Reconnaissance Fly at Studio 1510, Oakland

A few photos and thoughts from last Friday’s Reconnaissance Fly performance at Studio 1510 in Oakland.

I knew that Studio 1510 had a great acoustic piano, which I wanted to take advantage of particularly for our piece Emir Scamp Budge which features an extended jazz piano solo. But it turns that they also now have an actual Rhodes Stage Piano Mark II. I could pass up the opportunity to appropriate it for our set. Here is the Rhodes with the E-MU Proteus 2000 and Korg Kaos pad conveniently perched on top:

Together with the acoustic piano and MIDI keyboard for a rather massive keyboard setup:

Click the above picture to enlarge it and spot the cat!

Here we are getting ready to play the first note of our opening piece “Small Chinese Gong”.


[Photo by Tom Djll.]

The set went well from that point. I have not yet heard the recording, but I thought the first piece, as well as “One Should Never” (which was about as tight as I have heard us play it), “Ode to Steengo” – with the interplay of the text, the Kaos Pad, odd drum beats and Tim’s live electronic processing – and “Emir Scamp Budge” went particularly well.

Matt Davignon opened for us with a solo set featuring a live performance on drum machine and effects processors.

This was nominally a performance marking the release of his new CD Living Things, although none of the pieces in the performance were actually from the CD. But that was OK. I particularly remember the last piece in the set for a variety of reasons, including but limited to the subtle effects in the music.

Thanks to Scott Looney and Studio 1510 for hosting us!

Reconnaissance Fly & Matt Davignon in Oakland, 2/5

An announcement for upcoming performances with Reconnaissance Fly (consisting of myself, Polly Moller and Tim Walters), as initially reported on Polly’s Journal.

We have six movements from Flower Futures all ready to share with you. We are all spoetry, all the time.

First, we’ll be on the radio, performing live on KUSF starting at 11:00 a.m. (U.S. Pacific Standard Time) on Thursday, February 4th. KUSF streams live on the internet.

Then we will be performing live at Studio 1510 the night of Friday, February 5th at 9ish PM. Studio 1510 can be found at 1510 8th Street, in Oakland, California. It’s conveniently near West Oakland BART.

Here’s our set list:

– Small Chinese Gong
– One Should Never
– The Animal Trade in Canada
– Ode to Steengo
– Emir Scamp Budge
– Seemed to Be Divided in Twain
– An Empty Rectangle

You can actually read more about spoetry and some of our pieces in my review of our show last November.

Our friend Matt Davignon will join us at 8ish PM for an opening set of extended drum machine soundscapes in support of his new album, Living Things.

Weekend Cat Blogging: Rain

It’s been very stormy week here, with sometimes violent winds and heavy rain, and flash floods. Indeed, it has been raining at least once every few hours continuously since I departed from Los Angeles last Sunday. It’s the kind of weather where one really just wants to curl up and stay warm:

In additional to seeing Luna napping on one of her favorite chairs, I liked the way the clothing draped on top formed this perfect triangle above her. This image has a very symbolic quality – the triangle is a very powerful element in my own visual ideas, and I have often talked about juxtaposing geometric elements against more natural organic shapes.

This morning, the sun has appeared at CatSynth HQ for the first time in over a week, and Luna peers out into the world:


Weekend Cat Blogging #242 is hosted by Nikita Cat.

The Carnival of the Cats will be up this Sunday at When Cats Attack.

And of course the Friday Ark is at the modulator.

Lambert W Function

We at CatSynth return to the topic of mathematics for the first time in a while. In particular, we visit an obscure topic of personal significance. One day in high school I wrote down a seemingly simple equation:

2x = 1 / x

And set about trying to solve it. It certainly has a solution, as one can graph the functions 2x and 1/x and note their intersection:

In the graph above, the green curve is 2x and the black curve is 1/x. They intersect at an x coordinate equal to about 0.64. I actually moved to a variation:

ex = 1 / x

(somehow thinking that using e would make it simpler), and quickly approximated the solution as:

0.56714329…

While computing this number was relatively simple pressing buttons on a handheld calculator, describing it in a closed form proved elusive. Every so often, I would return to the equation, try to manipulate it algebraically or using calculus, but I was never able to do so.

