Category Archives: Music

Guaranteed to Heighten Proprioception: Boston’s More Than A Feeling remixed at the end of the world

In a time when genres like Dub Step (which I adore, by the way) are bringing chaotic and palpable cut & paste erraticism to soundscape, we all need a centering force to be our calming guide.

Enter: StPaulAtTheEndOfTheWolrd, a saint who has recently set out to reclaim your pre-Google attention span.

Like I tweeted in January, StPaulAtTheEndOfTheWorld’s “More Than More Than A Feeling” is the closest experience you can have to floating inside a sensory deprivation tank.  It is ethereal, other-worldly, and downright uplifting to weary souls.  If you are in the middle of comps, mid-terms, candidacy examinations, defenses, or jumping through any other academic hoop – I implore you: take 20 minutes out of your day to meditate on this solid tune – it will make you into a mindful academic with concentration skills unmatched by timid rivals.

More Than More Than a Feeling has hit the SoundCloud charts this week being played almost 170k times in the past 3 days, thanks to an early blog post by Dangerous Minds which scored him an almost 25K overnight boost, and it has been climbing.  I can’t wait to see how far he goes (I heard there is a concept album in the works).

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Motion Imagery & The Glitch Mob

I love this image from the cover of The Glitch Mob’s We Can Make the World Stop:

People occasionally describe winding canyons as if they were snakes, and this image makes that language explicit by showing a snake winding through the canyon.  We know that canyons do not wind (at least, not in the sense that the language implies), usually it is the river that created the canyon that did the winding as it formed the canyon over time.  But, when this information gets applied to the canyon we can say that this is fictive motion, the canyon is fictively moving, fictively winding.

When The Glitch Mob translate this idea into the clear visual imagery of this cover art, it forces the obvious in a way that makes it compelling to look at.  I think this is because it is a conceptual blend in which there is an input space of CANYON and another input space of SNAKE.  The blended space is the scene of the snake body in the canyon.  Usually in a conceptual blend some of the structure from the input spaces gets left out through the process of compression, but in this case, it appears that there is no compression, but rather a full specification of the input spaces in the blended space.  I think this is a bypassing of compression, and I think that it makes the SNAKE represent the trajector of the motion, so by eliminating compression, what is normally construed as fictive motion has to be thought of as veridical motion; the SNAKE is moving, not the vacuous space of the canyon.

Does the movement of the snake imply causality? In other words, is the snake causing the winding of the canyon?

Does the movement of the snake imply opportunistic movement? In other words, is the snake moving in the canyon because the canyon is a CONDUIT in the conceptual metaphor sense?

Like I said in the first paragraph, except for cases where people are discussing rivers, people normally ascribe the motion to the canyon.  Canyon is thus conceived of as the substance moving through the CONDUIT. However, in this case, the snake is the substance moving through the conduit, and the snake is factively in motion.  This stagnates the fictive motion reading of this imagery, and replaces it with a blend that exploits a conceptual metaphor.  Amazing.

(image courtesy of The Glitch Mob press kit)

Les animaux dansent dans le Safari Disco Club

Yelle at Mezzanine

Image by Darius Capulet via Flickr

I am slightly obsessed with Yelle’s Safari Disco Club. I have probably heard the entire album around 100 times since the start of summer.  It is incredibly poetic and full of sustainable fun… “avec un tas d’arrières pensées”.

Also, I should say that this album makes me want to listen to some old Madonna (which to me indicates something about what it means to be in the class of the truly talented versus the obnoxiously celebrated).

How Inception Helps Me Edit Papers

Inception: Alternative Poster

When I am writing a paper that has a page limit I use the first draft to make sure that I have a complete thought, I do not worry about exceeding the page limit.

For the first round of editing I read through the entire paper once. I then reread the paper section by section.

I open a new document for sections which I want to edit and conduct all of my editing in the new window so that I can preserve the original thought while I carve up its copy.

During that new window editing, I will then take paragraphs from the section and open new windows for each of them before using the cut copy paste “kick” to move it back through the layers of the document.

When I make it back to the original layer, what I am left with is a concise, coherent, and consistent paper. In a way, for each paragraph I have gone three layers deep to plant my idea.

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Ad hoc Categorization and the “Virtual City” in Soulwax’s “Part of the Weekend Never Dies”

2 Many DJs (Stephen and David Dewaele / Soulwa...

Image via Wikipedia

Recently I started watching one of my all-time-favorite documentaries again, Soulwax’s “Part of the Weekend Never Dies“; I was struck by a particular film sequence that captured the essence of what I would call a “virtual city” that embodies part of the notion of ad hoc categorization. Continue reading

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Reflexivity and Recursion in Soulwax’s “Part of the Weekend Never Dies”

Cover of "Nite Versions"

Cover of Nite Versions

Since I am posting a lot about Soulwax this month, I thought I should include this clarifying snippet about the differences between the various acts which the Dewaele brothers lead.  In “Part of the Weekend Never Dies” Stephen explains these acts to a Mexican female presenter who is interviewing him about the show:

[00:03:50] Presenter: “First of all, what’s the, can you tell the audience like what’s the difference between 2ManyDJs, Soulwax, or Radio Soulwax?” Continue reading

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What does Soulwax’s website, DJing, & Construction Grammar have in common?

