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Los Angeles, US
Immortal since Dec 2, 2009
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    From Beatrix
    Non-Locality, Cognition,...
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    The National Ignition...
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    Iannis Xenakis

    1922 – 2001

    Interviews with Volker Banfield Heinz Otto Peitgen-Part 1
    Interviews with Volker Banfield Heinz Otto Peitgen-Part 2
    Interview with Harry Halbreich Part-1

    Iannis Xenakis, Study for Metastaseis, 1954
    ink on paper, 9 1/2 x 12 1/2 in.
    Iannis Xenakis Archives, Clichès Bibliothèque nationale de France, Paris

    Iannis Xenakis, Study for Metastaseis, 1953
    pencil on paper, 9 1/2 x 12 1/2 in.,
    Iannis Xenakis Archives, Clichès Bibliothèque nationale de France, Paris

    Iannis Xenakis, Study for Metastaseis, c.1953
    pencil and color, pencil on paper, 8 1/2 x 11 3/4 in.
    Iannis Xenakis Archives, Clichès Bibliothèque nationale de France, Paris

    Iannis Xenakis, Study for Terretektorh, c. 1965–66
    color pencil on paper, 8 1/2 x 11 3/4 in.
    Iannis Xenakis Archives, Clichès Bibliothèque nationale de France, Paris

    Philips Pavilion, c. 1958
    postcard, 4 x 6 in.
    Iannis Xenakis, Archives, Clichès Bibliothèque nationale de France, Paris
    Wed, Oct 3, 2018  Permanent link

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    Read here

    Physicists have discovered a jewel-like geometric object that dramatically simplifies calculations of particle interactions and challenges the notion that space and time are fundamental components of reality.

    Related: Twistor theory developed by Roger Penrose

    Thu, Sep 19, 2013  Permanent link

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    Xenakis Matters

    Contexts, Processes, Applications

    Edited by Sharon Kanach

    Book Link

    Countering Leonardo da Vinci’s notorious statement that “Art is never finished, only abandoned,” this volume rather subscribes to sculptor Ibram Lassaw’s formula that “Artworks are never finished, only begun.” Through knowledge and imagination, the thirty scholars, artists, musicians, architects, musicologists, philosophers, and art historians collected here are living proof that what was pioneered by (and thus mattered to) Xenakis still represents fertile ground for current and future exploration, experimentation, and creation. Curated from the ambitious public programming around the Iannis Xenakis: Composer, Architect, Visionary exhibition’s tour in North America in 2010-11—as the cornerstone of worldwide tributes remembering the tenth anniversary of his death—this volume attests to the fact that yes, Xenakis Matters. Following a Preface by Kanach, who collaborated closely with Xenakis from the late 1970s until his death in 2001, the book begins with a previously unpublished Conversation between David Rosenboom and the composer. The book is then divided into three main chapters: Contexts (where Xenakis’ history and place not only in North American culture is refreshed), Processes (where specific works or techniques from his oeuvre are approached in novel ways), and Applications (where ten practicing artists describe their respective indebtedness to his example and their resulting creative expressions). An appendix of the public events around the exhibition’s North American tour is included.

    Sharon Kanach
    The American musician Sharon Kanach has lived in France for the past thirty years. She originally went to Paris to study under Nadia Boulanger. Very quickly however, her path crossed that of Iannis Xenakis (1922 – 2001), with whom she collaborated closely, especially on his writings.

    First, she translated Arts/Sciences : Alloys, followed by a new, revised, and enlarged edition of his seminal Formalized Music, both for Pendragon Press. In 2006, Editions Parenthèses published Xenakis’s Musique de l’Architecture in French, which Kanach co-authored, released in a distinct edition also by Pendragon Press, Fall 2008. She is currently co-editing (with Makis Solomos and Benoît Gibson) the Critical Edition of this composer’s writings and unpublished papers in nine volumes.

    Fri, Dec 7, 2012  Permanent link
    Categories: Xenakis, curtis roads
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    Pasta by Design

    George L. Legendre
    Foreword by Paola Antonelli

    Get it here

    From Thames and Hudson:
    This is not a cookbook; it is a totally fresh and idiosyncratic look at pasta.

