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Trax (1997/2010)
Douglas Edric Stanley
Trax est un jeu d'écriture musicale combinatoire. S'inspirant à la fois du modélisme ferroviaire et de la composition minimaliste des années 60, Trax propose un espace de construction ludique où le joueur compose des réseaux de pistes bifurquantes qui forment au final un enchevêtrement simple mais complexe de potentiel musicale. En plaçant ensuite des notes, des trains et des sémaphores, une modulation mélodique émerge, que l'on peut qualifier plus généralement de musique algorithmique.
Trax sera présenté au festival Gamerz sous la forme d'un prototype jouable sur iPad.
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Trax is a combinatorial sound toy. Mixing model railroads and 1960's minimalist composition, Trax allows players to build up circular networks of bifurcating rails that branch out into both simple and complex combinations of musical possibility. By placing notes, “tranes”, and semaphores into this ludic rail yard, a modular melody emerges, otherwise known as algorithmic music.
Trax will be exhibited at the Festival Gamerz as a playable prototype for iPad.
Gregory Galperin at the pool tables in the Martin Luther King, Jr. University Union on the campus of Eastern Illinois University in Charleston, Illinois on November 2, 2012. (Jay Grabiec)
Authors: Greg Cooksey and Albert Folch (Univ. Washington, Bioeng. Dept.)
Digital negative of a micrograph of four PDMS microvalves.
For details, see Cooksey, G.A., Sip, C.G., and Folch, A., "A multi-purpose microfluidic perfusion system with combinatorial choice of inputs, mixtures, gradient patterns, and flow rates", Lab on a Chip 9, 417 (2009).
Gregory Galperin at the pool tables in the Martin Luther King, Jr. University Union on the campus of Eastern Illinois University in Charleston, Illinois on November 2, 2012. (Jay Grabiec)
I have given this talk several times and I drew this picture by taking a map from a zoo and adding several combinatorial objects.
Professor Berlekamp (playing on the right, facing us) has written several books on combinatorical game theory, including the book Mathematical Go
D is for Designs, of the Combinatorial sort. I study Design Theory (and its links to coding theory, finite geometry, and graph theory). What is a design, you may ask? Well it's... a thing... that's mathematical... I guess I'll define it on my blog if you're really interested!
Check out my photo-a-day blog entry at Cliffs and Ruins! If you like my photos, please visit my photo store: David Clark Photography. © David Clark, all rights reserved.
A panorama constructed from 3 shots. A tighter crop than the previous one with some of the colour brought back up.
Must view on black
geop_0028256
Im Focus hier zwei Dokumente, Zitate, aus Harrison, "Kosmologie - Die Wissenschaft vom Universum" — Weltlinien, Lichtkegel. Zeigen bzw. sich zeigen auf kosmologisch/naturwissenschafltichem Level.
Auf den Pattern neben der üblichen Kritzelstreu, Graphiken einer 2D-Projketion eines 4Dimensionalen Würfels Ausschnitte der Botschaft ans All, die mit den Voyager-Sonden in den Raum jenseits des Sonnensystems reist, und die Oberflächen von Himmelskörpern mit Kratern.
Zeigebojen des mittleren Mobiles.
Die Lichtgeschwindigkeit begrenzt, was sich uns überhaupt zeigen kann, so wie alles, was wir überhaupt mitteilen können.
© Fleur Augustinus / transmediale
Part 1: Trapped and Tracked
A presentation of artistic projects between public exposure and social atomisation after Web 2.0.
With (left to right): moderator Geoff Cox (gb)
Aymeric Mansoux (fr/nl) – Naked on Pluto; Johannes P Osterhoff (de) – One-Year Google Performance
After the emergence of Web 2.0, analysing the topology and the effects of artistic and hacktivist practices both offline and online implies a reflection on power structures, networking methodologies as well as on the tension between increasing connectivity and virtualisation of social relationships. The progressive involvement of users in the production process generates new possibilities of peer interaction, but also of hierarchical control and intimate atomisation. It becomes necessary to rethink the meaning of critical strategies in contexts of networking, not only exposing the possible scenarios of networked dystopias, but also proposing a new path for political actions based on the recognition of distributed subjectivities.
Aymeric Mansoux (fr/nl) – Naked on Pluto
Naked on Pluto proposes a playful yet disturbing online game world, which parodies the insidiously invasive traits of "social software". The city of "Elastic Versailles" is animated by the quirky combinatorial logics of a community of bots that glean Facebook data from the players. Naked on Pluto caricatures the proliferation of virtual agents that harvest our personal data to insidiously reshape our online environments and profiles, highlighting the ambivalent hallmarks of major social networks: friends as quantifiable and commodifiable online assets, personas carefully fashioned contrived to impart a sense of "intimacy", and disingenuous publishing of "private" data as self-advertising.