Soulwax’s website extends an invitation for viewers to participate in DJing as they explore the website.  From my first exposure this has been an amazing experience.  The intuitive guided navigation doubles as a loading of the clips so that your browser cache holds the clip for later manipulation in the mixing.  If you patiently experience each of the clips instead of navigating away from the site, you will get the chance to mix the video loops and beats by clicking your mouse. Continue reading

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Why I Believe in Cut & Paste as a Design Strategy

Scissors

Image via Wikipedia

Cut & Paste is not just a keyboard function.  In fact, R.G. Collingwood coined the term in the mid 1940’s in his book The Idea of History, but being a more formal speaker of a more formal ancestor of colloquial English he called it the “scissors and paste” method and was critical of it as a tool in historical method (33, Collingwood: 1946).

Nonetheless he did use the term and since then it has come to be used rather frequently as a tool in questionable secondary research, or as a way to validate and situate a claim in a historical context.  I think Collingwood’s problem with scissors and paste was that it was just a patchwork manipulation of existing work by people who were not historical eyewitnesses, and therefore outside of the bounds of science.  In essence, what was cut out and pasted lacked appropriate context and proper lineage, in fact, that has become a problem: it is called plagiarism. Continue reading

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What I got for Christmas…

Integrantes de Daft Punk, banda francesa de mú...

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  1. Daft Punk’s film “Electroma”
  2. Daft Punk’s album “Human After All”
  3. Gilles Fauconnier’s & Mark Turner’s “The Way We Think: Conceptual Blending and the Mind’s Hidden Complexities”
  4. Stephen C. Levinson’s “Space in Language and Cognition: Explorations in Cognitive Diversity”
  5. Stephen C. Levinson & David Wilkin’s “Grammars of Space: Explorations in Cognitive Diversity”

Sweet!

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CONTAINER Is an Ontological Metaphor

Ontological Metaphors are metaphors that give shape to abstract concepts and even contribute to the structure of Primary Metaphors.  CONTAINER is one of those metaphors. Continue reading

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Think Like a Bacterium: OSMOS, Naïve Quorum Sensing, & the iPad

I was recently sucked into playing OSMOS on my iPad.  I never play video games (usually I am too busy: wife, art, school, work) but I did happen to spend four hours straight playing this game over winter break.  This game synthesizes math, physics, biology, conceptualization and human enhancement.   Continue reading

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AC/DC-inspired examples of the “-way” construction

Angus Young, lead guitarist of the hard rock b...

Image via Wikipedia

Theway construction is a structure that expresses a range of ideas like “manner” in relation to an activity that follows a path.  The construction is elaborated by accessing an AGENT/Trajector, using a verb with a possessive pronoun and the word way, and the landmark/domain through or over which the AGENT moves.  The distribution pattern for the -way construction is: X Y its way Z, or,  NP VP -way PP.

Take a look at these five examples:

  • Bon Scott played his way all across Sydney.
  • Angus Young schoolboy’d his way through every concert.
  • Hells Bells tolled its way to the top as AC/DC reunited following Bon Scott’s tragic death.
  • Brian Johnson Bon-Scott-ed his way into the hearts of AC/DC fans.
  • “Dirty Deeds Done Dirt Cheap” threatened its way to the top with its tough guy personae.

You will immediately notice that there are not just canonical verbs being used in this construction, “schoolboy’d” and “Bon-Scott-ed” are not typically considered verbs, but functionally in these cases they are acting as verbs expressing manner.

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Francophilia, Phoenix’s 1901 & Daft Punk… Why I Hate Not Living in New York

ugh.  This makes my heart hurt because I wish I could have been there.

This is a fine French thing to do… seeing Thomas Mars perform reminds me of the French Fauvist painter Henri Matisse who said:

“I have always tried to hide my efforts and wished my works to have a light joyousness of springtime which never lets anyone suspect the labors it has cost me.”

Mars is so carefree and effortlessly cool.

[So is his girlfriend (Sofia Coppola), by the way, who graces Elle’s upcoming November cover]

And what is more, Daft Punk show up on stage and reinforce the joie de vivre of utter French-ness.  If this surprise visit means nothing to you, consider this: Daft Punk has not toured since 2007.

I could not stop weeping when I watched this clip.

 

[Clip from: http://www.youtube.com/user/Dubarco%5D

 

 

 

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Playing a bar room piano like a lion…

So here is a video I made this afternoon, it has some excerpts from a song I have been composing this year.  I chose this because it takes two basic chords: C Major & G Major and alternates between the two to produce an emergent momentum.  They embody a sort of figure-ground organization on two levels, for two measures the chords are in opposition to one another, but in the full sequence of measures the chords, changing octaves along the way, form an interesting progression.  On the pair-wise micro level the chords are enemies, on the sequence macro level the chords are partners.  I like this.

Furthermore, the video outlines a style of piano playing that I made up for this song.  People in my circle of friends know me for always having a small performance for any celebration, this has the design to be a part of one of these performances, and I wanted to practice it.  This style of playing that I introduce is called a leoni, my bastardization of an Italian-esque language to mean “like a lion”… in my composition book I wrote this in the margin:

a leoni ‘like a lion’, clenched hands mimicking a pawing/clawing approach to the chords, imagining your body to be top-heavy with a mane of wild fur and a wide head with narrow hip cage and skinny but strong legs.”

This is supposed to be a little strange…

A further elaborations of the a leoni style includes:

pawing the mouse” which is a light plunking of the clenched fist as if placing one’s paw upon a mouse’s tail, letting go, and repeating for the duration of the measure.”

I have not illustrated pawing the mouse in this clip, I will save that for the finished piece, once I transcribe it and post the score.

Anyway, enjoy this…I think it is fun.