    The pasta family tree reveals unexpected relationships between pasta shapes, their usage and common DNA. Architect George L. Legendre has profiled 92 different kinds of pasta, classifying them into types using ‘phylogeny’ (the study of relatedness among natural forms).

    Each spread is devoted to a single pasta, and explains its geographical origin, its process of manufacture and its etymology – alongside suggestions for minute-perfect preparation.

    Next the shape is rendered as an equation and as a diagram that shows every distinctive scrunch, ridge and crimp with loving precision. Superb photographs by Stefano Graziani show all the elegant contours.

    Finally, a multi-page foldout features a ‘Pasta Family Reunion’ diagram, reassembling all the pasta types and grouping them by their mathematical and geometric properties!

    From nytimes:
    Pasta Graduates From Alphabet Soup to Advanced Geometry

    Most people eating pasta might enjoy the taste or appreciate the texture of noodles cooked aldente.

    A rendering of pasta ioli, which George L. Legendre named after his daughter.
    Sander Huisman did, too — and then he wondered about what mathematical equation would describe the undulating shapes he was eating.

    Mr. Huisman, a graduate student in physics at the University of Twente in the Netherlands, spends much of his days using Mathematica, a piece of software that solves complicated math problems and generates pretty pictures of the solutions.

    “I play around with Mathematica a lot,” he said. “We were eating pasta, and I was wondering how easy these shapes would be recreated” with the software.

    So that evening after dinner, Mr. Huisman figured out the five lines or so of Mathematica computer code that would generate the shape of the pasta he had been eating — gemelli, a helixlike twist — and a dozen others. “Most shapes are very easy to create indeed,” he said.

    He posted one of them to his blog, thinking he would do a sort of mathematical-pasta-of-the-month for the next year. But he then forgot about them until someone asked for the recipes of the other pasta shapes, and he posted those to his blog, too.

    Mr. Huisman, who studies fluid dynamics, is not the only who has been mathematically inspired by pasta. Several years ago, Christopher Tiee, then a teaching assistant for a vector calculus class at the University of California, San Diego, included in his notes a pop quiz asking students to match pasta shapes with the equations.

    Meanwhile, in London, two architects, Marco Guarnieri and George L. Legendre, independently experienced a similar epiphany, also while eating pasta (spaghetti with garlic and olive oil, cooked by Mr. Guarnieri). Then Mr. Legendre went many steps further: He turned the idea into a 208-page book, “Pasta by Design,” released in September by Thames & Hudson, a British publisher specializing in art books.

    “We were interested in, if you like, the amalgamation of mathematics and cooking tips — the profane, the sacred,” Mr. Legendre said. “I was actually speaking to someone in Paris last week who said, ‘This might have been a project by Dali.’ ”

    The book classifies 92 types of pasta, organizing them into an evolutionlike family tree. For each, the book provides a mathematical equation, a mouthwatering picture and a paragraph of suggestions, like sauces to eat it with.

    Mr. Legendre calls trenne, a pasta with the rigid angles of triangular tubes, a freak. “It’s a mirror universe where everything is pliant and groovy, and in that universe there’s someone that stands out, and it’s the boring-looking trenne with its sharp edges,” he said.

    Mr. Legendre has even designed a new shape — ioli, named for his baby daughter — which looks like a spiral wrapped around itself, a tubelike Möbius strip.

    “I thought it might be nice to have a pasta named after her,” he said.

    He is looking to get about 100 pounds of pasta ioli manufactured, but that is still probably months away, because of the challenges of connecting the ends together.

    Here are some examples from the book:

    Tue, Jan 10, 2012  Permanent link

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    From Architectural Record: Rendering Denmark’s second-largest city in 52 colors, artist Olafur Eliasson has perched his permanent installation “Your Rainbow Panorama” on delicate columns 12 feet above the roof of the ARoS Art Museum, in Aarhus. Curved glass panels progress along the UFO-like structure. Visitors do, too, as they walk the 490-foot-long circular path, which opened in May. Each laminated pane of glass contains a color foil and was manufactured to withstand harsh weather. Recessed lighting in the walkway sets the building aglow at night. With Viking roots stretching back to the eighth century, Aarhus is a waterfront town and home to architectural gems that get great billing from the installation’s 360-degree views. Eliasson says that “Panorama” is a lighthouse: “The work becomes a compass in time and space.


