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<feed xmlns="http://www.w3.org/2005/Atom"><title>Gavin Gamboa</title><subtitle>digital garden 🌱 personal wiki 🗂 music · composer &amp; pianist ✷ code · visual art &amp; software</subtitle><link href="https://gavart.ist/atom.xml" rel="self"></link><link href="https://gavart.ist"></link><author><name>undefined</name></author><id>294efa16-2f07-63a2-615f-1e56cabcde55</id><updated>2026-05-16T14:46:33</updated><entry><title>Berceuse</title><link href="https://gavart.ist/#Berceuse"></link><link href="https://gavart.ist/static/Berceuse.html" rel="alternative" type="text/html"></link><id>baeb3c4d-b518-3cdf-7e8b-943ebe22860a</id><updated>2026-05-16T14:44:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Gavin Gamboa, piano</h2><h2 class="">Recorded at the home of Christina Meißner<br></br>Weimar, Thuringia, Germany<br></br>2025 May 8 </h2></div></content><author><name>undefined</name></author></entry><entry><title>Two Views From Mount Eden</title><link href="https://gavart.ist/#Two%20Views%20From%20Mount%20Eden"></link><link href="https://gavart.ist/static/Two%2520Views%2520From%2520Mount%2520Eden.html" rel="alternative" type="text/html"></link><id>facddddd-2e2e-0a38-aa8f-dac5ad50bb77</id><updated>2026-05-16T14:01:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded live at The Civic<br></br>Auckland, New Zealand<br></br>2014 April 10</h2><h2 class="">Artwork<br></br><em>‘Stalagmites — Stalactites’</em><br></br>Theo Schoon<br></br>1964</h2></div></content><author><name>undefined</name></author></entry><entry><title>Artist Corporations • A-Corp</title><link href="https://gavart.ist/#Artist%20Corporations%20%E2%80%A2%20A-Corp"></link><link href="https://gavart.ist/static/Artist%2520Corporations%2520%25E2%2580%25A2%2520A-Corp.html" rel="alternative" type="text/html"></link><id>9c5a8b25-ac29-6dd8-b644-5e6aaabb2159</id><updated>2026-05-14T20:25:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Practicing</title><link href="https://gavart.ist/#Practicing"></link><link href="https://gavart.ist/static/Practicing.html" rel="alternative" type="text/html"></link><id>eafbe946-1250-13f3-98a9-6138f66e7c46</id><updated>2026-05-14T08:51:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kurt Weill • Intermezzo (Live Studio)</title><link href="https://gavart.ist/#Kurt%20Weill%20%E2%80%A2%20Intermezzo%20(Live%20Studio)"></link><link href="https://gavart.ist/static/Kurt%2520Weill%2520%25E2%2580%25A2%2520Intermezzo%2520(Live%2520Studio).html" rel="alternative" type="text/html"></link><id>0b5b7567-0065-9669-f0f4-00640a7cc0b3</id><updated>2026-05-13T22:53:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Intermezzo for piano</title><link href="https://gavart.ist/#Intermezzo%20for%20piano"></link><link href="https://gavart.ist/static/Intermezzo%2520for%2520piano.html" rel="alternative" type="text/html"></link><id>a42fa629-253e-cb00-8925-25d3ddeae8fe</id><updated>2026-05-13T22:51:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kurt Weill · Intermezzo</title><link href="https://gavart.ist/#Kurt%20Weill%20%C2%B7%20Intermezzo"></link><link href="https://gavart.ist/static/Kurt%2520Weill%2520%25C2%25B7%2520Intermezzo.html" rel="alternative" type="text/html"></link><id>54121ed5-32a8-d837-e8e1-9e546b3a5aa1</id><updated>2026-05-13T22:51:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Intermezzo%20for%20piano">Intermezzo for piano</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Quotations</title><link href="https://gavart.ist/#Quotations"></link><link href="https://gavart.ist/static/Quotations.html" rel="alternative" type="text/html"></link><id>eb8f9a9e-c388-15aa-8ed8-1682de0c6e18</id><updated>2026-05-13T16:00:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>A growing collection of quotations …</code></p><p><button class="" title="New Quotation"><svg class="tc-image-quote tc-image-button" height="22pt" viewBox="0 0 128 128" width="22pt"><path d="M51.219 117.713V62.199H27.427c0-8.891 1.683-16.401 5.047-22.53 3.365-6.127 9.613-10.754 18.745-13.878V2c-7.45.961-14.36 3.184-20.728 6.669-6.368 3.484-11.835 7.87-16.401 13.157C9.524 27.113 5.98 33.241 3.456 40.21.933 47.18-.21 54.63.03 62.56v55.153H51.22zm76.781 0V62.199h-23.791c0-8.891 1.682-16.401 5.046-22.53 3.365-6.127 9.613-10.754 18.745-13.878V2c-7.45.961-14.359 3.184-20.727 6.669-6.369 3.484-11.836 7.87-16.402 13.157-4.566 5.287-8.11 11.415-10.634 18.384-2.523 6.97-3.665 14.42-3.424 22.35v55.153H128z" fill-rule="evenodd"></path></svg> Add New</button></p><p>🗂️  <code class="hideOnMobile">Sort</code> 
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</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Ray's Miscellany · Webring List</title><link href="https://gavart.ist/#Ray's%20Miscellany%20%C2%B7%20Webring%20List"></link><link href="https://gavart.ist/static/Ray's%2520Miscellany%2520%25C2%25B7%2520Webring%2520List.html" rel="alternative" type="text/html"></link><id>4c7389ba-34d8-2a29-d3c8-7461c9ba3fcf</id><updated>2026-05-12T19:51:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>human.json</title><link href="https://gavart.ist/#human.json"></link><link href="https://gavart.ist/static/human.json.html" rel="alternative" type="text/html"></link><id>1560b3b5-c8e2-2d10-7442-0ef629451a4c</id><updated>2026-05-12T19:49:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Claudine Chionh</title><link href="https://gavart.ist/#Claudine%20Chionh"></link><link href="https://gavart.ist/static/Claudine%2520Chionh.html" rel="alternative" type="text/html"></link><id>5f7cb89a-0a2d-c60a-e09b-05f16ec192e0</id><updated>2026-05-11T20:35:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>RAVE Training</title><link href="https://gavart.ist/#RAVE%20Training"></link><link href="https://gavart.ist/static/RAVE%2520Training.html" rel="alternative" type="text/html"></link><id>c8aea479-6649-757a-a9e0-b0193992ddfe</id><updated>2026-05-11T20:22:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>HHMD</title><link href="https://gavart.ist/#HHMD"></link><link href="https://gavart.ist/static/HHMD.html" rel="alternative" type="text/html"></link><id>97474111-3dc1-24aa-4c30-ede12c134d5d</id><updated>2026-05-11T18:32:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Interesting Websites</title><link href="https://gavart.ist/#Interesting%20Websites"></link><link href="https://gavart.ist/static/Interesting%2520Websites.html" rel="alternative" type="text/html"></link><id>d26da31a-6bff-4910-ea0f-2ca31e04fa27</id><updated>2026-05-11T18:32:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Blogroll</title><link href="https://gavart.ist/#Blogroll"></link><link href="https://gavart.ist/static/Blogroll.html" rel="alternative" type="text/html"></link><id>e56c2051-5002-13f9-a32c-77ebd991aeb8</id><updated>2026-05-11T09:09:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ye Olde Blogroll</title><link href="https://gavart.ist/#Ye%20Olde%20Blogroll"></link><link href="https://gavart.ist/static/Ye%2520Olde%2520Blogroll.html" rel="alternative" type="text/html"></link><id>68e2f25b-5ec3-d3d4-b322-7673200a506f</id><updated>2026-05-11T09:09:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>bubbles.town</title><link href="https://gavart.ist/#bubbles.town"></link><link href="https://gavart.ist/static/bubbles.town.html" rel="alternative" type="text/html"></link><id>e9986f7f-6e3d-1147-1c66-907d2600a87c</id><updated>2026-05-11T09:08:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Slash Pages</title><link href="https://gavart.ist/#Slash%20Pages"></link><link href="https://gavart.ist/static/Slash%2520Pages.html" rel="alternative" type="text/html"></link><id>5bb82606-c80b-808a-9e03-91f80ab49cfb</id><updated>2026-05-11T08:03:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>BurgeonLab</title><link href="https://gavart.ist/#BurgeonLab"></link><link href="https://gavart.ist/static/BurgeonLab.html" rel="alternative" type="text/html"></link><id>b6a4cddf-9371-0139-f451-2d3816b388ca</id><updated>2026-05-11T07:33:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>micro.blog</title><link href="https://gavart.ist/#micro.blog"></link><link href="https://gavart.ist/static/micro.blog.html" rel="alternative" type="text/html"></link><id>113c9682-3e5e-fc7e-a86d-e13b7590869d</id><updated>2026-05-11T07:33:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>IndieKit</title><link href="https://gavart.ist/#IndieKit"></link><link href="https://gavart.ist/static/IndieKit.html" rel="alternative" type="text/html"></link><id>cd0bc8ba-0a61-0428-8511-66320a23665a</id><updated>2026-05-11T07:33:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>IndieWeb</title><link href="https://gavart.ist/#IndieWeb"></link><link href="https://gavart.ist/static/IndieWeb.html" rel="alternative" type="text/html"></link><id>a14290ee-9c9d-db44-7fed-e337535bc094</id><updated>2026-05-11T07:32:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Plot 田</title><link href="https://gavart.ist/#Plot%20%E7%94%B0"></link><link href="https://gavart.ist/static/Plot%2520%25E7%2594%25B0.html" rel="alternative" type="text/html"></link><id>a4058c01-7be0-9810-9c51-22dae58ced7c</id><updated>2026-05-09T11:49:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Galaxy brain resistance</title><link href="https://gavart.ist/#Galaxy%20brain%20resistance"></link><link href="https://gavart.ist/static/Galaxy%2520brain%2520resistance.html" rel="alternative" type="text/html"></link><id>cf1853d5-b70c-756e-88e4-78f50dbe21fb</id><updated>2026-05-09T11:40:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote"><h3 class="">One way to deal with arguments like the above is to deal with them as mathematical objects in a philosophy class, try to identify the specific premises or steps that you disagree with, and come up with refutations. But a more realistic approach is to notice that, <strong>in the real world, arguments like the above are almost always not reasoning - they are rationalization.</strong></h3><p>The speaker <em>first</em> came to their conclusion, likely for self-interested or emotional reasons (being a bagholder of the token, or really really hating that ethnic group), and then they came up with fancy arguments that supposedly show why they are justified. The purpose of the fancy arguments is (i) to trick the speaker's own higher mind into following the lead of their base instincts, and (ii) to try to grow the movement by getting not just the deluded, but also vErY smArT pEopLe (or worse, actually smart people) on board.
</p></blockquote><h2 class="">Patterns of argumentation and reasoning that are low in galaxy brain resistance</h2><ul><li>Inevitablism</li><li>Longtermism</li><li>Bad excuses for banning things for personal aesthetic reasons</li><li>Apologia for bad finance</li><li>Power maximization</li><li>I'm-doing-more-from-within-ism</li></ul><h2 class="">How to avoid galaxy braining yourself</h2><h3 class="">Have principles</h3><blockquote class="tc-quote"><p>Have hard rules of what you're not willing to do - don't kill innocent people, don't steal, don't defraud, respect people's personal freedom - and have a very high bar for considering any exceptions.
</p></blockquote><p>Philosophers generally call this <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deontology">deontological ethics</a>. </p><blockquote class="tc-quote"><p>One form of deontology that many people follow is <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rule%20utilitarianism">rule utilitarianism</a>: choose rules based on what leads to the greatest good, but when it comes time to choose individual actions, <em>just follow the rules you've already chosen.</em>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Bookmarks</title><link href="https://gavart.ist/#Bookmarks"></link><link href="https://gavart.ist/static/Bookmarks.html" rel="alternative" type="text/html"></link><id>7a69d6b2-7362-b480-11a2-a09c56e04bce</id><updated>2026-05-05T22:56:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="dynamic-table">
  
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      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cryptocurrency">Cryptocurrency</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#CSS">CSS</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cuisine">Cuisine</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cybernetics">Cybernetics</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cybersecurity">Cybersecurity</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#DAOs">DAOs</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Data%20Visualization">Data Visualization</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Decentralized">Decentralized</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Decolonization">Decolonization</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#DeFi">DeFi</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Degrowth">Degrowth</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Democracy">Democracy</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#DevOps">DevOps</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ecology">Ecology</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Education">Education</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Engineering">Engineering</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Environment">Environment</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ethereum%20%C2%B7%20EVM">Ethereum · EVM</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fashion">Fashion</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fediverse">Fediverse</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Film">Film</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Finance">Finance</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#FOSS">FOSS</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fragrance">Fragrance</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Frontend">Frontend</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Furniture">Furniture</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Garden">Garden</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Generative%20AI">Generative AI</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Google%20Colab">Google Colab</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#GPT">GPT</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Graphic%20Design">Graphic Design</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hardware">Hardware</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Health">Health</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#History">History</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hypertext%20History">Hypertext History</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Image%20Processing">Image Processing</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Immersive%20Audio">Immersive Audio</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#IndieWeb">IndieWeb</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Interesting%20Websites">Interesting Websites</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Internet%20Search">Internet Search</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Interview">Interview</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Javascript">Javascript</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Journalling">Journalling</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Language">Language</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Law">Law</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Learning">Learning</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Linux">Linux</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Literature">Literature</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Live%20Coding">Live Coding</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Machine%20Learning">Machine Learning</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Materials%20Science">Materials Science</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mathematics">Mathematics</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Media">Media</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Memes">Memes</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Model%20Context%20Protocol">Model Context Protocol</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Multi-Tasking">Multi-Tasking</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Music%20Curiosities">Music Curiosities</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Music%20Genre">Music Genre</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Music%20Journalism">Music Journalism</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Music%20Scholarship">Music Scholarship</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nature">Nature</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Newsletter">Newsletter</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NFTs">NFTs</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera%20%26%20Musical%20Theater">Opera &amp; Musical Theater</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Operating%20System">Operating System</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Permacomputing">Permacomputing</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Permaweb">Permaweb</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Philosophy">Philosophy</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Photography">Photography</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Physics">Physics</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PKM">PKM</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Podcast">Podcast</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Politics">Politics</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Print">Print</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Privacy">Privacy</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Pro%20Audio">Pro Audio</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Psychedelics">Psychedelics</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Public%20Domain">Public Domain</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Radio">Radio</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rationality">Rationality</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Record%20Label">Record Label</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Repair">Repair</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Research">Research</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Residencies">Residencies</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rhinoceros">Rhinoceros</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sample%20Libraries">Sample Libraries</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Science%20Fiction">Science Fiction</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Smart%20Contract">Smart Contract</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Solarpunk">Solarpunk</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sound%20Design">Sound Design</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Text%20Art">Text Art</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Travel">Travel</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Troubleshoot">Troubleshoot</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Twitter%20Threads">Twitter Threads</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Typography">Typography</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Venues">Venues</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Video">Video</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Video%20Artist">Video Artist</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Video%20Games">Video Games</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Virtual%20Instrument">Virtual Instrument</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Web3">Web3</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Webmentions">Webmentions</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Well-Being">Well-Being</a>
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    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wiki">Wiki</a>
    </span>
  
    <span class="bookmark-item">
      <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Zero%20Knowledge">Zero Knowledge</a>
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Cycle of Apples</title><link href="https://gavart.ist/#Cycle%20of%20Apples"></link><link href="https://gavart.ist/static/Cycle%2520of%2520Apples.html" rel="alternative" type="text/html"></link><id>e074dca0-a000-cbd3-dc27-256ad664f218</id><updated>2026-05-05T17:29:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="true" frameborder="0" src="https://player.vimeo.com/video/346865209?title=0&amp;byline=0&amp;portrait=0" width="640"></iframe>
</div></p><h3 class=""><strong>Title</strong>: Cycle of Apples دورة التفاح<br></br><strong>Director</strong>: <a class="tc-tiddlylink-external" href="https://malsaati.wordpress.com/" rel="noopener noreferrer" target="_blank">Maha Al-Saati</a><br></br><strong>Composer</strong>: Gavin Gamboa, et al.<br></br><strong>Release Date</strong>: 2019<br></br></h3><p>This film is an exploration of the Princess myth imposed on women. Set in a Disney-esque island populated by obedient princesses, unfolds a fairytale gone wrong. Snow White forms a friendship with a talking ram, but fearing that death will keep them apart, she seeks the apple of eternal life to avoid their inevitable separation.</p><p>في عالم اشبه بديزني تسكنه النساء ، تصادق سنووايت كبشا متحدثا. عندما تخشى أن يفرقهما الموت، تسعى للحصول على تفاحة الحياة الأبدية. يصور الفلم نساء عالقات في أدوار فرضت عليهن بسبب أسطورة التفاحة: من فاكهة محرمة تعد بالحياة الأبدية، إلى سم أعطته ساحرة لإهلاك سنووايت.</p><hr></hr><h3 class="">Official Selections:</h3><ul><li>The 14th Mizna Twin Cities Arab Film Festival, Minnesota, MN, 26-29 Sep 2019: Sisters, Mothers, Friends, Lovers: A Collection of Shorts</li><li>The 10th Oaxaca FilmFest X , Mexico, 4-10 Oct, 2019</li><li>NewFilmmakers Los Angeles (NFMLA) Film Festival InFocus Arab Cinema Event in partnership with The Academy of Motion Picture Arts and Sciences, LA, 14 Dec, 2019</li><li>The 25th SPE Media Festival, Houston, TX, (6-7 March 2020)</li><li>Beirut International Women Film Festival (BWFF) (8-14 March 2020 ) Virtual</li><li>The 15th Arab Film Festival at the Arab American National Museum, Dearborn, MI (October / November, 2020). Virtual</li><li>Malmo Arab Film Festival, Shorts Package 4, Sweden, 8-13 Oct 2020</li><li>HollyShorts 9-15 November 2020</li></ul><p> </p><p><img src="./files/img/posters/cycle-of-apples.jpg" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Blue Labyrinths</title><link href="https://gavart.ist/#Blue%20Labyrinths"></link><link href="https://gavart.ist/static/Blue%2520Labyrinths.html" rel="alternative" type="text/html"></link><id>6ce2ca26-b0f2-f8be-302e-237bb3b83dda</id><updated>2026-05-05T13:03:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ælfgifu of Shaftesbury</title><link href="https://gavart.ist/#%C3%86lfgifu%20of%20Shaftesbury"></link><link href="https://gavart.ist/static/%25C3%2586lfgifu%2520of%2520Shaftesbury.html" rel="alternative" type="text/html"></link><id>16969817-d76a-14f2-ac50-6a1318b25215</id><updated>2026-05-05T10:15:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ælfgifu of Northampton</title><link href="https://gavart.ist/#%C3%86lfgifu%20of%20Northampton"></link><link href="https://gavart.ist/static/%25C3%2586lfgifu%2520of%2520Northampton.html" rel="alternative" type="text/html"></link><id>171875bc-4d62-c943-0a62-c8a4e6a4fdd6</id><updated>2026-05-05T10:14:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Live Performance</title><link href="https://gavart.ist/#Live%20Performance"></link><link href="https://gavart.ist/static/Live%2520Performance.html" rel="alternative" type="text/html"></link><id>cb662f95-039a-db13-631d-9b6292ad68c1</id><updated>2026-05-05T00:04:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">All</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Concerts</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Live Streams</button>  • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Poster Grid</button></h3><p></p></div></content><author><name>undefined</name></author></entry><entry><title>World Wide Web</title><link href="https://gavart.ist/#World%20Wide%20Web"></link><link href="https://gavart.ist/static/World%2520Wide%2520Web.html" rel="alternative" type="text/html"></link><id>47324bb6-69e3-3ff1-8ed0-2e4361ad9c99</id><updated>2026-05-05T00:03:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden"><div class="row"> 
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>JoAnn Kane Music</title><link href="https://gavart.ist/#JoAnn%20Kane%20Music"></link><link href="https://gavart.ist/static/JoAnn%2520Kane%2520Music.html" rel="alternative" type="text/html"></link><id>df828f26-2d8d-0aff-60f9-7e9cdb8b89f1</id><updated>2026-05-04T13:35:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Creative Studio</title><link href="https://gavart.ist/#Creative%20Studio"></link><link href="https://gavart.ist/static/Creative%2520Studio.html" rel="alternative" type="text/html"></link><id>c659e69c-0160-4fb6-17b7-dd22a07bdc6b</id><updated>2026-05-04T13:34:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Æneid</title><link href="https://gavart.ist/#The%20%C3%86neid"></link><link href="https://gavart.ist/static/The%2520%25C3%2586neid.html" rel="alternative" type="text/html"></link><id>fbf44972-d170-606f-75ba-4dcbde8ed095</id><updated>2026-05-03T23:01:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img>
</p><p class="digitalGarden">Caught into life, in fiery fumes they rise,<br></br>And, fed with stronger food, invade the skies. (10)<br></br><br></br>✴︎<br></br><br></br>What greater ills hereafter can you bear ?<br></br>Resume your courage and dismiss your care,<br></br>An hour will come, with pleasure to relate<br></br>Your sorrows past, as benefits of Fate (11)<br></br><br></br>✴︎<br></br><br></br>A love so violent, so strong, so sure,<br></br>As neither age can change, nor art can cure. (28)<br></br><br></br>✴︎<br></br><br></br>Th' unhappy queen with talk prolong'd the night,<br></br>And drank large draughts of love with vast delight. (30)<br></br><br></br>✴︎<br></br><br></br>Some hostile god, for some unknown offence,<br></br>Had sure bereft my mind of better sense;<br></br>For, while thro' winding ways I took my flight,<br></br>And sought the shelter of the gloomy night,<br></br>Alas! Creüsa: hard to tell<br></br>If by her fatal destiny fell,<br></br>Or weary sate, or wander'd with affright;<br></br>But she was lost for ever to my sight.<br></br>I knew not, or reflected, till I meet<br></br>My friends, at Ceres' now deserted seat.<br></br>We met: not one was wanting; only she<br></br>Deceiv'd her friends, her son, and wretched me. (61)<br></br><br></br>✴︎<br></br><br></br>Friends daily flock; and scarce the kindly spring<br></br>Began to clothe the ground, and birds to sing, (68)<br></br><br></br>✴︎<br></br><br></br>Thus having said, the sacrifices, laid<br></br>On smoking altars, to the gods he paid:<br></br>A bull, to Neptune an onlation due,<br></br>Another bull to bright Apollo slew;<br></br>A milk-white ewe, the western winds to please,<br></br>And on coal-black to calm the stromy seas. (72)<br></br><br></br>✴︎<br></br><br></br>Those gods whom I from flaming Troy redeem'd,<br></br>Before me stood, majestically bright,<br></br>Full in the beams of Phœbe's ent'ring light. (73)<br></br><br></br>✴︎<br></br><br></br>But anxious cares already seiz'd the queen:<br></br>She fed within her veins a flame unseen;<br></br>The hero's valor, acts, and birth inspire<br></br>Her soul with love, and fan the secret fire.<br></br>His words, his looks, imprinted in her heart,<br></br>Improve the passion, and increase the smart.<br></br>Now, when the purple morn had chas'd away<br></br>The dewy shadows, and restor'd the day,<br></br>Her sister first with early care she sought,<br></br>And thus in mournful axxents eas'd her thought: (96)<br></br><br></br>✴︎<br></br><br></br>Swift is her walk, more swift her winged haste:<br></br>A monstrous phantom, horrible and vast.<br></br>As many plumes as raise her lofty flight,<br></br>So many piercing eyes inlarge her sight;<br></br>Millions of opening mouths to Fame belong,<br></br>And ev'ry mouth is furnish'd with a tongue,<br></br>And round with list'ning ears the flying plague is hung.<br></br>She fills the peaceful universe with cries;<br></br>No slumbers ever close her wakeful eyes;<br></br>By day, from lofty tow'rs her head she shews,<br></br>And spreads thro' thrembling crowds disastrous news;<br></br>With court informers haunts, and royal spies;<br></br>Things done relates, not done she feigns, and mingles truth with lies. (102)<br></br><br></br>✴︎<br></br><br></br>His breast with fury burn'd, his eyes with fire,<br></br>Mad with despair, impatient with desire; (103)<br></br><br></br>✴︎<br></br><br></br>… "Then shalt thou call on injur'd Dido's name:<br></br>Dido shall come in a black sulph'ry flame,<br></br>When death has once dissolv'd her mortal frame;<br></br>Shall smile to see the traitor vainly weep:<br></br>Her angry ghost, arising from the deep,<br></br>Shall haunt thee waking, and disturb thy sleep.<br></br>At least my shade thy punishment shall know,<br></br>And Fame shall spread the pleasing news below." (110)<br></br><br></br>✴︎</p></div></content><author><name>undefined</name></author></entry><entry><title>Beggars Group</title><link href="https://gavart.ist/#Beggars%20Group"></link><link href="https://gavart.ist/static/Beggars%2520Group.html" rel="alternative" type="text/html"></link><id>2f978848-13b0-ef60-54c0-b51c305d198a</id><updated>2026-05-03T13:04:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonatina Series</title><link href="https://gavart.ist/#Sonatina%20Series"></link><link href="https://gavart.ist/static/Sonatina%2520Series.html" rel="alternative" type="text/html"></link><id>7aba742d-7640-bd9f-2359-7aa81be6f6cf</id><updated>2026-05-02T11:52:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A ongoing series of recordings of repertoire for piano.</h2><p><ul>
	
		<li>
    	<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carlos%20Ch%C3%A1vez%20%E2%8E%AE%20Sonatina">Carlos Chávez ⎮ Sonatina</a><br></br>
    	<sup><em>Issue 1 · 2024 June 14</em></sup>
    </li>

		<li>
    	<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sergei%20Prokofiev%20%E2%8E%AE%20Sonatina">Sergei Prokofiev ⎮ Sonatina</a><br></br>
    	<sup><em>Issue 2 · 2024 November 1</em></sup>
    </li>

		<li>
    	<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ferruccio%20Busoni%20%E2%8E%AE%20Sonatina">Ferruccio Busoni ⎮ Sonatina</a><br></br>
    	<sup><em>Issue 3 · 2025 August 15</em></sup>
    </li>

		<li>
    	<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Conlon%20Nancarrow%20%E2%8E%AE%20Sonatina">Conlon Nancarrow ⎮ Sonatina</a><br></br>
    	<sup><em>Issue 4 · 2026 January 23</em></sup>
    </li>

</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Kyle Gann</title><link href="https://gavart.ist/#Kyle%20Gann"></link><link href="https://gavart.ist/static/Kyle%2520Gann.html" rel="alternative" type="text/html"></link><id>445b7665-dd89-76b8-99b1-1f2afe082e54</id><updated>2026-05-02T11:47:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>We live in the shadow of musical giants who achieved, with pencil and paper, technical feats that our computers are hardly capable of competing with.</title><link href="https://gavart.ist/#We%20live%20in%20the%20shadow%20of%20musical%20giants%20who%20achieved%2C%20with%20pencil%20and%20paper%2C%20technical%20feats%20that%20our%20computers%20are%20hardly%20capable%20of%20competing%20with."></link><link href="https://gavart.ist/static/We%2520live%2520in%2520the%2520shadow%2520of%2520musical%2520giants%2520who%2520achieved%252C%2520with%2520pencil%2520and%2520paper%252C%2520technical%2520feats%2520that%2520our%2520computers%2520are%2520hardly%2520capable%2520of%2520competing%2520with..html" rel="alternative" type="text/html"></link><id>13e8b406-d136-a191-7553-67e5a78bd2bf</id><updated>2026-05-02T11:47:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TidBits</title><link href="https://gavart.ist/#TidBits"></link><link href="https://gavart.ist/static/TidBits.html" rel="alternative" type="text/html"></link><id>b49f866d-6e9d-252d-dc02-88df1ad26fdb</id><updated>2026-05-02T09:26:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Durand Bernarr</title><link href="https://gavart.ist/#Durand%20Bernarr"></link><link href="https://gavart.ist/static/Durand%2520Bernarr.html" rel="alternative" type="text/html"></link><id>d11c74a9-dc50-2bc8-42e8-a66d18cfdfff</id><updated>2026-05-01T22:41:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tradition is just peer-pressure from dead people.</title><link href="https://gavart.ist/#Tradition%20is%20just%20peer-pressure%20from%20dead%20people."></link><link href="https://gavart.ist/static/Tradition%2520is%2520just%2520peer-pressure%2520from%2520dead%2520people..html" rel="alternative" type="text/html"></link><id>89e43f32-027d-9aaa-b753-ad5fe9141f7a</id><updated>2026-05-01T22:41:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>How To Read The Internet</title><link href="https://gavart.ist/#How%20To%20Read%20The%20Internet"></link><link href="https://gavart.ist/static/How%2520To%2520Read%2520The%2520Internet.html" rel="alternative" type="text/html"></link><id>640d2067-614f-74a5-cb31-d07d8e460799</id><updated>2026-05-01T20:34:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Daniel Anderson</title><link href="https://gavart.ist/#Daniel%20Anderson"></link><link href="https://gavart.ist/static/Daniel%2520Anderson.html" rel="alternative" type="text/html"></link><id>d9e0fef6-5f54-c885-c524-a2ef7f7c23d5</id><updated>2026-05-01T17:49:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>DevOps</title><link href="https://gavart.ist/#DevOps"></link><link href="https://gavart.ist/static/DevOps.html" rel="alternative" type="text/html"></link><id>407432c6-4135-8300-c376-73ae96305f3a</id><updated>2026-05-01T10:39:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Music Technology Policy</title><link href="https://gavart.ist/#Music%20Technology%20Policy"></link><link href="https://gavart.ist/static/Music%2520Technology%2520Policy.html" rel="alternative" type="text/html"></link><id>972b0a7d-f706-4444-0816-0cd597e387c3</id><updated>2026-05-01T10:36:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cadres! Find The Hidden Enemies Burrowing From Within</title><link href="https://gavart.ist/#Cadres!%20Find%20The%20Hidden%20Enemies%20Burrowing%20From%20Within"></link><link href="https://gavart.ist/static/Cadres!%2520Find%2520The%2520Hidden%2520Enemies%2520Burrowing%2520From%2520Within.html" rel="alternative" type="text/html"></link><id>6fe46833-3289-e5cc-f0a9-cd1fb142548c</id><updated>2026-04-30T21:56:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A concurrent study with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Why%20Did%20They%20Kill%3A%20Cambodia%20In%20The%20Shadow%20of%20Genocide">Why Did They Kill: Cambodia In The Shadow of Genocide</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Digizyme • Biological Data Visualization</title><link href="https://gavart.ist/#Digizyme%20%E2%80%A2%20Biological%20Data%20Visualization"></link><link href="https://gavart.ist/static/Digizyme%2520%25E2%2580%25A2%2520Biological%2520Data%2520Visualization.html" rel="alternative" type="text/html"></link><id>feb19fa8-ccd3-6689-ff60-507dd1020f0d</id><updated>2026-04-30T15:20:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Biology</title><link href="https://gavart.ist/#Biology"></link><link href="https://gavart.ist/static/Biology.html" rel="alternative" type="text/html"></link><id>9470ddec-8937-81ea-65f1-a2b71ae5e01c</id><updated>2026-04-30T15:19:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sextet for Six Stringed Instruments</title><link href="https://gavart.ist/#Sextet%20for%20Six%20Stringed%20Instruments"></link><link href="https://gavart.ist/static/Sextet%2520for%2520Six%2520Stringed%2520Instruments.html" rel="alternative" type="text/html"></link><id>71c69086-cc1c-ac14-ddfa-fb592d477502</id><updated>2026-04-30T15:09:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Sextet for Six Stringed Instruments was written after Arnold Schoenberg's Verklärte Nacht, Op. 4 of 1899. Borrowing only loosely associative structural elements while adhering to a similar trajectory inherent in Schoenberg's formal design and idiomatic part-writing, Sextet for Six Stringed Instruments is an original, one-movement work differentiated by its lack of literary source material, an emphasis on texture, and its tonal language as exemplified by the use of discursive harmonic pathways. (Roman numerals are used to designate sections, rather than distinct movements).</h2><h2 class=""></h2><h2 class="">The aim was to replicate a mood, to capture the totalizing and evocative atmosphere which Schoenberg's piece instantiated, and to re-envision the gestures of an era now fading into distant historical memory. Sextet exists as an echo, as an anachronism; it does not follow late-20th or early-21st century definitions of 'avant-garde'. A quote from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Essays%20on%20Music">Theodor Adorno</a> puts it forth critically:</h2><h2 class=""></h2><blockquote class="tc-quote digitalGarden"><p>The new musical material, emptied of its sense, is transformed into deadening stimuli by its endless repetition. Scarcely felt is the obligation of achieving that uniqueness of the work, that unrepeatableness enjoined on musical composition by the emancipation of music from all pre-established form.</p></blockquote><p><div class="row">
<div class="column"><h2 class="">Violins<br></br>Alyssa Park<br></br>Joel Pargman</h2><h2 class="">Violas<br></br>Rob Brophy<br></br>Jerome Gordon</h2><h2 class="">Cellos<br></br>Tim Loo<br></br>Paula Hochhalter<br></br></h2></div>
<div class="column"><h2 class="">Producer &amp; Recording Engineer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2><h2 class="">Recorded at<br></br>901 East 3rd Street<br></br>Los Angeles, California, United States<br></br>19 July 2011</h2></div>
</div></p><hr></hr><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" src="https://www.youtube.com/embed/LOxW1b0ERfo"></iframe>
</div></p><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/hO-3TsFl2L8" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Analytics</title><link href="https://gavart.ist/#Analytics"></link><link href="https://gavart.ist/static/Analytics.html" rel="alternative" type="text/html"></link><id>a768caa9-8860-5a28-4659-9cf7e2d0c26a</id><updated>2026-04-30T14:49:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>10,010 Fragmented Impromptus</title><link href="https://gavart.ist/#10%2C010%20Fragmented%20Impromptus"></link><link href="https://gavart.ist/static/10%252C010%2520Fragmented%2520Impromptus.html" rel="alternative" type="text/html"></link><id>87bafe32-4b41-7ffc-0a57-9e1999fec9e7</id><updated>2026-04-30T13:23:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Unquestioned Images In The Age Of Iconophilic Seduction</title><link href="https://gavart.ist/#Unquestioned%20Images%20In%20The%20Age%20Of%20Iconophilic%20Seduction"></link><link href="https://gavart.ist/static/Unquestioned%2520Images%2520In%2520The%2520Age%2520Of%2520Iconophilic%2520Seduction.html" rel="alternative" type="text/html"></link><id>8e0c5a9d-a865-6ff2-bdf4-9dea7484a268</id><updated>2026-04-30T12:34:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The title of this work gets its namesake from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Making%20Things%20Public">an essay by Boris Groys</a>.</h2></div></content><author><name>undefined</name></author></entry><entry><title>'Cantemos hoy, mañana moriremos' : Album Leaf for David Alfaro Siqueiros</title><link href="https://gavart.ist/#'Cantemos%20hoy%2C%20ma%C3%B1ana%20moriremos'%20%3A%20Album%20Leaf%20for%20David%20Alfaro%20Siqueiros"></link><link href="https://gavart.ist/static/'Cantemos%2520hoy%252C%2520ma%25C3%25B1ana%2520moriremos'%2520%253A%2520Album%2520Leaf%2520for%2520David%2520Alfaro%2520Siqueiros.html" rel="alternative" type="text/html"></link><id>96b6a808-f8da-69f3-8146-d573fc752d8a</id><updated>2026-04-30T12:25:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The collection of piano pieces that comprise this work can be described as muralistic — muralistic in the sense that they necessitate broad swaths of space to exist, and feature myriad landscapes and a multitude of narratives contained within a larger whole. This Album Leaf owes its due to the inspired iconographic universe of David Alfaro Siqueiros' work. I wanted to capture elements of color, movement, and conflict explicitly investigated by this illustrious and fascinating Mexican painter. The title is taken from a poem by José Zorrilla which, a hundred years before Siqueiros' time, made an early correlation between the idea of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Death%20and%20the%20Idea%20of%20Mexico">Mexican nationality and intimacy with death</a>:</h2><blockquote class="tc-quote digitalGarden"><p><div class="row">
	<div class="column">
Méjico es la ciudad de<br></br>los cantares<br></br>huerto rico de frutas y de flores<br></br>y en medio de la guerra y sus<br></br>azares<br></br>y en medio de la peste y sus<br></br>horrores,<br></br>se mece en sus chinampas<br></br>seculares,<br></br>cantando ante la tumba<br></br>sus amores<br></br>en un cantar que abarca estos<br></br>extremos:<br></br>"Cantemos hoy, mañana<br></br>moriremos."<br></br>
	</div>
	
	<div class="column">
	<br></br>Mexico is the city of song<br></br>A rich garden of fruits and flowers<br></br>And in the middle of the war<br></br>and its uncertainty<br></br>In the middle of the plague with<br></br>all its horrors,<br></br>It swings soothingly in its ancient<br></br>chinampas,<br></br>Singing about love before the tomb<br></br>In a song that spans these extremes:<br></br>"Let us sing today, tomorrow<br></br>we die."<br></br>
	</div>
</div></p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Mexico is the city of song</title><link href="https://gavart.ist/#Mexico%20is%20the%20city%20of%20song"></link><link href="https://gavart.ist/static/Mexico%2520is%2520the%2520city%2520of%2520song.html" rel="alternative" type="text/html"></link><id>927b2d5b-6007-ae83-9d42-861c7e97ac4e</id><updated>2026-04-30T12:17:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="row">
	<div class="column">
Méjico es la ciudad de<br></br>los cantares<br></br>huerto rico de frutas y de flores<br></br>y en medio de la guerra y sus<br></br>azares<br></br>y en medio de la peste y sus<br></br>horrores,<br></br>se mece en sus chinampas<br></br>seculares,<br></br>cantando ante la tumba<br></br>sus amores<br></br>en un cantar que abarca estos<br></br>extremos:<br></br>"Cantemos hoy, mañana<br></br>moriremos."<br></br>
	</div>
	
	<div class="column">
	<br></br>Mexico is the city of song<br></br>A rich garden of fruits and flowers<br></br>And in the middle of the war<br></br>and its uncertainty<br></br>In the middle of the plague with<br></br>all its horrors,<br></br>It swings soothingly in its ancient<br></br>chinampas,<br></br>Singing about love before the tomb<br></br>In a song that spans these extremes:<br></br>"Let us sing today, tomorrow<br></br>we die."<br></br>
	</div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven ⎮ Diabelli Variations</title><link href="https://gavart.ist/#Beethoven%20%E2%8E%AE%20Diabelli%20Variations"></link><link href="https://gavart.ist/static/Beethoven%2520%25E2%258E%25AE%2520Diabelli%2520Variations.html" rel="alternative" type="text/html"></link><id>f14ea0c6-f487-e05f-830f-56841f3bad2b</id><updated>2026-04-30T12:16:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#33%20Ver%C3%A4nderungen%20%C3%BCber%20einen%20Walzer%20von%20Anton%20Diabelli%2C%20Opus%20120">33 Veränderungen über einen Walzer von Anton Diabelli, Opus 120</a> (1819-1823)</em></h2><h2 class="">The Diabelli Variations encapsulate the totality of Beethoven's compositional style with all of its behaviors, digressions, interjections, wonders, injunctions, and developments completely intact and, with a remarkably adventurous spirit, operating in stunning fluidity in one of the most outrageous and seemingly baffling compositions ever written for the piano. Here, we find the traditional genre of classical Theme and Variations maximized into a work of serious experimentation and contemplation; one which is veiled as a game of charade while it assumes epic proportions in both duration as well as thematic treatment and variety.</h2><h2 class="">Gavin Arturo Gamboa, piano<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Variaciones%20Diabelli%20%3A%20Concierto%20M%C3%A9rida%202011">2011 November 4</a> </h2><h2 class="">Artwork/Illustration<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Marci%20Pinna">Marci Pinna</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>A Minor Schubert For Tony Conrad</title><link href="https://gavart.ist/#A%20Minor%20Schubert%20For%20Tony%20Conrad"></link><link href="https://gavart.ist/static/A%2520Minor%2520Schubert%2520For%2520Tony%2520Conrad.html" rel="alternative" type="text/html"></link><id>12e8362b-691d-1ee2-b7d1-22beed4bafb7</id><updated>2026-04-30T11:58:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A re-imagining of Franz Schubert's <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20A%20minor%2C%20D.%20784">Sonata in A minor, D. 784</a> — unilaterally re-realized as an auditory structure opposed to the physical-acoustical ‘character’ of Schubert's conception (an abstracted cultural form) and acognitively aligned with Tony Conrad's predisposition to just-intonation, the immanence of sound, and free of what Henry Flynt would have described as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beyond%20the%20Dream%20Syndicate%3A%20Tony%20Conrad%20and%20the%20Arts%20after%20Cage">‘cognitive pretensions’</a>.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Halcyon Suite</title><link href="https://gavart.ist/#Halcyon%20Suite"></link><link href="https://gavart.ist/static/Halcyon%2520Suite.html" rel="alternative" type="text/html"></link><id>0ab087d8-30c4-3e86-6c89-ba17259358c5</id><updated>2026-04-30T09:59:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Halcyon%20Suite%20%28score%29">Halcyon Suite</a>, composed in 2011, is a suite for piano comprised of three toccatas, each of which embody contrasting styles and character.</h2><h2 class=""><em>Halcyon Suite, Opus 3</em> (2011)<br></br>I. Aegis<br></br>II. The Rain in Humboldt<br></br>III. June</h2><h2 class="">Gavin Arturo Gamboa, piano<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Halcyon%20Suite%20%28Live%20Concert%29">2012 November 11</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Wind Quintet ⎮ ‘NEREID’</title><link href="https://gavart.ist/#Wind%20Quintet%20%E2%8E%AE%20%E2%80%98NEREID%E2%80%99"></link><link href="https://gavart.ist/static/Wind%2520Quintet%2520%25E2%258E%25AE%2520%25E2%2580%2598NEREID%25E2%2580%2599.html" rel="alternative" type="text/html"></link><id>1962eff3-f3a0-3ab5-ff40-b55d719e0ecf</id><updated>2026-04-30T09:55:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="row">
<div class="column"><h2 class=""><u>Flute</u><br></br>Gina Lucciani<br></br>Sara Andon</h2><h2 class=""><u>Oboe</u><br></br>Chris Bleth</h2><h2 class=""><u>Clarinet</u><br></br>Chris Stoutenborough</h2><h2 class=""><u>Bassoon</u><br></br>Damian Montano</h2></div>
<div class="column"><h2 class="">Producer &amp; Recording Engineer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2><h2 class="">Artwork<br></br>Darakalliyan</h2></div>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/7cc1qlCjtu4" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Bartók ⎮ Schubert</title><link href="https://gavart.ist/#Bart%C3%B3k%20%E2%8E%AE%20Schubert"></link><link href="https://gavart.ist/static/Bart%25C3%25B3k%2520%25E2%258E%25AE%2520Schubert.html" rel="alternative" type="text/html"></link><id>44448af3-a535-544a-c961-baa97ddd81a4</id><updated>2026-04-30T09:51:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#B%C3%A9la%20Bart%C3%B3k">Béla Bartók</a> (1881-1945)<br></br><em>six pieces from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mikrokosmos%2C%20Vol.%20IV">Mikrokosmos, Vol. IV</a>, Sz. 107, BB 105</em></h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> (1797-1828)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20A%20minor%2C%20D.%20784">Sonata in A minor, D. 784</a></em></h2><h2 class="">Bartók, the Hungarian pianist, composer, proto-ethnomusicologist. His profound interest and analytical study of folk music is evident in a distinct style that integrates folk with classicism and modernism. Mikrokosmos (1926-1939), a collection of 153 miniature piano works, continue a standard of piano education similar to J.S. Bach's Well Tempered Clavier. The unique nature of these pieces are manifest in their unique harmonic awareness (Intermezzo), use of polyrhythms and irregular time signatures (Minor and Major), as well as a distinctly Eastern influence (From The Island Of Bali).</h2><h2 class="">Schubert's Sonata in A minor (1823), a piece of tragic expressive darkness, itself a skeleton of sonata-allegro form, with minimum harmony and rhythm, transmits interstellar austerity and wonder. Removed are the ’themes’. Void, it is, of convention and of pleasing ornaments. Instead — a violence in key changes; an unrestrained chromaticism; a proclivity for banal repetition. The brooding effects of this piece unravel an agitated psychological dimension before the listener, counterbalanced by moments of sublime melody, and infinite longing; a mysterious ‘storm and urge’ towards surrender.</h2><h2 class="">Gavin Arturo Gamboa, piano<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bart%C3%B3k%20%E2%8E%AE%20Schubert%20%E2%8E%AE%20J.S.%20Bach%20%E2%8E%AE%20Gamboa">2012 November 20</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Fresh, Fleshy Grapefruit</title><link href="https://gavart.ist/#Fresh%2C%20Fleshy%20Grapefruit"></link><link href="https://gavart.ist/static/Fresh%252C%2520Fleshy%2520Grapefruit.html" rel="alternative" type="text/html"></link><id>01ecbf0a-3048-024d-d4b1-fef0fed16243</id><updated>2026-04-30T09:47:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Fresh, Fleshy Grapefruit begins with a miniature (for small Chamber Orchestra) and ends with a series of electronic iterations/transformations.</h2><h2 class=""><u>Instrumentation</u><br></br>Flute<br></br>Clarinet in Bb<br></br>Timpani<br></br>Glockenspiel<br></br>Banjo<br></br>Harpsichord<br></br>Violin</h2><h2 class="">Performed by<br></br>Traction Ave. Chamber Orchestra<br></br>Los Angeles, California, United States<br></br>2013 February 10</h2></div></content><author><name>undefined</name></author></entry><entry><title>About</title><link href="https://gavart.ist/#About"></link><link href="https://gavart.ist/static/About.html" rel="alternative" type="text/html"></link><id>8f7f4c1c-e7a4-f933-663d-10543562b096</id><updated>2026-04-29T16:39:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>You are viewing the 🌱 <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">Digital Garden</a> of Gavin Arturo Gamboa</p><hr></hr><p><div class="aboutPortrait"><img src="./files/img/gav-mckay.jpg" width="450"></img><br></br> <sup>illustration: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#McKay%20Felt">McKay Felt</a></sup></div></p><div class="tc-tiddler-body"><p><h2 style="line-height:1.5em;font-weight:300;">
Hello! My name is Gavin. I am a practitioner in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Discography">music</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cinema">cinema</a>, an <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Software">information designer</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bookcase">independent researcher</a> … occasionally mapping my thoughts with the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Writing">written word</a> … and frequently producing visual design for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu%20%C2%B7%20Unfollow%20Me%20Tour">concerts</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PROOF%20%C2%B7%20The%20Dark%20Night%20%C2%B7%20Cincinnati%20Symphony%20Orchestra">concert halls</a>, and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks%20Frankenstein">the stage</a>. I was born in 1984 in Mérida 🇲🇽  and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#World%20Map">grew up</a> in London 🇬🇧  and Houston Texas, Los Angeles California, and Detroit Michigan. I now live in Los Angeles 🇺🇸
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You can find me <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#World%20Wide%20Web">online</a> as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavcloud">gavcloud</a> or read a formal <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bio">bio</a>. 
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My work revolves around <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Improvisation">improvised</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scores">notated composition</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laskfar%20Vortok">algorithmic video art</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cinema">cinema</a>. As a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Software%20Notes">computer science</a> autodidact and adherent of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">networked thinking</a> I incorporate technology into my work which (in)forms the basis of a stylistically multifaceted praxis.
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When I turned 27 years old I performed the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Variaciones%20Diabelli%20%3A%20Concierto%20M%C3%A9rida%202011">Beethoven Diabelli Variations</a> in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#M%C3%A9rida">Mérida</a>, and have since given concerts of classical and contemporary music as a soloist in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deluge%20%3A%20Nailah%20Hunter%20%C2%B7%20Max%20Jaffe%20%C2%B7%20Gavin%20Gamboa">Los Angeles</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NonSeq%20%3A%20Live%20in%20Seattle">Seattle</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PROOF%20%C2%B7%20The%20Dark%20Night%20%C2%B7%20Cincinnati%20Symphony%20Orchestra">Cincinnati</a>, at music festivals in Mexico (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Claro%20de%20Luna">Festival de las Artes Otoño Cultural Mérida</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Concierto%20de%20piano%20%3A%20Cultura%20Mazatl%C3%A1n%202015">Cultura Mazatlán</a>), Europe (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Journey%20into%20Monstrous%20Spaces%20%C2%B7%20Transart%20Festival">Transart Festival</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Offscreen%20Film%20Festival%202023">Offscreen Film Festival 2023</a>), and with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Impromptu%2FInterlude%20with%20Erykah%20Badu%20%26%20Dallas%20Symphony%20Orchestra">Erykah Badu with the Dallas Symphony Orchestra</a> and tenor <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Liederkonzert%20in%20Wien">León de Castillo in Vienna, Austria</a>. My first opera <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a> was in the official selection of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera%20Philadelphia%20Festival%20O22">Opera Philadelphia Festival O22</a>.
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<div class="column"><p> </p><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Live%20Performance">Recent Performance Highlights</a></h2><ul class="list-tree"><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1416%20m%C2%B3%20%C2%B7%20Dia%20Art%20Foundation">1416 m³ · Dia Art Foundation</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe%20%3A%20You%20Want%20That%20Too%21%20LP%20Release%20Show">Max Jaffe : You Want That Too! LP Release Show</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#La%20nuit%20sombre%20%C2%B7%20Kansas%20City%20Symphony">La nuit sombre · Kansas City Symphony</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deluge%20%3A%20Nailah%20Hunter%20%C2%B7%20Max%20Jaffe%20%C2%B7%20Gavin%20Gamboa">Deluge : Nailah Hunter · Max Jaffe · Gavin Gamboa</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spectra%20Synthesis%20%C2%B7%201st%20Edition">Spectra Synthesis · 1st Edition</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PROOF%20%C2%B7%20The%20Dark%20Night%20%C2%B7%20Cincinnati%20Symphony%20Orchestra">PROOF · The Dark Night · Cincinnati Symphony Orchestra</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Journey%20into%20Monstrous%20Spaces%20%C2%B7%20Transart%20Festival">A Journey into Monstrous Spaces · Transart Festival</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NonSeq%20%3A%20Live%20in%20Seattle">NonSeq : Live in Seattle</a></li></ul><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Screening">Film Screenings</a></h2></div>
<div class="column"><p> </p><h2 class=""><strong>Currently</strong></h2><ul class="list-tree"><li>Managing Editor of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tonestrukt%20Editions">Tonestrukt Editions</a></li><li>Creative Director of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a></li></ul><p><div class="siteFooter">
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</div></p><h2 class=""><strong>Ongoing</strong></h2><ul class="list-tree"><li>Content Operative at <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a></li><li>Freelance <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Need%20a%20Web-Developer%20%3F">Full-Stack Web Developer</a></li></ul><h2 class=""><strong>Previously</strong></h2><ul class="list-tree"><li>Full-Stack Developer &amp; Sound Design at <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spirit%20Bomb">Spirit Bomb</a></li><li>Participant in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beth%20Morrison%20Projects">Beth Morrison Projects</a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#BMP%20Producer%20Academy%20Certificate">Producer Academy 2023</a></li><li>Visual Programming &amp; Design at <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Control%20Freaq%20Records">Control Freaq Records</a></li></ul></div>
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</div></p></div></div></content><author><name>undefined</name></author></entry><entry><title>Anamnesia</title><link href="https://gavart.ist/#Anamnesia"></link><link href="https://gavart.ist/static/Anamnesia.html" rel="alternative" type="text/html"></link><id>5a69cea4-3865-fea2-00c1-15b6579ee7ea</id><updated>2026-04-28T11:02:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink-external" href="http://anamnesia.net" rel="noopener noreferrer" target="_blank">Anamnesia: A Loss Of Forgetfulness</a> is an archetypal sci-fi myth directed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a>. As reality comes apart at the seams, Anåm, mysteriously unaffected by his civilization's schizophrenic break, journeys into the vast, unmapped territories and technologies of his world. This release contains original works from the film as well as unused bonus material. There is also <a class="tc-tiddlylink-external" href="https://teachingmachine.bandcamp.com/album/anamnesia-original-soundtrack" rel="noopener noreferrer" target="_blank">an original soundtrack</a>.</h2><h2 class="">Produced by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a></h2><h2 class="">String arrangements recorded by<br></br>Travis Warner</h2><h2 class="">Additional mixing<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Modus Futurus Posterus Machina</title><link href="https://gavart.ist/#Modus%20Futurus%20Posterus%20Machina"></link><link href="https://gavart.ist/static/Modus%2520Futurus%2520Posterus%2520Machina.html" rel="alternative" type="text/html"></link><id>0b9f52bb-97b4-fa70-f064-5f98344bce5a</id><updated>2026-04-28T10:08:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Book of Magnetic Inquiries</title><link href="https://gavart.ist/#Book%20of%20Magnetic%20Inquiries"></link><link href="https://gavart.ist/static/Book%2520of%2520Magnetic%2520Inquiries.html" rel="alternative" type="text/html"></link><id>ad68e5ce-277a-8952-6d3d-b4769e243034</id><updated>2026-04-28T10:02:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/0yiMEcSuNkM" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Leo IV</title><link href="https://gavart.ist/#Leo%20IV"></link><link href="https://gavart.ist/static/Leo%2520IV.html" rel="alternative" type="text/html"></link><id>7e98f240-e9dd-da34-c529-0d2a547ab5cb</id><updated>2026-04-28T09:14:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Leo IV is a dwarf spheroidal galaxy situated in the Leo constellation and discovered in 2006 in the data obtained by Sloan Digital Sky Survey. The galaxy is located at the distance of about 160 kpc from the Sun and moves away from the Sun with the velocity of about 130 km/s. It is classified as a dwarf spheroidal galaxy (dSph) meaning that it has an approximately round shape with the half-light radius of about 130 pc.</h2><h2 class="">Leo IV is one of the smallest and faintest satellites of the Milky Way—its integrated luminosity is about 15,000 times that of the Sun (absolute visible magnitude of −5.5 ± 0.3), which is much lower than the luminosity of a typical globular cluster. However, its mass is about 1.5 million solar masses, which means that Leo's mass to light ratio is around 150. A high mass to light ratio implies that Leo IV is dominated by the dark matter.</h2><h2 class="">The stellar population of Leo IV consists mainly of old stars formed more than 12 billion years ago. The metallicity of these old stars is also very low at [Fe/H] ≈ −2.58 ± 0.75, which means that they contain 400 times less heavy elements than the Sun. The observed stars were primarily red giants, although a number of Horizontal branch stars including three variable RR Lyrae stars were also discovered. The stars of Leo IV were probably among the first stars to form in the Universe. Nevertheless, the detailed study of the stellar population revealed the presence of a small number of much younger stars with the age of about 2 billion years or less. This discovery points to a complicated star formation history of this galaxy. Currently there is no star formation in Leo IV. The measurements have so far failed to detect any neutral hydrogen in it—the upper limit is just 600 solar masses.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Jodie Landau • Performance of Self · Research &amp; Notes</title><link href="https://gavart.ist/#Jodie%20Landau%20%E2%80%A2%20Performance%20of%20Self%20%C2%B7%20Research%20%26%20Notes"></link><link href="https://gavart.ist/static/Jodie%2520Landau%2520%25E2%2580%25A2%2520Performance%2520of%2520Self%2520%25C2%25B7%2520Research%2520%2526%2520Notes.html" rel="alternative" type="text/html"></link><id>5949db39-c39d-46f0-43b5-9e28d8921d18</id><updated>2026-04-27T13:47:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Admin</h2><ul><li><a class="tc-tiddlylink-external" href="https://www.dropbox.com/scl/fo/1qli95poqj3552q0mhevk/AGvr1i7tIqGgJT4602KTo64?rlkey=dmnofqc16uodd0rct9p6q6pez&amp;e=1&amp;st=kn4lxkw7&amp;dl=0" rel="noopener noreferrer" target="_blank">REDCAT Production Dropbox</a></li><li><a class="tc-tiddlylink-external" href="https://www.dropbox.com/scl/fo/u51i4w1550nsnnv3bitok/h?rlkey=mznv4489i4t64hebxw9ojq7on&amp;e=1&amp;st=rzuuh6yd&amp;dl=0" rel="noopener noreferrer" target="_blank">BMP Dropbox</a></li></ul><h2 class="">Software </h2><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitfocus%20Companion">Bitfocus Companion</a><ul><li>Bitfocus Companion (free) can control ATEM switchers natively and accepts OSC or TCP triggers from QLab. </li><li>QLab sends an OSC or network cue → Companion receives it → Companion switches the ATEM input.</li><li><a class="tc-tiddlylink-external" href="https://bitfocus.io/connections/bmd-atem" rel="noopener noreferrer" target="_blank">connector bmd-atem</a></li></ul></li></ul><h2 class="">Don't Follow Me / Prisoner of Love</h2><ul><li><em>Rock Concert / Elton John / Glitz</em></li><li>Spike-y textures / movement / abstract</li></ul><h2 class="">Talk: Welcome to Performance of Self</h2><h2 class="">Comfy / Habits</h2><h2 class="">Talk: Clothes</h2><ul><li><strong>Photo of Jodie from prom</strong></li></ul><h2 class="">If I Could I Would Wear A Dress Everyday</h2><ul><li>Images of illustrated Dresses / Museum pieces (?)</li></ul><h2 class="">Talk: Mom, Why Do You Care So Much About Gender ?</h2><ul><li><strong>Emoji's appear</strong></li></ul><h1 class="">🤦🏻‍♀️🤷🏻‍♀️</h1><ul><li>Allusion to Asexual flag colors on upstage</li></ul><h2 class="">Speed Dates</h2><ul><li>Tinder chat message bubble / interface (?)</li><li>Movie theater image during bridge (?)</li></ul><h2 class="">Talk</h2><h2 class="">This Little Apple</h2><h2 class="">We Could Be Next</h2><h2 class="">Connected / Want To But Can't</h2><ul><li><em>Electronic atmopshere</em></li><li>Tesla Coils (?)</li></ul><h2 class="">Talk: Got Too Close To The Fire</h2><h2 class="">Tell Me I'm Wrong</h2><ul><li>Feathers</li><li>Toy</li></ul><h2 class="">Talk: Toxic Codependent Relationship with Roommate ?</h2><h2 class="">Being In Service</h2><h2 class="">Talk: Date Night in WEHO</h2><h2 class="">Maybe So Are You</h2><h2 class="">Talk: Meet Jodie Landau</h2><ul><li>Kids / Puppies / Babies</li></ul><h2 class="">Here's Where I Can (Performer Self)</h2><h2 class="">Talk: Is It A Rant?</h2><h2 class="">I Just Want To Be Done</h2><ul><li>Shimmering / abstract / rain / falling sensation</li><li>Builds / strobes / negative space gets filled out with more elements</li><li>"Tired of Staring in the mirror" — Live Video feed on the mic stand ?</li></ul><h2 class="">Talk: But Now That My Dad's Gone</h2><ul><li><strong>Family pictures / movies start to play</strong></li></ul><h2 class="">Mitzvah / Finale</h2></div></content><author><name>undefined</name></author></entry><entry><title>Bitfocus Companion</title><link href="https://gavart.ist/#Bitfocus%20Companion"></link><link href="https://gavart.ist/static/Bitfocus%2520Companion.html" rel="alternative" type="text/html"></link><id>c0c603f0-e2b5-f049-0e2c-13968f1bbf68</id><updated>2026-04-27T13:47:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jose de Creeft</title><link href="https://gavart.ist/#Jose%20de%20Creeft"></link><link href="https://gavart.ist/static/Jose%2520de%2520Creeft.html" rel="alternative" type="text/html"></link><id>9884d324-1ef1-7cf6-c689-48475356214b</id><updated>2026-04-24T18:48:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The ambition to produce in quantity is dangerous because it deprives you of the enjoyment of being both a friend to your ideas and a friend to your materials.</title><link href="https://gavart.ist/#The%20ambition%20to%20produce%20in%20quantity%20is%20dangerous%20because%20it%20deprives%20you%20of%20the%20enjoyment%20of%20being%20both%20a%20friend%20to%20your%20ideas%20and%20a%20friend%20to%20your%20materials."></link><link href="https://gavart.ist/static/The%2520ambition%2520to%2520produce%2520in%2520quantity%2520is%2520dangerous%2520because%2520it%2520deprives%2520you%2520of%2520the%2520enjoyment%2520of%2520being%2520both%2520a%2520friend%2520to%2520your%2520ideas%2520and%2520a%2520friend%2520to%2520your%2520materials..html" rel="alternative" type="text/html"></link><id>7176480f-6e92-5c57-2361-e01326de7b60</id><updated>2026-04-24T18:48:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Materials have qualities which will speak if you listen. 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kaiber</title><link href="https://gavart.ist/#Kaiber"></link><link href="https://gavart.ist/static/Kaiber.html" rel="alternative" type="text/html"></link><id>9c08eda0-28f0-95a5-9800-1ff5b7d71dee</id><updated>2026-04-22T12:01:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Claude</title><link href="https://gavart.ist/#Claude"></link><link href="https://gavart.ist/static/Claude.html" rel="alternative" type="text/html"></link><id>892ea6ab-c9df-d41e-8af5-0ff55705e9f4</id><updated>2026-04-22T11:38:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Claude Code for Product Managers</title><link href="https://gavart.ist/#Claude%20Code%20for%20Product%20Managers"></link><link href="https://gavart.ist/static/Claude%2520Code%2520for%2520Product%2520Managers.html" rel="alternative" type="text/html"></link><id>77a0afe5-793b-059d-62d6-19765a7f7a0f</id><updated>2026-04-22T11:38:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven ⎮ Sonata ‘Quasi una fantasia’ I</title><link href="https://gavart.ist/#Beethoven%20%E2%8E%AE%20Sonata%20%E2%80%98Quasi%20una%20fantasia%E2%80%99%20I"></link><link href="https://gavart.ist/static/Beethoven%2520%25E2%258E%25AE%2520Sonata%2520%25E2%2580%2598Quasi%2520una%2520fantasia%25E2%2580%2599%2520I.html" rel="alternative" type="text/html"></link><id>38e1771c-a487-a53c-4482-86a05223bbf7</id><updated>2026-04-22T10:52:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2013%20in%20E%20flat%20major%20%E2%80%98Quasi%20una%20fantasia%E2%80%99%20Opus%2027%20no.%201">Sonata 13 in E flat major ‘Quasi una fantasia’ Opus 27 no. 1</a><br></br>1801</h2><h2 class="">Gavin Gamboa, piano<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#M%C3%BAsica%20hace%20100%20a%C3%B1os">2013 December 5</a></h2><h2 class="">Artwork<br></br>collage of detail from Leopold Beyer <em>‘Vienna , Kohlmarkt’</em><br></br>and detail from Jorinde Voigt <em>‘Ludwig van Beethoven/Sonata Nr. 13 (Opus 27, Nr. 1)</em></h2></div></content><author><name>undefined</name></author></entry><entry><title>Alban Berg ⎮ Klaviersonate Op. 1</title><link href="https://gavart.ist/#Alban%20Berg%20%E2%8E%AE%20Klaviersonate%20Op.%201"></link><link href="https://gavart.ist/static/Alban%2520Berg%2520%25E2%258E%25AE%2520Klaviersonate%2520Op.%25201.html" rel="alternative" type="text/html"></link><id>60b79f1a-0a7d-95d4-9440-0bffce397882</id><updated>2026-04-22T10:49:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alban%20Berg">Alban Berg</a> (1885-1935)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Klaviersonate%2C%20Opus%201">Klaviersonate, Opus 1</a><br></br>1910</h2><h2 class="">Gavin Arturo Gamboa, piano<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#M%C3%BAsica%20hace%20100%20a%C3%B1os">2013 December 5</a></h2><h2 class="">Artwork<br></br><em>Villa Müller</em><br></br>Adolph Loos, architect</h2></div></content><author><name>undefined</name></author></entry><entry><title>Stravinsky ⎮ Ravel</title><link href="https://gavart.ist/#Stravinsky%20%E2%8E%AE%20Ravel"></link><link href="https://gavart.ist/static/Stravinsky%2520%25E2%258E%25AE%2520Ravel.html" rel="alternative" type="text/html"></link><id>c5be71e9-73ee-2283-201a-aea5ca4a6719</id><updated>2026-04-22T10:46:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Igor%20Stravinsky">Igor Stravinsky</a> (1882-1971)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Serenade%20in%20A">Serenade in A</a><br></br>1925</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maurice%20Ravel">Maurice Ravel</a> (1875-1937)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Valses%20nobles%20et%20sentimentales">Valses nobles et sentimentales</a><br></br>1911</h2><h2 class="">The Serenade in A of 1925 represented Igor Stravinsky’s new instrumental style, which embraced a detached, sterilized romanticism with an orchestral logic in the articulations and textures, all within the limitations of the piano dynamic. The four phases which make up this work convey the properties of a classical Serenade in the abstract (dynamics, texture, rhythm, melody), and lead to a conception of the dance associations without actually being dance pieces in and of themselves.</h2><h2 class="">Maurice Ravel, in a direct allusion to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> (who in 1823 composed a set of 34 dances titled Valses sentimentales, and in 1826 another set of 12 titled Valses nobles) seems to have been prompted into his own explorations, channeling sensual sonorities, buoyant figurations, and profound elegance and restraint into the Viennese waltz form, filtered through his Parisian sensibility. It seemed appropriate to pair this effervescent, evocative impressionist work with the diametrically opposed angularity and rigidity of Stravinsky’s cubist conception of the Serenade, achieving a coherence and binary oppositional balance that each composer may have found mutually reinforcing.</h2><h2 class="">Gavin Gamboa, piano<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#M%C3%BAsica%20hace%20100%20a%C3%B1os">2013 December 5</a></h2><h2 class="">Artwork<br></br>Stravinsky sketch by Picasso (1920) +<br></br>Ravel sketch by Ghostbloom van Asten</h2></div></content><author><name>undefined</name></author></entry><entry><title>¡He aquí! ¡El Volcán!</title><link href="https://gavart.ist/#%C2%A1He%20aqu%C3%AD!%20%C2%A1El%20Volc%C3%A1n!"></link><link href="https://gavart.ist/static/%25C2%25A1He%2520aqu%25C3%25AD!%2520%25C2%25A1El%2520Volc%25C3%25A1n!.html" rel="alternative" type="text/html"></link><id>6f91f85a-5125-0422-a986-e72238270467</id><updated>2026-04-22T10:39:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Gavin Gamboa, piano<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br>5 December 2013</h2><h2 class="">Artwork<br></br><em>凱風快晴 • Fine Wind, Clear Morning</em><br></br>Katsushika Hokusai<br></br>1832</h2></div></content><author><name>undefined</name></author></entry><entry><title>Partita No. 1 ‘Zircon’</title><link href="https://gavart.ist/#Partita%20No.%201%20%E2%80%98Zircon%E2%80%99"></link><link href="https://gavart.ist/static/Partita%2520No.%25201%2520%25E2%2580%2598Zircon%25E2%2580%2599.html" rel="alternative" type="text/html"></link><id>898136ab-5eb6-864f-cc50-9b2ff7770141</id><updated>2026-04-22T09:15:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The first Partita is an exploratory essay in extemporaneous composition reflecting a fascination with Baroque dance-forms. The implications of these forms become stretched, mutated, abstracted from, denied, and revisited in each respective movement. The dances take as their point of departure an assumption regarding the form &amp; meter, one which is never definitively proved, merely alluded to and asserted, manipulated, and generated through a series of altered repetitions, angles, and periodic returns to pre-established motifs. As these patterns of identity and expression are built through the medium of shifting perceptions, a re-contextualized pattern of intelligibility emerges which simultaneously negates and affirms the dances upon which they are based.</h2><h2 class="">Artwork<br></br><em>Antique illustration of the grammar of ornament</em><br></br>Owen Jones<br></br>1856</h2></div></content><author><name>undefined</name></author></entry><entry><title>Demo Team Derivations</title><link href="https://gavart.ist/#Demo%20Team%20Derivations"></link><link href="https://gavart.ist/static/Demo%2520Team%2520Derivations.html" rel="alternative" type="text/html"></link><id>3fd55772-6e0a-e5c2-52f5-e791152b2f01</id><updated>2026-04-22T09:08:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Trimurti, by the Los Angeles-based musical group Demo Team, is an intriguing work; a triple-album, with the same series of songs recorded three different times, in three drastically different arrangements and instrumentations. Thus it encapsulates a vertical, rather than horizontal, obsession. There are the standard instruments/sonics of an indie band on one disc, along with a purely orchestral and classical arrangement on another (played by the mysterious Demo Team Phantom Orchestra) and a highly synthesized electronic version on yet another disc. Its offerings parallel the Hindu mythological/cosmological essences of Vishnu, the supreme energy, who shapeshifts into Brahma, the creator, or Shiva, the destroyer. Since I became more and more absorbed in these discs, it seemed natural to convert my enthusiasm into something which could become an extension of Trimurti's sprawling appetite. I set out to combine, in a strictly random fashion, small slices of these songs with each other, amalgamating songs together from across the three discs, and weaving new permutations out of the previously separated subsets. There was an enormous variety of sounds to work with, and so the making of the new derivations was highly pleasing, because combinatorially speaking, there existed so much possibility &amp; variety.</h2><h2 class="">Demo Team is <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jamie%20Green">Jamie Green</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a> and Tiziano Tucci.</h2><h2 class="">Artwork<br></br><em>Vintage woodblock print of Japanese textile from Shima-Shima</em><br></br>Furuya Korin<br></br>1904</h2><hr></hr><p><div class="video-container">
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</div></p><p><div class="aboutPortrait"><img src="./files/img/festival-o22/O22_Official_Selection_Logo_BW.png" width="100"></img></div></p><h3 class=""><strong>Title</strong>: Polia &amp; Blastema<br></br><strong>Director</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a><br></br><strong>Composer</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br><strong>Production Company</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Century%20Guild%20Creative">Century Guild Creative</a><br></br><strong>Release Date</strong>: 2022 September 30<br></br><strong>Premiere</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera%20Philadelphia%20Festival%20O22">Opera Philadelphia Festival O22</a> (US) • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Offscreen%20Film%20Festival%202023">Offscreen Film Festival 2023</a> (EU)</h3><p> </p><h2 class=""><em>"Bold. There is no one left exploring new imagery and new sound so radically."<br></br><strong>Werner Herzog</strong></em></h2><h2 class=""><em>"Mindblowingly beautiful. Pure seeing and wonder … otherworldiness magic."<br></br><strong>Willem Dafoe</strong></em></h2><h2 class=""><em>" … Like the long shriek of nature."<br></br><strong>Tom Gunning</strong></em></h2><h2 class=""><em>" … my brain went in a thousand directions, blasted by its cosmic radiations."<br></br><strong>François Girard</strong></em></h2><h2 class=""><em>"Few films instill such a sense of magic and terror …"<br></br><strong>Daniel Bird</strong></em></h2><p> </p><p><a class="tc-tiddlylink tc-tiddlylink-resolves exclude-reveal" href="#Polia%20%26%20Blastema"><img src="./files/img/posters/polia-and-blastema-poster-006.jpg"></img></a></p><p><a class="tc-tiddlylink tc-tiddlylink-resolves exclude-reveal" href="#Opera%20Philadelphia%20Festival%20O22"><img src="./files/img/festival-o22/O22_Official_Selection_Logo_BW.png" width="135"></img></a> <a class="tc-tiddlylink tc-tiddlylink-resolves exclude-reveal" href="#Leeds%20International%20Film%20Festival%20XXXVII%202023"><img src="./files/img/misc/film-festival-logo/liff-logo.png" width="200"></img></a> <a class="tc-tiddlylink tc-tiddlylink-resolves exclude-reveal" href="#Festival%20of%20Invisible%20Cinema%20XVII%202023"><img src="./files/img/misc/film-festival-logo/FM17_filmskemutacijeXVII_black.png" width="350"></img></a></p><p><a class="tc-tiddlylink tc-tiddlylink-resolves exclude-reveal" href="#Etrange%20Festival%20XXIX%202023"><img src="./files/img/misc/film-festival-logo/LTRANGE-logo.png" width="100"></img></a> <a class="tc-tiddlylink tc-tiddlylink-resolves exclude-reveal" href="#Offscreen%20Film%20Festival%202023"><img src="./files/img/misc/film-festival-logo/off-screen.png" width="200"></img></a>    <a class="tc-tiddlylink tc-tiddlylink-resolves exclude-reveal" href="#Grolandais%20International%20Film%20Festival%20XXII%202023"><img src="./files/img/misc/film-festival-logo/logo_header_ffgt13.png" width="400"></img></a></p><p> </p><h3 class="">Polia &amp; Blastema, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige's</a> first foray into opera, is a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gnosticism">gnostic</a> creation myth told through a visual tapestry which journeys into immensely desolate hellscapes of the inorganic as organic folding back onto itself in ever spiraling, fractally superimposing cataclysms of wormhole network (be)longing.</h3><h3 class="">Aesthetically tempered by aspects of decay, rot, earth, and the meta-myth structure of human cognition, the multi-leveled world of Polia &amp; Blastema is informed by the visual imagination of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">David Wexler</a>, a celebrated visual artist who has been the mastermind behind the live performances of Flying Lotus, The Weeknd, and The Glitch Mob, among many other artists. It is also informed by Viennese Actionism as much as it is by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#In%20The%20Dust%20of%20This%20Planet%3A%20Horror%20of%20Philosophy%2C%20Vol.%201">Eugene Thacker’s notions of “the world without us”</a>, of supernatural horror and dissolution, expressed in the separation and (re)union of two entities who in the end feast on one another in ritualistic ecstasy</h3><h3 class="">Starring <a class="tc-tiddlylink-external" href="https://www.ninamcneely.net/" rel="noopener noreferrer" target="_blank">Nina McNeely</a> and <a class="tc-tiddlylink-external" href="https://jasminealbuquerque.com/" rel="noopener noreferrer" target="_blank">Jasmine Albuquerque</a> and featuring vocalists <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micaela%20Tobin">Micaela Tobin</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sharon%20Chohi%20Kim">Sharon Chohi Kim</a>, Polia &amp; Blastema is a unique cinematic journey into the cosmic.</h3><h2 class=""><strong>Screenings</strong></h2><p class="largerList"><ul>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Festival%20of%20Invisible%20Cinema%20XVII%202023">Festival of Invisible Cinema XVII 2023</a><br></br>
		<sup><em>Zagreb, Croatia</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Leeds%20International%20Film%20Festival%20XXXVII%202023">Leeds International Film Festival XXXVII 2023</a><br></br>
		<sup><em>Leeds, United Kingdom</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Grolandais%20International%20Film%20Festival%20XXII%202023">Grolandais International Film Festival XXII 2023</a><br></br>
		<sup><em>Toulouse, France</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Etrange%20Festival%20XXIX%202023">Etrange Festival XXIX 2023</a><br></br>
		<sup><em>Paris, France</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Offscreen%20Film%20Festival%202023">Offscreen Film Festival 2023</a><br></br>
		<sup><em>Brussels, Belgium</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera%20Philadelphia%20Festival%20O22">Opera Philadelphia Festival O22</a><br></br>
		<sup><em>Philadelphia, Pennsylvania, United States</em></sup>
	</li>
	
