Overpass (August 17, 2003)

Although I had driven this particular stretch of freeway through Las Gatos countless times, I did not recall seeing this particular overpass before. It was exceptionally tall, far taller than the other overpasses that I did remember; they were generally about fifteen feet above the freeway. It was a perfect black against the imperfect black of the night sky.

Weekend Cat Blogging: Luna and Apple

The influence of Apple and Steve Jobs extends deep into this site and into our lives at CatSynth HQ. For today’s Weekend Cat Blogging, we look at a few of the many photos of Luna with Apple computers and devices:

This last photo is one of our many taken with the Hipstamatic app on the iPhone.  Indeed, most of the photos, even those not taken with an iPhone, are processed on a MacBook or Mac Pro.  Nearly all of the writing is done on a MacBook, and occasionally on an iPad.  The technology of Apple has become ubiquitous, even down to blogs featuring cats.

Weekend Cat Blogging #331, is hosted by pam at Sidewalk Shoes, where Smudge says Happy Fall to everyone.

Carnival of the Cats will be up tomorrow at Meowsings of an Opinionated Pussycat.

And the Friday Ark is at the modulator.

Fun with Highways: Wall Street

Some streets take on a status beyond their physical extent. One of those is Wall Street, which is simultaneously an actual street in New York City, a neighborhood name, and shorthand for massive finance and investment industries of the United States.

Wall Street itself is quite short, and runs from South Street along the East River to Broadway. It’s terminus on the east side is underneath the South Street Viaduct (why a duck?) that carries the FDR drive to the tip of Manhattan and underneath Battery Park. The Broadway ends at historic Trinity Church. It is not a part of the city that I know particularly well. Most of my adventures don’t take me further south than Tribeca or the Brooklyn Bridge. It is interesting to look at the street names and arrangement, narrow streets with names like “Pine” and “Cedar”, “Front Street” and “Water Street” that we would associate with numerous coastal American cities and towns but not distinctly with New York (San Francisco has all four street names, as does Santa Cruz where I lived for several years). The streets are evidence of the long history in this part of the city.

The current #occupywallstreet protests are not actually centered on Wall Street, but in a park to the north along Liberty Street (officially named Zuccotti Park), just one big block away from the World Trade Center site and the new 9-11 Memorial. But things have grown since the initial encampment and march and while it was largely ignored by the mainstream media for the first couple of weeks or addressed as little more than a curiosity or object of derision. Now it appears in the news every day, and the protests themselves are growing organically. Here is an image yesterday from protesters occupying Foley Square, several blocks to the north near City Hall and the off-ramps from the Brooklyn Bridge (from the official website).

And a recent report of the massive march via Democracy Now!:

Towards the end of the video, one can see what happens as protesters approached the actual Wall Street.

If you want to support the movement but can’t make it to New York or one of the local “occupations” that have spread to other cities, you can send donations, or even order them a New York pizza courtesy of Liberatos Pizza. And we all know that New York pizza is better than what we get here on the west coast. They do recommend ordering vegetarian or vegan options, but the official “Occu-pie” looks suspiciously like pepperoni:

In the publication “Occupied Wall Street Journal”, they print a map of the plaza encampment:

I like how they label the sculpture on the plaza as “Weird Red Thing”. As reported in Hyperallergic, the “weird red thing” is actually Mark di Suvero’s “Joie de Vivre”. I quite like the sculpture, with its clean lines and curves, and red color against the grays of the Wall Street buildings.

[Photo by ElvertBarnes on flickr]

I will be visiting New York again in November, and I’m sure I will be downtown quite a bit…

NeXT

Like so many others, we are marking the passing of Steve Jobs. But one thing that is often overlooked in the many tributes is his leadership at NeXT.

I first came across NeXT in 1989, as I was starting to explore the world of computer music. It was an ideal machine for its time for music and media work. It had a powerful operating system, it had a programmable DSP, it had SoundKit and MusicKit libraries specifically designed for music programming. And the original NeXT Cube was quite a striking physical object.

I had even written a couple of letters and formal research proposals to NeXT and directly to Steve Jobs to support my incipient research work in high school. Of course, nothing came of it, but it was an interesting exercise in learning how to write a proposal. And my opportunities to try out the system (via various institutions) game me a sense of what a more ideal computing environment could be like. As a music and computer-science student at Yale, I did in fact have the opportunity to do work on NeXT systems, but by that point the computing world, and the computer-music world, were moving on.

Apple acquired NeXT in late 1996. In the process, they reacquired Steve Jobs, whose return marked the Apple that we know today, and also the NeXTSTEP operating system, which lives on to this day as the foundation of Mac OSX. Every contemporary MacBook and MacPro is in many ways a late model NeXT computer. Indeed, it was only after the introduction of OSX that I purchased my first Mac (an iBook) in 2003 and gradually shifted into being one of those annoyingly obsessive Mac/iPhone/iPad users. All of my music and photography work is done on these devices, as are all posts to this blog and updates to our Twitter and Facebook streams. Even my day job is intimately connected to the technology from Apple. We associate these technologies and designs with Steve Jobs, but much of it can be traced back to what he and others pioneered at NeXT.