    Thu, Oct 6, 2011  Permanent link

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    I've been meaning to write this for awhile, a few months late but better later than never I suppose...

    As many you may know Max Mathews passed away in on April 21. A sad day for the Electronic music community, heres some info regarding his life and achievements.

    Max Vernon Mathews

    "The Father of Computer Music"

    November 13, 1926 - April 21, 2011

    Max Mathews found that he could make music with the same technology he was using to research telephone speech coders at AT&T's Bell Laboratory, and in 1957 he synthesized the first piece of music on a IBM 704. It was 17 secs long and created with Music1, the first computer music program he had written. That was followed by Music 2-5 and then on to many others. Max also worked with John Chowning and developed programs that were used in the Yamaha DX-7, one first Synthesizers while at Stanford. The Max portion of MaxMSP is named after him as well.

    Max studied EE at Caltech and recieved his Sc.D from MIT. He worked at Bell Labs until1985 and from 1974 - 1980 he was the Scientific Advisor at the Institute de Recherche et Coordination Acoustique/Musique in Paris. Since 1987 he has been a Professor of Music research at Stanford's Center for Computer Research in Music "CCRMA".

    I had the pleasure to watch Max Mathews perform a few of his a few of his pieces at UCSB's CREATE Concert in Febuary of 2009 along side Curtis Roads, John Chowning, Jean-Claude Risset, Clarence Barlow, and JoAnn Kuchera-Morin. It was quiet an event to say the least!

    Afterward, I was lucky enough to attend a dinner at a little sushi bar in Santa Barbara were a number of the electronic and computer music's Who's Who, sat, ate and chatted. I was stunned as I sat at the far end of the table with many others I found myself texting my father to tell him where I currently was and who I was there with, i could barely stay still listening to all the stories. I only was witness to a few short hours that night but I found him to be a humble and quiet man, articulate when he spoke and full of wit and smiles.

    Max Mathews was truly was an amazing innovator and I hope I can speak for all when I say it was a pleasure to have him here on planet Earth for as long as we did. Thanks to him things have never been the same!

    Here's to you MAX!

    The following is some Info I've been collecting on Master Mathews, papers, videos, music and various other nit bits if your interested:

    Electronic Music Timeline

    Interview in the Computer Music Journal
    Max Mathews interview from CMJ 33
    Max Mathews & John Chowning with Curtis Roads - Music Meets the Computer

    Computer Music (Synthesizers, Synclavier) 1986 Pt. 1/3
    Max Mathews Radio Baton Demonstration

    The life and Times
    Computer Music Journal
    The Technology of Computer Music
    The Digital Computer as a Musical Instrument
    GROOVE-a program to compose, store, and edit functions of time
    Three dimensional baton and gesture sensor
    Pitch Synchronous Analysis of Voiced Sounds

    Daisy Bell

    Other influential persons affiliated with Max:
    Curtis Roads:
    John Chowning:
    Miller Puckett:

    Software affiliated with Max:
    Music1-V & GROOVE
    MAX @ Cycling74
    PureData(Miller Puckett):

    Inspired Piece by Stetta

    Tue, Jul 12, 2011  Permanent link

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    Anish Kapoor's Leviathan @ MONUMENTA

    Anish Kapoor

    The Grand Palais

    February 15 - May 15, 2011

    From Monumenta
    Like the Biblical sea-monster of the same name, Anish Kapoor's Leviathan embodies a sense of extraordinary, dark power. A hideous monster of the deep, crystallising man's primordial, archaic fears, Leviathan has obsessed the human imagination throughout history. At the Grand Palais, Leviathan opens the door to the antichamber of our animal nature, transporting us back to our innermost, timeless selves. Invading the space of the gigantic nave, quite literally swallowing us up, the work's surface and interior touch on our perception of an ancient, primeval world.

