Uploaded on Dec 23, 2007
Maze is transformed to a tree and back again. Dead ends become the leaves of the tree.
I release this to public domain.
Mazes containing no loops are known as “standard”, or “perfect” mazes, and are equivalent to a tree in graph theory. Thus many maze solving algorithms are closely related to graph theory. Intuitively, if one pulled and stretched out the paths in the maze in the proper way, the result could be made to resemble a tree.
7 track album
A tree’s year rings are analysed for their strength, thickness and rate of growth. This data serves as basis for a generative process that outputs piano music. It is mapped to a scale which is again defined by the overall appearance of the wood (ranging from dark to light and from strong texture to light texture). The foundation for the music is certainly found in the defined ruleset of programming and hardware setup, but the data acquired from every tree interprets this ruleset very differently.
This record features seven recordings from different Austrian trees. They were generated on the Years installation in Vienna, January 2012.
This is really neat, and i could probably listen to this all day, but i would prefer to think that its the ruleset which interprets the data differently. I regard data itself as being completely inert and void of meaning. It is only with a program (hardware and software) that data can be interpreted and given meaning.
Notes about mindfulness:
Husserl talks about “natural attitude” (which constantly evaluates perceptions as ‘good for me’ or ‘bad for me’, pleasure or pain) and the “phenomenological attitude” (which is detached, impartial, non-judgmental perception and maps pretty well to “mindfulness”).
I kind of think the natural attitude could be *good.* Passionate, ardent, vibrant, urgent. Being a living organism with a self and a point of view. I’m trying to figure out what would be the reverse of mindfulness meditation, what makes you feel more intensely and be more involved in things. Because I can go at least partway down into no-mind (I think) but I’m really doubtful that it’s desirable. What I want is energy and will, and I don’t know where to get ‘em.
this sounds like a completely different approach to / understanding of vipassana from my own, because i was under the impression (based on the book “Mindfulness in Plain English”) that vipassana was all about the opposite of no-mind (which is a Zen thing; vipassana is older than Zen, i think) - that you were supposed to be focusing on your breath in order to become maximally attentive and embodied
in particular, if you find yourself falling asleep, you’re doing it wrong (as per the author of the above book)
anyway personally i find that (especially regular) mindfulness meditation significantly improves my energy level and refills my will meter
Excuse my ignorance on not knowing exactly what Hsurl talked about when it comes to “natural” and “phenomenological” attitudes, but i would like to provide my view on this matter.
Although the Vipassana attitude seems more naturally inline with the phenomenological attitude, i don’t think it is exclusive of characteristics of the “natural attitude”. The “natural-vipassana attitude” is like the natural attitude, but with the “me” removed. Vipassana is about the constant awareness of perceptions, while simultaneously detaching the self or ego from the experience. Notions of “good” and “bad” are often defined with respect to the self in a subjective manner. The aim of mindfulness in Vipassana is to experience things that we may otherwise attribute as “good” or “bad” in a more objective way. This experience itself is a mind-body phenomenon, and its difficult to be rigorous about what actual extent of no-mind should be exercised in the practice. Regardless, I think a reason why its difficult to delineate between the natural/phenomenological attitudes is because its difficult to inform our actions and experiences with the right balance of mind and no-mind.
Vipassana, or mindfulness in general, does not teach one to be numb or indifferent to our experiences. One can still be (com)passionate, ardent, and full of energy and will. I would actually claim that that mindfulness allows the individual to achieve higher degrees of any of these qualities, because in this way qualities are experienced in a purer way without the negative consequences of an ego-driven experience. A teacher once shared a quote something along the lines of “Practicing Vipassana not only makes the bad not so bad, but the good even better”. This seems kind of superficial on the surface, but it must be understood in the mindfulness context.
As for the opposite of mindfulness, that is experience driven by ego phenomenon: personal desires, cravings, and aversions. This is an easy mind set to adopt, and it seems to come along with the illusion of being more intensely involved with one’s experiences, yet it is a very dangerous and unhealthy way of living. In this way, i like to think of the “Vipassana attitude” as being the more natural attitude when compared to “natural attitude” that is defined with respect to the subjective self.
Also, i think the essential experience of ”no-mind”must be void of doubts and desires. It cannot be experienced any other way.
Obtaining ideal states of mindfulness (something which i do not claim to personally have myself) is difficult and requires practice. However, in such pursuit, i think it is important and necessary to arrive at these subtle observations you make regarding the practice and what it actually entails. May you continue to progress! : )
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Art of the Marbler
Film made in 1970 by Bedfordshire Record Office of Cockerell marbling.
The musical realm is a promising area in which to expect to find nontrivial topological structures. This paper describes several kinds of metrics on musical data, and explores the implications of these metrics in two ways: via techniques of classical topology where the metric space of all-possible musical data can be described explicitly, and via modern data-driven ideas of persistent homology which calculates the Betti-number bar-codes of individual musical works. Both analyses are able to recover three well known topological structures in music: the circle of notes (octave-reduced scalar structures), the circle of fifths, and the rhythmic repetition of timelines. Applications to a variety of musical works (for example, folk music in the form of standard MIDI files) are presented, and the bar codes show many interesting features. Examples show that individual pieces may span the complete space (in which case the classical and the data-driven analyses agree), or they may span only part of the space.
People naturally identify the rhythm of music as they tap their feet and sway in time with the beat. Underlying such motions is an act of cognition that is not easily reproduced in a computer program or automated by machine. ‘Rhythm and Transforms’ asks (and answers) the question: How can we build a device that can ‘tap its foot’ along with the music? The result is a tool for detecting and measuring the temporal aspects of a musical performance: the periodicities, the regularities (and irregularities), the beat, the rhythm. The impact of such a ‘rhythm meter’ on music theory and on the design of sound processing electronics is described. It allows discussion of the relationship between cognitive processing of temporal information and mathematical techniques used to describe and understand regularities in data.This book will interest engineers and others interested in the design of audio devices such as musical synthesizers, special effects devices, drum machines, and electronic keyboards. It will be useful to musicians and composers who exploit computer-based tools; arrangers, musicologists, and others interested in musical analysis; and those interested in the way the ear works, and how this influences the types of sound patterns we like to listen to.
Moon Watching I Big Bay Lagoon, Madeline Island, WI. 2014