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"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)
z^jazzist
(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.