The famous Bollywood composer A R Rahman has a series on Amazon Prime called Harmony with A R Rahman – “a curated exploration of the past and future of Indian music”. The second episode features Ustad Mohi Baha’Uddin Dagar. Check out the instrument HERE. Looks like a wild mix of ancient and Star Trek!
I watched an amazing movie last night. It is called The Seventh Walk. I subscribe to Mubi which shows a lot of the kinds of movies I love. Here is what Wikipedia says about Mubi:
Originally called The Auteurs, MUBI was founded in 2007 by Efe Çakarel, who began work on the business model for MUBI after being unable to watch In the Mood for Love online while in a café in Tokyo. In 2010, the company adopted the new name MUBI. MUBI is a curated streaming service, which offers an ever-changing collection of hand-picked films, introducing one new film each day.
The Seventh Walk. There is no dialog. The camera work is beautiful. The sound recording is spectacular… the sounds of drawing and painting, of walking, of bird and insects, wind, and water! And the music is enchanting.
You can also rent the film on Vimeo.
I found this song by the man who did the soundtrack of “The Seventh Walk” and listened to it this morning:
I can’t figure out what kind of instrument can go so high and so low.
I talked our friend Stephen Duros into putting his music on Bandcamp. Here is a link to his very nice remix of “Thira” from the album with the same name: THIRA (Tranquil Club Mix).
Shades of Summer is Stephen’s newest piece. Check it out.
From time to time a small fox sleeps under a small roof overhang outside the clerestory window above my bathroom. It always comes toward daybreak and stays until noon. I can’t figure out how it climbs up on the roof but I don’t chase it away like the family of raccoons that came a few months ago. I had begun to wonder how the little fox was doing and was pleased to see it today.
I am learning how to use a program called Live, made by a company called Ableton. Ableton is headquartered in Berlin and consists of 350 people from 30 different countries. The software has been around for almost twenty years and for much of that time I have used it for really simple things, like taking a drum performance and slowing it down, or speeding it up. In the lingo of Live this is called warping.
Last year I started looking at what my next studio might look like. I have always used ProTools for recording, mixing, and mastering and that’s the software I am most comfortable with. I am pretty sure christmas + santa fe, released in 2000, was the first album I recorded with ProTools. I am using a very old version of the software, 6.9.1, because that’s all my old studio computer can handle. At some point I will have to switch to a newer computer, which is why I am thinking about my next computer as well as the software that I might use. I looked into Logic, but it feels like software for a keyboard player. Great for a person who uses MIDI, but I don’t use MIDI. I installed Luna, but that didn’t feel right to me either. Perhaps I am simply too used to ProTools and therefore I can’t see the possibilities of the other applications. This might be so. However, with Live I do see new possibilities.
In the last few weeks and months I watched a whole bunch of videos on how to use Live and try to work with the app for a few hours every day. Slowly, I understand it a little more. The software might not work as well for audio editing as ProTools does, but I want to try to record “slow2” with it. There is no better way to learn a method than by using it.
Today I messaged Jon that it might be easier for me to work with Live if I had a nice, big external monitor – because Live feels very dense on my laptop. There is a lot packed into the screen space. Our chat turned from huge screens for computers to using goggles instead because they would use less resources… once they exist. Jon wrote that one might need a larger mouse for a huge screen. I replied that it should be called an elephant. Then I wrote that it would be even better if I didn’t have to sit at a computer. If there were cameras in the room, connected to the computer, I could indicate the amount using the space between thumb and finger. Jon mentioned wanting to be able to conduct the software, rather than having to write automation.
Then I mentioned that Brian Eno said in an interview that computers didn’t have enough Africa in them. That led to this TED talk about Fractals at the Heart of African Designs. The talk explains that binary fractal code was used in Africa and then…
In the 12th century, Hugo of Santalla brought it from Islamic mystics into Spain. And there it entered into the alchemy community as geomancy: divination through the earth. This is a geomantic chart drawn for King Richard II in 1390. Leibniz, the German mathematician, talked about geomancy in his dissertation called “De Combinatoria.” And he said, “Well, instead of using one stroke and two strokes, let’s use a one and a zero, and we can count by powers of two.” Right? Ones and zeros, the binary code. George Boole took Leibniz’s binary code and created Boolean algebra, and John von Neumann took Boolean algebra and created the digital computer. So all these little PDAs and laptops — every digital circuit in the world — started in Africa. And I know Brian Eno says there’s not enough Africa in computers, but you know, I don’t think there’s enough African history in Brian Eno.
There you have it. Africa is at the heart of computers.
