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The Genius of J.S. Bach’s “Crab Canon” Visualized on a Möbius Strip

The enigmatic Canon 1 à 2 from J. S. Bach’s Musical Offering (1747), The manuscript depicts a single musical sequence that is to be played front to back and back to front.
Video by Jos Leys (http://www.josleys.com) and Xantox ( http://strangepaths.com/en/ )

The most impressive of Johann Sebastian Bach’s pieces, musicophiles may have told you, will knock you over with their ingeniousness, or at least their sheer complexity.

If you process things more visually than you do aurally, pay attention to the video above, a visualization of the piece by mathematical image-maker Jos Leys. You can follow the score, note for note, and then watch as the piece reverses itself, running back across the staff in the other direction. So far, so easy, but another layer appears: Bach wrote the piece to then be played simultaneously backwards as well as forwards. But prepare yourself for the mind-blowing coup de grâce when Leys shows us at a stroke just what the impossible shape of the Möbius strip has to do with the form of this “crab canon,” meaning a canon made of two complementary, reversed musical lines.

Source: OpenCulture.com

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John William Coltrane, also known as “Trane”

Celebrating John Coltrane’s birthday (September 23, 1926 – ∞  )

John COLTRANE

John Coltrane’s masterwork, A Love Supreme, was only played once in live concert. This portion is the only surviving film of that 1965 performance.

Listen McCoy Tyner talking genuinely about his experiences with his late friend and mentor John Coltrane in the Traneumentary (Episode 32)

DANCE OF THE COSMO ALIENS

From the album DISCO 3000. Recorded in Rome in 1978

Sun Ra uses a prototype made by Crumar called the ‘Crumar Mainman’ which he described as ‘like a piano, organ, clavichord, cello, violin and brass instruments’.

“Dance of the cosmo aliens” thinly disguises the traditional “Sometimes I feel like a motherless child”

The Creators Project | Origin by UVA + Scanner

At the 2011 Creators Project New York event, United Visual Artists’ massive LED sculpture Origin attracted spectators like insects to bright light.

Set in the foreground of the Brooklyn Bridge, the artwork was continuously engaged with its environment through the buzzing dialogue between the visual light and sound.

On March 17-18 the Creators project will be kicking off on the West Coast at Fort Mason, San Francisco, CA

http://thecreatorsproject.com/en-uk/events/the-creators-project-san-francisco-2012

Scenius, or Communal Genius

((Pay close attention, creativity fans.))

Scenius is like genius, only embedded in a scene rather than in genes.

Brian Eno suggested the word to convey the extreme creativity that groups, places or “scenes”  can occasionally generate. His actual definition is:  “Scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.

Individuals immersed in a productive scenius will blossom and produce their best work. When buoyed by scenius, you act like genius. Your like-minded peers, and the entire environment inspire you.

The geography of scenius is nurtured by several factors:

•  Mutual appreciation — Risky moves are applauded by the group, subtlety is appreciated, and friendly competition goads the shy. Scenius can be thought of as the best of peer pressure.
•  Rapid exchange of tools and techniques — As soon as something is invented, it is flaunted and then shared. Ideas flow quickly because they are flowing inside a common language and sensibility.
• Network effects of success — When a record is broken, a hit happens, or breakthrough erupts, the success is claimed by the entire scene. This empowers the scene to further success.
•  Local tolerance for the novelties — The local “outside” does not push back too hard against the transgressions of the scene. The renegades and mavericks are protected by this buffer zone.

Scenius can erupt almost anywhere, and at different scales: in a corner of a company, in a neighborhood, or in an entire region.

Link: kk.org

Scenius in Art and Science.

The history of art and science is crammed with episodes of scenius. In modern literature there was the Algonquin Round Table, the Bloomsbury Group, the Inklings in Oxford, UK. In art there was Paris in the 20s, the lofts in Soho, NYC, and Burning Man recently. In science there was the Lunar Society in England, Building 20 at MIT, or the ever-spreading Silicon Valley.

(…)

Camp 4 is a nondescript, bland, dusty campground. Building 20 at MIT, the home of fantastic engineering exploits like the improvement of radar, was likewise architecturally boring, almost dilapidated. Soho was blocks of unwanted industrial space. Like these other places, Camp 4 was a generic space with flexibility. However Camp 4 is also a walk-in camp. You need to haul everything on your back. That immediately filters out a lot of wannabes. The absence of cars also keeps everyone around. From the outside you would never guess there was anything special about the place.  I think that is true of most scenius.

(…)

Although many have tried many times, it is not easy to command scenius into being. Every start up company, or university would like their offices to be an example of scenius. The number of cities in the world hoping to recreate the scenius of Silicon Valley is endless, but very few have achieved anything close. Innumerable art scenes begin and vanish quickly. The serendipitous ingredients for scenius are hard to control. They depend on the presence of the right early pioneers. A place that is open, but not too open. A buffer that is tolerant of outlaws.  And some flash of excitement to kick off the virtuous circle.  You can’t just order this.

What Camp 4 illustrated is that the best you can do is NOT KILL IT. When it pops up, don’t crush it. When it starts rolling, don’t formalize it. When it sparks, fan it. But don’t move the scenius to better quarters. Try to keep accountants and architects and police and do-gooders away from it. Let it remain inefficient, wasteful, edgy, marginal, in the basement, downtown, in the ‘burbs, in the hotel ballroom, on the fringes, out back, in Camp 4….

