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See also: [L/D] [S/D] See also: [af/art3/pkda2001 - pizoig gaming projects] Ab Fr \ / +----------------+ /| /| / | / | / | / | Fu / | / | \ / | / | +----------------+--Hu | | | "RS-3" | | [Quick Index] | Jz--+----------|-----+ | / | / \ | / | / Sc | / | / | / | / |/ |/ +----------------+ / \ Sp Ar "Reality Structure 3" (mark II) This iconosphere owes much of its existence to Phillip Glass:Symp #3 & #2. [Learn more about the Iconosphere] [Cross Product Space] (entry port ABxAB) [Semi-linear blog-o-sphere] (and duck crossing)


(table of contents follows...)

More Triple-Cross Products

NOTE: Recent theoretical work on the possibilities of Quadrupple (4-tupple) Cross Products has been suspended due to a lack of funding. Data processin continues - un-abated. AxB (v) :: C -[ SC x SP (Earth) :: (expressed via) ART -> Eco Psychology, etc]- See also: The name re-makes the thing (HUM x SCI (word) :: EXP as JAZ). -^_6 On this page: {Patterns} {Standing Waves, Creativity and Jazz} {Jazzist vs Fractalist} {The randomness of the combo and of old shoes} jazzist thinking in classical music - bach, variations, the 3rd movement of concertos, etc. (gee! i get my own line!!!, sez "etc") creative flights of fnacy the bird free as a bird (free brid, yardbird, "the bird") I now wish to talk about a fundamental difference (as i see it) between the jazzist and fractalist ways of viewing things. Specifically the process of decomposition and of course re-construction. insert stuff about phase space here, or link to the tech page on it. So, the main idea is that while the fractal (or here, paticularly the chaotoic) starts from a set of well defined behaviour, but due to random events, that state of affairs quickly comes unglued. In the "worst case" the chaotic system can not get back to the original state. In treating heart attack victims (see Glick's book) this was noteiced and by interveining after some 6 months, many lives were saved - the heart attack patient's heart had not quite gone back to the previous "orbit", and when they were brought in, they were prevented from having a second heart attack, and "some how" the patient's heart's behaviour was reqtored to the original behaviour. Note that in the world of the chaotic, the orbits and similarities of behaviour or even just geometry (in the case of fractals), may seem to be idencitcal, but in fact there can be an entire plethora of behaviours all hidden down in the behaviour itself. Thus, while a fractal mirror recapitualtes every part of it (as the common saying goes), in the case of jazz (and other things of this sort), the process is one of deliberate return to the original themes. One of the earliest of musicians to "break away" from the norm (and i *always* maintain that musucians are "aheead of us" on the curves; ie, as compared with danse, visual arts, and theatre, probably the visual arfts lag the most behind). Anyway, it was Back and his invention of "the coungter-point". As it turns, out, by contrasting things within the same time frame (not waiting to bring a second theme in AFTER the first one), beathed new life into concert music. In the same way with jazz and even more modern works (eg, rap, slam, and of course modern classical composers such as Philip Glass, Liz Story, etc). Now comes the key point that i want to make here abtou the ujazzist PPOV. We as artists (particularly the visual artts, and of course history) are breaking things down and using them to collage into being new visual works. This makes us more of fractalist. While the jazzist goes as far (fractal like; hmm: It might be interesting for modern composers to attempt either chaos theory or even catastrophe theory "solutions" to composition problems). Anyway, the jazzist goes as far as possible from the starting point (the strange attractr from what was a "node of stability" if you will), but than always returns back to the original theme. In my own interpretive works, based on Philip Glass, Liz Story, Pendereski, Mingus, Steve Reiche, Black Star, C.W. McCall - i have attempted to "translate" their works into theemed collages that "just happen to be" constructed out of paint on gessoed (primer) substrates (canvases, heavy craft paper, massonite board). Thus, the idea (for me) is to let the music guide me in the act of creation. Of course, once the "pure plastic moment" is over, it still remains to be seeen if the "work workds". In once case (in the style of Frank Stella) id clearly does not. IN addition to this almost "spiritualist" search, one can attampt the more analytical approach. A study of the books by the construtvists (Kandinski), or even Van Gogh or the psychologist Rudolf Arnheim would make for important changes to the creative matrix. Regardless, we must strive to see the "patterns in the chaos" (as Jodi Foster's character "Dr. Arroway" sez in the film "Contact" by Carl Sagan and company). Thus, we strive to bring out of the infinity of nothingness (which is the canvas, un-painted), into the uniqueness of the work itswlf. Indeed, as Picasso reminds us: Every act of creation is also an act of destruction. I have always interpreted this to mean... well, next time maybe - i need to go and practice my "pulling a rabbit out of the hat" trick (not that they are really tricks, just a bit of the old dada (and a certain duck of course). -30--^_6\\

