- Jan 2023
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www.youtube.com www.youtube.com
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thesupermenlovers.bandcamp.com thesupermenlovers.bandcamp.com
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thesupermenlovers.bandcamp.com thesupermenlovers.bandcamp.com
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eveharms.itch.io eveharms.itch.io
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https://eveharms.itch.io/stimuwrite<br /> StimuWrite by Eve Harms
Make writing as addictive as social media
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Kieryn Darkwater :vtrain:</span> in "omg so I remembered seeing a #writing app for #ADHD a long time ago that is actually stimulating instead of a massive white space, and I found it again today. I thought I'd try it out and I've been able to get 1600 words done with less pain than starting at a blank google doc. The hearts and stuff as I type is all the serotonins I need for this. It's worth paying for.https://eveharms.itch.io/stimuwrite " - towns.gay on Jan 11, 2023, 04:12 (<time class='dt-published'>01/24/2023 12:35:14</time>)</cite></small>
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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skunkanansie.bandcamp.com skunkanansie.bandcamp.com
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www.npr.org www.npr.org
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Spaces in both language, text, and music help to create the texture of what is being communicated (and/or not).
Link to Edward Tufte's latest book in section entitled "Spacing enhances complex meaning, encourages slow, thoughtful reading":
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>KevinMarks</span> in #meta 2023-01-19 (<time class='dt-published'>01/19/2023 11:32:19</time>)</cite></small>
Link to Indigenous astronomy example of negative spaces (like the Great Emu)
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latenighttales.bandcamp.com latenighttales.bandcamp.com
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colliebuddz.bandcamp.com colliebuddz.bandcamp.com
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djsugai.bandcamp.com djsugai.bandcamp.com
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www.youtube.com www.youtube.com
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luckydube.bandcamp.com luckydube.bandcamp.com
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thegladiatorsstudioone.bandcamp.com thegladiatorsstudioone.bandcamp.com
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swingrepublic.bandcamp.com swingrepublic.bandcamp.com
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quod.lib.umich.edu quod.lib.umich.edu
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- musicbrainz:work=d5d9aa32-e0b0-33ac-aa1f-c4860ffb01bf
- history
- wikipedia:en=Swinging_Suites_by_Edward_E._and_Edward_G.
- jazz
- wikipedia:en=Peer_Gynt_(Grieg)
- duke ellington
- music
- billy strayhorn
- musicbrainz:recording=9c54c2de-6e9a-48fb-ab41-0a067d8d9ed6
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quod.lib.umich.edu/m/mp/9460447.0005.205/--duke-ellington-billy-strayhorn-and-the-adventures-of-peer -
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www.youtube.com www.youtube.com
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github.com github.com
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www.sciencedirect.com www.sciencedirect.com
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code.soundsoftware.ac.uk code.soundsoftware.ac.uk
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slyrobbieariwa.bandcamp.com slyrobbieariwa.bandcamp.com
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goldenlanetootsandthemaytals.bandcamp.com goldenlanetootsandthemaytals.bandcamp.com
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.comMy Girl1
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.comE-Pro1
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tributetogunsnroses.bandcamp.com tributetogunsnroses.bandcamp.com
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soundcloud.com soundcloud.com
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thebandcake.bandcamp.com thebandcake.bandcamp.com
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www.youtube.com www.youtube.com
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www.reverbnation.com www.reverbnation.com
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timebomb-huperkut.bandcamp.com timebomb-huperkut.bandcamp.com
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nervousrecords.bandcamp.com nervousrecords.bandcamp.com
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tedgioia.substack.com tedgioia.substack.com
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creative fields like music and writing live and die based on creativity, not financial statements and branding deals.
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- Dec 2022
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suzannevega.bandcamp.com suzannevega.bandcamp.com
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www.rollingstone.com www.rollingstone.com
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.comYouTube1
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www.mixcloud.com www.mixcloud.com
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manuchao.bandcamp.com manuchao.bandcamp.com
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manuchao.bandcamp.com manuchao.bandcamp.com
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manuchao.bandcamp.com manuchao.bandcamp.com
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rootsmanuva.bandcamp.com rootsmanuva.bandcamp.com
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www.griffithreview.com www.griffithreview.com
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HERE'S THE FIRST thing you should know about Grant McLennan: he wasn't a genius. Neither is his friend and songwriting partner Robert Forster, with whom he formed the Go-Betweens in late 1977. Rather, both were artisans of the first order: talented songwriters who worked diligently at their craft and believed completely in the value of what they were doing. Their aesthetics were finely tuned and they understood – first intuitively, then by experience – what it took to make great records.
