Thursday, September 11, 2014

La Legende D'Eer

Iannis Xenakis La Legende d'Eer CCMIX: New Electroacoustic Music From Paris The music assembled for La Légende d'Eer was designed for the Polytope that Xenakis exhibited outside the Pompidou Centre in 1978. Mode's DVD version attempts an interpretation of the visual and architectural material he intended to accompany the sounds, but the original structures themselves are now missing, presumed lost. His title is borrowed from Plato and the music itself conflates a typically diverse selection of sounds - various African and Japanese instruments, the sounds of bricks hit together - into wildly vibrant sonic matter. The static opening places simple melodic lines against extended durations, curiously Feldman-like in spirit, until Xenakis injects structural shocks into the unfolding argument. The sound sources could be divided into three categories: recorded instruments from all over the world, such as the African mouth harp and the Japanese tzouzoumi, various sounds created by different objects, for exam- ple clapping wooden blocks or rubbing materials against one another, and electronic sounds created in the studio, either using the UPIC system or by applying mathematical functions in a first attempt at stochastic synthesis (Toop 1995). Xenakis decided on an architectural form that made use of hyperbolic paraboloids, the smooth curved sur- faces that he used previously in the Philips Pavilion. The Diatope was 16 meters high and it was covered by a 1,000-square-meter red vinyl. The floor was made of translucent glass tiles. For the visual part of the spectacle, Xenakis used 1,680 flash lights, four lasers, and 400 rotating mirrors. The lights changed their state every 40 msec ( 1/25 sec), producing the illusion of continuous movement. The laser beams were reflected by the mirrors in a rel- evant manner as in the Polytope de Cluny. The commands that con- trolled the flashes, the laser beams, and the mirror positions were stored on a magnetic tape. The commands for the volume changes and the distribution in space of the seven audio tracks were also stored on the same tape. All these sounds were later treated by filtering, reverberation, transpositions, etc. The spatial position of the sounds also played an important role in the composition. Each of the seven audio tracks were distributed over eleven loudspeakers. In this work Xenakis not only created the audio and visual part of the spectacle but also designed the archi- tecture of the Diatope. La Legende d'Eer (1977) was the music of the Diatope, staged on the Place Beaubourg, outside the Pompidou Center in Paris to cel- ebrate its opening. The work was created partly at the Centre d'E- tudes Equipe de Mathematique et d'Automatique Musicales (CEMAMu) and partly at the Westdeucher Rundfunk (WDR) in Cologne, where the work was commissioned It was first per- formed on February 11, 1978. The title of the work came from Plato's Republic, excerpts of which were included in the program. Xenakis also included three other texts in the program: Poimandres from Hermes Trigemestre, a discussion on the Infinite in Pascal's Pensees and a text of Robert Kirchener on supernovae. The duration of the seven-track tape is 46 minutes.

