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ShareRiff

Page history last edited by ShareRiff 15 years, 6 months ago


 

summer wiki bulletin gearing up for Fall 2007!


May 31, 2007

 

Friends,

 

Sorry for such a late notice on this, but tonight (Thursday) I will perform with a guit/bass/drums trio, just a short set of songs-in-the-making, downtown at the Emerald Room, at 10:00 PM. For the first time in a while, Angie and I have managed to find a sitter available to care for Odessa and Aeden at night, so Angie will be out on the town, too!

 

address and directions

 

ShareRiff

 

Trey, That is awesome. I have been to the Emerald Bar a few times and it is a cute little place. My cousin played there for a while. He was in a band called the No Loves. If you need a drummer, I can hook you up. I hope you have fun tonight. --Jess


Dig this link, Microsoft is trying to go up against the open source...doh!

ok, yes, John Monroe can speak to this, but also check out the Dell Ubuntu partnership...yo!

 

 

Hey Trey, I just wanted to say I had a great time yesterday with the group presentations. Even though your style was a bit overwhelming at times for me over the course of the semester, I totally digged this class and its "outside of the box" motto. Keep in touch and whatever you do, don't follow suit with all of these other drone professors and their excessive need to follow a syllabi lecture format. Remix the system! Peace out 4 now! 5-3-07 8:22AM .:Kris:.

 

Hey Trey... our group would like to get a sound bite from you by next class period. We've been searching through some class recordings and haven't found anything good. Tomorrow May 1st would be great if we could get a hold of you. Please contact me at kevinrb@verizon.net, 727-742-7043, or hit me up on my wiki home page, KevinRb . Thanks and hope to see you soon. KevinRb 9 pm 4:30.

 

 

 The Word is Common

- Heraclitus

 

 

Works in progress, playing the process...ShareRiff aka Professor Trey Conner finding more ways to wyrd in common.

Tune in, turn on, and trope out...

<recentchanges>

 

“We have already pointed out that rhythm is concerned with time-lengths (chronoi) and the perception of them, and we must say it again now, because this is in a way the starting-point for the study of rhythm" (Aristoxenus of Tarentum, trans. Pearson, 1990, p. 3)

 

 

 

 

Wyrd! Connections between the 'zine culture class and the metaprogramming class have sprouted a new project. The "Emboldened Linking" page will be a contribution to PraxisWiki, a wiki about the uses of emergent technologies for teaching and scholarly practice, but links to/from/within our IDH 4000 project narratives could generate more projects, and perhaps even set the tone for a larger collective project. Check it out, add your insight, make it bettah, roll your own, link it to and fro!


January 11

 

ChipResistor

 

Now, as you watch and listen and perhaps even intone along, tab out onewordmovie, click "movie window," place your cursor in the search box, and type "Wolfram Random." That's what Bob Yarber (chanting and plucking above) would do.

 

 

Wiki as a verb


January 12

Mood: anticipatory

Mantra: thinking is linking!

Finding (and losing) rhythm in the field

What I miss most about Pennsylvania: gathering weekly with my noiseband/guerilla-theatre collective Peacefeather to improvise, record, and mix. At the same time, I am ecstatic about living in St. Pete, where I can again collaborate regularly with 2 infinitely talented musicians, my dear friends and first musical collaborators Chris Sturgeon and Jeremy King. Reviewing and discussing the peculiar techniques we devised for sharing rhythms at-a-distance these past several years, we agreed that it's great to be playing together in the same room again. Not worried about the height or depth of the fidelity or the arrangements, we're back to simply bouncing refrains around, even if just to hear what one small camera microphone can capture. Here's a sonic snapshot, a broken narrative featuring stuttering gaps where the microphone overloads.


Was thinking about building a freesound composition from the following vision, transduced to text by Hakim Bey:

"atonal punk reggae scored for gamelan, synthesizer, saxophones & drums--electric boogie lyrics sung by aetherial children's choir"

one

two

three

drums

a drum

another drum

Saint Elijah Children's Choir

tuning up

loop this, too

Too literal? Perhaps. But the universe wants to play, and play often begins with a miscue or two...