    The monster Leviathan appears several times in the Bible, in the Books of Job and Isaiah, and in a number of Psalms. He is described as a beast so terrifying that a man might be 'cast down even at the sight of him' (Job 41, ix). Pictured as a gaping maw through which the souls of the damned enter Hell, or a sea-serpent capable of provoking cataclysmic natural disasters, Leviathan is often assimilated with the Beast of the Apocalypse. The traditional sea-serpent motif dates back to ancient Sumerian iconography of the third millennium BC. Leviathan and his land-based counterpart Behemoth feature in the Jewish tradition as beasts to be vanquished at the moment of the Last Judgement. Christian writings associate Leviathan with the image of the devil; for St Thomas Aquinas, the creature embodies the demon Envy. Above all, Leviathan is emblematic of death by drowning in the depths of the ocean, and a force capable of summoning giant waves and tempests. The great beast became synonymous with political metaphor following the publication of Thomas Hobbes's classic text Leviathan in 1651, presenting the 'war of every man against every man' that inevitably prevails in humankind's primordial 'state of nature' (before the 'state of society').

    From Momenta Press Release
    Each year MONUMENTA invites an internationally-renowned artist to turn their vision to the vast Nave of Paris’ Grand Palais and to create a new artwork especially for this space. MONUMENTA is an artistic interaction on an unparalleled scale, filling 13,500m2 and a height of 35m.

    The first three MONUMENTA exhibitions were hugely successful, drawing in 150,000 visitors over five weeks. In 2007, the first challenge was met by German artist Anselm Kiefer, who resides in France, followed by American artist Richard Serra in 2008 and French artist Christian Boltanski in 2010. For its fourth incarnation, the French Ministry for Culture and Communication has invited Anish Kapoor, one of his generation’s greatest artists, to produce a new work for the Nave’s monumental space, from 11th May to 23rd June 2011.
    Thirty years after his first exhibition in Paris, MONUMENTA marks Anish Kapoor’s return to the French capital. He is considered as one of the most important sculptors of our time. His work has profoundly enlarged the scope of contemporary sculpture, as much by his mastery of monumental scale as by the colourful sensuality and apparent simplicity emanating from his works. All this contributes to the fascination they hold for the public at large, as demonstrated, for example, by the popular success of Cloud Gate in Chicago.
    Born in Bombay in 1954, he has lived in London since the 1970s. His work rapidly gained international recognition and has been awarded numerous prizes, including the famous Turner Prize, which he won in 1991. His career has been the subject of a number of solo exhibitions at the world’s most prestigious museums, including the Louvre, the Royal Academy, Tate Modern, etc. Recently, he has been commissioned to design the key landmark for the forthcoming Olympic Games in London: a 116-metre-high sculpture entitled « Orbit ».

    The artist describes the work he is creating for MONUMENTA as follows: “A single object, a single form, a single colour.” “My ambition”, he adds, “is to create a space within a space that responds to the height and luminosity of the Nave at the Grand Palais. Visitors will be invited to walk inside the work, to immerse themselves in colour, and it will, I hope, be a contemplative and poetic experience.” Designed using the most advanced technologies, the work will not merely speak to us visually, but will lead the visitor on a journey of total sensorial and mental discovery. A technical, poetic challenge unparalleled in the history of sculpture, this work questions what we think we know about art, our body, our most intimate experiences and our origins. Spectacular and profound, it responds to what the artist considers to be the crux of his work: namely, “To manage, through strictly physical means, to offer a completely new emotional and philosophical experience.”

    Great Images from DesignBoom

    More on Anish Kapoor:

    Past Projects:
    Marsyas @ The Tate Modern
    Cloud Gate @ Millennium Park Chicago
    Tall Tree and the Eye @ The Guggenheim Bilbao

    Thu, May 12, 2011  Permanent link

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    Brain, Mind Reality

    Center for Consciousness Studies
    Mind Event
    Public Forum


    May 3 - 7, 2011

    The Toward a Science of Consciousness (TSC) conferences are the pre-eminent world gatherings on all approaches to the profound and fundamental question of how the brain produces conscious experience, a question which addresses who we are, the nature of reality and our place in the universe. The conference is sponsored by The Center for Consciousness Studies at the University of Arizona.