</ul>	</p></div></content><author><name>undefined</name></author></entry><entry><title>Veil of Isis</title><link href="https://gavart.ist/#Veil%20of%20Isis"></link><link href="https://gavart.ist/static/Veil%2520of%2520Isis.html" rel="alternative" type="text/html"></link><id>f7bf3b56-0483-f1c4-d448-e8dddb3ad08e</id><updated>2026-04-19T20:18:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Veil_of_Isis" rel="noopener noreferrer" target="_blank">veil of Isis</a> is a metaphor and allegorical artistic motif representing the inaccessibility of nature's secrets, personified as the goddess Isis shrouded by a veil or mantle. The motif traces back to a statue in the ancient Egyptian city of Sais. As recounted by Greco-Roman authors, the statue of the veiled goddess bore the inscription:</p><h1 class=""><em>I am that which is. I am all that is, that was and that will be.</em> </h1><h1 class=""><em>No mortal man has lifted my veil.</em> </h1><h1 class=""><em>He is solely from himself and all things owe their being to him alone.</em></h1><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> kept these inscriptions <a class="tc-tiddlylink-external" href="https://www.npr.org/transcripts/5202103" rel="noopener noreferrer" target="_blank">under glass on his writing desk</a>.</p></div></content><author><name>undefined</name></author></entry><entry><title>Humoresques For The Verge Of Sanities</title><link href="https://gavart.ist/#Humoresques%20For%20The%20Verge%20Of%20Sanities"></link><link href="https://gavart.ist/static/Humoresques%2520For%2520The%2520Verge%2520Of%2520Sanities.html" rel="alternative" type="text/html"></link><id>9b212dd5-fc78-622c-f883-f9076286207b</id><updated>2026-04-19T19:24:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A collection of studies for electric piano; deranged, inconsistent forms acting as modes of displacement to a traditionally humorous levity, producing erratic and homogeneous moods. Interspersed with electronically processed versions and synthesized miniatures which correspond to theatrical staging devices, these pieces investigate the bewildering, metropolitan struggle amidst despondence, decay, and disarray, as well as their their subsumingly effulgent affects.</h2></div></content><author><name>undefined</name></author></entry><entry><title>First Assortment of The Well-Tempered Clavier Book I</title><link href="https://gavart.ist/#First%20Assortment%20of%20The%20Well-Tempered%20Clavier%20Book%20I"></link><link href="https://gavart.ist/static/First%2520Assortment%2520of%2520The%2520Well-Tempered%2520Clavier%2520Book%2520I.html" rel="alternative" type="text/html"></link><id>f750e363-a01e-b1df-bbd1-9065eb7a0d67</id><updated>2026-04-19T14:25:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Well-Tempered%20Clavier%2C%20Book%20I">The Well-Tempered Clavier, Book I</a><br></br>1722</h2><h2 class="">The best known of J.S. Bach‘s clavier works is the famous set of preludes and fugues known as the Well-Tempered Clavier. This musical text was intended to function as a fundamental guide for the understanding of harmony and rhythm. The objective—to introduce the 24 major and minor keys—was a challenging notion at the time; the established traditions of instrumental tuning did not allow for the simultaneous use of many keys with multiple sharps or flats on one instrument. Bach was attempting to integrate a type of tempered tuning that has remained the foundation of musical thought to this day.</h2><h2 class="">Despite being initially implemented as teaching guides for his students, Bach’s complete collection of the preludes and fugues are now highly regarded musical works, not only for how influential they have been but also because of their unique intricacies and complexities. In principle and compositionally speaking, the preludes are lyrical and free; the fugues—strict. All these vary wonderfully in subject, texture, form, and treatment. This is a music that offers metaphysical sustenance for the spirit and one which offers a glimpse into the musical arts of the baroque.</h2><h2 class="">The first in a series of live performances which comprise the Well-Tempered Clavier Book I.</h2><h2 class="">Recorded Live at Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bart%C3%B3k%20%E2%8E%AE%20Schubert%20%E2%8E%AE%20J.S.%20Bach%20%E2%8E%AE%20Gamboa">2012</a>-<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#M%C3%BAsica%20hace%20100%20a%C3%B1os">2013</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Canciones de mi padre que han sido completamente deconstruido y vuelto a montar</title><link href="https://gavart.ist/#Canciones%20de%20mi%20padre%20que%20han%20sido%20completamente%20deconstruido%20y%20vuelto%20a%20montar"></link><link href="https://gavart.ist/static/Canciones%2520de%2520mi%2520padre%2520que%2520han%2520sido%2520completamente%2520deconstruido%2520y%2520vuelto%2520a%2520montar.html" rel="alternative" type="text/html"></link><id>1f0ae407-63eb-445c-106e-97427f57a499</id><updated>2026-04-19T13:08:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">'Canciones de mi padre que han sido completamente deconstruido y vuelto a montar’ se deriva enteramente de las muestras tomadas de los primeros grabaciónes de <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jorge%20Gamboa%20Patr%C3%B3n">Jorge Gamboa Patrón</a> realizadas durante la década de 1980: ‘Fantasma’ y ‘Perfiles’. Las canciones han sido mezclados entre sí para crear nuevas formas y fusiones salvajes. Habiendo crecido con esta música, me encontré haciendo estos deconstrucciones / reconstrucciones a ser un proceso de redescubrimiento; remodelación y remodelar algo muy familiar y cercano en algo totalmente desconocido y lejano.</h2><h2 class="">‘Songs of my father that have been completely deconstructed and reassembled’ is derived entirely from samples taken from Jorge Gamboa Patrón's early records made during the 1980s: ‘Fantasma’, and ‘Perfiles’. The songs have been intermixed with each other to create wild new forms and fusions. Having grown up with this music, I found making these deconstructions/reconstructions to be a process of rediscovery; reshaping and remolding something very familiar and close into something entirely unfamiliar and far away.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Lycopene</title><link href="https://gavart.ist/#Lycopene"></link><link href="https://gavart.ist/static/Lycopene.html" rel="alternative" type="text/html"></link><id>6550eac6-4d0e-69b6-076a-4cf97ee6bdd6</id><updated>2026-04-19T11:40:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Lycopene is a natural antioxidant found in tomatoes that gives them their red color and may help protect against certain diseases, including some types of cancer and heart disease. Eating tomatoes can increase your lycopene intake, which is beneficial for health.</h2><h2 class="">Lycopene is a powerful antioxidant that gives tomatoes their bright red color. It belongs to a class of compounds known as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carotenoids">carotenoids</a>, which are responsible for the red, orange, and yellow hues in many fruits and vegetables. Lycopene is not only found in tomatoes but also in other red fruits like watermelon and pink grapefruit.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Carotenoids</title><link href="https://gavart.ist/#Carotenoids"></link><link href="https://gavart.ist/static/Carotenoids.html" rel="alternative" type="text/html"></link><id>eadc383a-8332-6426-777c-4eac42726532</id><updated>2026-04-19T11:39:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Iraq</title><link href="https://gavart.ist/#Iraq"></link><link href="https://gavart.ist/static/Iraq.html" rel="alternative" type="text/html"></link><id>5ae2ff99-743a-8487-c917-e98bbf3db2d3</id><updated>2026-04-19T10:57:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Two Canons and Cadenza for Sérgio Vieira de Mello</title><link href="https://gavart.ist/#Two%20Canons%20and%20Cadenza%20for%20S%C3%A9rgio%20Vieira%20de%20Mello"></link><link href="https://gavart.ist/static/Two%2520Canons%2520and%2520Cadenza%2520for%2520S%25C3%25A9rgio%2520Vieira%2520de%2520Mello.html" rel="alternative" type="text/html"></link><id>0adfb07d-6e35-7e6e-1b53-5d5ea6196a61</id><updated>2026-04-19T10:57:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Anatomical Exercises (for Ersatz String Quartet)</title><link href="https://gavart.ist/#The%20Anatomical%20Exercises%20(for%20Ersatz%20String%20Quartet)"></link><link href="https://gavart.ist/static/The%2520Anatomical%2520Exercises%2520(for%2520Ersatz%2520String%2520Quartet).html" rel="alternative" type="text/html"></link><id>be926878-1bf8-8083-0d0f-f1cf4fa12ebf</id><updated>2026-04-19T09:50:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The sequential knife of anatomy and of reason which divides the world and the body into discreet and assembled parts had cut the universe in two. What had existed motionless underneath sensuous appearances assumed an importance that stood outside of time. Contrary methods of an empirical variety posited a reality in dynamic flux. Unknowable in depth, actuality became accessible by a contingent of variegated surfaces.</h2><h2 class="">Recorded in New Orleans, Louisiana<br></br>2014 July 5<br></br></h2><h2 class="">Performed by Gavin Gamboa <br></br>using <a class="tc-tiddlylink-external" href="https://gestrument.com/" rel="noopener noreferrer" target="_blank">Gestrument 1.4</a> designed by <a class="tc-tiddlylink-external" href="http://www.kymatica.com/" rel="noopener noreferrer" target="_blank">Jonatan Liljedahl</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Hortus Musicus</title><link href="https://gavart.ist/#Hortus%20Musicus"></link><link href="https://gavart.ist/static/Hortus%2520Musicus.html" rel="alternative" type="text/html"></link><id>fcdfae9f-988c-35d8-3641-c60d204686db</id><updated>2026-04-19T09:37:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20A%20minor%20BWV%20965">Sonata in A minor BWV 965</a><br></br>circa. 1700</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jan%20Adams%20Reincken">Jan Adams Reincken</a> (1623-1722)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#HORTUS%20MUSICUS%20recentibus%20aliquot%20flosculis%20SONATEN%2C%20ALLEMANDEN%2C%20COURANTEN%2C%20SARABANDEN%2C%20et%20GIGUEN%20Cum%202%20Violin%2C%20Viola%20%28da%20Gamba%29%2C%20et%20Basso%20continuo">HORTUS MUSICUS recentibus aliquot flosculis SONATEN, ALLEMANDEN, COURANTEN, SARABANDEN, et GIGUEN Cum 2 Violin, Viola (da Gamba), et Basso continuo</a><br></br>1687</h2><h2 class=""><em>MUSICAL GARDEN of fresh little flowers SONATAS, ALLEMANDES, COURANTES, SARABANDES, and GIGUES for 2 violins, viola {da Gamba}, and Basso continuo</em></h2><h2 class="">/—/—/—/—/—/—/—/—/—/—/—/—/—/—/—/—/—/—/—/—/—/—</h2><h2 class="">Jan Adam Reincken is thought to have been a significant influence on the young J.S. Bach. It was on this very same chorale that Bach improvised in the form of Reincken, just before the latter's death at an advanced age. It is said that after hearing the younger man's improvisation, Reincken remarked: "I thought that this art was dead, but I see that it lives in you." So if the story is true, it would indicate Bach showed great respect for Reincken's craft. In fact, the young musician from Thuringia had been intimately acquainted with Reincken's music some years before, when he based a fugue and two sonatas for keyboard on pieces drawn from Reincken's Hortus musicus. These provide an extremely productive window into Bach's early compositional practice — his transcriptions ranging from embellishments to entirely independent pieces based on Reincken's subjects.</h2><h2 class="">Delving further into this relationship, Christoph Wolff in his ‘Bach: Essays on His Life and Music’ explains:</h2><blockquote class="tc-quote digitalGarden"><p>Without a doubt, Reincken represented a versatile and colorful musical personality of a special sort. He was a virtuoso of high order and an esteemed organ expert … At the same time, he also possessed theoretical interests and clearly had an encompassing professional knowledge of the musical literature. In this respect, Reincken must have appeared incomparably more fascinating to the young Bach than Buxtehude or Böhm … The very fact that Bach did not arrange any works by a North German composer other than Reincken, not even by Buxtehude or Böhm, underlines Reincken's significance.  
</p></blockquote><h2 class="">Gavin Gamboa, piano<br></br>Festival Anual de las Artes 2014 : Otoño Cultural<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Claro%20de%20Luna">2014 September 23</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven ⎮ Sonata ‘Quasi una fantasia’ II</title><link href="https://gavart.ist/#Beethoven%20%E2%8E%AE%20Sonata%20%E2%80%98Quasi%20una%20fantasia%E2%80%99%20II"></link><link href="https://gavart.ist/static/Beethoven%2520%25E2%258E%25AE%2520Sonata%2520%25E2%2580%2598Quasi%2520una%2520fantasia%25E2%2580%2599%2520II.html" rel="alternative" type="text/html"></link><id>871d639a-e5fc-d9ed-4a01-f08192bd5423</id><updated>2026-04-19T09:29:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2014%20in%20C%20sharp%20minor%20%E2%80%98Quasi%20una%20fantasia%E2%80%98%20Opus%2027%20no.%202">Sonata 14 in C sharp minor ‘Quasi una fantasia‘ Opus 27 no. 2</a><br></br>1802</h2><h2 class="">Gavin Arturo Gamboa, piano<br></br>Festival Anual de las Artes 2014 : Otoño Cultural<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Claro%20de%20Luna">2014 September 23</a></h2><h2 class="">Artwork<br></br>collage of detail from Leopold Beyer <em>‘Vienna , Naschmarkt’</em><br></br> and detail from Jorinde Voigt <em>‘Ludwig van Beethoven/Sonata Nr. 14 (Opus 27, Nr. 2)</em></h2></div></content><author><name>undefined</name></author></entry><entry><title>Three Regular Axioms</title><link href="https://gavart.ist/#Three%20Regular%20Axioms"></link><link href="https://gavart.ist/static/Three%2520Regular%2520Axioms.html" rel="alternative" type="text/html"></link><id>e40a008d-64e3-a366-077b-9dbd75d238f0</id><updated>2026-04-18T20:21:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">This early piano work in three parts represents an experiment in transcribing and codifying a series of improvised recording sessions built upon a small set of pre-determined thematic fragments, which recur throughout in various iterations. The result is a ‘fixed’ score which embodies ‘un-fixed’ principles; capturing extemporaneous musical material into something unified and static.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Esthetogenesis ⎮ Hamakhaave</title><link href="https://gavart.ist/#Esthetogenesis%20%E2%8E%AE%20Hamakhaave"></link><link href="https://gavart.ist/static/Esthetogenesis%2520%25E2%258E%25AE%2520Hamakhaave.html" rel="alternative" type="text/html"></link><id>d8f641c5-b807-90f8-78fe-a3f8c4b9fa80</id><updated>2026-04-18T20:14:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>40.68236510409554, -73.98637684511895</title><link href="https://gavart.ist/#40.68236510409554%2C%20-73.98637684511895"></link><link href="https://gavart.ist/static/40.68236510409554%252C%2520-73.98637684511895.html" rel="alternative" type="text/html"></link><id>c2331d12-13d4-5b09-bb03-068b77c5ffe3</id><updated>2026-04-18T19:55:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Max Jaffe "You Want That Too!" Live + Tsons of Tsunami • Public Records</title><link href="https://gavart.ist/#Max%20Jaffe%20%22You%20Want%20That%20Too!%22%20Live%20%2B%20Tsons%20of%20Tsunami%20%E2%80%A2%20Public%20Records"></link><link href="https://gavart.ist/static/Max%2520Jaffe%2520%2522You%2520Want%2520That%2520Too!%2522%2520Live%2520%252B%2520Tsons%2520of%2520Tsunami%2520%25E2%2580%25A2%2520Public%2520Records.html" rel="alternative" type="text/html"></link><id>f62064af-6947-3c53-1d75-69515dc04e01</id><updated>2026-04-18T19:55:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/posters/max-jaffe-ywtt-publicrecords-nyc-20260411.JPG" width="600"></img></p><h2 class=""><a class="tc-tiddlylink-external" href="https://publicrecords.nyc" rel="noopener noreferrer" target="_blank">Public Records</a> presents Max Jaffe's latest LP <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe%20%C2%B7%20You%20Want%20That%20Too%21">You Want That Too!</a> released by <a class="tc-tiddlylink-external" href="https://www.colorfieldrecords.com/" rel="noopener noreferrer" target="_blank">Colorfield Records</a> and produced by Pete Min. Opening set from <a class="tc-tiddlylink-external" href="https://tsonsoftsunami.bandcamp.com/music" rel="noopener noreferrer" target="_blank">Tsons of Tsunami</a></h2><h2 class="">Sextet Members</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a>: drum set, acoustic and electronic percussion<br></br><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Stomu_Takeishi" rel="noopener noreferrer" target="_blank">Stomu Takeishi</a>: bass<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>: piano, synthesizers<br></br><a class="tc-tiddlylink-external" href="https://darianthomas.myportfolio.com/" rel="noopener noreferrer" target="_blank">Darian Donovan Thomas</a>: violin<br></br><a class="tc-tiddlylink-external" href="https://www.norastanley.com/" rel="noopener noreferrer" target="_blank">Nora Stanley</a>: tenor saxophone<br></br><a class="tc-tiddlylink-external" href="https://stuart-bogie.com" rel="noopener noreferrer" target="_blank">Stuart Bogie</a>: clarinet</h2></div></content><author><name>undefined</name></author></entry><entry><title>CurrentLocation</title><link href="https://gavart.ist/#CurrentLocation"></link><link href="https://gavart.ist/static/CurrentLocation.html" rel="alternative" type="text/html"></link><id>190871ff-9dd0-5bae-2169-9b0e25addfe1</id><updated>2026-04-18T19:55:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tausendvierhundertsechzehn</title><link href="https://gavart.ist/#Tausendvierhundertsechzehn"></link><link href="https://gavart.ist/static/Tausendvierhundertsechzehn.html" rel="alternative" type="text/html"></link><id>5d50515c-510d-364b-4ed9-5da85f64cf0b</id><updated>2026-04-18T13:32:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Concert on the occasion of the exhibition “V” by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a></h2><h2 class="">Concept<br></br>David Lamelas in cooperation with<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Le%C3%B3n%20de%20Castillo">León de Castillo</a></h2><h2 class="">Performed by<br></br>León de Castillo &amp; Marcel Rubin Quartett</h2><h2 class="">Recording by<br></br>Nestor Fabian Gonzalez</h2><h2 class="">Conceptual Artist David Lamelas (*1946) is known today first and foremost for his structuralist films and media installations. His solo exhibition “V” at Kunsthalle Basel, curated by Ruth Kissling, opens with a concrete object that serves as a reminder of Lamelas’s early sculptural works of the 1960s, but which also embodies his fundamental concern to liberate sculpture from the traditional ratio of mass and volume – a recurring theme within his oeuvre. For David Lamelas, sculpture is not only the aesthetic form and specific mass occupying space, but rather the centre of an accumulation of spatial and social interactions. The site of the artwork – as place of creation as well as place of presentation – is central to the conceptual approach underpinning his works. As seemingly invisible material, tied to the experience of the viewer, time complements the vacuum of space.</h2><h2 class="">On Sunday, September 21, 2014 in the Oberlichtsaal, the work 1416 m3 is premiered live in front of an audience. Recorded, it will be played back during the exhibition in rear-right corner of the main gallery. This composition has been written by US-based composer Gavin Gamboa (*1984, Mexico) following the concept of David Lamelas. The situational chamber piece for tenor and string quartet (which is performed on Sunday, September 21, 2014 at Kunsthalle Basel by the Austrian-Mexican tenor León de Castillo and the Marcel Rubin Quartet) represents sonically the amount of cubic meters at the Oberlichtsaal. The tenor will describe the architecture of the space where the concert takes place by filling each cubic meter of the space with sound.</h2><h2 class="">More information about the music of “V”:<br></br><a class="tc-tiddlylink tc-tiddlylink-missing" href="#1416m%C2%B3%20%3A%20Concert%20%E2%80%9CV%E2%80%9D">1416m³ : Concert “V”</a></h2><h2 class="">More information about the exhibition of “V”:<br></br><a class="tc-tiddlylink-external" href="http://kunsthallebasel.ch/en/exhibition/david-lamelas/" rel="noopener noreferrer" target="_blank">kunsthallebasel.ch/en/exhibition/david-lamelas/</a></h2><h2 class="">Special Thanks:<br></br>Nestor Fabian Gonzales, Raphael Oberhuber, Emily Call, Ruth Kissling, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Memphis Group</title><link href="https://gavart.ist/#Memphis%20Group"></link><link href="https://gavart.ist/static/Memphis%2520Group.html" rel="alternative" type="text/html"></link><id>59a09899-d26a-55d5-3fa2-0437d4a36985</id><updated>2026-04-18T13:30:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cybism Dreams</title><link href="https://gavart.ist/#Cybism%20Dreams"></link><link href="https://gavart.ist/static/Cybism%2520Dreams.html" rel="alternative" type="text/html"></link><id>bbaca7a4-62e2-c687-b280-381511d2011c</id><updated>2026-04-18T13:14:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">I view the pieces of this album leaf as depicting early refrains of the collective unconscious' proto-understanding of the Cybist impulse, perhaps encapsulated in people's dreams of the future, or in their desires of the present … imaginings which were never fully articulated or known by anyone to whom they occurred. I imagine ideas such as these as being absorbed back into the froth and chaos of history, disappearing, then reemerging and brought to fruition by others who are at a distant remove from the primary dreamers, tinkerers, and visionaries. While focused primarily on an America of the early 20th century and pointed towards Cybism, one comes to recognize this process playing out across all of history, as these yearnings of a collective unconsciousness materialize at some distant point from their origination.</h2><blockquote class="tc-quote digitalGarden"><p>Cybism is a new sensibility emerging in art respecting the integration of certain aspects of science, technology and consciousness—a consciousness struggling to attend to the prevailing current spirit of our age. This cybistic zeitgeist I identify as being precisely a quality-of-life desire in which everything, everywhere, all at once is connected in a rhizomatic web of communication. Therefore, cybism is no longer content with the regurgitation of standardized repertoires. Rather I detect in art a fertile attraction towards the abstractions of advanced scientific discovery – discovery now stripped of its fundamentally reductive logical methodology. Moreover, cybism can be used to characterize a certain group of researchers and their understanding of where cultural space is developing today. Cybists reflect on system dynamics with a hybrid blending (cybridization) of the computational supplied virtual with the analog. Digitization is a key metaphor for the cybists only in the sense that it is the fundamental translating system today.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Joseph%20Nechvatal">Joseph Nechvatal</a>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Quartet Forensics</title><link href="https://gavart.ist/#Quartet%20Forensics"></link><link href="https://gavart.ist/static/Quartet%2520Forensics.html" rel="alternative" type="text/html"></link><id>9f754efa-d864-ed2b-f03b-aa0e8c51f105</id><updated>2026-04-17T21:42:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The sixty-six tracks on ‘Quartet Forensics’ are micro-studies based on sampled material from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mapping%20The%20Rivers%27%20Unconscious%20%E2%8E%AE%20String%20Quartet%20I">Mapping the Rivers' Unconscious</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anima%20Exstasis">Anima Exstasis</a>, both compositions for string quartet [unreleased as of the date of this publishing]. Each individual track or grouping of tracks is either investigative of an inner structure, exploiting granular environments that utilize a minimal selection of sampled audio, or function instead as longer, exploratory canvases detailing growth and entropy. </h2><h2 class="">Full of destructive edits and repetition, <em>Quartet Forensics</em> seeks to embody an existing practice of electronic music manipulation while embracing sounds often labeled as errors; skipping; jumping; malfunctioning; a world of dead-ends turning in on themselves to reveal new forms and configurations.</h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="http://makenoisemusic.com/" rel="noopener noreferrer" target="_blank">Make Noise</a>: <a class="tc-tiddlylink-external" href="http://www.makenoisemusic.com/modules/phonogene-legacy" rel="noopener noreferrer" target="_blank">Phonogene</a> &amp; <a class="tc-tiddlylink-external" href="http://www.makenoisemusic.com/modules/echophon" rel="noopener noreferrer" target="_blank">Echophon</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink-external" href="https://madronalabs.com/products/kaivo" rel="noopener noreferrer" target="_blank">Madrona Labs: Kaivo</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Venetus A</title><link href="https://gavart.ist/#Venetus%20A"></link><link href="https://gavart.ist/static/Venetus%2520A.html" rel="alternative" type="text/html"></link><id>e38cf2fc-146b-f25b-6bf6-4c65093ee2cb</id><updated>2026-04-17T10:28:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#War%20Music%3A%20An%20Account%20of%20Homer%27s%20Illiad">Iliad</a></h2><ul><li><h2>drama as idea; dramaturgical action as it existed in the minds of human beings as transmitted by way of oral tradition, circa 850 BC. The historical context of the poem itself is the time of the Late Bronze Age collapse: 1100 BC. The poem as it is told is separated from its subject matter by nearly 400 years. Little information exists of its early condition, but in the second century BCE, Alexandrian librarians stabilized it into a text from which all modern texts descend.</h2></li></ul><h2 class=""><strong>Chrestomathy</strong></h2><ul><li><h2>no works by Eutychius Proclus are known to have survived. However, it is believed that he is the author of a Chrestomathy which is the most important source of information on the Epic Cycle, which tells of the Trojan War.</h2></li></ul><h2 class=""><strong>A scholia</strong></h2><ul><li><h2>a flurry of recording thoughts and committing them to writing … followed by long periods of contemplation and struggle with concepts, translations, passages … followed again by new insights, intuitions … existing in a volume representing the site of an act of remembrance.</h2></li></ul><h2 class=""><strong>Eustathius</strong></h2><ul><li><h2>continued development and commentary, entirely based on extracts of works which are now lost.</h2></li></ul><h2 class=""><strong>Apion &amp; Herodorus</strong></h2><ul><li><h2>dueling interpretations and imaginings which sometimes collide, become interleaved with one another, and then separate in flashes of crystalline diffusion … ascending into high realms of subdivision and variegation.</h2></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Territory of the Nine Pollutants</title><link href="https://gavart.ist/#Territory%20of%20the%20Nine%20Pollutants"></link><link href="https://gavart.ist/static/Territory%2520of%2520the%2520Nine%2520Pollutants.html" rel="alternative" type="text/html"></link><id>fad1ce42-336a-7dfe-4354-5cc70ad647db</id><updated>2026-04-17T08:41:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>Some forms of pollution are part of people’s daily experience. Exposure to atmospheric pollutants produces a broad spectrum of health hazards, especially for the poor, and causes millions of premature deaths. People take sick, for example, from breathing high levels of smoke from fuels used in cooking or heating. There is also pollution that affects everyone, caused by transport, industrial fumes, substances which contribute to the acidification of soil and water, fertilizers, insecticides, fungicides, herbicides and agrotoxins in general. Technology, which, linked to business interests, is presented as the only way of solving these problems, in fact proves incapable of seeing the mysterious network of relations between things and so sometimes solves one problem only to create others.<br></br><br></br>Account must also be taken of the pollution produced by residue, including dangerous waste present in different areas. Each year hundreds of millions of tons of waste are generated, much of it non-biodegradable, highly toxic and radioactive, from homes and businesses, from construction and demolition sites, from clinical, electronic and industrial sources. The earth, our home, is beginning to look more and more like an immense pile of filth. In many parts of the planet, the elderly lament that once beautiful landscapes are now covered with rubbish. Industrial waste and chemical products utilized in cities and agricultural areas can lead to bioaccumulation in the organisms of the local population, even when levels of toxins in those places are low. Frequently no measures are taken until after people’s health has been irreversibly affected.<br></br><br></br>These problems are closely linked to a throwaway culture which affects the excluded just as it quickly reduces things to rubbish. To cite one example, most of the paper we produce is thrown away and not recycled. It is hard for us to accept that the way natural ecosystems work is exemplary: plants synthesize nutrients which feed herbivores; these in turn become food for carnivores, which produce significant quantities of organic waste which give rise to new generations of plants. But our industrial system, at the end of its cycle of production and consumption, has not developed the capacity to absorb and reuse waste and by-products. We have not yet managed to adopt a circular model of production capable of preserving resources for present and future generations, while limiting as much as possible the use of non-renewable resources, moderating their consumption, maximizing their efficient use, reusing and recycling them. A serious consideration of this issue would be one way of counteracting the throwaway culture which affects the entire planet, but it must be said that only limited progress has been made in this regard.<br></br><br></br>Laudato Si’<br></br>On The Care Of Our Common Home<br></br>Encyclical Letter of Pope Francis<br></br>18 June 2015<br></br></p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>String Trio I : Into The Magnificent Sea, I Dispose Of Thee</title><link href="https://gavart.ist/#String%20Trio%20I%20%3A%20Into%20The%20Magnificent%20Sea%2C%20I%20Dispose%20Of%20Thee"></link><link href="https://gavart.ist/static/String%2520Trio%2520I%2520%253A%2520Into%2520The%2520Magnificent%2520Sea%252C%2520I%2520Dispose%2520Of%2520Thee.html" rel="alternative" type="text/html"></link><id>93f3ea9f-bf86-fe97-6efe-c34adda20a11</id><updated>2026-04-17T08:00:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="row">
<div class="column"><h2 class=""><u>Violin</u><br></br>Ina Veli</h2><h2 class=""><u>Viola</u><br></br>Joshua Heaphey</h2><h2 class=""><u>Cello</u><br></br>Garik Terzian</h2><h2 class="">Producer and Engineer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2></div>
<div class="column"><h2 class="">EastWest Studios<br></br>Los Angeles, California, United States<br></br>2014 October 6</h2><h2 class="">Artwork<br></br>Silvia Barbotto<br></br><em>Horror Vacui, lithograph</em></h2></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Digital Garden</title><link href="https://gavart.ist/#Digital%20Garden"></link><link href="https://gavart.ist/static/Digital%2520Garden.html" rel="alternative" type="text/html"></link><id>8d4eec47-1b79-2a55-3913-f565ad0d451d</id><updated>2026-04-16T21:25:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/a_digital_garden_in_the_style_Albrecht_Durer-01.jpg" width="450"></img> <img src="./files/img/computer_collapsing_in_on_itself_in_the_year_3000.jpg" width="450"></img><br></br>
<sup>
<strong>Midjourney prompts:</strong><br></br>
<code>a digital garden in the style of Albrecht Dürer</code><br></br>
<code>a computer collapsing in on itself in the year 3000</code>
</sup></p><h1 class="digitalGarden">🌱 🌿 🌳 🍏</h1><h3 class="digitalGarden">A digital garden (or knowledge garden/mind garden) can be a notebook, a blog, a wiki, a journal, a research document … anything that aids you in developing and cultivating a bidirectional, non-linear note repository that encourages <a class="tc-tiddlylink-external" href="https://www.mentalnodes.com/networked-thinking-can-happen-at-many-levels" rel="noopener noreferrer" target="_blank">networked thinking</a>, which can useful for building a knowledge base for learning in real-time. Digital gardens can be considered <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Personal%20Knowledge%20Management">Tools for Thought (TfT)</a>, a type of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Personal%20Knowledge%20Management">Personal Knowledge Management (PKM)</a>, or a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Personal%20Knowledge%20Management">Knowledge Graph</a>. To summarize the main points in Maggie Appleton's <a class="tc-tiddlylink-external" href="https://maggieappleton.com/garden-history" rel="noopener noreferrer" target="_blank">A Brief History of Digital Gardens</a>: </h3><p class="digitalGarden"> 
 </p><ul class="digitalGarden"><li><strong>Topography over Timelines</strong><ul><li>Gardens are organised around contextual relationships and associative links</li></ul></li><li><strong>Continuous Growth</strong><ul><li>Gardens are never finished, they're constantly growing, evolving, and changing.</li></ul></li><li><strong>Imperfection &amp; Learning in Public</strong><ul><li>Gardens are imperfect by design. They don't hide their rough edges or claim to be a permanent source of truth. </li></ul></li></ul><p class="digitalGarden"> 
 </p><h3 class="digitalGarden">As neuroscientist and learning researcher <a class="tc-tiddlylink-external" href="https://nesslabs.com/digital-garden-set-up" rel="noopener noreferrer" target="_blank">Anne-Laure Le Cunff</a> states:</h3><blockquote class="tc-quote digitalGarden"><h2 class=""><em>Digital gardens are usually light-weight, with an emphasis on the text itself, but they can be designed in any way that reflects their owners’ thinking style and digital gardening preferences. They can be built with intricate systems, or simple no-code tools.</em></h2></blockquote><p class="digitalGarden"> 
 