Chat Rhythms

"Gossip" by Norman Rockwell

 

linking: http://idh4000rhetoricsofrhythm.pbwiki.com/Blog-1?doneSave=1

with: http://idh4000rhetoricsofrhythm.pbwiki.com/FindingRhythm (Caitlyn)

and: http://idh4000rhetoricsofrhythm.pbwiki.com/January-10-Blog-2?doneSave=1/

 

 

Instant messaging is a powerful tool for quick communication and connection, and using IM, people grow diverse and context-sensitive forms of shorthand, or "information compression." It can also provide rehearsal in/on/around a particular idiom. Using IM in the context of a class, as we've already seen, can help us quickly weave ideas together to form new ones. You will be forming "clusters" to work together on collaborative assignments, so I'm thinking that, maybe in the third week, we ought to do another round with the IM. Share links, talk about projects in terms of interest and feasibility given our constraints (15 week semester), post the script to the wiki.

 

It seems fair to say that rhythm is not so much a previously determined goal or pre-set metrical count as something that must emerge in time. A lot of us have pointed out the different rhythms that can emerge when we volley text in chat clients. At passionate users,

computer programmer and programming instructor Kathy Sierra and software developer Dan Russell

argue the same.

Considering the effects: most of us do not stare at a blank screen when trying to write an IM, while many of us do exactly that while trying to write a "paper". Letting themes emerge, and then tuning them towards the particular idiom or audience, can we use IM and wiki to write "papers?" How does a "paper" audience differ from an "IM" audience, even when they are the same person(s)?

 

Isocrates is said to have heavily promoted the periodic style. Periodicity could have created "attention wells" on certain ways of cutting the flow of discourse at the expense of others. By analogy, the "ictus" is a way of recuperating Greek rhythms that perhaps places too much emphasis on our own modern and Western modes of perception. The shorthand, languages, leets, and emoticons of chat forums cut discourse differently than Isocrates' periodicity, but they also could intervene on what musicologists and philologists of Greek rhythmographos (writings on rhythm) let leak in with the ictus-based frame that Nietzsche identifies and critiques: the authorial self.

On the one hand, emoticons are too representational. On the other hand, the are the "eyegrabbing" cuts that mark sharp transitions in both mood and mode of writing in chat. The literature on chat tends to define these technologies under a rubric of "communication tools" and this body of literature focuses on and presents us with 3 main dimensions:

 

1.

2.

3.

 

Scott Mcloud offers tools for understanding panels in graphic novels and comics, and his approach to the multimodal space of comics derives from Eisner, but retools these ideas into "conjugate coordinates" similar to those that statisticians use to narrate dynamic, open, and complex systems. For example, the ratio of words to images....

 

Similarly, in chat, one way to find rhythm would be to consider word-to-emoticon ratios as a starting point for analyses that could help make plain the ontology, psychology and rhythmicity of chat. This training for intuitive receptivity....

 

Across Plato's Dialogues, composed in 4th century B.C. Greece, Socrates finds numerous occasions to talk about musical aesthetics, music's affective powers, and strictures regarding music's proper use in education. In the Timmaeus, Plato commingles perception of sound, harmonic theory, and cosmology. It is hard to argue with Barker (1989) who notes that "Plato's accounts of the sciences of astronomy and harmonics are strikingly idiosyncratic" theories concerned with and connected up with "an ideal mathematics of motion" (Greek Musical Writings Volume II Harmonic and Acoustic Theory, p. 53). Musicians and astronomers shared practices of compression, particularly in their affinity for diagrams. "The visible movements of the stars and the audible movements that constitute sounds are to be treated merely as 'diagrams' or perceptual aids,from which the mind can be led to grasp on the intelligible mathematical principles that perceptible movements may imperfectly exhibit" (p. 53). In The Republic 2.I 530c-d, we can see how the magnification and manipulation of small intervals relates to compression.

 

A similar approach to movement and directed attention to the utility of "compression" appears in La Monte Young's musical practice, as well. While a noisecian like Masami Akita sets up his laboratory at the edges of chaos, Young, as a minimalist composer, deigns to direct attention to the smallest units and almost "static motion" at the horizon of perception. particular arrangements of small intervals take focus because, according to Young, these smaller intervals can be arranged— composed—in such a way that these small, or compressed, intervals resonate higher orders of harmonics. On the one hand, Young and Plato share an affinity for mathematical theories of harmonics. On the other hand, Plato's treatment of the pyknomata in the Republic suggests that Young's entire oeuvre, a singularly focused exercise in treating the smallest intervals, or microtones, as units that can be arranged to measure and manipulate space, is in vain, or at the very least, useless.