    Toward a Science of Consciousness is an interdisciplinary conference emphasizing broad and rigorous approaches to all aspects of the study and understanding of conscious awareness. Topical areas include neuroscience, philosophy, psychology, biology, quantum physics, meditation and altered states, machine consciousness, culture and experiential phenomenology. Held annually since 1994, the conference is sponsored by the Center for Consciousness Studies at the University of Arizona, and alternates yearly between Tucson, Arizona and various locations around the world. Toward a Science of Consciousness 2011 will be held at Stockholm University, Stockholm, Sweden, May 2-8, 2011. In addition to Keynote and Plenary talks, Pre-Conference Workshops, Concurrent Talks, Poster Sessions, Art/Tech Demos, Social Events and Side Trips will occur in the Stockholm tradition

    • Sir Roger Penrose
      Consciousness and Physical Law Abstract
    • Deepak Chopra
      Vedic Approaches to Consciousness and Reality
    • Luc Montagnier, Nobel Laureate
      DNA, Waves and Water

    • Philosophy
    • Neuroscience
    • CogSci & Psych
    • Physical & Biological Sciences
    • Experiential
    • Culture & Humanities

    • Sunday May 1 Pre-Conference Workshops (Synesthesia, NCC)
    • Monday May 2 Deepak Chopra Workshop | Evening Public Forum
    • Tuesday May 3 Conference Plenary Opening
    • Tuesday May 3 Plenary, Concurrents, Art, Welcome Reception
    • Wednesday May 4 Plenary, Concurrents, Art, Posters
    • Thursday, May 4 Plenary, Dinner
    • Friday, May 5 Plenary, Concurrents, Art, Poster, Poetry Slam/Talent Show
    • Saturday, May 6 Plenary | Workshops - (Quantum Biology, Altered States, Binaural Beat)


    Mon, Apr 11, 2011  Permanent link

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    This symposium was this weekend at SCI-Arc in Los Angeles. Some interesting presentations and discussions regarding new materials, construction methodologies and fabrication ideas.
    Take a look through the links, lots of interesting information and ideas. All the talks were recorded, not sure if they are going to put them up online or not but they would be worth the watch if so.

    Material Beyond Materials

    Material Beyond Materials:
    A Composite Tectonics Conference on Advanced Materials and Digital Manufacturing

    960 E. 3rd Street, Los Angeles, CA

    Friday, March 25, 6-8pm
    Saturday, March 26, 10am-5pm

    Fostering direct exchange between architects and companies invested in the field of advanced materials and fabrication technologies, the Southern California Institute of Architecture (SCI-Arc) hosts Material beyond Materials—a composite tectonics conference on advanced materials and digital manufacturing.

    Taking place on the SCI-Arc campus in downtown Los Angeles, the two-day forum open to the public and the community at large will explore technological advances in composite materials, innovations in construction, and current design discourse—with some of the most important names in today’s building, fabrication and design industries.

    Material beyond Materials combines progressive presentations in the fields of architecture, the arts, engineering and materials research. Conference participants will present and discuss their most innovative ideas, projects and positions concerning materials, technology and the impact on the architecture and construction disciplines and professions.