Years later, in college, I found out that it was in fact impossible to solve algebraically, but that did not prevent mathematicians from naming both the constant 0.56714329… and the function necessary to compute it. Consider a function w(x)) such that:

w(x)ew(x) = x

The function w(x) is known as the Lambert W function, or “omega function”, and is named after 18th century mathematician Johann Heinrich Lambert. It is a non-analytical function, in that it cannot be expressed in a closed algebraic form, hence the difficulty I had attempting to solve my equation). However, one can see that w(1) is a solution for it. And w(1) [=] 0.56714329… is often called Lambert’s constant.

Although Lambert’s function does not have a closed-form expression, one can approximate it with a small computer program, such as this python program:

from math import e

def lambertW(x, prec=1E-12, maxiters=100):
    w = 0    

    for i in range(maxiters):
        we = w * e**w
        w1e = (w + 1) * e**w

        if prec > abs((x - we) / w1e):
            return w

        w -= (we - x) / (w1e - (w + 2) * (we - x) / (2*w + 2))

    raise ValueError("W doesn't converge fast enough for abs(z) = %f"

It was somewhat disappointing in the end to find out both that there was no closed form for the solution, and that the constant associated with the solution already had a name. But it was still interesting to learn about it, and to then apply it to other problems.

On that note, we conclude by showing that w(x) can also be used to solve the original equation:

2x = 1/x

can be rewritten as:

(ln2)xe(ln2)x = ln2

We can now use w(x) to solve the equation:

x = w(ln2) / ln2

which is approximately .6411857…

One thing I never tried in my youthful experimentations with this function was evaluate it with non-real complex numbers. While there are examples plotting w(z) on the complex plane, I would rather take some time to explore this myself.

I also have yet to find any applications to music or the visual arts, outside of literal usage in conceptual art pieces.

Farewell to 2009

So this is the time when we choose to look back on the year that has just ended.  Or in some cases, not look back.  It seems that this past year was a difficult one for a lot of people, an annus horribilis or a “year to forget.” For me, that particular title could be better applied to another year that was far more tragic and difficult.

So I feel a little at odds looking back at 2009 and seeing a really rich year, one filled with visual and personal experiences.  I actually learned a lot, about other people around the world, about myself, about what is important to me, and I think that is actually reflected on these pages in a strange way.

I expect this coming year to be more of a transitional one, though I am not exactly sure yet where that will lead.  But in the meantime, we at CatSynth will continue to do what we do…

no editions – live video series 2009

A little inspiration for things to come in 2010:

no editions – live video series 2009 August 17 New York from no editions on Vimeo.

I saw this via an article on PLANET magazine. Primarily a fashion article reviewing Christian Niessen and Nicole Lachelle’s No Editions label, but tt seems to intersect with various ideas of my own at this particular time, the combination of electronic music with visual experiments. The clothing becomes a canvas for the video, which in turn records people wearing the clothing.

Reunion

This morning I brought Luna home. She immediately went about reacquainting herself with her domain:

In addition to being reunited, we marked her birthday with gifts and treats. She also received a card from a far-away friend of ours:

Doesn’t the cat on the card bear a striking resemblance?

We also had a belated Thanksgiving, complete with leftover turkey from New York:

It’s great to be home together again.

Lights on the 7 Subway Line

Some lines in the New York City subway system use diamonds and circles to differentiate between express and local, respectively. This is the case on the 7 (Flushing) line as well. However, I while most trains simply carry the appropriate sign, the trains on this line used lights instead, creating a unique effect:

As far as I know, this is only line which features these lights. The picture above illustrates the green circle representing the local train. Below is a red diamond representing the express:

I was not particularly happy with the second photo, but it does illustrate both the red light and an interesting side-effect that I observed: the reflection of these bright colored geometric lights on the windows both from other trains and within the car itself. I found myself watching the colored shapes dance, and contrast with a few of the passengers sitting in the car or rushing along the platform. Not mesmerized per se, the way a cat reacts to a light pointer, but still focused. I don’t know if anything will come of it besides this brief post.

Bleecker Street Station, New York City

Many of the stations on the New York subway system have been upgraded over the years, cleaned up and adorned with artwork and location-specific decor. The Bleecker Street Station on the Lexington Avenue line is not one of them. It’s still quite spare and run-down, the supporting columns a bit rusty. As I waited for an uptown #6 train, I took this photograph looking along the tracks and platform:

Just afterwards, I looked across to the opposite platform and saw a young woman making a similar photograph, also looking uptown. Almost as quickly, a downtown #6 pulled into the station, and as the train pulled away, she was of course gone. A typical movie cliche, but our main purpose in this little station was to catch our trains to wherever it was were going next.