fast or fast; slightly more spirited and animated than *vivace*
Vivacissimo — very fast, lively and animated, very spirited; more intense and faster than *vivace*
Allegrissimo — very fast, very spirited; between *presto* and *vivacissimo*
Presto — moderately fast, fast, or very fast; very quickly, brisk, lively

Prestissimo — very, very fast, extremely fast, as fast as possible; very lively, very brisk; faster than *presto*

11 fast tempos.

Quantifiers

Poco — un po', poco

2 quantifiers.

Tempo changes

Doppio più lento — at half the speed
Allargando — slowing down, broadening, becoming more static and majestic, becoming louder
Calando — slowing down, becoming lighter
Ritardando — slowing down, holding back, decelerating
Rall. molto — slowing down significantly
Rall. or Rallentando or Lentando — slowing down, decelerating, becoming progressively slower
Rall. poco or Poco rall. — slowing down a little
Meno — less
Tempo primo or Tempo I — return to the initial tempo or pace of the composition
A Tempo or L'istesso tempo — in time, return to the previous tempo, at the same speed, cancel the previous tempo variation indication
Più — more
Accompagnato — following the soloist's tempo (the soloist may speed up or slow down at will)
Accel. or Accelerando — accelerating
Stringendo — accelerating, pressing forward
Animando — accelerating, quickening
Affrettando — accelerating, quickening, becoming hurried
Precipitando — accelerating, quickening, rushing headlong
Doppio movimento or Doppio più mosso — at double the speed

18 tempo changes.

The total number of 92 permutations with repetitions allowed is a staggering
4,661,010,870,363,696,423,905,966,214,003,100,982,132,353,937,802,439,629,342,577,411,201,858,740,087,903,585,402,257,017,449,025,558,046,308,403,555,128,684,298,484,146,339,920,553,893,653,953,988,411,898,447,534,660,818,749,990,933,364,736

It is the result of a simple function that every high school student must know.

This staggering number contains every music in Western notation ever composed by mankind since the dawn of civilisation, and every music that will ever be composed until the extinction of mankind.

Now, how can an Artificial Fool decide, with its own “intelligence”, what to select from the above staggering number what needs to reproduce every piece of music ever composed by mankind?
It cannot, it is just a fool.

How can an Artificial Fool compose a classical music masterpiece, an opera, a jazz piece, that reaches the height of human soul?
It cannot, it is just a fool.

Concert halls, music halls, student recitals in conservatoria, record shops, music web sites, have it all.

AN ARTIFICIAL FOOL PAINTS

From a scientific and human perception standpoint, it is estimated that there are approximately 10 million colours that the human eye can distinguish.

The total number of 10,000,000 permutations with repetitions allowed is staggering, and almost not conceivable by human mind.
It is 10 x 10 at the power of 50,000.

It requires several hundreds pages of A4 size paper to write all digits.

This staggering number contains every painting, drawing, design, and sketch, ever made by mankind since the dawn of civilisation, and that will ever be made until the extinction of mankind.

Now, how can an Artificial Fool, with its own “intelligence”, decide what to select from the above staggering number the colours to reproduce everything ever painted, drawn, designed and sketched, by mankind?
It cannot, it is just a fool.

How can an Artificial Fool create a masterpiece that reaches the height of human mind?
It cannot, it is just a fool.

Museums, art galleries, exhibitions, art dealers, art auctions, books, pictures, and videos have it all.
Created by human beings...

WHAT CAN ARTIFICIAL INTELLIGENCE DO?

Artificial Intelligence can do much, but only based on information fed by human.
It can use information fed by humans to improve ’things”, and suggest new solutions.
It can find new ways to improve life and society.
It can find new ways to make human life hell.
It can attempt to annihilate humankind.

It can never create what men can, for it is only a fool without consciousness and soul.

ONLY THE HOMO UNIVERSALIS OF THE ITALIAN RENAISSANCE POSSESSES THE SKILLS OF ARCHITECTURE, MUSIC, LITERATURE, PAINTING, AND SCULPTURE, REQUIRED TO CREATE MASTERPIECES OF ALL THESE FINE ARTS.

BE GRATEFUL THAT YOU ARE BORN HUMAN, THAT YOU CAN STUDY, THAT YOU CAN THINK, AND THAT YOU CAN CREATE.
NOW POP THE CORK!