The musical sense of compression favored by Aristoxenus was katapuknosis, defined as the “close packing of the intervals of a scale” in Henry Liddel and Robert Scott's A Greek-English Lexicon, available online at Tufts University's Perseus Project, . Andrew Barker (1978) tells how wandering musical theorists, known as harmonikoi, designed diagrams “to facilitate comparisons between scalar structures by displaying them all within the same theoretical pitch,” and named this procedure katapuknosis ( p. 11).

 

http://en.wikipedia.org/wiki/Leet

 

Aristoxenus' fragment on rhythm does not say much about the pyknomata of the harmonikoi (he details the the practice of writing “compression algorithms” with pynknomata in the Elementa Harmonica), but it does propose the term protos chronos to describe "primary time-lengths" that "cannot be further subdivided by any rhythmizomenon" (Pearson trans., 1990, p. 10). Elsewhere, the protos chronos is "the time-length which is too short to contain even two notes or two syallables or two signals."

 

When J.J. Gibson talks about sound, he seems to describe the ultimate information compression algorithm (for embodied (trans)human consciousness?): sound is the most simplified formal result of the process that Collier and Burch (1998) call rhythmic entrainment. "The result of rhythmic entrainment is a simplification of the entrained system, in the sense that the information required to describe it is reduced" (p. 1).

 

The pursuit of the pronos chronos, or fundamental unit: down a rabbit hole?

 

Next: longer rhythms...


 

VitalRhythms - biological time, dissipative systems

"T0 BEGIN WITH, this world has a different kind of time. It is the time of biological rhythm, not of the clock and all that goes with the clock." Alan Watts, A Joyous Cosmology


trope talk

dream machine how-to

 

repetitio: Alrighty!

prolepsis: anticipating the beat, anticipating the Numero Uno

 

tropes of connectivity: the "add" gesture: cf myspace (link Hend)

 

 

Alrighty <~~~~Just curious how this made it as Trope talk...perhaps its because i dont quite understand the concept of "trope talk"

 

I guess when I made the link, you were writing about how your plan to use "alrighty" to initiate new statements. If you use "alrighty" each time you approached the wiki with a new upload, you would be using repetitio, and figures of repetition (along with counterpoint, ricochet, and delay) are so essential to any rhythmic practice. Paying attention to tropes, as forms helps us find irreducable patterns of information. At the same time, tropes are also incredibly slippery in an argument, as one turn of phrase can enable another in response. Tropes may be used intentionally in order to draw on multiple meanings, yet those multiple meanings often elude the control of the author. A trope is both a standard way to state something - a cliche, a commonplace, even a stereotype - and a particular twist or turn of phrase given to the common place. When remixing each others' narratives we'll look for both common patterns (in order to export them from one narrative to another) and particular twists. Archetypes and tropes are both ways of orienting our attention, and by focusing your attention on the form in which you write as well as the content, you can easily find patterns of argument and counterargument. Tropes and archetypes are formal features of composition: they shape the ways we understand, and don't understand, each other, no matter how much information we share.

 

Getting back to repetition: as we tune the necessary repetitions of rhythmic writing (writing together) to higher frequencies, we get to feedback. In wiki, the feedback becomes quite literal: the indirect and informal communciations accrete and establish a tone and tenor for learning somewhat different but perhaps complementary to classical teacher-student models. Cybernetics makes this same distinction between positive and negative feedback. In Expanded Cinema, Gene Youngblood (1970), who

orchestrated resonance experiments with students in the form of tape-loop experiments at Cal Arts during the 1970s, simplifies this distinction by considering feedback at the basic level of energy that occupies phycisists. Youngblood’s workup on entropy and negentropy turns on the axis of consumption/production:

We've learned from physics that the only anti-entropic force in the universe, or what is called negentropy(negative entropy), results from the process of feedback. Feedback exists between systems that are not closed but rather open and contingent upon other systems. In the strictest sense there are no truly "closed" systems anywhere in the universe; all processes impinge upon and are affected by other processes in some way. However, for most practical purposes, it is enough to say that a system is "closed" when entropy dominates the feedback process, that is, when the measure of energy lost is greater than the measure of energy gained. (p. 63)


SCRIPT: NON-SEQUITORS

-exercise: mixmaster blog


Freesound Phenomenologies: aint' too proud to beg for counterargument

 

yeah, and the same goes for sound...