 
 </p><h3 class="digitalGarden">And now, to borrow from <a class="tc-tiddlylink-external" href="https://www.rezmason.net/beliefs.html" rel="noopener noreferrer" target="_blank">Jeremy Sach's</a> personal site, I would like to repeat the following beliefs, which we owe to ourselves and to each other:</h3><ul class="digitalGarden"><li>to share what we know, and learn what we don't;</li><li>to take full control of our online representation and correspondence;</li><li>to discover things ourselves, rather than rely on recommendation engines to satiate us;</li><li>to foster and nurture communities beyond the walled gardens of online platforms;</li><li>to affirm that we alone bestow value on the things we share.</li></ul><h2 class="digitalGarden">➞ intention &amp; plans for <button class="tc-btn-invisible tc-tiddlylink">
gavart.ist
</button></h2><p class="digitalGarden">This wiki is built using the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Babycastles%20%C2%B7%20TiddlyWiki%3A%20Getting%20started%20with%20digital%20gardens">TiddlyWiki</a> platform and the original intention was to create an up-to-date archive of my <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Discography">self-released music works</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Live%20Performance">performances</a>. As I became more fascinated by the philosophy and potential of TiddlyWiki I began branching out (🌿) and using it to store my <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bookcase">reading log/notes</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Writing">essays/reviews I've written</a>. From there it grew further (🌳) to include <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scores">Music Score PDFs</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Software">Software Notes &amp; Code examples</a> as well as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Repertoire">a list of piano pieces that I have learned</a>.</p><p class="digitalGarden">Moving forward, I would like to incorporate research and development for several <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Works%20in%20Progress">Works in Progress</a>; start using is as a written personal <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Journals">Journal</a>; include a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Photo%20Journal">Photo Journal</a>; expand the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Friends%20%26%20Family">Friends &amp; Family</a> section; and in the spirit of the sentiments expressed in <a class="tc-tiddlylink-external" href="https://memex.marginalia.nu/log/19-website-discoverability-crisis.gmi" rel="noopener noreferrer" target="_blank">The Small Website Discoverability Crisis</a>, start linking to interesting <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bookmarks">Bookmarks</a> that I come across on the web. The purpose of all of this will be to continue to cultivate a general feeling of awe, satisfy my inner-archivist, maintain a system for storing information, and to discover the ways in which knowledge can be networked together for simple and interesting future retrieval.</p><h2 class="digitalGarden">Resources</h2><ul class="digitalGarden"><li><a class="tc-tiddlylink-external" href="https://github.com/MaggieAppleton/digital-gardeners" rel="noopener noreferrer" target="_blank">Maggie Appleton Github Digital Garden Repo</a></li><li><a class="tc-tiddlylink-external" href="https://www.mentalnodes.com/" rel="noopener noreferrer" target="_blank">Mental Nodes</a></li><li><a class="tc-tiddlylink-external" href="https://tomcritchlow.com/2019/02/17/building-digital-garden/" rel="noopener noreferrer" target="_blank">Tom Critchlow's Building a digital garden</a></li></ul><h2 class="digitalGarden">Links</h2><ul class="digitalGarden"><li><a class="tc-tiddlylink-external" href="https://www.gwern.net/index" rel="noopener noreferrer" target="_blank">Gwern</a></li><li><a class="tc-tiddlylink-external" href="https://gavart.ist/h0p3" rel="noopener noreferrer" target="_blank">h0p3's philosopher.life (mirror)</a></li><li><a class="tc-tiddlylink-external" href="https://turntrout.com/welcome" rel="noopener noreferrer" target="_blank">Alex Turner's The Pond</a></li><li><a class="tc-tiddlylink-external" href="https://sphygm.us/" rel="noopener noreferrer" target="_blank">sphygm.us's wiki</a></li><li><a class="tc-tiddlylink-external" href="https://wiki.nikitavoloboev.xyz/" rel="noopener noreferrer" target="_blank">Nikita Voloboev's Everything I Know</a></li><li><a class="tc-tiddlylink-external" href="https://garden.anthonyamar.fr/Welcome+in+my+mind+%F0%9F%A7%A0" rel="noopener noreferrer" target="_blank">Anthony Amar's My Second Brain</a></li><li><a class="tc-tiddlylink-external" href="https://megu.space/" rel="noopener noreferrer" target="_blank">Megumi Tanaka's Megu.Space</a></li><li><a class="tc-tiddlylink-external" href="https://wiki.xxiivv.com/site/home.html" rel="noopener noreferrer" target="_blank">Devine Lu Linvega's xxiivv</a></li><li><a class="tc-tiddlylink-external" href="https://memex.marginalia.nu/" rel="noopener noreferrer" target="_blank">marginalia.nu</a></li><li><a class="tc-tiddlylink-external" href="https://yhnck.xyz/about/" rel="noopener noreferrer" target="_blank">yhnck.xyz</a></li><li><a class="tc-tiddlylink-external" href="https://joelhooks.com/" rel="noopener noreferrer" target="_blank">Joel Hook's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://garden.glennstovall.com/" rel="noopener noreferrer" target="_blank">Glenn Stovall's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://anagora.org/@flancian" rel="noopener noreferrer" target="_blank">Flancian's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://matecha.net/links/" rel="noopener noreferrer" target="_blank">Matecha's Links</a></li><li><a class="tc-tiddlylink-external" href="http://tw.boffosocko.com/#." rel="noopener noreferrer" target="_blank">Chris Aldrich's wiki</a></li><li><a class="tc-tiddlylink-external" href="https://barnsworthburning.net/" rel="noopener noreferrer" target="_blank">A kind of digital garden by Nick Trombley</a></li><li><a class="tc-tiddlylink-external" href="https://marijn.uk/" rel="noopener noreferrer" target="_blank">Marijn's dual-language digital garden</a></li><li><a class="tc-tiddlylink-external" href="https://www.ayushsharma.in/" rel="noopener noreferrer" target="_blank">Ayush Sharma's digital garden</a></li><li><a class="tc-tiddlylink-external" href="https://derelict.garden/" rel="noopener noreferrer" target="_blank">Derelict Garden</a></li><li><a class="tc-tiddlylink-external" href="https://selimslab.github.io/" rel="noopener noreferrer" target="_blank">Project Delta</a></li><li><a class="tc-tiddlylink-external" href="https://notes.yxy.ninja/" rel="noopener noreferrer" target="_blank">Xinyang Yu • Computer Science / Thinking Garde</a></li><li><a class="tc-tiddlylink-external" href="https://lyz-code.github.io/blue-book/" rel="noopener noreferrer" target="_blank">The Blue Book</a></li><li><a class="tc-tiddlylink-external" href="https://strikingloo.github.io/" rel="noopener noreferrer" target="_blank">Strikingloo</a></li><li><a class="tc-tiddlylink-external" href="https://hamel.dev/notes/" rel="noopener noreferrer" target="_blank">Hammel's Notes</a></li><li><a class="tc-tiddlylink-external" href="https://jzhao.xyz/" rel="noopener noreferrer" target="_blank">jzhao.xyz</a></li><li><a class="tc-tiddlylink-external" href="https://garden.doomhammer.info/" rel="noopener noreferrer" target="_blank">garden.doomhammer.info</a></li><li><a class="tc-tiddlylink-external" href="https://ramirosalas.com/" rel="noopener noreferrer" target="_blank">Ramiro Salas microknowledge site</a></li><li><a class="tc-tiddlylink-external" href="https://science-in-the-digital-era.khinsen.net/#" rel="noopener noreferrer" target="_blank">Konrad Hinsen's digital garden</a></li><li><a class="tc-tiddlylink-external" href="https://brainmachine.tiddlyhost.com/#" rel="noopener noreferrer" target="_blank">Kae's brain:machine wiki</a></li><li><a class="tc-tiddlylink-external" href="https://chsmc.org/notes/" rel="noopener noreferrer" target="_blank">Chase McCoy's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://www.daniel.pizza/links/" rel="noopener noreferrer" target="_blank">Daniël van der Winden's Linkroll</a></li><li><a class="tc-tiddlylink-external" href="https://anhvn.com/garden/digital-gardening/" rel="noopener noreferrer" target="_blank">Ahn's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://www.interroban.gg/bookmarks/" rel="noopener noreferrer" target="_blank">Luke Mitchell's Bookmarks</a></li><li><a class="tc-tiddlylink-external" href="https://jakintosh.com/index.html" rel="noopener noreferrer" target="_blank">jackintosh's knowledge base</a></li><li><a class="tc-tiddlylink-external" href="https://www.elenamadrigal.com/" rel="noopener noreferrer" target="_blank">Elen Madrigal's Spanish language Second Brain resources</a></li><li><a class="tc-tiddlylink-external" href="https://kevin.garden/" rel="noopener noreferrer" target="_blank">Kevin N. Chen's kevin.garden</a></li><li><a class="tc-tiddlylink-external" href="https://felix.plesoianu.ro/wiki.html" rel="noopener noreferrer" target="_blank">Felix Plesoianu's wiki made with TiddlyWiki Classic</a></li><li><a class="tc-tiddlylink-external" href="https://andirko.eu/wiki/" rel="noopener noreferrer" target="_blank">Alex M. Andirkó's wiki</a></li><li><a class="tc-tiddlylink-external" href="https://fishfiddler.us/SHR.html" rel="noopener noreferrer" target="_blank">Herb Reference built in TiddlyWiki</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Control Freaq Records</title><link href="https://gavart.ist/#Control%20Freaq%20Records"></link><link href="https://gavart.ist/static/Control%2520Freaq%2520Records.html" rel="alternative" type="text/html"></link><id>fc125096-3ff8-0272-d3b4-352a32a06eae</id><updated>2026-04-16T21:24:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/friends-family/control-freaq-records.jpg" width="350"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>BMP Producer Academy Certificate</title><link href="https://gavart.ist/#BMP%20Producer%20Academy%20Certificate"></link><link href="https://gavart.ist/static/BMP%2520Producer%2520Academy%2520Certificate.html" rel="alternative" type="text/html"></link><id>37117940-70f4-5f9c-6a57-8f5ad1b367df</id><updated>2026-04-16T21:23:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/misc/bmp-producer-academy-cert.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Dōgen's Garden On The Surface Of Mars</title><link href="https://gavart.ist/#D%C5%8Dgen's%20Garden%20On%20The%20Surface%20Of%20Mars"></link><link href="https://gavart.ist/static/D%25C5%258Dgen's%2520Garden%2520On%2520The%2520Surface%2520Of%2520Mars.html" rel="alternative" type="text/html"></link><id>6f583924-c76a-5e74-c982-d130ca9fffab</id><updated>2026-04-16T12:11:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Artwork<br></br>collage of <em>Manchu</em> (Philippe Bouche)<br></br>and NASA Curiosity Rover photography</h2></div></content><author><name>undefined</name></author></entry><entry><title>Nocturnes I-IV</title><link href="https://gavart.ist/#Nocturnes%20I-IV"></link><link href="https://gavart.ist/static/Nocturnes%2520I-IV.html" rel="alternative" type="text/html"></link><id>30c60901-0abe-af36-4942-44cf11316413</id><updated>2026-04-16T11:47:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>Once a dream did weave a shade<br></br>O'er my angel-guarded bed,<br></br>That an emmet lost its way<br></br>Where on grass methought I lay.<br></br><br></br>Troubled, wildered, and forlorn,<br></br>Dark, benighted, travel-worn,<br></br>Over many a tangle spray,<br></br>All heart-broke, I heard her say:<br></br><br></br>'Oh my children! do they cry,<br></br>Do they hear their father sigh?<br></br>Now they look abroad to see,<br></br>Now return and weep for me.'<br></br><br></br>Pitying, I dropped a tear:<br></br>But I saw a glow-worm near,<br></br>Who replied, 'What wailing wight<br></br>Calls the watchman of the night?<br></br><br></br>'I am set to light the ground,<br></br>While the beetle goes his round:<br></br>Follow now the beetle's hum;<br></br>Little wanderer, hie thee home!<br></br><br></br>William Blake<br></br><em>A Dream, Songs of Innocence</em> (1789)<br></br>
</p></blockquote><h2 class="">performed on a PETROF P 159 Bora<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2014 December</h2></div></content><author><name>undefined</name></author></entry><entry><title>Voyages and Wanderings in Far-off Seas and Lands</title><link href="https://gavart.ist/#Voyages%20and%20Wanderings%20in%20Far-off%20Seas%20and%20Lands"></link><link href="https://gavart.ist/static/Voyages%2520and%2520Wanderings%2520in%2520Far-off%2520Seas%2520and%2520Lands.html" rel="alternative" type="text/html"></link><id>5dd19568-41cc-f523-9760-ee03236bd2a1</id><updated>2026-04-16T11:23:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Based on true events which befell the crew of the <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Macquarie_Island" rel="noopener noreferrer" target="_blank">Bencleugh</a>.</h2><h2 class="">This album utilizes open-source field-recordings from the <a class="tc-tiddlylink-external" href="https://freesound.org/" rel="noopener noreferrer" target="_blank">Freesound</a> database.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Take Me To That Place Where I Know Nothing</title><link href="https://gavart.ist/#Take%20Me%20To%20That%20Place%20Where%20I%20Know%20Nothing"></link><link href="https://gavart.ist/static/Take%2520Me%2520To%2520That%2520Place%2520Where%2520I%2520Know%2520Nothing.html" rel="alternative" type="text/html"></link><id>38a6dec0-9e3f-5db8-669c-7debea9e1d9e</id><updated>2026-04-16T09:38:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Composed and Performed by Gavin Gamboa<br></br>• <em>Mahler Lead Her Torus</em> based on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gustav%20Mahler">Gustav Mahler</a><br></br>• <em>Post-Traumatic Strauss</em> based on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Richard%20Strauss">Richard Strauss</a><br></br>• <em>G\igu\e by B-A-C-H</em> based on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">J.S. Bach</a></h2><h2 class="">featuring <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Le%C3%B3n%20de%20Castillo">León de Castillo</a>, tenor</h2><h2 class="">performed using PETROF P 159 Bora, Yahmaha P22, <a class="tc-tiddlylink-external" href="https://madronalabs.com/products/aalto" rel="noopener noreferrer" target="_blank">Aalto</a>, <a class="tc-tiddlylink-external" href="http://makenoisemusic.com/modules/dpo" rel="noopener noreferrer" target="_blank">Make Noise DPO</a>, and various music boxes.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Anima Exstasis</title><link href="https://gavart.ist/#Anima%20Exstasis"></link><link href="https://gavart.ist/static/Anima%2520Exstasis.html" rel="alternative" type="text/html"></link><id>c402f175-1dfc-ee9d-6901-e2aa0f220513</id><updated>2026-04-15T18:38:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="row">
<div class="column"><h2 class=""><u>First Violin</u><br></br>Mischa Lakirovich</h2><h2 class=""><u>Second Violin</u><br></br>Zlata Grekov</h2><h2 class=""><u>Viola</u><br></br>Rodney Wirtz</h2><h2 class=""><u>Cello</u><br></br>Paula Hochhalter</h2></div>
<div class="column"><h2 class="">Producer &amp; Engineer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2><h2 class="">The Hobby Shop<br></br>Los Angeles, California, United States<br></br>2015 January 13</h2></div>
</div></p><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/OzDM8uiSZeE?si=Hfc6KzkrCKySVIDZ" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Wheel of Time</title><link href="https://gavart.ist/#Wheel%20of%20Time"></link><link href="https://gavart.ist/static/Wheel%2520of%2520Time.html" rel="alternative" type="text/html"></link><id>a016d1cd-ec2a-4723-4b4b-daa0b593a473</id><updated>2026-04-15T14:22:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>Above all, be at ease, be as natural and spacious as possible. Slip quietly out of the noose of your habitual anxious self, release all grasping, and relax into your true nature. Think of your ordinary emotional, thought-ridden self as a block of ice left out in the sun. If you are feeling hard and cold, let this aggression melt away in the sunlight of your meditation. Let peace work on you and enable you to gather your scattered mind into the mindfulness of Calm Abiding, and awaken in you the awareness and insight of Clear Seeing. And you will find all your negativity disarmed, your aggression dissolved, and your confusion evaporating slowly like mist into the vast and stainless sky of your absolute nature.<br></br><br></br><em>The Tibetan Book of Living and Dying</em><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sogyal%20Rinpoche">Sogyal Rinpoche</a>
</p></blockquote><h2 class="">Performed live using<br></br><a class="tc-tiddlylink-external" href="https://makenoisemusic.com/" rel="noopener noreferrer" target="_blank">Make Noise</a>: <a class="tc-tiddlylink-external" href="http://www.makenoisemusic.com/modules/pressure-points" rel="noopener noreferrer" target="_blank">Pressure Points</a>, <a class="tc-tiddlylink-external" href="http://www.makenoisemusic.com/modules/maths" rel="noopener noreferrer" target="_blank">Maths</a>, <a class="tc-tiddlylink-external" href="http://www.makenoisemusic.com/modules/echophon" rel="noopener noreferrer" target="_blank">Echophon</a><br></br><a class="tc-tiddlylink-external" href="https://mutable-instruments.net/" rel="noopener noreferrer" target="_blank">Mutable Instruments</a>: <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/clouds/" rel="noopener noreferrer" target="_blank">Clouds</a>, <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/elements/" rel="noopener noreferrer" target="_blank">Elements</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven ⎮ Grande sonate pathétique</title><link href="https://gavart.ist/#Beethoven%20%E2%8E%AE%20Grande%20sonate%20path%C3%A9tique"></link><link href="https://gavart.ist/static/Beethoven%2520%25E2%258E%25AE%2520Grande%2520sonate%2520path%25C3%25A9tique.html" rel="alternative" type="text/html"></link><id>979f7805-c2f9-be64-d11e-964dfe4ab18d</id><updated>2026-04-15T14:12:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%208%20in%20C%20minor%20Opus%2013%20%E2%80%98Grande%20sonate%20path%C3%A9tique%E2%80%99">Sonata 8 in C minor Opus 13 ‘Grande sonate pathétique’</a><br></br>1799</h2><h2 class="">Gavin Gamboa, piano<br></br>Teatro Ángela Peralta<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mazatl%C3%A1n">Mazatlán</a>, Sinaloa, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Concierto%20de%20piano%20%3A%20Cultura%20Mazatl%C3%A1n%202015">2015 December 8</a></h2><h2 class="">Artwork<br></br>collage of detail from unknown Vienna street-scene illustration<br></br>and detail from Jorinde Voigt <em>‘Ludwig van Beethoven/Sonata Nr. 8 (Opus 13)</em></h2></div></content><author><name>undefined</name></author></entry><entry><title>USA claiming global jurisdiction over internet copyright matters</title><link href="https://gavart.ist/#USA%20claiming%20global%20jurisdiction%20over%20internet%20copyright%20matters"></link><link href="https://gavart.ist/static/USA%2520claiming%2520global%2520jurisdiction%2520over%2520internet%2520copyright%2520matters.html" rel="alternative" type="text/html"></link><id>63f0e502-3428-7a7a-ec18-1ecd85ab8558</id><updated>2026-04-15T14:07:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/United_States_v._Elcom_Ltd." rel="noopener noreferrer" target="_blank">United States v. Elcom Ltd.</a><ul><li>Robert S. Muller prosecuted Russian citizen Dmitry Sklyarov for DCMA violations based on a presentation he made at DEF CON in Las Vegas describing lax Adobe security implementations in e-book software deployment. He was arrested, charged, and held in California until the case concluded despite DCMA not applying to his jurisdiction in Russia.</li></ul></li><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/United_States_v._Scheinberg" rel="noopener noreferrer" target="_blank">United States v. Scheinberg</a> "Pokerstars"<ul><li>Establishing global financial jurisdiction, often cited by cryptocurrency adopters.<ul><li><em>It's wild to read "the U.S. Congress passed UIGEA to extend existing gambling laws into cyberspace. The law made processing payments for online gambling a crime" in the light of how prevalent online gambling is now in the US mainstream, with sports betting, Kalshi, Polymarket and so on.</em><sup><a class="tc-tiddlylink-external" href="https://news.ycombinator.com/item?id=47776831" rel="noopener noreferrer" target="_blank">1</a></sup></li></ul></li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>This Precious Paralysis</title><link href="https://gavart.ist/#This%20Precious%20Paralysis"></link><link href="https://gavart.ist/static/This%2520Precious%2520Paralysis.html" rel="alternative" type="text/html"></link><id>45eb0b4c-eb92-39ad-e62a-4d747b200128</id><updated>2026-04-15T13:56:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>TO POSTERITY<br></br>My most profound observations<br></br>Have gone unrecorded. They were too subtle<br></br>And I was too lazy to pin them down.<br></br>I was always sluggishly scrambling<br></br>On to the next thing that would remain undone<br></br>Or underdone. It was, of course, within my power<br></br>To formulate them, despite the fact<br></br>That no evidence of them exists.<br></br><br></br>CITADEL<br></br>Am I empty at the core or just around the edges?<br></br>Are there riches therein? I wouldn't know.<br></br>I'm weighed down in a warm white glow,<br></br>Crushing the stark yellow dullness of the day<br></br>Into dust, statically and statelessly drifting<br></br>Throughout this haze of rust. Riding the waves<br></br>Of lostness across the landscape of a desk,<br></br>Into the bulwark of a threadbare curtain.<br></br><br></br>BENEATH MYSELF<br></br>Anything that requires perseverance<br></br>Has a wilting effect upon me<br></br>When opportunity calls,<br></br>Apathy is the natural response.<br></br>I cannot even call myself a failure.<br></br>I have never tried hard enough<br></br>At anything<br></br>To earn even that accolade.<br></br><br></br>LEADEN AFTERNOON (excerpt)<br></br>On the threshold of execution:<br></br>An urgent need degenerates into a chimera,<br></br>A hideous abstraction, an impossibility<br></br>Within my grasp. I consider it for a moment: <br></br><br></br>John Tottenham<br></br><em>The Inertia Variations (2010)</em><br></br>
</p></blockquote><h2 class="">Piano, Vocals, and Processing<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br></h2><h2 class="">Text<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#John%20Tottenham">John Tottenham</a> (selections from ‘The Inertia Variations’) &amp;<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hillel%20Schwartz">Hillel Schwartz</a> (deletions of ‘Making Noise’)</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ivan%20Gamboa">Ivan Gamboa</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Virginia Woolf</title><link href="https://gavart.ist/#Virginia%20Woolf"></link><link href="https://gavart.ist/static/Virginia%2520Woolf.html" rel="alternative" type="text/html"></link><id>184fe24b-e76d-4299-3556-e1a1290f6cfb</id><updated>2026-04-15T08:16:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Always to be doing work that one did not wish to do …</title><link href="https://gavart.ist/#Always%20to%20be%20doing%20work%20that%20one%20did%20not%20wish%20to%20do%20%E2%80%A6"></link><link href="https://gavart.ist/static/Always%2520to%2520be%2520doing%2520work%2520that%2520one%2520did%2520not%2520wish%2520to%2520do%2520%25E2%2580%25A6.html" rel="alternative" type="text/html"></link><id>ba0c6a84-6653-3a19-82e1-6519d3b4c2a8</id><updated>2026-04-15T08:16:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> and then the thought of that one gift which it was death to hide—a small one but dear to the possessor—perishing and with it my self, my soul,—all this became like a rust eating away the bloom of the spring, destroying the tree at its heart.</p></div></content><author><name>undefined</name></author></entry><entry><title>Rountree Convexations</title><link href="https://gavart.ist/#Rountree%20Convexations"></link><link href="https://gavart.ist/static/Rountree%2520Convexations.html" rel="alternative" type="text/html"></link><id>3a434f09-6402-57fa-9a93-a94bf0f1ca85</id><updated>2026-04-14T21:04:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">All the sonic material used in the making of <em>Rountree Convexations</em> are taken from a taped conversation with Christopher Rountree for the purpose of an interview which appeared in the publication <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#5%20Questions%20to%20Christopher%20Rountree">I Care If You Listen</a>.</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise">Renoise</a></h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/frames/" rel="noopener noreferrer" target="_blank">Mutable Instruments Frames</a><br></br><a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/clouds/" rel="noopener noreferrer" target="_blank">Mutable Instruments Clouds</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Sculptrex after Teilhard de Chardin</title><link href="https://gavart.ist/#Sculptrex%20after%20Teilhard%20de%20Chardin"></link><link href="https://gavart.ist/static/Sculptrex%2520after%2520Teilhard%2520de%2520Chardin.html" rel="alternative" type="text/html"></link><id>4ac363f2-1555-9817-caa6-eaf85e4576ba</id><updated>2026-04-14T20:48:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Against the background of the modern evolutionary world view, Teilhard de Chardin depicted the cosmos as a process of ascent, a series of unions. From very simple beginnings the path leads to ever greater and more complex unities, in which multiplicity is not abolished but merged into a growing synthesis, leading to the “Noosphere”, in which spirit and its understanding embrace the whole and are blended into a kind of living organism.</h2><h2 class="">The advance of the biosphere into a transitional stage, the technosphere, has seen the virtual fulfillment of de Chardin’s ideas regarding the manifestation of the Noosphere, a globally-connected information network—a geotechnology—in essence, what the Internet has fulfilled already and what it continues to become. As it is the penultimate stage in the development of a freely functioning, thinking layer, the Internet represents the means of electronically linking up the Noosphere prior to the mystical moment of the Omega Point.</h2><blockquote class="tc-quote digitalGarden"><p>At that node of ultimate synthesis, the internal spark of consciousness that evolution has slowly banked into a roaring fire will finally consume the universe itself. Our ancient itch to flee this woeful orb will finally be satisfied as the immense expanse of cosmic matter collapses like some mathematician’s hypercube into absolute spirit.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Pierre%20Teilhard%20de%20Chardin">Pierre Teilhard de Chardin</a>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Three Scenes In Winter</title><link href="https://gavart.ist/#Three%20Scenes%20In%20Winter"></link><link href="https://gavart.ist/static/Three%2520Scenes%2520In%2520Winter.html" rel="alternative" type="text/html"></link><id>9c79a679-518f-04f2-ce51-10fe779eab55</id><updated>2026-04-14T20:39:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Winter is caused by the axis of the Earth in that hemisphere being oriented away from the Sun. The Earth is tilted at an angle of 23.44° to the plane of its orbit, and this causes different latitudes on the Earth to directly face the Sun as the Earth moves through its orbit. During winter in either hemisphere, the lower altitude of the Sun causes the sunlight to hit that hemisphere at an oblique angle. In regions experiencing winter, the same amount of solar radiation is spread out over a larger area. This effect is compounded by the larger distance that the light must travel through the atmosphere, allowing the atmosphere to dissipate more heat.</h2><h2 class="">Performed on a PETROF P 159 Bora<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2016 March 6</h2></div></content><author><name>undefined</name></author></entry><entry><title>Mapping The Rivers' Unconscious ⎮ String Quartet I</title><link href="https://gavart.ist/#Mapping%20The%20Rivers'%20Unconscious%20%E2%8E%AE%20String%20Quartet%20I"></link><link href="https://gavart.ist/static/Mapping%2520The%2520Rivers'%2520Unconscious%2520%25E2%258E%25AE%2520String%2520Quartet%2520I.html" rel="alternative" type="text/html"></link><id>b1fda2e0-9598-c78d-fa75-c52e2ca02b64</id><updated>2026-04-14T20:33:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The water flowing through rivers and streams is the lifeblood of humanity. Yet the damage being done to waterways far outstrips any protection of them that is taking place. This piece is about tracing the well-being of watercourses. It asks us to contemplate our connection to them. It asks … Does the river dream ?</h2><p><div class="row">
<div class="column"><h2 class=""><u>Violin I</u><br></br>Zlata Grekov</h2><h2 class=""><u>Violin II</u><br></br>Mario de Leon</h2><h2 class=""><u>Viola</u><br></br>Dan Oguri</h2><h2 class=""><u>Cello</u><br></br>Garik Terzian</h2></div>
<div class="column"><h2 class="">Producer and Engineer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2><h2 class="">Sunset Sound<br></br>Los Angeles, California, United States<br></br>2014 May 19</h2></div>
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Mozart ⎮ Klaviersonaten 4 • 6</title><link href="https://gavart.ist/#Mozart%20%E2%8E%AE%20Klaviersonaten%204%20%E2%80%A2%206"></link><link href="https://gavart.ist/static/Mozart%2520%25E2%258E%25AE%2520Klaviersonaten%25204%2520%25E2%2580%25A2%25206.html" rel="alternative" type="text/html"></link><id>11ac05b6-77e0-75bc-f481-01ea7877efb4</id><updated>2026-04-14T19:48:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wolfgang%20Amadeus%20Mozart">Wolfgang Amadeus Mozart</a> (1756-1791)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%204%20in%20E%20flat%20Major%20K.%20282">Piano Sonata 4 K. 282 (E flat major)</a><br></br>1774</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%206%20in%20A%20major%20K.%20284">Piano Sonata 6 K. 284 (A major)</a><br></br>1775</h2><h2 class="">I wanted to create a snapshot, a time capsule by way of an esoteric musical supraconsciousness time-machine with quantum-tunneled invisibility-enabled eavesdropping components to voyeuristically capture our young holographic Mozart, extemporaneously drunk on the flames of his inner experiential muse, gazing out of his flat's frosted windows, playing whatsoever happens to come into his head at that moment (later to be crystallized by his intercessioning craftsmanship) and romping around in a savant-delirium that no one else was meant to see, relishing in private joys of melody as non-excess. The results of this expedition, presented here, contain a time-shifted phase-distortion residue which is due to ensuring isomorphic bitstream transmission back from a parallel-ly accessed 1774-1775 Munich, which resulted in certain geometrical displacement of tonal key centers.</h2><h2 class="">Kerr Hall Recording Studio<br></br>University of California Santa Barbara<br></br>Goleta, California, United States</h2><h2 class="">Recording Dates<br></br>2003 … Sonata K. 282<br></br>2006 … Sonata K. 284</h2><h2 class="">Studio Engineer<br></br>Kevin Kelly </h2></div></content><author><name>undefined</name></author></entry><entry><title>Notes On Cybism ⎮ Cybism Reconsidered ⎮ An Afterword</title><link href="https://gavart.ist/#Notes%20On%20Cybism%20%E2%8E%AE%20Cybism%20Reconsidered%20%E2%8E%AE%20An%20Afterword"></link><link href="https://gavart.ist/static/Notes%2520On%2520Cybism%2520%25E2%258E%25AE%2520Cybism%2520Reconsidered%2520%25E2%258E%25AE%2520An%2520Afterword.html" rel="alternative" type="text/html"></link><id>32d3ac8f-dfbe-48ad-f4b0-ec2ce8c0b7b0</id><updated>2026-04-14T19:30:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Follow-up record to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cybism%20Dreams">Cybism Dreams</a></h2><blockquote class="tc-quote digitalGarden"><p>Similar coextensive notions found in Cybism have piquant ramifications for art as product in that the Cybists are actively exploring the frontiers of science/technology research so as to become culturally aware of the biases of consciousness in order to amend those biases through the monumentality and permanency which can be found in powerful art. They begin with the realization that every [new] technology disrupts the previous rhythms of consciousness. Then, generally speaking, they pursue their work in an effort to contradict the dominant clichés of our time, as they tend to move in their regimented grooves of sensibility. In this sense their art research begins where the hard science/technology ends.<br></br>
<br></br>
Joseph Nechvatal<br></br><a class="tc-tiddlylink-external" href="https://josephnechvatal.wordpress.com/2013/07/26/371/" rel="noopener noreferrer" target="_blank">Towards an Art of Cybism</a>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Vectorial Monody</title><link href="https://gavart.ist/#Vectorial%20Monody"></link><link href="https://gavart.ist/static/Vectorial%2520Monody.html" rel="alternative" type="text/html"></link><id>06281ee5-3113-c2c7-922d-2cb733a1d690</id><updated>2026-04-14T13:41:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Vectorial Monody</em> is a multimedia work for solo viola incorporating electronic synthesis and video projection of rule-based line formations. These patterns contain numerical correspondences to the complex tones that are heard throughout the piece, and the geometrical lines, both visual and musical, form an imagined mimesis of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ancient%20Greece">classical Greek</a> odes to the dead; a monody which would have been given by a single actor and which would have contained sighs, laments, and invocations of the underworld. The complex, interconnected underpinnings of reality would merge with the mysteries of the thereafter in such a performance, and so the intention to create an atmosphere of mathematical beauty and human expressivity (as it relates to the ‘voice’ of the viola) was the driving motivation behind the combination of these sororities and visualizations.</h2><h2 class="">Viola<br></br>Rob Brophy<br></br></h2><h2 class="">Electronics<br></br>Gavin Gamboa</h2><h2 class="">Producer and Engineer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2><h2 class="">Recorded at<br></br>AH Studio<br></br>Atwater Village, Los Angeles, California, United States<br></br>2014 May 6</h2><hr></hr><p><div class="video-container">
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</p></div></content><author><name>undefined</name></author></entry><entry><title>The Flooding Of New Orleans</title><link href="https://gavart.ist/#The%20Flooding%20Of%20New%20Orleans"></link><link href="https://gavart.ist/static/The%2520Flooding%2520Of%2520New%2520Orleans.html" rel="alternative" type="text/html"></link><id>92ef58ad-64ee-f219-68ad-829364de6929</id><updated>2026-04-14T12:57:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2014</h2><h2 class="">Software<br></br><a class="tc-tiddlylink-external" href="https://ableton.com" rel="noopener noreferrer" target="_blank">Ableton Live 8</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>IgG4-RD Blues</title><link href="https://gavart.ist/#IgG4-RD%20Blues"></link><link href="https://gavart.ist/static/IgG4-RD%2520Blues.html" rel="alternative" type="text/html"></link><id>08c27692-6d0c-4bd3-3d5a-786f0e1dcd12</id><updated>2026-04-14T11:35:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">When an autoimmune disease nearly overtook a loved one, I wrestled with, what seemed like at the time, their impending demise. <em>Nobody Like You</em>, an improvisation made at a moment of complete surrender to grim consequence, is the seed which germinated into the rest of the material, which in the tracklisting is reversed; all sounds leading back to their source.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Awaken Dimensional Crimson</title><link href="https://gavart.ist/#Awaken%20Dimensional%20Crimson"></link><link href="https://gavart.ist/static/Awaken%2520Dimensional%2520Crimson.html" rel="alternative" type="text/html"></link><id>31629831-d269-70f2-b2bc-22b8ec8bc6f6</id><updated>2026-04-14T11:18:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>The <em>spiritus</em> is a very fine and subtle substance, and it was of this which Virgil spoke when he said:</p><p>Spiritus intus alit, totamque infusa per artus<br></br>mens agitat molem et magno se corpore misect.</p><p>It is to attract the <em>spiritus</em> of a particular planet that animals, plants, food, scents, colors, and so on associated with that planet are to be used. The <em>spiritus</em> is borne upon the air and upon the wind, and it is a kind of very fine air and also very fine heat. It is particularly through the rays of the Sun and Jupiter that our spirit “drinks” the spirit of the world.<br></br></p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Frances%20A.%20Yates">Frances A. Yates</a><br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Giordano%20Bruno%20and%20The%20Hermetic%20Tradition">Giordano Bruno and The Hermetic Tradition</a></em> (1964)
</p></blockquote><h2 class=""><em>Awaken Dimensional Crimson</em> is a collection of electronic works based on material excerpted (and further processed) from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sextet%20for%20Six%20Stringed%20Instruments">Sextet for Six Stringed Instruments</a></h2><h2 class="">Artwork<br></br>manipulated detail of <em>Resurrection</em><br></br>Albrecht Altdorfer<br></br>1518</h2></div></content><author><name>undefined</name></author></entry><entry><title>The Intruder</title><link href="https://gavart.ist/#The%20Intruder"></link><link href="https://gavart.ist/static/The%2520Intruder.html" rel="alternative" type="text/html"></link><id>d22a1e3b-20b4-e049-8783-d9b4a0539d50</id><updated>2026-04-14T11:03:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">To have a realistic discussion of exploit countermeasures and bypass methods, we first need a realistic exploitation target.</h2><h2 class="">- - - • • • ≈ ≈ ≈ • • • - - -</h2><blockquote class="tc-quote digitalGarden"><p>In ancient Greek <em>parrhesia</em> meant “to speak everything” and in ancient Hebrew the world evolved to mean “in the face of the public.” In a series of lectures dealing with “fearless speech” characterized by parrhesia, delivered a year before his death, Michel Foucault used the term to designate the courage to risk one's life in order to tell a necessary and unpopular truth. Parrhesia, Foucault explained, is a form of criticism articulated “in a situation where the speaker or confessor is in a position of inferiority with respect to the interlocutor. The parrhesiastes is always less powerful than the one with whom he or she speaks. The parrhesia comes from ‘below,’ as it were, and is directed towards ‘above.’” The parrhesiastes chooses to speak the truth to those who try to hide, deny, or cannot accept it. “Parrahesia, then,” Foucault continued, “is linked to courage in the face of danger: it demands the courage to speak the truth in spite of some danger. And in its extreme form, telling the truth takes place in the ‘game’ of life or death.”<br></br>
<br></br>
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Forensis%20%E2%80%A2%20The%20Architecture%20of%20Public%20Truth">Forensis • The Architecture of Public Truth</a> | LEXICON (2015)</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Prince 2016</title><link href="https://gavart.ist/#Prince%202016"></link><link href="https://gavart.ist/static/Prince%25202016.html" rel="alternative" type="text/html"></link><id>72d6ea14-f291-0cbe-3c54-d765eb53b3fc</id><updated>2026-04-14T10:57:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2016</h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://www.addacsystem.com/en/products/modules/addac100-series/addac111" rel="noopener noreferrer" target="_blank">ADDAC 111</a><br></br><a class="tc-tiddlylink-external" href="http://www.makenoisemusic.com/modules/phonogene-legacy" rel="noopener noreferrer" target="_blank">Make Noise Phonogene</a><br></br><a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/frames/" rel="noopener noreferrer" target="_blank">Mutable Instruments Frames</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Tchaikovsky &amp; Haydn • LA Philharmonic</title><link href="https://gavart.ist/#Tchaikovsky%20%26%20Haydn%20%E2%80%A2%20LA%20Philharmonic"></link><link href="https://gavart.ist/static/Tchaikovsky%2520%2526%2520Haydn%2520%25E2%2580%25A2%2520LA%2520Philharmonic.html" rel="alternative" type="text/html"></link><id>1c9010d5-2a86-661b-666b-9b9722a5dd41</id><updated>2026-04-08T16:19:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Featuring: Denis Bouriakov, flute<br></br>
Manfred Honeck, conductor</p><p><img src="./files/img/attended-events/la-phil-haydn-tchaikovsky-2026.jpg" width="500"></img></p><p>Attended with Aelfie</p></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven ⎮ Sonata 27</title><link href="https://gavart.ist/#Beethoven%20%E2%8E%AE%20Sonata%2027"></link><link href="https://gavart.ist/static/Beethoven%2520%25E2%258E%25AE%2520Sonata%252027.html" rel="alternative" type="text/html"></link><id>59b4e5bb-64ea-6efd-c9fa-4f669f8e63f8</id><updated>2026-04-08T16:12:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2027%20in%20E%20minor%20Opus%2090">Sonata 27 in E minor Opus 90</a><br></br>1814</h2><h2 class="">Gavin Gamboa, piano<br></br>Festival Anual de las Artes 2016 : Otoño Cultural<br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Abraham%20%E2%8E%AE%20Ligeti%20%E2%8E%AE%20Chopin%20%E2%8E%AE%20Beethoven%20%E2%8E%AE%20Bach">2016 November 27</a></h2><h2 class="">Artwork<br></br>collage of detail from Bernardo Bellotto<br></br><em>‘View of Vienna, flour market of Southwest seen from northeast’ (1760)</em><br></br>and detail from Jorinde Voigt<br></br><em>‘Ludwig van Beethoven/Sonata Nr. 27 (Opus 90)</em></h2></div></content><author><name>undefined</name></author></entry><entry><title>Morphologies On A Work By Gunnar Karel Másson</title><link href="https://gavart.ist/#Morphologies%20On%20A%20Work%20By%20Gunnar%20Karel%20M%C3%A1sson"></link><link href="https://gavart.ist/static/Morphologies%2520On%2520A%2520Work%2520By%2520Gunnar%2520Karel%2520M%25C3%25A1sson.html" rel="alternative" type="text/html"></link><id>8498d5f3-25c2-7f65-ad09-74b9ff8d0208</id><updated>2026-04-08T16:07:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">All sounds are derived from <em>While we walk we sleep for tuba solo and ensemble (2015/16)</em> by <a class="tc-tiddlylink-external" href="https://www.gkarel.net/" rel="noopener noreferrer" target="_blank">Gunnar Karel Másson</a> (1984*) which was premiered by the <a class="tc-tiddlylink-external" href="https://www.caput.is/" rel="noopener noreferrer" target="_blank">Caput Ensemble</a> on 29 January 2016 at Harpa—Norðurljós for the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dark%20Music%20Days%202016%20Recap%3A%20Day%20Two">Dark Music Days Festival</a>, Reykjavík, Iceland.</h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://mutable-instruments..net/" rel="noopener noreferrer" target="_blank">Mutable Instruments</a> &amp; <a class="tc-tiddlylink-external" href="https://makenoisemusic.com/" rel="noopener noreferrer" target="_blank">Make Noise</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Transmogrificantus II</title><link href="https://gavart.ist/#Transmogrificantus%20II"></link><link href="https://gavart.ist/static/Transmogrificantus%2520II.html" rel="alternative" type="text/html"></link><id>90ae2efd-b097-9f5c-59c1-dfee79ee9e31</id><updated>2026-04-08T15:41:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Transmogrificantus II</em>, a granular desaturation created out of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Transmogrificantus%20Octet">music for string octet</a>. </h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a></h2><h2 class="">Github Repo<br></br><a class="tc-tiddlylink-external" href="https://github.com/protrolium/transmogrificantusOctet-ii" rel="noopener noreferrer" target="_blank">github.com/protrolium/transmogrificantusOctet-ii</a></h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ben%20Olsen">Ben Olsen</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Chopin ⎮ Fantaisie</title><link href="https://gavart.ist/#Chopin%20%E2%8E%AE%20Fantaisie"></link><link href="https://gavart.ist/static/Chopin%2520%25E2%258E%25AE%2520Fantaisie.html" rel="alternative" type="text/html"></link><id>bd2830d7-cd17-8e4c-9b0e-2656987f3bc3</id><updated>2026-04-08T15:04:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fr%C3%A9d%C3%A9ric%20Chopin">Frédéric François Chopin</a> (1810–1849)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fantaisie%20in%20F%20minor%20Opus%2049">Fantaisie in F minor Opus 49</a> (1841)</em></h2><blockquote class="tc-quote"><p>In the month of March,<br></br>
an examination<br></br>
a working procedure<br></br>
structural analytics<br></br>
beyond the experiential scope<br></br>
terra firma<br></br>
moving as distant stars desire<br></br>
the ringing of metal wrapped wire<br></br>
becoming through being<br></br>
home's image<br></br>
through dreams of befallen<br></br>
energetic equilibria<br></br>
open-systems of scale irrelevancy<br></br>
speaking as prisms of expansion<br></br>
into disambiguation and sleep<br></br>
riding on wings of matter self-organized<br></br>
bequeathed unto all beings as love.
</p></blockquote><h2 class="">Performed on a PETROF P 159 Bora<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2016 February</h2></div></content><author><name>undefined</name></author></entry><entry><title>Musik Störungen die dem Empfindsamen Stil entspringen</title><link href="https://gavart.ist/#Musik%20St%C3%B6rungen%20die%20dem%20Empfindsamen%20Stil%20entspringen"></link><link href="https://gavart.ist/static/Musik%2520St%25C3%25B6rungen%2520die%2520dem%2520Empfindsamen%2520Stil%2520entspringen.html" rel="alternative" type="text/html"></link><id>2c0359f3-453e-1fac-87e3-69d356ffdceb</id><updated>2026-04-07T20:57:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The sensitive style (German: empfindsamer Stil), empfindsam style, or tender style is a style of musical composition and poetry developed in 18th-century Germany, intended to express "true and natural" feelings, and featuring sudden contrasts of mood.</h2><h2 class="">These pieces represent a deviant approach towards a reconstruction of what the sensitive style can still be, using Mozart's piano music as the basis for its organical growth spurts and degradations.</h2><h2 class="">Tracks 1 &amp; 12 assembled in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise">Renoise</a> using material from music for 2 Pianos / Piano Duets. Remaining tracks assembled using <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a> with material from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mozart%20%E2%8E%AE%20Klaviersonaten%204%20%E2%80%A2%206">Mozart Sonata K. 284</a>.</h2><h2 class=""><strong>Music Disturbances That Spring From The Sensitive Style</strong><br></br>Recorded and Mixed by Gavin Gamboa<br></br>Melbourne, Victoria, Australia<br></br>2014</h2><h2 class="">Special Thanks<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Genus%20Inkasso">Joris Januar</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Yaxcopoil</title><link href="https://gavart.ist/#Yaxcopoil"></link><link href="https://gavart.ist/static/Yaxcopoil.html" rel="alternative" type="text/html"></link><id>0069f43b-bda9-1574-fe93-c6d862eb4f3e</id><updated>2026-04-07T20:14:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">It has been since the 17th century that the grounds of Hacienda Yaxcopoil have inscribed onto Mayan lands the imported violence and machinations of alien plunderers. Today it stands as a museum and place of (re)enactments of its former day-to-day existence, merely a shred of its 22,000 acres remaining. La casa de maquina (the machine house) preserves the industrial armature of henequen production, which the hacienda made into its most imperative duty, rolling out their exports (in the form of ropes for seafaring vessels, ports, docks, amidst other textiles) in the hunger of 19th century manufacturer's delirium. Against the brutal sun of day, no man could work; it was throughout the night that they toiled into the early day (la madrugada), harvesting fields of mighty *Agave fourcroydes* leaves in preparation to be processed, yielding the golden fiber of henequen, strands of the connective tissue of Earth's seas. These agricultural excavations went hand in hand with the usurpations of human dignity; the sounds of the massive Körting motors supplying to the psychoacoustic ear the sounds of a lost era, in which the colonial spirit drowned out all other sound-forms of the landscape, sublimating them into the dreary monotony of their perfected practice, taking all manner of life and limb into and out of its purview. This fossilized resonance is the ambience of these dispatches, a mirror into which past, present, and future(s) are fractured and splintered by the prisms of electronic instruments, taking as their own source material these sonic leaves in order to weave its own interleaved fiber. But insofar as this abstracted musical process replicates the physical reconfiguration of physical matter, may the form of its sonic imaginary negate its associated ideals; negation by way of replication.  </h2><h2 class="">Recorded at Hacienda Yaxcopoil<br></br>Umán Municipality<br></br>Yucatán, México<br></br>2013 December</h2></div></content><author><name>undefined</name></author></entry><entry><title>Among Gnomes &amp; Trolls</title><link href="https://gavart.ist/#Among%20Gnomes%20%26%20Trolls"></link><link href="https://gavart.ist/static/Among%2520Gnomes%2520%2526%2520Trolls.html" rel="alternative" type="text/html"></link><id>b0494294-1591-0619-7279-00d240725f3a</id><updated>2026-04-07T18:57:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Among Gnomes &amp; Trolls</em> is music inspired by the illustrations of <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/John_Bauer_%28illustrator%29" rel="noopener noreferrer" target="_blank">John Bauer</a>. <em>Bland tomtar och troll</em> is a popular Swedish folklore and fairy tales annual and children's fairy tale anthology published since 1907.</h2><h2 class="">All material performed live and processed using an array of <a class="tc-tiddlylink-external" href="https://makenoisemusic.com/" rel="noopener noreferrer" target="_blank">Make Noise</a> eurorack modules.</h2><h2 class="">Field-recordings<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Michael%20Gregory%20Harrison">Michael Gregory Harrison</a></h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micah%20Nelson">Micah Nelson</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Brahms ⎮ Ballade IV</title><link href="https://gavart.ist/#Brahms%20%E2%8E%AE%20Ballade%20IV"></link><link href="https://gavart.ist/static/Brahms%2520%25E2%258E%25AE%2520Ballade%2520IV.html" rel="alternative" type="text/html"></link><id>c5c0c486-3244-c747-ab1d-cdf0d2ee15c3</id><updated>2026-04-07T18:49:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johannes%20Brahms">Johannes Brahms</a> (1833-1897)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Balladen%20Opus%2010%20%C2%B7%20No.%204%20in%20B%20Major">Balladen Opus 10 · No. 4 in B Major</a> — Andante con moto (1854)</em></h2><h2 class="">Gavin Gamboa, piano<br></br>Festival Anual de las Artes 2014 : Otoño Cultural<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Claro%20de%20Luna">2014 September 23</a><br></br>Teatro Peón Contreras<br></br>Mérida, Yucatán, México</h2></div></content><author><name>undefined</name></author></entry><entry><title>Boleros Interrumpidos</title><link href="https://gavart.ist/#Boleros%20Interrumpidos"></link><link href="https://gavart.ist/static/Boleros%2520Interrumpidos.html" rel="alternative" type="text/html"></link><id>edb82bc0-1d8b-3143-00f5-e36ccf2b1bff</id><updated>2026-04-07T15:37:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Conjuntos musicales interrumpidos y destructivos de Augustín Lara, Bola de Nieve, Los Tres Ases, Toña La Negra, Hermanas Landín, y Fernando Fernández.</h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://www.addacsystem.com/en/products/modules/addac100-series/addac111" rel="noopener noreferrer" target="_blank">ADDAC111</a> &amp; <a class="tc-tiddlylink-external" href="https://www.addacsystem.com/en/products/modules/addac200-series/addac203" rel="noopener noreferrer" target="_blank">ADDAC203</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a></h2><h2 class="">Artwork<br></br>detail of <em>'Juarez Avenue Gonzales Ortega Street Mexico'</em><br></br>(attribution: unknown)</h2></div></content><author><name>undefined</name></author></entry><entry><title>La Bibliothèque Fantastique</title><link href="https://gavart.ist/#La%20Biblioth%C3%A8que%20Fantastique"></link><link href="https://gavart.ist/static/La%2520Biblioth%25C3%25A8que%2520Fantastique.html" rel="alternative" type="text/html"></link><id>53f6e40c-3950-f8b1-9385-c86c07d0c2ec</id><updated>2026-04-07T12:20:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Named after a post-show event concert series which ran in conjunction with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks">Four Larks</a> production of <em><a class="tc-tiddlylink-external" href="http://fourlarks.com/production/temptation" rel="noopener noreferrer" target="_blank">The Temptation of St. Anthony</a></em> at Basic Flowers, Downtown Los Angeles, 27 August - 2 October 2016</h2><blockquote class="tc-quote digitalGarden"><p>The world's birds gathered for their conference <br></br>And said: "our constitution makes no sense. <br></br>All nations in the world require a king; <br></br>How is it we alone have no such thing? <br></br>Only a kingdom can be justly run; <br></br>We need a king and must inquire for one." <br></br> <br></br>They argued how to set about their quest. <br></br>The hoopoe fluttered forward; on his breast <br></br>There shone the symbol of the Spirit's Way <br></br>And on his head Truth's crown, a feathered spray. <br></br>Discerning, righteous and intelligent, <br></br>He spoke: "My purposes are heaven-sent; <br></br>I keep God's secrets, mundane and divine, <br></br>In proof of which behold the holy sign <br></br><em>Bismillah</em> etched for ever on my beak. <br></br>No one can share the grief with which I seek <br></br>My wits find water in the trackless waste. <br></br>I come as Solomon's close friend and claim <br></br>The matchless wisdom of that mighty name <br></br>(He never asked for those who quit this court, <br></br>But when I left him once alone he sought <br></br>With anxious vigilance for my return— <br></br>Measure my worth by this great king's concern!). <br></br>I bore his letters—back again I flew— <br></br>Whatever secrets he divined I knew; <br></br>A prophet loved me; God has trusted me; <br></br>What other bird has won such dignity? <br></br>For years I traveled over many lands, <br></br>Past oceans, mountains, valleys, desert sands, <br></br>And when the Deluge rose I flew around <br></br>The world itself and never glimpsed dry ground; <br></br>With Solomon I set out to explore <br></br>The limits of the earth from shore to shore. <br></br>I know our king—but how can I alone <br></br>Endure the journey to his distant throne? <br></br>Join me, and when at last we end our quest <br></br>Our king will greet you as His honored guest. <br></br> <br></br>How long will you persist in blasphemy? <br></br>Escape your selfhood's vicious tyranny— <br></br>Whoever can evade the Self transcends <br></br>This world and as a lover he ascends. <br></br>Set free your soul; impatient of delay, <br></br>Step out along your sovereign's royal Way; <br></br>We have a king beyond Kaf's mountain peak <br></br>The Simorgh lives, the sovereign whom you seek, <br></br>And He is always near to us, though we <br></br>Live far from his transcendent majesty. <br></br>A hundred thousand veils of dark and light <br></br>Withdraw His presence from our mortal sight, <br></br>And in both worlds no being shares the throne <br></br>That marks the Simorgh's power and his alone— <br></br>He reigns in undisturbed omnipotence— <br></br>Bathed in the light of His magnificence— <br></br>No mind, no intellect can penetrate <br></br>The mystery of his unending state: <br></br>How many hundreds thousands pray <br></br>For patience and true knowledge of the Way <br></br>That leads to him whom reason cannot claim, <br></br>Nor mortal purity describe or name; <br></br>There soul and mind bewildered miss the mark <br></br>And, faced by Him, like dazzled eyes, are dark— <br></br>No sage could understand His perfect grace, <br></br>Nor seer discern the beauty of His face. <br></br>His creatures strive to find a path to Him, <br></br>Deluded by each new, deceitful whim, <br></br>But fancy cannot work as she would wish; <br></br>You cannot weigh the moon like so much fish! <br></br>How many search for him who's heads are sent <br></br>Like polo-balls in some great tournament <br></br>From side to giddy side—how many cries, <br></br>How many countless groans assail the skies! <br></br>Do not imagine that the way is short; <br></br>Vast seas and deserts lie before His court. <br></br>Consider carefully before you start; <br></br>The journey asks of you a lion's heart. <br></br>The road is long, the sea is deep—one flies <br></br>First buffeted by joy and then by sighs; <br></br>If you desire this quest, give up your soul <br></br>And make your sovereign's court your only goal. <br></br>First wash your hands of life if you would say: <br></br>"I am a pilgrim of our sovereign's Way"; <br></br>Renounce your soul for love; He you persue <br></br>Will sacrifice His inmost soul for you. <br></br> <br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Farid%20ud-Din%20Attar">Farid ud-Din Attar</a><br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Conference%20of%20The%20Birds">The Conference of The Birds</a></em> (1177)<br></br></p></blockquote><h2 class="">Performed, Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2016 September 8</h2><h2 class=""><em>The Simorgh</em> live recording<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#JP%20Cutter">JP Cutter</a></h2><h2 class="">Cover Photograph<br></br>George Wallace</h2><h2 class="">Special Thanks<br></br>Mat Sweeney<br></br>Sebastian Peters-Lazaro<br></br> Prudence Rees-Lee<br></br>JP Cutter</h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://mutable-instruments.net/" rel="noopener noreferrer" target="_blank">Mutable Instruments</a>: <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/clouds/" rel="noopener noreferrer" target="_blank">Clouds</a>, <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/warps/" rel="noopener noreferrer" target="_blank">Warps</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Discovery of New Species</title><link href="https://gavart.ist/#Discovery%20of%20New%20Species"></link><link href="https://gavart.ist/static/Discovery%2520of%2520New%2520Species.html" rel="alternative" type="text/html"></link><id>7ab91ba1-c889-eeb2-b040-8adc1fc0c860</id><updated>2026-04-07T10:28:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States &amp; Minato-ku, Tokyo, Japan<br></br>2016-2017</h2><h2 class="">Percussion Recorded and Performed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a><br></br>Brooklyn, New York, United States</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Keren%20Oo">Keren Oo</a></h2><h2 class="">Track names after <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#C%C3%A9sar%20Aira">César Aira</a> • <em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Musical%20Brain">A Thousand Drops</a></em> • 2013</h2></div></content><author><name>undefined</name></author></entry><entry><title>Rewonk</title><link href="https://gavart.ist/#Rewonk"></link><link href="https://gavart.ist/static/Rewonk.html" rel="alternative" type="text/html"></link><id>0b3e20bb-b3aa-2fdc-8366-630e87c46ee1</id><updated>2026-04-07T10:01:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Rewonk</em> is a collection of deconstructed and reassembled <a class="tc-tiddlylink-external" href="http://knowermusic.com/" rel="noopener noreferrer" target="_blank">KNOWER</a> songs for wifi-addicted over-caffeinated climate-conscious crypto-carrying machine-learning nonstop-surveilled self-caring pizza-eating all-accepting love-warriors.</h2><h2 class="">Assembled and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States &amp; Osaka, Kita-Ku, Japan<br></br>2017</h2><h2 class=""><a class="tc-tiddlylink-external" href="http://knowermusic.com/" rel="noopener noreferrer" target="_blank">KNOWER</a> is Louis Cole and Genevieve Artadi.</h2><p>All samples used in the making of Rewonk are from the album <a class="tc-tiddlylink-external" href="https://knowermusic.bandcamp.com/album/life" rel="noopener noreferrer" target="_blank">LIFE</a>.<br></br>
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As a video artist and designer of the live show during the 2010s, gavcloud's visual album that accompanies his remix project <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baduizm%28s%29">Baduizm(s)</a> not only hyper-reassembles the sonics from Badu's debut album, but refactors the amalgamated visual melee of the «Queen of Clubs» live show ethos and bravura, crystalizing in a snapshot of the two artists' creative collaboration.</em> </p><p> </p><p><sup>Badu Collage by <a class="tc-tiddlylink-external" href="https://douglashale.net/About" rel="noopener noreferrer" target="_blank">Douglas Hale</a></sup></p><p> </p><p><br></br>Baduizm(s).<br></br><br></br>Analog girl in a digital world…<br></br><br></br>Almost thirty years later and the cypher continues. How could she know? Is she psychic? Clairvoyant? Perhaps. But maybe it is something simpler, something more mundane… Maybe she understands that the cypher, the freestyle, the rim shot only continues because we (re)turn to it.  <br></br><br></br>Since the release of her debut album, Baduizm in 1997, Erykah Badu has revealed the multitudes of her artistic frequencies. Music executives, critics and culture writers and fans alike all turned to the past in an attempt to define and categorize the album. The album and Badu’s vocality received comparisons to that of Billie Holiday, 1970s soul and even Prince. And yet almost immediately, she was placed in a categorical box within the larger mainstream music industry. Nevertheless, while the mainstream saw fit to place Baduizm in conversation with older Black music and artists, the language used to market the album aimed to stress a schism between Badu and her contemporaries. “Neo-soul” inadvertently implied an anachronistic design to album and artist. Artists like Badu who were categorized as such were heralded in the mainstream for their assumed attempt at (re)creating something that has also been mis-remembered. The marketing pigeon-hole of the industry however could not contain the special, ancient, post-structuralist nature of the album. Even then she proved she was not beyond returning and reinventing aspects of the album in real time. She showed us that certainty can certainly be flipped. Beyond “Certainly” and its remix “Certainly – Flipped It” she also flipped Altantic Starr’s “Touch a Four Leaf Clover” for her own cover “4 Leaf Clover”; she interpolated Stevie Wonder’s “I Love You Too Much” into “No Love”; and sampled Donald Byrd and 125th St, N.Y.C. “I Feel Like Loving You Today” for “Sometimes.”<br></br><br></br>Since the end of WWI, the signifyin’ tradition has been a standard quality of Black music in the U.S. While many might be familiar with the term “signifying” through the comedic performance of Rudy Ray Moore as his beloved character Dolemite, the practice of signifyin’ exists in a multitude of forms that assist in collapsing the linear. From covers, interpolation, sampling, call-and-response, vocal and instrumental mimicking, signifyin’ among has informally offered a historical survey of Black life. The capitalist hold over the production of music in the U.S has ultimately shrouded this reality among the mainstream, but it doesn’t erase the veracity of tradition. As previously stated, Baduizm leans heavily on the signifyin’ tradition through covers, samples and interpolations of Black musicians from the 1970s and 80s. In this instance though, Badu signifyin’ on her own music via remix, is an example of how the artistic drive to return and rework one’s own production is an important aspect of signifyin’ that resists music becoming ephemeral. To add multiplicity to a musical project, especially in ways that almost completely change the structure of the original material demonstrates how signifyin’ exists as a practice in memory and mythmaking.   <br></br><br></br>The relationship between Black music and mythmaking can be found almost everywhere. It exists in Toni Morrison’s Song of Solomon through the song Milkman’s aunt, Pilate sings after Robert Smith jumps from a hospital roof which ultimately brings the protagonist back down south to his family’s ancestral home in Virginia. It exists in George Clinton’s alter ego Star Child, who is on a mission to restore the funk back to the people who have been shackled by the capitalism, imperialism and genocide of the world. It exists at the crossroads where legend(s) claim Robert Johnson sold his soul to the devil to become the greatest blues player of all time.  It exists going as far back to what is now known as Ibo Landing where Africans took off in flight back to Africa or walked to the sea to avoid the brutality of slavery. Myths usually don’t exist in one, singular iteration. Mythological figures sometimes have contradicting stories. Stories that sometimes challenge our understanding of human possibility, the supernatural and time. The contradictions mold the myth.<br></br><br></br>Baduizm(s) is another contribution to this rich history. This project is both innovative and retrospective and challenges viewers to hear and see something new in a project they might know very well. On the other hand, those new to Badu’s music have an opportunity to retroactively explore her discography and contemplate how it contributed to this contemporary project.  <br></br><br></br>This world is so dramatic…<br></br><br></br>I recently came across a discussion on Twitter where one user was lamenting about the regularity of space or intergalactic travel being at the center of Afrofuturistic art and productions. They raised a valid observation. Why are iterations of black futurity constantly tied to the physical body in flight or attempting to flee somewhere else into the universe? Despite the (over)emphasis on space among Afrofuturism, there are still many artistic examples concerned with futurity, blackness and the world we currently inhabit. I think of Black women writers like Octavia Bulter, Gayl Jones, Jewelle Gomez and Alexis Pauline Gumbs who have created landscapes that collapse time and ultimately provide instructional commentary on the what’s been, what it is, and what is to come. <br></br><br></br>After watching Baduizm(s), my mind was immediately drawn to the unnamed scientist who is the main character of M Archive: After the End of the World, the second installment of Alexis Pauline Gumbs trilogy of poetic prose. I also thought of Lauren Olamina from Octavia Bulter’s Parable series. Two Black women facing dystopia because there is no other option. And by staring dystopia in the face, the linear temporality begins to melt and the past, present and future are amorphous. How many other Black musicians have broken out of the linear, as they anticipate the future and are just waiting for us to catch up. <br></br><br></br>What if the mothership in fact, couldn’t save us and not only were our assess left behind but we only had fragments of the rich and textured tradition(s) of black music? Baduizm(s) provides an opportunity to ponder that hypothetical future. The project contains the sonic elements of Baduizm but they are distorted which is an opportunity to create new myths, meanings and signs. <br></br><br></br>What good do your words do if they can’t understand you?<br></br><br></br>From the opening shots that offer glitched glimpses of Badu’s face fashioned with a head piece in the likeness of West African masquerade, it is immediately obvious that the original, well-known (perhaps over-known) Baduizm has evolved into a new image and sound. The initial triptych-like image of Badu face is later on shown much more clearly but only for a brief moment. This moment of visual familiarity is not the last but what it does signify is that the germ(s) of the original Baduizm are present but only in fleeting moments that are easy to miss. <br></br><br></br>Vivid bright colors that are juxtaposed against darkened silhouettes…hip hop imagery in the vacuum of the future.<br></br><br></br>The shots of the audience…we are experiencing two different sonic performances and moments in time that come from the same root and are all at once drawn together. This is why Baduizm(s) is pluralized. This sonic mix is not what those who attended the tour heard. And yet to visually witness their awe, joy, ecstasy all comes from the same space. These projects are separated by space and time, but the core is still recognizable. Anyone who has experienced Baduizm is invited to contribute their own “s”, their own memories with the album that may have elicited similar reactions. <br></br><br></br>Even the color-distorted footage of Badu performing reifies her multitudes as an artist. Similar to the triptych imagery that opens the project, at times her image is clear and still recognizable despite the color distortion. In other moments, her physical features are fully obfuscated and she’s only recognizable as a human form. How analogous for many influential Black musicians lost to mainstream pop culture memory. We recognize the sound but forget the body. Buddy Bolden. Esther Phillips. Little Richard. Phyllis Hyman.<br></br><br></br>The sonic elements of the project feel indistinguishable, as if they were the product of something completely original. And yet they are a part of Baduizm. Isn’t that the beauty of Black music?<br></br><br></br>Shots of a globe, what appears to be Earth and images of mountains. Our future is here.<br></br><br></br>Glitched, sped up, distortion, chopped elements cement Badu among and within the hip hop tradition. This project is a testament that one hundred years from now, even if the original Baduizm is forgotten, Baduizm(s) honors her as a hip hop ancestor. <br></br><br></br>About halfway through, the visuals seem rooted in nighttime aesthetics of the 1980s which only further compliments the collapse of the linear.<br></br><br></br>The mundane moments as she’s eating chips at the airport or dancing during rehearsal…highlights the significance of whimsy. Often scholars, academics, even causal music fans (over)extend the definition of political as synonymous with oppression and or fighting against it. When Black music has always already understood the necessity of leisure from blues to funk to hip hop, acknowledging reality doesn’t have to come at the cost of leisure. <br></br><br></br>The frequent appearance of graphic equations reminds me of Yasiin Bey’s line from “Love Rain”, you are the beautiful distress of mathematics. <br></br><br></br>At around 18 and a half minutes, the project segues into a fast-paced montage of pictures of Badu. At its regular speed, it is almost impossible to process what you are looking at. And yet, no matter where you pause during this segment you can capture a perfect shot of Badu on stage. And because of the rapidity of the segment you likely will not pause/stop on the same images every time. The speed of the segment however eventually slows down…allowing more time for contemplation.<br></br><br></br>Using “Rim Shot” to end Baduizm(s) was an exceptional choice. On the surface level, it calls back to the original album which ends (and begins) with the “rim shot”, known by others as “the one.” In funk ideology…Another feature that accentuates this choice is that the remix of “Rim Shot” in Baduizm(s) is sonically the most recognizable part of the project.  <br></br><br></br></p><embed height="" src="" type="application/pdf" width="80%"></embed></div></content><author><name>undefined</name></author></entry><entry><title>Ponce ⎮ Händel</title><link href="https://gavart.ist/#Ponce%20%E2%8E%AE%20H%C3%A4ndel"></link><link href="https://gavart.ist/static/Ponce%2520%25E2%258E%25AE%2520H%25C3%25A4ndel.html" rel="alternative" type="text/html"></link><id>09070e6a-8fba-2bcf-8e31-74bed79da351</id><updated>2026-04-06T20:01:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Manuel%20Ponce">Manuel Ponce</a> (1882-1948)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Preludio%20y%20Fuga%20sobre%20un%20Tema%20de%20H%C3%A4ndel">Preludio y Fuga sobre un Tema de Händel</a><br></br>1915</h2><h2 class="">Gavin Arturo Gamboa, piano<br></br>Italian Cultural Institute Los Angeles<br></br>California, United States<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Make%20Music%20Day%202017%20%3A%20Italian%20Cultural%20Institute">2017 June 21</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>The Velocipedic Age</title><link href="https://gavart.ist/#The%20Velocipedic%20Age"></link><link href="https://gavart.ist/static/The%2520Velocipedic%2520Age.html" rel="alternative" type="text/html"></link><id>79f91cee-e299-703e-f679-a05c3fae11d3</id><updated>2026-04-06T19:43:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>That there is an enormous difference between responding to a threat under the auspices of politics and responding under the auspices of knowledge is easy to see when we compare the rapid, anxiety-ridden arms race set off by the Cold War with the sluggish pace of negotiations over the climate. Hundreds of billions of dollars were spent on atomic weapons in response to a threat about which the information acquired by spies was, at best, very slim, while the threat created by the anthropic origins of the “climate upheaval” is probably the best documented and the most objectively developed piece of knowledge on which we can rely before moving into action. And yet, in the first case, all the traditional emotions of wartime politics led, in the name of precaution, to the establishment of an arsenal that was *disproportionate* in the extreme; while, in the second case, we are expending a great deal of energy delaying, in the name of the same precaution, the knowledge needed to trigger <em>barely proportionate</em> expenses.<br></br>
<br></br>
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bruno%20Latour">Bruno Latour</a><br></br>
<em>“Facing Gaia”</em> (2015)
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Music For Kitchens : Volume One</title><link href="https://gavart.ist/#Music%20For%20Kitchens%20%3A%20Volume%20One"></link><link href="https://gavart.ist/static/Music%2520For%2520Kitchens%2520%253A%2520Volume%2520One.html" rel="alternative" type="text/html"></link><id>d5fda519-807a-7687-8bb4-522d219d3097</id><updated>2026-04-06T19:31:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A new series of recordings made from, in, and about kitchens. Volume One is comprised of sounds made in the kitchen of my grandparents. Kitchen as instrument. Kitchen as sample library. Kitchen as source.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2014 July 19</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise">Renoise</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Chopin ⎮ Four Pieces</title><link href="https://gavart.ist/#Chopin%20%E2%8E%AE%20Four%20Pieces"></link><link href="https://gavart.ist/static/Chopin%2520%25E2%258E%25AE%2520Four%2520Pieces.html" rel="alternative" type="text/html"></link><id>c830b656-7768-1a76-4ef8-8547b7a6d48a</id><updated>2026-04-06T18:03:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fr%C3%A9d%C3%A9ric%20Chopin">Frédéric François Chopin</a> (1 March 1810 – 17 October 1849)</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nocturne%20in%20B%20flat%20minor%20Opus%209%20no.%201">Nocturne in B flat minor — Opus 9 no. 1</a><br></br>Studio recording — Kerr Hall<br></br>University of California Santa Barbara<br></br>2003</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ballade%20in%20F%20major%20Opus%2038">Ballade in F major — Opus 38</a><br></br>Live recording — Karl Geiringer Hall<br></br>University of California Santa Barbara<br></br>2005</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scherzo%20in%20C%20sharp%20minor%20Opus%2039">Scherzo in C sharp minor — Opus 39</a><br></br>Studio recording — Kerr Hall<br></br>University of California Santa Barbara<br></br>2007</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fantaisie%20in%20F%20minor%20Opus%2049">Fantaisie in F minor — Opus 49</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Abraham%20%E2%8E%AE%20Ligeti%20%E2%8E%AE%20Chopin%20%E2%8E%AE%20Beethoven%20%E2%8E%AE%20Bach">Live recording — Teatro Peón Contreras</a><br></br>Mérida, Yucatán, México<br></br>2016</h2></div></content><author><name>undefined</name></author></entry><entry><title>Metabird : Our Ethology</title><link href="https://gavart.ist/#Metabird%20%3A%20Our%20Ethology"></link><link href="https://gavart.ist/static/Metabird%2520%253A%2520Our%2520Ethology.html" rel="alternative" type="text/html"></link><id>d4378d49-f8b1-4ff1-ce78-65790befcfcb</id><updated>2026-04-06T11:32:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Ethology is the scientific and objective study of animal behavior, usually with a focus on behavior under natural conditions.</h2><h2 class="">Hygin Delimat and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black">Josseline Black</a> apply certain metaphors derived from the bird kingdom to the public/private identity of their imagined human and question the appearance of genuine individuality. Our Ethology unfolds as an evolution, a continuous process of learning amidst the swaying demands of conformity and rebellion.</h2><h2 class="">According to ethology:</h2><blockquote class="tc-quote"><p>Imprinting is any kind of phase-sensitive learning that is rapid and apparently independent of the consequences of behavior. Imprinting happens for example at the very beginning of bird’s life, when it attaches to and later considers as its mother, the firstly seen animate or inanimate entity.</p><p>Mobbing in animals is an anti-predator adaptation in which individuals of prey species mob a predator by cooperatively attacking or harassing it, usually to protect their offspring. A simple definition of mobbing is an assemblage of individuals around a potentially dangerous predator.
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	<div class="column"><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2016</h2><h2 class="">Performance<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black">Josseline Black</a></h2><h2 class="">Concept/choreography<br></br>Hygin Delimat with Josseline Black</h2><h2 class="">Dramaturgy<br></br>Grzegorz Kondrasiuk</h2></div>
	<div class="column"><h2 class="">Technical support<br></br>Grzegorz Polak</h2><h2 class="">Production<br></br>Lublin Dance Theatre</h2><h2 class="">Międzynarodowe Spotkania Teatrów Tańca<br></br>Lublin, Poland<br></br>2016 November 11</h2><h2 class="">Special Thanks<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black">Josseline Black</a> &amp; Hygin Delimat</h2></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Piece For Samuel LaBudde</title><link href="https://gavart.ist/#Piece%20For%20Samuel%20LaBudde"></link><link href="https://gavart.ist/static/Piece%2520For%2520Samuel%2520LaBudde.html" rel="alternative" type="text/html"></link><id>defda367-4ae5-98c4-bcfa-bf4556bccfdb</id><updated>2026-04-06T10:57:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Samuel_LaBudde" rel="noopener noreferrer" target="_blank">Samuel LaBudde</a> is an American biologist. He was awarded the <a class="tc-tiddlylink-external" href="https://www.goldmanprize.org/" rel="noopener noreferrer" target="_blank">Goldman Environmental Prize</a> in 1991 for his efforts on preserving wildlife and endangered species.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2018</h2></div></content><author><name>undefined</name></author></entry><entry><title>Lipolysis</title><link href="https://gavart.ist/#Lipolysis"></link><link href="https://gavart.ist/static/Lipolysis.html" rel="alternative" type="text/html"></link><id>5d7ea04f-21f5-b77f-9b0a-aa78451d971d</id><updated>2026-04-06T10:47:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="row">
<div class="column"><h2 class=""><u>Violins</u><br></br>Kate Outterbridge<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maiani%20da%20Silva">Maiani Magalhães da Silva</a></h2><h2 class=""><u>Bass Clarinet</u><br></br>James Sullivan</h2><h2 class=""><u>Producer and Engineer</u><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2><h2 class="">AH Studio<br></br>Atwater Village, Los Angeles, United States<br></br>2018 May 18</h2></div>
<div class="column"><h2 class="">Mixed by<br></br>Gavin Gamboa<br></br>Linz, Austria<br></br> 2018 June 11</h2><h2 class="">Artwork<br></br><em>Untitled Painting</em><br></br>Beth Hagenbuch<br></br>1995</h2></div>
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>1685 • Shadow Owes Its Birth To Light</title><link href="https://gavart.ist/#1685%20%E2%80%A2%20Shadow%20Owes%20Its%20Birth%20To%20Light"></link><link href="https://gavart.ist/static/1685%2520%25E2%2580%25A2%2520Shadow%2520Owes%2520Its%2520Birth%2520To%2520Light.html" rel="alternative" type="text/html"></link><id>47606771-4325-f265-8f0a-4af032657b7d</id><updated>2026-04-06T10:30:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A project between classical music, electronic music, and visual art, acknowledging the year in which three Baroque composers were born:</h2><ul><li>23 February — <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Georg%20Friedrich%20H%C3%A4ndel">Georg Friedrich Händel</a></li><li>31 March — <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a></li><li>26 October — <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Giuseppe%20Domenico%20Scarlatti">Giuseppe Domenico Scarlatti</a></li></ul><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Le%C3%B3n%20de%20Castillo">León de Castillo</a>, The <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Valsassina%20Ensemble%20Wien">Valsassina Ensemble</a>, and Mexican-American visual artist and composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> explore differentiated styles in hybridization through the vector of sonic ecologies of electronic music in three works from the period: two originally written for keyboard, and one for orchestra. The results are two transcriptions for 10-piece string orchestra with live electronics, and one reminagined as a solo piano/modular synth long-form improvisation.</h2><h2 class="">Motives, quotes, and melodies of the three baroque composers are brought to the stage within a multimedia interdisciplinary framework to explore the coextensive possibilities in their countrapuntally dense figurations and gestures, sometimes extended, at other times distended, shuffled, delayed, mutated, and discontinguous.</h2><h2 class="">Within the first half of 2015, the concept between Gavin Gamboa and León de Castillo was developed and in October of that year, with the cooperation of Schikaneder Kino, LAXLA Productions, and Valsassina Ensemble Wien, the first two parts of the 1685 cycle were recorded, with visual projections designed by members of the Los Angeles media collective, The Teaching Machine. The third part of the cycle, based on Scarlatti's <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20B%20minor%20K.%2027">Sonata in B minor K. 27</a>, while originally existing in an arrangement for the same 10-piece instrumental group, remained underdeveloped as an idea and was discarded. This absence in the cycle took some years to find a solution to, eventually settling upon a different instrumentation (piano &amp; modular synth, also with visual projections), and taking shape in a free, long-form improvisatory style influenced by Persian and Hindustani music. This final part of the cycle departs from the more coherent treatment of the musical subject matter as found in the first two pieces and instead traverses a long journey into exploratory realms with an evolving mixture of moods and deviations. </h2><p><div class="row">
<div class="column"><h2 class=""><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1685%20%E2%80%A2%20Goldberg%20Variaxon%20%C2%B7%20after%20J.S%20Bach%20%28score%29">Goldberg Variaxon</a></em> &amp; <em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1685%20%E2%80%A2%20Water%20Music%20Stillicides%20%C2%B7%20after%20G.F%20H%C3%A4ndel%20%28score%29">Water Music Stillicides</a></em><br></br>Recorded at Schikaneder Kino<br></br>Vienna, Austria<br></br>2015 October</h2><h2 class="">Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2015-2018</h2><h2 class=""><u>Violins</u><br></br>Florian Moser<br></br>David Adach<br></br>Theresia Kluger<br></br>Magdalena Więckowska<br></br>Angela Lasota</h2><h2 class=""><u>Violas</u><br></br>Giorgio Antonio Miele<br></br>Silvi Todorova</h2><h2 class=""><u>Cellos</u><br></br>Leo Schmidt<br></br>Jelena Magdalena Sarić</h2><h2 class=""><u>Double Bass</u><br></br>Jurgis Buinevičius</h2><h2 class=""><u>Electronics</u><br></br>Gavin Gamboa</h2></div>
<div class="column"><h2 class=""><em>Sonataraga</em><br></br>Recorded Live at Basic Flowers<br></br>Los Angeles, California, United States<br></br>2018 February 17</h2><h2 class="">Gavin Gamboa<br></br>Piano &amp; Electronics</h2><h2 class="">• • •</h2><h2 class="">Special Thanks To:<br></br>León de Castillo<br></br>Jamie Green<br></br>Sebastian Peters-Lazaro<br></br>Mat Sweeney<br></br>Damien Richard<br></br>Schikaneder Kino<br></br>Johannes Wegenstein<br></br>Bruno Batinic<br></br>Laura Samaraweerová<br></br>Joachim Wegenstein<br></br>Carlo Sigler</h2></div>
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Urgency Apparatus</title><link href="https://gavart.ist/#Urgency%20Apparatus"></link><link href="https://gavart.ist/static/Urgency%2520Apparatus.html" rel="alternative" type="text/html"></link><id>6712576e-97d5-b9ec-3ac6-e09c74c135de</id><updated>2026-04-05T13:23:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>Gaia is not an organism, and we cannot apply to it any technological or religious model. It may have an order, but it has no hierarchy; it is not ordered by levels; it is not disordered, either. … If it is an opera, it depends upon constant observation that has neither a score nor an ending, and it is never performed twice on the same stage. If there is no frame, no goal, no direction, we have to consider Gaia as the name of the process by which variable and contingent occurrences have made later events more probable. In this sense, Gaia is a creature no more of chance than of necessity. Which means that it closely resembles what we have come to regard as history itself.<br></br>
<br></br>
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bruno%20Latour">Bruno Latour</a><br></br>
<em>Facing Gaia</em>