Tuesday, September 09, 2014

conference prep

Memorizing Names & Faces How to remember names and faces The most common complaint made by people who consider themselves to be in possession of a poor memory, is that they are continually forgetting peoples names. They remember the faces (images are easy to recall), but the names fail to stick. The problem of forgetting names can be a big one. Particularly if you work in an environment which involves meeting a large number of new clients, who may take offence if you are continually getting their names wrong. In fact they may even be so insulted, that they decide to take their business elsewhere. A terrible calamity indeed! The problem of forgetting names is an extremely common one, which is experienced by most people throughout their lives. But fortunately it is a problem that can be easily rectified. With of course the aid of mnemonics. In this section I will explain two basic methods, which when used in conjunction with one another, will enable you to remember a large number of individual names associated with their respective faces, after hearing them only once. This is an incredibly useful skill to have and is particularly useful on such occasions as parties, business meetings and various other kinds of work-related or social gatherings. The methods that I will outline are as follows: The Observational system The Association system But before outlining these systems I would just like to bring to your attantion a particularly pertinent fact. That is that faces are not processed by the human brain in the same sort of way that other information is. In 1971, the scientists Goldstein and Chance conducted a series of tests in which subjects were shown a number of photographs of women’s faces, magnified snowflakes, and ink blots. 14 from each were shown for 3 seconds at a time and following an interval of 48 hours the subjects recall was tested. It was then found that faces were the most easily recalled, this was followed by ink blots, and finally by snowflakes. Thus showing that facial recognition (unlike name recognition) is a key part of human perception. The human brain contains a number of different sections, which are responsible for different functions. And although these sections are very indistinct, with some sections possessing the ability to take over the functions of other sections if those sections are damaged in some way, these sections do exist. For example we all have a ‘Broca’s region of the brain, which plays an important role in speech. There is also (more relevantly) a particular section of the brain that is responsible for the recognition of faces. When this region is damaged, an individual may completely lose their ability to recognize faces. Even those that belong to close relatives or friends. This condition is known as ‘Prosopagnosia,’ from the Greek meaning ‘failure to recognize faces.’ The fact that we all possess such a specialised region in our brains, which is dedicated to the recognition of faces shows us that facial recognition is essential to being human. Now, following that short semi-detour from the field of mnemonics, I will continue to outline the all important mnemonic technique for linking names to faces. The Observational system The first thing that you need to do upon meeting someone new whose name you want to commit to memory, is to somehow give their name meaning, so that it may be easily visualised. For example the name ‘Jhonson’ can easily be broken down into the two words Jhon and Son. These words possess meaning, and anything that contains meaning is far more memorable than something that does not. The name ‘Rosenberg’ can also be broken down to form the three words Rose, Hen and Berg (iceberg). These words also possess meaning and are thus far more memorable than the abstract name ‘Rosenberg.’ The name ‘Greensmith’ could be separated into the two words Green and Smith. The colour green is obviously fairly easy to visualise. Also smith (to me anyway) immediately conjures up the image of a blacksmith. As a final example, the name ‘Standish’ may be split apart to form the two words Stand and Dish. Again these two words are simple to visualise. Some of the names that you will come across are obviously far easier than others to visualise. For example the names Green, White, Brown and Black (being colours), already possess meaning and thus require no further processing in order for you to visualise them. So to do the names Peacock, York, Smiley and Forester. Other names may however, require a little more effort to transform into a meaningful phrase, or set of images. But with a bit of practice, you will I’m sure be amazed at just how easy you will find it to turn any name at all - no matter how abstract, into an easily visualisable form. However to help you on your way, I have listed at the end of this section, a large variety of different names, together with appropriate mental imagery. The purpose of splitting an abstract name into a non-abstract collection of words, is to allow your brain to categorise the information that is contained within the name. Something that the human brain has some difficulty doing with the name in its abstract form. Also the act of transposing a name into a meaningful form, forces an individual to observe that name, and as was explained in an earlier section, observation is the most important prerequisite of an individual’s memory. The Associational system After breaking down a name that you wish to recall into an easily visualisable image (or set of images), the next step is to link that image to the individual concerned. To accomplish this, you simply need to pick out the features or characteristics of the individual that stand out the most to you. This could be a dimple on his chin, or a freckle on her nose, or even a limp in their left leg. Other things that you could use are – big ears, a hooked nose, wide forehead, a large or a small mouth, full or thin lips, or even a pair of bushy eyebrows. You could also choose something less visual, such as a lisp, or a stutter as the feature of the person that stands out the most to you. Whatever the feature that you choose is, linking it to a name should not present you with much of a problem. That is it shouldn’t if you are familiar with the concept of linking. I have listed a few examples below to show you exactly what I mean. Examples In order to remember that a woman whom you have just been introduced to – who happens to have long, red hair – goes by the name of Miss fields. All that you would need to do, would be to simply visualise an image of her, lying in a large, green field, with her long red hair spread out around her head. See it twisting around the long green grass. You might also try exaggerating the length of the hair, in order to emphasise the link between her hair and the field. This is so that when you see her (and her hair) again, you will immediately be reminded of her name ‘Fields.’ To remember that a man that you have just met at a party, is called Mr Taylor, first pick out his most outstanding feature (say thick eyebrows) and imagine him with eyebrows so long that they reach down to the floor. Imagine him in this amusing predicament, whilst he is in the process of being measured for a new suit by his tailor. Thus powerfully linking his most outstanding feature to his name. Tailor In order to remember that the name of a tall, thin man, that you have just been introduced to is Mr Adamson, you might try visualising the biblical first man ‘Adam’ (complete with fig leaf), holding a little boy in his arms. Adams son – ‘Adamson.’ To remember the name of a dimpled young lady named Miss Standwick, you could try picturing her face, with a number of large candle wicks standing in her exaggeratedly oversized dimples. Stand wicks – ‘Standwick.’ If you really try hard to visualise the above image, then you should have absolutely no difficulty at all in recalling Miss Standwick's name. Finally, in order for you to remember a Mr Hill (who happens to possess a wide forehead), you could imagine the mans forehead, with a miniature mountain stuck in its centre. You might even like to visualise a large, snowy peak on its top. This is in order to make the image that much more amusing and thus more easy to recollect. The key then to remembering people’s names and their respective faces, is to first break the name down into a meaningful (and thus visualisable) form, and then to link the image that you create, to an exaggerated feature of the face of the individual concerned. Everyone has some feature that stands out in some way! Here then, as was promised at the beginning of this section, is a list of names, together with a few memorable images that may help you to better recollect them. Name Image Archer An archer firing an arrow. Ali The famous boxer Mohamed Alli. Baldwin A bald man standing on a winner’s rostrum. Bernstein Albert Einstein being burned alive. Carter A cart full of hair. Carrington A car driving through a door, that is carved into the side of a huge 10 tonne weight – Car-in-tonne ‘Carrington.’ Dean The Dean of a university. Or the actor James Dean. Dunn A large sand dune. Ercott Someone having his or her hair cut. Evans A convoy of vans, all with the letter E emblazoned upon their sides. Flemming The creator of James Bond – Ian Flemming. Or simply James Bond, covered in flames. Feldman A man falling from a great height. Grover Going over something. Gillian Kill a lion. Hunt A hunter, complete with an elephant gun. Hamilton A piece of ham on the top of a large hill. Next to it is a tonne weight. Ham-hill-tonne (Hamilton). Irwin A man with incredibly long hair, standing on a large Winners rostrum . Isaacs Sacks crammed full with eyes. James James bond. Jackson The singer Michael Jackson. Keaton A tonne weight, falling on top of an enormous key. Keller Kill her. Lawson A lawyer with his son. Lee The great martial artist Bruce Lee. Morse A telegraph operator, tapping out morse code on an - old-fashioned transmitter. Moore A grassy moor. Nelson Someone caught in a full-nelson arm lock. Or the Famous Admiral Horacio Nelson. Nixon The ex-President of the US, and professional liar Richard Nixon. Oliver The Charles Dickens character Oliver Twist. Owens Hens that owe money to each other. Palmer Having your palm read. Perry The lead character from the TV series Perry Mason. Or parrying a blow from an enemy, in a fight. Quinn A pin being threaded through a large letter Q. Quincy The doctor from the old T.V series. Reynolds The actor Burt Reynolds. Rubin A painting by the artist Reuben’s. Or maybe a glowing Ruby. Saxon An Anglo Saxon warrior, or the phrase ‘Sacks on.’ Sutton The phrase ‘Sat on.’ Tate The word ‘tight.’ Or the Tate gallery. Thatcher The ex-Prime minister of England Margaret Thatcher. Or Simply a Thatcher at work. Underwood Someone sitting beneath a plank of wood. Unsworth The phrase ‘fun worth.’ Vincent The actor Vincent Price. Vance Two knights crossing their lances to form the letter V. Weiss A wise or intelligent individual. Watson Sherlock Holmes’s companion Dr Watson. Xavier A football goalkeeper, saving a ball that has emblazoned upon its side an enormous letter X. Young A small Chinese child. Yoto A yo-yo tied to the end of a Japanese mans big toe. Zimmerman A man simmering in a cooking pot. So there you go!

