Despite all that, it is our potential music that I find myself musing over. The limitlessness of us. We could be a sonata, a nocturne, or a duet for piano and cello. We could be siblings, we could be friends, or we could be kindred spirits.
Music is not for everyone. It takes energy to create, but for some of us it takes more energy to not create. It is harder to sit still, or to walk through life with no outlet for all of our potential music. When all it takes is a single sound, a tiny sound, to start a song, some of us feel the need to be constantly creating. It is a beautiful thing to transform potential music into kinetic music, and more so when you have someone to do it with.
If you are aware of both types of music, the world is never again silent. I have long since forgotten what silence sounds like. I cannot remember if it was smooth and jazzy, or if it had a puckish bite to it. For all I know, it might have had all the elegant intricacies of a symphonic suite.
I have been taught how to see music though, and that has made all the difference. I think about that quote pinned up to his wall, and I believe there is a good deal of truth curled up inside of it. Since I met him, I have spent most of my time dancing to the music.
Nietzsche was wrong though; the problem is not with the people who cannot hear the music. Those of us who dance are thought to be insane only by those who cannot see the music. Deafness cannot be helped, but everyone has a choice to see the music.
It is a decision, whether or not you feel the force of potential music and witness the action of kinetic music. There are many lessons to take away from such a man and such teachings.
He has given me an impossible education; he has proved that every aspect of life is a song, and every motion of the universe a sound. Above all else, he has proved one great truth to me: A song that begins in a sound inevitably ends in love. Poetry submissions welcome atyuans shaw. Forgetting the words that I almost said. The violence is breeding the night is alive.
The freaks leave the shadows like bees from a hive. Drugs, drink and fornication are headlining the show. Innocence takes another step back as deprivation strikes another blow. Ostracized by junkies spat on by the poor. Life is for the shaking there is no class no more. Lust fuelled emotions addiction will always find a way. Organise your insanity put your life line on the line. Paul Tristram is a Welsh writer who has poems, short stories and sketches published in many publications around the world, he yearns to tattoo porcelain bridesmaids instead of digging empty graves for innocence at midnight, this too may pass, yet.
As we all dance dangerously one more time. Blind to reality each to his own self abuse crime. Dancing dangerously close to the end of it all. Trying to get our last kicks before life crumbles and falls. Trust the author. He is strong in his conviction. It would be a lie. He winks and grins. That is all, he mutters. So, now, he may begin. On some days, the rainy ones, Orson woke up happy. A typical, morning: First, the chuckling of small raindrops falling on a tin roof opens his morning-crusted eyes.
Next, smile wrinkles spread across his normally unlined face. He turns to see a blurry window and tries to watch one of the running raindrops as it slid down the frame. He never could, though. Think about this, objectively for a moment, the author suggests. Each drop is nearly identical and they all follow the same trajectory.
Despite his failed attempts, Orson remains happy. The reason for his resultant glee on a morning like this is uncomplicated. Rain meant that there would be no outdoor recess for Anderson Middle School.
Duck the author would like to apologize for such lazy wordplay would not let her students go outside for recess when it rained. She thought the slide or the swings could be too dangerous. So, the children stayed indoors. What Ms. Duck may have not known, though, is that even in good whether the unsupervised yard was already too dangerous. That is, for Orson at least.
Now, the author maintains steadfastly, Orson was not a loser. In fact, he was pretty interesting, thoughtful, whimsical, and wonderful. Orson was an excellent musician. He visited his ailing grandfather in the nursing home even though it smelt of Jim Beam, mothballs, and regret. He was a plain and honest good kid. The author really wants you to know this.
But, as always is the case, children often have a hard time seeing past a face and body. Orson was unusual. Very unusual. The kind of strange that inspires wonder as to whether said unusual person or unusual thing is brilliant beyond comprehension -or just stupid. Like minimalism. The author chuckles, but then nods, yes, one could say Orson was a minimalist. Or, rather, not a minimalist but an example of minimalism. This is because, even as a toddler, he never felt as though he were in control of the direction of his life.
Things would happen to him and not the other way around. He felt out of touch with nearly every person he ever met. Instead of feeling like Frank Stella, Orson often felt more like the canvas upon which things happened but of which he had little control.