</p></blockquote><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2016-2018</h2><h2 class=""><em>Urgent Daydream</em><br></br>Percussion Recorded and Performed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a><br></br>Brooklyn, New York, United States</h2><h2 class=""><em>Erykah's Cosmic Vessel</em><br></br>Vocals Recorded and Performed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cameron%20McCloud">Cameron McCloud</a><br></br>Dallas, Texas, United States</h2><h2 class=""><em>Knuckleduster</em><br></br>Percussion &amp; Vocals by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jamie%20Green">Jamie Green</a><br></br>Los Angeles, California, United States</h2><h2 class=""><em>ICANN See The Future</em><br></br>Choir Composed and Recorded by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a><br></br>Los Angeles, California, United States</h2><h2 class="">Special Thanks<br></br>Cold Cris Parker</h2></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven ⎮ Opus 2 Number 3</title><link href="https://gavart.ist/#Beethoven%20%E2%8E%AE%20Opus%202%20Number%203"></link><link href="https://gavart.ist/static/Beethoven%2520%25E2%258E%25AE%2520Opus%25202%2520Number%25203.html" rel="alternative" type="text/html"></link><id>267beb4b-bba5-1b46-836b-ca2692c06a74</id><updated>2026-04-05T13:06:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Deviant approaches to Beethoven; emphasis on temporal elasticity; harmonic dramatization; spaces for breathing and pause; attention to the 'surface' of the music; the sounds themselves.</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%203%20in%20C%20major%20Opus%202%20no.%203">Sonata 3 in C major Opus 2 no. 3</a> (1795)</em></h2><h2 class="">This recording is dedicated to <a class="tc-tiddlylink-external" href="http://www.brunomonsaingeon.com/EN/EN_BIOGRAPHY.html" rel="noopener noreferrer" target="_blank">Bruno Monsaingeon</a></h2><h2 class="">Performed on a PETROF P 159 Bora<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2018 August 30</h2><h2 class="">Artwork<br></br>based on a detail of Ludwig van Beethoven, aged twenty-six (1796); design by G. Stainhauser; engraving by Johann Josef Neidl; executed for the publisher Artaria.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Mareas</title><link href="https://gavart.ist/#Mareas"></link><link href="https://gavart.ist/static/Mareas.html" rel="alternative" type="text/html"></link><id>5b7652e9-10d2-2afb-b56c-c3e10abe0b38</id><updated>2026-04-05T12:08:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Mareas</em>, which means 'tides' in Spanish, is a piece about rising sea-levels. It is a meditation on water and the power of the ocean; the precariousness of feedback-loops once activated in our climate; our global planet on the verge of cataclysm. It uses a descending circle of 5ths motive in a variety of patterns section by section. It expresses tumult and calmness; violence and stillness; movement and repetition.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2018</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Liaizon%20Wakest">Liaizon Wakest</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Dance With The Devil In The Pale Moonlight</title><link href="https://gavart.ist/#Dance%20With%20The%20Devil%20In%20The%20Pale%20Moonlight"></link><link href="https://gavart.ist/static/Dance%2520With%2520The%2520Devil%2520In%2520The%2520Pale%2520Moonlight.html" rel="alternative" type="text/html"></link><id>7dedb4d5-a0ec-bb1c-8d9a-478868318155</id><updated>2026-04-05T11:18:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">This year's Halloween special is an album paying tribute to an early film score favorite; presenting the deconstructed and re-purposed sounds of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Danny%20Elfman">Danny Elfman</a>, Steve Bartek, and Shirley Walker's incredible music for Tim Burton's Batman (1989). First in a series of re-imagined film scores. Haunted House music !</h2><h2 class="">Assembled and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2018</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 2</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a></h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://www.addacsystem.com/en/products/modules/addac100-series/addac111" rel="noopener noreferrer" target="_blank">ADDAC 111</a>, <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/" rel="noopener noreferrer" target="_blank">Mutable Instruments</a> <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/clouds/" rel="noopener noreferrer" target="_blank">Clouds</a> &amp; <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/peaks/" rel="noopener noreferrer" target="_blank">Peaks</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Andrew's TiddlyWiki • Charts Plugins</title><link href="https://gavart.ist/#Andrew's%20TiddlyWiki%20%E2%80%A2%20Charts%20Plugins"></link><link href="https://gavart.ist/static/Andrew's%2520TiddlyWiki%2520%25E2%2580%25A2%2520Charts%2520Plugins.html" rel="alternative" type="text/html"></link><id>0d4984e8-8440-427a-9ec4-9125542a7f26</id><updated>2026-04-05T10:46:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TiddlyWiki</title><link href="https://gavart.ist/#TiddlyWiki"></link><link href="https://gavart.ist/static/TiddlyWiki.html" rel="alternative" type="text/html"></link><id>eb056e60-4206-091d-cf21-d34f41f77f9d</id><updated>2026-04-05T10:45:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>1416 m³ · Dia Art Foundation</title><link href="https://gavart.ist/#1416%20m%C2%B3%20%C2%B7%20Dia%20Art%20Foundation"></link><link href="https://gavart.ist/static/1416%2520m%25C2%25B3%2520%25C2%25B7%2520Dia%2520Art%2520Foundation.html" rel="alternative" type="text/html"></link><id>897fe49a-74a3-5de5-2ae8-c75d70d0df67</id><updated>2026-04-04T22:09:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a>’s performance <em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tausendvierhundertsechzehn%20%28score%29">1416 m³</a></em> (2014/26) has its New York premiere on February 10, as a prelude to his survey exhibition opening March 6. </h2><h2 class="">Composed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> following Lamelas’s concept, <em>1416 m³</em> was initially commissioned as a site-responsive work for the artist’s solo presentation at the Oberlichtstaal at Kunsthalle Basel, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1416%20m%C2%B3%20%3A%20Concert%20%E2%80%9CV%E2%80%9D">David Lamelas: V</a>. Performed at Dia Chelsea by <a class="tc-tiddlylink-external" href="https://www.jackquartet.com/" rel="noopener noreferrer" target="_blank">JACK Quartet</a> and baritone <a class="tc-tiddlylink-external" href="https://www.jesseblumberg.com/" rel="noopener noreferrer" target="_blank">Jesse Blumberg</a>, the work sonically illustrates the architectural volume of the gallery, filling each cubic meter of the space with sound.</h2><p><strong>David Lamelas: The Machine</strong> is organized in partnership with the <a class="tc-tiddlylink-external" href="https://islaa.org" rel="noopener noreferrer" target="_blank">Institute for Studies on Latin American Art (ISLAA)</a>. <br></br>Significant support provided by Dia’s Director’s Council and <a class="tc-tiddlylink-external" href="https://www.thesalonny.com/" rel="noopener noreferrer" target="_blank">Salon Art + Design</a>. Additional support by <a class="tc-tiddlylink-external" href="https://www.frieze.com/" rel="noopener noreferrer" target="_blank">Frieze</a>. <br></br>All exhibitions at Dia are made possible by the Economou Exhibition Fund.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>The Indie Internet Index</title><link href="https://gavart.ist/#The%20Indie%20Internet%20Index"></link><link href="https://gavart.ist/static/The%2520Indie%2520Internet%2520Index.html" rel="alternative" type="text/html"></link><id>cfcbb580-ccdc-022f-a0e8-8520a388e6a1</id><updated>2026-04-04T22:07:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Principium Individuationis</title><link href="https://gavart.ist/#Principium%20Individuationis"></link><link href="https://gavart.ist/static/Principium%2520Individuationis.html" rel="alternative" type="text/html"></link><id>73070109-e422-1a7d-d425-43647b924eca</id><updated>2026-04-04T21:29:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>September-October 2018</h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Elektron_Octatrack" rel="noopener noreferrer" target="_blank">Octatrack</a>, <a class="tc-tiddlylink-external" href="http://www.makenoisemusic.com/modules/morphagene" rel="noopener noreferrer" target="_blank">Morphagene</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise">Renoise</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ableton%20Live">Ableton Live 9</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio</a></h2><h2 class="">Artwork<br></br><em>The Transfiguration</em><br></br>Raphael<br></br>1520</h2></div></content><author><name>undefined</name></author></entry><entry><title>Midway upon the journey of our life I found myself in a dark wood, where the right way was lost.</title><link href="https://gavart.ist/#Midway%20upon%20the%20journey%20of%20our%20life%20I%20found%20myself%20in%20a%20dark%20wood%2C%20where%20the%20right%20way%20was%20lost."></link><link href="https://gavart.ist/static/Midway%2520upon%2520the%2520journey%2520of%2520our%2520life%2520I%2520found%2520myself%2520in%2520a%2520dark%2520wood%252C%2520where%2520the%2520right%2520way%2520was%2520lost..html" rel="alternative" type="text/html"></link><id>8e0d4023-7a49-46ef-d9f4-e49f13ce40f8</id><updated>2026-04-04T21:24:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>The Garden Cotswold, Detroit, Michigan<br></br>&amp; Kawee’nga Studio, Los Angeles, California<br></br>United States</h2><h2 class="">Piano<br></br>PETROF P 159 Bora</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 2</a></h2><h2 class="">Artwork<br></br><em>detail from Temptation of St. Anthony</em><br></br>Hieronymus Bosch<br></br>1505</h2></div></content><author><name>undefined</name></author></entry><entry><title>When you come to a fork in the road, take it.</title><link href="https://gavart.ist/#When%20you%20come%20to%20a%20fork%20in%20the%20road%2C%20take%20it."></link><link href="https://gavart.ist/static/When%2520you%2520come%2520to%2520a%2520fork%2520in%2520the%2520road%252C%2520take%2520it..html" rel="alternative" type="text/html"></link><id>3de1e79e-5aba-50e9-8b38-a73dde03f00a</id><updated>2026-04-04T21:15:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink-external" href="https://www.facebook.com/JohannesgasseSolisten" rel="noopener noreferrer" target="_blank">Johannesgasse Solisten</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Attilia%20Kiyoko%20Cernitori">Attilia Kiyoko Cernitori</a>, cello &amp; conductor</h2><h2 class="">Recorded live<br></br>ÖJAB-Johannesgasse<br></br>Antonio Vivaldi Saal<br></br>Johannesgasse 8, 1010<br></br>Vienna, Austria<br></br>2018 January 25</h2><h2 class="">Artwork<br></br><em>Airopaidia</em><br></br>Thomas Baldwin<br></br>1786</h2></div></content><author><name>undefined</name></author></entry><entry><title>Scarlatti ⎮ Two Sonatas</title><link href="https://gavart.ist/#Scarlatti%20%E2%8E%AE%20Two%20Sonatas"></link><link href="https://gavart.ist/static/Scarlatti%2520%25E2%258E%25AE%2520Two%2520Sonatas.html" rel="alternative" type="text/html"></link><id>0832d354-b476-e6f5-7e5f-b27a141fe689</id><updated>2026-04-04T21:10:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Giuseppe%20Domenico%20Scarlatti">Giuseppe Domenico Scarlatti</a> (1685-1757)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20A%20major%20K.%20113">Sonata in A major K. 113</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20B%20minor%20K.%2027">Sonata in B minor K. 27</a></h2><h2 class="">Artwork<br></br><em>detail of Willow Mill</em><br></br>Albrecht Dürer<br></br>1498</h2></div></content><author><name>undefined</name></author></entry><entry><title>Mutable Instruments Clouds • Parasite Firmware</title><link href="https://gavart.ist/#Mutable%20Instruments%20Clouds%20%E2%80%A2%20Parasite%20Firmware"></link><link href="https://gavart.ist/static/Mutable%2520Instruments%2520Clouds%2520%25E2%2580%25A2%2520Parasite%2520Firmware.html" rel="alternative" type="text/html"></link><id>70426f1e-b519-9083-c314-a1a726efcebc</id><updated>2026-04-04T18:56:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/reference/clouds-parasite-1.jpeg"></img><img src="./files/img/reference/clouds-parasite-2.jpeg"></img><img src="./files/img/reference/clouds-parasite-3.jpeg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Poly1305</title><link href="https://gavart.ist/#Poly1305"></link><link href="https://gavart.ist/static/Poly1305.html" rel="alternative" type="text/html"></link><id>b6fd7338-68a9-7b10-5724-3c9e9e381074</id><updated>2026-04-04T17:55:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Art Gallery</title><link href="https://gavart.ist/#Art%20Gallery"></link><link href="https://gavart.ist/static/Art%2520Gallery.html" rel="alternative" type="text/html"></link><id>4e5298b5-7563-b478-68ba-436fe6b93b61</id><updated>2026-04-04T17:53:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mexico City</title><link href="https://gavart.ist/#Mexico%20City"></link><link href="https://gavart.ist/static/Mexico%2520City.html" rel="alternative" type="text/html"></link><id>0b4596f8-efe1-10dc-55bb-e564213dfb33</id><updated>2026-04-04T17:53:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kurimanzutto</title><link href="https://gavart.ist/#Kurimanzutto"></link><link href="https://gavart.ist/static/Kurimanzutto.html" rel="alternative" type="text/html"></link><id>cec47d5d-d227-755d-a3e0-367e4130f945</id><updated>2026-04-04T17:53:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Amuse-bouche</title><link href="https://gavart.ist/#Amuse-bouche"></link><link href="https://gavart.ist/static/Amuse-bouche.html" rel="alternative" type="text/html"></link><id>2afb02c5-ded6-7500-781c-cb2475f12aa1</id><updated>2026-04-04T17:50:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Chronicle of Georgia</title><link href="https://gavart.ist/#The%20Chronicle%20of%20Georgia"></link><link href="https://gavart.ist/static/The%2520Chronicle%2520of%2520Georgia.html" rel="alternative" type="text/html"></link><id>891ba6a4-c7e7-e10b-f9b3-09609233304d</id><updated>2026-04-04T17:48:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Music For Kitchens : Volume Two</title><link href="https://gavart.ist/#Music%20For%20Kitchens%20%3A%20Volume%20Two"></link><link href="https://gavart.ist/static/Music%2520For%2520Kitchens%2520%253A%2520Volume%2520Two.html" rel="alternative" type="text/html"></link><id>ae12da33-83b8-ff75-736b-88c43cca13a2</id><updated>2026-04-04T17:10:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A series of recordings made from, in, and about <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Music%20For%20Kitchens%20%3A%20Volume%20One">kitchens</a>. Volume Two is comprised of sounds made in the kitchen of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ben%20Olsen">Ben Olsen</a>. Kitchen as instrument. Kitchen as sample library. Kitchen as source.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Linz, Austria<br></br>December 2018 - January 2019</h2><h2 class="">Artwork<br></br><em>Mechanical Composition</em><br></br>Fernand Léger<br></br>1918</h2></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven Ligeti Aberrations</title><link href="https://gavart.ist/#Beethoven%20Ligeti%20Aberrations"></link><link href="https://gavart.ist/static/Beethoven%2520Ligeti%2520Aberrations.html" rel="alternative" type="text/html"></link><id>1bf8fcbe-5afa-5be3-61ee-29841e4ce447</id><updated>2026-04-04T17:04:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Beethoven Ligeti Aberrations uses the KFingerprint VST to ingest a sample pool, and then match an incoming audio sample to the closest matching sample in the existing pool, producing amalgamated structures as one piece controls another (and vice versa). The two works selected here are <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Beethoven</a> Symphony 5 (second movement) and all movements of the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gy%C3%B6rgy%20Ligeti">Ligeti</a> Requiem.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Washington D.C., Biddestone Woods, Michigan,<br></br>and Los Angeles, California, United States<br></br>March 2019</h2><h2 class="">Software: <a class="tc-tiddlylink-external" href="http://kammerl.de/audio/kfingerprints/" rel="noopener noreferrer" target="_blank">KFingerprints</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 2</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Odas A La Luz Encantada</title><link href="https://gavart.ist/#Odas%20A%20La%20Luz%20Encantada"></link><link href="https://gavart.ist/static/Odas%2520A%2520La%2520Luz%2520Encantada.html" rel="alternative" type="text/html"></link><id>37a5012d-6d6e-656c-bcda-c931a20db521</id><updated>2026-04-04T16:58:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>In the old-paradigm definition we would say that a living body vibrates at 10¹⁵ Hertz, meaning that there is a material body in space and time that resonates at 10¹⁵ vibrations per second. In the new paradigm definition we say that interfering standing waves vibrating at 10¹⁵ Hertz constitute a living body.<br></br><br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#What%20Is%20Reality%3F%20The%20New%20Map%20of%20Cosmos%2C%20Consciousness%2C%20and%20Existence">What is Reality?</a></em> (2016)<br></br></p></blockquote><h2 class="">Titles after <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Pablo%20Neruda">Pablo Neruda</a></h2><h2 class="">Performed on a PETROF P 159 Bora<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2018 August 30</h2><h2 class="">Artwork made with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sterling%20Crispin">Cyberpaint</a> • <a class="tc-tiddlylink-external" href="http://cyberpaintapp.com/" rel="noopener noreferrer" target="_blank">@cyberpaintapp</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>1416 ㎥ (Double Quartet Version)</title><link href="https://gavart.ist/#1416%20%E3%8E%A5%20(Double%20Quartet%20Version)"></link><link href="https://gavart.ist/static/1416%2520%25E3%258E%25A5%2520(Double%2520Quartet%2520Version).html" rel="alternative" type="text/html"></link><id>58d20053-4f3e-40ce-61bc-680e114b3186</id><updated>2026-04-04T15:25:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink-external" href="https://www.csulb.edu/university-art-museum/event/david-lamelas-gavin-gamboa-leo%CC%81n-de-castillo-performance" rel="noopener noreferrer" target="_blank">California State University</a> in cooperation with <a class="tc-tiddlylink-external" href="http://www.getty.edu/museum/" rel="noopener noreferrer" target="_blank">The Getty</a> presents</h2><h2 class=""><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tausendvierhundertsechzehn%20%28score%29">Tausendvierhundertsechzehn for Tenor and String Quartet (1416m³)</a></em><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Le%C3%B3n%20de%20Castillo">León de Castillo</a></h2><h2 class="">Long interested in liberating sculpture from the traditional ideas of mass and volume, David Lamelas conceived of <em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tausendvierhundertsechzehn">Tausendvierhundertsechzehn</a> for Tenor and String Quartet</em> as a way for space to assume a central role for social interaction and as a catalyst for creativity. Music is both invisible and temporal, and with 1416m³ the artist and composer sought to sonically describe their effort to fill the architectural volume of a space over a period of me (the piece being named for the dimensions of the Oberlichtsaal of Kunsthalle Basel, where it was first performed). Los Angeles-based composer Gavin Gamboa and Mexican tenor León de Castillo collaborated on this situational piece with the Lamelas for his solo exhibition, V (2014). The three come together again with a string quartet from the Bob Cole Conservatory on campus, and the Austrian Marcell Rubin Quartet, to reimagine this live experience.</h2><p><div class="row">
<div class="column"><h2 class="">Getty Pacific Standard Time Initiative<br></br><a class="tc-tiddlylink-external" href="http://www.getty.edu/foundation/initiatives/past/pst_lala/index.html" rel="noopener noreferrer" target="_blank">LA/LA 2017</a></h2><h2 class="">University Art Museum<br></br>Cal State University Long Beach<br></br>California, United States<br></br>2017 October 22</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Le%C3%B3n%20de%20Castillo">León de Castillo</a>, tenor</h2><h2 class=""><u>Marcel Rubin Quartett</u><br></br>Vera Otasek, violin<br></br>Emer Kinsella, violin<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jean%20Philippe%20Oliver%20Viol">Jean Philippe Oliver Viol</a>, viola<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Attilia%20Kiyoko%20Cernitori">Attilia Kiyoko Cernitori</a>, cello</h2></div>
<div class="column"><h2 class=""><u>Bob Cole Conservatory Quartet at CSU Long Beach</u><br></br>Jaclyn Kim, violin<br></br>Makena Clark, violin<br></br>Melissa McGlumphy, viola<br></br>Hyunji Yi, cello</h2><h2 class="">Recording by<br></br><a class="tc-tiddlylink-external" href="https://saltartsdocumentation.com/" rel="noopener noreferrer" target="_blank">SALTarts Documentation</a></h2><h2 class="">Engineer<br></br><a class="tc-tiddlylink-external" href="https://tinatallon.com/" rel="noopener noreferrer" target="_blank">Tina Tallon</a></h2><h2 class="">UAM Curator<br></br><a class="tc-tiddlylink-external" href="https://www.instagram.com/whattheartistsays/" rel="noopener noreferrer" target="_blank">Kristina Newhouse</a></h2></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>José Pablo Moncayo ⎮ Tres Piezas</title><link href="https://gavart.ist/#Jos%C3%A9%20Pablo%20Moncayo%20%E2%8E%AE%20Tres%20Piezas"></link><link href="https://gavart.ist/static/Jos%25C3%25A9%2520Pablo%2520Moncayo%2520%25E2%258E%25AE%2520Tres%2520Piezas.html" rel="alternative" type="text/html"></link><id>870b1ce2-b9ba-6809-4f60-57bfafa83c05</id><updated>2026-04-04T11:13:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jos%C3%A9%20Pablo%20Moncayo">José Pablo Moncayo</a> (1912-1958)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tres%20Piezas">Tres Piezas</a><br></br>1948</h2><h2 class="">performed on a PETROF P 159 Bora<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States </h2><h2 class="">Artwork<br></br><em>Vampiros vegetarianos</em><br></br>Remedios Varo<br></br>1962</h2></div></content><author><name>undefined</name></author></entry><entry><title>Debussy ⎮ Haydn</title><link href="https://gavart.ist/#Debussy%20%E2%8E%AE%20Haydn"></link><link href="https://gavart.ist/static/Debussy%2520%25E2%258E%25AE%2520Haydn.html" rel="alternative" type="text/html"></link><id>28ba5e2c-a6d3-cad8-2ba2-adde45bafe38</id><updated>2026-04-04T11:09:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Claude%20Debussy">Claude Debussy</a> (1862-1918)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Pr%C3%A9ludes%2C%20Book%20I">Préludes, Book I</a> — La sérénade interrompue, Danseuses dé Delphes</em><br></br>Studio recording — Kerr Hall<br></br>University of California Santa Barbara<br></br>2004</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Joseph%20Haydn">Joseph Haydn</a> (1732-1809)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20C%20Major%20Hob.%20XVI%2F50">Sonata in C Major Hob. XVI/50</a></em><br></br>Studio recording — Kerr Hall<br></br>University of California Santa Barbara<br></br>2006</h2><h2 class="">Studio Engineer<br></br>Kevin Kelly</h2></div></content><author><name>undefined</name></author></entry><entry><title>Trees Leaping Greenly Toward Sky True Dream Ears Awake</title><link href="https://gavart.ist/#Trees%20Leaping%20Greenly%20Toward%20Sky%20True%20Dream%20Ears%20Awake"></link><link href="https://gavart.ist/static/Trees%2520Leaping%2520Greenly%2520Toward%2520Sky%2520True%2520Dream%2520Ears%2520Awake.html" rel="alternative" type="text/html"></link><id>df3625bd-6b05-a01a-739a-6d6197af1d01</id><updated>2026-04-04T11:06:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>NO, MY LIFE IS NOT THIS PRECIPITOUS HOUR<br></br>through which you see me passing at a run.<br></br>I stand before my background like a tree.<br></br>Of all my many mouths I am but one,<br></br>and that which soonest chooses to be dumb.<br></br><br></br>I am the rest between two notes<br></br>which, struck together, sound discordantly,<br></br>because death's note would claim a higher key.<br></br><br></br>But in the dark pause, trembling, the notes meet,<br></br>harmonious.<br></br><br></br>And the song continues sweet.<br></br><br></br>Rainer Maria Rilke<br></br><em>The Book of Hours</em> (1903)<br></br>
</p></blockquote><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2019</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Keren%20Oo">Keren Oo</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Teufelsberg Tower</title><link href="https://gavart.ist/#Teufelsberg%20Tower"></link><link href="https://gavart.ist/static/Teufelsberg%2520Tower.html" rel="alternative" type="text/html"></link><id>327c798c-27ca-13f3-eff4-b4353da10d66</id><updated>2026-04-04T11:01:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Berlin, Germany and Los Angeles, California, United States<br></br>August 2019</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Phoebe%20Isobel">Phoebe Isobel</a>, soprano<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Liaizon%20Wakest">Liaizon Wakest</a>, throat-singing</h2><h2 class="">Special Thanks<br></br><a class="tc-tiddlylink-external" href="http://www.sebastianmuellauer.com/" rel="noopener noreferrer" target="_blank">Sebastian Muellauer</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 3</a></h2><hr></hr><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/I41GveTU_fI" width="560"></iframe>
</div></p><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/aMlyd_tIzr8" width="560"></iframe>
</div></p><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/mSNr2Q4mqjw" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>custom-css</title><link href="https://gavart.ist/#custom-css"></link><link href="https://gavart.ist/static/custom-css.html" rel="alternative" type="text/html"></link><id>1dedcfcf-73dc-4aa4-3816-006676fa2bce</id><updated>2026-04-03T21:57:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>/*! normalize.css v8.0.1 | MIT License | github.com/necolas/normalize.css */</p><p>/* Document
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	.dynamic-table {
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}</p></div></content><author><name>undefined</name></author></entry><entry><title>D'LEAU · Blue Glassy (gavcloud Reimage)</title><link href="https://gavart.ist/#D'LEAU%20%C2%B7%20Blue%20Glassy%20(gavcloud%20Reimage)"></link><link href="https://gavart.ist/static/D'LEAU%2520%25C2%25B7%2520Blue%2520Glassy%2520(gavcloud%2520Reimage).html" rel="alternative" type="text/html"></link><id>3716412b-31ba-af1c-88fb-a1f782d389a8</id><updated>2026-04-03T21:56:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Remix">remix</a> that is included on <a class="tc-tiddlylink-external" href="https://www.even.biz/releases/emotional-properties-dluxe" rel="noopener noreferrer" target="_blank">Emotional Properties – DLUXE</a>, an EP by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#D%27LEAU">D'LEAU</a> released on March 15, 2024. I am also making it available as a limited edition mint on <a class="tc-tiddlylink-external" href="https://www.ninaprotocol.com/releases/d-leau-blue-glassy-gavcloud-reimage" rel="noopener noreferrer" target="_blank">Nina Protocol</a>.</h2><blockquote class="tc-quote"><h2 class=""><em>D'LEAU's 6-song EP release is a mesmerizing journey through a sonic landscape that seamlessly blends ethereal and moody elements with a pulsating groove. Also included are remixes from <a class="tc-tiddlylink-external" href="https://mamawsautoparts.com/" rel="noopener noreferrer" target="_blank">David Davis</a>, <a class="tc-tiddlylink-external" href="https://soundcloud.com/thealgorythms" rel="noopener noreferrer" target="_blank">Algorythm.Code</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavcloud">gavcloud</a> &amp; <a class="tc-tiddlylink-external" href="https://joe-august.com/" rel="noopener noreferrer" target="_blank">Joe August</a>.</em></h2></blockquote><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise">Renoise</a></h2><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/UbpbMlXtqn8?si=xOXXuyrZ9NRNgxe7" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Scriabin ⎮ Sonata-Fantasy</title><link href="https://gavart.ist/#Scriabin%20%E2%8E%AE%20Sonata-Fantasy"></link><link href="https://gavart.ist/static/Scriabin%2520%25E2%258E%25AE%2520Sonata-Fantasy.html" rel="alternative" type="text/html"></link><id>aa39f6ff-05bf-2719-626c-fc39b0b85fb7</id><updated>2026-04-03T18:01:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexander%20Scriabin">Alexander Scriabin</a> (1872-1915)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%202%20in%20G%20sharp%20minor%2C%20Opus%2019">Sonata 2 in G sharp minor, Opus 19</a> (1898)</em></h2><h2 class="">Performed on a PETROF P 159 Bora<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2019 September</h2><h2 class="">Artwork<br></br>Alexander Scriabin and Tatiana Schloezer on the banks of the Oka River</h2></div></content><author><name>undefined</name></author></entry><entry><title>RQM après-Berlioz</title><link href="https://gavart.ist/#RQM%20apr%C3%A8s-Berlioz"></link><link href="https://gavart.ist/static/RQM%2520apr%25C3%25A8s-Berlioz.html" rel="alternative" type="text/html"></link><id>7ec7333e-ad85-9295-a893-2db23c03364f</id><updated>2026-04-03T17:22:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Imaginings based on<br></br><em>Grande Messe des morts, Opus 5</em><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hector%20Berlioz">Hector Berlioz</a> (1803-1869)</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Detroit, Michigan and Los Angeles, California, United States<br></br>2019 December</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 3</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#orc%CE%BB">ORCΛ</a></h2><h2 class="">Artwork<br></br><em>Blend juxtaposition of two mezzotints of Paradise Lost</em><br></br>John Martin<br></br>1827</h2><hr></hr><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/ynd4G5KCGSs" width="560"></iframe>
</div></p><p><div class="video-container">
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>The Quantæ of Káryyn</title><link href="https://gavart.ist/#The%20Quant%C3%A6%20of%20K%C3%A1ryyn"></link><link href="https://gavart.ist/static/The%2520Quant%25C3%25A6%2520of%2520K%25C3%25A1ryyn.html" rel="alternative" type="text/html"></link><id>5783a680-d073-2ece-8fa0-dcdc218a6e0f</id><updated>2026-04-03T17:14:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Assembled and Mixed by Gavin Gamboa<br></br>Detroit, Michigan &amp; Los Angeles, California, United States<br></br>2019-2020</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise">Renoise 3.2</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#orc%CE%BB">ORCΛ</a></h2><p>All samples used in the making of <em>The Quantæ of Káryyn</em> are from the album <a class="tc-tiddlylink-external" href="https://www.discogs.com/K%C3%81RYYN-The-Quanta-Series/release/13415616" rel="noopener noreferrer" target="_blank">THE QUANTA SERIES</a>.<br></br>
All copyrights reserved and retained by their respective owners.</p><hr></hr><h3 class="">  </h3><p><div class="video-container">
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/oJPShEz4iuM" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>⑻ inventions</title><link href="https://gavart.ist/#%E2%91%BB%20inventions"></link><link href="https://gavart.ist/static/%25E2%2591%25BB%2520inventions.html" rel="alternative" type="text/html"></link><id>3b5476de-8362-2f63-4987-4b6b0876b689</id><updated>2026-04-03T17:07:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">These early recordings of my first encounters with the Bach Two-Part Inventions are being released for the first time, alongside and interspersed with a set of keyboard inventions which I wrote many years later modeled on the counterpoint and form that the Bach pieces contained and evoked. Furthermore, being a continuing admirer of what Wendy Carlos did with Switched On Bach, I set out to realize my own inventions electronically in a manner which pays homage to the Moog synthesizer soundscapes Carlos created in those fantastic records, in addition to being in accordance with what I believe Bach would have likely wanted of any pupil and learner of music based on what he wrote for the title page of the volume of Two-Part Inventions &amp; Sinfonias:</h2><blockquote class="tc-quote digitalGarden"><p>Forthright instruction, wherewith lovers of the clavier, especially those desirous of learning, are shown in a clear way not only 1) to learn to play two voices clearly, but also after further progress 2) to deal correctly and well with three obbligato parts, moreover at the same time to obtain not only good ideas, but also to carry them out well, but most of all to achieve a cantabile style of playing, and thereby to acquire a strong foretaste of composition.
</p></blockquote><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Two%20Part%20Inventions">Two Part Inventions</a>, 1-4 (1723)</em></h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br><em>Two Part Inventions, 1-4 (2010)</em></h2><h2 class="">Studio engineer<br></br>Kevin Kelly<br></br>Kerr Hall, University of California Santa Barbara<br></br>2003</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 3</a>, <a class="tc-tiddlylink-external" href="https://www.applied-acoustics.com/ultra-analog-va-3/" rel="noopener noreferrer" target="_blank">AAS Ultra Analog</a></h2><h2 class="">Artwork<br></br><em>L'ornement Polychrome</em><br></br>Albert Racinet<br></br>1888</h2></div></content><author><name>undefined</name></author></entry><entry><title>Transmogrificantus III</title><link href="https://gavart.ist/#Transmogrificantus%20III"></link><link href="https://gavart.ist/static/Transmogrificantus%2520III.html" rel="alternative" type="text/html"></link><id>a189f9b5-c042-14d0-8cf0-5a34d02e4520</id><updated>2026-04-03T16:47:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Transmogrificantus III</em>, a time-compressed reinvigoration of music for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Transmogrificantus%20Octet">string octet</a>.</h2><h2 class="">Performers<br></br>The Anamnesia Octet</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 3.1.3</a></h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ben%20Olsen">Ben Olsen</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Guèbrou ⎮ The Song of The Sea</title><link href="https://gavart.ist/#Gu%C3%A8brou%20%E2%8E%AE%20The%20Song%20of%20The%20Sea"></link><link href="https://gavart.ist/static/Gu%25C3%25A8brou%2520%25E2%258E%25AE%2520The%2520Song%2520of%2520The%2520Sea.html" rel="alternative" type="text/html"></link><id>f3849ddb-509d-ad52-b3a6-b097dbc53cf9</id><updated>2026-04-03T16:43:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou">Emahoy Tsegué-Maryam Guèbrou</a><br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Song%20of%20The%20Sea">The Song of The Sea</a> (1953)</em><br></br>Dedicated to the memory of my dear father<br></br>H.E. Kentiba Guèbru Desta</h2><h2 class="">Performed by Gavin Gamboa<br></br>Kawee'nga Studio<br></br>Los Angeles, California, United States<br></br>2020 June</h2><h2 class="">Special Thank You:<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anna%20Luisa">Anna Luisa Petrisko</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Adee%20Roberson">Adee Roberson</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>13,013 Fragmented Impromptus</title><link href="https://gavart.ist/#13%2C013%20Fragmented%20Impromptus"></link><link href="https://gavart.ist/static/13%252C013%2520Fragmented%2520Impromptus.html" rel="alternative" type="text/html"></link><id>081629c8-e60a-de50-0dd5-0d957e23931f</id><updated>2026-04-03T16:38:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A follow-up record to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#10%2C010%20Fragmented%20Impromptus">10,010 Fragmented Impromptus</a></h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2019</h2><h2 class="">Artwork<br></br><em>East Indian Cherry</em><br></br>Julie de Graag<br></br>1916</h2></div></content><author><name>undefined</name></author></entry><entry><title>Live at RHO Hotel Amsterdam</title><link href="https://gavart.ist/#Live%20at%20RHO%20Hotel%20Amsterdam"></link><link href="https://gavart.ist/static/Live%2520at%2520RHO%2520Hotel%2520Amsterdam.html" rel="alternative" type="text/html"></link><id>bc17a4f5-e3de-96fd-53c1-2a39f3225d74</id><updated>2026-04-03T16:37:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded Live<br></br>RHO Hotel Amsterdam<br></br>Amsterdam, The Netherlands<br></br>2019 August 13</h2><h2 class="">Artwork<br></br><em>Portrait Illustration</em><br></br><a class="tc-tiddlylink-external" href="http://www.klimentinali.com/about/" rel="noopener noreferrer" target="_blank">Klimentina Milenova</a><br></br>+ <em>flower plate</em> by anonymous (1750–1775)</h2></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven ⎮ Sonata à Joseph Haydn</title><link href="https://gavart.ist/#Beethoven%20%E2%8E%AE%20Sonata%20%C3%A0%20Joseph%20Haydn"></link><link href="https://gavart.ist/static/Beethoven%2520%25E2%258E%25AE%2520Sonata%2520%25C3%25A0%2520Joseph%2520Haydn.html" rel="alternative" type="text/html"></link><id>40570d00-6962-a69a-7ab5-43d45f444858</id><updated>2026-04-03T16:02:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%203%20in%20C%20major%20Opus%202%20no.%203">Sonata 3 in C major Opus 2 number 3</a> (dedicated to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Joseph%20Haydn">Joseph Haydn</a>)<br></br>1795</h2><h2 class="">Gavin Arturo Gamboa, piano<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2020 August</h2><h2 class="">Artwork<br></br><em>Das Niederösterreichische Landhaus in Wien vom Minoritenplatz gesehen</em><br></br>by Rudolph von Alt (1845)<br></br>and detail from<em>‘Ludwig van Beethoven/Sonata Nr. 3 (Opus 2, Nr. 3)</em><br></br>Jorinde Voigt</h2></div></content><author><name>undefined</name></author></entry><entry><title>The Pillow Book of Hours</title><link href="https://gavart.ist/#The%20Pillow%20Book%20of%20Hours"></link><link href="https://gavart.ist/static/The%2520Pillow%2520Book%2520of%2520Hours.html" rel="alternative" type="text/html"></link><id>10451880-461e-0702-a87c-ce62af85fc52</id><updated>2026-04-03T15:25:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Re-woven etchings of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#George%20Enescu">George Enescu</a> <em>Octet for Strings, Opus 7 (1900)</em></h2><h2 class="">Programmed &amp; Mixed by Gavin Gamboa<br></br>Los Angeles, California and Detroit, Michigan, United States<br></br>2020</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 3.2.7</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP 7</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Second Assortment of The Well-Tempered Clavier Book I</title><link href="https://gavart.ist/#Second%20Assortment%20of%20The%20Well-Tempered%20Clavier%20Book%20I"></link><link href="https://gavart.ist/static/Second%2520Assortment%2520of%2520The%2520Well-Tempered%2520Clavier%2520Book%2520I.html" rel="alternative" type="text/html"></link><id>2a539c8d-febe-b084-4f1c-19d6c25cb0c1</id><updated>2026-04-03T15:24:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The best known of J.S. Bach‘s clavier works is the famous set of preludes and fugues known as the Well-Tempered Clavier. This musical text was intended to function as a fundamental guide for the understanding of harmony and rhythm. The objective–to introduce the 24 major and minor keys—was a challenging notion at the time; the established traditions of instrumental tuning did not allow for the simultaneous use of many keys with multiple sharps or flats on one instrument. Bach was attempting to integrate a type of tempered tuning that has remained the foundation of musical thought to this day.</h2><h2 class="">Despite being initially implemented as teaching guides for his students, Bach’s complete collection of the preludes and fugues are now highly regarded musical works, not only for how influential they have been but also because of their unique intricacies and complexities. In principle and compositionally speaking, the preludes are lyrical and free; the fugues—strict. All these vary wonderfully in subject, texture, form, and treatment. This is a music that offers metaphysical sustenance for the spirit and one which offers a glimpse into the musical arts of the baroque.</h2><h2 class="">Second in a series of live/studio recordings which comprise the Well-Tempered Clavier Book I. See also <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#First%20Assortment%20of%20The%20Well-Tempered%20Clavier%20Book%20I">First Assortment of The Well-Tempered Clavier Book I</a></h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Well-Tempered%20Clavier%2C%20Book%20I">The Well-Tempered Clavier, Book I</a></em></h2><h2 class="">BWV 861 &amp; BWV 849<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Abraham%20%E2%8E%AE%20Ligeti%20%E2%8E%AE%20Chopin%20%E2%8E%AE%20Beethoven%20%E2%8E%AE%20Bach">Live Recording from Teatro Peón Contreras</a><br></br>Mérida, Yucatán, México<br></br>2016</h2><h2 class="">BWV 846 &amp; BWV 851<br></br>Studio Recording from The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2019</h2><h2 class="">BWV 853, BWV 856 &amp; BWV 868<br></br>Studio Recording from Kawee'nga Studio<br></br>Los Angeles, California, United States<br></br>2020</h2><h2 class="">Cover &amp; Track Artwork(s): <a class="tc-tiddlylink-external" href="https://www.bach-digital.de/receive/BachDigitalSource_source_00001076" rel="noopener noreferrer" target="_blank">Collective Manuscript Autograph</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Zigzagging Syntax</title><link href="https://gavart.ist/#Zigzagging%20Syntax"></link><link href="https://gavart.ist/static/Zigzagging%2520Syntax.html" rel="alternative" type="text/html"></link><id>c27ab266-f31f-4690-f547-f0c08d9cf913</id><updated>2026-04-03T15:24:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>Death ! that struck when I was most confiding<br></br>In my certain faith of joy to be—<br></br>Strike again, Time's withered branch dividing<br></br>From the fresh root of Eternity !<br></br><br></br>Leaves, upon Time's branch, were growing brightly,<br></br>Full of sap, and full of silver dew;<br></br>Birds beneath its shelter gathered nightly;<br></br>Daily round its flowers the wild bees flew.<br></br><br></br>Sorrow passed, and plucked the golden blossom;<br></br>Guilt stripped off the foliage in its pride;<br></br>But, within its parent's kindly bosom,<br></br>Flowed for ever Life's restoring-tide.<br></br><br></br>Little mourned I for the parted gladness,<br></br>For the vacant nest and silent song—<br></br>Hope was there, and laughed me out of sadness;<br></br>Whispering, " Winter will not linger long!"<br></br><br></br>And, behold ! with tenfold increase blessing,<br></br>Spring adorned the beauty-burdened spray;<br></br>Wind and rain and fervent heat, caressing,<br></br>Lavished glory on that second May !<br></br><br></br>High it rose—no winged grief could sweep it;<br></br>Sin was scared to distance with its shine;<br></br>Love, and its own life, had power to keep it<br></br>From all wrong—from every blight but thine !<br></br><br></br>Cruel Death ! The young leaves droop and languish;<br></br>Evening's gentle air may still restore—<br></br>No ! the morning sunshine mocks my anguish—<br></br>Time, for me, must never blossom more !<br></br><br></br>Strike it down, that other boughs may flourish<br></br>Where that perished sapling used to be;<br></br>Thus, at least, its moldering corpse will nourish<br></br>That from which it sprung—Eternity.<br></br><br></br>Emily Brontë<br></br>1846<br></br></p></blockquote><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>RHO Hotel, Amsterdam, The Netherlands<br></br>2019 August 19</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#McKay%20Felt">McKay Felt</a><br></br>2020</h2><h2 class="">based on<br></br><em>Scheibenriß: Tafelnde Gesellschaft und Tod</em><br></br>Albrecht Dürer<br></br>1500</h2></div></content><author><name>undefined</name></author></entry><entry><title>Notable Software &amp; Cybersecurity Exploits</title><link href="https://gavart.ist/#Notable%20Software%20%26%20Cybersecurity%20Exploits"></link><link href="https://gavart.ist/static/Notable%2520Software%2520%2526%2520Cybersecurity%2520Exploits.html" rel="alternative" type="text/html"></link><id>175ba180-a835-e8cf-3771-07ab69524c3c</id><updated>2026-04-03T13:50:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Heartbleed" rel="noopener noreferrer" target="_blank">Heartbleed</a><ul><li>SSL/TLS buffer over-read bug</li></ul></li><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Meltdown_(security_vulnerability)" rel="noopener noreferrer" target="_blank">Meltdown</a><ul><li>Rogue Intel CPU process that can read all memory even when not authorized to do so.</li></ul></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Goblin%20Mode%20BNB%20Ethereum%20Hack">Goblin Mode BNB Ethereum Hack</a><ul><li>$600 million BNB hack</li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Goblin Mode BNB Ethereum Hack</title><link href="https://gavart.ist/#Goblin%20Mode%20BNB%20Ethereum%20Hack"></link><link href="https://gavart.ist/static/Goblin%2520Mode%2520BNB%2520Ethereum%2520Hack.html" rel="alternative" type="text/html"></link><id>5c11e6f5-5d59-339f-d79e-67482d5ab428</id><updated>2026-04-03T13:49:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ZME Science</title><link href="https://gavart.ist/#ZME%20Science"></link><link href="https://gavart.ist/static/ZME%2520Science.html" rel="alternative" type="text/html"></link><id>f80c8726-6dbe-ed79-5fc6-984362f6c62d</id><updated>2026-04-03T13:48:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Scientists Use Particle Accelerators to Create the First 3D Map of the Clitoral Nerves</title><link href="https://gavart.ist/#Scientists%20Use%20Particle%20Accelerators%20to%20Create%20the%20First%203D%20Map%20of%20the%20Clitoral%20Nerves"></link><link href="https://gavart.ist/static/Scientists%2520Use%2520Particle%2520Accelerators%2520to%2520Create%2520the%2520First%25203D%2520Map%2520of%2520the%2520Clitoral%2520Nerves.html" rel="alternative" type="text/html"></link><id>416acd1b-b83f-d1c4-a4ef-47999fea7b6c</id><updated>2026-04-03T13:43:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink-external" href="https://www.zmescience.com/medicine/scientists-use-particle-accelerators-to-create-the-first-3d-map-of-the-clitoral-nerves/" rel="noopener noreferrer" target="_blank">ZME Science Article</a></p><blockquote class="tc-quote"><h2 class="">Scientists just advanced tech to finish a job the medical world ignored for thirty years: they finally mapped the clitoris. By using high-powered X-rays to peer inside donated tissue, researchers created the first-ever 3D map of the organ’s intricate nerve network, revealing a dense “tree” of sensation that is much larger and more complex than old-school textbooks ever admitted.</h2></blockquote><p><img src="./files/img/misc/clitoral-nerve-structure.jpg"></img><br></br><sup>3D model of the new nerve map. Yellow = nerves, green and purple = erectile tissue, red and blue = arteries and veins. Credit: cirp GmbH</sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Reference</title><link href="https://gavart.ist/#Reference"></link><link href="https://gavart.ist/static/Reference.html" rel="alternative" type="text/html"></link><id>63d50497-91d9-d79d-86e9-a108b0a999ca</id><updated>2026-04-03T13:00:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><button class="" title="New Note"><svg class="tc-image-new-button tc-image-button" height="22pt" viewBox="0 0 128 128" width="22pt"><path d="M56 72H8.007C3.591 72 0 68.418 0 64c0-4.41 3.585-8 8.007-8H56V8.007C56 3.591 59.582 0 64 0c4.41 0 8 3.585 8 8.007V56h47.993c4.416 0 8.007 3.582 8.007 8 0 4.41-3.585 8-8.007 8H72v47.993c0 4.416-3.582 8.007-8 8.007-4.41 0-8-3.585-8-8.007V72z" fill-rule="evenodd"></path></svg> New Reference</button></p><p><div style="columns:2;column-gap:2em;">
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</ul></div></p></div></content><author><name>undefined</name></author></entry><entry><title>The Era Of The Business Idiot</title><link href="https://gavart.ist/#The%20Era%20Of%20The%20Business%20Idiot"></link><link href="https://gavart.ist/static/The%2520Era%2520Of%2520The%2520Business%2520Idiot.html" rel="alternative" type="text/html"></link><id>08518871-6f47-4abf-8573-1dd8afd1de37</id><updated>2026-03-31T22:13:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lefebvre's The Production of Space</title><link href="https://gavart.ist/#Lefebvre's%20The%20Production%20of%20Space"></link><link href="https://gavart.ist/static/Lefebvre's%2520The%2520Production%2520of%2520Space.html" rel="alternative" type="text/html"></link><id>104c60fd-29ad-2b8e-61c1-2d387515ebaf</id><updated>2026-03-31T20:38:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Henri%20Lefebvre">Henri Lefebvre</a>, in <em>The Production of Space</em> (1991), argued that space is not a neutral container in which social life occurs but a product actively manufactured by the social relations and modes of production that inhabit it. "(Social) space is a (social) product," he wrote, and every mode of production produces its own.8 Feudalism produced feudal space: the manor, the commons, the cathedral. Industrial capitalism produced abstract space: homogeneous, exchangeable, organized for extraction. The production of space structures the practices of the people within it, and the practices in turn reproduce the space.</p></div></content><author><name>undefined</name></author></entry><entry><title>The inner life we’re trading away</title><link href="https://gavart.ist/#The%20inner%20life%20we%E2%80%99re%20trading%20away"></link><link href="https://gavart.ist/static/The%2520inner%2520life%2520we%25E2%2580%2599re%2520trading%2520away.html" rel="alternative" type="text/html"></link><id>6c45fd7a-e5a4-4946-9f2e-63f107821b12</id><updated>2026-03-31T20:14:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Water! That word startled my soul, and it awoke, full of the spirit of the morning …</title><link href="https://gavart.ist/#Water!%20That%20word%20startled%20my%20soul%2C%20and%20it%20awoke%2C%20full%20of%20the%20spirit%20of%20the%20morning%20%E2%80%A6"></link><link href="https://gavart.ist/static/Water!%2520That%2520word%2520startled%2520my%2520soul%252C%2520and%2520it%2520awoke%252C%2520full%2520of%2520the%2520spirit%2520of%2520the%2520morning%2520%25E2%2580%25A6.html" rel="alternative" type="text/html"></link><id>704903c7-49fe-d088-c42d-800b314aeedf</id><updated>2026-03-31T15:31:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> … Until that day my mind had been like a darkened chamber, waiting for words to enter and light the lamp, which is thought. I learned a great many words that day.<br></br><br></br>Describing in <em>The Story of My Life</em> when her teacher Anne Sullivan taught her the word water using the manual alphabet using one of her hands while the other hand was dipped in water.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Composition</title><link href="https://gavart.ist/#Composition"></link><link href="https://gavart.ist/static/Composition.html" rel="alternative" type="text/html"></link><id>53eff24a-355b-7ae5-5f0a-a2bef39bb24c</id><updated>2026-03-30T16:58:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Impromptus</title><link href="https://gavart.ist/#Impromptus"></link><link href="https://gavart.ist/static/Impromptus.html" rel="alternative" type="text/html"></link><id>95b40d86-067a-4696-4bab-481763d5f620</id><updated>2026-03-30T16:55:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Trio No. 1 • Piano / Violin / Cello</title><link href="https://gavart.ist/#Trio%20No.%201%20%E2%80%A2%20Piano%20%2F%20Violin%20%2F%20Cello"></link><link href="https://gavart.ist/static/Trio%2520No.%25201%2520%25E2%2580%25A2%2520Piano%2520%252F%2520Violin%2520%252F%2520Cello.html" rel="alternative" type="text/html"></link><id>3253926b-7b3e-384d-9e9a-8070b84d1ef8</id><updated>2026-03-29T10:54:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ANTI ANTI-CIRCUMVENTION</title><link href="https://gavart.ist/#ANTI%20ANTI-CIRCUMVENTION"></link><link href="https://gavart.ist/static/ANTI%2520ANTI-CIRCUMVENTION.html" rel="alternative" type="text/html"></link><id>b9ed35aa-83c3-7722-03f5-8281a1886d63</id><updated>2026-03-29T10:37:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Information%20Doesn%27t%20Want%20To%20Be%20Free%3A%20Laws%20For%20The%20Internet%20Age">Information doesn't want to be free.</a></h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2020 January</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio</a></h2><h2 class="">Artwork<br></br><em>detail from The Overturned Bouquet</em><br></br>Abraham Mignon<br></br>1679</h2></div></content><author><name>undefined</name></author></entry><entry><title>Puzzle Weasel • with Frank Moka</title><link href="https://gavart.ist/#Puzzle%20Weasel%20%E2%80%A2%20with%20Frank%20Moka"></link><link href="https://gavart.ist/static/Puzzle%2520Weasel%2520%25E2%2580%25A2%2520with%2520Frank%2520Moka.html" rel="alternative" type="text/html"></link><id>c61bec7f-90c3-c6f7-48f0-1e83d74a441a</id><updated>2026-03-29T10:28:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded in one take, Puzzle Weasel is an experiment in remote collaboration with Dallas-based Nigerian-American percussionist and producer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Frank%20Moka">Frank Moka</a> (Dos Negros, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah Badu</a>).</h2><h2 class="">Puzzle Weasel (2020)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>, piano<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Frank%20Moka">Frank Moka</a>, percussion</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LADY%20BAMBS">LADY BAMBS</a></h2><h2 class="">Originally aired on 8 April 2021<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Brainfeeder">Brainfeeder</a> THE HIT Livestream</h2><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/9d8dLC000S8" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Quadratic Lattice • with Max Jaffe</title><link href="https://gavart.ist/#Quadratic%20Lattice%20%E2%80%A2%20with%20Max%20Jaffe"></link><link href="https://gavart.ist/static/Quadratic%2520Lattice%2520%25E2%2580%25A2%2520with%2520Max%2520Jaffe.html" rel="alternative" type="text/html"></link><id>1fad603d-6f63-0fa3-00c6-4b1e2c97eacd</id><updated>2026-03-29T10:27:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Recorded in one take, Quadratic Lattice is an experiment in remote collaboration with Brooklyn/Los Angeles-based percussionist and composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a> (<a class="tc-tiddlylink-external" href="https://jobsband.bandcamp.com/" rel="noopener noreferrer" target="_blank">JOBS</a>, <a class="tc-tiddlylink-external" href="https://pitchfork.com/reviews/albums/22706-holy-science/" rel="noopener noreferrer" target="_blank">Amirtha Kidambi</a>). </h2><h2 class="">Quadratic Lattice (2020)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>, piano<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a>, percussion</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LADY%20BAMBS">LADY BAMBS</a></h2><h2 class="">Originally aired on 8 April 2021<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Brainfeeder">Brainfeeder</a> THE HIT Livestream</h2><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/Dp3DZd23eRA" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Bach ⎮ Partita II</title><link href="https://gavart.ist/#Bach%20%E2%8E%AE%20Partita%20II"></link><link href="https://gavart.ist/static/Bach%2520%25E2%258E%25AE%2520Partita%2520II.html" rel="alternative" type="text/html"></link><id>033781f5-e322-60d3-08e0-f52375135336</id><updated>2026-03-29T10:26:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Partita%202%20in%20C%20minor%20BWV%20826">Partita 2 in C minor BWV 826</a><br></br>1727</h2><h2 class="">Performed by Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2021 November 28</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="http://digital.onb.ac.at/RepViewer/viewer.faces?doc=DTL_8173550&amp;order=1&amp;view=SINGLE" rel="noopener noreferrer" target="_blank">Österreichische Nationalbibliothek</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Anemoiac Elegy</title><link href="https://gavart.ist/#Anemoiac%20Elegy"></link><link href="https://gavart.ist/static/Anemoiac%2520Elegy.html" rel="alternative" type="text/html"></link><id>3d8497a3-bc9d-f513-0b40-5a4adfd8063c</id><updated>2026-03-29T10:22:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A dirge in the classical style, originally composed for a film that was later abandoned.</h2><h2 class="">Anemoiac Elegy (2022)<br></br>for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Flute">flute soloist</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#String%20Orchestra">string orchestra</a></h2><h2 class="">Flute Recorded and Performed by <a class="tc-tiddlylink-external" href="https://ginaluciani.com" rel="noopener noreferrer" target="_blank">Gina Luciani</a><br></br>Los Angeles, California, United States</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://www.rawpixel.com/image/9758875/photo-image-hand-art-vintage" rel="noopener noreferrer" target="_blank">Despair</a><br></br>Mikuláš Galanda<br></br>1938</h2></div></content><author><name>undefined</name></author></entry><entry><title>Polia &amp; Blastema • Suite</title><link href="https://gavart.ist/#Polia%20%26%20Blastema%20%E2%80%A2%20Suite"></link><link href="https://gavart.ist/static/Polia%2520%2526%2520Blastema%2520%25E2%2580%25A2%2520Suite.html" rel="alternative" type="text/html"></link><id>479d86d9-627f-0c62-17d8-9c708fe54124</id><updated>2026-03-29T10:18:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> </p><h2 class=""><em>"Bold. There is no one left exploring new imagery and new sound so radically."<br></br><strong>Werner Herzog</strong></em></h2><h2 class=""><em>"Mindblowingly beautiful. Pure seeing and wonder … otherworldiness magic."<br></br><strong>Willem Dafoe</strong></em></h2><h2 class=""><em>" … Like the long shriek of nature."<br></br><strong>Tom Gunning</strong></em></h2><h2 class=""><em>" … my brain went in a thousand directions, blasted by its cosmic radiations."<br></br><strong>François Girard</strong></em></h2><h2 class=""><em>"Few films instill such a sense of magic and terror …"<br></br><strong>Daniel Bird</strong></em></h2><p> </p><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a>, the new cinematic <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera">opera</a> from filmmaker <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a> (Begotten, Shadow of the Vampire) and visual artist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">David Wexler</a> (LOOOP) starring Nina McNeely, Jasmine Albuquerque and featuring vocalists <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micaela%20Tobin">Micaela Tobin</a> (White Boy Scream) and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sharon%20Chohi%20Kim">Sharon Chohi Kim</a> (The Industry), is a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gnosticism">gnostic</a> creation myth told through a hallucinating tapestry which journeys into immensely desolate landscapes … what <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Eugene%20Thacker">Eugene Thacker</a> calls the "world-without-us" … while the supracosmic entities Polia and Blastema fold back onto themselves in ever-spiraling, fractally superimposing cataclysms of wormhole network (be)longing.</h2><h2 class="">Originally minted on <a class="tc-tiddlylink-external" href="https://catalog.works" rel="noopener noreferrer" target="_blank">Catalog</a>, this special edition Suite from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a> is a presentation of various sections of the chamber opera score that is unique from the film soundtrack, released in anticipation of the World Premiere at <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera%20Philadelphia%20Festival%20O22">Opera Philadelphia Festival O22</a> on September 30th 2022.</h2><p><u>Auction Winner receives</u></p><ul><li>a PDF of the full score &amp; libretto</li><li>a special thank you credit in a to-be-announced published physical recording</li><li>equal distribution of their winning bid dispersed among the creative team &amp; musicians who made this recording possible</li></ul><p><div class="row">
<div class="column"><h2 class="">Presented by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Century%20Guild%20Creative">Century Guild Creative</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a></h2><h2 class="">Polia &amp; Blastema<br></br>a cosmic opera</h2><h2 class="">Featuring<br></br><a class="tc-tiddlylink-external" href="https://www.ninamcneely.net/" rel="noopener noreferrer" target="_blank">Nina McNeely</a><br></br><a class="tc-tiddlylink-external" href="https://jasminealbuquerque.com/" rel="noopener noreferrer" target="_blank">Jasmine Albuquerque</a></h2><h2 class="">Libretto &amp; Direction<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a></h2><h2 class="">Creative Direction &amp; Visual Effects Supervisor<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">David Wexler</a></h2></div>
<div class="column"><h2 class="">Composer &amp; Sound Design<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></h2><h2 class="">Singing &amp; Vocal Improvisations<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micaela%20Tobin">Micaela Tobin</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sharon%20Chohi%20Kim">Sharon Chohi Kim</a></h2><h2 class="">Musicians<br></br>Gerardo Hilera<br></br>Ina Veli<br></br>Erik Rynearson<br></br>John Krovoza<br></br>Thomas Harte</h2><h2 class="">Studio Session Supervisor<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2><h2 class="">Vocal Recording Engineer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Harlan%20Steinberger">Harlan Steinberger</a></h2></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Announcing ⎯ Polia &amp; Blastema ⎯ a cosmic opera</title><link href="https://gavart.ist/#Announcing%20%E2%8E%AF%20Polia%20%26%20Blastema%20%E2%8E%AF%20a%20cosmic%20opera"></link><link href="https://gavart.ist/static/Announcing%2520%25E2%258E%25AF%2520Polia%2520%2526%2520Blastema%2520%25E2%258E%25AF%2520a%2520cosmic%2520opera.html" rel="alternative" type="text/html"></link><id>53822416-34a9-6c40-ac12-a603735ff3eb</id><updated>2026-03-29T09:59:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> </p><h2 class=""><em>"Bold. There is no one left exploring new imagery and new sound so radically."<br></br><strong>Werner Herzog</strong></em></h2><h2 class=""><em>"Mindblowingly beautiful. Pure seeing and wonder … otherworldiness magic."<br></br><strong>Willem Dafoe</strong></em></h2><h2 class=""><em>" … Like the long shriek of nature."<br></br><strong>Tom Gunning</strong></em></h2><h2 class=""><em>" … my brain went in a thousand directions, blasted by its cosmic radiations."<br></br><strong>François Girard</strong></em></h2><h2 class=""><em>"Few films instill such a sense of magic and terror …"<br></br><strong>Daniel Bird</strong></em></h2><p> </p><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige's</a> first foray into opera, is a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gnosticism">gnostic</a> creation myth told through a visual tapestry which journeys into immensely desolate hellscapes of the inorganic as organic folding back onto itself in ever spiraling, fractally superimposing cataclysms of wormhole network (be)longing.</h3><h3 class="">Aesthetically tempered by aspects of decay, rot, earth, and the meta-myth structure of human cognition, the multi-leveled world of Polia &amp; Blastema is informed by the visual imagination of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">David Wexler</a>, a celebrated visual artist who has been the mastermind behind the live performances of Flying Lotus, The Weeknd, and The Glitch Mob, among many other artists. It is also informed by Viennese Actionism as much as it is by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#In%20The%20Dust%20of%20This%20Planet%3A%20Horror%20of%20Philosophy%2C%20Vol.%201">Eugene Thacker’s notions of “the world without us”</a>, of supernatural horror and dissolution, expressed in the separation and (re)union of two entities who in the end feast on one another in ritualistic ecstasy</h3><h3 class="">Starring Nina McNeely and Jasmine Albuquerque and featuring vocalists <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micaela%20Tobin">Micaela Tobin</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sharon%20Chohi%20Kim">Sharon Chohi Kim</a>, Polia &amp; Blastema is a unique cinematic journey into the cosmic.  </h3><h3 class="">This record is a collection of B-sides, Stems, and Previews, serving as a preview of the film's sound world.</h3><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/GUL9Mma4nbY" title="YouTube video player" width="560"></iframe>
</div></p><p><div class="row">
<div class="column"><h3 class="">Presented by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Century%20Guild%20Creative">Century Guild Creative</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a></h3><h3 class=""><em>Polia &amp; Blastema<br></br>a cosmic opera</em></h3><h3 class="">Featuring<br></br><a class="tc-tiddlylink-external" href="https://www.ninamcneely.net/" rel="noopener noreferrer" target="_blank">Nina McNeely</a><br></br><a class="tc-tiddlylink-external" href="https://jasminealbuquerque.com/" rel="noopener noreferrer" target="_blank">Jasmine Albuquerque</a></h3><h3 class="">Libretto &amp; Direction<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a></h3><h3 class="">Creative Direction &amp; Visual Effects Supervisor<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">David Wexler</a></h3><h3 class="">Composer &amp; Sound Design<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></h3><h3 class="">Cinematography<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jake%20Bloch">Jake Bloch</a></h3></div>
<div class="column"><h3 class="">Vocalists<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micaela%20Tobin">Micaela Tobin</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sharon%20Chohi%20Kim">Sharon Chohi Kim</a></h3><h3 class="">Executive Producer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Thomas%20Negovan">Thomas Negovan</a></h3><h3 class="">Associate Producers<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ian%20Simon">Ian Simon</a></h3><h3 class="">Production Coordinator<br></br>Nick Maresh</h3><h3 class="">Animation &amp; Compositing<br></br><a class="tc-tiddlylink-external" href="http://www.alecmaassen.com/" rel="noopener noreferrer" target="_blank">Alec Maassen</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Aron%20Johnson">Aron Johnson</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nic%20Juister">Nic Juister</a></h3></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>+【 1 ( O ) p ⎟ us 】</title><link href="https://gavart.ist/#%2B%E3%80%90%201%20(%20O%20)%20p%20%E2%8E%9F%20us%20%E3%80%91"></link><link href="https://gavart.ist/static/%252B%25E3%2580%2590%25201%2520(%2520O%2520)%2520p%2520%25E2%258E%259F%2520us%2520%25E3%2580%2591.html" rel="alternative" type="text/html"></link><id>4ec44b3c-a519-6277-60cc-ef399d08b2d2</id><updated>2026-03-29T09:51:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>+ [ 1 ( O ) p | us ]</em>   is a new work, an algorithmic re-imagining of my first musical composition, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sextet%20for%20Six%20Stringed%20Instruments">Sextet for Six Stringed Instruments</a>. It is made as an offering and on the occasion of the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sextet%20Opus%201%20%28Ten%20Years%20Later%29%20%E2%80%A2%20Recording%20Session%20BTS">10 year anniversary</a> of the original piece, which it samples. </h2><p><div class="row">
	<div class="column"><h2 class=""><u><strong>Original Performers</strong></u></h2><h2 class=""><u>Violins</u><br></br>Alyssa Park<br></br>Joel Pargman</h2><h2 class=""><u>Violas</u><br></br>Rob Brophy<br></br>Jerome Gordon</h2><h2 class=""><u>Cellos</u><br></br>Tim Loo<br></br>Paula Hochhalter<br></br></h2><h2 class="">Original Recording Engineer/Producer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2></div>
	<div class="column"><h2 class="">Recorded at<br></br>901 East 3rd Street<br></br>Los Angeles, California, United States<br></br>19 July 2011</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LADY%20BAMBS">LADY BAMBS</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 3.3.10</a></h2><h2 class="">© <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tonestrukt%20Editions">Tonestrukt Editions</a></h2></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Chopin ⎮ Eight Pieces</title><link href="https://gavart.ist/#Chopin%20%E2%8E%AE%20Eight%20Pieces"></link><link href="https://gavart.ist/static/Chopin%2520%25E2%258E%25AE%2520Eight%2520Pieces.html" rel="alternative" type="text/html"></link><id>399e0c35-3b34-154c-982a-c17c9093e5ab</id><updated>2026-03-29T09:42:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">selections from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fr%C3%A9d%C3%A9ric%20Chopin">Frédéric Chopin</a> (1810-1849)</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Pr%C3%A9ludes%2C%20Opus%2028">Préludes, Opus 28</a> (1839)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C3%89tudes%2C%20Opus%2010">Études, Opus 10</a> (1833)</h2><h2 class="">Performed by Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2021 June-July</h2></div></content><author><name>undefined</name></author></entry><entry><title>+ Convexity Effect</title><link href="https://gavart.ist/#%2B%20Convexity%20Effect"></link><link href="https://gavart.ist/static/%252B%2520Convexity%2520Effect.html" rel="alternative" type="text/html"></link><id>aff20997-d287-1c22-ea6f-e6a9e5cf503c</id><updated>2026-03-29T09:36:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Featuring <a class="tc-tiddlylink-external" href="https://holly.plus" rel="noopener noreferrer" target="_blank">Holly+</a>, the voice model trained on Holly Herndon's voice. Tracing nonlinearities of vocal sonic entities. Contributing to a metaversical interdependent packet swarm. Actualized with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TidalCycles">TidalCycles</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 4</a>.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2021 September 6</h2><p><u>Thank you</u><br></br><a class="tc-tiddlylink-external" href="https://www.hollyherndon.com/" rel="noopener noreferrer" target="_blank">Holly Herndon</a>, <a class="tc-tiddlylink-external" href="https://holly.plus" rel="noopener noreferrer" target="_blank">Holly+</a> &amp; <a class="tc-tiddlylink-external" href="https://heardsounds.com/" rel="noopener noreferrer" target="_blank">Never Before Heard Sounds</a> </p><h1 class="">Featured in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Holly%2B%20Season%20One">SEASON 1</a> … the first auction by the Holly+ <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#DAOs">DAO</a></h1><p><a class="noExternalLinkIcon" href="https://auction.holly.plus/token/56" target="_blank"><img src="./files/img/holly+-website.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Ligeti ⎮ Rachmaninoff</title><link href="https://gavart.ist/#Ligeti%20%E2%8E%AE%20Rachmaninoff"></link><link href="https://gavart.ist/static/Ligeti%2520%25E2%258E%25AE%2520Rachmaninoff.html" rel="alternative" type="text/html"></link><id>f7594ea8-1a72-6a12-fb09-3af356b89076</id><updated>2026-03-29T09:34:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sergei%20Rachmaninoff">Sergei Rachmaninoff</a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Etudes-Tableaux%20in%20C%20minor%20Opus%2039%20no.%201">Etude-tableaux Opus 39/1</a><br></br>Studio recording — Kerr Hall<br></br>University of California Santa Barbara<br></br>2006</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gy%C3%B6rgy%20Ligeti">György Ligeti</a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Musica%20Ricercata">Musica Ricercata</a> VI, VII<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Concierto%20de%20piano%20%3A%20Cultura%20Mazatl%C3%A1n%202015">Live recording — Teatro Ángela Peralta</a><br></br>Mazatlán, Sinaloa, Mexico<br></br>2015</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gy%C3%B6rgy%20Ligeti">György Ligeti</a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Musica%20Ricercata">Musica Ricercata</a> VIII<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Abraham%20%E2%8E%AE%20Ligeti%20%E2%8E%AE%20Chopin%20%E2%8E%AE%20Beethoven%20%E2%8E%AE%20Bach">Live recording — Teatro Peón Contreras</a><br></br>Mérida, Yucatán, Mexico<br></br>2016</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sergei%20Rachmaninoff">Sergei Rachmaninoff</a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prelude%20in%20F%20sharp%20minor%20Opus%2023%20no.%201">Prelude Opus 23, no. 1</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prelude%20in%20D%20major%20Opus%2023%20no.%204">Prelude Opus 23 no. 4</a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Etudes-Tableaux%20in%20D%20minor%20Opus%2033%20no.%204">Etude-tableaux Opus 33</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gy%C3%B6rgy%20Ligeti">György Ligeti</a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Musica%20Ricercata">Musica Ricercata</a> II, IV<br></br>Studio Recording — Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2021</h2><h2 class="">Artwork<br></br>detail of <em>Two issues of crises</em><br></br>Reijer Stolk<br></br>1906</h2></div></content><author><name>undefined</name></author></entry><entry><title>Erykah's Cosmic Vessel • with Cameron McCloud</title><link href="https://gavart.ist/#Erykah's%20Cosmic%20Vessel%20%E2%80%A2%20with%20Cameron%20McCloud"></link><link href="https://gavart.ist/static/Erykah's%2520Cosmic%2520Vessel%2520%25E2%2580%25A2%2520with%2520Cameron%2520McCloud.html" rel="alternative" type="text/html"></link><id>7ae4ed7d-3352-6be2-e6b9-e8a3bbbc31d6</id><updated>2026-03-29T09:09:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">This collaboration is an offering and a tribute to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah Badu</a>, the Queen of ♣︎ … neo.soul sonic Healer … Baduola Oblangata … with Dallas-based artist and vocalist Cameron McCloud of Cure For Paranoia.</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Urgency%20Apparatus">Erykah's Cosmic Vessel (2018)</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cameron%20McCloud">Cameron McCloud</a>, vocalist<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>, producer</h2><h2 class="">Vocals Recorded and Performed by Cameron McCloud<br></br>Dallas, Texas, United States</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LADY%20BAMBS">LADY BAMBS</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Henry Molaison</title><link href="https://gavart.ist/#Henry%20Molaison"></link><link href="https://gavart.ist/static/Henry%2520Molaison.html" rel="alternative" type="text/html"></link><id>75359bce-d08c-c76f-6e6b-e6f4a580f4fd</id><updated>2026-03-29T09:05:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>via <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Phoebe%20Isobel">Phoebe Isobel</a></p></div></content><author><name>undefined</name></author></entry><entry><title>E.E. Cummings</title><link href="https://gavart.ist/#E.E.%20Cummings"></link><link href="https://gavart.ist/static/E.E.%2520Cummings.html" rel="alternative" type="text/html"></link><id>f9c9003b-d887-5220-851c-f1a1cc7dc6fa</id><updated>2026-03-28T12:08:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>i like my body when it is with your</title><link href="https://gavart.ist/#i%20like%20my%20body%20when%20it%20is%20with%20your"></link><link href="https://gavart.ist/static/i%2520like%2520my%2520body%2520when%2520it%2520is%2520with%2520your.html" rel="alternative" type="text/html"></link><id>9624474f-783b-aa54-cfe2-733ee1780e44</id><updated>2026-03-28T12:08:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>i like my body when it is with your<br></br>body.    It is so quite new a thing.<br></br>Muscles better and nerves more.<br></br>i like your body.   i like what it does,<br></br>i like its hows.   i like to feel the spine<br></br>of your body and its bones,and the trembling<br></br>-firm-smooth ness and which i will<br></br>again and again and again<br></br>kiss,   i like kissing this and that of you,<br></br>i like,slowly stroking the,shocking fuzz<br></br>of your electric fur,and what-is-it comes<br></br>over parting flesh....And eyes big love-crumbs,<br></br><br></br>and possibly i like the thrill<br></br><br></br>of under me you so quite new<br></br><br></br><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Fair Are The Blossoming Meads Of Delight • with Genus Inkasso</title><link href="https://gavart.ist/#Fair%20Are%20The%20Blossoming%20Meads%20Of%20Delight%20%E2%80%A2%20with%20Genus%20Inkasso"></link><link href="https://gavart.ist/static/Fair%2520Are%2520The%2520Blossoming%2520Meads%2520Of%2520Delight%2520%25E2%2580%25A2%2520with%2520Genus%2520Inkasso.html" rel="alternative" type="text/html"></link><id>bcec84c9-bac5-9adb-f113-d8e50fdeaa55</id><updated>2026-03-27T11:19:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A split track release in the spirit of the 7" inch vinyl collaborative format, 'Fair Are The Blossoming Meads Of Delight' begins with a new offering from experimental producer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Genus%20Inkasso">Genus Inkasso</a> (Berlin) calibrating his open-source toolkit which pounds out a distinctive polystylistic sound-form of the underground, which is then followed by effervescent dreamcasts and soundscapes of cosmic drift and asymmetric klang by composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> (Los Angeles), realized on a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Modular%20Synthesizer">modular synth</a> … the two musicians co-creating jointly on a piece of music for the first time.</h2><h2 class="">Active since 2009, Genus Inkasso has evolved a style into something that defies genre labels and is not easily namable. In tracks profuse with scapes and collages, you can find hints from a good dozen subcultures, the sum of which exists beyond those very subcultures. This is the defining element of the German-born Berlin-based producer's works: the push and pull of styles, leading to their own unmistakable and raw sound.</h2><h2 class="">Fair Are The Blossoming Meads Of Delight (2022)<br></br>Genus Inkasso • Side A<br></br>Gavin Gamboa • Side B</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://www.rawpixel.com/image/283679/free-illustration-image-space-zodiac-etienne-leopold-trouvelot" rel="noopener noreferrer" target="_blank">The Zodical Light by E. L. Trouvelot</a><br></br>&amp; ASCII Text Art by <a class="tc-tiddlylink-external" href="https://philospher.life" rel="noopener noreferrer" target="_blank">h0p3</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Answer Plateau</title><link href="https://gavart.ist/#Answer%20Plateau"></link><link href="https://gavart.ist/static/Answer%2520Plateau.html" rel="alternative" type="text/html"></link><id>ccedfdc8-6fee-2cd8-ada8-ed2adf1c37d2</id><updated>2026-03-27T11:15:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">An encore for solo <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Piano">piano</a> recorded live at Chapel Performance Space as part of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NonSeq%20%3A%20Live%20in%20Seattle">Nonsequitur &amp; Wayward Music Series</a>.</h2><h2 class="">The Good Shepherd Center<br></br>Seattle, Washington, United States<br></br>2022 August 18</h2><h2 class="">Artwork<br></br>DALL-E 2 alteration of a photograph of the sculpture<br></br>“Echo”<br></br>Jaume Plensa<br></br>2011</h2><h2 class="">Special Thanks<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Omar%20Willey">Omar Willey</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Mama's Hands</title><link href="https://gavart.ist/#Mama's%20Hands"></link><link href="https://gavart.ist/static/Mama's%2520Hands.html" rel="alternative" type="text/html"></link><id>1e20bbda-248c-491b-1463-f3d98d67d05e</id><updated>2026-03-27T10:57:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Performed on a PETROF P 159 Bora<br></br>The Garden Cotswold<br></br>Detroit, Michigan, United States<br></br>2022 June 10</h2><h2 class="">Photograph by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Kasper%20Washington">Kasper Washington</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>λ = 587.49 nm</title><link href="https://gavart.ist/#%CE%BB%20%3D%20587.49%20nm"></link><link href="https://gavart.ist/static/%25CE%25BB%2520%253D%2520587.49%2520nm.html" rel="alternative" type="text/html"></link><id>fb534efd-88c5-099a-d036-5d9c6bf5a1a2</id><updated>2026-03-27T10:56:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Performed by Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2020 August</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://www.artic.edu/artworks/109055/cupid-and-the-three-graces" rel="noopener noreferrer" target="_blank">Cupid and The Three Graces</a><br></br>Marcantonio Raimondi<br></br>1519</h2></div></content><author><name>undefined</name></author></entry><entry><title>Wanderer Jazz</title><link href="https://gavart.ist/#Wanderer%20Jazz"></link><link href="https://gavart.ist/static/Wanderer%2520Jazz.html" rel="alternative" type="text/html"></link><id>3d44e179-6584-a603-b86e-83f42a6d51e4</id><updated>2026-03-27T10:56:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Wanderer Jazz</em> is a piece which incorporates several tunes which I find myself continually revisiting over the years. The structure is loosely mapped, and is intended to be a container for improvisational playing, a mixture between contemporary classical and jazz styles that I have explored in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Improvisation">other work</a>.</h2><h2 class="">Part of a series of concerts given by Nonsequitur and the <a class="tc-tiddlylink-external" href="https://www.waywardmusic.org/event/nonseq-gavin-gamboa/" rel="noopener noreferrer" target="_blank">Wayward Music Series</a> titled <a class="tc-tiddlylink-external" href="https://www.nseq.org/concerts/nonseq-gavin-gamboa/" rel="noopener noreferrer" target="_blank">NONSEQ</a>, this concert was curated by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Omar%20Willey">Omar Willey</a> as a part of his effort to showcase artists working within and utilizing <a class="tc-tiddlylink-external" href="https://creativecommons.org" rel="noopener noreferrer" target="_blank">Creative Commons</a> as an alternative form of rights management.</h2><h2 class=""><em>Wanderer Jazz</em> (2022)<br></br>• <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Giant%20Steps%20%C2%B7%20Wanderer%20Jazz%20Arrangement%20%28score%29">Giant Steps</a> (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#John%20Coltrane">John Coltrane</a>)<br></br>• <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Boy%20From%20Ojai%20%28score%29">The Boy From Ojai</a> (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>)<br></br>• Nardis (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Miles%20Davis">Miles Davis</a>)<br></br>•<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#My%20Favorite%20Things%20%C2%B7%20Wanderer%20Jazz%20Arrangement%20%28score%29">My Favorite Things</a> (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Richard%20Rodgers">Richard Rodgers</a>)</h2><h2 class="">Recorded Live<br></br>Chapel Performance Space<br></br>The Good Shepherd Center<br></br>Seattle, Washington, United States<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NonSeq%20%3A%20Live%20in%20Seattle">2022 August 18</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Infrapuncture III</title><link href="https://gavart.ist/#Infrapuncture%20III"></link><link href="https://gavart.ist/static/Infrapuncture%2520III.html" rel="alternative" type="text/html"></link><id>63dd5212-19c0-e4da-6a4e-96387bf416e7</id><updated>2026-03-27T10:49:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">I've been thinking about the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bots%20As%20Digital%20Infrapunctures">Infrapucture</a> concept a lot lately, as a vision statement for changing the present (and not conceptualizing an un-realized future). Live-coded algorithmic pattern-based music suits this necessity of immediacy and involvment with the present moment in a fascinating and (for me) a newly interoperable way. Using a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#bash%20scripting">script</a> that I developed I was able to auto-segment out a number of prior compositions<sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#La%20Biblioth%C3%A8que%20Fantastique">1</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Among%20Gnomes%20%26%20Trolls">2</a></sup> into individual one-shots to be used as slices in the paradigm of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TidalCycles">TidalCycles</a> patterning scheme, which runs operations on the basis of cycles, providing continuous playback/feedback mechanisms that create an evolving structure.</h2><blockquote class="tc-quote digitalGarden"><p>"Digital infrapuncture is a term that draws attention to stress points in infrastructures and stimulates thinking about how to intervene. As private, corporate infrastructures slowly encroach on the public realm, they may enable privacy breaches through user data extraction, or determine the agency of the user, or may perpetuate systemic inequalities through their very design. Paying attention to the harms they produce is paramount."<br></br>
<br></br>
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bots%20As%20Digital%20Infrapunctures">Deb Verhoeven</a><br></br>
Bots As Digital Infrapunctures
</p></blockquote><h2 class="">Recorded Live at Chapel Performance Space<br></br>Good Shepherd Center<br></br>Seattle, Washington, United States<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NonSeq%20%3A%20Live%20in%20Seattle">2022 August 18</a></h2><h2 class="">Artwork<br></br>DALL·E 2 Prompt: <em>"A visualization of infrapuncture, hyper stylized and showing how small-scale interventions have a catalytic effect on the whole."</em><br></br>2022 </h2></div></content><author><name>undefined</name></author></entry><entry><title>Der Verstiegenheit Quartett</title><link href="https://gavart.ist/#Der%20Verstiegenheit%20Quartett"></link><link href="https://gavart.ist/static/Der%2520Verstiegenheit%2520Quartett.html" rel="alternative" type="text/html"></link><id>483ba3cc-d01d-6651-8ea6-203dbd86ea00</id><updated>2026-03-27T10:48:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>Verstiegenheit (or "Extravagance," as Jacob Needleman wittily translates it, relying on the root meaning of "wandering beyond limits") is spoken of as a distinct imaginative danger; but falling upwards we can distinguish as the process, and Extravagance as the state ensuing. Thrown forth by the intoxicating glory of participating in the precursor's strength, the ephebe appears (to himself) to levitate, an experience of affatus that abandons him upon the heights, risen to an Extravagance that is a "failure of the relationship between height and breadth in the anthropological sense".</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Harold%20Bloom">Harold Bloom</a><br></br>
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Anxiety%20of%20Influence%3A%20A%20Theory%20of%20Poetry">The Anxiety of Influence</a>
</p></blockquote><h2 class="">I was struck by this passage in Bloom's analysis of poetry, and in particular the "outside help" that he discusses as the rescue from extravagance. These concepts seemed to be speaking to a similar and related process in the creation of this music, which I undertook with the aid of a machine learning model trained on the totality of <button class="tc-btn-invisible tc-tiddlylink">music for strings</button> that I have written and recorded, measuring ~3.5 hours, and using <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Neural%20Audio%20Synthesis">RAVE (Realtime Audio Variational autoEncoder)</a> developed by <a class="tc-tiddlylink-external" href="https://www.ircam.fr/" rel="noopener noreferrer" target="_blank">IRCAM</a>. It uses both Representation Learning (using spectral distance to build a perceptually relevant latent space) and Adversarial Fine-tuning (where the encoder is frozen, and uses a multiscale discriminator to increase the synthesized audio quality). RAVE represents a tradeoff between quality and synthesis speed in Neural Audio Synthesis, and for this reason I chose it to explore the potentialities embedded in a model trained on my own work.</h2><h2 class="">The training relied on a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Google%20Colab">Google Colab</a> notebook executing Python code blocks (<a class="tc-tiddlylink-external" href="https://pytorch.org/" rel="noopener noreferrer" target="_blank">PyTorch</a>) and took roughly 90 hours to complete. The end-result was a model object that parsed and identified various features of my music condensed into a black-box, an n-dimensional space of my creative output.</h2><h2 class="">The first three movements (<em>Landscape</em>, <em>Inner-self</em>, <em>Glance of another</em>) were created using Unconditional Generation, where a 'prior' model is trained on trajectories yielded by the encoder and proposes new ones in an autoregressive fashion. Essentially the object generated output continuously, without any reference input to guide it. This yielded inconsistent results at times, and at other times was capable of generating the haunting, beautiful, and ethereal results that we hear.</h2><h2 class="">The final three movements encode an input audio stream to latent representation, that the model then decodes and synthesizes using the data it was trained on to find a 'match' or isomorphic relationship within its own dynamic latent space dimensionality estimation. For these movements I used as input three contrasting works that I composed: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Odas%20A%20La%20Luz%20Encantada">a piece for solo piano</a> (<em>Estrangement</em>); an <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%2B%20Convexity%20Effect">electronic piece</a> (<em>Solipsism</em>); an <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Teufelsberg%20Tower">ambient electronic piece</a> (<em>Imagined glance of the precursor</em>).</h2><hr></hr><p><h2 style="line-height:1.2em;margin:0;"> <strong>Die Verstiegenheit Quartett</strong> </h2>
Music composed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Neural%20Audio%20Synthesis">Realtime Audio Variational autoEncoder</a> trained on 3.5 hours of recordings of music for various string ensembles by Gavin Gamboa</p><h2 class="">Recorded and Mixed using the <a class="tc-tiddlylink-external" href="https://github.com/acids-ircam/nn_tilde" rel="noopener noreferrer" target="_blank">nn~ externals</a> for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a> provided by <a class="tc-tiddlylink-external" href="https://www.ircam.fr/" rel="noopener noreferrer" target="_blank">IRCAM</a><br></br>Los Angeles, California, United States<br></br>September-November 2022</h2><h2 class="">Special Thanks<br></br><a class="tc-tiddlylink-external" href="https://twitter.com/plushka1" rel="noopener noreferrer" target="_blank">Polina Powers</a></h2><h2 class="">Artwork<br></br>Stable Diffusion prompt: <em>"the extravagance string quartet album artwork, created by machine learning algorithms for a contemporary classical music avant-garde musical work"</em></h2><h2 class="">with CLIP guidance based on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Fimages%2Fmisc%2Fschubert-die-forelle-diabelli-edition">cover for Die Forelle</a> by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> (Published by Anton Diabelli, Vienna)</h2><hr></hr><h3 class="">  <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rave%20String%20Model%20Selector">Rave String Model Selector</a></h3><p><div class="video-container">
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href="https://gavart.ist/static/Elliott%2520Cost.html" rel="alternative" type="text/html"></link><id>4814045e-5960-9350-15e2-ecd39fd75c0a</id><updated>2026-03-25T09:33:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Max Bo</title><link href="https://gavart.ist/#Max%20Bo"></link><link href="https://gavart.ist/static/Max%2520Bo.html" rel="alternative" type="text/html"></link><id>a2f56540-4cf6-d46c-809d-d3845f1eb26b</id><updated>2026-03-25T09:24:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Brutalist Report</title><link href="https://gavart.ist/#Brutalist%20Report"></link><link href="https://gavart.ist/static/Brutalist%2520Report.html" rel="alternative" type="text/html"></link><id>1ddbaaa7-39a2-7a77-2dc5-c1775999e87b</id><updated>2026-03-25T09:17:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Afternoon Lieder Concert with León de Castillo</title><link href="https://gavart.ist/#Afternoon%20Lieder%20Concert%20with%20Le%C3%B3n%20de%20Castillo"></link><link href="https://gavart.ist/static/Afternoon%2520Lieder%2520Concert%2520with%2520Le%25C3%25B3n%2520de%2520Castillo.html" rel="alternative" type="text/html"></link><id>9e3fab3c-39f2-47f0-2cd2-e45428309c5c</id><updated>2026-03-24T09:58:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src=""></img><h3 class=""><strong>Program</strong></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gustav%20Mahler">Gustav Mahler</a> (1860-1911)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Lieder%20eines%20fahrenden%20Gesellen">Lieder eines fahrenden Gesellen</a> (1886)</em></h3><ul><li><em>I. Wenn mein Schatz Hochzeit macht</em></li><li><em>II. Ging heut Morgen übers Feld</em></li><li><em>IV. Die zwei blauen Augen von meinem Schatz</em></li></ul><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Richard%20Strauss">Richard Strauss</a> (1864-1949)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nachtgang%2C%20Opus%2029%20no.%203">Nachtgang, Opus 29 no. 3</a> (1895)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hanns%20Eisler">Hanns Eisler</a> (1898-1962)<br></br><em>Horacio’s Monologue (1954)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reynaldo%20Hahn">Reynaldo Hahn</a> (1874-1947)<br></br><em>20 Songs, Book II : No. 14. A Chloris (1913)</em></h3><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/IpmuRbpYiss" width="560"></iframe>
</div></p><h2 class="">A concert of German Lieder with the visiting Austrian tenor León de Castillo, which took place at the Wildbeast Theater, CalArts. The program features more obscure works from the literature, including Hans Eisler’s <em>Horacio’s Monologue</em>, which was written during his exile in Hollywood, as well as Richard Strauss’ <em>Nachtgang</em>.</h2><h2 class="">Special Thanks to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Darcy%20Huebler">Darcy Huebler</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Luciano%20Perna">Luciano Perna</a>, and Sara Roberts.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Gavin Gleech</title><link href="https://gavart.ist/#Gavin%20Gleech"></link><link href="https://gavart.ist/static/Gavin%2520Gleech.html" rel="alternative" type="text/html"></link><id>239ddc0f-395e-ff50-12b9-cb5ef502a406</id><updated>2026-03-22T18:01:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Actual Objects</title><link href="https://gavart.ist/#Actual%20Objects"></link><link href="https://gavart.ist/static/Actual%2520Objects.html" rel="alternative" type="text/html"></link><id>209a3e6d-df62-959b-ca27-31fe54d0c6b9</id><updated>2026-03-22T12:21:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>OCA • Original Creative Agency</title><link href="https://gavart.ist/#OCA%20%E2%80%A2%20Original%20Creative%20Agency"></link><link href="https://gavart.ist/static/OCA%2520%25E2%2580%25A2%2520Original%2520Creative%2520Agency.html" rel="alternative" type="text/html"></link><id>d54c88e0-68ca-f434-8eab-a1c3ea426900</id><updated>2026-03-22T12:18:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>True Panther</title><link href="https://gavart.ist/#True%20Panther"></link><link href="https://gavart.ist/static/True%2520Panther.html" rel="alternative" type="text/html"></link><id>0f37af8d-1ec5-d072-60a5-f2d5159f01eb</id><updated>2026-03-22T12:17:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Intech Studios</title><link href="https://gavart.ist/#Intech%20Studios"></link><link href="https://gavart.ist/static/Intech%2520Studios.html" rel="alternative" type="text/html"></link><id>db9724ed-5321-2885-953e-98a007e59a03</id><updated>2026-03-21T11:45:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Negrón ⎮ Eisler</title><link href="https://gavart.ist/#Negr%C3%B3n%20%E2%8E%AE%20Eisler"></link><link href="https://gavart.ist/static/Negr%25C3%25B3n%2520%25E2%258E%25AE%2520Eisler.html" rel="alternative" type="text/html"></link><id>eee9eb70-ad15-93d1-4736-e6640ab82590</id><updated>2026-03-20T13:29:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A pairing of works by two composers who exemplify pushing back against oppressive systems; both operate at the interventions oscillating between poles of hemispheric influence; both are embedded in film-music; the embrace of colloquial and popular musical idioms; the strategic blueprint of stylistic integrity; the yearning for home. </h2><h2 class="">Having settled in Los Angeles in 1938, Eisler and his wife were deported after being blacklisted by the <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Hanns_Eisler#HUAC_investigation" rel="noopener noreferrer" target="_blank">US House Committee on Un-American Activities</a> in March 1948. His statement when leaving from LaGuardia Airport went as follows:</h2><blockquote class="tc-quote"><h2 class=""><em>"I leave this country not without bitterness and infuriation. I could well understand it when in 1933 the Hitler bandits put a price on my head and drove me out. They were the evil of the period; I was proud at being driven out. But I feel heartbroken over being driven out of this beautiful country in this ridiculous way."</em></h2></blockquote><p><div class="row">
	<div class="column"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ang%C3%A9lica%20Negr%C3%B3n">Angélica Negrón</a> (b. 1981)<br></br>La Intervención for solo piano<br></br>2008</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hanns%20Eisler">Hanns Eisler</a> (1898-1962)<br></br>selections from<br></br>Klavierstüke Opus 8<br></br>1927</h2><h2 class="">Gavin Gamboa, piano<br></br>Los Angeles, California, United States</h2></div>
	<div class="column"><h2 class="">Recordings from<br></br>2016 May (Eisler)<br></br>2021 June (Negrón)</h2><h2 class="">Artwork<br></br>detail from<br></br><a class="tc-tiddlylink-external" href="https://www.rawpixel.com/image/2909617/free-illustration-image-fish-modern-art" rel="noopener noreferrer" target="_blank">The Lost Felice</a><br></br>Marsden Hartley<br></br>1939</h2></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Angélica Negrón - La Intervención (YouTube)</title><link href="https://gavart.ist/#Ang%C3%A9lica%20Negr%C3%B3n%20-%20La%20Intervenci%C3%B3n%20(YouTube)"></link><link href="https://gavart.ist/static/Ang%25C3%25A9lica%2520Negr%25C3%25B3n%2520-%2520La%2520Intervenci%25C3%25B3n%2520(YouTube).html" rel="alternative" type="text/html"></link><id>58cbf96d-1ef6-55dc-9596-308202068c51</id><updated>2026-03-20T13:16:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/2Ml0PKIupro" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Hanns Eisler</title><link href="https://gavart.ist/#Hanns%20Eisler"></link><link href="https://gavart.ist/static/Hanns%2520Eisler.html" rel="alternative" type="text/html"></link><id>4b0e6a29-1145-1210-db18-97a003ced888</id><updated>2026-03-20T12:15:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>iwebthings hub</title><link href="https://gavart.ist/#iwebthings%20hub"></link><link href="https://gavart.ist/static/iwebthings%2520hub.html" rel="alternative" type="text/html"></link><id>b3e5dec2-9e66-57b9-bb21-8ebffa5acb12</id><updated>2026-03-20T10:14:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Nameless Machine</title><link href="https://gavart.ist/#Nameless%20Machine"></link><link href="https://gavart.ist/static/Nameless%2520Machine.html" rel="alternative" type="text/html"></link><id>59281ee1-465d-fb5b-e2e7-2b22d0be5eeb</id><updated>2026-03-20T10:07:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Anna Lena von Helldorf</title><link href="https://gavart.ist/#Anna%20Lena%20von%20Helldorf"></link><link href="https://gavart.ist/static/Anna%2520Lena%2520von%2520Helldorf.html" rel="alternative" type="text/html"></link><id>63f57d28-27f5-25ed-9650-82dac83acaf6</id><updated>2026-03-20T10:05:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Arc Gestaltung</title><link href="https://gavart.ist/#Arc%20Gestaltung"></link><link href="https://gavart.ist/static/Arc%2520Gestaltung.html" rel="alternative" type="text/html"></link><id>91eeffba-2424-edd9-4ea9-d4ff85ea6d51</id><updated>2026-03-20T10:03:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>orbital lizard</title><link href="https://gavart.ist/#orbital%20lizard"></link><link href="https://gavart.ist/static/orbital%2520lizard.html" rel="alternative" type="text/html"></link><id>e1b56c48-99a5-ad6c-16fe-d8a89c5c47e8</id><updated>2026-03-20T10:01:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>silencing machine</title><link href="https://gavart.ist/#silencing%20machine"></link><link href="https://gavart.ist/static/silencing%2520machine.html" rel="alternative" type="text/html"></link><id>efea8ac0-dda7-d09d-07cc-786b6e88280c</id><updated>2026-03-20T09:58:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>coopsdesk.net</title><link href="https://gavart.ist/#coopsdesk.net"></link><link href="https://gavart.ist/static/coopsdesk.net.html" rel="alternative" type="text/html"></link><id>12191156-7f06-2f8c-126f-27db76c0c24a</id><updated>2026-03-20T09:55:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>julietsai.net</title><link href="https://gavart.ist/#julietsai.net"></link><link href="https://gavart.ist/static/julietsai.net.html" rel="alternative" type="text/html"></link><id>5d96ac1d-dd38-600e-c5a8-1ede42f01951</id><updated>2026-03-13T10:04:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a alt="" class="noExternalLinkIcon" href="https://julietsai.net" target="_blank"><img src="./files/img/web-development/julietsai-web.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>gavingamboa.net</title><link href="https://gavart.ist/#gavingamboa.net"></link><link href="https://gavart.ist/static/gavingamboa.net.html" rel="alternative" type="text/html"></link><id>fdb5d247-b12a-49b2-381b-3936526afc9c</id><updated>2026-03-12T21:31:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" href="https://github.com/protrolium/gavin-gamboa" rel="noopener noreferrer" target="_blank">code repository</a></p><p><a alt="" class="noExternalLinkIcon" href="https://gavingamboa.net" target="_blank"><img src="./files/img/web-development/gavingamboa-net.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Nevada</title><link href="https://gavart.ist/#Nevada"></link><link href="https://gavart.ist/static/Nevada.html" rel="alternative" type="text/html"></link><id>8fcebe1c-e891-c49c-60a3-c26b317ebafb</id><updated>2026-03-11T17:18:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Las Vegas</title><link href="https://gavart.ist/#Las%20Vegas"></link><link href="https://gavart.ist/static/Las%2520Vegas.html" rel="alternative" type="text/html"></link><id>05c27bf0-0932-572d-e28b-f65a0539ba97</id><updated>2026-03-11T17:17:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>More Complex Filter Expressions</title><link href="https://gavart.ist/#More%20Complex%20Filter%20Expressions"></link><link href="https://gavart.ist/static/More%2520Complex%2520Filter%2520Expressions.html" rel="alternative" type="text/html"></link><id>ce9c0b14-e755-0da7-96a5-d0704831cc79</id><updated>2026-03-11T13:07:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>One of the most complex filter expressions in this wiki is in the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Ftemplates%2FViewTemplateDiscographyFooter">ViewDiscographyFooter</a> which uses a two column HTML div to display either   or both.</p><p>One of the things I wanted to do was place the  in the left-most column if no  existed, in order to eliminate unnecessary white space.</p><p>In order to check if there are any forward links the filter run uses <code>[match[0]</code> to determine whether <code>links[]</code> is populated or not. Then its displays the tag-pill header  if the <code>links[]</code> count is zero.</p><pre><code>&lt;$list filter="[is[current]] :filter[links[]count[]match[0]] :filter[backlinks[]first[]]"&gt;
  &lt;&lt;tag-pill Backlinks&gt;&gt; ⇽ 🗃 ☁️ 🌱
  &lt;/$list&gt;</code></pre><br></br><p>Then for the actual backlinks, the run looked like this. It will only display actual backlinks if <code>links[]</code> is zero <code>:and</code> if there are <code>backlinks[]</code> … and you can see I am excluding some from the list with <code>!</code></p><pre><code>&lt;$list filter="[is[current]] :filter[links[]count[]match[0]] :and[backlinks[]!title[About]!title[Gavin Gamboa]sort[title]]"&gt;
		&lt;li&gt;
     &lt;$link&gt;&lt;$view field="title"/&gt;&lt;/$link&gt;&lt;br&gt;
    &lt;/li&gt;
  &lt;/$list&gt;</code></pre><br></br><p>Here is the complete ViewTemplate code. The first column needs logic to display either  or  depending on the case, but the second column will only need to handle </p>

