tag:blogger.com,1999:blog-2691790563286876907.post7609224403599973238..comments2017-12-15T02:47:45.579-08:00Comments on workwerks: Art in SymphoniaJohn McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-2691790563286876907.post-40317447947134126412017-09-14T04:31:06.901-07:002017-09-14T04:31:06.901-07:00maybe of interest —
WFC algorithmmaybe of interest —<br /><a href="https://sometheoryofsampling.tumblr.com/post/165316997933/procedural-generation-trasevoldogs-logic-data" rel="nofollow">WFC algorithm</a><br /><br />John McVeyhttps://www.blogger.com/profile/14481670714832899230noreply@blogger.comtag:blogger.com,1999:blog-2691790563286876907.post-90684434962460074442017-09-12T04:40:58.898-07:002017-09-12T04:40:58.898-07:00and, consider the work of Iannis Xenakis, architec...and, consider the work of Iannis Xenakis, architect and composer (1922-2001), e.g., <a href="https://www.youtube.com/watch?v=n2O8bMlEijg" rel="nofollow">Metastasis</a> (1955).<br /><br /><a href="https://en.wikipedia.org/wiki/Iannis_Xenakis" rel="nofollow">wikipedia</a><br /><a href="http://www.iannis-xenakis.org/xen/bio/biography.html" rel="nofollow">autobiographical sketch</a>John McVeyhttps://www.blogger.com/profile/14481670714832899230noreply@blogger.comtag:blogger.com,1999:blog-2691790563286876907.post-22305777117951664392017-09-12T04:35:20.433-07:002017-09-12T04:35:20.433-07:00idea —
compare the functions/controls of Adobe Au...idea —<br /><br />compare the functions/controls of Adobe Audition, with those in Photoshop — equivalents so to speak — invert, for example… others…<br />John McVeyhttps://www.blogger.com/profile/14481670714832899230noreply@blogger.comtag:blogger.com,1999:blog-2691790563286876907.post-57724039959355420612017-09-11T18:12:35.435-07:002017-09-11T18:12:35.435-07:00relationship of visual scores to performance
I poi...relationship of visual scores to performance<br />I pointed to John Cage, his <a href="http://montserrat.noblenet.org/eg/opac/record/2234013?fi%3Aitem_type=a;query=notations;qtype=title;locg=35" rel="nofollow">Notations</a> (1969)<br />and Theresa Sauer, <a href="http://montserrat.noblenet.org/eg/opac/record/3139064?fi%3Aitem_type=a;query=notations;qtype=title;locg=35" rel="nofollow">Notations 21</a> (2009)<br /><br />Class discussion also included synaesthesia, and Richard E. Cytowic and David M. Eagleman their book <i>Wednesday is Indigo Blue</i> : <i>Discovering the Brain of Synesthesia</i> (2011)<br /><br />—<br /><br />I mentioned H. H. Stuckenschmidt his <i>Twentieth Century Music</i> (1969), which I describe at <a href="https://asfaltics.tumblr.com/post/68567575743/tuning-the-ears" rel="nofollow">tuning the ears</a>.<br /><br />Scroll down to "Art, Music, Literature" at the wikipedia entry for <a href="https://asfaltics.tumblr.com/post/68567575743/tuning-the-ears" rel="nofollow">Theosophy</a>. Names include <a href="https://en.wikipedia.org/wiki/Alexander_Scriabin" rel="nofollow">Alexander Scriabin</a> who is worth a look (and listen).<br /><br />—<br /><br />Can we make music with — and can we "score" music for — random things like a piece of wire, a glass of water, a piece of paper?<br />What would the score look like? What would the aural results be?<br />John McVeyhttps://www.blogger.com/profile/14481670714832899230noreply@blogger.com