Monday, September 08, 2014

Jaroslaw Kapuscinski Audio-Visual Lecture

Wednesday, September 03, 2014

F is for Frequency

Tuesday, September 02, 2014

Henry Brant

Sunday, August 31, 2014

Fall Cherry Brew

A week of sailing in SF has returned me to Anchorage in a good relaxed state. The boat is in good shape, so time to make some beer. THis is batch number 3 (1 was a Belgian Ale, 2 was a an English Bitter - the Belgian was great and there is only one left 3 weeks on while the bitter is not as good, but still rather drinkable). Tonight's' brewing adventure was the Kriek cherry. It is safely tucked away in the carboy fermenting away and we shall see what the future holds. Summer is wrapping up and it rather fabulous to be experiencing fall for the first time in years. I suppose a week in the 80's threw my body off, but the shift to night time temps in the 30's is really a change. It is strange that the sun is now setting around 9:30PM, it feels so early for the sun to go down. Well that will all change once the snow arrives.

Saturday, August 30, 2014

orthodox russian chant

Monday, August 18, 2014


Sunday, August 10, 2014

Nietzsche’s 10 Rules for Writers

  1. Of prime necessity is life: a style should live.
  2. Style should be suited to the specific person with whom you wish to communicate. (The law of mutual relation.)
  3. First, one must determine precisely “what-and-what do I wish to say and present,” before you may write. Writing must be mimicry.
  4. Since the writer lacks many of the speaker’s means, he must in general have for his model a very expressive kind of presentation of necessity, the written copy will appear much paler.
  5. The richness of life reveals itself through a richness of gestures. One must learn to feel everything — the length and retarding of sentences, interpunctuations, the choice of words, the pausing, the sequence of arguments — like gestures.
  6. Be careful with periods! Only those people who also have long duration of breath while speaking are entitled to periods. With most people, the period is a matter of affectation.
  7. Style ought to prove that one believes in an idea; not only that one thinks it but also feels it.
  8. The more abstract a truth which one wishes to teach, the more one must first entice the senses.
  9. Strategy on the part of the good writer of prose consists of choosing his means for stepping close to poetry but never stepping into it.
  10. It is not good manners or clever to deprive one’s reader of the most obvious objections. It is very good manners and very clever to leave it to one’s reader alone to pronounce the ultimate quintessence of our wisdom.

Saturday, August 09, 2014

early electronic music

I found this when listening to an interview of Kees Tazelaar here and this and some Dick Raaijmakers