San Francisco Electronic Music Festival (SFEMF), Part 2

Last week, I presented the opening night show of the San Francisco Electronic Music Festival at SFMOMA. Today we look back at the September 10 installment of SFEMF, which took place at the Brava Theater.

It was a busy Saturday evening of art and music, but after a trip through three neighborhoods on our illustrious public transportation system and chatting with several friends on the way in, I was still able to get a perfect seat in the center of the theater for the full immersive experience. As I often do these days, I was live-tweeting between sets with hashtag #SFEMF to share with a wider community both in the theater and beyond.

The concert opened with a tribute to Max Mathews presented by Marielle Jakobsons. Mathews is considered to be the “father of computer music” and his career spanned over five decades and continued up until the last days before he passed away earlier this year. The tribute brought together the technologies that Mathews pioneered and his love of classical music. It began with a recording of his 1971 piece Improvisations for Olympiad, set against images of Mathews’ long career and time with family and friends. In the piece, one can hear how far computer-music technology had advanced since the 1950s, in large part do to his own work (though it still hard to fathom that the piece was done using punch cards). The photos demonstrated how much he was loved by the community around him – many featured familiar faces from CCRMA at Stanford, where he had most recently worked.


[Diane Douglass and Marielle Jakobsons. Photo: PeterBKaars.com.]

Jakobsons then presented a personal tribute in the form of a new piece, Theme and Variations on Beethoven’s String Quartet No. 4 For Violin and Phaser Filters. Jakobsons had worked with Mathews on his Phaser Filters, a technology for live performance based on tuned resonances. With Diane Douglass on computer, Jakobsons performed on violin, with the familiar classical sounds blending seamlessly with the rich sounds from the filter technology.

Next up was Area C, a project of Erik J. Carlson. Carlson’s performance featured live looping of electric guitar and a variety of analog and digital effects, which were output via two guitar amps.

[Area C. Photo: PeterBKaars.com.]

Although the piece unfolded as a series of loops of small melodic and rhythmic figures on the guitar that were processed and re-looped, the overall texture of the music gave the impression of an ever evolving drone, not unlike something we might do at the Droneshift but with less strict rules and more opportunity for bits of texture to emerge.

After an intermission, the concert resumed with 0th, a “collective of four female artists, Jacqueline Gordon, Amanda Warner, Canner Mefe, and Caryl Kientz” presenting a live-performance piece Deep Blue Space: Factories and Forests. The performers were scattered at the edges of the stage, with a large lit hemisphere in the center, and an array of base drums in front. Behind them, a large video was projected. Additional unnamed performers beyond the quartet contributed to the dance elements. Costuming was also an important part of the piece, with interesting outfits and one performer sporting a pyramid-shaped hat.


[Setting up for 0th. Big bubble in the middle stage. And bass drums in front. #sfemf ]

Their performance was based on a fictional story that followed the exploits of the chess-playing supercomputer Deep Blue on a satellite that leaves Earth orbit and heads to the asteroid belt. The performance unfolded with a series of very punctuated sounds set against very deliberate motions with frequent pauses. The overall effect was mechanized and robotic, enhanced by the industrial imagery in the video. This was of course appropriate given the theme of machines in the underlying story.


[0th. Photo: PeterBKaars.com.]

Towards the end of the piece, several of the performers moved into place at the front of the stage, each behind one of the base drums and they began to strike the pedals in unison, a loud stream of slow rhythmic thumps against the electronic sounds spread in the background.

The final performance featured a collaboration by Yoshi Wada and Tashi Wada on a piece entitled Frequency Responses: 2011. The piece explored the interactions of the timbres of a variety of instruments and devices that can sustain long tones, such as a bagpipe, sirens, and old analog oscillators. It begin with jarring sound of an alarm bell but quickly settled into a steady state with an ever changing combination of sounds and instruments. Yoshi Wada, a veteran of Fluxus, frequently played the bagpipe during the piece. Tashi Wada remained behind the main table focused on a variety of electronic elements.


[Yoshi Wada and Tashi Wada. Photo: PeterBKaars.com.]

The equipment and overall texture of the piece evoked the early experiments in electronic music, and brought the concert full circle from its starting point with the tribute to Max Mathews. Although the interaction of the timbres could sometimes be rather intense, the focus on this element and listening for beating patterns on other details was quite meditative.

I think my live tweet “An exploration of very long tones ends in a major harmony #sfemf” is a fitting end for this review. Overall another strong concert.

CatSynth video: circuit bent doomsday device analog synth

From SuperRoss007 on YouTube, via matrixsynth:

Warning: the sound from this circuit-bent device is quite loud and high-pitched. But the cat seems quite nonchalant about the whole thing, casually cleaning herself/himself during the performance.

Luna is a bit like that as well when I fire up even the more esoteric musical gear.