Johannes P Osterhoff (Berlin) – One-Year Google Performance
From 1 January until 31 December 2011, Johannes P Osterhoff published all his search queries with the search engine Google in a One-year Performance piece called “Google”. A modified dictionary plug-in tracked most of his queries and the public list of his search results immediately was indexed by Google crawlers and made publicly available for search by everybody. Johannes P Osterhoff spammed Google for one year, gave up his privacy and tried to sell his Google queries for 99 cents each. All this ended up in the collaboration "Google – One Week Piece", that will be released by the artist for transmediale.
© Fleur Augustinus / transmediale
Part 1: Trapped and Tracked
A presentation of artistic projects between public exposure and social atomisation after Web 2.0.
With (left to right): moderator Geoff Cox (gb)
Aymeric Mansoux (fr/nl) – Naked on Pluto; Johannes P Osterhoff (de) – One-Year Google Performance
After the emergence of Web 2.0, analysing the topology and the effects of artistic and hacktivist practices both offline and online implies a reflection on power structures, networking methodologies as well as on the tension between increasing connectivity and virtualisation of social relationships. The progressive involvement of users in the production process generates new possibilities of peer interaction, but also of hierarchical control and intimate atomisation. It becomes necessary to rethink the meaning of critical strategies in contexts of networking, not only exposing the possible scenarios of networked dystopias, but also proposing a new path for political actions based on the recognition of distributed subjectivities.
Aymeric Mansoux (fr/nl) – Naked on Pluto
Naked on Pluto proposes a playful yet disturbing online game world, which parodies the insidiously invasive traits of "social software". The city of "Elastic Versailles" is animated by the quirky combinatorial logics of a community of bots that glean Facebook data from the players. Naked on Pluto caricatures the proliferation of virtual agents that harvest our personal data to insidiously reshape our online environments and profiles, highlighting the ambivalent hallmarks of major social networks: friends as quantifiable and commodifiable online assets, personas carefully fashioned contrived to impart a sense of "intimacy", and disingenuous publishing of "private" data as self-advertising.
Johannes P Osterhoff (Berlin) – One-Year Google Performance
From 1 January until 31 December 2011, Johannes P Osterhoff published all his search queries with the search engine Google in a One-year Performance piece called “Google”. A modified dictionary plug-in tracked most of his queries and the public list of his search results immediately was indexed by Google crawlers and made publicly available for search by everybody. Johannes P Osterhoff spammed Google for one year, gave up his privacy and tried to sell his Google queries for 99 cents each. All this ended up in the collaboration "Google – One Week Piece", that will be released by the artist for transmediale.
Steven Arthur Pinker the 57 year old Canadian-American Professor of experimental psychology and cognitive science has argued in his recent book ‘The Better Angels of Our Nature’ that human violence has fallen drastically over thousands of years. Pinker’s investigation of human violence, one of the base primal aspects of our lives, takes consideration of homicide rates and war casualties as a percentage of national populations. Pinker is renowned for his theory of language acquisition through his research on verbs, morphology and syntax. Pinker is said to have “popularized Noam chomsky’s work on language as innate faculty of mind, with the twist that this faculty evolved by natural selection as a Darwinian adaptation for communication.” Pinker’s work on human cognition suggests that combinatorial symbol manipulation has a significant part to play in the workings of cognition, not just associations among sensory features as many connectionist models argue.
© Fleur Augustinus / transmediale
Part 1: Trapped and Tracked
A presentation of artistic projects between public exposure and social atomisation after Web 2.0.
With (left to right): Aymeric Mansoux (fr/nl) – Naked on Pluto; Johannes P Osterhoff (de) – One-Year Google Performance
moderator: Geoff Cox (gb)
After the emergence of Web 2.0, analysing the topology and the effects of artistic and hacktivist practices both offline and online implies a reflection on power structures, networking methodologies as well as on the tension between increasing connectivity and virtualisation of social relationships. The progressive involvement of users in the production process generates new possibilities of peer interaction, but also of hierarchical control and intimate atomisation. It becomes necessary to rethink the meaning of critical strategies in contexts of networking, not only exposing the possible scenarios of networked dystopias, but also proposing a new path for political actions based on the recognition of distributed subjectivities.
Aymeric Mansoux (fr/nl) – Naked on Pluto
Naked on Pluto proposes a playful yet disturbing online game world, which parodies the insidiously invasive traits of "social software". The city of "Elastic Versailles" is animated by the quirky combinatorial logics of a community of bots that glean Facebook data from the players. Naked on Pluto caricatures the proliferation of virtual agents that harvest our personal data to insidiously reshape our online environments and profiles, highlighting the ambivalent hallmarks of major social networks: friends as quantifiable and commodifiable online assets, personas carefully fashioned contrived to impart a sense of "intimacy", and disingenuous publishing of "private" data as self-advertising.