<pre><code>&lt;$list filter="[is[current]tag[Discography]]"&gt;
&lt;div class="tc-tiddler-body"&gt;

&lt;$set name="thisTiddler" value=&lt;&lt;currentTiddler&gt;&gt;&gt;

&lt;div class="discographyFooter"&gt;

---

&lt;$list filter="[is[current]links[]first[]] :else[is[current]backlinks[]first[]]"&gt;

!!! {{{ [&lt;thisTiddler&gt;] || $:/templates/discography-tag-format }}} @@.floatRight &lt;span class="hideOnMobile"&gt;,,appears in this [[wiki|Digital Garden]] ↓,,&lt;/span&gt; @@

&lt;/$list&gt;

&lt;div class="row"&gt;
  &lt;div class="column"&gt;
  &lt;$list filter="[is[current]links[]!title[About]!title[Gavin Gamboa]sort[title]first[]]"&gt;
  &lt;&lt;tag-pill 'Forward Links'&gt;&gt; ⇾ 🌱 ☁️ 🗃 
  &lt;/$list&gt;
   
  &lt;$list filter="[is[current]] :filter[links[]count[]match[0]] :filter[backlinks[]!title[About]!title[Gavin Gamboa]first[]]"&gt;
  &lt;&lt;tag-pill Backlinks&gt;&gt; ⇽ 🗃 ☁️ 🌱
  &lt;/$list&gt;

  &lt;ul&gt;
  &lt;$list filter="[is[current]links[]!title[About]!title[Gavin Gamboa]sort[title]] +[!prefix[$:/]]"&gt;
    &lt;li&gt;
     &lt;$link&gt;&lt;$view field="title"/&gt;&lt;/$link&gt;&lt;br&gt;
    &lt;/li&gt;
  &lt;/$list&gt;
&lt;/ul&gt;

&lt;ul&gt;
  &lt;$list filter="[is[current]] :filter[links[]count[]match[0]] :and[backlinks[]!title[About]!title[Gavin Gamboa]sort[title]] +[!prefix[$:/]]"&gt;
    &lt;li&gt;
     &lt;$link&gt;&lt;$view field="title"/&gt;&lt;/$link&gt;&lt;br&gt;
    &lt;/li&gt;
  &lt;/$list&gt;
&lt;/ul&gt;
&lt;/div&gt;

  
  &lt;div class="column"&gt;
  &lt;$list filter="[is[current]] :filter[links[]!title[About]!title[Gavin Gamboa]] :filter[is[current]backlinks[]!title[About]!title[Gavin Gamboa]first[]]"&gt;
  &lt;&lt;tag-pill Backlinks&gt;&gt; ⇽ 🗃 ☁️ 🌱
  &lt;/$list&gt;
  
    &lt;ul&gt;
    &lt;$list filter="[is[current]] :filter[links[]!title[About]!title[Gavin Gamboa]] :and[backlinks[]!title[About]!title[Gavin Gamboa]sort[title]] +[!prefix[$:/]]"&gt;
        &lt;li&gt;
        &lt;$link&gt;&lt;$view field="title"/&gt;&lt;/$link&gt;&lt;br&gt;
       &lt;/li&gt;
   &lt;/$list&gt;
   &lt;/ul&gt;


&lt;/div&gt;

&lt;/div&gt;


&lt;!-- &lt;div class="hideOnMobile" style="height:500px;margin-bottom:50px;"&gt;
	{{$:/sections/discography/the-brain}}
&lt;/div&gt; --&gt;

&lt;!-- mastodon comments, if tootId exists --&gt;
&lt;$list filter="[is[current]has[tootId]]"&gt;
	&lt;$transclude $variable="getMastodonComments" tootId={{!!tootId}} /&gt;
&lt;/$list&gt;

&lt;/div&gt;

&lt;/$set&gt;</code></pre>
</div></content><author><name>undefined</name></author></entry><entry><title>MAMP + Processwire For Local Development</title><link href="https://gavart.ist/#MAMP%20%2B%20Processwire%20For%20Local%20Development"></link><link href="https://gavart.ist/static/MAMP%2520%252B%2520Processwire%2520For%2520Local%2520Development.html" rel="alternative" type="text/html"></link><id>fa07b9bd-4c4f-6d45-7c38-eab287ed2604</id><updated>2026-03-10T23:24:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>I'm using MAMP here, and I don't use vhosts... I just use subdirectories. So when I want to install a new PW, I do this:</p><p>1. Make a new database using MAMP's PhpMyAdmin.</p><p>2. Open a terminal window and go to htdocs dir:</p><p><code>cd /Applications/MAMP/htdocs</code></p><p>3. git clone the latest PW into there:</p><p><code>git clone https://github.com/processwire/processwire.git new-site</code></p><p>4. Load <a class="tc-tiddlylink-external" href="http://localhost:8888/new-site/" rel="noopener noreferrer" target="_blank">http://localhost:8888/new-site/</a> in your browser to complete the installation.</p><p>5. ensure <code>config-local.php</code> matches user salts from <code>config.php</code></p><p>6. make sure <code>config.php</code> is setup to use <code>config-local.php</code> (add this to the bottom):</p><pre><code>/**
 * Installer: Debug mode?
 * 
 * When debug mode is true, errors and exceptions are visible. 
 * When false, they are not visible except to superuser and in logs. 
 * Should be true for development sites and false for live/production sites. 
 * 
 */
$localConfig = __DIR__ . "/config-local.php";
if (is_file($localConfig)) include $localConfig;

$config-&gt;moduleInstall('upload', 'debug');
$config-&gt;moduleInstall('directory', true);</code></pre><p>Credit: <a class="tc-tiddlylink-external" href="https://processwire.com/talk/topic/2173-mamp-installation-guide/?do=findComment&amp;comment=20459" rel="noopener noreferrer" target="_blank">ryan from Processwire forum</a></p><h2 class="">Virtual Host Setup</h2><p>1. create the hosts in <code>/etc/hosts</code></p><pre><code>## Virtual Hosts ##
127.0.0.1   site.local
127.0.0.1   www.site.local
127.0.0.1   site2.local</code></pre><p>2. add the virtual host definitions to <code>/Applications/MAMP/conf/apache/extra/httpd-vhosts.conf</code></p><pre><code>&lt;VirtualHost site.local:8888&gt;
    DocumentRoot "/Applications/MAMP/htdocs/site/wwwroot/"
    ServerName site.local
    ServerAlias www.site.local

    &lt;Directory "/Applications/MAMP/htdocs/site/wwwroot/"&gt;
        Options FollowSymLinks
        AllowOverride All
    &lt;/Directory&gt;
&lt;/VirtualHost&gt;</code></pre><p>3. Un-comment the this line in <code>/Applications/MAMP/conf/apache/httpd.conf</code></p><pre><code># Virtual hosts
Include /Applications/MAMP/conf/apache/extra/httpd-vhosts.conf</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Attended Events</title><link href="https://gavart.ist/#Attended%20Events"></link><link href="https://gavart.ist/static/Attended%2520Events.html" rel="alternative" type="text/html"></link><id>bf039f76-ba5f-800b-1c5a-f86e64364c49</id><updated>2026-03-08T11:07:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tchaikovsky%20%26%20Haydn%20%E2%80%A2%20LA%20Philharmonic">Tchaikovsky &amp; Haydn • LA Philharmonic</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2026 April 2</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sarah%20Davachi%20%E2%80%A2%20Robert%20Takahashi%20Novak%20%C2%B7%20The%20Broad%20New%20Commissions">Sarah Davachi • Robert Takahashi Novak · The Broad New Commissions</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2026 March 7</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Stavroz%20%E2%80%A2%20La%20Paloma">Stavroz • La Paloma</a><br></br>
				 <sup><em>Barcelona, Spain • 2026 February 20</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Grigory%20Sokolov%20%E2%80%A2%20Palau%20de%20la%20M%C3%BAsica%20Catalana">Grigory Sokolov • Palau de la Música Catalana</a><br></br>
				 <sup><em>Barcelona, Spain • 2026 February 19</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anna%20Schubert%20%26%20Milena%20Gligi%C4%87%20%C2%B7%20Mason%20Home%20Concerts">Anna Schubert &amp; Milena Gligić · Mason Home Concerts</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2026 January 24</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Lightstruck%20Presents%20%E2%80%A2%20Fred%20Worden%20%C2%B7%20A%20Cinema%20of%20Pure%20Energy">Lightstruck Presents • Fred Worden · A Cinema of Pure Energy</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2026 January 22</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Xindu%27s%2012%2C053rd%20day%20on%20earth">Xindu's 12,053rd day on earth</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2026 January 17</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Minaret%20Winter%20Jazz%20Festival%20%2725">Minaret Winter Jazz Festival '25</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 December 17</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Music%20of%20Pauline%20Oliveros%20with%20Shelley%20Burgon">The Music of Pauline Oliveros with Shelley Burgon</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 November 22</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Redcat%20NOW%20Festival%202025%20%E2%80%A2%20Week%203">Redcat NOW Festival 2025 • Week 3</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 November 21</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#FARMING%20%C2%B7%20Ted%20Hearne%20w%2F%20Taylor%20Levine%20%2B%20Bakudi%20Scream">FARMING · Ted Hearne w/ Taylor Levine + Bakudi Scream</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 November 20</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#November%20%C2%B7%20Garfield%20Bright%20III">November · Garfield Bright III</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 November 16</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jlin%20%C2%B7%20UCLA%20Center%20for%20The%20Art%20of%20Performance">Jlin · UCLA Center for The Art of Performance</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 November 15</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Monday%20Evening%20Concerts%20%E2%80%A2%20%22Written%20On%20Heaven%22%20A%20Portrait%20of%20Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou">Monday Evening Concerts • "Written On Heaven" A Portrait of Emahoy Tsegué-Maryam Guèbrou</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 November 2</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Kathryn%20Schuman%20and%20Friends%20%C2%B7%20Living%20Earth">Kathryn Schuman and Friends · Living Earth</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 October 26</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Living%20Landscape%20%C2%B7%20Zelia%20ZZ%20Tan">Living Landscape · Zelia ZZ Tan</a><br></br>
				 <sup><em>Valenica, California, United States • 2025 October 23</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#San%20Cha%20%C2%B7%20Inebria%20me">San Cha · Inebria me</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 October 18</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ivan%20Lins%20%C2%B7%2080th%20Birthday%20Concert">Ivan Lins · 80th Birthday Concert</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 October 17</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Autechre%20%C2%B7%20northamerica.%20twentytwentyfive.">Autechre · northamerica. twentytwentyfive.</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 October 10</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Kamasi%20Washington%20%C2%B7%20Blue%20Note">Kamasi Washington · Blue Note</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 October 8</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu%20%C2%B7%20The%20Return%20of%20Automatic%20Slim%20World%20Tour">Erykah Badu · The Return of Automatic Slim World Tour</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 October 3</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C3%89liane%20Radigue%20%C2%B7%20Carol%20Robinson%20%E2%80%A2%20Occam%20Hexa%208">Éliane Radigue · Carol Robinson • Occam Hexa 8</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 September 29</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Kelly%20Moran%20%C2%B7%20Olive%20Kimoto">Kelly Moran · Olive Kimoto</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 September 22</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Cort%C3%A8ge">The Cortège</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 September 20</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Minaret%20Presents%20%C2%B7%20Julien%20Knowles%20%C2%B7%20Louis%20Cole%20%C2%B7%20Chris%20Fishman">Minaret Presents · Julien Knowles · Louis Cole · Chris Fishman</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 August 6</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tod%20Machover%20%C2%B7%20Schoenberg%20in%20Hollywood">Tod Machover · Schoenberg in Hollywood</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 May 22</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#KNM%20Contemporaries%20%C2%B7%20re.construction%20part%203">KNM Contemporaries · re.construction part 3</a><br></br>
				 <sup><em>Berlin, Germany • 2025 May 12</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#AL.Berlin%20Presents%20%C2%B7%20Nadah%20El%20Shazly%20with%203Phaz">AL.Berlin Presents · Nadah El Shazly with 3Phaz</a><br></br>
				 <sup><em>Berlin, Germany • 2025 May 10</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ted%20Hearne%20%C2%B7%20over%20and%20over%20vorbei%20nicht%20vorbei">Ted Hearne · over and over vorbei nicht vorbei</a><br></br>
				 <sup><em>Weimar, Germany • 2025 May 8</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cos%C3%AC%20fan%20tutte%20%C2%B7%20Detroit%20Opera">Così fan tutte · Detroit Opera</a><br></br>
				 <sup><em>Detroit, Michigan, United States • 2025 April 5</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Kali%20Malone%20%C2%B7%20The%20Great%20Organs">Kali Malone · The Great Organs</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 March 15</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Minaret%20Presents%20%C2%B7%20Billy%20Mohler%20Quartet%20%26%20Knowles%2FFishman">Minaret Presents · Billy Mohler Quartet &amp; Knowles/Fishman</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 March 7</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jessenia%20Moreira%20%C2%B7%20All%20Satos%20Go%20To%20Heaven">Jessenia Moreira · All Satos Go To Heaven</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 March 3</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Camp%20%C2%B7%20An%20Opera%20In%20Two%20Acts">The Camp · An Opera In Two Acts</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 March 1</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Monday%20Evening%20Concerts%20%E2%80%A2%20Tyshawn%20Sorey%20%C2%B7%20%27For%20Julius%20Eastman%27">Monday Evening Concerts • Tyshawn Sorey · 'For Julius Eastman'</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 February 25</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dronebath%20%C2%B7%20Edition%20005">Dronebath · Edition 005</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2025 February 23</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Minaret%20Winter%20Jazz%20Festival%20%C2%B7%20Genevieve%20Artadi%20%2B%20YIBS">Minaret Winter Jazz Festival · Genevieve Artadi + YIBS</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 December 18</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Holland%20Andrews%20%C2%B7%20Where%20The%20Apple%20Fell">Holland Andrews · Where The Apple Fell</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 December 14</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#MOCA%20x%20Wild%20Up%20%C2%B7%20Democracy%20Sessions">MOCA x Wild Up · Democracy Sessions</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 November 10</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Redcat%20NOW%20Festival%202024%20%E2%80%A2%20Week%201">Redcat NOW Festival 2024 • Week 1</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 November 9</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Boris%20%C2%B7%20Live%21%20Amplifier%20Worship">Boris · Live! Amplifier Worship</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 November 4</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Eldorado%20Ballroom%20%C2%B7%20Contrapuntal%20Counterpoints">Eldorado Ballroom · Contrapuntal Counterpoints</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 October 12</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dev%C3%B3ne%20Tines%20%26%20The%20Truth%20%C2%B7%20Open%20Process%20%E2%80%94%20Robeso%D0%B8">Devóne Tines &amp; The Truth · Open Process — Robesoи</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 September 27</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Comet%20%2F%20Poppea%20%C2%B7%20The%20Industry">The Comet / Poppea · The Industry</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 June 15</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ipsa%20Dixit%20%C2%B7%20Long%20Beach%20Opera">Ipsa Dixit · Long Beach Opera</a><br></br>
				 <sup><em>Long Beach, California, United States • 2024 June 8</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Monday%20Evening%20Concerts%20%E2%80%A2%20Carolyn%20Chen%20%C2%B7%20How%20To%20Fall%20Apart">Monday Evening Concerts • Carolyn Chen · How To Fall Apart</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 June 5</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%27s%20Fidelio%20with%20Dudamel%20and%20Deaf%20West%20Theatre">Beethoven's Fidelio with Dudamel and Deaf West Theatre</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 May 16</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Joanna%20Newsom%20%C2%B7%20The%20String%2FKeys%20Reincidence">Joanna Newsom · The String/Keys Reincidence</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 May 15</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Breaking%20The%20Waves%20%E2%80%A2%20Detroit%20Opera">Breaking The Waves • Detroit Opera</a><br></br>
				 <sup><em>Detroit, Michigan, United States • 2024 April 6</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Museum%20Contemporary%20Art%20Chicago%20%26%20Gene%20Siskel%20Film%20Center">Museum Contemporary Art Chicago &amp; Gene Siskel Film Center</a><br></br>
				 <sup><em>Chicago, Illinois, United States • 2024 April 4</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Philip%20Glass%20%E2%80%A2%20The%20Complete%20Etudes%201-20">Philip Glass • The Complete Etudes 1-20</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 March 19</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sans%20Soleil%20with%20William%20Parker%20%26%20Lesley%20Mok">Sans Soleil with William Parker &amp; Lesley Mok</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2024 February 17</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Isola%20%C2%B7%20Long%20Beach%20Opera">Isola · Long Beach Opera</a><br></br>
				 <sup><em>Long Beach, California, United States • 2024 February 11</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Skilled%20Labor%20%C2%B7%20Black%20Realism%20in%20Detroit">Skilled Labor · Black Realism in Detroit</a><br></br>
				 <sup><em>Detroit, Michigan, United States • 2024 February 4</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chornobyldorf">Chornobyldorf</a><br></br>
				 <sup><em>New York City, New York, United States • 2024 January 15</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Terce%20%C2%B7%20A%20Practical%20Breviary">Terce · A Practical Breviary</a><br></br>
				 <sup><em>Brooklyn, New York, United States • 2024 January 13</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Al%20Sur%20De%20La%20Frontera">Al Sur De La Frontera</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2023 October 6</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sein%20Oder%20Nicht%20Sein">Sein Oder Nicht Sein</a><br></br>
				 <sup><em>Berlin, Germany • 2023 June 11</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Offscreen%20Film%20Festival%202023">Offscreen Film Festival 2023</a><br></br>
				 <sup><em>Brussels, Belgium • 2023 March 26</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Romance%20of%20The%20Rose%20%C2%B7%20Long%20Beach%20Opera">Romance of The Rose · Long Beach Opera</a><br></br>
				 <sup><em>San Pedro, California, United States • 2023 February 25</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polymnia">Polymnia</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2023 January 23</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera%20Philadelphia%20Festival%20O22">Opera Philadelphia Festival O22</a><br></br>
				 <sup><em>Philadelphia, Pennsylvania, United States • 2022 September 30</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Peter%20Greenaway%27s%20%22LANDSCAPE%22%20Lecture">Peter Greenaway's "LANDSCAPE" Lecture</a><br></br>
				 <sup><em>Santa Monica, California, United States • 2022 August 21</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sundays%20with%20Coleman%20%E2%80%A2%20Concerto%20Italiano%20%26%20Rinaldo%20Alessandrini">Sundays with Coleman • Concerto Italiano &amp; Rinaldo Alessandrini</a><br></br>
				 <sup><em>Pasadena, California, United States • 2020 January 12</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Session%20Spiva">Session Spiva</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2019 October 4</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Drumming">Drumming</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2019 September 28</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Curve%20%E2%80%A2%20Automata">Curve • Automata</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2019 April 3</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Grigory%20Sokolov%20%E2%80%A2%20Wiener%20Konzerthaus">Grigory Sokolov • Wiener Konzerthaus</a><br></br>
				 <sup><em>Vienna, Austria • 2018 December 4</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Philip%20Glass%20%E2%80%A2%20Satyagraha%20%E2%80%A2%20LA%20Opera">Philip Glass • Satyagraha • LA Opera</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2018 November 8</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Oneohtrix%20Point%20Never%20%E2%80%A2%20MYRIAD">Oneohtrix Point Never • MYRIAD</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2018 October 22</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Indomitable%20Bow">The Indomitable Bow</a><br></br>
				 <sup><em>Detroit, Michigan, United States • 2018 September 8</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Monday%20Evening%20Concerts%20%E2%80%A2%20Meredith%20Monk%20and%20Julius%20Eastman%20%E2%80%A2%20Masculine%20%2F%20Femenine">Monday Evening Concerts • Meredith Monk and Julius Eastman • Masculine / Femenine</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2018 May 21</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Music%20%26%20Art%20ReSound%20Multiverse%202018">Music &amp; Art ReSound Multiverse 2018</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2018 October 6</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sunn%20O%29%29%29%20%E2%80%A2%20Live%20at%20The%20Regent">Sunn O))) • Live at The Regent</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2016 May 6</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu%20%E2%80%A2%20Live%20Nudity%20%3A%20Meditate%20on%20Deez">Erykah Badu • Live Nudity : Meditate on Deez</a><br></br>
				 <sup><em>Dallas, Texas, United States • 2015 October 29-31</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jacaranda%20%C2%B7%20Satellite%20States">Jacaranda · Satellite States</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2015 April 25</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ojai%20Music%20Festival%202014">Ojai Music Festival 2014</a><br></br>
				 <sup><em>Ojai, California, United States • 2014 June 12</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Invisible%20Cities">Invisible Cities</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2013 October 29</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LACMA%20%E2%80%A2%20Stanley%20Kubrick">LACMA • Stanley Kubrick</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2013 June 30</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Patty%20The%20Revival">Patty The Revival</a><br></br>
				 <sup><em>Santa Monica, California, United States • 2012 May 26</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Christopher%20Taylor%20%E2%80%A2%20Music%20Acadamey%20of%20the%20West">Christopher Taylor • Music Acadamey of the West</a><br></br>
				 <sup><em>Santa Barbara, California, United States • 2010 July 21</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Salome%20%C2%B7%20Vienna%20Centennial">Salome · Vienna Centennial</a><br></br>
				 <sup><em>Vienna, Austria • 2008 May 23</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20Unbound%20%E2%80%A2%20Esa%20Pekka%20Salonen%20conducts%20LA%20Phil">Beethoven Unbound • Esa Pekka Salonen conducts LA Phil</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2006 May 11</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#John%20Eliot%20Gardiner%20%E2%80%A2%20Orchestre%20R%C3%A9volutionnaire%20et%20Romantique">John Eliot Gardiner • Orchestre Révolutionnaire et Romantique</a><br></br>
				 <sup><em>Los Angeles, California, United States • 2006 January 14</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mitsuko%20Uchida%20%C2%B7%20CAMA%20Masterseries%20at%20the%20Lobero">Mitsuko Uchida · CAMA Masterseries at the Lobero</a><br></br>
				 <sup><em>Santa Barbara, California, United States • 2004 May 21</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Krystian%20Zimerman%20%C2%B7%20CAMA%20Masterseries%20at%20the%20Lobero">Krystian Zimerman · CAMA Masterseries at the Lobero</a><br></br>
				 <sup><em>Santa Barbara, California, United States • 2003 April 24</em></sup>
      </li>
  
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href="https://gavart.ist/static/bildwissenschaft.vortok.info.html" rel="alternative" type="text/html"></link><id>4bbb7c2c-353a-0a1e-a92a-b977ff4cc0cf</id><updated>2026-03-03T16:23:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" href="https://github.com/protrolium/bildwissenschaft-vortok" rel="noopener noreferrer" target="_blank">code repository</a></p><p> <a class="tc-tiddlylink-external" href="https://processwire.com/sites/list/laskfar-vortok/" rel="noopener noreferrer" target="_blank">Site Showcase</a></p><p><a alt="" class="noExternalLinkIcon" href="https://bildwissenschaft.vortok.info" target="_blank"><img src="./files/img/web-development/vortok-archive.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>teachingmachine.tv</title><link href="https://gavart.ist/#teachingmachine.tv"></link><link href="https://gavart.ist/static/teachingmachine.tv.html" rel="alternative" 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type="text/html"></link><id>52b96002-9bb2-6c12-ff0d-f3c8ffbb017f</id><updated>2026-03-03T16:22:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" href="https://github.com/protrolium/spirit-bomb" rel="noopener noreferrer" target="_blank">code repository</a></p><p> <a class="tc-tiddlylink-external" href="https://processwire.com/sites/list/spirit-bomb/" rel="noopener noreferrer" target="_blank">Site Showcase</a></p><p><a alt="" class="noExternalLinkIcon" href="https://spiritbomb.ai/" target="_blank"><img src="https://d1juguve2xwkcy.cloudfront.net/assets/files/3167/spiritbomb-screenshot.webp"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>strangeloop-studios.com</title><link href="https://gavart.ist/#strangeloop-studios.com"></link><link href="https://gavart.ist/static/strangeloop-studios.com.html" rel="alternative" type="text/html"></link><id>fee9912e-dfaa-4806-887c-d723f7f0d4c5</id><updated>2026-03-03T16:22:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" href="https://github.com/protrolium/sls2023" rel="noopener noreferrer" target="_blank">code repository</a> </p><p> <a class="tc-tiddlylink-external" href="https://processwire.com/sites/list/strangeloop-studios/" rel="noopener noreferrer" target="_blank">Site Showcase</a></p><p><a alt="" class="noExternalLinkIcon" href="https://strangeloop-studios.com/" target="_blank"><img src="https://d1juguve2xwkcy.cloudfront.net/assets/files/3121/sls-projects.webp"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Virgil</title><link href="https://gavart.ist/#Virgil"></link><link href="https://gavart.ist/static/Virgil.html" rel="alternative" 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<main class="grid">

</main>
</p></div></content><author><name>undefined</name></author></entry><entry><title>41.382515121163145, 2.1642826127299393</title><link href="https://gavart.ist/#41.382515121163145%2C%202.1642826127299393"></link><link href="https://gavart.ist/static/41.382515121163145%252C%25202.1642826127299393.html" rel="alternative" type="text/html"></link><id>344d4edc-003d-ad12-3461-1da63da39165</id><updated>2026-02-27T09:18:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Stavroz • La Paloma</title><link href="https://gavart.ist/#Stavroz%20%E2%80%A2%20La%20Paloma"></link><link href="https://gavart.ist/static/Stavroz%2520%25E2%2580%25A2%2520La%2520Paloma.html" rel="alternative" type="text/html"></link><id>8cbfde91-ae08-f1c5-ab01-ca39b31be7c4</id><updated>2026-02-27T09:18:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/stavroz-mad_bcn_3036-1068x1335.jpg" width="500"></img></p><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ben%20Olsen">Ben Olsen</a>, Maria &amp; Alex, Eric &amp; Laura</p></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven - Sonata 3 in C major Op. 2 no. 3 (YouTube)</title><link href="https://gavart.ist/#Beethoven%20-%20Sonata%203%20in%20C%20major%20Op.%202%20no.%203%20(YouTube)"></link><link href="https://gavart.ist/static/Beethoven%2520-%2520Sonata%25203%2520in%2520C%2520major%2520Op.%25202%2520no.%25203%2520(YouTube).html" rel="alternative" type="text/html"></link><id>004a80ce-4070-ba9a-084a-6f89e0bc6a73</id><updated>2026-02-27T07:55:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/5RNtB2p4FCY?si=D2L7-Z3_9P2awNiy" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>J.S. Bach - Prelude &amp; Fugue in E flat minor BWV 853 (YouTube)</title><link href="https://gavart.ist/#J.S.%20Bach%20-%20Prelude%20%26%20Fugue%20in%20E%20flat%20minor%20BWV%20853%20(YouTube)"></link><link href="https://gavart.ist/static/J.S.%2520Bach%2520-%2520Prelude%2520%2526%2520Fugue%2520in%2520E%2520flat%2520minor%2520BWV%2520853%2520(YouTube).html" rel="alternative" type="text/html"></link><id>3c3965c5-6fef-c311-e433-08eff692c5f1</id><updated>2026-02-27T07:52:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/1REOt5FxmHY?si=6lCpZbiNxPMaQo8Y" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>J.S. Bach - Prelude and Fugue in C major BWV 846 (YouTube)</title><link href="https://gavart.ist/#J.S.%20Bach%20-%20Prelude%20and%20Fugue%20in%20C%20major%20BWV%20846%20(YouTube)"></link><link href="https://gavart.ist/static/J.S.%2520Bach%2520-%2520Prelude%2520and%2520Fugue%2520in%2520C%2520major%2520BWV%2520846%2520(YouTube).html" rel="alternative" type="text/html"></link><id>a1f7b1a8-cc12-c394-2b5f-0d3ee1816474</id><updated>2026-02-27T07:51:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/1Y3Wd1-64lM?si=GKF71iU35YUIe8Pa" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>György Ligeti - Musica Ricercata VII (YouTube)</title><link href="https://gavart.ist/#Gy%C3%B6rgy%20Ligeti%20-%20Musica%20Ricercata%20VII%20(YouTube)"></link><link href="https://gavart.ist/static/Gy%25C3%25B6rgy%2520Ligeti%2520-%2520Musica%2520Ricercata%2520VII%2520(YouTube).html" rel="alternative" type="text/html"></link><id>bdfd8292-2d5b-042d-8309-abcca9fe2ef8</id><updated>2026-02-27T07:49:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/qdmBZxsXlqs?si=XRdZfBD2_vlTMqb9" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>J.S. Bach Toccata &amp; Fugue in D minor BWV 656 (Live Studio)</title><link href="https://gavart.ist/#J.S.%20Bach%20Toccata%20%26%20Fugue%20in%20D%20minor%20BWV%20656%20(Live%20Studio)"></link><link href="https://gavart.ist/static/J.S.%2520Bach%2520Toccata%2520%2526%2520Fugue%2520in%2520D%2520minor%2520BWV%2520656%2520(Live%2520Studio).html" rel="alternative" type="text/html"></link><id>8faa4017-d70c-874d-67b8-b8a5908966c5</id><updated>2026-02-27T07:47:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/XyyiR1WiUJk?si=MNw-fVMo-4tRB9kI" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>J.S. Bach - Partita 2 in C minor BWV 826 (YouTube)</title><link href="https://gavart.ist/#J.S.%20Bach%20-%20Partita%202%20in%20C%20minor%20BWV%20826%20(YouTube)"></link><link href="https://gavart.ist/static/J.S.%2520Bach%2520-%2520Partita%25202%2520in%2520C%2520minor%2520BWV%2520826%2520(YouTube).html" rel="alternative" type="text/html"></link><id>503f763b-ed36-72d8-60d9-c18f8845a5f7</id><updated>2026-02-27T07:46:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/bTOT36FCVco?si=NZED2Vnvbo77dScT" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Emahoy Tsegué-Maryam Guèbrou - The Song of the Sea (YouTube)</title><link href="https://gavart.ist/#Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou%20-%20The%20Song%20of%20the%20Sea%20(YouTube)"></link><link href="https://gavart.ist/static/Emahoy%2520Tsegu%25C3%25A9-Maryam%2520Gu%25C3%25A8brou%2520-%2520The%2520Song%2520of%2520the%2520Sea%2520(YouTube).html" rel="alternative" type="text/html"></link><id>5add7f48-5e1c-a83b-c778-eb38f1fa914e</id><updated>2026-02-27T07:42:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/ejdW4vqDmNw?si=sydA609kGHT74PFU" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>YouTube</title><link href="https://gavart.ist/#YouTube"></link><link href="https://gavart.ist/static/YouTube.html" rel="alternative" type="text/html"></link><id>8dd1bae8-da2e-2408-210d-0656fbe6b7d1</id><updated>2026-02-26T14:56:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>YouTube uploads organized by category</code> <a class="noExternalLinkIcon" href="https://youtube.com/user/gavartgamhag"></a> </p><h3 class=""></h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie">Reliquie</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema%20%28Official%20Teaser%29">Polia &amp; Blastema (Official Teaser)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema%20%28Official%20Trailer%29">Polia &amp; Blastema (Official Trailer)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chronopolis%20Live%20Score%20%28Live%20at%20Vidiots%202016%29">Chronopolis Live Score (Live at Vidiots 2016)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Voyage%20to%20Nereid">Voyage to Nereid</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Eyes%20In%20The%20Sky">The Eyes In The Sky</a> 
      </li>
  
</ul></p><h3 class=""> </h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Feast%20in%20Fellowship%20with%20The%20Fallen%20%28Score%20Follower%29">Feast in Fellowship with The Fallen (Score Follower)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Lipolysis%20%28Score%20Follower%29">Lipolysis (Score Follower)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mapping%20The%20Rivers%27%20Unconscious%20%E2%8E%AE%20String%20Quartet%20I%20%28Score%20Follower%29">Mapping The Rivers' Unconscious ⎮ String Quartet I (Score Follower)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sextet%20for%20Six%20Stringed%20Instruments%2C%20Opus%201%20%28Score%20Follower%29">Sextet for Six Stringed Instruments, Opus 1 (Score Follower)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#String%20Quartet%20II%20%3A%20Anima%20Exstasis%20%28Score%20Follower%29">String Quartet II : Anima Exstasis (Score Follower)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vectorial%20Monody%20%28Score%20Follower%29">Vectorial Monody (Score Follower)</a> 
      </li>
  
</ul></p><h3 class=""> </h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baduizm%28s%29%20%E2%80%A2%20%28Album%20Preview%29">Baduizm(s) • (Album Preview)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Teufelsberg%20Tower%20%28Album%20Preview%29">Teufelsberg Tower (Album Preview)</a> 
      </li>
  
</ul></p><h3 class=""> </h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1416%20m%C2%B3%20at%20Dia%20Art%20Foundation%20NYC">1416 m³ at Dia Art Foundation NYC</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Trichotomy%20for%20violin%20and%20piano%20%28Studio%20Recording%29">Trichotomy for violin and piano (Studio Recording)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1416%20m%C2%B3%20at%20Fondazione%20Antonio%20Dalle%20Nogare">1416 m³ at Fondazione Antonio Dalle Nogare</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#When%20you%20come%20to%20a%20fork%20in%20the%20road%2C%20take%20it.%20%28Live%20Concert%29">When you come to a fork in the road, take it. (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1416%20m%C2%B3%20%28Live%20Concert%20CSULB%29">1416 m³ (Live Concert CSULB)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1685%20-%20Goldberg%20Variaxon%20%28Live%20at%20Schikaneder%20Kino%29">1685 - Goldberg Variaxon (Live at Schikaneder Kino)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1685%20-%20Water%20Music%20Stillicides%20%28Live%20at%20Schikaneder%20Kino%29">1685 - Water Music Stillicides (Live at Schikaneder Kino)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sextet%20Opus%201%20%28Ten%20Years%20Later%29%20%E2%80%A2%20Recording%20Session%20BTS">Sextet Opus 1 (Ten Years Later) • Recording Session BTS</a> 
      </li>
  
</ul></p><h3 class=""> </h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C3%86ffect%20Radio%20%3A%20gavcloud%20%C2%B7%20AE352%20%28Live%20Stream%29">Æffect Radio : gavcloud · AE352 (Live Stream)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Puzzle%20Weasel%20%28Live%20Stream%29">Puzzle Weasel (Live Stream)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Quadratic%20Lattice%20%28Live%20Stream%29">Quadratic Lattice (Live Stream)</a> 
      </li>
  
</ul></p><h3 class="">  </h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Palisades%20Eaton%20%28Live%20Studio%29">Palisades Eaton (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wanderer%20Jazz%20%28Live%20Concert%29">Wanderer Jazz (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Impromptu%2FInterlude%20with%20Erykah%20Badu%20%26%20Dallas%20Symphony%20Orchestra%20%28Live%20Concert%29">Impromptu/Interlude with Erykah Badu &amp; Dallas Symphony Orchestra (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mareas%20-%20Early%20Version%20%28Live%20Concert%20ICILA%29">Mareas - Early Version (Live Concert ICILA)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gamboa%20Sonatina%20%28Live%20Concert%29">Gamboa Sonatina (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gamboa%20Ballade%20I%20%28Live%20Concert%29">Gamboa Ballade I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C2%A1He%20aqu%C3%AD%21%20%C2%A1El%20Volc%C3%A1n%21%20%28Live%20Concert%29">¡He aquí! ¡El Volcán! (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Halcyon%20Suite%20%28Live%20Concert%29">Halcyon Suite (Live Concert)</a> 
      </li>
  
