Conceptualized as a single-movement work, Automation is about the complicated, yet co-dependent relationship between man/machine, humans/technology. Divided into six concrete sections, it begins with the live solo cellist on stage with electronics and an aleatoric orchestra. The cellist appears alone, and plays a solo that introduces the principal material that will be explored throughout the duration of the concerto.The music is somber, yet reflective, and embodies our daily experience within a modern, technology-driven world.As the first section comes to an end, a momentary glimpse into the inevitable battle between humankind and machines unfolds. Soon after, the music returns to the reflective state, stripped of all accompanying electronics.In this second section, the soloist, vulnerably acoustic with the orchestra, is meant to represent the countless individuals who have spent their careers working in industries that are rapidly disappearing or being displaced to other countries. The American dream of buying a home, providing for a family, and eventually retiring on a single household income seems a distant dream for most of us. Andit’s this very disillusionment that causes so many people to question their ideals and ultimately abandon them.But, how do we hold onto our hopes and dreams in the age of innovation and technology?As the section progresses, the live cellist is being “scanned” by the machines, and before we know it, anAI Cello(prerecorded cello)emerges.In this next section, dubbed “Learning Mode,” the AI Cello(played on a processed cello and halldorophone)enters into the equation, first initially attempting to learn the music that the cellist plays, but then“detuning” itself before suddenly breaking away. The initial entrance shows how the live cellist is in control(or believes he is in control), as if the AI seems to be responding to the movement of the soloist. However, as the detuning becomes more noticeable, the AI eventually breaks away and is entirely independent.This immediately transitions us into the fourth section called “Battle Mode.” Here, a battle between the two forces emerges, creating highly aggressive, agitated, and ultimately fearful music. Before the battle concludes, however, it becomes clear to the audience that the AI/Machine is beginning to take over the space and surpass the human. Material that was first introduced in the opening solo now filters back in through speakers. The prerecorded cello, with newly added electronics, emerges as the featured soloist.This section is meant to capture our society’s obsession with performance, output, and productivity. We have reached a point in our history where machines are taking over for humans in most fields. Robots and computers now perform the majority of factory and assembly jobs. Retail chains throughout our country continue to cut employees’ hours and benefits, while installing more self-checkout machines. And while all of these changes are being made in the name of efficiency, they are also causing the traditional worker to become obsolete.Sectionfivebegins with the live halldorophone on stage in complete darkness, as if all hope for humanity has been lost. Within this potentially dystopian future overrun by technology, our species is on the verge of extinction. Of being forgotten. But as humans, our only clear advantage is our soul and our ability to love, feel and empathize. It’s what has separated us from the most evolved of animals, and it’s also what has allowed us to create the music, art, and culture that we will ultimately be remembered for. In an attempt to resolve this epic struggle between man and machine, a sense of hope is introduced by the orchestra.Thehalldorophone’s sound gradually dissolves, and the orchestrae merges asa guiding light.This transition brings us into the sixth and final section.Here, we rediscover what makes us human and move forward with what can be considered a more traditional acoustic concerto. The cellist once again sheds electronics to enjoy the support of a lush orchestral score, and takes us on a seven-minute reflective journey that further develops the opening material. In the final moments of the concerto, ambient electronics heard at the very beginning creep back into make sure their presence isn’t forgotten. Despite our desire, at times, for an analogue world, we quickly remember how we will forever remain dependent on technology.There’s no going back, so we must learn to coexist.But, as humans, can we truly learn to live in harmony with machines?Or will AI ultimately prevail?Automation was commissioned by Justin M. Sullivan, in honor of his son, Alec Baker Sullivan, and is dedicated to my dear friend and cellist, Yves Dhar. A special thank you to Kathryn Leonard from Occidental College’s Computer Science Department, and Ghassan Sarkis, for building the AI that learned the concerto and provided all of the AI Learning Mode and Battle Mode music. An additional thanks to Justin Li at Occidental College for helping to steer the initial conversations of what this concerto could be by using AI along the way. The Sound Design and Electronics were created by Adam Schoenberg, Alex Brinkley, and Gabriel Bethke.
Adam Schoenberg
February 22, 2022