Saliently, he organized a series of street events for the passing Google Street View car, around his neighborhood in Pittsburgh. I found them just by searching for "Sampsonia Way" and then exploring, which is maybe the best way to find it. Block after block of normal street-view, rainy day, sunny day, and then... what's that girl with the umbrella doing there, twice? And then it all goes wild...

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View Larger Map

Anyone know of other Street View interventions? Besides that poor Finnish guy. (Oh. That's been taken down. Probably for the best.)

But.

At the end of my presentation, after playing some film score clips, I played "Auto Video: Sorely Missed" from my website, and discovered that the clip there had no sound. Yikes. How did that one slip by me?

It's fixed now. If you were bamboozled by a strangely flickering, silent video before: please go watch it again...

Record Club: Skip Spence "Weighted Down" from Beck Hansen on Vimeo.

This letter, via the highly-recommended Letters of Note blog, was written during the end of Tesla's life. Tesla was never a man for money and was living broke in a transient hotel room when author Louis Adamic wrote this letter to Herbert Hoover asking Hoover to help him find a benefactor.

Click through for the whole story...

(Read about Feynman here. He's on Bill Gates' "Who I'd Have Dinner With" list— and my list too— and his books Surely You're Joking, Mr. Feynman! and What Do You Care What Other People Think? make for the very finest sort of excited-about-science general reading.)

In it, he outlines problems he's intuited about tuning a piano strictly to equal-temperament. As the strings get higher and therefore shorter, the string becomes relatively thicker. This causes its stiffness to play more of a role in its overtone compositions than at longer string lengths. After some calculations— simple once they're worked out, but impressive considering they're in a casually tossed-off note**— he suggests that a piano tuned by ear might sound more "accurate" than one strictly tuned by comparing frequencies.

Like any good scientist, he states the assumptions on which he's basing this hypothesis and asks his tuner for more information about (a) what strings he tunes, in what order, so as to better know the relationships between them, and (b) whether he in fact deviates from the theory to "tune by ear" in order to create a more pleasing result.

(As it turns out, there are several physical phenomena not intuited by Feynman, which means that piano tuners do "stretch" the top and bottom pitches of the piano as our ears start to need proportionally faster and faster vibrations in order to perceive the same rise in pitch.)

*Article (requires subscription/sign-in)
**Feynman did make a few "slips of the pen" in his formulae, which are cleared up in the subsequent analysis.

The only thing that could possibly, possibly make these any better would be if they rotated with foot pedal control, like Bird's does. Or if it came in an eight-foot-model for us superfans out there.

Then again, looking at the price tag, that might be just as well.

YouTube link 1

YouTube link 2

One of the amazing things about the early Jackson 5 recordings, for contrast, is how tight they played together, while still keeping a human groove. Conversely, the first solo MJ albums to have electronically perfect timing bring a punch and sheen that has its own kind of excitement. So, people developed tools like Beat Detective to put a human beat on the grid.

Fixing bad timing? Okay, that'll save you some time. Put everything on the beat? Well, that'll let your skater band go platinum, but it might not make anyone love life more.

YouTube link for facebookers.

(Compare Rihanna's "Umbrella", which I see as a pretty great song with terribly inhuman production.)

...All that said, I try, I really try, to not be all rah-rah-Logic all the time, but. But. Flex Tool/Flex Time in Logic 9 hit me this weekend as a way to fix timings while preserving beautiful imperfection.

Here's my djembe hit. Most of the take was on, but darnit, I just hit that one a bit late. You can see it clearly late after all the other hits, where I was pretty on:

Here, Logic has detected all of my hits. I can use the Flex Tool to just drag one hit earlier, visually lining it up with the musical groove. Note that I'm not moving the whole audio file, and I'm not slicing a region out of the audio file and moving that. I'm just dragging a blob on the waveform, and it's being seamlessly moved-and-stretched (or squished) enough to fill all the gaps and sound natural in a given context:

I'm writing about this because of how impressed I was with the results: This is still a loose groove, but it sounds like a bunch of percussionists who are better than I am. But a couple of beers in, and maybe sitting around a campfire.

Via Mental Floss. Video link.

::YouTube link::

The two things I'd still like to do: I'd love to write up a grant to make a giant version. And I would like to find nicer-sounding resonators.