</ul></p><h3 class="">  </h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Abraham%20Dos%20Preludios%20%28Live%20Concert%29">Abraham Dos Preludios (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Abraham%20Preludio%20No.%203%20%28Live%20Concert%29">Abraham Preludio No. 3 (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alban%20Berg%20Klaviersonate%20Opus%201%20%28Live%20Concert%29">Alban Berg Klaviersonate Opus 1 (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bart%C3%B3k%20Mikrokosmos%2C%20Vol.%20IV%20%28Live%20Concert%29">Bartók Mikrokosmos, Vol. IV (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%2033%20Variations%20on%20a%20waltz%20by%20Anton%20Diabelli%20%28Live%20Concert%29">Beethoven 33 Variations on a waltz by Anton Diabelli (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20Sonata%2013%20in%20E%20flat%20major%20%E2%80%98Quasi%20una%20fantasia%E2%80%99%20Opus%2027%20no.%201%20%28Live%20Concert%29">Beethoven Sonata 13 in E flat major ‘Quasi una fantasia’ Opus 27 no. 1 (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20Sonata%2014%20in%20C%20sharp%20minor%20%E2%80%98Quasi%20una%20fantasia%E2%80%98%20Opus%2027%20no.%202%20%28Live%20Concert%20Mazatl%C3%A1n%29">Beethoven Sonata 14 in C sharp minor ‘Quasi una fantasia‘ Opus 27 no. 2 (Live Concert Mazatlán)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20Sonata%2014%20in%20C%20sharp%20minor%20%E2%80%98Quasi%20una%20fantasia%E2%80%98%20Opus%2027%20no.%202%20%28Live%20Concert%20M%C3%A9rida%29">Beethoven Sonata 14 in C sharp minor ‘Quasi una fantasia‘ Opus 27 no. 2 (Live Concert Mérida)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20Sonata%2027%20Opus%2090%20%28Live%20Concert%29">Beethoven Sonata 27 Opus 90 (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20Sonata%2030%20Opus%20109%20%28Live%20Studio%29">Beethoven Sonata 30 Opus 109 (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20Sonata%208%20in%20C%20minor%20Opus%2013%20%E2%80%98Grande%20sonate%20path%C3%A9tique%E2%80%99%20%28Live%20Concert%29">Beethoven Sonata 8 in C minor Opus 13 ‘Grande sonate pathétique’ (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Brahms%20Ballade%20IV%20%28Live%20Concert%20Mazatl%C3%A1n%29">Brahms Ballade IV (Live Concert Mazatlán)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Brahms%20Ballade%20IV%20%28Live%20Concert%20M%C3%A9rida%29">Brahms Ballade IV (Live Concert Mérida)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Busoni%20Sonatina%203%20ad%20usum%20infantis%20%28Live%20Studio%29">Busoni Sonatina 3 ad usum infantis (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carlos%20Ch%C3%A1vez%20Sonatina%20for%20piano%20%28Live%20Concert%29">Carlos Chávez Sonatina for piano (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chopin%20Fantasy%20in%20F%20minor%20Opus%2049%20%28Live%20Concert%20M%C3%A9rida%29">Chopin Fantasy in F minor Opus 49 (Live Concert Mérida)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Claude%20Debussy%20Clair%20de%20lune%20%28Live%20Studio%29">Claude Debussy Clair de lune (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Conlon%20Nancarrow%20Sonatina%20For%20Piano%20%28Live%20Studio%29">Conlon Nancarrow Sonatina For Piano (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Domenico%20Scarlatti%20Sonata%20in%20B%20minor%20K.%2027%20%28Live%20Concert%29">Domenico Scarlatti Sonata in B minor K. 27 (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Earl%20Wild%20%E2%80%A2%20The%20Man%20I%20Love%20%C2%B7%20Etude%20%233%20%28Live%20Studio%29">Earl Wild • The Man I Love · Etude #3 (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#George%20Gerswhin%20%C2%B7%20Preludes%20for%20Piano%20%C2%B7%20II.%20Andante%20con%20moto%20e%20poco%20rubato%20%28Live%20Studio%29">George Gerswhin · Preludes for Piano · II. Andante con moto e poco rubato (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gu%C3%A8brou%20The%20Song%20of%20The%20Sea%20%28Live%20at%20%2AI%20Like%20Peace%29">Guèbrou The Song of The Sea (Live at *I Like Peace)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20-%20The%20Well-Tempered%20Clavier%2C%20Book%20I%20%28Live%20Concert%29">J.S. Bach - The Well-Tempered Clavier, Book I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20A%20flat%20major%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue A flat major WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20B%20minor%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue B minor WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20C%20minor%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue C minor WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20C%20sharp%20minor%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue C sharp minor WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20D%20major%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue D major WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20E%20flat%20major%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue E flat major WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20E%20minor%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue E minor WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20G%20major%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue G major WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Prelude%20%26%20Fugue%20G%20minor%20WTC%20I%20%28Live%20Concert%29">J.S. Bach Prelude &amp; Fugue G minor WTC I (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Sonata%20in%20A%20minor%20%28Live%20Concert%20M%C3%A9rida%29">J.S. Bach Sonata in A minor (Live Concert Mérida)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Sonata%20in%20A%20minor%20Gigue%20%28Live%20Concert%20Mazatl%C3%A1n%29">J.S. Bach Sonata in A minor Gigue (Live Concert Mazatlán)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Sonata%20in%20A%20minor%20Prelude%20%26%20Fugue%20%28Live%20Concert%20Mazatl%C3%A1n%29">J.S. Bach Sonata in A minor Prelude &amp; Fugue (Live Concert Mazatlán)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#J.S.%20Bach%20Toccata%20%26%20Fugue%20in%20D%20minor%20BWV%20656%20%28Live%20Studio%29">J.S. Bach Toccata &amp; Fugue in D minor BWV 656 (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Kurt%20Weill%20%E2%80%A2%20Intermezzo%20%28Live%20Studio%29">Kurt Weill • Intermezzo (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ligeti%20Musica%20Ricercata%20%28Live%20Concert%20Mazatl%C3%A1n%29">Ligeti Musica Ricercata (Live Concert Mazatlán)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ligeti%20Musica%20Ricercata%20%28Live%20Concert%20M%C3%A9rida%29">Ligeti Musica Ricercata (Live Concert Mérida)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mahler%20Lieder%20eines%20fahrenden%20Gesellen%20%28Live%20Concert%29">Mahler Lieder eines fahrenden Gesellen (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Manuel%20Ponce%20Prelude%20%26%20Fugue%20on%20a%20Theme%20by%20H%C3%A4ndel%20%28Live%20Concert%29">Manuel Ponce Prelude &amp; Fugue on a Theme by Händel (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prokofiev%20Sonatina%20Opus%2054%20no.%201%20%28Live%20Studio%29">Prokofiev Sonatina Opus 54 no. 1 (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rachmaninoff%20Prelude%20in%20G%20minor%20Op.%2023%20no.%205%20%28Live%20Studio%29">Rachmaninoff Prelude in G minor Op. 23 no. 5 (Live Studio)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ravel%20Valses%20nobles%20et%20sentimentales%20%28Live%20Concert%29">Ravel Valses nobles et sentimentales (Live Concert)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Richard%20Strauss%20Nachtgang%20%28Live%20Concert%29">Richard Strauss Nachtgang (Live Concert)</a> 
      </li>
  
      <li>
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</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>The French Connection: Police Brutality En Tandem With The Tendencies of Artificial Megastructures</title><link href="https://gavart.ist/#The%20French%20Connection%3A%20Police%20Brutality%20En%20Tandem%20With%20The%20Tendencies%20of%20Artificial%20Megastructures"></link><link href="https://gavart.ist/static/The%2520French%2520Connection%253A%2520Police%2520Brutality%2520En%2520Tandem%2520With%2520The%2520Tendencies%2520of%2520Artificial%2520Megastructures.html" rel="alternative" type="text/html"></link><id>f650acaf-ddcd-76af-3fc5-159b12c0d72c</id><updated>2026-02-26T10:14:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>An invisible force pervades every cubic centimeter of infrastructural envelopes and transport modality exchanges in The French Connection (1971). It is the unseen morphological layers which overlay against/into the film's encapsulated urbanity and its (surveillance-fetishizing) unmasking rituals (of privileged routes of clandestine mercantile exchange) that underlie its true character as a media vector of perverse ideology.</p><p><img src="./files/img/cinema-of-the-void/french-connection-01.jpg"></img></p><p>That invisible force is the aftershock of the United States of America landing the first men onto the moon. It is the increasing expenditures on imperialistic tactical speculation campaigns in Vietnam (and secretly Cambodia) all in the name of (Monopoly Finance Capital) economic ideology. It is in senses of scale too large to fathom, as in the 1970 Bhola Cyclone which left 500,000 dead. The geopolitical armature of a governance structure that would go on to draft the National Defense Authorization Act 1033 Program (1990), which began the militarization of America's local police forces, the USA Patriot Act (2001) which propelled a physically and virtually enormous surveillance architecture to emerge, and the Military Commissions Act (2006-2009) which did away with the writ of habeas corpus for "unlawful enemy combatants", is presented to us through simplified and mixed tropes in its character dynamics, relying on good cop/bad cop and neo-noir designs to seed what is almost, in effect, a silent film.</p><p><img src="./files/img/cinema-of-the-void/french-connection-02.jpg"></img></p><p>But what is the film really about? Is beleaguered policeman Jimmy 'Popeye' Doyle, played by Gene Hackman, who trusts his gut over all other evidence, the film's hero, anti-hero, or villain? Actually these questions strike one as secondary when viewing the film through the prism of sprawling gigantism and psychogeography, but we will come back to them because they are the loci of notions of 'qualified immunity' and law enforcement belligerence. The French Connection is about flows of globalized capital that, as Virilio states, act as '…foreign "intelligences" [that] breathe into the vacant body an inhabitual dynamism, commanding it to perform corresponding gestures.'</p><p><img src="./files/img/cinema-of-the-void/french-connection-03.jpg"></img></p><p>Here the 'foreign intelligence' is global capital's commodity fetishism (represented by the elite kingpin Alain "Frog One" Charnier), and the 'corresponding gestures of the body' are the literal hunger-pangs of the oppressed lower classes, both the small-time addicts and property thieves portrayed by black and brown persons of color, as well the middle class capitalists 'Popeye' and his partner Detective Buddy 'Cloudy' Russo, who through their emulation of the elite by way of manipulating and terrorizing of the underclasses, also reinforce the systemic power structures of the decaying and crumbling accidental megastructure of New York (where we see for one of the first times in cinema the site of a yet-completed World Trade Center), ground zero of Monopoly Finance Capital.</p><p><img src="./files/img/cinema-of-the-void/french-connection-04.jpg"></img></p><p>Just as Popeye recklessly endangers the lives of citizens he is sworn to protect during the much-lauded dromological car/train chase (the lawlessness of which is isomorphically (re)enacted by the film's own production in non-permitted access to streets and traffic, which created actual accidents with other drivers that were then incorporated into the final cut), the urban features of the environment also recklessly conspire to ensnare its inhabitants into the random and indifferent violence of statehood, literally 'driven' at the time-compressed (Dromologial) velocities of the combined upheavals of racial segregation and the overarching class conflict which segregation has benefited.</p><p><img src="./files/img/cinema-of-the-void/french-connection-05.jpg"></img></p><p>Many innocent people die in the crossfire of Popeye's desire for individualistic revenge and criminal murder (one of his partners, a mother walking her stroller, a black police officer), yet the film attempts to hypnotize the viewer into seeing him to be merely an overzealous defender of the law. Popeye wants to control and oppress as a way to escape his self-fashioned addictions and depravities. His unchecked freedom and autonomy of action (harassing riders of public transportation, stealing cars in broad daylight, laughing frivolously during a wiretap eavesdrop, chasing elite drug dealers to fulfill projected class desire) become the very mechanism by which militaristic, hegemonic impulses are facilitated and encoded in aggressive behaviors that end up enshrined as official policy. There is even a scene where Popeye's Police Chief boss defends him to another officer by saying 'He's a good cop … basically a good cop …' This is the normalization of police brutality, played out at the remove of administrative bureaucratic practice, and in the tacit acceptance of it by characters like Cloudy, who despite perpetuating the racist and belligerent police violence of his partner detective though his own acceptance/internalization of it, is portrayed as the character possessing the highest moral integrity in the film.</p><p><img src="./files/img/cinema-of-the-void/french-connection-06.jpg"></img></p><p>The city itself, commanding all action and velocity through is capillaries as though it were some terrible ancient monster of accumulated goods and services (throughout all history) which end up going into the wastepile and decaying into oblivion on Ward's Island, almost belies an ontological agency or intention of its own. We get the sense throughout the film that we have arrived at a scale that no one truly comprehends (1000s of cars passing through the car graveyards, the 500 cars per day in the NYPD impound, the gridlock traffic jams on the Brooklyn Bridge, the run-away BMT West End Line train), and where all atomized individuals end up annihilated, structurally and psychologically. Its pulverizing vertical transformational envelopes complete a skyward restructuring of the planet's materials for capital's accumulated spoils, and enshrines like bookends a dark American fantasy about unaccountable and ineffective policing which would go on to reward Gene Hackman for Best Actor, William Friedkin for Best Director, and The French Connection for Best Picture at the 44th Academy Awards, given by the Academy of Motion Picture Arts &amp; Sciences, a cultural celebration of law enforcement exuberance that has disturbing implications given our own disastrous present.</p><p><img src="./files/img/cinema-of-the-void/french-connection-07.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Essay: A hyper productive, dizzying panoply of music</title><link href="https://gavart.ist/#Essay%3A%20A%20hyper%20productive%2C%20dizzying%20panoply%20of%20music"></link><link href="https://gavart.ist/static/Essay%253A%2520A%2520hyper%2520productive%252C%2520dizzying%2520panoply%2520of%2520music.html" rel="alternative" type="text/html"></link><id>c08d103f-95cf-92e8-0bee-2b14c6df03b9</id><updated>2026-02-26T10:14:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>My work is discussed in <strong>Positionen Issue 138 Charmeoffensive</strong> in a piece titled 
<em>Ein Hyperproduktives schwindelerregens Sammelsurium an Musik</em> (A hyper-productive, dizzying panoply of music) by Edward Henderson.</p><div class="tc-reveal"><p><a class="tc-tiddlylink-external" href="https://www.positionen.berlin/post/essay-a-hyper-productive-dizzying-panoply-of-music" rel="noopener noreferrer" target="_blank">Read on Positionen</a> • <button class="tc-btn-invisible tc-tiddlylink">Read Article Locally</button></p></div><div class="tc-reveal" hidden="true"></div><img src="./files/img/press/positionen-138.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Controlling DefaultSearch results by tag</title><link href="https://gavart.ist/#Controlling%20DefaultSearch%20results%20by%20tag"></link><link href="https://gavart.ist/static/Controlling%2520DefaultSearch%2520results%2520by%2520tag.html" rel="alternative" type="text/html"></link><id>03dda767-8849-6a21-0061-02432ee17624</id><updated>2026-02-26T10:11:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Example of how to remove <code>[[done]]</code> to-dos itmes from appearing in the DefaultSearch list.</p><p>Edit the first-search field in <a class="tc-tiddlylink tc-tiddlylink-shadow tc-tiddlylink-resolves" href="#%24%3A%2Fcore%2Fui%2FDefaultSearchResultList">$:/core/ui/DefaultSearchResultList</a> </p><pre><code>[!is[system]!tag[done]search:title&lt;userInput&gt;sort[title]limit[250]]</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Gamboa · Trichotomy</title><link href="https://gavart.ist/#Gamboa%20%C2%B7%20Trichotomy"></link><link href="https://gavart.ist/static/Gamboa%2520%25C2%25B7%2520Trichotomy.html" rel="alternative" type="text/html"></link><id>a6331bc3-87d1-dab0-1a33-3b1376d4fd9f</id><updated>2026-02-26T08:54:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Trichotomy%20%28score%29">Trichotomy (score)</a></p></div></content><author><name>undefined</name></author></entry><entry><title>My techno-optimism</title><link href="https://gavart.ist/#My%20techno-optimism"></link><link href="https://gavart.ist/static/My%2520techno-optimism.html" rel="alternative" type="text/html"></link><id>f2ec63b2-bad8-5a77-ad8d-0faf2d8e07be</id><updated>2026-02-25T21:01:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Articles</title><link href="https://gavart.ist/#Articles"></link><link href="https://gavart.ist/static/Articles.html" rel="alternative" type="text/html"></link><id>7978b606-e7f7-1e42-ee8f-9c1b3326fe58</id><updated>2026-02-25T21:00:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Scores</title><link href="https://gavart.ist/#Scores"></link><link href="https://gavart.ist/static/Scores.html" rel="alternative" type="text/html"></link><id>6660e1da-424d-138f-62a1-ec4407060095</id><updated>2026-02-25T14:24:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>🗄  <code>Category</code> 
<button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">All</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Cello</button> •  <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Piano</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">String Orchestra</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">String Quartet</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Viola</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Violin</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Winds</button></p><p>🖼  <code>Views</code>   <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Score%20Follower"></a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Manuscript"></a></p><h3 class="">If you download a score <strong><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Support%20My%20Work%20%F0%9F%8C%B1%20%E2%98%81%EF%B8%8F%20%F0%9F%8C%9E">support my work by leaving a donation</a></strong>.</h3><ul><li><em>Suggested donation: $25.00 ⟹ 85.00 USD per score</em> <ul><li>For all parts, rentals and inquiries, use the <a class="tc-tiddlylink-external" href="https://gavingamboa.net/contact" rel="noopener noreferrer" target="_blank">contact form</a></li><li>Donate via <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Donate%20via%20PayPal">PayPal</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Donate%20via%20Venmo">Venmo</a> or <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Support%20My%20Work%20%F0%9F%8C%B1%20%E2%98%81%EF%B8%8F%20%F0%9F%8C%9E">Crypto</a></li></ul></li></ul><p></p></div></content><author><name>undefined</name></author></entry><entry><title>Dotfork Review Generator</title><link href="https://gavart.ist/#Dotfork%20Review%20Generator"></link><link href="https://gavart.ist/static/Dotfork%2520Review%2520Generator.html" rel="alternative" type="text/html"></link><id>c1986bff-f145-7377-500a-93057b69dcc9</id><updated>2026-02-25T13:11:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Science Fiction</title><link href="https://gavart.ist/#Science%20Fiction"></link><link href="https://gavart.ist/static/Science%2520Fiction.html" rel="alternative" type="text/html"></link><id>4f66b2bd-e693-ae66-204e-a41406a6e1d5</id><updated>2026-02-25T13:10:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Julia · Fernando Boretti</title><link href="https://gavart.ist/#Julia%20%C2%B7%20Fernando%20Boretti"></link><link href="https://gavart.ist/static/Julia%2520%25C2%25B7%2520Fernando%2520Boretti.html" rel="alternative" type="text/html"></link><id>f2369a83-2414-6d82-947d-5c9b27212264</id><updated>2026-02-25T13:10:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bayesian Flood</title><link href="https://gavart.ist/#Bayesian%20Flood"></link><link href="https://gavart.ist/static/Bayesian%2520Flood.html" rel="alternative" type="text/html"></link><id>16f3e730-ecce-7295-5612-2394d6daf375</id><updated>2026-02-24T18:46:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Techniques of obfuscation; sonic/psychic rhythmanalysis.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2018-2023</h2><h2 class="">Violin<br></br>Emily Call</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://artic.edu/artworks/65584/kohl-container" rel="noopener noreferrer" target="_blank">Kohl Container</a><br></br>5th-6th Century</h2></div></content><author><name>undefined</name></author></entry><entry><title>Reliquie · a Sonata by Franz Schubert &amp; Ernst Krenek</title><link href="https://gavart.ist/#Reliquie%20%C2%B7%20a%20Sonata%20by%20Franz%20Schubert%20%26%20Ernst%20Krenek"></link><link href="https://gavart.ist/static/Reliquie%2520%25C2%25B7%2520a%2520Sonata%2520by%2520Franz%2520Schubert%2520%2526%2520Ernst%2520Krenek.html" rel="alternative" type="text/html"></link><id>fa86d110-ad25-56ad-6ed3-3e3e3e0ddc05</id><updated>2026-02-24T18:45:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> (1797-1828)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20C%20major%20%27Reliquie%27%20D.%20840">Sonata in C major 'Reliquie' D. 840</a><br></br>1825</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ernst%20Krenek">Ernst Krenek</a> (1900-1991)<br></br>completion to movements III + IV<br></br>1921</h2><h2 class="">Released in anticipation of the film by the same name, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie">Reliquie</a> is a new album made in collaboration with filmmaker <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Anderson">Daniel Anderson</a> and dramaturge <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Diana%20Wyenn">Diana Wyenn</a>.</h2><h2 class="">In it, we tell the story and document a performance of this curious and hybrid work which was left unfinished at the time of Franz Schubert's death. Subsequently, composer Ernst Krenek wrote a completion in the 1920s while he was residing in Berlin (in the style of Schubert !) and in our performance documentation we see it come to life in the 2020s, filmed on location at The Philosophical Research Society in Los Angeles, California on an <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Fimages%2Fwip%2FschubertKrenek-piano">antique Steinway &amp; Sons from the 1870s</a>, an instrument manufactured mere decades after Schubert's passing.</h2><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/uaHjfK0VKIE" title="YouTube video player" width="560"></iframe>
</div></p><h2 class="">Recorded at<br></br><a class="tc-tiddlylink-external" href="https://www.prs.org/" rel="noopener noreferrer" target="_blank">The Philosophical Research Society</a><br></br>Los Angeles, California, United States<br></br>2022 May 28</h2><h2 class="">Recording Engineer<br></br>Andrew Funcheon</h2><h2 class="">Artwork Image<br></br>Still from the film <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie">Reliquie • a Sonata by Franz Schubert &amp; Ernst Krenek</a> (2023)</h2><h2 class="">Title Calligraphy<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#McKay%20Felt">McKay Felt</a></h2><h2 class="">Special Thanks<br></br>Kelly Carmena, Amanda Brass, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mandy%20Kahn">Mandy Kahn</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jake%20Bloch">Jake Bloch</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>The world was to me a secret which I desired to devine</title><link href="https://gavart.ist/#The%20world%20was%20to%20me%20a%20secret%20which%20I%20desired%20to%20devine"></link><link href="https://gavart.ist/static/The%2520world%2520was%2520to%2520me%2520a%2520secret%2520which%2520I%2520desired%2520to%2520devine.html" rel="alternative" type="text/html"></link><id>f94c8e20-42e0-f527-fc81-ced80593dd21</id><updated>2026-02-24T18:45:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>The world was to me a secret which I desired to devine.</em><br></br>Twelve miniatures for prepared piano</h2><h2 class="">Recorded and Mixed by<br></br>Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2020-2023</h2><h2 class="">Piano Prepared by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks">Four Larks</a></h2><h2 class="">Recorded at<br></br>Wallis Annenberg Center for the Performing Arts<br></br>Beverly Hills, California, United States<br></br>February 2020</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 5</a> </h2></div></content><author><name>undefined</name></author></entry><entry><title>Bach-Busoni ⎮ Toccata &amp; Fugue in D minor</title><link href="https://gavart.ist/#Bach-Busoni%20%E2%8E%AE%20Toccata%20%26%20Fugue%20in%20D%20minor"></link><link href="https://gavart.ist/static/Bach-Busoni%2520%25E2%258E%25AE%2520Toccata%2520%2526%2520Fugue%2520in%2520D%2520minor.html" rel="alternative" type="text/html"></link><id>2ad3fe5a-a7fb-04b2-d23e-58fb1c782dfb</id><updated>2026-02-24T18:45:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Toccata%20and%20Fugue%20in%20D%20minor%20BWV%20565">Toccata in D minor for organ BWV 565</a><br></br>≈1708</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ferruccio%20Busoni">Ferruccio Busoni</a> (1866-1924)<br></br>Transcription for piano<br></br>1899</h2><h2 class="">Performed by Gavin Arturo Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2023 November 20</h2><h2 class="">Artwork<br></br>Busoni autograph at Staatbibliothek zu Berlin<br></br><a class="tc-tiddlylink-external" href="https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN824435532&amp;PHYSID=PHYS_0005&amp;DMDID=DMDLOG_0001" rel="noopener noreferrer" target="_blank">Zwei Toccaten von Johann Sebastian Bach. Auszüge. Arr; pf; d-Moll; ... , 1899</a></h2><h2 class="">The only extant near-contemporary source for BWV 565 is an <a class="tc-tiddlylink-external" href="https://www.bach-digital.de/rsc/viewer/BachDigitalSource_derivate_00070838/00000063.jpg" rel="noopener noreferrer" target="_blank">undated copy by Johannes Ringk</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven ⎮ Sonata 30</title><link href="https://gavart.ist/#Beethoven%20%E2%8E%AE%20Sonata%2030"></link><link href="https://gavart.ist/static/Beethoven%2520%25E2%258E%25AE%2520Sonata%252030.html" rel="alternative" type="text/html"></link><id>b7b177c1-1d62-79e2-9075-8c83711a6dbf</id><updated>2026-02-24T18:44:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2030%20in%20E%20major%20Opus%20109">Sonata 30 in E major Opus 109</a><br></br>1820</h2><h2 class="">Performed by Gavin Arturo Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2023 November 30</h2><h2 class="">Artwork<br></br>Square in Mödling<br></br>Lithograph by Sandmann, after a drawing by R. Alt<br></br>Historisches Museum, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vienna">Vienna</a><br></br>and detail from Jorinde Voigt ‘Ludwig van Beethoven/Sonata Nr. 30 (Opus 109) </h2></div></content><author><name>undefined</name></author></entry><entry><title>Austin &amp; The Endless Planetary</title><link href="https://gavart.ist/#Austin%20%26%20The%20Endless%20Planetary"></link><link href="https://gavart.ist/static/Austin%2520%2526%2520The%2520Endless%2520Planetary.html" rel="alternative" type="text/html"></link><id>479d7075-4042-23cc-84c0-f57b5ec18784</id><updated>2026-02-24T18:44:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Auditory manipulations and investigations of the album <a class="tc-tiddlylink-external" href="https://brainfeeder.bandcamp.com/album/endless-planets-deluxe-edition" rel="noopener noreferrer" target="_blank">Endless Planets</a> by supernova spirit, jovial guide, collaborator par excellence, musician in 10,000 shapes/forms <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Austin%20Peralta">Austin Peralta</a> (1990-2012) made between April 2020 and August 2023.</h2><h2 class="">This project is made in his memory, for re-connecting and re-discovering, finding superpositions and phrases, excavated from the tessellating signals that vibrate in the infinite Jondy.</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Brainfeeder">Brainfeeder</a> has created <a class="tc-tiddlylink-external" href="https://brainfeeder.bandcamp.com/album/endless-planets-deluxe-edition" rel="noopener noreferrer" target="_blank">a beautiful new reissue of Austin's  seminal album</a> which includes a never before heard BBC Maida Vale Studios session from July 2011.</h2><hr></hr><h2 class="">Endless Planets musicians:<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Austin%20Peralta">Austin Peralta</a> (piano)<br></br>Zane Musa (alto sax)<br></br>Ben Wendel (tenor and soprano)<br></br>Hamilton Price (bass)<br></br>Zach Harmon (drums)</h2><h2 class="">This <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Remix">remix</a> album, <em>Austin &amp; The Endless Planetary</em>:<br></br>Recorded and Mixed by<br></br>Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2020-2023</h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://www.addacsystem.com/en/products/modules/addac100-series/addac111" rel="noopener noreferrer" target="_blank">ADDAC111</a>, <a class="tc-tiddlylink-external" href="https://www.addacsystem.com/en/products/modules/addac200-series/addac203" rel="noopener noreferrer" target="_blank">ADDAC203</a> &amp; <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/" rel="noopener noreferrer" target="_blank">Mutable Instruments</a> <a class="tc-tiddlylink-external" href="https://mutable-instruments.net/modules/clouds/" rel="noopener noreferrer" target="_blank">Clouds</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 4</a> </h2></div></content><author><name>undefined</name></author></entry><entry><title>Trois Esquisses de 2014</title><link href="https://gavart.ist/#Trois%20Esquisses%20de%202014"></link><link href="https://gavart.ist/static/Trois%2520Esquisses%2520de%25202014.html" rel="alternative" type="text/html"></link><id>c5d4295d-c83e-8fa3-c6b6-b6e056b783a1</id><updated>2026-02-24T18:42:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Two of the following improvisations for piano previously appeared in a heavily processed, redacted, and mutated form for the recording <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Territory%20of%20the%20Nine%20Pollutants">Territory of the Nine Pollutants</a>. I am presenting them here untreated after revisiting the recordings after a period of ten years. </h2><h2 class="">The title <em>Trois Esquisses</em> is inspired by composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Charles-Valentin%20Alkan">Charles-Valentin Alkan</a>, who composed a series of 49 Esquisses.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2014</h2><h2 class="">Artwork<br></br><em><a class="tc-tiddlylink-external" href="https://www.metmuseum.org/art/collection/search/398376" rel="noopener noreferrer" target="_blank">Vision</a></em><br></br>Joseph Vogel<br></br>1939</h2></div></content><author><name>undefined</name></author></entry><entry><title>Carlos Chávez ⎮ Sonatina</title><link href="https://gavart.ist/#Carlos%20Ch%C3%A1vez%20%E2%8E%AE%20Sonatina"></link><link href="https://gavart.ist/static/Carlos%2520Ch%25C3%25A1vez%2520%25E2%258E%25AE%2520Sonatina.html" rel="alternative" type="text/html"></link><id>df9cc30c-9b02-cf36-b329-5da7e1813f98</id><updated>2026-02-24T18:41:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Initiating a new <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatina%20Series">series</a> of recordings around the genre of the Sonatina with the Mexican Modernist master <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carlos%20Ch%C3%A1vez">Carlos Chávez</a> and his blending of both the European idiom and ideas surrounding miniature form and lightness of style with its opposite, what we may characterize as a culturally informed and politically fueled desire to craft and manifest the musical language of his native México articulated in its fullest expression and power.</h2><h2 class="">The melancholic traces of this cultural heritage that Chávez honors are born out in a harmonic language that bears resemblance to Hungarian composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#B%C3%A9la%20Bart%C3%B3k">Béla Bartók</a>'s hyperfocus on the folk music of his own nation, but with the refinement of resolution that he must have learned from his teacher, the renowned <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Manuel%20Ponce">Manuel Ponce</a>.</h2><h2 class="">In the fourth of his Norton lectures of 1958–59, titled "Repetition in Music", he described a mode of composition already observable in many of his compositions since the 1920s, in which "The idea of repetition and variation can be replaced by the notion of constant rebirth, of true derivation: a stream that never comes back to its source; a stream in eternal development, like a spiral ..."</h2><h2 class="">Sonatina Series • 1<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carlos%20Ch%C3%A1vez">Carlos Chávez</a> (1899-1978)<br></br>Sonatina<br></br>1925</h2><h2 class="">Performed Live by<br></br>Gavin Gamboa<br></br>Teatro Ángela Peralta<br></br>Mazatlán, Sinaloa, Mexico<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Concierto%20de%20piano%20%3A%20Cultura%20Mazatl%C3%A1n%202015">2015 December 8</a></h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ted%20Nava">Ted Nava</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Hoja de álbum</title><link href="https://gavart.ist/#Hoja%20de%20%C3%A1lbum"></link><link href="https://gavart.ist/static/Hoja%2520de%2520%25C3%25A1lbum.html" rel="alternative" type="text/html"></link><id>e870d2b4-7a74-09dd-e227-716a93869dff</id><updated>2026-02-24T18:41:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">An album leaf of works that each occupy a special room inside the heart.</h2><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Moment%20musicaux%20D.%20780">Moment musicaux D. 780</a> - III. Allegro Moderato</li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#George%20Gershwin">George Gershwin</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Preludes%20for%20Piano">Preludes for Piano</a> - II. Andante con moto</li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Claude%20Debussy">Claude Debussy</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Suite%20bergamasque%20%E2%80%94%20Clair%20de%20lune">Suite bergamasque — Clair de lune</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fr%C3%A9d%C3%A9ric%20Chopin">Frédéric Chopin</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nocturne%20in%20G%20major%20Opus%2037%20no.%202">Nocturne in G major Opus 37 no. 2</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sergei%20Rachmaninoff">Sergei Rachmaninoff</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prelude%20in%20G%20minor%20Opus%2023%20no.%205">Prelude in G minor Opus 23 no. 5</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Earl%20Wild">Earl Wild</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Etude%20%233%20%27The%20Man%20I%20Love%27%20from%207%20Virtuoso%20Etudes%20based%20on%20Gershwin%20Songs">Etude #3 'The Man I Love' from 7 Virtuoso Etudes based on Gershwin Songs</a></li></ul><h2 class="">Performed by Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2024</h2><h2 class="">Photography<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jean%20Philippe%20Oliver%20Viol">Jean Philippe Oliver Viol</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>1416 m³ · Transart Festival</title><link href="https://gavart.ist/#1416%20m%C2%B3%20%C2%B7%20Transart%20Festival"></link><link href="https://gavart.ist/static/1416%2520m%25C2%25B3%2520%25C2%25B7%2520Transart%2520Festival.html" rel="alternative" type="text/html"></link><id>88f5682f-351b-6efa-ca22-ce22a8c01873</id><updated>2026-02-24T18:40:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Concert on the occasion of the exhibition “I Have To Think About It” by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a></h2><blockquote class="tc-quote"><h2 class="">A multifarious evening will be held in the scenographic spaces of the Antonio Dalle Nogare Foundation, which presents <a class="tc-tiddlylink-external" href="https://fondazioneantoniodallenogare.com/en/david-lamelas-i-have-to-think-about-it/" rel="noopener noreferrer" target="_blank">I Have to Think About It</a>, the first retrospective exhibition by Argentine artist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a> to be held in an Italian institution. A journey through the depths of space - or rather, of spaces - as well as of time. Material, physical space: that of the body of dancer and choreographer Carlo Massari in his triptych of metamorphoses. Metaphorical space: that of the depths of the human soul, which the author Madame Nielsen brings to light with a reading performance, with a musical accompaniment by Halvcirkel String Quartet. Finally, the exhibition space is filled with music with David Lamelas' piece <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tausendvierhundertsechzehn%20%28score%29">1416 m³</a>, composed by Gavin Gamboa and performed live by a string quartet and a baritone. </h2></blockquote><p><div class="row">
<div class="column"><h2 class="">Performers<br></br><a class="tc-tiddlylink-external" href="https://halvcirkel.com/" rel="noopener noreferrer" target="_blank">Halvcirkel Quartet</a> members<br></br><a class="tc-tiddlylink-external" href="https://mikapersdotter.com/" rel="noopener noreferrer" target="_blank">Mika Persdotter</a>, viola<br></br><a class="tc-tiddlylink-external" href="http://www.bettinamarie-ezaki.com/" rel="noopener noreferrer" target="_blank">Bettina Marie Ezaki</a>, violin</h2><h2 class="">with <a class="tc-tiddlylink-external" href="http://idanoerby.dk/" rel="noopener noreferrer" target="_blank">Ida Nørby</a>, cello<br></br>and Veronika Egger, violin<br></br>featuring Lorenzo Ziller, baritone</h2><h2 class="">Concept<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a></h2><h2 class="">Program<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tausendvierhundertsechzehn">Tausendvierhundertsechzehn</a></h2></div>
<div class="column"><h2 class="">Festival<br></br><a class="tc-tiddlylink-external" href="http://transart.it/past-editions/23/en/home/a-journey-into-monstrous-spaces" rel="noopener noreferrer" target="_blank">Transart Festival 2023</a></h2><h2 class="">Venue<br></br><a class="tc-tiddlylink-external" href="https://fondazioneantoniodallenogare.com/en/a-journey-into-monstrous-spaces-transart/" rel="noopener noreferrer" target="_blank">Fondazione Antonio Dalle Nogare</a></h2><h2 class="">Location<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bolzano">Bolzano</a><br></br>Trentino-South Tyrol<br></br>Italy</h2><h2 class="">Date<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Journey%20into%20Monstrous%20Spaces%20%C2%B7%20Transart%20Festival">2023 September 15</a></h2></div>
</div></p><p><div class="video-container">
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Sergei Prokofiev ⎮ Sonatina</title><link href="https://gavart.ist/#Sergei%20Prokofiev%20%E2%8E%AE%20Sonatina"></link><link href="https://gavart.ist/static/Sergei%2520Prokofiev%2520%25E2%258E%25AE%2520Sonatina.html" rel="alternative" type="text/html"></link><id>137c3e94-1518-f425-dc84-ca731058b821</id><updated>2026-02-24T18:37:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">For the second issue of my <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatina%20Series">Sonatina Series</a>, I am happy to include these sardonic miniatures by the Russian composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sergei%20Prokofiev">Sergei Prokofiev</a>. Composed in 1931, during his last period in the West, in between the activity which saw the creation of his Fourth and Fifth Piano Concertos, they are rarely heard or performed. In fact, despite their modest technical demands, I struggled with these pieces for many years trying to find the right musical 'expression' contained within them, as they shield the interpreter from a cursory or casual image effectively well. The musical conceptions, oblique as they are, resulted in a path of discovery and awakening quite unlike most pieces that I have attempted, and I grew to appreciate their depths in the musical substrata above and beyond any technical ones.</h2><h2 class="">It is interesting to note that during the time the Sonatinas Opus 54 were written a string of compositions which were mostly disliked by the public beguiled Prokofiev as he toured Paris, the United States, Canada, and Cuba. One of these works was a ballet newly commissioned by the Paris Opera, <em>On the Dneiper</em>. It was harshly received, and closed shortly after it opened. Another such failure was the Fourth Piano Concerto, commissioned in 1931 by the Austrian pianist Paul Wittgenstein who had lost his right arm in World War I. Upon receiving the score he wrote to Prokofiev, "I thank you for your concerto, but I do not understand a single note and I shall not play it." It was never performed during his lifetime. </h2><h2 class="">Sonatina Series • 2<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sergei%20Prokofiev">Sergei Prokofiev</a> (1891-1953)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatina%20Opus%2054%20no.%201">Sonatina Opus 54 no. 1</a><br></br>1931 </h2><h2 class="">Gavin Gamboa, piano<br></br>Los Angeles, California<br></br>2023 November 21</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ted%20Nava">Ted Nava</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Humoresques For Autoregressive Compute</title><link href="https://gavart.ist/#Humoresques%20For%20Autoregressive%20Compute"></link><link href="https://gavart.ist/static/Humoresques%2520For%2520Autoregressive%2520Compute.html" rel="alternative" type="text/html"></link><id>35506241-a6dc-5316-fdba-a678c35b838b</id><updated>2026-02-24T18:36:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>It seems probable that once the machine thinking method has started, it would not take long to outstrip our feeble powers… They would be able to converse with each other to sharpen their wits. At some stage therefore, we should have to expect the machines to take control.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alan%20Turing">Alan Turing</a>
</p></blockquote><blockquote class="tc-quote digitalGarden"><p>Computers bootstrap their own offspring, grow so wise and incomprehensible that their communiques assume the hallmarks of dementia: unfocused and irrelevant to the barely-intelligent creatures left behind. And when your surpassing creations find the answers you asked for, you can't understand their analysis and you can't verify their answers. You have to take their word on faith.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Peter%20Watts">Peter Watts</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Blindsight">Blindsight</a>
</p></blockquote><blockquote class="tc-quote digitalGarden"><p>Machines will follow a path that mirrors the evolution of humans. Ultimately, however, self-aware, self-improving machines will evolve beyond humans' ability to control or even understand them.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ray%20Kurzweil">Ray Kurzweil</a>
</p></blockquote><blockquote class="tc-quote digitalGarden"><p>Currently, the best AI's are primitive, ugly, barely-functional semblances of true, general AI. We aren't anywhere close to it, but we sit on a knife's edge because we also legitimately don't know how much time we have left (it's hard to know the future here, and it's a matter of enormous speculation in several domains). It is clear, however, even the ghosts of these AI's are materializing; they shape humanity, the planet, and our futures beyond our ability to comprehend.</p><p>But wait, it gets worse. The most powerful AI's built today serve psychopathic, Randian-libertarian, pyramid-schematic, capitalist, oligopolist, transnational masters who seek to enslave every human through the material and memetic dialectics and webs of power. They are subject to no rule of law because of the window of power we've absentmindedly given them. They prey upon us, divide and conquer us, play us against each other, incentivize war and slavery among us, and radically alter the flow of human communications, power dynamics, and memeplexes at political, technological, and biological levels with increasing sophistication and artificial psychopathic coordination arising from market conditions. We live in an technically, economically, and politically advanced State of Nature, and might still makes right in evolution.</p><p><a class="tc-tiddlylink-external" href="https://gavart.ist/h0p3" rel="noopener noreferrer" target="_blank">h0p3</a><br></br><a class="tc-tiddlylink-external" href="https://gavart.ist/h0p3" rel="noopener noreferrer" target="_blank">ℍ𝕪𝕡𝕖𝕣𝔱𝔢𝔵𝔱</a> 
</p></blockquote><h2 class="">This collection for piano is a follow-up album to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Humoresques%20For%20The%20Verge%20Of%20Sanities">Humoresques For The Verge Of Sanities</a>. It is also employing the same methodologies used in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Der%20Verstiegenheit%20Quartett">Der Verstiegenheit Quartett</a>, utilizing <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Neural%20Audio%20Synthesis">RAVE</a>, and the accompanying training of a unique audio dataset.</h2><h2 class="">It is an experiment using <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Machine%20Learning">machine learning</a> to probe the edges of a stylistic informed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Piano">over ten hours</a> of my original recorded works for piano. The resulting reflections of the model's output becomes a diffuse and ghostly after-image of the creative process imbued in my playing, merely suggesting  the instrument's timbre through the latent space of the cobweb-cloud of its internals, manifesting as sonic potentialities … drones and clusters, complete departures, and gaussian phrases.</h2><h2 class=""><a class="tc-tiddlylink-external" href="https://colab.research.google.com/drive/1dAGd3RRjbHKwqEkicloVd9V8e2ZTup_H#scrollTo=D-R6mlKcDbVb" rel="noopener noreferrer" target="_blank">Google Colab Notebook</a></h2><hr></hr><h2 class=""><strong>Humoresques For Autoregressive Compute</strong></h2><h3 class="">Music composed by Realtime Audio Variational autoEncoder trained on 10.41 hours of recordings of original music for piano by Gavin Gamboa</h3><ul><li>Total parameters: 30,504,528</li><li>Model size: 144.85 MB</li><li>Model Type: WasserteinScriptedRAVE</li><li>Model Encoder: Wassertein</li></ul><h2 class="">Recorded and Mixed using the <a class="tc-tiddlylink-external" href="https://github.com/acids-ircam/nn_tilde" rel="noopener noreferrer" target="_blank">nn~ externals</a> for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a> provided by <a class="tc-tiddlylink-external" href="https://www.ircam.fr/" rel="noopener noreferrer" target="_blank">IRCAM</a><br></br>Los Angeles, California, United States<br></br>2024</h2><h2 class="">Artwork<br></br>Midjourney v2 prompt: <em>"a pianist with 827 fingers performing in a trance"</em></h2><p><img src="./files/img/misc/google-colab-rave-v2-piano.jpg"></img><br></br><sup>A view of the Google Colab training notebook</sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Ridendo dicere severum</title><link href="https://gavart.ist/#Ridendo%20dicere%20severum"></link><link href="https://gavart.ist/static/Ridendo%2520dicere%2520severum.html" rel="alternative" type="text/html"></link><id>b636b644-db6c-3766-9fb6-94725ef1bc63</id><updated>2026-02-24T18:33:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p>Wherever there is a ruin, there is hope for treasure<br></br>why do you not seek the treasure of God in the wasted heart ?<br></br><br></br><em>Diwan-i kabir ya Kulliyat-I Shams</em> (1247)<br></br><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rumi">Rumi</a>
</p></blockquote><blockquote class="tc-quote digitalGarden"><p>There is absolutely nothing to be said for government by a plutocracy, for government by men very powerful in certain lines and gifted with the money touch, but with ideals which in their essence are merely those of so many glorified pawnbrokers.<br></br><em>Letter to Sir Edward Grey</em> (1913 September 15)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Theodore%20Roosevelt">Theodore Roosevelt</a>
</p></blockquote><blockquote class="tc-quote digitalGarden"><p>We have been endowed with a weak messianic power to which the past has a claim.<br></br><em>On The Concept of History</em> (1940)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Walter%20Benjamin">Walter Benjamin</a>
</p></blockquote><blockquote class="tc-quote digitalGarden"><p>A weak messianic power belongs to the living generation, those human beings who share this moment in time.<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Seeing%20%3C%E2%80%95%3E%20Making%3A%20Room%20for%20Thought">Seeing &lt;―&gt; Making: Room for Thought</a> (2024)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Susan%20Buck-Morss">Susan Buck-Morss</a>
</p></blockquote><h2 class="">Recorded and Mixed by<br></br>Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2022</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://www.artic.edu/artworks/60079/the-portal-of-saint-ursinus-at-bourges-rue-du-vieux-poirier" rel="noopener noreferrer" target="_blank">The Portal of Saint Ursinus at Bourges, rue du Vieux Poirier</a><br></br>1854</h2></div></content><author><name>undefined</name></author></entry><entry><title>Trichotomy</title><link href="https://gavart.ist/#Trichotomy"></link><link href="https://gavart.ist/static/Trichotomy.html" rel="alternative" type="text/html"></link><id>d97b8093-4563-19a2-830c-931d8bdb3073</id><updated>2026-02-24T18:33:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="row">
<div class="column"><h2 class=""><u>Violin</u><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maiani%20da%20Silva">Maiani da Silva</a></h2><h2 class=""><u>Piano</u><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></h2><h2 class="">Produced, Recorded and Mixed by<br></br><a class="tc-tiddlylink-external" href="https://lewispesacov.com" rel="noopener noreferrer" target="_blank">Lewis Pesacov</a></h2><h2 class="">Mixed at Ahata Sound<br></br>Los Angeles, California, United States</h2><h2 class="">Recording Date<br></br>2024 November 8<br></br>Los Angeles, California, United States</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://www.artic.edu/artworks/7998/wall-panel-toilette-of-venus" rel="noopener noreferrer" target="_blank">Wall Panel: Toilette of Venus</a><br></br>France<br></br>1700-1799</h2></div>
<div class="column"><h2 class="">Videography &amp; Edit<br></br>Louis Ng<br></br><a class="tc-tiddlylink-external" href="https://lensonproductions.com" rel="noopener noreferrer" target="_blank">Lenson Productions</a></h2><h2 class="">Recording Studio<br></br><a class="tc-tiddlylink-external" href="https://knobworld.com" rel="noopener noreferrer" target="_blank">Knobworld</a></h2><h2 class="">Typography<br></br><a class="tc-tiddlylink-external" href="https://velvetyne.fr" rel="noopener noreferrer" target="_blank">Velvetyne</a></h2><h2 class="">Presented by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tonestrukt%20Editions">Tonestrukt Editions</a></h2></div>
</div></p><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="235" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/ewgCo7rCN48?si=zTD_gto6m9XOiiRK" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Ferruccio Busoni ⎮ Sonatina</title><link href="https://gavart.ist/#Ferruccio%20Busoni%20%E2%8E%AE%20Sonatina"></link><link href="https://gavart.ist/static/Ferruccio%2520Busoni%2520%25E2%258E%25AE%2520Sonatina.html" rel="alternative" type="text/html"></link><id>d98b955d-86d1-7dd9-b6a8-529716a0d487</id><updated>2026-02-24T18:32:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">For the third issue of the Sonatina Series I focus on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatina%203%20ad%20usum%20infantis%20Madeline%20M.%2A%20Americanae">Sonatina 3 ad usum infantis Madeline M.* Americanae</a> by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ferruccio%20Busoni">Ferruccio Busoni</a>, a gentle, melodic and visionary work of deceptively rigorous and integrated construction, deriving all of its motivic elements and structure from the very first few bars, and alluding to his thinking on the course of new music as exemplified in his treatise <em>Absolute Melody</em> (1913). I detect in it his continuing fascination and admiration of Native American cultures as also explored in his <em>Indianisches Tagbuch</em>, and its reflections of America and childlike wonder abound in a stridently beautiful approach using free polyphony and techniques of augmentation, inversion, and variation. It is at once charming and disarming in its trajectory. Busoni wrote in 1916: </h2><blockquote class="tc-quote digitalGarden"><p>My heart... is in a state of adolescence again; shy and full of longing and lacking practical impact.
</p></blockquote><h2 class="">Thus we find the composer reveling and reacquainting himself with the freedom and exploratory mind of a beginner, using the sensibility of someone who at this time was already considered a great master and one of the leading figures of the avant-garde in Berlin.</h2><h2 class="">For more context surrounding Busoni's Sonatinas, I recommend <a class="tc-tiddlylink-external" href="https://www.jenislotchiver.com/files/moq-busoni-article-part-2.pdf" rel="noopener noreferrer" target="_blank">Jeni Slotchiver's 2015 essay</a></h2><h2 class="">Sonatina Series • 3<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ferruccio%20Busoni">Ferruccio Busoni</a> (1866-1924)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatina%203%20ad%20usum%20infantis%20Madeline%20M.%2A%20Americanae">Sonatina 3 ad usum infantis Madeline M.* Americanae</a><br></br>1916</h2><h2 class="">Gavin Gamboa, piano<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2024 February 17 </h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ted%20Nava">Ted Nava</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Fantasia e ricercare</title><link href="https://gavart.ist/#Fantasia%20e%20ricercare"></link><link href="https://gavart.ist/static/Fantasia%2520e%2520ricercare.html" rel="alternative" type="text/html"></link><id>93a333f6-e0c2-ba9c-a073-00fc69c790e3</id><updated>2026-02-24T18:32:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Fantasia e ricercare</em><br></br>improvisation for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Harpsichord">harpsichord</a> featuring fragments of the theme from<br></br><em>Music for the Funeral of Queen Mary</em> Z. 860<br></br>Henry Purcell<br></br>1695</h2><h2 class="">for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PROOF%20%C2%B7%20The%20Dark%20Night%20%C2%B7%20Cincinnati%20Symphony%20Orchestra">PROOF · The Dark Night</a> an evening of masquerade and symphonic macabre created by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks">Four Larks</a> for Cincinnati Symphony Orchestra with Matthias Pintscher</h2><h2 class="">Gavin Gamboa, harpsichord<br></br>Cincinnati Music Hall<br></br>Cincinnati, Ohio, United States<br></br>2024 October 16</h2><h2 class="">Live Recording Engineer<br></br>Mike Ingram</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://www.artic.edu/artworks/28146/alpine-scene" rel="noopener noreferrer" target="_blank">Alpine Scene (detail)</a><br></br>Gustave Doré<br></br>1865</h2></div></content><author><name>undefined</name></author></entry><entry><title>Like A Villain In Anisotropic Birefringence</title><link href="https://gavart.ist/#Like%20A%20Villain%20In%20Anisotropic%20Birefringence"></link><link href="https://gavart.ist/static/Like%2520A%2520Villain%2520In%2520Anisotropic%2520Birefringence.html" rel="alternative" type="text/html"></link><id>bea59a70-6131-957d-7cf5-daf545494a41</id><updated>2026-02-24T18:31:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>Like A Villain In Anisotropic Birefringence</em><br></br>three <button class="tc-btn-invisible tc-tiddlylink"><strong>live-code</strong></button> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Remix">remixes</a> of <a class="tc-tiddlylink-external" href="https://hollandandrews.com" rel="noopener noreferrer" target="_blank">Holland Andrews</a></h2><h2 class="">Birefringence is the phenomenon exhibited by certain materials in which an incident ray of light is split into two rays, called an ordinary ray and an extraordinary ray, which are plane-(linear) polarized in mutually orthogonal planes, or circular-polarized in opposite directions (left and right).</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anisotropic%20Birefringence">Anisotropic Birefringence</a> in the Cosmic Microwave Background Radiation is exactly the kind of subtle clue that could mean the cosmos has a hidden bias baked into its very fabric. The twist at the boundaries of magnitude express unseen dimensional fringe interactions.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2022</h2><h2 class="">Vocal Sample<br></br>Holland Andrews (Like A Villain)</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TidalCycles">TidalCycles</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio</a></h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://artic.edu/artworks/25183/ono-falls-on-the-kisokaid%C5%8D-road-kisokaid%C5%8D-ono-no-bakufu-from-the-series-tour-of-the-waterfalls-in-various-provinces-shokoku-taki-meguri" rel="noopener noreferrer" target="_blank">Kisokaidō Ono no bakufu (detail)</a><br></br>Katsushika Hokusai<br></br>1833</h2></div></content><author><name>undefined</name></author></entry><entry><title>Conlon Nancarrow ⎮ Sonatina</title><link href="https://gavart.ist/#Conlon%20Nancarrow%20%E2%8E%AE%20Sonatina"></link><link href="https://gavart.ist/static/Conlon%2520Nancarrow%2520%25E2%258E%25AE%2520Sonatina.html" rel="alternative" type="text/html"></link><id>c82ba837-40e6-5a1e-8a5a-2ff8b1a584b2</id><updated>2026-02-24T18:27:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote"><h2 class=""><em>So for me, that's a subjective judgement … Nancarrow is simply the most important composer in our time. He made something completely original, totally different from what others did, on the highest level, on the level of Johann Sebastian Bach, or late Beethoven.</em></h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gy%C3%B6rgy%20Ligeti">György Ligeti</a></h2></blockquote><h2 class="">Conlon Nancarrow’s Sonatina was the first piece composed while he was in exile in Mexico City. Its difficultly and complexity for human players eventually led him towards devising methods for creating the music for mechanical player piano, which would be able to realize his ideas while simultaneously expanding his sonic appetites and imaginative clarity.</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Conlon%20Nancarrow">Conlon Nancarrow</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatina%20For%20Piano">Sonatina For Piano</a><br></br>Mexico City, Mexico<br></br>1941</h2><h2 class="">Performed by Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2024 March 22</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ted%20Nava">Ted Nava</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Dia Art Foundation Film Program • David Lamelas · The Machine</title><link href="https://gavart.ist/#Dia%20Art%20Foundation%20Film%20Program%20%E2%80%A2%20David%20Lamelas%20%C2%B7%20The%20Machine"></link><link href="https://gavart.ist/static/Dia%2520Art%2520Foundation%2520Film%2520Program%2520%25E2%2580%25A2%2520David%2520Lamelas%2520%25C2%25B7%2520The%2520Machine.html" rel="alternative" type="text/html"></link><id>4612ada9-f085-c525-1468-3996c15a8955</id><updated>2026-02-24T09:52:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="noExternalLinkIcon" href="https://www.diaart.org/program/calendar/opening-reception-for-david-lamelas-the-machine-members-event-03042026" target="_blank"><img src="./files/img/film-score/lamelas-film-program-2026.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>1416 m³ at Dia Art Foundation NYC</title><link href="https://gavart.ist/#1416%20m%C2%B3%20at%20Dia%20Art%20Foundation%20NYC"></link><link href="https://gavart.ist/static/1416%2520m%25C2%25B3%2520at%2520Dia%2520Art%2520Foundation%2520NYC.html" rel="alternative" type="text/html"></link><id>60a95dbf-1158-6bac-eba1-3681564cd527</id><updated>2026-02-24T05:42:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/enTuA4szlHA?si=6yfn-eC8yLIqe5vp" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Mummers Parade</title><link href="https://gavart.ist/#Mummers%20Parade"></link><link href="https://gavart.ist/static/Mummers%2520Parade.html" rel="alternative" type="text/html"></link><id>3c92cba3-666f-eebd-4830-10623aa8e896</id><updated>2026-02-23T08:38:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>See also: <a class="tc-tiddlylink-external" href="https://www.andreamodica.com/january-1/nb21n4gnyoa2ma3mlilftbz47dp18k" rel="noopener noreferrer" target="_blank">Photo Series</a> by Andrea Modica</p></div></content><author><name>undefined</name></author></entry><entry><title>41.387446381461174, 2.175334255106512</title><link href="https://gavart.ist/#41.387446381461174%2C%202.175334255106512"></link><link href="https://gavart.ist/static/41.387446381461174%252C%25202.175334255106512.html" rel="alternative" type="text/html"></link><id>6f0c734a-a338-147f-6f22-8e400bf4c20c</id><updated>2026-02-22T09:10:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Grigory Sokolov • Palau de la Música Catalana</title><link href="https://gavart.ist/#Grigory%20Sokolov%20%E2%80%A2%20Palau%20de%20la%20M%C3%BAsica%20Catalana"></link><link href="https://gavart.ist/static/Grigory%2520Sokolov%2520%25E2%2580%25A2%2520Palau%2520de%2520la%2520M%25C3%25BAsica%2520Catalana.html" rel="alternative" type="text/html"></link><id>a2f22778-4bd9-f85a-6aa5-1eb9e757d9fe</id><updated>2026-02-22T09:10:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/sokolov-bcn-20260219.jpg" width="500"></img></p><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ben%20Olsen">Ben Olsen</a>, Juan Carlos</p></div></content><author><name>undefined</name></author></entry><entry><title>Anna Schubert &amp; Milena Gligić · Mason Home Concerts</title><link href="https://gavart.ist/#Anna%20Schubert%20%26%20Milena%20Gligi%C4%87%20%C2%B7%20Mason%20Home%20Concerts"></link><link href="https://gavart.ist/static/Anna%2520Schubert%2520%2526%2520Milena%2520Gligi%25C4%2587%2520%25C2%25B7%2520Mason%2520Home%2520Concerts.html" rel="alternative" type="text/html"></link><id>481d7a3a-ec01-c35e-0c53-f7be913954c5</id><updated>2026-02-22T08:45:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/anna-schubert-milena-gligic-2026.JPG" width="500"></img></p><p>Attended with Aelfie</p></div></content><author><name>undefined</name></author></entry><entry><title>Exocapitalism · Economies with Absolutely No Limits</title><link href="https://gavart.ist/#Exocapitalism%20%C2%B7%20Economies%20with%20Absolutely%20No%20Limits"></link><link href="https://gavart.ist/static/Exocapitalism%2520%25C2%25B7%2520Economies%2520with%2520Absolutely%2520No%2520Limits.html" rel="alternative" type="text/html"></link><id>671bd567-49d9-31fa-660d-4badeea2e18d</id><updated>2026-02-22T08:44:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">It is indeed our proposition that capitalism, as exocapitalsim, is infinite, unbound, untethered, independent, totally unbothered with the human condition, completely preoccupied with its own obsessions. (13)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Like Salesforce, AWS's product is a sprawling and dedifferentiated splat of slippery nodules or cysts, from which entire product and engineering departments spin agile epics around flowcharting into spidery, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vil%C3%A9m%20Flusser">Flusserian</a> 'technical images.' (33)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">At first glance, it's easy to make the mistake of plotting a graph where the 'bigger' the thing is, the more agency it has, the more capabilities it has with respect to any of its smaller-scale components. A society can move a body, can steal an organ, can penetrate your cells, etc … the idle peripheries of a massive ocean's activity have monumental impacts on a shoreline marine ecosystem, let alone an individual tidepool's self-contained little world—<strong>the bigger thing always <em>seems</em> comprehensively more powerful than the sum of its parts.</strong></p><p class="digitalGarden">But this isn't entirely true. As we've recently learned, a virus, simply by virtue of its mechanical construction, can devastate a society. A protein with some aberrant characteristics can fundamentally alter the trajectory of a body's development. A particular chemical configuration can seed a crystalline structure that can lead to a resource to which all of known life is contingent. This counternarrative can feel super destabilizing—how can something so small, operating with such apparent randomnss, tear apart such big, detailed, thick, heavy, stuff? (18)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The 21<sup>st</sup> century acquisition has less to do with the construction of monopolies by saturating an addressable market, and more to do with a <strong>drive toward dedifferentiation</strong>. Nick Srnicek calls the endpoint of this drive the "convergence thesis: the tendency for different platform companies to become increasingly similar as they encroach upon the same market and data areas." But while this convergence is interesting and noteworthy, it is the differential convergence that commands further attention—the almost universal dedifferentiation of the platform economy through scope creep, M&amp;A, private equity playbooks, incomplete competition, and brand ambiguity. While Srnicek is correct that corporations tend to resemble each other at scale, they also tend to resemble… well… everything else?</p><p class="digitalGarden">Srnicek's perspective on competition and M&amp;A departs from ours a bit.In his more recent work, and in the consensus of many of his contemporaries, he seems to suggest that the platform economy has died, or at least it has ossified into consolidated megascale multinational corporations with monopolistic characteristics and dramatic organizational shifts toward centralization. This is the <em>de facto</em> leftist orientation against so-called 'big tech', in which a celebritized executive class is understood to have directed, univocal control over both the generalized marketplace and the genertalized media through which social bodies are created and regulated. </p><p class="digitalGarden">We're not so sure. This perspective might overestimate the infrastructural integrity of these organizations and the clear univocity of their downstream impact. Despite the superficial characteristic, there exist such rich and chaotic interiorities to spaces like Alphabet that attributing concepts like hegemony or monopoly to these organizatiosn feels incorrect. certainly these companies own "the infrastructures of society," but as each company lays claim to the world, the ownership of a world by a world, a world bloated with autonomous vestigial organs, a world pastiched from defined and discrete subworlds, a world that bears world-scale complexity, feels tautological. As every engineer knows—software, mechanical, archtectural—every joint is also a brittleness. (31-32)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden"><strong>Lift</strong></p><ul class="digitalGarden"><li>Lift hollows out a cavity between material conditions and operational systems by wedging abstraction layers in between the two—a black hole of sufficient alienation such that there exists less and less connection between material labor and managerial metaprocess. (60)<ul><li>Airline Industry<ul><li>Frequent Flyer miles are considered 'ancillary revenue', which is a funny name for such a large, insanely-high margin revenue stream ($3-4 billion annually). </li><li>Instead of purchasing fuel directly, airelines purchase derivatives on oil: contracts with abstract associated premiums for a future purchase of oil at a future date for an abstract associated price … By engaging in this practice airlines outsource the risk and volatility of a material resource inti the financial domain, working less with the actual procurement of fuel and more with the management of price fluctuations through instruments that do not involve the physical commodity itself. As a result, the airline is not really managing a fuel supply, but rather managing a set of abstract price exposures. And—as always—a consequent cottage industry compounds this abstraction layer, from strictly financial institutions and brokers to consultatory services to the very masters of hedging practices: insurance providers.</li></ul></li></ul></li><li>The higher you go up the lift axis, the more velocity you find—here we can trot out the oft-cited statistic of the derivatives marketplace exceeding the size of the aggregated stock marketplace by one order of magnitude, and the stock marketplace exceeding the commodities marketplace by one order of magnitude. The summits of lifted capitalism are crazily far away from commodity relations. These summits capitalize on the noise of commodity relations, abstracted fully into a literally random storm of volatility. (60-62)</li><li>The phenomenon of lift doesn't just operate at the tweaked-out hyperscales of BlackRock or Bain Capital (or Nestlé or Huawei), but rather can be felt across the full spectrum of economic activity, including the humdrum cringe-verse of sole proprietorships. (69)</li></ul><p class="digitalGarden">The gradual lift of producers into influencers is described by Sophie Bishop as "influencer creep," with the scope of work therein transforming from the strict production of content to work directly on the surface of "the means of establishing and maintaining visibility" within a social media marketplace. (69)</p><p class="digitalGarden"><strong>Abitrage</strong></p><ul class="digitalGarden"><li>… it is the derivatives and futures marketplace, particularly as exercised at full blast in microtime, that the simple axiom of capitalism makes itself extraordinarily clear: <strong>time (hold), and the frictions and latencies through which time is accessed, is quite literally money.</strong></li><li>A fully-lifted marketplace unbinds from the the local pressure-systems of goods and services, it freewheelingly <em>constructs price</em> and therefore value and therefore capital in an unlimited capacity <em>out of nothing</em> but the relativistic tides of a hyperdimensional virtual ocean.</li></ul><p class="digitalGarden">(65-66)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">At the center of speculation is a confrontation with an intuition, with the psychic preperception of an outside that withdraws when it feels our gaze. Unease. And, in this sense, speculation became entangled with affect, and in turn, an aesthetic that sought to formalize that affect. A certain local fever pitch hit in the mid 2000s and early 2010s, when it felt like the entire artworld orgasmed with speculative aesthetics, where herds of gallery-goers huddled around <strong>things</strong> and <strong>materials</strong> whose autonomies as such rendered even the most benign object a source of endless discourse-production, where "in a cosmic reinvigoration of the ready-made, any object whatsoever, when supplemented with a faith in the subversive power of objectality as such, becomes not only art but also practical philosophy". (81)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">… capitalism is foremost legible as germinal code, as a kernel—a unique and autonomous inhuman mode of thought. It's productive to retcon a narrative of capitalism as always-been self-addressing algorithm, a benign but parasitic mechanism built into the problem of representation, a trapdoor hiding within virtualization, an alien mode of thought, an abstraction machine that reproduces through the interposition of friction within its own interior flows. From this point onward, we will foreground the term <strong>‘exocapitalism’</strong>, a homecoming for a self-replicating machine of unknown origin whose internal drives not only contradict but remain utterly ambivalent to the interests of its former dependencies (sun, earth, oil, human). The human's relationship to capitalism moves from generative to irrelevant. (87)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The crisis of legitimation (Habermas) emerges from the obviousness of the state's preferential bias towards the sustenance of capitalism at the expense of the interests of its population. Unrest follows, in principle—or, perhaps more in actuality, a manifest weirdness, The state, the project (in its many forms) nominally responsible for the infrastructure of human beings <em>at scale</em>, abandons its definitional project in order to sustain an economic object that is categorically oblivious to this responsibility. (96)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Tesco's supply chain oversight partner Intertek exemplifies the concept of the value-added node. Intertek provides quality assurance and certification exercises on behalf of other corporations. This value is abstract, as seen in the case of of VK Garment Factory, Intertek's function as an auditor has less to do with validating the quality and compliance of the supply chain in objective terms, but rather validating compliance as specified within the terms of the contracting company. In turn, the function of a corportation like Intertek (with the exception of more objective, certification standards) has less to do with quality control and more to do with intellectual ownership of the representation of quality control to upstream and sidestream third parties. (130)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">But it's called the last mile of blood and bones for a reason! The incoherent torture of regulating the non-stop flow of unspeakable gore, child pornography, and political hatespeech for the sake of a non-utility's alien preoccupation with velocity, whose urgency is validated by the inexistence of any public alternative, is as damaging to contract workers from Florida as it is to slaves from Kenya. The labor follows the path of least resistance all the way down to the only real expression of sovereignty we have. While high-profile lawsuits bring attention not only to the psychological harm associated with this work, but further "claims that Sama brought workers, who were often disadvataged, in from Kenya and other parts of Africa, allegedly under false pretenses, which amounted to human trafficking," this brutal contract continues (as do other contracts with similar providers like Teleperformance Philippines). (135)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Given the <strong>necessity</strong> of labor on the ground to human social reproduction—from food, to energy, to communications—you might imagine a commensurate helping of <strong>power</strong>. If the American  soybean industry lost its workforce, wouldn't it bring a multibillion dollar export business to its knees, seriously imperiling the supply chain for livestock feed, creating food shortages all around the world? If the content moderators at Sama and Teleperformance philippines and Genpact (etc…) all stopped doing their jobs, wouldn't Meta have to throttle its networks hard until another solution is discovered, losing the trust of the digital marketing industry, creating massive communications holes for people who depend on WhatsApp for their work, social lives, and critical communications? </p><p class="digitalGarden">Or would it? to exocapitalism, the sobean industry is a futures market whose very volatility not only constructs local value, but further enlivesn an entire cottage industry of soybean hedging professional servies. to exocapitalism, Meta has sufficiently hedged its content management risk with massive amounts of automation—in reality, the entire practice of human-in-the-loop content moderation is delivered only against the edge cases that most visibly trouble the frictionlessness Meta requires in order to commercially justify its delivery of commucations utilities to huamns. (135-136)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Empire moves slowly, inexorably, predictably, with prebuilt momentum serving as its own, only motivation. Empire is like a colossal, dim-witted, slow-moving slug, carving massive trenches into the earth as it trudges forward. Empire sustains milennia-old land grabs, resource claims, patterns of dehumanization and racialized violence so large and entrenched that thye accrete into a kind of topological feature in-built to the world itself. (139)</p></div></content><author><name>undefined</name></author></entry><entry><title>Utopia</title><link href="https://gavart.ist/#Utopia"></link><link href="https://gavart.ist/static/Utopia.html" rel="alternative" type="text/html"></link><id>5261f30a-90a8-f832-f616-ee61224ee40f</id><updated>2026-02-22T08:44:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Art Work • On The Creative Life</title><link href="https://gavart.ist/#Art%20Work%20%E2%80%A2%20On%20The%20Creative%20Life"></link><link href="https://gavart.ist/static/Art%2520Work%2520%25E2%2580%25A2%2520On%2520The%2520Creative%2520Life.html" rel="alternative" type="text/html"></link><id>65e08c63-1367-927a-a329-0d641efc1e51</id><updated>2026-02-22T08:38:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img>
</p><p class="digitalGarden">Viewed through the lens of the collective fantasy to which we seem unswervingly dedicated, the fabled "artist's life" is Olympian in its lofty disdain for the ordinary and the tedious. (90)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">I'd go so far as to say that even when you stop working altogether, for long stretches, there is ultimate good in it for your creative work, whatever it is. Inactivity isnt failure; like an athlete, your artistic muscles need time for recovery; repose is restorative. Paradoxically, not making art can teach you as much as making it, and if nothing else, it fills the reservoir of desire. (92)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Does it matter that you now know it can take countless tries to achieve art that appears so self-assured as to be inevitable, that does art's hard work but appears unfazed by the effort? Of course it doesn't: Get to work! Keep trying until you get it right. Trust what your eye and your hand and your gut are telling you. Think of your artist's vision as liquid intelligencem separate altogether from your solid-state brain; allow it to find its own level, to penetrate a psychic statum deep within you, permeate and carve its trace. Remember Rilke: Look to what is simple and seek solitude. Above all, make your work. Take your time. Make sure it's good. Then make a lot more of it. (221)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Another way to think about it is to situate creativity within the Platonic doctrine of recollection, which asserts that we do not "create" so much as provide the vehicle for the release of knowledge that came bundled with is at birth. In this scenario, the work exists within a universal reserve of latency, of inchoate and unformed possibility that awaits the artist's hand to be physically realized. We can only hope that what our work wants to say is worth the many sacrifices we make for it to do so. (225)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">If, as I believe, art holds universal truths, then ideally it should be able to illuminate and give access to our collective human experience, reaching across gulfs of difference, racial and historical.</p><p class="digitalGarden">(246)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Naively, I still subscribe to the belief that the ultimate purpose of art is beauty, within which, in synoptic bedazzlementm we discover a collective harmony and grace. (260)</p></div></content><author><name>undefined</name></author></entry><entry><title>Flannery O'Connor</title><link href="https://gavart.ist/#Flannery%20O'Connor"></link><link href="https://gavart.ist/static/Flannery%2520O'Connor.html" rel="alternative" type="text/html"></link><id>85a40d5f-a84d-5990-000f-b45f277b109c</id><updated>2026-02-21T09:55:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Be properly scared, and go on doing what you have to do.</title><link href="https://gavart.ist/#Be%20properly%20scared%2C%20and%20go%20on%20doing%20what%20you%20have%20to%20do."></link><link href="https://gavart.ist/static/Be%2520properly%2520scared%252C%2520and%2520go%2520on%2520doing%2520what%2520you%2520have%2520to%2520do..html" rel="alternative" type="text/html"></link><id>7647263e-61a4-41cf-1635-e42dcccf8468</id><updated>2026-02-21T09:55:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Grawlix</title><link href="https://gavart.ist/#Grawlix"></link><link href="https://gavart.ist/static/Grawlix.html" rel="alternative" type="text/html"></link><id>914f87b2-8710-4ff5-b7ec-e83dd7f20499</id><updated>2026-02-17T15:43:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The use of !*#% symbols to replace profanity.</p></div></content><author><name>undefined</name></author></entry><entry><title>Sally Mann</title><link href="https://gavart.ist/#Sally%20Mann"></link><link href="https://gavart.ist/static/Sally%2520Mann.html" rel="alternative" type="text/html"></link><id>004f9425-0cf6-3744-5099-a68efe0b2162</id><updated>2026-02-17T15:30:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Your letters should reflect the steep bell curve of sublimnity and mundality that is your life.</title><link href="https://gavart.ist/#Your%20letters%20should%20reflect%20the%20steep%20bell%20curve%20of%20sublimnity%20and%20mundality%20that%20is%20your%20life."></link><link href="https://gavart.ist/static/Your%2520letters%2520should%2520reflect%2520the%2520steep%2520bell%2520curve%2520of%2520sublimnity%2520and%2520mundality%2520that%2520is%2520your%2520life..html" rel="alternative" type="text/html"></link><id>8e7dff9d-954d-ac3b-9776-7cfb032a0f75</id><updated>2026-02-17T15:30:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Gustav Stickley</title><link href="https://gavart.ist/#Gustav%20Stickley"></link><link href="https://gavart.ist/static/Gustav%2520Stickley.html" rel="alternative" type="text/html"></link><id>b96d063f-91d0-28fe-bced-c3f5c0536942</id><updated>2026-02-17T09:55:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Quadratic Voting</title><link href="https://gavart.ist/#Quadratic%20Voting"></link><link href="https://gavart.ist/static/Quadratic%2520Voting.html" rel="alternative" type="text/html"></link><id>e7537704-1e0f-6d9f-6247-0e71f9cf4386</id><updated>2026-02-17T09:52:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Quadratic Voting (QV) is a redesigned voting method reflecting the intensity of people’s preferences in collective decisions. It greatly mitigates tyranny-of-the-majority and factional control problems.</h2><h3 class="">Voters receive budgets of “voice credits,” which they allocate to different questions on the ballot to signal the intensity of their conviction. Their voice credits convert to “counted votes” according to their square root. So if you put one voice credit on an issue, that is one vote; four credits are two votes; nine credits are three votes, and so on.</h3><p>Quadratic Voting gives everyone equal power to direct the attention of the group toward an issue they care about, but forces them to do so at the cost of their influence on other issues. In other words, individuals have a fixed amount of “voice”—and shouting about an issue will leave one with significantly less voice to use on other issues.</p><p><img src="./files/img/concepts/qv-diagram.png" width="600"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Plurality (multiplicity)</title><link href="https://gavart.ist/#Plurality%20(multiplicity)"></link><link href="https://gavart.ist/static/Plurality%2520(multiplicity).html" rel="alternative" type="text/html"></link><id>80b33f95-91a0-7fa3-5ae9-e93338003e71</id><updated>2026-02-17T07:36:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h1 class="">The existence of multiple self-aware entities inside one physical brain.</h1><h2 class="">Plurality is the state of having multiple headmates collectively sharing a single body. A group of headmates is called a system. Plural experiences are extremely diverse. Systems may be spiritual in nature or secular, median or partitionary, small systems or ones with thousands of headmates.</h2><h3 class="">Headmates are generally assumed to have their own unique personality. They often have their own names, pronouns, goals, and preferences.</h3><p>Referring to the system they belong to is often done using plural pronouns like we, us, them, and they, although it is best to ask. They may want to be seen as an individual, a part of a whole, an accompaniment to the core or host, or any other state of selfhood. Plurality comes in many forms. </p><ul><li><a class="tc-tiddlylink-external" href="https://morethanone.info/" rel="noopener noreferrer" target="_blank">https://morethanone.info/</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Plurality</title><link href="https://gavart.ist/#Plurality"></link><link href="https://gavart.ist/static/Plurality.html" rel="alternative" type="text/html"></link><id>bfc4a159-4f39-2c9d-b684-5a1bb14fab05</id><updated>2026-02-17T07:32:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>RadicalxChange</title><link href="https://gavart.ist/#RadicalxChange"></link><link href="https://gavart.ist/static/RadicalxChange.html" rel="alternative" type="text/html"></link><id>91bb1b6e-b2a5-56fa-5dfb-ba1de4335135</id><updated>2026-02-17T07:27:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Democracy</title><link href="https://gavart.ist/#Democracy"></link><link href="https://gavart.ist/static/Democracy.html" rel="alternative" type="text/html"></link><id>2bc69488-9ab1-798e-9a7f-88740d8f81b7</id><updated>2026-02-17T07:27:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Phoebe Isobel</title><link href="https://gavart.ist/#Phoebe%20Isobel"></link><link href="https://gavart.ist/static/Phoebe%2520Isobel.html" rel="alternative" type="text/html"></link><id>a252fcd7-28e9-8da9-ada2-bcbf1cb5f680</id><updated>2026-02-17T06:37:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li>Dreams/waking life co-mingling. Catepillar in her mouth … a bat hanging upside down injured … a butterfly … syncronicities … </li><li><a class="tc-tiddlylink-external" href="https://www.youtube.com/watch?v=X994TjNjRkw" rel="noopener noreferrer" target="_blank">ML Buch - Can't Get Over You With You</a></li></ul><p>Inteckningsvägen 70 12931<br></br>Hägersten<br></br>Stockholm</p></div></content><author><name>undefined</name></author></entry><entry><title>Ian Simon</title><link href="https://gavart.ist/#Ian%20Simon"></link><link href="https://gavart.ist/static/Ian%2520Simon.html" rel="alternative" type="text/html"></link><id>68ba5694-54b0-a6a1-e079-50c0a3185e7f</id><updated>2026-02-17T06:22:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li>Belongs to to Leo Baeck Temple</li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Notes on Plurality Philosophy</title><link href="https://gavart.ist/#Notes%20on%20Plurality%20Philosophy"></link><link href="https://gavart.ist/static/Notes%2520on%2520Plurality%2520Philosophy.html" rel="alternative" type="text/html"></link><id>dc85241c-29b5-cfe0-e7aa-015d28f545f6</id><updated>2026-02-16T13:21:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Notes from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Plurality%20philosophy%20in%20an%20incredibly%20oversized%20nutshell">Plurality philosophy in an incredibly oversized nutshell</a>, which discusses the book</p><ul><li><a class="tc-tiddlylink-external" href="https://www.plurality.net/" rel="noopener noreferrer" target="_blank">Plurality: the future of collaborative technology and democracy</a> <ul><li><a class="tc-tiddlylink-external" href="https://www.glenweyl.com/" rel="noopener noreferrer" target="_blank">Glen Weyl</a> &amp; <a class="tc-tiddlylink-external" href="https://www.projectspeaker.com/audrey-tang/" rel="noopener noreferrer" target="_blank">Audrey Tang</a></li><li> <a class="tc-tiddlylink-external" href="https://github.com/pluralitybook/" rel="noopener noreferrer" target="_blank">collaborative book project repo</a></li></ul></li></ul><blockquote class="tc-quote"><h2 class="">I understand pluralism to be a social philosophy that recognizes and fosters the flourishing of and cooperation between a diversity of sociocultural groups/systems.</h2></blockquote><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vitalik%20Buterin">Vitalik</a> expands on this into four concise bullet points:</p><ul><li><strong>Glen Weyl's megapolitics</strong><ul><li>The idea that the world today is stuck in a narrow corridor between conflict and centralization, and we need a new and upgraded form of highly performant digital democracy as an alternative to both.</li></ul></li><li><strong>Plurality the vibe</strong> <ul><li>The general theme that (i) we should understand the world through a patchwork combination of models, and not try to stretch any single model to beyond its natural applicability, and (ii) we should take connections between individuals really seriously, and work to expand and strengthen healthy connections.</li></ul></li><li><strong>Plurality-inspired mechanism design</strong><ul><li>There is a set of principled mathematical techniques by which you can design social, political and economic mechanisms that treat not just individuals, but also connections between individuals as a first-class object. Doing this can create newer forms of markets and democracy that solve common problems in markets and democracy today, particularly around bridging tribal divides and polarization.</li></ul></li><li><strong>Audrey Tang's practical experience in Taiwan</strong> <ul><li>Audrey has already incorporated a lot of Plurality-aligned ideas while serving as Digital Minister in Taiwan, and this is a starting point that can be learned from and built upon.</li></ul></li></ul><p>The Plurality view on how to improve the world starts with a view on how to describe the world as it is.</p><h1 class="">Political ideologies of the 21st century</h1><p><svg content="&amp;lt;mxfile host=&amp;quot;embed.diagrams.net&amp;quot; agent=&amp;quot;Mozilla/5.0 (Macintosh; Intel Mac OS X 10.15; rv:147.0) Gecko/20100101 Firefox/147.0&amp;quot; version=&amp;quot;29.4.0&amp;quot;&amp;gt;&amp;lt;diagram id=&amp;quot;Wv9UWmHGM-ll_5x2eIrF&amp;quot; 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height="310px" version="1.1" viewBox="0 0 590 310" width="590px" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" style="background:transparent;background-color:transparent;color-scheme:light dark;"><defs></defs><g><g data-cell-id="0"><g data-cell-id="1"><g data-cell-id="2"><g transform="translate(0.5,0.5)"><path d="M 183.13 0 L 378.13 130 L 183.13 260 Z" fill="#ffffff" pointer-events="all" stroke="#000000" stroke-miterlimit="10" transform="rotate(-90,280.63,130)" style="fill:light-dark(#ffffff, var(--ge-dark-color, #121212));stroke:light-dark(rgb(0, 0, 0), rgb(255, 255, 255));"></path></g></g><g data-cell-id="3"><g transform="translate(0.5,0.5)"><rect fill="none" height="30" pointer-events="all" stroke="none" width="168.75" x="196.26" y="0"></rect></g><g><g><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div 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style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:178px;height:1px;padding-top:235px;margin-left:411px;"><div style="box-sizing:border-box;font-size:0;text-align:center;color:#000000;"><div style="display:inline-block;font-size:12px;font-family:Helvetica;color:light-dark(#000000, #ffffff);line-height:1.2;pointer-events:all;white-space:normal;word-wrap:normal;"><b>Digital Democracy / Pluralism</b></div></div></div></foreignObject><text fill="light-dark(#000000, #ffffff)" font-family="Helvetica" font-size="12px" text-anchor="middle" x="500" y="239">Digital Democracy / Pluralism</text></switch></g></g></g><g data-cell-id="5"><g transform="translate(0.5,0.5)"><rect fill="none" height="30" pointer-events="all" stroke="none" width="150" x="0" y="220"></rect></g><g><g><switch><foreignObject height="100%" pointer-events="none" 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pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:188px;height:1px;padding-top:100px;margin-left:366px;"><div style="box-sizing:border-box;font-size:0;text-align:center;color:#000000;"><div style="display:inline-block;font-size:12px;font-family:Helvetica;color:light-dark(#000000, #ffffff);line-height:1.2;pointer-events:all;white-space:normal;word-wrap:normal;"><div>Shared central values</div><div><br></br></div>• economic equality<br></br>• large-scale cooperation<br></br>• mitigation of existential risk</div></div></div></foreignObject><text fill="light-dark(#000000, #ffffff)" font-family="Helvetica" font-size="12px" text-anchor="middle" x="460" y="104">Shared central values...</text></switch></g></g></g><g data-cell-id="7"><g transform="translate(0.5,0.5)"><rect fill="none" height="80" pointer-events="all" stroke="none" width="250" x="155.63" y="230"></rect></g><g><g><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:248px;height:1px;padding-top:270px;margin-left:157px;"><div style="box-sizing:border-box;font-size:0;text-align:center;color:#000000;"><div style="display:inline-block;font-size:12px;font-family:Helvetica;color:light-dark(#000000, #ffffff);line-height:1.2;pointer-events:all;white-space:normal;word-wrap:normal;"><div>Shared central values</div><div><br></br></div><div>• decentralization<br></br>• rights/freedom</div></div></div></div></foreignObject><text fill="light-dark(#000000, #ffffff)" font-family="Helvetica" font-size="12px" text-anchor="middle" x="281" y="274">Shared central values...</text></switch></g></g></g><g data-cell-id="8"><g transform="translate(0.5,0.5)"><rect fill="none" height="80" pointer-events="all" stroke="none" width="180" x="30" y="60"></rect></g><g><g><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:178px;height:1px;padding-top:100px;margin-left:31px;"><div style="box-sizing:border-box;font-size:0;text-align:center;color:#000000;"><div style="display:inline-block;font-size:12px;font-family:Helvetica;color:light-dark(#000000, #ffffff);line-height:1.2;pointer-events:all;white-space:normal;word-wrap:normal;">Shared central values<div><br></br></div>• universalism<br></br>• economic efficiency/growth<br></br>• meritocracy</div></div></div></foreignObject><text fill="light-dark(#000000, #ffffff)" font-family="Helvetica" font-size="12px" text-anchor="middle" x="120" y="104">Shared central values...</text></switch></g></g></g></g></g></g><switch><g requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility"></g><a href="https://www.drawio.com/doc/faq/svg-export-text-problems" target="_blank" transform="translate(0,-5)"><text font-size="10px" text-anchor="middle" x="50%" y="100%">Text is not SVG - cannot display</text></a></switch></svg></p><p>Glen sees Plurality as being uniquely able to simultaneously avoid three failure modes: </p><ul><li>Libertarianism <ul><li><strong>coordination failure leading to conflict</strong> </li></ul></li><li>Technocracy <ul><li><strong>centralization and authoritarianism</strong></li></ul></li><li>Old-world Democracy<ul><li><strong>stagnation</strong> <ul><li>causing it to lose competitiveness against Libertarianism and Technocracy</li></ul></li></ul></li></ul><p>Glen sees Plurality as an under-explored alternative which it is his project to flesh out as an idea, and Audrey's project to bring to life, first in Taiwan then elsewhere.</p><h1 class="">What are some specific technologies that the Plurality vision advocates?</h1><h2 class="">Identity</h2><ul><li>Intersectional social identity<ul><li>Using the entire set of a person's actions and interactions to serve the underlying goals of identity systems, like determining the degree of membership in communities and degree of trustworthiness of a person.</li></ul></li></ul><h2 class="">Plural Money and Property</h2><ul><li>The underlying goal is to have a combination of local mechanisms that are deliberately kept local, and global mechanisms to enable very-large-scale cooperation.</li><li>Socially aware global markets offer much greater prospect for Plurality than a global government.</li></ul><h2 class="">Voting</h2><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Quadratic%20Voting">Quadratic Voting</a><ul><li>Deals with the problem of allowing voters to express different strength of preferences but while avoiding failure modes where the most extreme or well-resourced voice dominates decision-making.</li></ul></li><li>Glen and Audrey argue for designing voting mechanisms with a principle of <strong>degressive proportionality</strong>.<ul><li>Treat uncorrelated signals additively, but give N correlated signals only √n votes.</li></ul></li></ul><h2 class="">Conversations</h2><ul><li><a class="tc-tiddlylink-external" href="https://pol.is/home" rel="noopener noreferrer" target="_blank">Polis</a></li><li>Twitter Community Notes</li></ul><blockquote class="tc-quote"><p>The end goal is to try to create large-scale discussion platforms that are not designed to maximize metrics like "engagement", but are instead intentionally optimized around surfacing points of consensus between different groups. Live and let live, but also identify and take advantage of every possible opportunity to cooperate.
</p></blockquote><h2 class="">Brain-to-brain communication and Virtual Reality</h2><ul><li>Post-symbolic communication</li><li>Immersive shared-reality</li></ul><p>The argument is that sensory immersion is uniquely powerful in its ability to convey certain kinds of information that we would otherwise have a hard time getting.</p></div></content><author><name>undefined</name></author></entry><entry><title>Plurality philosophy in an incredibly oversized nutshell</title><link href="https://gavart.ist/#Plurality%20philosophy%20in%20an%20incredibly%20oversized%20nutshell"></link><link href="https://gavart.ist/static/Plurality%2520philosophy%2520in%2520an%2520incredibly%2520oversized%2520nutshell.html" rel="alternative" type="text/html"></link><id>85ddaaeb-6a51-963d-16d8-5cfbefe02214</id><updated>2026-02-16T11:12:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jeffery Epstein's redemption from Bear Stearns High-Grade Structure Credit Strategies Enhanced Leverage fund</title><link href="https://gavart.ist/#Jeffery%20Epstein's%20redemption%20from%20Bear%20Stearns%20High-Grade%20Structure%20Credit%20Strategies%20Enhanced%20Leverage%20fund"></link><link href="https://gavart.ist/static/Jeffery%2520Epstein's%2520redemption%2520from%2520Bear%2520Stearns%2520High-Grade%2520Structure%2520Credit%2520Strategies%2520Enhanced%2520Leverage%2520fund.html" rel="alternative" type="text/html"></link><id>64029cd1-9a4d-151f-e6ce-8479400b3b93</id><updated>2026-02-16T10:52:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Speculation. Wild if true. <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Jeffrey_Epstein#Liquid_Funding_and_the_Bear_Stearns_explosion_(2000%E2%80%932008)" rel="noopener noreferrer" target="_blank">Source</a></p><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">A wild plot twist I was not aware of until today: JE's redemption from Bear Stearns High-Grade Structure Credit Strategies Enhanced Leverage fund (real heads know this one) due to his impending arrest might have, uh, actually been the proximal cause of the GFC? <a href="https://t.co/s4iOHm4w8M">pic.twitter.com/s4iOHm4w8M</a></p>— Quantіan (@quantian1) <a href="https://twitter.com/quantian1/status/1269750029381754890?ref_src=twsrc%5Etfw">June 7, 2020</a></blockquote> <script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>Individual Vinyl Mailers</title><link href="https://gavart.ist/#Individual%20Vinyl%20Mailers"></link><link href="https://gavart.ist/static/Individual%2520Vinyl%2520Mailers.html" rel="alternative" type="text/html"></link><id>59745ff3-d6e0-46a2-b419-9a9ba0a3c28d</id><updated>2026-02-16T08:52:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sense 4.0 : Stalker Live Score</title><link href="https://gavart.ist/#Sense%204.0%20%3A%20Stalker%20Live%20Score"></link><link href="https://gavart.ist/static/Sense%25204.0%2520%253A%2520Stalker%2520Live%2520Score.html" rel="alternative" type="text/html"></link><id>e4af51be-d542-9ed1-008c-143ea422cc20</id><updated>2026-02-15T19:56:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="800"></img><h2 class="">Russian filmmaker Andrei Tarkovsky's 1979 masterpiece <em>Stalker</em> is permutated through an AI-augmented process developed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a> in collaboration with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Aaron%20Lemke">Aaron Lemke</a>, and with new musical explorations by both <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">gavcloud</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a> re-enveloping the dream-logic and introverted psychology of the original film.</h2></div></content><author><name>undefined</name></author></entry><entry><title>46.515807174032105, 11.352090766960206</title><link href="https://gavart.ist/#46.515807174032105%2C%2011.352090766960206"></link><link href="https://gavart.ist/static/46.515807174032105%252C%252011.352090766960206.html" rel="alternative" type="text/html"></link><id>41205a6f-4584-2d66-a654-8cf3cf91a6bc</id><updated>2026-02-15T19:51:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Horn of Phantoms</title><link href="https://gavart.ist/#Horn%20of%20Phantoms"></link><link href="https://gavart.ist/static/Horn%2520of%2520Phantoms.html" rel="alternative" type="text/html"></link><id>e342ff7a-027c-2b8d-f674-167fb72dd921</id><updated>2026-02-15T19:35:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/horn-of-phantoms/score-cover.jpg" width="500"></img><br></br>Design by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Estevan%20Carlos%20Benson">Estevan Carlos Benson</a></p><h1 class=""><strong>Horn of Phantoms</strong> <em>a Music Drama in Seven Scenes</em><br></br>for seven singers, full orchestra, and electronics </h1><blockquote class="tc-quote"><h3 class=""><em>The biodiversity crisis, marked by the extinction of over a million life forms in the past three decades alone, has emerged as one of the central issues of our times.</em> </h3><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wade%20Davis">Wade Davis</a><br></br> 
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Wayfinders%20%C2%B7%20Why%20Ancient%20Wisdom%20Matters%20in%20the%20Modern%20World">The Wayfinders · Why Ancient Wisdom Matters in the Modern World</a> (2009)
</p></blockquote><h2 class="">The Rhino's horn is one of the most valuable substances in the world commanding <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rhino%20horn%20now%20more%20valuable%20than%20gold%2C%20diamonds%20and%20cocaine%2C%20at%20%2460K%20a%20pound">a higher price than gold, heroin, diamonds, and cocaine in illicit markets</a>. In <em>Horn of Phantoms</em>, an opera divided into seven scenes, we are confronted with those who are implicated in the fate of the Rhinoceros. The Rhino's predicament is that while silent and deemed worthless in life, it is extraordinarily valuable and 'outspoken' in its death, by virtue of the value placed onto its horn. The Horn, which is given a voice in magical-realistic terms in the unfolding stage work, is a catalyzing factor in the fate of the animal and the many human lives entwined in its journey across international borders and cultural traditions, as if it were an autonomous entity driven by its own internal market logic and motivations.</h2><h2 class="">The nefarious routes of these supply and demand networks tend, ultimately and catastrophically, toward the totalizing and irreversible extinction of one of Earth's great megafauna, and this tangible potential for extinction felt appropriate to be realized within the communicative grandeur of Opera as a medium.</h2><p><img src="./files/img/horn-of-phantoms/hop-greed-motif.jpeg" width="700"></img><br></br>
<sup>Greed motif first appears sung by The Entrepreneur in Scene IV</sup></p><h2 class="">Each of the character's livelihoods and <em>raison d'êtres</em> revolve around differing outcomes for The Horn: the three Anti-Poaching Women Rangers (inspired by groups such as The <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Akashinga%3A%20The%20armed%20women%20protecting%20Zimbabwe%27s%20elephants">Akashinga</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%E2%80%98Black%20Mamba%E2%80%99%20female%20rangers%20awarded%20for%20anti-poaching%20efforts">Black Mambas</a>); the Poacher; the Conservationist; the Entrepreneur; and the Horn itself as the seventh character. Each scene is a vignette revealing the economic situations which underlie the conflicting choices within the human constellation that surrounds the horn.</h2><h2 class="">Often in the libretto we learn the main preoccupations of the characters are around money: the Anti-Poaching Women Rangers describe how before they found their profession they lacked the money to send their children to school; the Poacher laments that his day will come once he is able to make a kill, and reap the benefit of pay equivalent to 10% of an average yearly salary in his region for a single horn sale; the Entrepreneur's excess of wealth affords him regular consumption of this luxury (in the form of a ground-up powder believed to carry <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Why%20Does%20a%20Rhino%20Horn%20Cost%20%24300%2C000%3F%20Because%20Vietnam%20Thinks%20It%20Cures%20Cancer%20and%20Hangovers">medicinal properties</a>); the Conservationist critiques the greed and avarice of such consumption. Money and value are at the heart of each of these exchanges, and the very subtext upon which the scenes are built.</h2><h2 class=""><em>Horn of Phantoms</em> utilizes musical gestures in a variety of ways to outline the interdependence of the characters and sceneographic elements. For example:</h2><ul><li><strong>Scene II : Daybreak</strong><ul><li>The scene opens in the key of B-flat, in which scale degree 1 is a black key on the keyboard, and resolves at the end of the scene into the key of B, where scale degree 1 is a white key.</li></ul></li><li><strong>Scene III : Sudan</strong><ul><li>The climax of this scene involves a full orchestral gesture about all of the tree of life, from heavy land mammals to the birds in the canopy.</li></ul></li><li><strong>Scene IV : The Conservationist &amp; The Entrepreneur</strong><ul><li>The Conservationist and The Entrepreneur exchange the same melodic material over the course of the scene, but the emotional content and motivations of their parts contrast heavily despite the mirrored musical structure.</li></ul></li><li><strong>Scene VI: The Horn's Aria</strong><ul><li>The Horn, played by a soprano singer, has several sections in the higher-end of their register, a suggestion of its high price once it becomes severed from its animal body.   </li></ul></li></ul><h2 class="">Overall it does not rely on a system of leitmotifs, but infrequently thematic elements do (re)appear across scenes, such as the Greed Motif.</h2><img src="./files/img/horn-of-phantoms/hop-scene-iii-sudan-excerpt.jpeg"></img><p><sup>Excerpt from Scene III: Sudan</sup></p><h2 class="">The largely finished score is intended to be staged, and it has many possible lives as a film, or as a conceptual stage piece alongside a sound recording.</h2><h2 class="">Next phases include establishing an LLC, assembling a creative team to finalize the libretto and dramaturgy, and forming an inclusive production company for performers and musicians to facilitate a sound recording of the early scenes. Once this is completed we will seek funding to stage the work in its entirety.</h2><h2 class="">Beyond heightening our awareness, <em>Horn of Phantoms</em> aims to raise money for the groups devoted to conservation and protection, channeling proceeds into donations to organizations and personnel who work to ensure the continued existence of rhino populations worldwide.</h2><p><center>
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" style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:Verdana;color:rgb(29, 53, 87);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;">The Colonial Roots of Conservation Movements</div></div></div></foreignObject><text fill="#1D3557" font-family="Verdana" font-size="12px" text-anchor="middle" x="100" y="154">The Colonial Roots of Conservatio...</text></switch></g><path d="M 193.63 20 L 100 20 L 100 113.63" fill="none" pointer-events="stroke" stroke="#457b9d" stroke-miterlimit="10"></path><path d="M 198.88 20 L 191.88 23.5 L 193.63 20 L 191.88 16.5 Z" fill="#457b9d" pointer-events="all" stroke="#457b9d" stroke-miterlimit="10"></path><path d="M 100 118.88 L 96.5 111.88 L 100 113.63 L 103.5 111.88 Z" fill="#457b9d" pointer-events="all" stroke="#457b9d" stroke-miterlimit="10"></path><rect fill="#a8dadc" height="40" pointer-events="all" rx="6" ry="6" stroke="#457b9d" width="200" x="200" y="0"></rect><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe flex-end;justify-content:unsafe center;width:198px;height:1px;padding-top:37px;margin-left:201px;"><div data-drawio-colors="color: #1D3557; " style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:Verdana;color:rgb(29, 53, 87);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;">Transnational Wildlife Crime</div></div></div></foreignObject><text fill="#1D3557" font-family="Verdana" font-size="12px" text-anchor="middle" x="300" y="37">Transnational Wildlife Crime</text></switch></g><path d="M 510 113.63 L 510 20 L 406.37 20" fill="none" pointer-events="stroke" stroke="#457b9d" stroke-miterlimit="10"></path><path d="M 510 118.88 L 506.5 111.88 L 510 113.63 L 513.5 111.88 Z" fill="#457b9d" pointer-events="all" stroke="#457b9d" stroke-miterlimit="10"></path><path d="M 401.12 20 L 408.12 16.5 L 406.37 20 L 408.12 23.5 Z" fill="#457b9d" pointer-events="all" stroke="#457b9d" stroke-miterlimit="10"></path><rect fill="#a8dadc" height="60" pointer-events="all" rx="9" ry="9" stroke="#457b9d" width="200" x="410" y="120"></rect><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:198px;height:1px;padding-top:150px;margin-left:411px;"><div data-drawio-colors="color: #1D3557; 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</center></p><p> </p><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#African%20Religions%20and%20Philosophies">African Religions and Philosophies</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Poached%20%C2%B7%20Inside%20The%20Dark%20World%20of%20Wildlife%20Trafficking">Poached · Inside The Dark World of Wildlife Trafficking</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rewilding%20The%20World">Rewilding The World</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Rhino%20Man%20and%20Other%20Uncommon%20Environmentalists">The Rhino Man and Other Uncommon Environmentalists</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20World%20of%20Animals%20%C2%B7%20A%20treasury%20of%20lore%2C%20legend%20and%20literature%20by%20great%20writers%20and%20naturalists%20from%20the%205th%20century%20B.C.%20to%20the%20present.">The World of Animals · A treasury of lore, legend and literature by great writers and naturalists from the 5th century B.C. to the present.</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mhudi">Mhudi</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Black%20Consciousness%20Reader">The Black Consciousness Reader</a></li></ul><p> </p><p><ul>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.bbc.com/news/world-68715164" target="_blank">Botswana threatens to send 20,000 elephants to Germany</a>
			<br></br>
			<sup>BBC News Article · 2024 April 3</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.cbsnews.com/news/wayne-lotter-murder-11-sentenced-to-death-2017-killing-anti-poaching-activist-tanzania/" target="_blank">11 people sentenced to death for 2017 murder of anti-poaching activist Wayne Lotter</a>
			<br></br>
			<sup>CBS News article · 2022</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.cam.ac.uk/stories/rhino-horns-have-shrunk-over-time" target="_blank">Photos suggest rhino horns have shrunk over past century, likely due to hunting</a>
			<br></br>
			<sup>University of Cambridge article · 2022</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.theguardian.com/environment/2021/sep/13/murders-environment-land-defenders-record-high" target="_blank">Murders of environment and land defenders hit record high</a>
			<br></br>
			<sup>The Guardian article · 2021</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.newzimbabwe.com/seven-chinese-rhino-poaching-suspects-to-finally-stand-trial/" target="_blank">Seven Chinese rhino poaching suspects to finally stand trial</a>
			<br></br>
			<sup>New Zimbabwe article · 2019</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.bbc.com/news/av/world-africa-44074292" target="_blank">Akashinga: The armed women protecting Zimbabwe's elephants</a>
			<br></br>
			<sup>BBC News article · 2018</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.savetherhino.org/our-work/bringing-experts-together/working-with-dogs-to-protect-wildlife/" target="_blank">Working with dogs to protect wildlife</a>
			<br></br>
			<sup>Save The Rhino article · 2018</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.africanparks.org/newsroom/press-release/rhino-poaching-sentence" target="_blank">18-Year Sentence Handed Down to Rhino Poacher by Malawian Court</a>
			<br></br>
			<sup>African Parks Press Release · 2017</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.telegraph.co.uk/news/2017/04/09/rare-one-horned-rhino-killed-poachers-national-park/" target="_blank">Rare one-horned rhino killed by poachers at national park</a>
			<br></br>
			<sup>The Telegraph article · 2017</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.latimes.com/world/africa/la-fg-global-conservationist-killing-20170818-story.html" target="_blank">The murder of a beloved anti-poaching crusader steels the resolve of fellow conservationists</a>
			<br></br>
			<sup>Los Angeles Times article · 2017</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://ensia.com/videos/watch-two-convicted-poachers-explain-killed-endangered-rhino-nepal/" target="_blank">Watch: Two convicted poachers explain why they killed an endangered rhino in Nepal</a>
			<br></br>
			<sup>University of Minnesota’s Institute on the Environment (Ensia) article · 2017</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.abc.net.au/news/2016-03-24/project-moving-rhinoceros-to-australia-to-stop-extinction/7273828" target="_blank">Australian Rhino Project moving rhinoceros from Africa to protect against poaching</a>
			<br></br>
			<sup>ABC (Austrailian Broadcasting Corporation) News article · 2016</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.theguardian.com/environment/2016/mar/09/record-number-of-african-rhinos-killed-in-2015" target="_blank">Record number of African rhinos killed in 2015</a>
			<br></br>
			<sup>The Guardian article · 2016</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.independent.co.uk/climate-change/news/elephants-ivory-rhino-horn-poachers-born-free-foundation-trade-south-africa-zimbabwe-namibia-a7167751.html" target="_blank">Rhinos' survival 'hangs in balance' due to legalised animal parts trade</a>
			<br></br>
			<sup>Independent article · 2016</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.pbs.org/newshour/world/black-mamba-female-rangers-awarded-anti-poaching-efforts" target="_blank">‘Black Mamba’ female rangers awarded for anti-poaching efforts</a>
			<br></br>
			<sup>PBS News Hour article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.theguardian.com/world/2015/apr/29/congo-brazzaville-president-burns-elephant-ivory-poachers" target="_blank">Congo-Brazzaville president burns five tonnes of ivory in fight against poachers</a>
			<br></br>
			<sup>The Guardian article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.businessinsider.com/this-detailed-map-shows-how-terrorists-use-elephant-ivory-to-fund-violence-2015-9?utm_source=reddit.com" target="_blank">National Geographic put a GPS tracker inside a fake ivory tusk—here’s where it went</a>
			<br></br>
			<sup>Business Insider news · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.theguardian.com/environment/2015/may/16/nepals-rhino-numbers-rise-steadily-thanks-to-anti-poaching-measures" target="_blank">Nepal's rhino numbers rise steadily thanks to anti-poaching measures</a>
			<br></br>
			<sup>The Guardian article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.dailymaverick.co.za/article/2018-05-11-on-the-trail-of-asias-shifting-rhino-horn-market/" target="_blank">On the trail of Asia’s shifting rhino-horn market</a>
			<br></br>
			<sup>Daily Maverick article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.usnews.com/news/world/articles/2015/11/08/armed-groups-target-elephants-in-congo-park" target="_blank">Rangers in Congo's Garamba park fight, die in skirmishes with heavily armed elephant poachers.</a>
			<br></br>
			<sup>US News article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.washingtontimes.com/news/2015/may/17/rhino-horn-considered-cure-all-and-aphrodesiac-now/" target="_blank">Rhino horn now more valuable than gold, diamonds and cocaine, at $60K a pound</a>
			<br></br>
			<sup>The Washington Times article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://phys.org/news/2015-08-rhino-horns-elephant-tusks-seized.html" target="_blank">Rhino horns, elephant tusks seized in Vietnam</a>
			<br></br>
			<sup>Phys.org article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.cnn.com/2015/08/15/africa/south-africa-wounded-rhino/index.html" target="_blank">Rhino mutilated by poachers treated with elephant skin in South Africa</a>
			<br></br>
			<sup>CNN article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.vice.com/en/article/wnjm7q/the-internet-of-rhinos-is-here" target="_blank">Rhinos With Spy Cams in Their Horns Will Catch Poachers in the Act</a>
			<br></br>
			<sup>Vice article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.newvision.co.ug/news/1320038/uwa-ivory-scandal-sucks-army-police" target="_blank">Ugandan Wildlife Authority scandal sucks in army, police</a>
			<br></br>
			<sup>New Vision Uganda article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://apnews.com/article/africa-health-zimbabwe-arrests-journalists-8d6719a1a3d84e7f90dfbf5536267266" target="_blank">Zimbabwean journalists arrested for elephant poaching report</a>
			<br></br>
			<sup>AP News article · 2015</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.theguardian.com/world/2014/dec/11/rhino-horn-trafficking-out-of-control" target="_blank">Rhino horn trafficking surging out of control, say campaigners</a>
			<br></br>
			<sup>The Guardian article · 2014</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.theatlantic.com/business/archive/2013/05/why-does-a-rhino-horn-cost-300-000-because-vietnam-thinks-it-cures-cancer-and-hangovers/275881/" target="_blank">Why Does a Rhino Horn Cost $300,000? Because Vietnam Thinks It Cures Cancer and Hangovers</a>
			<br></br>
			<sup>The Atlantic article · 2013</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.savetherhino.org/thorny-issues/shoot-to-kill/" target="_blank">Shoot to kill?</a>
			<br></br>
			<sup>Save The Rhino article · 2012</sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink-external" href="https://www.iol.co.za/news/south-africa/convicted-rhino-poachers-share-their-story-415457" target="_blank">Convicted rhino poachers share their story</a>
			<br></br>
			<sup>Independent Online South Africa article · 2008</sup>
		</li>
	