Maybe 'genius' is in the ability to keep going.
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ringostrack.com ringostrack.com
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en.wikipedia.org en.wikipedia.org
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Aleatoric music (also aleatory music or chance music; from the Latin word alea, meaning "dice") is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities.
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www.tunefind.com www.tunefind.com
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hippocampusstudioparis.bandcamp.com hippocampusstudioparis.bandcamp.com
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maxrubadub.bandcamp.com maxrubadub.bandcamp.com
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maxrubadub.bandcamp.com maxrubadub.bandcamp.com
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nightmaresonwax.bandcamp.com nightmaresonwax.bandcamp.com
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play.acast.com play.acast.com
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play.acast.com play.acast.com
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caribouband.bandcamp.com caribouband.bandcamp.com
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play.acast.com play.acast.com
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soundcloud.com soundcloud.com
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stardust.bandcamp.com stardust.bandcamp.com
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cinematicorchestramusic.bandcamp.com cinematicorchestramusic.bandcamp.com
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guruandsolar.bandcamp.com guruandsolar.bandcamp.com
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deejaysika.bandcamp.com deejaysika.bandcamp.com
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deejaysika.bandcamp.com deejaysika.bandcamp.com
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alanbraxe.bandcamp.com alanbraxe.bandcamp.com
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soulfunky.bandcamp.com soulfunky.bandcamp.com
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undisputedrecords.bandcamp.com undisputedrecords.bandcamp.com
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undisputedrecords.bandcamp.com undisputedrecords.bandcamp.com
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globalbeatsrecords.bandcamp.com globalbeatsrecords.bandcamp.com
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.comGold1
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pepedeluxe.bandcamp.com pepedeluxe.bandcamp.com
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pepedeluxe.bandcamp.com pepedeluxe.bandcamp.com
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pepedeluxe.bandcamp.com pepedeluxe.bandcamp.com
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cassius1999.bandcamp.com cassius1999.bandcamp.com
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mrscruff.bandcamp.com mrscruff.bandcamp.com
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supermotorfunk.bandcamp.com supermotorfunk.bandcamp.com
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boombass.bandcamp.com boombass.bandcamp.com
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bjork.bandcamp.com bjork.bandcamp.com
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nightmaresonwax.bandcamp.com nightmaresonwax.bandcamp.com
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etiennedecrecy.bandcamp.com etiennedecrecy.bandcamp.com
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etiennedecrecy.bandcamp.com etiennedecrecy.bandcamp.com
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etiennedecrecy.bandcamp.com etiennedecrecy.bandcamp.com
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guiboratto.bandcamp.com guiboratto.bandcamp.com
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soundcloud.com soundcloud.com
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www.newyorker.com www.newyorker.com
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“I have a trick that I used in my studio, because I have these twenty-eight-hundred-odd pieces of unreleased music, and I have them all stored in iTunes,” Eno said during his talk at Red Bull. “When I’m cleaning up the studio, which I do quite often—and it’s quite a big studio—I just have it playing on random shuffle. And so, suddenly, I hear something and often I can’t even remember doing it. Or I have a very vague memory of it, because a lot of these pieces, they’re just something I started at half past eight one evening and then finished at quarter past ten, gave some kind of funny name to that doesn’t describe anything, and then completely forgot about, and then, years later, on the random shuffle, this thing comes up, and I think, Wow, I didn’t hear it when I was doing it. And I think that often happens—we don’t actually hear what we’re doing. . . . I often find pieces and I think, This is genius. Which me did that? Who was the me that did that?”
Example of Brian Eno using ITunes as a digital music zettelkasten. He's got 2,800 pieces of unreleased music which he plays on random shuffle for serendipity, memory, and potential creativity. The experience seems to be a musical one which parallels Luhmann's ideas of serendipity and discovery with the ghost in the machine or the conversation partner he describes in his zettelkasten practice.
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In the liner notes of “Ambient 1: Music for Airports” (1978), Eno wrote, “Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.”