 

...in the Freesound assignment, we begin by working with sound, but as we layer links and listen back to the pattern that emerges, we may also be compelled to weave words and images into our mix. The idea is very simple: working with sound causes us to literally tune in on an audience for our writing, and when we begin to let noise and musicality into our writing process, we discover that we already have an inchoate but intuitive and herefore reliable sense of audience. We can listen, look, browse, and read for patterns in our writing and the writing of our peers. We can make rhetorical choices (cue McCloud). Writing together: we go beyond our traditional understanding of audience: readers become allies, informants, and contingent cooperators. Taking the repetitions of tabbed browsing (the simplest and most often repeated gestures we use to navigate the informational ecologies we find and make on the web), and mix these repetitions with sound, we can bring explicitly rhythmic compositional strategies into our writing process. Compression, again!

 

In Emergence, a study of self-organizing systems, Steven Johnson (2001) asks, "What is listening to music if not the search for patterns—for harmonic resonance, stereo repetition, octaves, chord progressions—in the otherwise dissonant sound field that surrounds us everyday?" (p.128). Perhaps the art of reading rhetorically, like listening to music in Johnson's formulation, means searching for patterns of resonance, recognizing the multiplication and modulation of patterns, responding to figure-ground bit-flipping, seeing sequences and finding gaps in clusters of ideas, proofs, premises, and claims so that we can not only tune in to but participate in their unfoldment. In other words, just as a dj must split his or her attention between two patterns—both the sounds already resounding out of the speakers across the dance floor, and those sounds still held in cue, as-of-yet only audible in the headphones but waiting to burst forth at the drop of the needle and toggle of the switch on his or her mixer—in order to “beatmatch” those sounds, we as readers and writers working in tandem must split attention between reading and writing in ways that find us participating in the arrangement of patterns, analyzing and recapitulating their changing forms and finding the timing and placement necessary to share patterns of information, including argument, with particular communities of readers and potential collaborators. Sound is unique in the way it creates a common space where writers, once immersed, can simultaneously grok the same complex patterns, and learn how to interrupt and rearrange sequences of ideas.

 

In "Going Parallel," mathematician Brian Rotman (2000) introduces the distinction between serial and parallel to talk about the rhythmic oscillation between “the individual self and collective other, and about the circuits linking the modes of simultaneity/sequentiality and the polarities self/other with contemporary technoscientifically inflected culture” (p. 57).


 

silence


 

3 notes and runnin


Writing in the 4th century BC, Aristoxenus of Tarentum provides us with the only extant Greek text dedicating undivided attention to the matter of “rhythm,” the Elementa Rhythmica, which only comes to us as a fragment—all that remains is a portion of the second book, organized as a series of numbered segments. The study of rhythm in Aristoxenus' formula begins with a repetition, "we must say it again.”

 

“We have already pointed out that rhythm is concerned with time-lengths (chronoi) and the perception of them, and we must say it again now, because this is in a way the starting-point for the study of rhythm" (Aristoxenus of Tarentum, trans. Pearson, 1990, p. 3).

 

But this second book, which contains 36 short segments before it fades out, in fact opens with a backwards glance.

 

" In our preceding discussion, it has been explained that there are rhythms of several different natures and what each one of them is like, what the reasons are for giving them the same name, and what exactly it is in each case of which “rhythm” can be predicated. Now, we must speak about the particular rhythm that is considered part of music ((Aristoxenus of Tarentum, Pearson trans. 1990).

 

The very suggestion of a lost intermedia treatise is enough to incite the imagination. Today, immersed in multimedia ecologies of composition, we can go further than imagine the lost book of rhythm: this glimpse is enough to induce visions, and even inspire a practice whereby we abandon obsolete didactics and lectures about tactics, and endeavor instead to create space , space for learning how to echo “rhythms of several different natures" (Aristoxenus trans. 1990, p. 3).3 rans. 1990, p. 3).

 

Linguist Emil Benveniste (1971) observes that the signifier rhythm "serves to distinguish types of human behavior, individual and collective, inasmuch as we are aware of durations and the repetitions that govern them" (p. 401). Before he goes on to trouble the accepted etymology of terms, as it has come down to us through Latin from Greek, Benveniste further suggests that when we find, name, and organize patterns in nature, we “project a rhythm into things and events" (p. 401). Aristoxenus' starting-point for the study of rhythm is rightly concerned with more than the measurements of time, but also “the perception of them,” and in digital media, perception is shared and distributed more radically than ever before. So perhaps we can go further and say that this increasingly distributed “schema and correction” of perception is in fact a large part of what we do when we compose collectively in information ecologies.

