An evocative sample from neither Anvil nor Pulley, the new @sopercussion disc out May 28. It’s an album length composition from composer Dan Trueman and I’m looking forward to hearing the whole thing. Look for it at the Cantaloupe Store, where it will be available in different packages:
A random used LP with a download code
Speaker driver used in the recording, with download code
A tether controller used in the realization of the piece, with download code and a link to custom playable software from Trueman (founder of the Princeton Laptop Orchestra)
“Background noise creates a distraction, but balance is key. A moderate level of background noise creates just enough distraction to break people out of their patterns of thinking and nudge them to let their imagination wander, while still keeping them from losing their focus on the project all together. This distracted focus helps enhance your creativity. The study’s authors explain that “getting into a relatively noisy environment may trigger the brain to think abstractly, and thus generate creative ideas.”—Research suggests the right amount of ambient noise increases creativity – which makes sense, considering the unconscious processing phase of ideation. (via explore-blog)
“I can’t tell you where a poem comes from, what it is, or what it is for: nor can any other man. The reason I can’t tell you is that the purpose of a poem is to go past telling, to be recognised by burning.”—A.R. Ammons (via poetryeater)
“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”—The Creative Act – Marcel Duchamp’s 1957 masterpiece, read by the artist himself. (via explore-blog)
1. Take a pencil to write with on aeroplanes. Pens leak. But if the pencil breaks, you can’t sharpen it on the plane, because you can’t take knives with you. Therefore: take two pencils.
2. If both pencils break, you can do a rough sharpening job with a nail file of the metal or glass type.
3. Take something to write on. Paper is good. In a pinch, pieces of wood or your arm will do.
4. If you’re using a computer, always safeguard new text with a memory stick.
5. Do back exercises. Pain is distracting.
6. Hold the reader’s attention. (This is likely to work better if you can hold your own.) But you don’t know who the reader is, so it’s like shooting fish with a slingshot in the dark. What fascinates A will bore the pants off B.
7. You most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there’s no free lunch. Writing is work. It’s also gambling. You don’t get a pension plan. Other people can help you a bit, but – essentially you’re on your own. Nobody is making you do this: you chose it, so don’t whine.
8. You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You’ve been backstage. You’ve seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break up.
9. Don’t sit down in the middle of the woods. If you’re lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page.
10. Prayer might work. Or reading something else. Or a constant visualization of the holy grail that is the finished, published version of your resplendent book.
“The knowledge I acquired through constant struggle was much more valuable to me than if it had been dispensed by a talkative, didactic professor intending to fill my head. Today’s education, with its crash courses, its CliffsNotes, its how-to videos, its Internet instant answers and its multitude of shortcuts gives the impression of winning the race against time, but what it really does is spread insidiously the frailties of artificialness. I have the certitude that although the sum of my autodidactic discoveries took a long time to crystallize, I did not lose any time. In fact, I won; the result remains solidly anchored inside me, and it will fuel my creativity for the rest of my life.”—Cheating the Impossible – wire-walker Philippe Petit on education, creativity, and the role of tenacity (via explore-blog)
“The big thing that’s changed has been the external environment of what it means to teach in university. Universities used to be communities; they used to be places where intellectual life really happened. They were also places where avant-garde stuff was happening. And that’s – in England anyway – completely ground to a halt. Universities are largely sold as factories for production of increasingly uninteresting, depressed people wandering around complaining. There’s been a middle-management take-over of our education, and it’s depressing. So universities, like the university I was at – Essex, which was a radical, experimental, small university, but had a bad reputation but did some great stuff – have become a kind of pedestrian, provincial university run by bureaucrats. That was one of the reasons why I got out when I got out in 2004.”—Fantastic interview with Simon Critchley, who writes The New York Times’s excellent philosophy blog The Stone and whose guides to how to read the classics remain indispensable. (via explore-blog)
[Helen Fisher’s] pioneering work into the neural substrates of love identified three distinct yet overlapping systems for love: the hypothalamus for lust, the ventral tegmental area (VTA) for romantic love and the ventral pallidum for attachment. And in terms of confusing love and lust, she says that the two are very closely aligned, both in experience and biology.
“These brain systems often work together, but I think it’s fair to say they often don’t work together too,” Fisher told me. “One might feel deep attachment for one partner, be in romantic love with another partner,and then be sexually attracted to many others. There’s overlap, but like a kaleidoscope, the patterns are different.”
And that kaleidoscope can change based on experience, age or other environmental factors. When I pressed on the lust/love question, she simply said that lust can turn into love—and vice versa (something that most of us know firsthand). But she couldn’t offer any concrete, nitty-gritty answer about how to tell the two apart.
“I ask him to think about what he really needs; when he tells me, I give him a little more. It buys me goodwill with this person; I feel good about what I’m paying them. I like to give people a little more than they want, and I like to ask people for a little less than they’re willing to give.”—Louis C.K. on his success in providing an alternative to The Man (via explore-blog)