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In 1978, he started to use the term “ambient music”: the concept stretched back to describe “Discreet Music” and the work of earlier composers, like Satie, who coined the term “furniture music,” for compositions that would be more functional than expressive.
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Eno’s strategies don’t always appeal to the musicians he works with. In Geeta Dayal’s book about the album, also titled “Another Green World,” the bassist Percy Jones recalls, “There was this one time when he gave everybody a piece of paper, and he said write down 1 to 100 or something like that, and then he gave us notes to play against specific numbers.” Phil Collins, who played drums on the album, reacted to these instructions by throwing beer cans across the room. “I think we got up to about 24 and then we gave up and did something else,” Jones said.
Example of Brian Eno using combinatorial creativity using cards to generate music.
This sounds similar to a process used by Austin Kleon which I've noted before.
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Eno was moving toward a music that changed your perception of the space around you. Geography could be as memorable as melody.
ways to link this to oral traditions in music and memory?!?
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The band began rehearsing in Eno’s house, with Eno acting as “sound manipulator,” a cross between a live-sound engineer and a band member.
Sound manipulator, what a great title for a business card.
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Behind Eno stand John Cage, Marcel Duchamp, and Erik Satie, but those guys didn’t make pop records.
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As he told Keyboard, in 1981, “Any constraint is part of the skeleton that you build the composition on—including your own incompetence.”
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Eno is widely known for coining the term “ambient music,”
Tags
- iTunes
- Erik Satie
- Marcel Duchamp
- ghost in the machine
- sound
- memory and geography
- hw-ambient music
- conversation partners
- lone genius myth
- random card generator
- geography
- quotes
- music
- sound manipulator
- examples
- ambient music
- business cards
- incompetence
- surprise
- creativity
- orality and memory
- experimental art
- neologisms
- Phil Collins
- memory
- definitions
- generative art
- generative music
- random walks
- wordnik
- combinatorial creativity
- avant-garde
- furniture music
- serendipity
- art
- 1978
- zettelkasten for music
- Geeta Dayal
- Niklas Luhmann's zettelkasten
- John Cage
- genius
- Percy Jones
- zettelkasten for art
- Another Green World
- constraints
- Brian Eno
Annotators
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www.youtube.com www.youtube.com
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www.usgo.org www.usgo.org
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austinkleon.com austinkleon.com
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https://austinkleon.com/2018/03/04/card-games/
I'm reminded of early French use of playing cards for note taking here...
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Then I remembered a little card game I came up with to make jam sessions more interesting: Have each band member list 10 musical acts they’d like to play in Write each musical act on an index card Shuffle the cards, and, without revealing the cars, deal one to each band member. Keep the cards secret — the game is no fun if you can see the cards before you play. Just like any other jam session, it helps to pick a key and start with the rhythm. Everyone has to pretend like they’re playing in the act written on their card. Jam until it gets boring. At the end, everybody gets to guess which card each person was dealt. Repeat until you’re out of cards
A game by Austin Kleon for making jam sessions less boring using cards.
Inspired by Oblique Strategies and The Creative Tarot.
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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soundcloud.com soundcloud.com
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globaldjmix.com globaldjmix.com
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
- Nov 2022
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www.facebook.com www.facebook.comFacebook1
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soundcloud.com soundcloud.com
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“In order to talk to each other, we have to have words, and that’s all right. It’s a good idea to try to see the difference, and it’s a good idea to know when we are teaching the tools of science, such as words, and when we are teaching science itself,” Feynman said.
Maths, Logic, Computer Science, Chess, Music, and Dance
A similar observation could be made about mathematics, logic, and computer science. Sadly, public education in the states seems to lose sight that the formalisms in these domains are merely the tools of the trade and not the trade itself (ie, developing an understanding of the fundamental/foundational notions, their relationships, their instantiations, and cultivating how one can develop capacity to "move" in that space).
Similarly, it's as if we encourage children that they need to merely memorize all the movements of chess pieces to appreciate the depth of the game.
Or saying "Here, just memorize these disconnected contortions of the hand upon these strings along this piece of wood. Once you have that down, you've experienced all that guitar, (nay, music itself!) has to offer."
Or "Yes, once, you internalize the words for these moves and recite them verbatim, you will have experienced all the depth and wonder that dance and movement have to offer."
