
Another picture of Video the cat relaxing on the Wurlitzer 200e electric piano. Submitted by The Wiggly Tendrils via our Facebook page.

Another picture of Video the cat relaxing on the Wurlitzer 200e electric piano. Submitted by The Wiggly Tendrils via our Facebook page.

For those who enjoy the Hipstamatic photos, please check out my review of the #iSnapSF show. And while you’re at it, there is also yesterday’s Fun with Highways installment.
In this installment of our “primary highways” series, we look at the states of Mississippi and Alabama. In some ways, this is a particularly challenging edition, as I have never personally visited either of the states – in fact they are among only five remaining states I have yet to visit (Kansas, which held its causes on Saturday, is another of the five). So we will do the best we can.
I did come close to visiting Mississippi in 2006. For one day while I was in New Orleans, I had rented a car to reach places outside the public transportation grid that was still limited after Hurricane Katrina, including the Lower Ninth Ward. I was tempted to get back on I-10 and head east to Mississippi, just to be able to say I was there. But in the end I decided against it. Had I continued, I would have crossed into Mississippi in a sparsely populated area along the Pearl River. To the north of I-10 is the John C Stennis Space Center, where NASA has tested engines for many of our legendary space vehicles including the Apollo Saturn V and the Space Shuttle.

G
iven that it is an engine test facility, it’s not surprising there isn’t much of a permanent population in the area. Several communities were removed when it was built, and supposedly a few remnants of the communities, particularly Gaineville, still exist. Indeed, off of Highway 607, the “Shuttle Parkway”, is Lower Gainesville Road, which heads past various space-center complexes towards the Pearl River and ends at what could be the remains of the town.
Heading southward on 607 from I-10, we eventually reach US 90, which continues along the Mississippi coast through the towns of Waveland and Bay St Louis, which were devastated by Hurricane Katrina. Perhaps the most dramatic example was the bridge carrying US 90 over St. Louis Bay, which was completely destroyed.

It has since been replaced by a new bridge, a graceful flowing structure that has won the American Transportation Award and became a symbol for the region.

[By Frank Kovalchek from Anchorage, Alaska, USA [CC-BY-2.0], via Wikimedia Commons]
US 90 continues along the coast as Beach Boulevard towards the cities of Gulfport and Biloxi. Biloxi is a big resort and casino town on the coast, but it, too, was devastated by Hurricane Katrina. Although it sounds like there is still much rebuilding to be done, many of the city’s casinos have since reopened and landmarks restored including the iconic Biloxi Lighthouse and the Ohr-O’Keefe Museum Of Art that was designed by Frank Gehry. The Ohr-O’Keefe was under construction when Katrina hit and was severely damaged. It ultimately opened in 2010.

[By Woodlot (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons[]
South of nearby Gulfport is Cat Island. I thought maybe it had something in common with the famous Cat Island off the coast of Japan, but no such luck. As far as I can tell, there are no cats there, and the name itself was a mistake.

From the southeast corner of the state, we jump to the northwest corner. Specifically, we are going to a junction outside of Clarksdale where US 61 and US 49 meet. This crossroads is considered by many “the crossroads”, where according to legend blues musician Robert Johnson sold his soul to the Devil in exchange for his musical gifts.

[By Joe Mazzola [CC-BY-SA-2.0], via Wikimedia Commons[]
Legend or not, Clarksdale has a particular association with the blues, and is home to the Delta Blues Museum.
US 49 has long been a major highway traversing the state diagonally. From Clarksdale, it winds its way through the Mississippi Delta, even splitting into separate east and west parts, before leaving the delta and approaching the capital and largest city, Jackson. On the northwest approach to the capital, US 49 carries the name Medgar Evers Boulevard in honor of the civil rights leader who was assassinated in Jackson in 1963. The highway then bypasses the downtown with I-220 and I-20 before continuing to Hattiesburg, home of Southern Mississippi University.
In Hattiesburg we meet I-59. The drive along I-59 and US 11 to the town of Laurel was recommended to me (actually, the drive south from Laurel to Mississippi State University). In Laurel, I-59 had an unusual S-curve that rivaled Dead Man’s curve in Cleveland due to railroad overpasses, but it has supposedly been reconstructed. I-59 continues north to Meridian, where it joins with I-20.
Briefly leaving the freeway in Meridian, one can take Highway 19 north to the town of Philadelphia, made infamous for the death of three civil rights workers James Chaney, Andrew Goodman and Michael Schwerner. The murders took place off of Highway 19, and it was presumably the route they took to Neshoba County.


I-59 and I-20 continue as a single route into Alabama, all the way to Birmingham. It is largest city in either of the states in this article, and is crisscrossed by several major highways. A large interchange between I-59/I-20 and I-65 just west of downtown is known as Malfunction Junction because of the frequent (and unfortunately, sometimes deadly) accidents that happen there.
Interestingly, it does not look that complex from a map view, especially when compared to a nearby junction of I-59/I-20 and US 31/US 280. While it does look more complex, it does afford a good view of the city skyline when approaching from the south.
Birmingham has a strong industrial past, especially in iron and steel. Indeed, the Sloss Furnace in the city is one of the few industrial sites preserved as a National Historic Landmark.

