Template:Yngwie malmsteen paradox capsule: Difference between revisions

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Digitalisation of data and the advances in ''information technology'' allow us to manipulate, desiccate, desecrate, defibrillate and duplicate our [[data]]. We can, in theory, handle ''any'' kind of syntactical complexity, optionality, or flexibility — if the [[algorithm]] is good enough, a machine can, instantly, ingest and process any textual construction, however dense.  These are the tools we have available to us: with a simple cut-and-paste we can replicate, vary and augment at will.  
Modern [[information technology]] allows us to freely manipulate, desiccate, desecrate, defibrillate and duplicate [[data]]. A good enough [[algorithm]] can, in theory, handle ''any'' kind of syntactical complexity, costlessly ingesting and processing the densest textual construction.  With a simple cut-and-paste we can replicate, vary and augment at will. But this generates what we call the “[[Yngwie Malmsteen paradox]]”<ref>Spinal Tap’s [[Nigel Tufnel]] might have called it the “[[Jazz paradox]]”</ref>: Just because guitar technology<ref>Scalloped frets, flat radii, locking tuners, rectified amplifiers etc.</ref> means you ''can'' play 64th note flattened mixolydian arpeggios at 200 bpm ''doesn’t mean you should''. <br>
 
''But this is not to say we should''. This we call the [[Yngwie Malmsteen paradox|Yngwie Malmsteem paradox]]; [[Nigel Tufnel]] might have called it the [[Jazz paradox]]:
 
:Just because you can play 64th note flattened mixolydian arpeggios at 200 bpm ([[Yngwie Malmsteen|Yngwie]]) or whole-tone improvisations using inverted variations of the #7aug13 chord (Jazz), ''doesn’t mean you should''. <br>

Latest revision as of 12:05, 2 July 2019

Modern information technology allows us to freely manipulate, desiccate, desecrate, defibrillate and duplicate data. A good enough algorithm can, in theory, handle any kind of syntactical complexity, costlessly ingesting and processing the densest textual construction. With a simple cut-and-paste we can replicate, vary and augment at will. But this generates what we call the “Yngwie Malmsteen paradox”[1]: Just because guitar technology[2] means you can play 64th note flattened mixolydian arpeggios at 200 bpm doesn’t mean you should.

  1. ↑ Spinal Tap’s Nigel Tufnel might have called it the “Jazz paradox”
  2. ↑ Scalloped frets, flat radii, locking tuners, rectified amplifiers etc.
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