However, none of these examples are given so as to dismiss or ignore the necessity of (at least some level of) formalistic fluency within each of these domains of experience. Rather, their purpose is to highlight the parallels in other domains that may seem (at first) so disconnected from one's own experience, so far from one's fundamental way of feeling the world, that the only plausible reasons one can make to explain why people would waste their time engaging in such acts are 1. folly: they merely do not yet know their activities are absurd, but surely enough time will disabuse them of their foolish ways. 2. madness: they cannot ever know the absurdity of their acts, for "the absurd" and "the astute" are but two names for one and the same thing in their world of chaos. 3. apathy: they in fact do see the absurdity in their continuing of activities which give them no sense of meaning, yet their indifference insurmountably impedes them from changing their course of action. For how could one resist the path of least resistance, a road born of habit, when one must expend energy to do so but that energy can only come from one who cares?
Or at least, these 3 reasons can surely seem like that's all there possibly could be to warrant someone continuing music, chess, dance, maths, logic, computer science, or any apparently alien craft. However, if one takes time to speak to someone who earnestly pursues such "alien crafts", then one may start to perceive intimations of something beyond their current impressions
The contorted clutching of the strings now seems... coordinated. The pensive placement of the pawns now appears... purposeful. The frantic flailing of one's feet now feels... freeing. The movements of one's mind now feels... marvelous.
So the very activity that once seemed so clearly absurd, becomes cognition and shapes perspectives beyond words
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en.wikipedia.org en.wikipedia.org
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In late 2006, Eno released 77 Million Paintings, a program of generative video and music specifically for home computers. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice.
Brian Eno's experiments in generative music mirror some of the ideas of generative and experimental fiction which had been in the zeitgeist and developing for a while.
Certainly the fictional ideas were influential to the zeitgeist here, but the technology for doing these sorts of things in the musical realm lagged the ability to do them in the word realm.
We're just starting to see some of these sorts of experimental things in the film space and with artificial intelligence they're becoming much easier to do in all of these media spaces.
In some of the film spaces, they exist, but may tend to be short in nature, in part given the technology and processing power required.
see also: Deepfake TikTok of Keanu Reeves which I've recently run across (algorithmically) on Instagram: https://www.dailydot.com/debug/unreal-keanu-reeves-ai-deepfake/
Had anyone been working on generative art? Marcel Duchamp, et al? Some children's toys can mechanically create generative art which can be subtly modified by the children using axes of color, form, etc. Etch-a-sketch, kaleidoscopes, doodling robots (eg: https://www.amazon.com/4M-Doodling-Robot-Packaging-Vary/dp/B002EWWW9O).
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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soundcloud.com soundcloud.comFérié1
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www.du-bruit.com www.du-bruit.com
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billyoppenheimer.com billyoppenheimer.com
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“People always say of great athletes that they have a sixth sense,” Malcolm Gladwell says in Miracle and Wonder: Conversations with Paul Simon. “But it’s not a sixth sense. It’s memory.” Gladwell then analogizes James’ exacting memory to Simon’s. In the way James has precise recall of basketball game situations, Simon has it of sounds and songs. “Simon’s memory is prodigious,” Gladwell says. “There were thousands of songs in his head. And thousands more bits of songs—components—which appeared to have been broken down and stacked like cordwood in his imagination.”
In Miracle and Wonder: Conversations with Paul Simon, Malcolm Gladwell comments on the prodigious memories of both Paul Simon with respect to sounds and Lebron James with respect to basketball game play.
Where these sorts of situational memories built and exercised over time or were they natural gifts? Or perhaps natural gifts that were also finely tuned over time?
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- Oct 2022
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soundcloud.com soundcloud.com
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www.discogs.com www.discogs.com
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podtail.com podtail.com
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podtail.com podtail.com
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soundcloud.com soundcloud.com
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www.radiohead.com www.radiohead.comOKNOTOK1
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music.apple.com music.apple.com
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ilaross.github.io ilaross.github.io
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ilaross.github.io ilaross.github.io
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
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www.youtube.com www.youtube.comYouTube1
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www.youtube.com www.youtube.com
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social.ayjay.org social.ayjay.org
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schema.org schema.org
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www.reverbnation.com www.reverbnation.com
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