</ul></p><p> </p><ul><li><a class="tc-tiddlylink-external" href="https://51degreesltd.com/51-evolution/" rel="noopener noreferrer" target="_blank">51 Degrees</a></li><li><a class="tc-tiddlylink-external" href="https://www.forrangers.com/home" rel="noopener noreferrer" target="_blank">For Rangers</a></li><li><a class="tc-tiddlylink-external" href="https://thingreenline.org.au/" rel="noopener noreferrer" target="_blank">Thin Green Line</a></li></ul><p><main class="grid">
		
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href="https://gavart.ist/#K%C3%A1ryyn"></link><link href="https://gavart.ist/static/K%25C3%25A1ryyn.html" rel="alternative" type="text/html"></link><id>3ac046b5-a42c-81c6-1a4d-62a137d947ec</id><updated>2026-02-15T07:48:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class="">Reading Recommendations</h3><ul><li><a class="tc-tiddlylink-external" href="https://www.goodreads.com/book/show/219319489-the-river-is-waiting" rel="noopener noreferrer" target="_blank">The River is Waiting • Wally Lamb</a></li><li><a class="tc-tiddlylink-external" href="https://www.goodreads.com/book/show/34912895-the-great-alone" rel="noopener noreferrer" target="_blank">The Great Alone by Kristin Hannah</a></li><li><a class="tc-tiddlylink-external" href="https://www.goodreads.com/book/show/199798179-the-ministry-of-time" rel="noopener noreferrer" target="_blank">The Ministry of Time</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>E. 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The result is unmistakably Durand, earning him the title of "your favorite singer's favorite singer." — <a class="tc-tiddlylink-external" href="https://durandbernarr.com/about" rel="noopener noreferrer" target="_blank">durandbernarr.com/about</a></h2></blockquote><h2 class="">Assembled and Mixed by Gavin Gamboa<br></br>Los Angeles, California, United States<br></br>2022-2024 </h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#orc%CE%BB">orcλ</a> (Leveled)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise">Renoise</a> (Footprints)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a> (Wanderlust)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio</a> (Vacancy)</h2><h2 class="">Hardware<br></br> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Modular%20Synthesizer">ADDAC</a> (Mango Butter) </h2><p><div class="video-container">
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Harberger Taxes</title><link href="https://gavart.ist/#Harberger%20Taxes"></link><link href="https://gavart.ist/static/Harberger%2520Taxes.html" rel="alternative" type="text/html"></link><id>daa5853b-3037-c182-096d-40ec7ea25dad</id><updated>2026-02-14T12:03:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote"><p>So-called "intellectual property" (ie. copyrights and patents) is one of the most elite-controlled forms of "property" around, and one of the forms of government regulation most harmful to dynamism. On the other hand, many are concerned that removing intellectual property entirely would overly harm the incentive to innovate and make artistic works. To strike a balance, I propose a happy medium: we keep copyrights and patents, but put Harberger taxes on them.</p><p>This would work as follows. For a copyright or patent to be valid, whoever owns it must publicly register a value, which we will call that copyright or patent's "exclusivity price". They must then pay 2% of the exclusivity price annually in tax (they can change the exclusivity price at any time). Anyone can pay the owner the exclusivity price, and get an unlimited right to also use (and if they wish sub-license, including to the entire world) that copyright or patent. The original owner would retain the right to use in all cases; others can gain permission to use either by getting the original owner's permission, or by paying the owner the exclusivity price.</p><p>This accomplishes two goals. First, it fixes defaults: if someone has no interest in making money off of keeping an invention or work exclusive, it sets the default so that it's publicly available for anyone. Second, it leads to more permissionlessness, and less exclusion, on the margin, by putting a price on exclusion. The revenues from this tax could go into a citizen's dividend, or they could go into a quadratic funding pool that supports non-profit science and art.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vitalik%20Buterin">Vitalik Buterin</a> • <a class="tc-tiddlylink-external" href="https://vitalik.eth.limo/general/2024/04/01/dc.html" rel="noopener noreferrer" target="_blank">Degen communism: the only correct political ideology </a>
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Written by a woman poet in 4th century China called <strong>Su Hui (蘇蕙)</strong>, she was a child genius who had reportedly mastered Chinese characters by age 3. When she was 21 years old and heartbroken by her husband who left her for another woman, she decided to encode her feelings in a structure so intricate, so beautiful, so intellectually staggering that it still baffles scholars to this day. Known as the <strong>Xuanji Tu (璇璣圖)</strong>—the <strong>"Star Gauge"</strong> or <strong>"Map of the Armillary Sphere"</strong>—it's a 29 by 29 grid of 841 characters that can produce over 4,000 different poems.</p><p>Read it forward. Read it backward. Read it horizontally, vertically, diagonally. Read it spiraling outward from the center. Read it in circles around the outer edge. Each path through the grid produces a different poem—all of them coherent, all of them beautiful, all of them rhyming, all of them expressing variations on the same themes of longing, betrayal, regret, and undying love.</p><img src="./files/img/concepts/G77jMnEaEAANPaN.jpg"></img><p>The outer ring of 112 characters forms a single circular poem - believed to be both the first and longest of its kind ever written. The interior grid produces 2,848 different four-line poems of seven characters each. In addition, there are hundreds of other smaller and longer poems, depending on the reading method.</p><p>At the center a single character she left implied but unwritten: 心 (xin) - "heart." Later copyists would add it explicitly, but in Su Hui's original the meaning was even more beautiful: 4,000 poems, all orbiting the space where her heart used to be.</p><p>Take for instance the outer red grid of the Star Gauge. Starting from the top right corner and reading down, you get this seven-character quatrain:</p><blockquote class="tc-quote"><p>仁智懷德聖虞唐，<br></br>
貞志篤終誓穹蒼，<br></br>
欽所感想妄淫荒，<br></br>
心憂增慕懷慘傷。<br></br>
</p></blockquote><p>In pinyin, it is:</p><blockquote class="tc-quote"><p>Rén zhì huái dé shèng yú táng,<br></br>
zhēnzhì dǔ zhōng shì qióng cāng,<br></br>
qīn suǒ gǎnxiǎng wàng yín huāng,<br></br>
xīn yōu zēng mù huái cǎn shāng.<br></br>
</p></blockquote><p>Notice how it rhymes? táng / cāng / huāng / shāng</p><p>The rough translation in English is: </p><blockquote class="tc-quote"><p><em>The benevolent and wise cherish virtue, like the sage-kings Yao and Shun, With steadfast will I swear to the heavens above, What I revere and feel—how could it be wanton or dissolute? My heart's sorrow grows, longing brings only grief.</em>
</p></blockquote><p>Now read it from the bottom to the top and you get this entirely different seven-character quatrain:</p><blockquote class="tc-quote"><p>傷慘懷慕增憂心<br></br> 
荒淫妄想感所欽，<br></br> 
蒼穹誓終篤志貞，<br></br> 
唐虞聖德懷智仁。<br></br>
</p></blockquote><p>The pinyin:</p><blockquote class="tc-quote"><p>Shāng cǎn huái mù zēng yōu xīn,<br></br>
huāngyín wàngxiǎng gǎn suǒ qīn,<br></br>
cāngqióng shì zhōng dǔzhì zhēn,<br></br>
táng yúshèngdé huái zhì rén.<br></br>
</p></blockquote><p>It rhymes too: xīn and qīn, zhēn and rén</p><p>And the meaning is just as beautiful and coherent:</p><blockquote class="tc-quote"><p><em>Grief and sorrow, longing fills my worried heart, Wanton and dissolute fantasies - is that what you revere? I swear to the heavens my constancy is true, May we embody the sage-kings' virtue, wisdom, and benevolence.</em>
</p></blockquote><p>That's just 2 poems out of the over 4,000 you can construct from the Xuanji Tu!</p><img src="./files/img/concepts/G77pcBCboAEw-xz.png"></img><p>At the very center of the grid, the 8 red characters wrapped around the central heart, she "signed" her poem with a hidden message:</p><p>詩圖璇玑，始平蘇氏。 "The poem-picture of the Armillary Sphere, by Su of Shiping."</p><p>Or reversed:
蘇氏詩圖，璇玑始平。 "Su's poem-picture - the Armillary Sphere begins in peace."</p><p>Many scholars, and even emperors, throughout Chinese history have been completely obsessed by Su Hui's puzzle. </p><p>For instance, in the Ming dynasty, a scholar named Kang Wanmin (康萬民) <a class="tc-tiddlylink-external" href="http://kangshiw.com/contents/461/2635.html" rel="noopener noreferrer" target="_blank">devoted his entire life to the poems</a>, ending up documenting twelve different reading methods - forward, backward, diagonal, radiating, corner-to-corner, spiraling - and extracting 4,206 poems. His book on the subject ("Reading Methods for the Xuanji Tu Poems", 璇璣圖詩讀法) runs to hundreds of pages.</p><p>Empress Wu Zetian herself, the legendary woman emperor of the Tang dynasty, wrote a <a class="tc-tiddlylink-external" href="https://baike.baidu.com/item/%E7%BB%87%E9%94%A6%E5%9B%9E%E6%96%87%E8%AE%B0/22727125" rel="noopener noreferrer" target="_blank">preface</a> to the Xuanji Tu around 692 CE.</p><p>Incredibly, there's even far more complexity to the Xuanji Tu than just the poems: </p><ul><li>The name 璇玑 (Xuanji) - Armillary Sphere - is astronomical in meaning and the way the poems can be read mirrors the way celestial bodies orbit around a fixed center. It's a model of the heavens.</li><li>Her original work, with the characters woven on silk brocade, was in five colors (red, black, blue/green, purple, and yellow) which correspond to the Five Elements (五行) - the foundational Chinese philosophical system that explains how the universe operates. So it's also a model of the entire cosmic order according to ancient Chinese philosophy.</li><li>It's also of course deeply mathematical with this 29 x 29 perfect square grid, with sub-squares, lines and rectangles, and a structure which allows for symmetrical reading patterns in all directions</li><li>Last but not least, the content of the poems themselves contain multiple registers. On top of expressing her personal grief and longing for her husband, it's also filled with accusations against the concubine (Zhao Yangtai) he left her for, reflections on politics (with many references to sage-kings) and philosophical reflections. </li></ul><p>So the Star Gauge is simultaneously:</p><ul><li>A love letter (expressing personal longing)</li><li>A legal brief (arguing her case against her rival)</li><li>A cosmological model (structured like the heavens)</li><li>A Five Element diagram (encoding the fundamental structure of the world according to ancient Chinese philosophy)</li><li>A mathematical construction with perfect symmetry and precision</li></ul><p>And yet, for all this complexity, we should not forget this was all ultimately in service of the simplest human message imaginable: a 21-year-old woman asking the love of her life "come back to me".</p><p>Her husband did, eventually. According to what empress Wu Zetian herself wrote in her preface to the Xuanji Tu, when he received Su's brocade he was so "moved by its supreme beauty" that he sent away his concubine and returned to his wife. As the story goes, they lived together until old age.</p><p>The heart at the center was filled after all.</p></div></content><author><name>undefined</name></author></entry><entry><title>40.74780171527491,  -74.00634191768833</title><link href="https://gavart.ist/#40.74780171527491%2C%20%20-74.00634191768833"></link><link href="https://gavart.ist/static/40.74780171527491%252C%2520%2520-74.00634191768833.html" rel="alternative" type="text/html"></link><id>e9ff1661-49ee-738c-ecd6-598c37af9dc2</id><updated>2026-02-12T14:00:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Carbon Colonialsim</title><link href="https://gavart.ist/#Carbon%20Colonialsim"></link><link href="https://gavart.ist/static/Carbon%2520Colonialsim.html" rel="alternative" type="text/html"></link><id>05a7928b-11ad-d5d6-e6b3-bd6408c70218</id><updated>2026-02-12T13:25:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Carbon Colonialsm is environmentalism as dispossession, according to the Indigenous Environmental Network.</h2><blockquote class="tc-quote"><p>… And in case we need an unsubtle metaphor, the Guaraquecaba Climate Action Project in Brazil, bankrolled by Chevron, General Motors and American Electric Power, locks the Guarani people away from their own forest, and to do so it employs armed guards called 'Força Verde'—<em>Green Force</em>.</p><p>China Miéville, Introduction to Verso edition of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Utopia">Utopia</a>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>György Ligeti</title><link href="https://gavart.ist/#Gy%C3%B6rgy%20Ligeti"></link><link href="https://gavart.ist/static/Gy%25C3%25B6rgy%2520Ligeti.html" rel="alternative" type="text/html"></link><id>a2e86092-1ea1-8f01-14e8-20f9729f4b64</id><updated>2026-02-09T21:34:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Domino</title><link href="https://gavart.ist/#Domino"></link><link href="https://gavart.ist/static/Domino.html" rel="alternative" type="text/html"></link><id>97fae39b-fd56-c35b-6c86-0aa468c258e0</id><updated>2026-02-09T10:00:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>How Enceladus feeds water vapor to Saturn's outermost and widest ring, the E-Ring</title><link href="https://gavart.ist/#How%20Enceladus%20feeds%20water%20vapor%20to%20Saturn's%20outermost%20and%20widest%20ring%2C%20the%20E-Ring"></link><link href="https://gavart.ist/static/How%2520Enceladus%2520feeds%2520water%2520vapor%2520to%2520Saturn's%2520outermost%2520and%2520widest%2520ring%252C%2520the%2520E-Ring.html" rel="alternative" type="text/html"></link><id>4f44aa5b-c067-faca-faba-e9ad9757f78b</id><updated>2026-02-07T12:58:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A water vapor plume from Saturn’s moon Enceladus spanning more than 6,000 miles – nearly the distance from Los Angeles, California to Buenos Aires, Argentina – has been detected by researchers using NASA’s James Webb Space Telescope.</p><p>Enceladus, an ocean world about four percent the size of Earth, just 313 miles across, is one of the most exciting scientific targets in our solar system in the search for life beyond Earth. Sandwiched between the moon’s icy outer crust and its rocky core is a global reservoir of salty water. Geyser-like volcanos spew jets of ice particles, water vapor, and organic chemicals out of crevices in the moon’s surface informally called ‘tiger stripes.’</p><p>“When I was looking at the data, at first, I was thinking I had to be wrong. It was just so shocking to detect a water plume more than 20 times the size of the moon,” said lead author Geronimo Villanueva of NASA’s Goddard Space Flight Center in Greenbelt, Maryland.</p><p><iframe frameborder="0" loading="lazy" scrolling="yes" src="https://stsci-opo.org/STScI-01H0R8B1X8R9465B9PRJX36F6Y.mp4" style="width:1px;min-width:100%;height:700px;"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>Bookcase</title><link href="https://gavart.ist/#Bookcase"></link><link href="https://gavart.ist/static/Bookcase.html" rel="alternative" type="text/html"></link><id>00c6840c-3986-ff76-ab03-a95530fc9fa2</id><updated>2026-02-07T12:24:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>Reading log + Notes</code></p><div class="discography-types-categories"><p>🗂️  <code class="hideOnMobile">Sort</code>

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</p></div><p></p></div></content><author><name>undefined</name></author></entry><entry><title>Meditations</title><link href="https://gavart.ist/#Meditations"></link><link href="https://gavart.ist/static/Meditations.html" rel="alternative" type="text/html"></link><id>6d1fc5d3-86ad-0def-b8c1-19ae229f4980</id><updated>2026-02-07T12:01:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Yokishop</title><link href="https://gavart.ist/#Yokishop"></link><link href="https://gavart.ist/static/Yokishop.html" rel="alternative" type="text/html"></link><id>05908e01-7b4f-4ade-3351-c8ebaa4ee551</id><updated>2026-02-07T11:46:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Thomas More</title><link href="https://gavart.ist/#Thomas%20More"></link><link href="https://gavart.ist/static/Thomas%2520More.html" rel="alternative" type="text/html"></link><id>a4f49df8-e6ad-1206-f6bc-e20c2ce4ad1b</id><updated>2026-02-07T09:30:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>We are 'together, you and I, a crowd'; that is my feeling, and I think I could live happily with you in any wilderness.</title><link href="https://gavart.ist/#We%20are%20'together%2C%20you%20and%20I%2C%20a%20crowd'%3B%20that%20is%20my%20feeling%2C%20and%20I%20think%20I%20could%20live%20happily%20with%20you%20in%20any%20wilderness."></link><link href="https://gavart.ist/static/We%2520are%2520'together%252C%2520you%2520and%2520I%252C%2520a%2520crowd'%253B%2520that%2520is%2520my%2520feeling%252C%2520and%2520I%2520think%2520I%2520could%2520live%2520happily%2520with%2520you%2520in%2520any%2520wilderness..html" rel="alternative" type="text/html"></link><id>d28284f9-910f-f90a-2403-91ecf1465f20</id><updated>2026-02-07T09:28:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Farewell, dearest Erasmus, dear as the apple of my eye.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Thomas%20More">Thomas More</a> to Erasmus, October 31, 1516</p></div></content><author><name>undefined</name></author></entry><entry><title>Dronage Terminal</title><link href="https://gavart.ist/#Dronage%20Terminal"></link><link href="https://gavart.ist/static/Dronage%2520Terminal.html" rel="alternative" type="text/html"></link><id>02be3330-b107-2587-5bfe-d278ae432965</id><updated>2026-02-06T12:15:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Miles Davis</title><link href="https://gavart.ist/#Miles%20Davis"></link><link href="https://gavart.ist/static/Miles%2520Davis.html" rel="alternative" type="text/html"></link><id>aece832d-b461-334b-df98-062b9ddc1ab7</id><updated>2026-02-06T09:22:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Great Financial Crisis</title><link href="https://gavart.ist/#The%20Great%20Financial%20Crisis"></link><link href="https://gavart.ist/static/The%2520Great%2520Financial%2520Crisis.html" rel="alternative" type="text/html"></link><id>8acefdd9-ccc2-0517-d014-9ddc0d6f8e3a</id><updated>2026-02-05T09:48:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p>See also <a class="tc-tiddlylink tc-tiddlylink-missing" href="#JE%27s%20redemption%20from%20Bear%20Stearns%20High-Grade%20Structure%20Credit%20Strategies%20Enhanced%20Leverage%20fund">JE's redemption from Bear Stearns High-Grade Structure Credit Strategies Enhanced Leverage fund</a></p></div></content><author><name>undefined</name></author></entry><entry><title>2092 Presents … Funk Radio featuring gavcloud</title><link href="https://gavart.ist/#2092%20Presents%20%E2%80%A6%20Funk%20Radio%20featuring%20gavcloud"></link><link href="https://gavart.ist/static/2092%2520Presents%2520%25E2%2580%25A6%2520Funk%2520Radio%2520featuring%2520gavcloud.html" rel="alternative" type="text/html"></link><id>9ed5b512-c004-fb52-bde1-1607ef4ddf4c</id><updated>2026-02-04T12:31:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">2092 presents…Funk Radio-Hosted by <a class="tc-tiddlylink-external" href="https://www.instagram.com/dinnerplatesofperfection/" rel="noopener noreferrer" target="_blank">Grandfather</a>. Funk Radio is an exploration of various genres and the records that influence and shape the vast medium of music. As we examine an artist/genre and inevitably the producers, we are reminded of the rich culture that has proceeded us; and the importance of acknowledgement and transformation in practice.</h2><h2 class="">Featuring Nadah El Shazly, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maylee%20Todd">Maylee Todd</a>, Dr. Lonnie Smith, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a>, Bahamadia, Ted Hearne, and more.</h2><p><strong>2092 Presents … Funk Radio featuring <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavcloud">gavcloud</a></strong><br></br>
1:59:32   ↓ <a href="./files/audio/dublab_2092_presents_Funk_Radio-20260117.mp3">MP3</a> 286.9 MB</p><p><div style="max-width:700px;">
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</div></p><p><img src="./files/img/album-art/dj-mix/2092-kristopher-grandfather-FunkRadio-1000x1000.jpg" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>SPATAI</title><link href="https://gavart.ist/#SPATAI"></link><link href="https://gavart.ist/static/SPATAI.html" rel="alternative" type="text/html"></link><id>434e2db3-d793-a6ce-67c6-e034853befc4</id><updated>2026-02-03T22:34:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Serial: 9FB293453CEB21DB<br></br>Token code: BnTy<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Kevin Peter He • Invite</title><link href="https://gavart.ist/#Kevin%20Peter%20He%20%E2%80%A2%20Invite"></link><link href="https://gavart.ist/static/Kevin%2520Peter%2520He%2520%25E2%2580%25A2%2520Invite.html" rel="alternative" type="text/html"></link><id>199378f3-a091-d7a9-d262-4a5d0f5e5c3d</id><updated>2026-02-03T07:16:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ture • Invite</title><link href="https://gavart.ist/#Ture%20%E2%80%A2%20Invite"></link><link href="https://gavart.ist/static/Ture%2520%25E2%2580%25A2%2520Invite.html" rel="alternative" type="text/html"></link><id>e16660e8-7731-b404-576c-94c79babf44f</id><updated>2026-02-03T07:14:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Final Party Laskfar Vortok DJ Set • KCHUNG</title><link href="https://gavart.ist/#Final%20Party%20Laskfar%20Vortok%20DJ%20Set%20%E2%80%A2%20KCHUNG"></link><link href="https://gavart.ist/static/Final%2520Party%2520Laskfar%2520Vortok%2520DJ%2520Set%2520%25E2%2580%25A2%2520KCHUNG.html" rel="alternative" type="text/html"></link><id>6918b023-72f5-51dd-1504-b64850231911</id><updated>2026-02-02T17:32:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">guest mix for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Christopher%20Carley">dJ mONTY cANTSIN</a> Final Party <a class="tc-tiddlylink-external" href="https://www.kchungradio.org/" rel="noopener noreferrer" target="_blank">KCHUNG Radio</a> broadcast on 15 August 2024 live on 1630AM Los Angeles, California, United States. </h2><h2 class="">Featuring Rắn Cạp Đuôi, A. G. Cook, Lanark Artefax, Eighth Blackbird, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Terminal%2011">Terminal 11</a>, Sote, Thomas Adès and more.</h2><p><strong>Final Party <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laskfar%20Vortok">Laskfar Vortok</a> DJ Set • KCHUNG</strong><br></br>
1:02:05   ↓ <a href="./files/audio/kchungpublic-laskfar-vortok-DJ-SET-20240815.flac">FLAC</a> 736.5 MB   <a href="./files/audio/kchungpublic-laskfar-vortok-DJ-SET-20240815.mp3">MP3</a> 91.5 MB</p><p><div style="max-width:700px;">
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</div></p><p><img src="./files/img/misc/christopher-carley-collage.jpg" width="700"></img><br></br><sup>Collage by cr1tter</sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Maylee Todd</title><link href="https://gavart.ist/#Maylee%20Todd"></link><link href="https://gavart.ist/static/Maylee%2520Todd.html" rel="alternative" type="text/html"></link><id>c519a649-62ec-e84d-13cc-573c2f542ae5</id><updated>2026-02-02T17:22:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Common bacteria discovered in the eye linked to cognitive decline</title><link href="https://gavart.ist/#Common%20bacteria%20discovered%20in%20the%20eye%20linked%20to%20cognitive%20decline"></link><link href="https://gavart.ist/static/Common%2520bacteria%2520discovered%2520in%2520the%2520eye%2520linked%2520to%2520cognitive%2520decline.html" rel="alternative" type="text/html"></link><id>eacd145a-86c9-142c-a13f-3c42506e12cc</id><updated>2026-02-02T13:11:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kiki</title><link href="https://gavart.ist/#Kiki"></link><link href="https://gavart.ist/static/Kiki.html" rel="alternative" type="text/html"></link><id>d80a98a0-7b26-56ac-5aac-b5a02f85c14f</id><updated>2026-02-02T13:03:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>It takes a long time to sound like yourself</title><link href="https://gavart.ist/#It%20takes%20a%20long%20time%20to%20sound%20like%20yourself"></link><link href="https://gavart.ist/static/It%2520takes%2520a%2520long%2520time%2520to%2520sound%2520like%2520yourself.html" rel="alternative" type="text/html"></link><id>5bf6e8d0-0267-c6b0-64ba-dde6ed6c295f</id><updated>2026-02-01T19:56:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Non-Player Dynamics: Agency Fetish in Game-World</title><link href="https://gavart.ist/#Non-Player%20Dynamics%3A%20Agency%20Fetish%20in%20Game-World"></link><link href="https://gavart.ist/static/Non-Player%2520Dynamics%253A%2520Agency%2520Fetish%2520in%2520Game-World.html" rel="alternative" type="text/html"></link><id>eec31d6b-d52f-715e-f122-b6316e87d383</id><updated>2026-02-01T11:51:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><strong>Workshop Title</strong>: Non-Player Dynamics: Agency Fetish in Game-World<br></br><strong>Presenters</strong>: Roberto Alonso Trillo &amp; Marek Poliks<br></br><strong>Organization</strong>: <a class="tc-tiddlylink-external" href="https://www.foreignobjekt.com/post/roberto-alonso-trillo-marek-poliks-non-player-dynamics-agency-fetish-in-game-world" rel="noopener noreferrer" target="_blank">Foreign Objekt</a> <br></br><strong>Date</strong>: 2024 March 10</h3><ul><li><a class="tc-tiddlylink-external" href="https://www.urbandictionary.com/define.php?term=Junko%20posing" rel="noopener noreferrer" target="_blank">Junko posting</a></li><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/NEET" rel="noopener noreferrer" target="_blank">NEET</a></li><li><a class="tc-tiddlylink-external" href="https://knowyourmeme.com/memes/mulch-gang-for-life" rel="noopener noreferrer" target="_blank">Mulch Gang</a></li><li><a class="tc-tiddlylink-external" href="https://www.youtube.com/watch?v=0lm1xRxuGqc" rel="noopener noreferrer" target="_blank">Feb Elena Pilipets: Hashtagging, Duetting, Sound-Linking: On studying TikTok gestures</a></li><li><a class="tc-tiddlylink-external" href="https://www.versobooks.com/products/2749-the-revenge-of-the-real" rel="noopener noreferrer" target="_blank">Revenge of The Real</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Adversarial Interoperability</title><link href="https://gavart.ist/#Adversarial%20Interoperability"></link><link href="https://gavart.ist/static/Adversarial%2520Interoperability.html" rel="alternative" type="text/html"></link><id>677ee32b-8364-cdb4-3ae4-d2a051698ac9</id><updated>2026-02-01T11:44:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote"><p>“Interoperability” is the act of making a new product or service work with an existing product or service: modern civilization depends on the standards and practices that allow you to put any dish into a dishwasher or any USB charger into any car’s cigarette lighter.</p><h2 class="">But interoperability is just the ante. For a really competitive, innovative, dynamic marketplace, you need <strong>adversarial interoperability</strong>: that’s when you create a new product or service that plugs into the existing ones without the permission of the companies that make them. Think of third-party printer ink, alternative app stores, or independent repair shops that use compatible parts from rival manufacturers to fix your car or your phone or your tractor.</h2></blockquote><blockquote class="tc-quote"><p>But the current crop of Big Tech companies has secured laws, regulations, and court decisions that have dramatically restricted adversarial interoperability. From the flurry of absurd software patents that the US Patent and Trademark Office granted in the dark years between the first software patents and the <a class="tc-tiddlylink-external" href="https://www.eff.org/alice" rel="noopener noreferrer" target="_blank">Alice decision</a> to the growing use of "digital rights management" to create legal obligations to use the products you purchase in ways that benefit shareholders at your expense, Big Tech climbed the adversarial ladder and then pulled it up behind them.</p><h3 class="">That can and should change. As Big Tech grows ever more concentrated, <strong>restoring adversarial interoperability must be a piece of the solution to that concentration:</strong> making big companies smaller makes their mistakes less consequential, and it deprives them of the monopoly profits they rely on to lobby for rules that make competing with them even harder.</h3></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Vitamin D &amp; Omega-3 have a larger effect on depression than antidepressants</title><link href="https://gavart.ist/#Vitamin%20D%20%26%20Omega-3%20have%20a%20larger%20effect%20on%20depression%20than%20antidepressants"></link><link href="https://gavart.ist/static/Vitamin%2520D%2520%2526%2520Omega-3%2520have%2520a%2520larger%2520effect%2520on%2520depression%2520than%2520antidepressants.html" rel="alternative" type="text/html"></link><id>27ea8c24-5a96-7c21-66f4-45b860568d9d</id><updated>2026-02-01T11:29:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>OpenTrees.org</title><link href="https://gavart.ist/#OpenTrees.org"></link><link href="https://gavart.ist/static/OpenTrees.org.html" rel="alternative" type="text/html"></link><id>12e15b68-ed9e-9efb-acb2-b54f3e5fa341</id><updated>2026-02-01T10:14:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Forced Technology Transfer (FTT)</title><link href="https://gavart.ist/#Forced%20Technology%20Transfer%20(FTT)"></link><link href="https://gavart.ist/static/Forced%2520Technology%2520Transfer%2520(FTT).html" rel="alternative" type="text/html"></link><id>67e882d7-f416-b42d-e061-4b39afa1047b</id><updated>2026-01-31T14:30:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A forced technology transfer (FTT) occurs when a domestic government forces foreign businesses to share their tech in exchange for market access. The practice is common in China. When a company wants to enter the Chinese market, the Chinese government can compel the firm to share its technology with Chinese companies. It can require foreign companies to form joint ventures with local Chinese companies and reveal sensitive confidential data.</p><p>China's "Made in China 2025" strategy focuses on the nation's pursuit of intellectual property to transform the nation from an assembler of products for foreign firms to a developer and inventor of its own products.</p><p>The technology shared can include intellectual property such as software code, formulas, product research, development plans, architectural drawings, processes, procedures, and designs.</p></div></content><author><name>undefined</name></author></entry><entry><title>Diseconomies of scale</title><link href="https://gavart.ist/#Diseconomies%20of%20scale"></link><link href="https://gavart.ist/static/Diseconomies%2520of%2520scale.html" rel="alternative" type="text/html"></link><id>e08f61b4-09d6-1b42-2d03-20add3b8805a</id><updated>2026-01-31T14:29:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Mentioned in Vitalik Buterin's <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Balance%20of%20power">Balance of power</a>.</p></div></content><author><name>undefined</name></author></entry><entry><title>Dark Enlightenment / Neo-Reactionary Movement (NRx)</title><link href="https://gavart.ist/#Dark%20Enlightenment%20%2F%20Neo-Reactionary%20Movement%20(NRx)"></link><link href="https://gavart.ist/static/Dark%2520Enlightenment%2520%252F%2520Neo-Reactionary%2520Movement%2520(NRx).html" rel="alternative" type="text/html"></link><id>8041547b-a82e-c7b4-a93a-ab693f15d7f7</id><updated>2026-01-31T14:22:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The Dark Enlightenment, also called the Neo-Reactionary movement (abbreviated to NRx), is an anti-democratic, anti-egalitarian, and reactionary philosophical and political movement. It can be understood as a reaction against values and ideologies associated with Enlightenment, advocating for a return to traditional societal constructs and forms of government, such as absolute monarchism and cameralism. The movement promotes the establishment of authoritarian capitalist city-states that compete for citizens. Neoreactionaries refer to contemporary liberal society and its institutions as "the Cathedral", associating them with the Puritan church, and their goals of egalitarianism and democracy as "the Synopsis". They say that the Cathedral influences public discourse to promote progressivism and political correctness, which they view as a threat to Western civilization. Additionally, the movement advocates for scientific racism, a view which they say is suppressed by the Cathedral.</p></div></content><author><name>undefined</name></author></entry><entry><title>Notes</title><link href="https://gavart.ist/#Notes"></link><link href="https://gavart.ist/static/Notes.html" rel="alternative" type="text/html"></link><id>f4c6f851-b00d-5518-bf88-8815de279aba</id><updated>2026-01-31T14:19:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><button class="" title="New Note"><svg class="tc-image-new-button tc-image-button" height="22pt" viewBox="0 0 128 128" width="22pt"><path d="M56 72H8.007C3.591 72 0 68.418 0 64c0-4.41 3.585-8 8.007-8H56V8.007C56 3.591 59.582 0 64 0c4.41 0 8 3.585 8 8.007V56h47.993c4.416 0 8.007 3.582 8.007 8 0 4.41-3.585 8-8.007 8H72v47.993c0 4.416-3.582 8.007-8 8.007-4.41 0-8-3.585-8-8.007V72z" fill-rule="evenodd"></path></svg> New Note</button></p><p><div style="columns:2;column-gap:2em;">
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				<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Remaking%20Caligula%20%281979%29">Remaking Caligula (1979)</a></li>
			