-ShareRiff


the Napster effect, miscue, and other network tropes : a narrative


if you go chasing rabbits tell 'em a hooka


 

"Rene Guenon, in an article on the language of birds, explains: "The (Vedic) hymns were given the name of chandahs, a word that properly means 'rhythm.' The same idea is contained also in the word dhikr, which in Islamic esotericism applies to rhythmic formulas exactly corresponding to the Hindu mantras. The purpose of the repetition of such formulas is to produce a harmonization of diverse elements of being and to establish vibrations able, by their repercussion across the series of stages in indefinite hierarchy, to open some communication with superior stages, which is, as a rule, the essential and primordial purpose of every rite" (Guenon, "La Langue des oiseaux," p. 670).

Danielou 4, fn. 9


"I offer threefold praise to this octoform body, Shiva, whose essense is illusion, holding a token of enjoyment, in whom there is perfect equilibrium of all worldly activity by means of divisions (kala), time (kala), and rest (laya).

-Abhinavagupta, Abhinavabharati 31.1

 

 

On Beyond Audacity

uses of definition, including and especially non-attainment of definition. broad spectrum.

cue: Sun Ra, "Nothing Is..."

What is....a webemuth?

What is....pseudocode?

What is....computational intermediation?

 

definition, mission statements, and statements that miss http://www.powerset.com/about.html

what is natural language?


Charting the rhetorical terrain of most planets is a relatively straightforward endeavor. Certain patterns of expression are used in certain standard situations for certain fairly discernible ends. For rhetoric is, after all, the use of language to produce results. But Earth stands alone in the subtlety and obscurity of its rhetorical techniques...

 


Jamming out with Crystal speaking to the process of creating poetry!


 

image: from the online Journal for Math Recreations

a wiki space for working out a presentation for SLSA 2007

 

 

The Protos Chronos and the Figure of Compression: Code and Coda

Trey Conner, University of South Florida, St. Petersburg

 

Key texts in molecular biology, infinitist mathematics, and the diverse musical minimalisms borne out of John Cage's attention to "the frame" (such as La Monte Young's compositions) seem to share more than just a concern with coding, as theological presuppositions and ad hoc metaphysics mixing codes of rationalism and mysticism in these discourses also produce fascinating transcodings that call to mind the technological and artistic heritage of Pythagoras and Plato. Scientists and artists in this lineage gravitate to versions of order that adhere in Bateson's coding primer, "Every Schoolboy Knows...." where parsimony is posited as the fundamental presupposition of coding practice (Mind and Nature 23-37). Where Bateson likens coding's premise to the figure of Occam's razor, this presentation will instead weave an analogy to the similar but perhaps "lossier" trope of "compression" as it appears in another Greek musical tradition, that of the harmonikoi and of Aristoxenus of Tarentum, and compare the coding practices of their protos chronoi (primary time-lengths, the musician's equivalent of the geometer's point) with the meaning and utility of data compression today, including a consideration of so-called pseudocode, reflective/dynamic/object-oriented programming languages, sampling in dj culture, tagging, and codecs such as mp3 and oggvorbis. These coding practices have dramatically reorganized the function and phenomenology of music, programming, and writing in ways neither the Greeks nor the minimalists could anticipate, and this presentation will conclude with an allegorical account of "the listener" in these coding regimes.

The closing allegory will accompany a sound installation. Fragments of mantra, shards of tuned frequencies from an analog coupled oscillator, and free audience participation will provide coding elements, and George Gamow's diamond code diagram (vis-a-vis Rich Doyle's rhetorical analysis Gamow's codes, cf On Beyond Living 39-64) will provide metacode. Simple coding elements and fragments will be offered up in advance, in stages, so that interested members of the SLSA community may, by means of an open-access wiki, participate in the sonic coda to the paper presentation ( http://protoschronos.pbwiki.com/FrontPage).

 

keywords: protos chronos, compression, rhetoric, La Monte Young, Aristoxenus of Tarentum, metaprogramming


    ENC 4931 Making a Mesh of Things piloting pedagogies


Bibliography

 

Feedback from Watergate to the Garden of Eden WSB

 

sustainability in accounting David! Kris! Write this up!


on analogy and analog rhetorics


rhythm sciences

tag search "noise"



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