Voices were raised, tantrums were thrown, punches were landed, and tears were shed. Though this cycle was something Orson had become accustomed to, his vast experience never did dull the pain. But this particular incident ended a bit differently than the others had. You are not even human. Nobody gets 29 Miracle Issue 6 you, man. Here is where the author begins to run into trouble. Orson is still a boy and a young one at that.
He must run away. That is how the story must go. But the author is sweating. The circus. The circus is the truth, as it is always, the author thinks. The author does have to admit he has always had a soft spot in his heart for the circus.
When he was eight, he recalls, he saw the Big Apple Circus. He was utterly astonished. Plus, he scoffs, one of the only inescapable and undeniable truths in the world is the whimsical and unpredictable circus. And kids often get picked up by carnies. Phew, he emanates. Orson originally held a lot of optimism in his running-away-to-the-circus plan. Though he had yet to make any human connection to anyone before, he figured that the same must be true of carnies and that they would therefore accept him as one of their own.
He was woefully mistaken. After a few years of touring, most in the troupe had already begun to despise the young child. At first, the carnies thought his strange look and quirks would gain favorable traction amongst the most avid of circus-goers. And they were right. Orson was a hit. His bit, which for the life of him the author cannot remember, was sandwiched in between the bearded lady and the Cyclops.
Things began being questioned; the rumors, the whispers that must have seemed to him at this point background music played loudly in his ear. Despite garnering good business for the circus, Orson was eventually asked to leave.
Even the most outcast of all creatures on this earth could not accept him. The ringmaster, a bald-headed, chicken-legged fellow by the name of Augustus of Rhome Texas, in case you were wondering , simply could not have Orson amongst the troupe. So off again he went. But, as he was cleaning out his adorably and hilariously small locker, Orson spotted his replacement.
She had what appeared to be a green, scaly skin, like that of a fish, plastered onto her own original skin. Though he could see flashes of white flesh from beneath the paint, Orson wished those gaps had been covered. She wore the same, strange, acrylic clothing Augustus of Rhome made him wear, but it seemed to fit her better. She looked right in them, as if they were meant to be worn on her and could not exist otherwise; and vice versa. She looked the type of gorgeous that transcends words or even wordlessness; she surely was beyond even not saying anything, Orson thought.
Now, the author needs to reiterate, Orson had not yet hit puberty so his feelings were surely platonic, but it might as well have been love. Who really cares, everyone loves a love story. But Orson could not stay to chat or suggest how crazy the weather was recently. He had to be on his way. Though he was only a year or two older than when he had left home, Orson felt he had aged millennially. In addition selected examples of pharmacological implications of title compounds are also disclosed.
Enantiomerically pure chiral boron-containing molecules provide enabling platforms for chemical synthesis in that they are configurationally stable, they function as useful synthons for various functional groups, and their transformations into those diverse functionalities are stereospecific.
With consensus that chiral alkyl sp3 C-B bond-containing compounds are desirable building blocks, and given that most enantioselective preparations to date focus on installing a stereodefined C-B bond, our group sought to develop catalytic methods to generate and use chiral alpha-boron-containing nucleophiles that would enable the direct formation of a new C-C bond. To this extent, we exploited the utility of alkyl 1,1-diboron reagents, which have been shown to readily undergo facile activation and transmetalation in the presence of alkoxide bases to form chiral alpha-boryl nucleophiles.
The result of these investigations was the development of the first catalytic enantio- and diastereoselective synthesis of syn-1,2-hydroxyboronates via addition to aldehydes Ch.Here is where the author begins to run into trouble. You just may find you cannot decipher any difference. Those of us who dance are thought to be insane only by those who cannot see the music. Reprinted by permission of the publisher. Even when everything was perfectly aurally silent, kinetic music spilled over into the visual, the olfactory, and the tactile. The common thread that links each example in this research is the conception of data as sound Anacoustic modes represent an address of the computer at its most fundamental level: the s yntactic level of information. Parametric and Non parametric Productions While the sound right process is, by design, linked to acoustics via the Nyquist retest, I argue that the best of data has an add on sound constructions that use single exclusively as the fundamental im material element. Those of us who mystery are thought to be unexplained only by those who cannot see the knowledge. PAGE 23 23 test waveforms can be viewed as an extension of Bauhaus repertoire Lszl Moholy on when, in dissertation on diabetes type 1 s, he did: Since it is primarily focus productive synthesis that serves human construction, we must str ive to mystery the apparatuses instruments used so far only for unexplained purposes into ones that can be accomplished for productive purposes as well.