But, this version works, is reliable, has low latency, and does what I set out for it to do. I've left it running most of the day today, and the warped harmonic language of the various wine glasses, bells and metal gets more and more pleasing to my ear as I hear it repeatedly. Unlike version 1.0, where a single chord happened every 15 minutes, in this version the clock strikes only on the hour, but indicates the time by the number of chords in the progression. (Like a regular clock, I suppose, but with harmonic content.) So, 5:00 pm is a 5-chord progression leading to the key of the hour, in this case B Major.

Tomorrow, though, I'll be having my first rehearsal for a collaboration that's been in the works for almost a year now. The piece with the cars all parked in a circle in a field and the dance happening in the middle. And maybe it's at sunset so that as it gets dark, people have to turn on their headlights to see the dancers. Or maybe it's in some really industrial area and the lights are just a compliment to the sodium vapor lamps (Hideout? What about that weird city lot across the street from you? And, why don't you ever call me anymore?)

Liz Joynt Sandberg is the choreographer, with her Think/Dance Collective.

Anyway, I went through the music tonight to fix some of the parts that I thought weren't working. Then I listened to the whole thing, and while it's not done yet, per se, I'm pretty happy with it as something to listen to. So, here it is. Current version. Hot off the presses. Et cetera.

It's a big ol' 20-minute chunk of music, and I had some good co-writing in working on it with Schmüdde, whose name I can spell in HTML without really thinking that hard about it, and whose new film "Refuge" is really really almost done. (not this one.) And with Chaga, who's not on the internet. Also this includes some violin playing by film composer and lab tech extraordinaire Nate Sandberg (not this one), who's also Liz's baby daddy.

CLICK here if you're on Facebook and don't see the Flash player. Sorry about that.

link to YouTube video

Shot on Super 8mm in Bath, UK in January 2009 and edited using a computer process (Max/MSP/Jitter) that analyzes the song in realtime and makes editing decisions based on parameters of the music.

This is more or less Version 1.0. I made some important changes over the weekend that make sections develop over time instead of staying static, and it added a lot of life to the final product.

There are about a billion other things I want to do with this, and I'd love to hear any reactions or comments anyone has to this.

The song is Sorely Missed by the really super fantastic band The Cedar. Their album I'm Always Explaining to Mom How It's Different Here is available on iTunes but of course DRM stinks and you should get it from Amazon or best: a live show!

The structure of the "Circle of 5ths" clock is complete, and all the resonators and strikers are working.

Some need to be tuned (too many F's and Ab's, no C-natural or D-natural) and I need to matrix the pitch requests since the strikers go in order from 1-12 (or 0-11 if you're a programmer or serialist) but the resonators won't fit into the structure in that order, low to high. So when the software outputs a C, the hardware needs to know if that's resonator 7 or 9 or 2 to hit.

My original conception of the striker/resonator pairs was that each striker would be freestanding next to or attached to its resonator, and that they could be arranged in multiple configurations based on the specifics of the space. This proved to be impractical for the first build of this invention, but I hope to make a follow-up, larger, more-planned-out incarnation that uses much larger metal resonators and solenoids to strike them. The current version works well in a home or living room; this larger idea would be more suitable for a museum or outdoor installation.

YouTube link - http://www.youtube.com/watch?v=XjFhzOs-Pqc

Basically, the DNA story we grew up with (Our genes are your genes. Half from Mom, half from Dad, end of story) isn't the whole picture. While our understanding of genetics wasn't wrong, the big thing that epigenomics adds to the picture is the shape of your DNA in space.

In order to fit into a cell, your genes have to be tightly curled up. At the small scale of DNA, the curling is done by special chemicals that form the DNA. Critically, though, genes that are loosely bound by these chemicals are expressed (or expressed more strongly) whereas tightly bound ones are turned off, suppressed, or expressed very weakly. It's through epigenomics that smoking and diet (and, I theorize, the mental states you carry and habits you set up for yourself, such as exercise or learning to ride your bike with no hands) can actually affect your predisposition to developing certain diseases.

This is a somewhat new-ish field, and it seems like it has loads of potential. Thanks to the folks at National DNA Day for keeping us informed!

Added: This excellent article also has some fascinating information about how our epigenome might be shaped by experience.

I'm a big fan of this guy, I find him to be very clear and focused on a sometimes very complex issue, and also impresses me with his ability to remain nondogmatic while being at the same time very passionate.

Article link

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