[Timjarrett at the English language Wikipedia [GFDL], from Wikimedia Commons]
Visitors can wander and enjoy the site, which features defunct but preserved industrial buildings and machinery. This would be a fantastic place to photograph! I could also see it as a musically inspiring location, for pieces based on metallic resonances. The center does hold concerts, and has a highly regarded program in metal arts. (I wonder if they have arts residencies?)
As has happened with many other industrial cities that experienced long declines, downtown Birmingham appears to rebounding as a residential and cultural center, with lofts and galleries. There is also the restored Alabama Theatre which functions as a performing arts center while retaining many of its movie-palace features, most notably its original Wurlitzer Organ. (It should be noted this is the second Wurlitzer to be featured in this year’s “primary highways” series.)

South of Birmingham is the town of Selma, which has a storied place in the Civil Rights Movement. A voting rights movement in the town ultimately grew into the Selma to Montgomery Marches in 1965. The marches took place on US Highway 80 heading east from Selma and crossing the Edmund Pettus Bridge.
The first march was met by state troopers and the marchers were brutally assaulted. Images “Bloody Sunday” were broadcast nationwide, shocking many and galvanizing support among some for the civil rights movement. Two more marches along the same route were organized. The third march passed the bridge and continued all the way east on Highway 80 to Montgomery. The march then veered north onto the Mobile Highway, parallel to present day I-65, and then along city streets to the state capitol. The entire route is now marked as the Selma to Montgomery National Historic Route.
From the state capital, one can travel south on I-65 to Mobile and back to the Gulf Coast, where we began. We switch on to I-165 which enters the downtown and becomes Water Street. Heading further south, we come back to I-10, which crosses Mobile Bay on a long causeway. From the causeway, we can look back at the city at sunset.
[Photo by faungg on flickr. (CC BY-ND 2.0)]
Those who have followed the photography on this site over the past year or so know that I have become quite enamored with the Hipstamatic photo app on my iPhone. It certainly has nottaken over all my photography or replaced by DSLR, but it has become one my tools for certain types for images and for the challenge of working with limited degrees of freedom. Synthetic, the makers Hipstamatic are actually based here in San Francisco in a renovated factory building not far from CatSynth HQ. And I recently visited them for the opening the photography exhibition #iSnapSF.
Most of the images in the show and the accompanying book are portraits. I have to admit I have not used Hipstamtic for portraits (except portraits of my cat). But the photographers this show have managed to capture quite a bit of detail and expression in their human subjects.


[Images from #iSnapSF from facebook page and reproduced courtesy of Synthetic.]
In both cases, the subjects are integrally part of the urban environment around them, either by design or by coincidence. In the second instance, the subject is more integrated into the architecture of the environment in terms of her pose and dress – this was one of favorite images in the exhibition. If we are to follow a trajectory of portraiture to architecture, there was also this image of a downtown SF building with the distinctive bay-window architecture characteristic of the city.

This one (another favorite of mine) is particularly impressive in that it includes several layers of reflections, subjects and scenery. And of course it includes a cat.

[Images from #iSnapSF from facebook page and reproduced courtesy of Synthetic.]
The lens and film effects bring out certain details while obscuring others. This particular combination has a grainy quality but still emphasizes outlines, such as those of the subjects’ figures and the buildings. It also amplifies the rough texture of the concrete.
The prints were relatively large (between 12 inches and 18 inches square), and they came out consistent with one would expect. They are relatively low-fidelity in terms of pixel resolution and the nature of the lens and film effects, but the images are still quite detailed.


I am not sure what the goal was in having some of the images framed and mounted, while others were hung from clothespins.
The proceeds from the show and the accompanying #iSnap Field Journal support Larkin Street Youth Services, a “San Francisco-based non-profit organization that provides various support services such as emergency shelter, medical services, meals, counseling, and job training for at-risk youth ages 12-24 living on the street.” Indeed, most of the photographs in this series were taken in the downtown neighborhoods around mid-Market Street and the Tenderloin that they serve. I did get a copy of the field journal:
In addition to the prints themselves, each page also has notes about the images. For the picture of the young woman shown above, the notes confirmed that it was a chance shot on Market Street with the photographer curious about the subject. Surprisingly, the seemingly posed image of the man in the cowboy hat is also described as a chance encounter. I remain a bit skeptical of that. The cat photo that I quite liked started out as a cat photo but pulled in the other layers as chance operations to produce the image, and had a working title “Tenderloin Magic”. I think that is a good alternate title for many of the images in the exhibition.
It’s also worth noting that all of my own photos to support this article (with the catsynth.com watermark) were done with the Hipstamatic.