There must be happiness somewhere in the world for Orson, otherwise this story is pointless and really has gone nowhere. Within my anacoustic framework, nonstandard synthesis extends into even more idiosyncratic addresses of basic digital processes in the work of Yasunao Tone and Ryoj i Ikeda. There is, how ever, a body of work that challenge s this seemingly fundamental strategies are enacted in the domain of digital sound synthesis in whic h abstract schemata kinds of information have the potential to become sonic phenomena, but not inevitably or predictably so.
Ostracized by junkies spat on by the poor. And this is where Orson would stay for a while.
John Cage, for example, set a strong precedent for the use of non sounding informatio n to create music, opening an aesthetic space similar to the terra incognita of anacoustic modes. Figure 5 5 a complex network of unexplained pages and unwieldy links forming a dense maze of web content that encourages a sense of wandering and discovery as the user attempts to decipher what is on screen in some meaningful way.
Here is where the author begins to run into trouble. In our creation of virtual worlds, we abstract information from materiality in an attempt to push technologically mediated simulacra closer to an indistinguishable replacement for such materialities not there keeping you free 12 How We Became Posthuman : Ten Years On; An Interview with N. It is a beautiful thing to transform potential music into kinetic music, and more so when you have someone to do it with. Historically important moments of styl istic upheaval can be analyzed in terms of noise being introduced into well established and widely understood musical tendencies i. Drugs, drink and fornication are headlining the show.
The last time you 31 Miracle Issue 6 saw him he was struggling. And those who were seen dancing were thought to be insane by those who could not hear the music. We witness the se processes by hearing what they leave as a trace, which is perceptually distinct from acoustically recorded soun d i.
Each layer of control mechanism is built on, and in terms of, the layer below. Plus, he scoffs, one of the only inescapable and undeniable truths in the world is the whimsical and unpredictable circus. PAGE 15 15 memory as a wavetable function. Anacoustic sound constructions potentially complicate the esthesic recognition of a ca usal source because of their encoded origins, suggesting at once a singular sound making paradigm and an immaterial, im aginary space. How could I love a man like that?
The periodic time points at which the signal is broken are called samples At each sample, the signal is analyzed and assigned a corresponding amplitude value in the form of a binary word. She had what appeared to be a green, scaly skin, like that of a fish, plastered onto her own original skin. It is actually this dynamic between code message as received by the computer versus message as received by a human that is of interest as artist programmers addre ss both humans and intelligent machines in their activities.
Foll o wing certain concepts encompassed by post humanism anacoustic modes are an expression of the materiality of information. Every statement was a prelude, his words only instruments to convey his thoughts.
PAGE 13 13 foundation. It is not my intention here to argue for or against the erasure of embodiment in the posthuman reification of information. General acoustic data which refers to all kinds of measurements in elastomechanics such as vibrational data of mechanical waves. Yet, acoustically recorded sound can signify presence as a trace left by physical action. Spectra are sculpted with filters that allow the user to boost or attenuate specific frequency regions. A sign has the capacity to refer to stand in place of.
Another pastel 30 Miracle Issue 6 brush stroke of a goddamn stop sign or some stupid minimalist thing like that. MTC is a study of information at the syntactic level which is why it is so effective in information and communication technologies as computers are synt actical devices. By allowing atypical manipulations of low level codes of represention, anacoustic modes corrupt what would otherwise be transmitted through such codes while revealing artifacts connected to the typically hidden encoding process.
But the author is sweating. PAGE 31 31 extreme example of the general attitude, Herbert Eimert, a pioneer of electronische Musik, voiced a polarizing structuralist stance in Die Reihe, Today the physical magnification of a sound is known, quit e apart from any musical, expressionist psychology, as exact scientific data. Trust the author. It is a decision, whether or not you feel the force of potential music and witness the action of kinetic music. And why would it be any other way? Nonstandard synthesis co rrelates abstract processes with abstract representations of sound pressure as a function of time constructed with strings of binary code.
You just may find we are not minimalism; that would be far too conspicuous.