Jazz Patterns

See also: -[
creativity (tool)]- In this section: {Standing Waves and Creativty} patterns of strict rigidity + the bird ---> ????? this prob should be a thoery section written by (or at least edited (!) by someone who knows SOMETHING about music, and particularly jazz - yuh, think?

Standing Waves and Creativty

Standing waves: Intro

One of the most important concepts in physics (both in classical and modern; ie, Newtonian and Quantum/Relativity) is that of a so-called "standing wave". The most common example is children playing jump-rope. The rope is spun around in a flat plane, at a regular speed and then the "jumper" jumps in and "jumps rope" -- usually in time to a song/chant. In this case, the quantum is not quite so obvious but there: 1) The rope-swingers must "somehow" synchronise their actions to each other. They almost never do this with any visual clues/gestures/etc. Thus the "two sources" of the wave are in some sort of communication with each other. And of course: Practice makes perfect. 2) The wave does not vary - which can happen if either rope-swinger becomes tired. Then the wave itself begins to deform - usually turning into an "S" curve of some sort - almost impossible to dance thru. There is a so-called Philopino "Stick danse" (called as i recall the "tih'nih'koh-ling") which is similar and probably (or not???) has similar features. But, again the regularity of the wave is essential to the danceur's "task at hand". 3) There will be an (at least auditory/visual) interactio between the two rope-swingers and then in turn between each of them and the jumper. 4) And in this case, almost forgotten is the WAVE MEDIUM itself: The rope. Now a few diagrams are in order

Standing Waves and Creativty

The effect of these "perturbations" (disturbances) on both the producer of the waves (the source gernerator) and the measuring device (the monitor/meter/photographing-system/etc) are both inter-connected. In the pure (sub-micro-scopic) quantum world, the actual measuring of the effect means that *some* energy/particle/etc must be given off from the source generator - and hence disturbing/changing its actual state. The measuring device of course picks this up and sees *only* what the state of the source was BEFORE the transmission is recieved. But, the quantum goes further than that: We can't even "sort of cheat" and back-calculate that IF we received XYZ transmission, then the source must now be in state S'. For all we know the source has ceased to exist entirely. Note that this is the same as when we look at the stars, and knowing that it takes years for the light to reach us, that as far as we know a star may have gone super-nova (very rare) and we just haven't seen it yet. Of course, this not to say that we do not receive a continuous stream of information from the source. If we observe a star (say 5_000 light years away), then we track its progress and see that it will go super-nova and it does. We aren't seeing into the future. It's just that we're waching a cosmic episode that was "recorded" (from some etherial POV - point-of-view) 5_000 years ago for presentation at this time. And note that observers on some other planet (say 10_000 light years from the star) will see what we saw some 5_000 years hence in the future. And if we immediately sent out a message to them "Hey, such and such a star is about to go super-nova" - even that message couldn't "race ahead" of the actual even that we just saw. This is of course the impact of relativity: The effect that we "see" must take a certain lenght of time to transmit. And then AT LEAST twice that time for us to get back any reaction from the receiver. -- thus, there is no instanteous feed-back even from a live performance. And from the quantum POV, we get that the source and receiver inter-act with each other and affect each other. But, we already knew this from the idea of a "live" vs a "studio" session. This brings once again to the idea of a "perpared script" and what effect it might have on the performance of the music. Of course this goes back to "hard" scripts which are tightly laid-out and "soft" scripts which allow for variations. The first would be the example of the audience's expectation of a style of performance in (eg) something by BACH, and the second might be the audience's suprise at (eg) something by John Cage. But, back to our idea of the standing wave: 1) The more isolated the performenace is, the less affected by the audience's reaction to it. In the limit this approaches a "studio" performance/recording. Of course if the audience reacts as they (some) did with the first performance of Stravinski's "Rite of Spring".... 2) The closer and more integrated the audeince and performer(s) is/are the more interactions will occur - almost inevitably. Now the thing comes to think of cross products of jazz and ???? in the context of the quantum....