    Michelle Addington, Professor, Yale School of Architecture
    Hernan Diaz Alonso, Graduate Program Chair, SCI-Arc; Principal, Xefirotarch
    Evan Douglis, Dean, Rensselaer Polytechnic; Evan Douglis Studio
    John Enright, Undergraduate Programs Chair, SCI-Arc; Griffin Enright Architects
    Andreas Froech, Owner, Machineous, Los Angeles
    Marcelyn Gow, Design Faculty, SCI-Arc; Partner and founding member, servo
    Craig Hodgetts, Principal, Hodgetts+Fung Design and Architecture
    Kurt Jordan, Structural Engineer specializing in composites, Jordan Composites Inc, Mill Valley, CA
    Bill Kreysler, Founder and President, Kreysler & Associates
    Mike Lepech, Stanford University
    Greg Lynn, Faculty Member, UCLA and University of Applied Arts Vienna; Principal, Greg Lynn FORM
    Urs Meier, Empa, Swiss Federal Laboratories for Materials Science and Technology
    Achim Menges, Professor/Director, Institute for Computational Design, Stuttgart University
    Eric Owen Moss, Director, SCI-Arc; Principal and Lead Designer, Eric Owen Moss Architects
    Bill Pearson, Technical Director, North Technology Group
    Wolfgang Rieder, CEO, Rieder Composites
    Marcelo Spina, Design Faculty, SCI-Arc; Founder and Co-Principal, PATTERNS
    Ruben Suare, 3-Form Advanced Technology
    Nader Tehrani, Professor and Head of Department, Architectural Design, MIT; Founding Principal, Office dA
    Peter Testa, Design Faculty, SCI-Arc; Principal, Testa/Weiser; Founding Director, MIT Emergent Design Group
    Devyn Weiser, Design Faculty, SCI-Arc; Principal, Testa/Weiser; Founding Director, MIT Emergent Group
    Tom Wiscombe, Design Faculty SCI-Arc; Principal, EMERGENT

    Panel 1: Integrating Complexity
    Panel 2: Synthesizing Behavior
    Panel 3: Performing Environments
    Panel 4: Manufacturing Construction

    Sun, Mar 27, 2011  Permanent link

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    An article on 3d Spatial Audio in The Atlantic. I thought this was a good time to bring up some additional information regarding the topic. Bound to raise some interest, as this topic is (and has been) a heavy area of research.
    If you have additional links and info please comment to this and include them as it is a rather large field of study and i'm sure there are many interesting institutions and persons pushing the limits.

    What Perfection Sounds Like
    The Atlantic
    "Spatial hearing in three dimensions depends on subtle differences in timing, sound level, and the shape of our heads and ears, among other factors. Binaural and even conventional stereo recording incorporates rich 3-D information. But “crosstalk” collapses the 3-D illusion: during playback, the left ear hears not only sound from the left speaker, but also some of the right-speaker sound, and the right ear likewise hears spillover sound from the left speaker.

    A technique called crosstalk cancellation—processing the audio signal so that the left ear hears sound from only the left speaker, and the right, from only the right—can reveal the inherent 3-D sound in stereo. But crosstalk cancellation has always introduced audible spectral coloration. It’s this problem, applied to two-speaker playback, that Choueiri says he’s licked. He wrote a fiendishly abstruse 24-page technical paper explaining his theoretical work, and then spent several years coding and designing his Pure Stereo filter.

    Manufacturers and producers sense enormous profits looming in 3-D audio for TV, cinema, and gaming. Compared with 3-D, the sales pitch goes, surround-sound systems are unwieldy and offer crude spatial definition. Princeton is now negotiating with various consumer companies to license Pure Stereo, and Choueiri also hopes to improve on hearing aids, which currently are not very good at pinpointing where sound is coming from."


    "3d" sound initiatives:
    CrossTalk Cancellation paper
    WaveField Synthesis
    WaveField Synthesis Paper
    Aleatoric music
    Surround Sound

    Some pioneers of the field:
    Karlheinz Stockhausen
    Max Matthews
    Curtis Roads
    Iannis Xenakis
    JoAnn Kuchera-Morin

    And persons doing interesting research in the field currently:
    Graham Wakefield
    Lance Putnam
    Matt Wright

    Spatial Sound Venues Past / Present:
    Stockhausen Spherical Concert Hall
    Phillips Pavillion
    Audio in the UCSB CNSI AlloSphere

    A few places researching the subject:
    CCRMA @ Stanford
    CNMAT @ Berkeley
    MAT @ UCSB

    Osaka Dome by Stockhausen

    Sat, Mar 12, 2011  Permanent link

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