Johannes P Osterhoff (Berlin) – One-Year Google Performance
From 1 January until 31 December 2011, Johannes P Osterhoff published all his search queries with the search engine Google in a One-year Performance piece called “Google”. A modified dictionary plug-in tracked most of his queries and the public list of his search results immediately was indexed by Google crawlers and made publicly available for search by everybody. Johannes P Osterhoff spammed Google for one year, gave up his privacy and tried to sell his Google queries for 99 cents each. All this ended up in the collaboration "Google – One Week Piece", that will be released by the artist for transmediale.
© Fleur Augustinus / transmediale
Part 1: Trapped and Tracked
A presentation of artistic projects between public exposure and social atomisation after Web 2.0.
With (left to right): moderator Geoff Cox (gb)
Aymeric Mansoux (fr/nl) – Naked on Pluto; Johannes P Osterhoff (de) – One-Year Google Performance
After the emergence of Web 2.0, analysing the topology and the effects of artistic and hacktivist practices both offline and online implies a reflection on power structures, networking methodologies as well as on the tension between increasing connectivity and virtualisation of social relationships. The progressive involvement of users in the production process generates new possibilities of peer interaction, but also of hierarchical control and intimate atomisation. It becomes necessary to rethink the meaning of critical strategies in contexts of networking, not only exposing the possible scenarios of networked dystopias, but also proposing a new path for political actions based on the recognition of distributed subjectivities.
Aymeric Mansoux (fr/nl) – Naked on Pluto
Naked on Pluto proposes a playful yet disturbing online game world, which parodies the insidiously invasive traits of "social software". The city of "Elastic Versailles" is animated by the quirky combinatorial logics of a community of bots that glean Facebook data from the players. Naked on Pluto caricatures the proliferation of virtual agents that harvest our personal data to insidiously reshape our online environments and profiles, highlighting the ambivalent hallmarks of major social networks: friends as quantifiable and commodifiable online assets, personas carefully fashioned contrived to impart a sense of "intimacy", and disingenuous publishing of "private" data as self-advertising.
Johannes P Osterhoff (Berlin) – One-Year Google Performance
From 1 January until 31 December 2011, Johannes P Osterhoff published all his search queries with the search engine Google in a One-year Performance piece called “Google”. A modified dictionary plug-in tracked most of his queries and the public list of his search results immediately was indexed by Google crawlers and made publicly available for search by everybody. Johannes P Osterhoff spammed Google for one year, gave up his privacy and tried to sell his Google queries for 99 cents each. All this ended up in the collaboration "Google – One Week Piece", that will be released by the artist for transmediale.
Solid-phase extraction (SPE) is a technique designed for rapid sample preparation and purification prior chromatographic analysis. You can optimize your SPE protocols by using SiliCycle SiliaPrep™ SPE Cartridges and Well Plates.
For your convenience, SiliaPrep are available in different formats; cartridges (SiliaPrep SPE Cartridges), and well plates (SiliaPrep 96 Well Plates) with various sorbents (SiliaFlash® and SiliaBond®), and bed weight (up to 20 grams). The well plates are used in high throughput combinatorial chemistry, drug discovery and screening, and metabolism pharmacokinetics applications and for automated method as multiprobe approach.
Bruce Chandler speaking at Wilhelm Magnus' 100th Anniversary. Bruce Chandler co-authored the book "The History of Combinatorial Group Theory: A Case Study in the History of Ideas" with Wilhelm Magnus. It was in page 121 of that book that I found a problem that had been open for over 30 years involving whether a particular family of one-relator groups discovered by Gilbert Baumslag in the 60's could have non isomorphic groups in it. I eventually solved the problem as a very small part of my PhD dissertation. More about what inspired my approach later.
Link to book here: amzn.to/3sKSDiv
Side comment:
So enthralled was I by the question raised in page 121 of Chandler and Magus' book that I chose to purchase a computer in order to do the calculations. At the time I had no idea I could use a computer on campus as my advisor had gone abroad for two years on a sabbatical and left me working on my thesis and I forgot to ask him for his email. So I bought a computer and chose to eat less for a while teaching upwards of 3 coursers per semester all over New York City in order to make ends meet. 2 years later I had solved the problems I set out to solve and in addition as a very small part of my thesis and thanks to a comment by Andre Weil (more about that later) I had established that the family of one-relator Parafree groups in page 121 of Chandler and Magnus's book were not all isomorphic. How things have changed for the better.
If you view the original version here you can pan back and forward across it to see the detail. In firefox you then have to click the image again to zoom in.