The randomness of the combo and of old shoes

Being references to musical performance in the manner of both Charles Ives and John Cage, game playing around the clock in teams, and the ongoing problem of the infinite library. ref to wag the dog Consider for a moment, on line gaming which in some cases consists of teams that are on 24 hours a day. when one member of the team is asleep (say in Washington, DC), another memeber of that person's team is awake (say in Kyoto, Honsuh). Then naturally the exact way that the game is played will vary (despite that we assume the over all goals of the team are the same) - a useful diversion would be an instellar/planetary space craft and its diverse crew: military, scientist, commerical, etc - refer to the four films in the "Alien" series). This is of course is a model for game/sw/hw development teams, etc. And of course the idea of "non-concurrent" jazz performance. In the case of the gamers, each person brings different skill sets, goals/sub-goals, methods, strengths/weaknesses, etc. To the game when they are on. The closest we might come to simulating this as a linear process can be easily demonstrated by using a standalone computer (i think that's a requiremtn; i haven't performed the experiment othewise). on the computer's disk we put a set of songs (eg, in "my music") on a removable disk (flash drive, etc) we put some other songs and on another removable disk, some more songs. over a period of time, choose songs from any of the available sources and play them - this builds up the "library" with links to the locations on the various disks. do this for quite a while. not always playing an entire album, etc. then remove some of the disks, and push play. some of the songs will be complete within an album, some will seem to skip around - remember, that this will be vastly different (althought not so much in practice, as conceptually) from "random mix" players, etc. this is of course a model for "resilient systems engineering" as well as related things like "survivable systems", "fault tollerant systems", etc, etc, etc. but. consider a jazz area into and out of which various musicians of various talents, focuses, and even genres wander into and out of. and out of and back into of. we get a sort of never ending jazz concert. which varies from hour to hour, and from time to time - sometimes (or not) honoring requests from the audience. imagine for a moment (much borrowing from many sources here) take five ala brubek/desmond my favorite things rachmaniov's 13th prelude cw mc'call's "the silverton" "i'm gonna be all right" from "mystery men; track 7" john cage's "concerto for toy piano" (orchestrated version) john cage's "concerto for toy piano" (lin tan at the "BUT, IT'S JUST A TOY!!!" piano Black star (tracks 1 and 2) - much variables in the b/g as starting would video ruin this? if music is not text, is rap only poetry, here there are clearly elements of poetry (yes, but not only) as well as history, an missing even Ron L. Hubbard... john cage's "concerto for toy piano" (piano version) frank zappa (pink disk #1; track 4/5), "We are not alone" john cage's "concerto for toy piano" (piano version) and then mingus' astropithocus erectus album and off out into the light, where not even the furies can not help but laugh and everyone yells encore!] john cage's 'concerto for toy piano" (piano version) .. all very seriously.. and then..... - everyone back on stage moving in and out of "the blue danube" and for the credits: THE deedle march by johannson hansen (ie, "valdres march") now THAT'S the fractal/quantum range! START AGAIN In the case of Charles Ives' work (as well as others), music that doesn't quite mix fits somehow.