Link: wired.com

Scenius everywhere.

Here is a good example of what Scenius can be like in music, by Brian Eno himself, in his studio at Notting Hill, London. Which is no more than a usual jam between music artists-friends on a casual day.

Scenius is not impossible. In fact it can happen everywhere. You just need the right ingredients. You need the right people at the right place. And as was mentioned above, if it happens DON’T KILL IT.

± soundsofnone ±

I have BATTLES in my life

Although all three members of Brooklyn’s Battles have the kind of past that makes for impressive “formerly of…” notes in reviews and show announcements, they have long since surpassed their previous involvement with acts like Tomahawk, Helmet or Don Caballero. The experimental chaos and technical proficiency they bring to the battleground are clear to see, but starting with their first EP they’ve been pushing each other to take their noisy leanings into places that are as fun as they are baffling. Even their real live bursts of breakcore drumming don’t come across as jazzy bragging. They sound more like time traveling androids with a heavy metal past tackling Steve Reich’s ideas of minimalism, coming from some era where pop hits are made of pitch shifted vocal gibberish, soaring melodies and puzzling rhythms. This is a band that is so instrumentally tricked out that even the departure of their main vocalist could break the momentum.

Ice Cream is featured in their latest album “My Machines” out on WARP

Ionian JazzNow!

The sound and the colours of the new greek Jazz scene emerging from the Ionian school of Jazz.

Published by the Jazz&Τζαζ magazine Nov 2011

 

1. If I Should Lose You (Rainger, Robin) © EPA
2. Navarac (Leonidas Sarantopoulos)
3. Say something (Thodoris Kotsifas)
4. Always Be With Me (Terry Vakirtzoglou, Georgia Aitaki)
5. Entropia (Zoe Efstathiou)
6. The Thing (Costis Christodoulou)
7. Zambikos (traditional, arranged by Michalis Katachanas)
8. Good Friday’s Tango (Stefanos Andreadis)
9. After the Storm (Konstantinos Manos, Terry Vakirtzoglou)
10. Tempest (Yiannis Papadopoulos)
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Sun Ra – The Damneded Air (rec. December 1962) (poem)

“There is no place for the past in the realm of the future,” Ray Stubbs darkly intones over a quivering and querulous trumpet and piano in his 1962 performance of Sun Ra’s apocalyptic poem “The Damneded Air.”

The Damneded Air

around the earth
circles the infinity of the damneded air
the damneded inheritance of the earth
are the same vibrations it ever was
we need new air
we need the air that vibrates with the
sound of another kind of mind
we need the beam of the future to strike
the earth
like the lightning and the power of a
thunderbolt
in order that the dying embers of the past
should suddenly be extinct
there is no place for the past in the realm
of the future
except temporarily as an exhibit of that which is taboo
because the past is the past
and the future is the future
the eternity of the limited past
was for those who were taught the limited
darkness
the unlimited reach of the future is
another kind of forever
there is an inner darkness and there is an
outer darkness
those who become subjects of the inner
darkness dwell therein
those who become subjects of the outer
darkness shall dwell there out
out is the way of the outer
and in, the way of the inner
and in of the inner in
is different from the end of the outer in
because the outer in is the outer on
yes
out is the outer and in is the inner
the way out is the way to living, breathing
life
let’s blast the damneded air and claim the
right to be a part of the outer heavens and
outer space
that we might live and breathe and be
eternally alive
forever
let’s blast the damnded air
the imprisoning circle that bans the earth
with the echoes of the dead truth of the
damneded word
lets the light shine upon the darkness
that enchains the meaning of the
knowledge that has been used as the law
to destroy

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Here Listen

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Here download

this planet is doomed
the science fiction poetry of Sun Ra
Kicks Books (2011)
The damneded air   pp 64, 65

Many thanks to FromNowhere and  OtherPlanesofThere for their insightful contribution to this post.

Matana Roberts – i stand, i suffer, we soar.

i stand. i suffer. we soar.

where i end, they begin.

can you hear me?

i speak memory i shout her-his-story, i envision our dreams. come with me.

this work. a culmination of spooks, spirits, memory. can not literalize it really. it’s my twisted memory, my twisted spooks, my twisted spirits, in some ways my lore, not yours.

lets’s make a list

memphis, mississippi, new orleans, africa, ireland, france, england, scotland, etc etc etc choctaw, cherokee chicksaw. acadian/canadian. amerikkkan. so many other things most likely smashed/crashed in between. can you hear me?mystery of collective memories, some heard but never seen. ashland, mitchum, halsted, 95th street. some seen, but never heard. some whispered, some screamed. hop hip. can you hear me? chicago? jacqueline faye jones. a migration of a gypsy people. searching. can you hear me? 55th Garfield. 97th. low-e. beale street. long ways to go. east st luis, south side, 125, west side,  eyes open wide. a barbeque. a long syllabic refrain. acceptance of a difference not chosen. red, tada, the black and green, jones, the laying down of arms. on our backs, bat israel.davis. stepping on/over/onwards. trails of tears, a light, long run. a long light sob. cold blood. warm blood. the kindness. wondering. hughes. lorde, emma. ntozake. bell. shabazz, scott, kings. queens.