“cEvin Key (Skinny Puppy, Download, Subconscious Communications, etc) at Subconscious Studios.
skinnypuppy.com/
subconsciousrecords.com/
scaremeister.com/
— with cevin Key at Subconscious Studios, Hollywood CA.”
Via matrixsynth, where you can find additional still images and information about the new documentary I Dream of Wires.
You can find additional pics via IDOW on Facebook.
You can find IDOW on IndieGoGo here (note although they reached their goal, you can still donate and order items).
This is also a reminder that I should review cEvin Key’s album, which I have enjoyed for quite a while.
Today we are keeping it simple, and sharing a portrait of Luna.

With all the recent fun with Hipstamatic and other iPhone-based photography, it’s good to remember what the DSLR can do. Over the last couple of days, I have been working with the fixed-length portrait lens, which I rarely use. But it quite good for taking portraits without much distortion. Especially for a cat like Luna with dark fur, it’s nice to be able to capture so much detail and expression.
Weekend Cat Blogging is at Mind of Mog this week.
The Carnival of the Cats will be hosted this Sunday by Kashim, Othello and Salome.
And the Friday Ark is at the modulator

Via matrixsynth. Cat is lounging in the background.
Looks like the minimoog was for sale on auction and got snatched up pretty quickly.
Today we look at a recent show in Outsound Presents’ SIMM Series that featured two different but energetic ensemble performances. Jim Ryan’s Forward Energy was back for a CD release performance. And they were preceded by a trio of Emily Hay on flute+vocals, Motoko Honda on piano, and New-York-based Valerie Keuhne on cello.

[Emily Hay and Valerie Kuenhe]
Before the show, I went up to the piano to take a closer look at the array of gear arranged on top, including a Korg Kaoss Pad and 4ms Noise Swash. These were used by Motoko Honda during the set, though she mostly used it to control audio from the other performers.

The set opened with cabaret-style piano (no electronic effects yet), joined by flute trills and melodies. Keuhne’s cello complemented Hay’s flute, but then grew more intense and frantic, eventually reaching high-energy “bow-wrecking” levels. Hay switched from flute to vocals that nonetheless retained a flute-like quality. The rhythm of the voice and piano were set strongly against the cello.
Keuhne started the second piece, again with fast bowing, harmonics and percussive effects. Her performance was forceful and featured rich tones. The piano and flute came in more subtly, with processing by the Kaoss Pad. It was easier to hear the electronics with the flutter technique on the flute and percussive vocal effects, with a variety delays, pitch bends and harmonizations. While controlling the effects, Honda continued her vigorous piano performance, using the inside of the instrument in addition to the keys.
Hay opened the next piece with flute mouthpiece and electronic effects. Here I think the 4ms pedal was being used, particularly on the buzzing effect of the low drone from the cello. The overall texture became quite noisy, but the vocals and scraping effects from the cello came through. The final section featured the full ensemble, and particularly forceful piano performance by Honda that included shaking the instrument. The ending was a little quieter from all, but nonetheless still vigorous.
After a short break between sets, Forward Energy took the stage in a performance celebrating the release of their new CD The Awakening. The group featured Jim Ryan on voice and saxophone, Rent Romus on saxophones, CJ Borosque on trumpet, Scott Looney on piano, Eric Marshall on bass, and Timothy Orr on drums.
The set started off immediately with a burst of energy. After this opening fanfare, the music relaxed into a fast jazz rhythm with repeating atonal patterns. The horns (Ryan, Borosque, Romus) took turns with solos separated by ensemble improvisation sections. There were passages where the three horns played together as a single instrument; and Rent Romus’ solo had a more soulful and deep quality compared to the overall frantic and anxious quality of the piece. Scott Looney’s piano solo switched back and forth between rhythmic chords and fast runs that I couldn’t possibly play myself. The bass solo by Marshall was accompanied by scraping metallic percussion and prepared piano, including drumsticks and metal percussion on the strings.
The rhythm section opened the next piece, with resonances in the piano and slow percussion tones. This eerie mixture was set against slow trumpet. Then all at once the ensemble started playing loud and fast. Then a sudden silence followed by prepared piano. It kept going back and forth this way, soft versus angry. I found myself particularly noticing the various gongs that Looney was using inside the piano to both visual and aural effect
The final piece was where the reeds pulled out their virtuosic techniques. Rent Romus played double saxophone (similar to a few nights earlier at the Music of Invention concert), and Jim Ryan launched into his poetry (one friend on Twitter referred to this as “Jim going bore poet”) with lines ranging from “Naked on the plane of full being” to “Did you ever see an elf die?” I can with all honesty that I have never actually seen an elf die. It was delightfully weird, and I think some of the lines took the other musicians by surprise. The prepared piano accompaniment was noisier and scratchier than in the previous piece, which gave the overall background a more staccato and pointed texture.
Overall, the performance did live up to the name of ensemble, and it was clear that everyone, especially Jim Ryan, had a great time with it.

Another from The Wiggly Tendrils via our Facebook page.
Rocking out with my cat “Video.” She likes to chase my head phone and guitar cables while I dance around. There’s a Korg Mono/Poly in the background.