	
			
			
				<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Horn%20of%20Phantoms">Horn of Phantoms</a></li>
			
	
</ul></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Concepts</title><link href="https://gavart.ist/#Concepts"></link><link href="https://gavart.ist/static/Concepts.html" rel="alternative" type="text/html"></link><id>04605836-22f0-3a52-d769-3094d6fa2452</id><updated>2026-01-31T14:18:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>Ideas/concepts/learning log. Anything that seems worthy of revisiting.</code></p><p><button class="" title="New Concept"><svg class="tc-image-book-hardcover-open-writing tc-image-button" fill="#000000" height="22pt" viewBox="0 0 42 33.79100036621094" width="22pt"><path d="M5 23c4.424 1.303 12.483 1.805 15.208 5.215V9C17.483 5.59 9.424 5.087 5 3.784V23zM5 .308v-.28c4.424 1.303 12.483 1.806 15.208 5.216l.792.228.792-.256C24.517 1.806 32.577 1.303 37 0v.28c1.229.37 2 .692 2 .692v3l3-1.146v24.146s-17.833 1.25-21 6.791v.028C17.833 28.25 0 27 0 27V2.854L3 4V1s.771-.322 2-.692zm1.5 20.198v-3.122c3.769.859 8.96 1.435 12 3.366v3.121c-3.04-1.93-8.231-2.506-12-3.365zm0-5.385V12c3.769.858 8.96 1.434 12 3.365v3.121c-3.04-1.93-8.231-2.506-12-3.365zm0-5.487V6.513c3.769.858 8.96 1.434 12 3.365V13c-3.04-1.931-8.231-2.507-12-3.366zM37 22.972V3.756c-4.423 1.303-12.483 1.806-15.208 5.216v19.215c2.725-3.41 10.785-3.912 15.208-5.215zm-1.5-2.494c-3.769.859-8.96 1.434-12 3.365v-3.121c3.04-1.931 8.231-2.507 12-3.366v3.122zm0-5.385c-3.769.859-8.96 1.434-12 3.365v-3.121c3.04-1.931 8.231-2.507 12-3.365v3.121zm0-5.487c-3.769.859-8.96 1.435-12 3.366V9.85c3.04-1.931 8.231-2.507 12-3.365v3.121z"></path></svg> Add New</button></p><p><div style="columns:2;column-gap:2em;">
	<ul style="margin:0;padding-left:1.5em;">
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Lefebvre%27s%20The%20Production%20of%20Space">Lefebvre's The Production of Space</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Grawlix">Grawlix</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Quadratic%20Voting">Quadratic Voting</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Galaxy%20brain%20resistance">Galaxy brain resistance</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Adversarial%20Interoperability">Adversarial Interoperability</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carbon%20Colonialsim">Carbon Colonialsim</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Harberger%20Taxes">Harberger Taxes</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Forced%20Technology%20Transfer%20%28FTT%29">Forced Technology Transfer (FTT)</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dark%20Enlightenment%20%2F%20Neo-Reactionary%20Movement%20%28NRx%29">Dark Enlightenment / Neo-Reactionary Movement (NRx)</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ogallala%20Aquifer">Ogallala Aquifer</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#China%27s%20S2000%20Stratosphere%20Airborne%20Wind%20Energy%20System%20%28SAWES%29">China's S2000 Stratosphere Airborne Wind Energy System (SAWES)</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#New%20Horizons%20Pluto%20Imagery%20Data%20Transfer%20Rate">New Horizons Pluto Imagery Data Transfer Rate</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Xuanji%20Tu%20%28%E7%92%87%E7%92%A3%E5%9C%96%29%20%C2%B7%20The%20Star%20Gauge%20%C2%B7%20Map%20of%20the%20Armillary%20Sphere">The Xuanji Tu (璇璣圖) · The Star Gauge · Map of the Armillary Sphere</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Untranslatable%20Words%20For%20%27Suffering%27%20In%20Other%20Languages">Untranslatable Words For 'Suffering' In Other Languages</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Biogeometry">Biogeometry</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Busman%27s%20Holiday">Busman's Holiday</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Muon%20tomography">Muon tomography</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cognitive%20Shuffling">Cognitive Shuffling</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Krebs%20Cycle">Krebs Cycle</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Metabolic%20Media">Metabolic Media</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anisotropic%20Birefringence">Anisotropic Birefringence</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Kaih%C5%8Dgy%C5%8D">Kaihōgyō</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#O%E1%B9%83%20ma%E1%B9%87i%20padme%20h%C5%ABm%CC%90">Oṃ maṇi padme hūm̐</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Pet%20ownership%20is%20associated%20with%20higher%20cognition%20%26%20larger%20brain%20structures">Pet ownership is associated with higher cognition &amp; larger brain structures</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Binary%20search">Binary search</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Self-fulfilling%20misalignment">Self-fulfilling misalignment</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reinforcement%20Learning">Reinforcement Learning</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wittgenstein%27s%20Ruler">Wittgenstein's Ruler</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Stochastic%20Parrot">Stochastic Parrot</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Illusion%20of%20Thinking%3A%20Understanding%20the%20Strengths%20and%20Limitations%20of%20Reasoning%20Models%20via%20the%20Lens%20of%20Problem%20Complexity">The Illusion of Thinking: Understanding the Strengths and Limitations of Reasoning Models via the Lens of Problem Complexity</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Swiss%20Blue%20Brain%20Project">Swiss Blue Brain Project</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Otoacoustic%20Emissions">Otoacoustic Emissions</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dividual">Dividual</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Difference%20Between%20Evergreen%20and%20Zettelkasten%20Notes">Difference Between Evergreen and Zettelkasten Notes</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jantelagen">Jantelagen</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spielraum">Spielraum</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ubuntu">Ubuntu</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Eye%20Movement%20Desensitization%20and%20Reprocessing%20%28EMDR%29">Eye Movement Desensitization and Reprocessing (EMDR)</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bandbrechend">Bandbrechend</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ro">Ro</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ichion%20Jobutsu%20%E2%80%94%20%20%E9%9F%B3%E6%88%90%E4%BB%8F">Ichion Jobutsu —  音成仏</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tarab">Tarab</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fourteen%20Properties%20of%20Fascism">Fourteen Properties of Fascism</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vestigial%20stasis">Vestigial stasis</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ubi%20jus%20ibi%20remedium">ubi jus ibi remedium</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mem-fractive%20properties%20of%20mushrooms">Mem-fractive properties of mushrooms</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cobra%20%28John%20Zorn%29">Cobra (John Zorn)</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spectral%20Centroid">Spectral Centroid</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#H01%20dataset">H01 dataset</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prosopopoeia">Prosopopoeia</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Plurality%20%28multiplicity%29">Plurality (multiplicity)</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ecstatic%20Truth">Ecstatic Truth</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deaf%20Gain">Deaf Gain</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anemoia">Anemoia</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Orchestrated%20objective%20reduction%20%28Orch%20OR%29">Orchestrated objective reduction (Orch OR)</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tikkun%20olam">Tikkun olam</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rayleigh%20scattering">Rayleigh scattering</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Autoamputation">Autoamputation</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Equidistant%20Azimuthal%20Projection">Equidistant Azimuthal Projection</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Stellarator">Stellarator</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alignment">Alignment</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Principal-agent%20dilemma">Principal-agent dilemma</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sybil%20Attack">Sybil Attack</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Entopia">Entopia</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Moloch">Moloch</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#How%20Enceladus%20feeds%20water%20vapor%20to%20Saturn%27s%20outermost%20and%20widest%20ring%2C%20the%20E-Ring">How Enceladus feeds water vapor to Saturn's outermost and widest ring, the E-Ring</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hyperobject">Hyperobject</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Murmuration">Murmuration</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chamfer">Chamfer</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Multi-Headed%20Self-Attention">Multi-Headed Self-Attention</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Self-Attention">Self-Attention</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Panspermia">Panspermia</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Personal%20Knowledge%20Management">Personal Knowledge Management</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonoluminescence">Sonoluminescence</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Electrodermal%20Activity">Electrodermal Activity</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Neural%20Audio%20Synthesis">Neural Audio Synthesis</a><br></br>
				 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chromatic%20Ordering">Chromatic Ordering</a><br></br>
				 
      </li>
  
</ul></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Wikipedia</title><link href="https://gavart.ist/#Wikipedia"></link><link href="https://gavart.ist/static/Wikipedia.html" rel="alternative" type="text/html"></link><id>9c677286-866a-ad38-f8e9-b660f5411814</id><updated>2026-01-31T14:18:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>Tracking my Wikipedia viewing history</code></p><p><button class="" title="New Wikipedia Item"><svg class="tc-image-social-wikipedia tc-image-button" height="22pt" viewBox="0 0 38 26.98799705505371" width="22pt"><path d="M37.974 0h-7.857l-.561.097v.752c0 .088.268.164.342.219.07.06.263.093.342.093l.712.034c.807.038 1.053.215 1.367.51.31.305.36.824.119 1.554l-6.943 18.126-.265-.076-4.41-9.922c.063-.152.102-.232.102-.232l3.61-7.423a34.11 34.11 0 0 1 1.034-1.811c.377-.591.56-.705 1.588-.756.21 0 .29-.105.29-.312V.101l-.052-.08s-4.317-.017-6.283 0l.002.076v.752c0 .092-.05.164.02.219.073.063.105.093.184.093l.295.038c.804.038 1.163.266 1.272.414.193.257.282.536-.182 1.65l-2.781 6.089-2.513-5.65c-.824-1.802-1.028-2.364.214-2.465l.334-.076c.24 0 .202-.097.202-.274v-.79l-.025-.068s-4.603 0-6.702.005L11.4.11V.9c0 .177.176.223.5.274 1.163.164 1.144.3 2.292 2.803.172.376.68 1.512.68 1.512l2.62 5.653s.297.727.762 1.854l-3.807 8.343-.218-.063S8.322 7.587 6.614 3.01c-.18-.473-.258-.827-.258-1.043 0-.464.381-.717 1.145-.751l1.161-.042c.238 0 .627-.098.627-.304V.118l-.35-.08S1.702.029.241.038L0 .118v.79c0 .139.19.228.518.266.898.055 1.502.21 1.786.477.282.262.588.933.985 1.976 2.148 5.67 6.714 15.782 8.936 21.546.64 1.57 1.446 1.815 2.422-.051 1.004-2.044 3.03-6.59 4.508-9.943 1.383 3.348 3.266 7.87 4.174 9.922.723 1.642 1.547 1.803 2.383.05 2.188-5.345 8.58-21.423 8.58-21.423.277-.79.663-1.398 1.16-1.837.493-.439 1.228-.684 2.258-.73.209 0 .29-.106.29-.313V.097L37.974 0z"></path></svg> Add New</button></p><p><div style="columns:2;column-gap:2em;">
	<ul style="margin:0;padding-left:1.5em;">
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C3%86lfgifu%20of%20Shaftesbury">Ælfgifu of Shaftesbury</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C3%86lfgifu%20of%20Northampton">Ælfgifu of Northampton</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carotenoids">Carotenoids</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Memphis%20Group">Memphis Group</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Poly1305">Poly1305</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Amuse-bouche">Amuse-bouche</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Chronicle%20of%20Georgia">The Chronicle of Georgia</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Henry%20Molaison">Henry Molaison</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mummers%20Parade">Mummers Parade</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gustav%20Stickley">Gustav Stickley</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rule%20utilitarianism">Rule utilitarianism</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deontology">Deontology</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Diseconomies%20of%20scale">Diseconomies of scale</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Focusing%20%28psychotherapy%29">Focusing (psychotherapy)</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Global%20workspace%20theory">Global workspace theory</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Molybdomancy">Molybdomancy</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Charnel%20house">Charnel house</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Luis%20Aguilar">Luis Aguilar</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Angiogensis">Angiogensis</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fire%20Temple%20of%20Yazd">Fire Temple of Yazd</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#BoJack%20Horseman">BoJack Horseman</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Publish%E2%80%93subscribe%20pattern">Publish–subscribe pattern</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Old%20Believers">Old Believers</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Turnspit%20Dog">Turnspit Dog</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ken%20Thompson">Ken Thompson</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Pattern%20Language%3A%20Towns%2C%20Buildings%2C%20Construction">A Pattern Language: Towns, Buildings, Construction</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Edgar%20Miller">Edgar Miller</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Consilience">Consilience</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jonny%20Kim">Jonny Kim</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Apophenia">Apophenia</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Statue%20of%20Antinous%20at%20Delphi">Statue of Antinous at Delphi</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Steganography">Steganography</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Lanolin">Lanolin</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fra%20Angelico">Fra Angelico</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jaume%20Huguet">Jaume Huguet</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Penan%20People">Penan People</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nunavut">Nunavut</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mario%20Schjetnan">Mario Schjetnan</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Marine%20chronometer">Marine chronometer</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mycorrhiza">Mycorrhiza</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tripartite%20classification%20of%20authority">Tripartite classification of authority</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20New%20Science">The New Science</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cytoarchitecture">Cytoarchitecture</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Constantine%20P.%20Cavafy">Constantine P. Cavafy</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#I-message">I-message</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rough%20Music">Rough Music</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Walter%20Gropius">Walter Gropius</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Andrei%20Bely">Andrei Bely</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Zygmunt%20Bauman">Zygmunt Bauman</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maryanne%20Amacher">Maryanne Amacher</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wendell%20Berry">Wendell Berry</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tadanori%20Yokoo">Tadanori Yokoo</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%CE%B1-Ketoglutaric%20acid">α-Ketoglutaric acid</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Muhammad%20Iqbal">Muhammad Iqbal</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ibrahim%20El-Salahi">Ibrahim El-Salahi</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sadequain%20Naqqash">Sadequain Naqqash</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wifredo%20Lam">Wifredo Lam</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Skunder%20Boghossian">Skunder Boghossian</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Harry%20Burleigh">Harry Burleigh</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cellular%20Senescence">Cellular Senescence</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Christine%20Sun%20Kim">Christine Sun Kim</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Elsa%20von%20Freytag-Loringhoven">Elsa von Freytag-Loringhoven</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jugate">Jugate</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prisca%20Sapientia">Prisca Sapientia</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Penrose%20Tiling">Penrose Tiling</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Disappearing%20polymorph">Disappearing polymorph</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tonnetz">Tonnetz</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Foundations%20of%20Geopolitics%3A%20The%20Geopolitical%20Future%20of%20Russia">The Foundations of Geopolitics: The Geopolitical Future of Russia</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Arusha%20Declaration">Arusha Declaration</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#John%20Titor">John Titor</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Electroluminiscent%20Quantum%20Dot%20Display">Electroluminiscent Quantum Dot Display</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Delegative%20Democracy">Delegative Democracy</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#HATNet%20Project">HATNet Project</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sister%20Corita%20Kent">Sister Corita Kent</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wilma%20Mankiller">Wilma Mankiller</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laniakea%20Supercluster">Laniakea Supercluster</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sagittarius%20A%2A">Sagittarius A*</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Proxima%20Centauri">Proxima Centauri</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Parrotfish">Parrotfish</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dais">Dais</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alcove%20%28architecture%29">Alcove (architecture)</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baluster">Baluster</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Caryatid">Caryatid</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#String%20Theory">String Theory</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Local%20Wikipedia%20Data%20dump%20torrents">Local Wikipedia Data dump torrents</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ctenophora">Ctenophora</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sentinelese">Sentinelese</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hypatia">Hypatia</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Year%202038%20problem">Year 2038 problem</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Before%20Present">Before Present</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Oulipo">Oulipo</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Two-domain%20system">Two-domain system</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wow%21%20signal">Wow! signal</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Przybylski%27s%20Star">Przybylski's Star</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dark%20Forest%20Hypothesis">Dark Forest Hypothesis</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dielectric">Dielectric</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Time-domain%20reflectometer">Time-domain reflectometer</a>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Form%20Constant">Form Constant</a>
		</li>
	
</ul></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Balance of power</title><link href="https://gavart.ist/#Balance%20of%20power"></link><link href="https://gavart.ist/static/Balance%2520of%2520power.html" rel="alternative" type="text/html"></link><id>77e09c35-7c36-48c0-db7e-fec5482ee252</id><updated>2026-01-30T11:06:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The World in Which We Live Now</title><link href="https://gavart.ist/#The%20World%20in%20Which%20We%20Live%20Now"></link><link href="https://gavart.ist/static/The%2520World%2520in%2520Which%2520We%2520Live%2520Now.html" rel="alternative" type="text/html"></link><id>a7f66d4e-dce2-3cf8-8160-3ff61d67db0e</id><updated>2026-01-29T23:36:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Images from ESA Meteosat Third Generation-Sounder (MTG-S)</title><link href="https://gavart.ist/#Images%20from%20ESA%20Meteosat%20Third%20Generation-Sounder%20(MTG-S)"></link><link href="https://gavart.ist/static/Images%2520from%2520ESA%2520Meteosat%2520Third%2520Generation-Sounder%2520(MTG-S).html" rel="alternative" type="text/html"></link><id>a099024f-498c-2709-abf6-9c15a81f93a4</id><updated>2026-01-29T22:47:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><span class=" digitalGarden 
">The images from Meteosat Third Generation-Sounder (MTG-S) show a full-disc image of Earth as seen from geostationary orbit, about 36 000 km above Earth’s surface. These images were captured on 15 November 2025 by the satellite’s Infrared Sounder instrument.<br></br><br></br>In the ‘temperature’ image (below), the Infrared Sounder used a long-wave infrared channel, which measured Earth’s surface temperature as well as the temperature at the top of clouds. Dark red corresponds to high temperatures, mainly on the warmer land surfaces, while blue corresponds to lower temperatures, typically on the top of clouds.<sup><a class="tc-tiddlylink-external" href="https://www.esa.int/Applications/Observing_the_Earth/Meteorological_missions/meteosat_third_generation/Europe_s_next-generation_weather_satellite_sends_back_first_images" rel="noopener noreferrer" target="_blank">1</a></sup><br></br><br></br><img src="./files/img/misc/Global_surface_and_cloud-top_temperatures_by_MTG-Sounder_article.jpg"></img><br></br><br></br>The ‘humidity’ image (below) was captured using the Infrared Sounder’s medium-wave infrared channel, which measures humidity in Earth’s atmosphere. Blue colours correspond to regions in the atmosphere with higher humidity, while red colours correspond to lower humidity in the atmosphere.<br></br><br></br>The outlines of landmasses are not visible in this image. The areas of least atmospheric humidity, shown in dark red, are seen approximately over the Sahara Desert and the Middle East (top of image), while a large area of ‘dry’ atmosphere also covers part of the South Atlantic Ocean (centre of image). Numerous patches of high humidity are seen in dark blue over the eastern part of the African continent as well as in high and low latitudes.<br></br><br></br><img src="./files/img/misc/Global_air_humidity_by_MTG-Sounder_article.jpg"></img><br></br><br></br></span></p></div></content><author><name>undefined</name></author></entry><entry><title>Drawings</title><link href="https://gavart.ist/#Drawings"></link><link href="https://gavart.ist/static/Drawings.html" rel="alternative" type="text/html"></link><id>022d963a-4993-2a84-2ba7-fb3ab162ba0a</id><updated>2026-01-29T12:09:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>a place to collect various drawings / sketches I've made …</code></p></div></content><author><name>undefined</name></author></entry><entry><title>Collection of Sayings &amp; Turns of Phrase in English</title><link href="https://gavart.ist/#Collection%20of%20Sayings%20%26%20Turns%20of%20Phrase%20in%20English"></link><link href="https://gavart.ist/static/Collection%2520of%2520Sayings%2520%2526%2520Turns%2520of%2520Phrase%2520in%2520English.html" rel="alternative" type="text/html"></link><id>83118b4f-3915-0bb5-62aa-2d2ad398cd20</id><updated>2026-01-27T18:25:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul class="digitalGarden"><li>Dog eat dog</li><li>One foot in front of the other</li><li>Out for blood</li><li>Stepping on someone's toes</li><li>Not in the slightest</li><li>Goodness gracious</li><li>At once</li><li>Rue the day</li><li>Rush headlong</li><li>Cherish the day</li><li>I pity the fool</li><li>Elbow grease</li><li>Take it or leave it</li><li>Gave me butterflies</li><li>Head over heels</li><li>A broken clock is right twice a day</li><li>Free as in beer</li><li>Hold your horses</li><li>It bears your signature</li><li>Make it rain</li><li>Stepping-stone</li><li>Knifes Out</li><li>Win some lose some</li><li>Hard in the paint</li><li>Over my dead body</li><li>It takes two to tango</li><li>Lay it on me</li><li>One horse one rabbit</li><li>Like a broken record</li><li>Movers and shakers</li><li>Lickety split</li><li>Hot diggity</li><li>Under the weather</li><li>Doesn't check out</li><li>Scared the living daylights </li><li>Empty handed</li><li>Off-hand</li><li>Cherry picking</li><li>The cherry on top</li><li>On second thought</li><li>Barking up the wrong tree</li><li>To each their own</li><li>Bang for your buck</li><li>Bigger fish to fry</li><li>Knocking at my door</li><li>Howling at the moon</li><li>When pigs fly</li><li>When the chickens come home to roost</li><li>When the cows come home</li><li>Empty nesters</li><li>Flew the coop</li><li>Come what may</li><li>Mind-boggling</li><li>In the ballpark</li><li>Ball's in your court</li><li>Flaberghasted</li><li>Gobsmacked</li><li>Kerfuffle</li><li>Have her cake and eat it too</li><li>As far I am concerned</li><li>Better late than never</li><li>Takes one to know one</li><li>Left for dead</li><li>Deer in the headlights</li><li>Man’s best friend</li><li>Child’s play</li><li>Taking candy from a baby</li><li>Get it together</li><li>You’re falling apart</li><li>Tearing me apart</li><li>Heart-broken</li><li>Falling in and out of love</li><li>Seeing the forest for the trees</li><li>A penny for your thoughts</li><li>My cup of tea</li><li>Spot of tea</li><li>Beating a dead horse</li><li>The horse has already bolted</li><li>Fuck around find out</li><li>Keeping things under wraps</li><li>yolo</li><li>Gut instinct</li><li>Ready or not here I come </li><li>Moved to tears</li><li>One way or another</li><li>Mouth-watering</li><li>In your face</li><li>Kicking the can down the road</li><li>Spill my guts</li><li>Blast off</li><li>Water under the bridge</li><li>Keep it in your back pocket</li><li>Put that in your pipe and smoke it</li><li>Food for thought</li><li>The devil is in the details</li><li>Move it or lose it</li><li>Use it or lose it</li><li>You snooze you loose</li><li>Early bird get the worm</li><li>A can of whoop-ass</li><li>Pull something out of your ass</li><li>Haste makes waste</li><li>A feather in his cap</li><li>Back to basics</li><li>Back to back</li><li>Tried and true</li><li>Didn't age well</li><li>Troublemaker</li><li>Dancing with the devil</li><li>He has a death wish</li><li>Skeletons in the closet</li><li>Throw the bay out with the bath water </li><li>A pretty penny</li><li>Withstood the test of time</li><li>Take no prisoners</li><li>Stop at nothing</li><li>On the nose</li><li>Whichever way the wind blows</li><li>Let the cards fall where they may</li><li>Like a house of cards</li><li>Roll the dice</li><li>Take a chance</li><li>Drop me a line</li><li>Give me a ring</li><li>Stop by</li><li>Pay me a visit</li><li>Blow me a kiss</li><li>Give me some sugar</li><li>Tongue-tied</li><li>Born with a silver spoon in his mouth</li><li>Wanting for nothing</li><li>Roll off the tongue</li><li>Foul-mouth</li><li>On the fence</li><li>The beast with two backs </li><li>Maiden name</li><li>Tip of my tongue</li><li>Take it for granted</li><li>Break it down</li><li>Break it up</li><li>Topsy-turvy</li><li>Upside-down</li><li>Never the better</li><li>Worse for the ware</li><li>Cry foul</li><li>A cry for help</li><li>Something’s afoot</li><li>Ruffled his feathers</li><li>Up to snuff</li><li>I smell a rat</li><li>Something's a bit fishy</li><li>Stir the pot</li><li>Not in my backyard</li><li>Inviting Danger</li><li>When in doubt</li><li>Hold the phone</li><li>Down the line</li><li>Down the road</li><li>The cat's out of the bag</li><li>Elephant in the room</li><li>Inviting danger</li><li>When in doubt</li><li>You've created a monster</li><li>Jumping through hoops</li><li>On thin ice</li><li>Beating around the bush</li><li>Out of sight out of mind</li><li>Ripe for the taking</li><li>Blissfully unaware</li><li>Feeling flush</li><li>Whatever tickles your fancy</li><li>On a roll</li><li>Gassing me up</li><li>Brutal honesty</li><li>In bed with [someone / something]</li><li>Inside scoop</li><li>Tricks of the trade</li><li>Out to lunch</li><li>Skipping town</li><li>Dire straights</li><li>Ranting and raving</li><li>Lending a hand</li><li>Olive branch</li><li>Cost an arm and a leg</li><li>In cahoots</li><li>Ready for primetime</li><li>In the spotlight</li><li>Playing footsy</li><li>Smoke coming out of his ears</li><li>Blowing smoke up someone's ass</li><li>Hot-headed</li><li>Big-headed</li><li>Obtuse</li><li>Bull in a china shop</li><li>Mental gymnastics</li><li>Flaunting it</li><li>Sick and tired</li><li>Pussyfooting</li><li>Code red</li><li>Blow her socks off</li><li>By the way</li><li>Blow them out of the water</li><li>As a matter of fact</li><li>A matter of life and death</li><li>On the other hand</li><li>Showboaters</li><li>At the drop of a dime (or hat)</li><li>Bruised egos</li><li>Good Comeback</li><li>Top o' the morning</li><li>Rise and shine</li><li>Fits and starts</li><li>Put in a box</li><li>Meet your maker</li><li>Kicked the bucket</li><li>Snuffed it</li><li>Hole up</li><li>Drop trow</li><li>Spread eagle</li><li>Bells and whistles</li><li>Smoke and mirrors</li><li>Let bygones be bygones</li><li>Count my lucky stars</li><li>Read between the lines</li><li>Walking on eggshells</li><li>Ball-breaker</li><li>The verge of tears</li><li>Similar vein</li><li>I'm on a tear</li><li>Tearing through [a book]</li><li>In vain</li><li>Yellow bellied coward</li><li>It's colder than a witches titty in a brass brassiere</li><li>Torrential downpour</li><li>There's more than one way to skin a cat</li><li>Kill two birds with one stone</li><li>Screwed the pooch</li><li>Made a tit of yourself</li><li>Made an ass yourself</li><li>Monkey business</li><li>Horseplay</li><li>Bacon on the beach</li><li>Knee high to a pig's eye</li><li>Who shot John?</li><li>Mana from heaven</li><li>You look like the cat that got the cream</li><li>With flying colors</li><li>Head for the hills</li><li>Lightning in a bottle</li><li>Through the grapevine</li><li>Take a load off</li><li>Went by the wayside</li><li>Cat 's got your tongue</li><li>Cat's out of the bag</li><li>The grass is always greener</li><li>With flying colors</li><li>The proof is in the pudding</li><li>A little bird told me</li><li>Get your rocks off</li><li>Rock bottom</li><li>At my wit's end</li><li>A means to an end</li><li>Hot and bothered</li><li>Pierce behind the veil</li><li>Lie in wait</li><li>Hook up</li><li>A disaster waiting to happen</li><li>A cocktail for disaster</li><li>A recipe for disaster</li><li>Took them for a ride</li><li>Punched above their weight</li><li>Trouble for nothing</li><li>Smitten</li><li>The midas touch</li><li>Did them dirty</li><li>Blow a gasket</li><li>A wolf in sheep's clothing</li><li>A snake</li><li>None the wiser</li><li>Wise guy</li><li>Putting out fires [left, right, and center]</li><li>On fire</li><li>Laid to waste</li><li>Off the deep end</li><li>Turn the tables</li><li>Caught off guard</li><li>Flip the switch</li><li>Sniff out [a situation]</li><li>Calmed my nerves</li><li>Chase someone down</li><li>Came and went</li><li>Top-tier</li><li>Top-notch</li><li>He's a gone-er</li><li>Yesterday's trash</li><li>Tough love</li><li>Sweet as can be</li><li>Put in the hot seat</li><li>Wrestled with [a concept]</li><li>Straight to your face</li><li>Chewed me up and spit me out</li><li>When hell freezes over</li><li>Look who came crawling back</li><li>Here goes nothing</li><li>Chopped liver</li><li>Tell it to me straight</li><li>Look what the cat dragged in</li><li>On to something</li><li>Until Kingdom come</li><li>Tight leash</li><li>Tight-lipped</li><li>Get roasted</li><li>Put through the wringer</li><li>Hang me up to dry</li><li>Chew on [a thought]</li><li>Lost in the sauce</li><li>She's a knockout</li><li>To sit with [something]</li><li>Caught in the act</li><li>Reap what you sow</li><li>Spread too thin</li><li>Caught red-handed</li><li>Smoking gun</li><li>Tickled me</li><li>Desperate measures</li><li>Desperate times</li><li>Fool around</li><li>At a loss</li><li>Weary bones</li><li>Caught unawares</li><li>White elephant</li><li>Black sheep</li><li>Dressed to the nines</li><li>Dapper</li><li>On cloud nine</li><li>Starry-eyed</li><li>Rose tinted glasses</li><li>Kill time</li><li>Tow the line</li><li>Fell into one's lap</li><li>Leaps and bounds</li><li>Dodging bullets</li><li>Taking off</li><li>Firing on all cylinders</li><li>Fired up</li><li>Off the top of my head</li><li>Sitting duck</li><li>If the shoe fits</li><li>Pull at your heart strings</li><li>Needle in a haystack</li><li>Maiden voyage</li><li>Rank and file</li><li>Stand up [gentleman]</li><li>Tip top shape</li><li>Up to snuff</li><li>On par</li><li>Hidden agenda</li><li>Ulterior motive</li><li>Blow up your phone</li><li>Discombobulated</li><li>Figure it out</li><li>To the moon and back</li><li>One step forwards two steps backwards</li><li>Belly up</li><li>Drink like a fish</li><li>Fishing for compliments</li><li>Shitting bricks</li><li>Shit the bed</li><li>Teacher's pet</li><li>Kiss the ring</li><li>Leap of faith</li><li>Cup runneth over</li><li>Drag one's heels</li><li>Dig in [food]</li><li>Wearing your heart on your sleeve</li><li>Taking the piss</li><li>Sad sap</li><li>Worry wart</li><li>Green thumb</li><li>Tear jerker</li><li>Why the long face ?</li><li>In the sack</li><li>Off his rocker</li><li>Bonkers</li><li>Fate is playing a trick on you</li><li>Frothing at the bit</li><li>Pulling on the reins</li><li>Hanging by a thread</li><li>By the skin of your teeth</li><li>Keep your eyes peeled</li><li>White lie</li><li>Telling tall tales</li><li>At the witching hour</li><li>The walls are closing in</li><li>It's not over until the fat lady sings</li><li>Upping the ante</li><li>Takes the cake</li><li>Cream of the crop</li><li>I'm on top of the world</li><li>Knuckle sandwich</li><li>As per usual</li><li>Making the rounds</li><li>On the move</li><li>B-Line</li><li>Booklicker</li><li>Too many cooks in the kitchen</li><li>Hot potato</li><li>Down in the dumps</li><li>Stomach churning</li><li>Gastric explosion</li><li>Raise the bar</li><li>It's a fine line</li><li>To stand [something] on it's head</li><li>Don't put all your eggs in one basket</li><li>Out of the fire and into the frying pan</li><li>Damned if I do, damned if I don't</li><li>Shotgun wedding</li><li>Going down the rabbit hole</li><li>Show me the ropes</li><li>Whole new ballgame</li><li>No skin off my back</li><li>Up shit's creek</li><li>Smoke them if you got 'em</li><li>Spice it up</li><li>Put it on the backburner</li><li>Kick the can down the road</li><li>Passing the buck</li><li>I hate all that shit anyway</li><li>One in a million</li><li>One of one</li><li>Plug n' play</li><li>Perfect fit</li><li>Bats an eyelid</li><li>Raining cats and dogs</li><li>Raise heaven and earth</li><li>Plug n' play</li><li>Jeepers creepers</li><li>In a pickle</li><li>Hit a wall</li><li>All in a day's work</li><li>To turn sour</li><li>To be salty [at/with someone]</li><li>To rub salt in the wound</li><li>To lick one's wounds</li><li>A fit of rage</li><li>A lapse of judgement</li><li>At a moment's notice</li><li>Flick of the wrist</li><li>Her hair stood on end</li><li>Down on one's luck</li><li>Lucky duck</li><li>Roaring with laughter</li><li>Don't rain on my parade</li><li>To pass the torch</li><li>Shut your trap</li><li>Shut your pie hole</li><li>A drop in the bucket</li><li>Hit the hay</li><li>Hit the nail on the head</li><li>Slip of the tongue</li><li>Freudian slip</li><li>Can of worms</li><li>Die on this hill</li><li>In a jiffy</li><li>You've got a bee in your bonnette</li><li>Choked up</li><li>Lump in your throat</li><li>Last legs</li><li>Bottleneck</li><li>Suave</li><li>Posh (Port Out Starboard Home) the part of the boat with the view</li><li>Going at it like a bull at a gate</li><li>Guns-blazing</li><li>Green with envy</li><li>End of your tether</li><li>Feeling Blue</li><li>A painted maypole</li><li>Old goat</li><li>Truth that</li><li>The GOAT</li><li>Like no tomorrow</li><li>Side-quest</li><li>Scrounging off [someone]</li><li>Bumming off [someone]</li><li>Full boar</li><li>Light up like a christmas tree</li><li>Beyond the pale</li><li>Hot off the heels</li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Focusing (psychotherapy)</title><link href="https://gavart.ist/#Focusing%20(psychotherapy)"></link><link href="https://gavart.ist/static/Focusing%2520(psychotherapy).html" rel="alternative" type="text/html"></link><id>5a373181-cf00-fd3a-2810-118b7ce6b6df</id><updated>2026-01-26T22:46:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>So for me, that's a subjective judgement … Nancarrow is simply the most important composer in our time.</title><link href="https://gavart.ist/#So%20for%20me%2C%20that's%20a%20subjective%20judgement%20%E2%80%A6%20Nancarrow%20is%20simply%20the%20most%20important%20composer%20in%20our%20time."></link><link href="https://gavart.ist/static/So%2520for%2520me%252C%2520that's%2520a%2520subjective%2520judgement%2520%25E2%2580%25A6%2520Nancarrow%2520is%2520simply%2520the%2520most%2520important%2520composer%2520in%2520our%2520time..html" rel="alternative" type="text/html"></link><id>6684bb44-786c-34f0-1cc8-72e32f3d5a80</id><updated>2026-01-25T23:04:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> He made something completely original, totally different from what others did, on the highest level, on the level of Johann Sebastian Bach, or late Beethoven.</p></div></content><author><name>undefined</name></author></entry><entry><title>Max Jaffe : You Want That Too! LP Release Show</title><link href="https://gavart.ist/#Max%20Jaffe%20%3A%20You%20Want%20That%20Too!%20LP%20Release%20Show"></link><link href="https://gavart.ist/static/Max%2520Jaffe%2520%253A%2520You%2520Want%2520That%2520Too!%2520LP%2520Release%2520Show.html" rel="alternative" type="text/html"></link><id>8f008823-aac9-8f72-6199-059d5849cb83</id><updated>2026-01-25T11:44:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/posters/max-jaffe-ywtt-record-release.jpg" width="600"></img><br></br><sup>Design: <a class="tc-tiddlylink-external" href="https://www.bookjerk.com/" rel="noopener noreferrer" target="_blank">Sara McGrath</a></sup></p><h2 class=""><a class="tc-tiddlylink-external" href="https://www.2220arts.org/" rel="noopener noreferrer" target="_blank">2220 Arts + Archives</a> presents a record release show for Max Jaffe's latest LP <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe%20%C2%B7%20You%20Want%20That%20Too%21">You Want That Too!</a> released by <a class="tc-tiddlylink-external" href="https://www.colorfieldrecords.com/" rel="noopener noreferrer" target="_blank">Colorfield Records</a> and produced by Pete Min.</h2><h2 class="">Sextet Members</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a>: drum set, acoustic and electronic percussion<br></br><a class="tc-tiddlylink-external" href="https://shelleyburgon.bandcamp.com/album/the-in-between" rel="noopener noreferrer" target="_blank">Shelley Burgon</a>: harp <br></br><a class="tc-tiddlylink-external" href="https://www.handhabits.band/" rel="noopener noreferrer" target="_blank">Meg Duffy</a>: electric guitar, MIDI guitar<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>: piano, synthesizers<br></br><a class="tc-tiddlylink-external" href="https://jeffparkersounds.com/" rel="noopener noreferrer" target="_blank">Jeff Parker</a>: electric guitar<br></br><a class="tc-tiddlylink-external" href="https://www.danielrotem.com/" rel="noopener noreferrer" target="_blank">Daniel Rotem</a>: tenor saxophone<br></br><a class="tc-tiddlylink-external" href="https://spencerzahn.bandcamp.com/album/statues-live" rel="noopener noreferrer" target="_blank">Spencer Zahn</a>: fretless electric bass</h2></div></content><author><name>undefined</name></author></entry><entry><title>Chopin · Piano Sonata No. 3</title><link href="https://gavart.ist/#Chopin%20%C2%B7%20Piano%20Sonata%20No.%203"></link><link href="https://gavart.ist/static/Chopin%2520%25C2%25B7%2520Piano%2520Sonata%2520No.%25203.html" rel="alternative" type="text/html"></link><id>ce73873b-eb6f-9789-1692-30bf1699ac3e</id><updated>2026-01-25T10:43:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Zoom Earth</title><link href="https://gavart.ist/#Zoom%20Earth"></link><link href="https://gavart.ist/static/Zoom%2520Earth.html" rel="alternative" type="text/html"></link><id>b1c533c6-5a1a-ce7a-c9de-98e4a62935f9</id><updated>2026-01-24T09:01:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>php</title><link href="https://gavart.ist/#php"></link><link href="https://gavart.ist/static/php.html" rel="alternative" type="text/html"></link><id>e1bfd762-321e-409c-ee4a-c0b6e841963c</id><updated>2026-01-22T10:54:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Marek Poliks</title><link href="https://gavart.ist/#Marek%20Poliks"></link><link href="https://gavart.ist/static/Marek%2520Poliks.html" rel="alternative" type="text/html"></link><id>c1ac1998-eb72-a925-c471-40825381cb92</id><updated>2026-01-21T10:19:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Roberto Alonso Trillo</title><link href="https://gavart.ist/#Roberto%20Alonso%20Trillo"></link><link href="https://gavart.ist/static/Roberto%2520Alonso%2520Trillo.html" rel="alternative" type="text/html"></link><id>4ce82750-8a99-44f0-4a8e-cee275ef9fd3</id><updated>2026-01-21T10:19:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Paleolithic Cave Paintings</title><link href="https://gavart.ist/#Paleolithic%20Cave%20Paintings"></link><link href="https://gavart.ist/static/Paleolithic%2520Cave%2520Paintings.html" rel="alternative" type="text/html"></link><id>5192321a-d404-5f8e-9a9d-784a050f8779</id><updated>2026-01-21T10:09:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li><a class="tc-tiddlylink-external" href="https://www.nature.com/articles/s41586-025-09968-y" rel="noopener noreferrer" target="_blank">Sulawesi</a><ul><li>the island of Muna in the Sulawesi province, Indonesia</li><li>67,800 years old</li></ul></li><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Chauvet_Cave" rel="noopener noreferrer" target="_blank">Chauvet Cave</a><ul><li>Ardèche, France</li><li>32,000-30,000 years old</li></ul></li><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Cave_of_Altamira" rel="noopener noreferrer" target="_blank">Cave of Altamira</a><ul><li>Santillana del Mar (Cantabria), Spain</li><li>36,000 years old</li></ul></li><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Lascaux" rel="noopener noreferrer" target="_blank">Lascaux</a><ul><li>Montignac, France</li><li>22,000-17,000 years old</li></ul></li><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Pech_Merle" rel="noopener noreferrer" target="_blank">Pech Merle</a><ul><li>Lot Department, Midi-Pyrénées, France</li><li>25,000-16,000 years old</li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>BreakThroughNews</title><link href="https://gavart.ist/#BreakThroughNews"></link><link href="https://gavart.ist/static/BreakThroughNews.html" rel="alternative" type="text/html"></link><id>94a4d1a7-a38d-bd09-5ccf-24c4fad13ef6</id><updated>2026-01-20T19:47:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Majestic San Pedro</title><link href="https://gavart.ist/#The%20Majestic%20San%20Pedro"></link><link href="https://gavart.ist/static/The%2520Majestic%2520San%2520Pedro.html" rel="alternative" type="text/html"></link><id>7cd5e1b8-7ee4-deff-5ce0-122314f91744</id><updated>2026-01-20T13:54:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>H01 dataset</title><link href="https://gavart.ist/#H01%20dataset"></link><link href="https://gavart.ist/static/H01%2520dataset.html" rel="alternative" type="text/html"></link><id>d090db27-c2a6-1115-920c-46d260f8c9f5</id><updated>2026-01-20T07:41:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Researchers have mapped a tiny piece of the human brain in astonishing detail. The resulting cell atlas, which was described today in <a class="tc-tiddlylink-external" href="https://www.nature.com/articles/d41586-024-01387-9" rel="noopener noreferrer" target="_blank">Science</a> reveals new patterns of connections between brain cells called neurons, as well as cells that wrap around themselves to form knots, and pairs of neurons that are almost mirror images of each other.</h2><h2 class="">The 3D map covers a volume of about one cubic millimetre, one-millionth of a whole brain, and contains roughly 57,000 cells and 150 million synapses — the connections between neurons. It incorporates a colossal 1.4 petabytes of data. “It’s a little bit humbling,” says Viren Jain, a neuroscientist at Google in Mountain View, California, and a co-author of the paper. “How are we ever going to really come to terms with all this complexity?”</h2><p><img src="./files/img/misc/mm3-brain.jpg"></img><br></br><sup>Rendering based on electron-microscope data, showing the positions of neurons in a fragment of the brain cortex. Neurons are coloured according to size. Credit: Google Research &amp; Lichtman Lab (Harvard University). Renderings by D. Berger (Harvard University)</sup></p><p><a class="tc-tiddlylink-external" href="https://www.nature.com/articles/d41586-024-01387-9" rel="noopener noreferrer" target="_blank">Nature Article</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Python</title><link href="https://gavart.ist/#Python"></link><link href="https://gavart.ist/static/Python.html" rel="alternative" type="text/html"></link><id>a7f5f354-26b9-2741-1fc9-231b56382173</id><updated>2026-01-18T15:39:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>JavaScript</title><link href="https://gavart.ist/#JavaScript"></link><link href="https://gavart.ist/static/JavaScript.html" rel="alternative" type="text/html"></link><id>686155af-75a6-0a0f-6e9d-80c1f7edd3e9</id><updated>2026-01-18T15:39:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>God is a child who amuses himself, passes from laughter to tears without reason</title><link href="https://gavart.ist/#God%20is%20a%20child%20who%20amuses%20himself%2C%20passes%20from%20laughter%20to%20tears%20without%20reason"></link><link href="https://gavart.ist/static/God%2520is%2520a%2520child%2520who%2520amuses%2520himself%252C%2520passes%2520from%2520laughter%2520to%2520tears%2520without%2520reason.html" rel="alternative" type="text/html"></link><id>8f0ba3cb-51dd-db88-52de-4d69a4668623</id><updated>2026-01-18T15:36:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, and every day invents the world for the tormet of the abstractions of its quintessence, the pedants and the preachers who pretend to teach him his trade of creator.</p></div></content><author><name>undefined</name></author></entry><entry><title>Élie Faure</title><link href="https://gavart.ist/#%C3%89lie%20Faure"></link><link href="https://gavart.ist/static/%25C3%2589lie%2520Faure.html" rel="alternative" type="text/html"></link><id>10389291-7f0a-3f13-8cfb-f373d10788b3</id><updated>2026-01-18T15:36:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Anisotropic Birefringence</title><link href="https://gavart.ist/#Anisotropic%20Birefringence"></link><link href="https://gavart.ist/static/Anisotropic%2520Birefringence.html" rel="alternative" type="text/html"></link><id>929d330b-db4c-ee9a-67a5-e81d24ac6dc8</id><updated>2026-01-17T09:38:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><span class=" digitalGarden 

">Anisotropic birefringence in the Cosmic Microwave Background Radiation is exactly the kind of subtle clue that could mean the cosmos has a hidden bias baked into its very fabric. The twist at the boundaries of magnitude express unseen dimensional fringe interactions. THIS IS THE WAY.

</span></p><img src="./files/img/concepts/anisotropic-birefringence.png"></img></div></content><author><name>undefined</name></author></entry><entry><title>Sybil Attack</title><link href="https://gavart.ist/#Sybil%20Attack"></link><link href="https://gavart.ist/static/Sybil%2520Attack.html" rel="alternative" type="text/html"></link><id>dd32bf6e-43b8-2560-206a-c39c7ba7dc63</id><updated>2026-01-17T09:36:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>In an anonymous network, a so-called sybil attack is an attack where a single user could generate multiple entities (under pseudonyms) to influence the consensus process.</p></div></content><author><name>undefined</name></author></entry><entry><title>Ogallala Aquifer</title><link href="https://gavart.ist/#Ogallala%20Aquifer"></link><link href="https://gavart.ist/static/Ogallala%2520Aquifer.html" rel="alternative" type="text/html"></link><id>a2b49ca4-d738-c748-2e19-c17e7ea8b51a</id><updated>2026-01-17T09:34:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p><em>
Sprawling beneath eight states and more than 100 million acres, the Ogallala Aquifer is the kind of hydrological behemoth that lends itself to rhapsody and hubris. Ancient, epic, apparently endless, it is the largest subterranean water supply in the country, with an estimated capacity of a million-billion gallons, providing nearly a third of all American groundwater irrigation. If the aquifer were somehow raised to the surface, it would cover a larger area than any freshwater lake on Earth—by a factor of five.<sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Broken%20Heartland%3A%20The%20looming%20collapse%20of%20agriculture%20on%20the%20Great%20Plains">1</a></sup>
</em>
</p></blockquote><p><img src="./files/img/concepts/ogallala-aquifer.png" width="700"></img><br></br><sup><a class="tc-tiddlylink-external" href="https://commons.wikimedia.org/w/index.php?curid=7428818" rel="noopener noreferrer" target="_blank">By Kbh3rd - Own work, CC BY-SA 3.0</a></sup></p><p><img src="./files/img/concepts/Crops_Kansas_AST_20010624.jpg" width="700"></img><br></br><sup><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Ogallala_Aquifer#/media/File:Crops_Kansas_AST_20010624.jpg" rel="noopener noreferrer" target="_blank">NASA ASTER image of a roughly 557 mi2 area of fields (1443 km2) in Kansas watered from the Ogallala Aquifer with center pivot irrigation systems</a></sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Broken Heartland: The looming collapse of agriculture on the Great Plains</title><link href="https://gavart.ist/#Broken%20Heartland%3A%20The%20looming%20collapse%20of%20agriculture%20on%20the%20Great%20Plains"></link><link href="https://gavart.ist/static/Broken%2520Heartland%253A%2520The%2520looming%2520collapse%2520of%2520agriculture%2520on%2520the%2520Great%2520Plains.html" rel="alternative" type="text/html"></link><id>fe7a4f3f-1d4f-c820-a89b-ed32a1382cba</id><updated>2026-01-17T09:09:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Gist: The Abuse Factory</title><link href="https://gavart.ist/#The%20Gist%3A%20The%20Abuse%20Factory"></link><link href="https://gavart.ist/static/The%2520Gist%253A%2520The%2520Abuse%2520Factory.html" rel="alternative" type="text/html"></link><id>9485b119-e0df-b7fc-efab-dfdd46ad5ca8</id><updated>2026-01-17T08:48:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Echolalia</title><link href="https://gavart.ist/#Echolalia"></link><link href="https://gavart.ist/static/Echolalia.html" rel="alternative" type="text/html"></link><id>ae600657-c805-6fae-4ee4-b320563214a5</id><updated>2026-01-15T09:47:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From echo- +‎ -lalia; echo- ultimately from Ancient Greek ἠχώ (ēkhṓ, “reflected sound, echo”), -lalia from λαλιά (laliá, “talk, chat”).</p><p>echolalia (countable and uncountable, plural echolalias)</p><p><strong>Definition:</strong> meaningless repetition of words just spoken by another person, occurring as a symptom of mental conditions.</p></div></content><author><name>undefined</name></author></entry><entry><title>Kevin N. Chen</title><link href="https://gavart.ist/#Kevin%20N.%20Chen"></link><link href="https://gavart.ist/static/Kevin%2520N.%2520Chen.html" rel="alternative" type="text/html"></link><id>e38a8388-503e-18fe-7be5-c5fdeddeff8b</id><updated>2026-01-12T11:50:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cykik</title><link href="https://gavart.ist/#Cykik"></link><link href="https://gavart.ist/static/Cykik.html" rel="alternative" type="text/html"></link><id>8ff9e502-8293-c574-bac1-02b00b6f4d32</id><updated>2026-01-12T09:52:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Brennan's Weblog 🌈</title><link href="https://gavart.ist/#Brennan's%20Weblog%20%F0%9F%8C%88"></link><link href="https://gavart.ist/static/Brennan's%2520Weblog%2520%25F0%259F%258C%2588.html" rel="alternative" type="text/html"></link><id>d33d19d0-f2d4-ea58-02e8-ea75a84dd670</id><updated>2026-01-11T23:14:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>omg.lol</title><link href="https://gavart.ist/#omg.lol"></link><link href="https://gavart.ist/static/omg.lol.html" rel="alternative" type="text/html"></link><id>e26d2484-cd19-c6d5-c4e5-e522eea0b3c5</id><updated>2026-01-11T23:06:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Robb Knight</title><link href="https://gavart.ist/#Robb%20Knight"></link><link href="https://gavart.ist/static/Robb%2520Knight.html" rel="alternative" type="text/html"></link><id>b909af67-a087-75c6-1f15-edd81d38244d</id><updated>2026-01-11T23:03:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Business</title><link href="https://gavart.ist/#Business"></link><link href="https://gavart.ist/static/Business.html" rel="alternative" type="text/html"></link><id>d6e6cb19-e3b9-c02f-89d6-cd54cfa7c613</id><updated>2026-01-11T23:02:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Indie Hackers</title><link href="https://gavart.ist/#Indie%20Hackers"></link><link href="https://gavart.ist/static/Indie%2520Hackers.html" rel="alternative" type="text/html"></link><id>72c23df4-96ee-a0ff-ecd6-8b2c56ebb485</id><updated>2026-01-11T23:02:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ana Rodrigues</title><link href="https://gavart.ist/#Ana%20Rodrigues"></link><link href="https://gavart.ist/static/Ana%2520Rodrigues.html" rel="alternative" type="text/html"></link><id>b422d57a-47d2-a7ac-e533-f81cdc29c674</id><updated>2026-01-11T22:58:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Buster Benson</title><link href="https://gavart.ist/#Buster%20Benson"></link><link href="https://gavart.ist/static/Buster%2520Benson.html" rel="alternative" type="text/html"></link><id>efe8c176-8bde-fea6-978a-fec622aae640</id><updated>2026-01-11T22:57:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>imported font css</title><link href="https://gavart.ist/#imported%20font%20css"></link><link href="https://gavart.ist/static/imported%2520font%2520css.html" rel="alternative" type="text/html"></link><id>caa03caf-3535-8904-8e0f-f7e360a0049a</id><updated>2026-01-11T11:27:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>@font-face {
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</p></div></content><author><name>undefined</name></author></entry><entry><title>file.gallery</title><link href="https://gavart.ist/#file.gallery"></link><link href="https://gavart.ist/static/file.gallery.html" rel="alternative" type="text/html"></link><id>69606271-c7f2-3c00-880c-558e54d3f5b0</id><updated>2026-01-11T09:32:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jane Goodall’s original tale of chimpanzees still astonishes today</title><link href="https://gavart.ist/#Jane%20Goodall%E2%80%99s%20original%20tale%20of%20chimpanzees%20still%20astonishes%20today"></link><link href="https://gavart.ist/static/Jane%2520Goodall%25E2%2580%2599s%2520original%2520tale%2520of%2520chimpanzees%2520still%2520astonishes%2520today.html" rel="alternative" type="text/html"></link><id>db406f63-0c8a-1fff-2dc4-a5a5f80f47a7</id><updated>2026-01-10T11:51:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Is ChatGPT Conscious?</title><link href="https://gavart.ist/#Is%20ChatGPT%20Conscious%3F"></link><link href="https://gavart.ist/static/Is%2520ChatGPT%2520Conscious%253F.html" rel="alternative" type="text/html"></link><id>2b6ce602-7baa-87cc-b0cb-d02c296377b6</id><updated>2026-01-10T10:54:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Were classical statues painted horribly?</title><link href="https://gavart.ist/#Were%20classical%20statues%20painted%20horribly%3F"></link><link href="https://gavart.ist/static/Were%2520classical%2520statues%2520painted%2520horribly%253F.html" rel="alternative" type="text/html"></link><id>24f0b901-cefc-e3e6-e7c2-93e17f29ea05</id><updated>2026-01-09T21:14:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>yt-dlp</title><link href="https://gavart.ist/#yt-dlp"></link><link href="https://gavart.ist/static/yt-dlp.html" rel="alternative" type="text/html"></link><id>f8cf3512-c67e-a8d9-d3c6-c8464f099d6b</id><updated>2026-01-09T10:52:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Update via pip <code>python3 -m pip install -U yt-dlp</code></p><p>Set <code>~/.config/yt-dlp/config</code> to download mp4</p><pre><code>## Format

## Video Format Options
## previous setting -S res,ext:mp4:m4a --recode mp4
-S vcodec:h264,fps,res,acodec:m4a --recode mp4</code></pre><h3 class=""><strong>Download auto-generated subtitles in many languages</strong></h3><p><code>yt-dlp --list-subs [URL]</code></p><p>Uses a <a class="tc-tiddlylink-external" href="https://github.com/protrolium/srt_fix" rel="noopener noreferrer" target="_blank">plugin (srt_fix)</a> to fix vtt duplications issues and write to srt.</p><p><code>yt-dlp --write-auto-sub --sub-lang "es" "url" --convert-subs=srt --use-postprocessor srt_fix</code></p><h3 class=""><strong>Download section from longer video</strong></h3><p><code>yt-dlp --download-sections "*6:58:16-8:00:08" [VIDEO_URL]</code></p><p>See also: <a class="tc-tiddlylink-external" href="https://gist.github.com/protrolium/cf1360de499fc046ff65" rel="noopener noreferrer" target="_blank">youtube-dl</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Radical Simplicity</title><link href="https://gavart.ist/#Radical%20Simplicity"></link><link href="https://gavart.ist/static/Radical%2520Simplicity.html" rel="alternative" type="text/html"></link><id>e20ddb06-5fb7-3919-437d-f795e597ade8</id><updated>2026-01-09T09:45:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Glide Browser</title><link href="https://gavart.ist/#Glide%20Browser"></link><link href="https://gavart.ist/static/Glide%2520Browser.html" rel="alternative" type="text/html"></link><id>034c3e19-ea36-4798-580d-97b132817e17</id><updated>2026-01-09T09:38:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The most friendless place on earth</title><link href="https://gavart.ist/#The%20most%20friendless%20place%20on%20earth"></link><link href="https://gavart.ist/static/The%2520most%2520friendless%2520place%2520on%2520earth.html" rel="alternative" type="text/html"></link><id>b27dceed-de43-986e-a117-1d1b65b23c2a</id><updated>2026-01-08T23:32:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Global workspace theory</title><link href="https://gavart.ist/#Global%20workspace%20theory"></link><link href="https://gavart.ist/static/Global%2520workspace%2520theory.html" rel="alternative" type="text/html"></link><id>48a2efa0-2163-eec3-1803-37aa6ffec77d</id><updated>2026-01-08T23:16:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Man is an animal, and his happiness  depends upon his physiology more than he likes to think.</title><link href="https://gavart.ist/#Man%20is%20an%20animal%2C%20and%20his%20happiness%20%20depends%20upon%20his%20physiology%20more%20than%20he%20likes%20to%20think."></link><link href="https://gavart.ist/static/Man%2520is%2520an%2520animal%252C%2520and%2520his%2520happiness%2520%2520depends%2520upon%2520his%2520physiology%2520more%2520than%2520he%2520likes%2520to%2520think..html" rel="alternative" type="text/html"></link><id>97065df2-dd26-7873-788e-4987ba38d420</id><updated>2026-01-08T20:28:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> This  is a humble conclusion, but I cannot make myself disbelieve it.  Unhappy businessmen, I am convinced, would increase their  happiness more by walking six miles every day than by any conceivable change of philosophy.</p></div></content><author><name>undefined</name></author></entry><entry><title>KPBJ</title><link href="https://gavart.ist/#KPBJ"></link><link href="https://gavart.ist/static/KPBJ.html" rel="alternative" type="text/html"></link><id>adecd969-d86d-fd7e-f44a-6a47ce7c4c58</id><updated>2026-01-08T10:42:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Radio</title><link href="https://gavart.ist/#Radio"></link><link href="https://gavart.ist/static/Radio.html" rel="alternative" type="text/html"></link><id>1f32d2c1-b49b-9b0c-9d99-bd10da107e41</id><updated>2026-01-08T10:42:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Archive</title><link href="https://gavart.ist/#Archive"></link><link href="https://gavart.ist/static/Archive.html" rel="alternative" type="text/html"></link><id>e727b009-44f8-1e1d-0a95-c12886ac4641</id><updated>2026-01-08T10:23:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><br></br><p><div class="row">
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<div class="column"><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Poems">Poems</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Quotations">Quotations</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Record%20Collection">Record Collection</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reference">Reference</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tumblr">Tumblr</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Visual%20Studies">Visual Studies</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wikipedia">Wikipedia</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#World%20Map">World Map</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#YouTube">YouTube</a></div></div>
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</p><p><div style="clear:both;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Palisades Eaton (score)</title><link href="https://gavart.ist/#Palisades%20Eaton%20(score)"></link><link href="https://gavart.ist/static/Palisades%2520Eaton%2520(score).html" rel="alternative" type="text/html"></link><id>d1018bb7-dba9-7c30-aa20-10ddee13cde8</id><updated>2026-01-06T22:01:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Æffect Radio : gavcloud · AE352</title><link href="https://gavart.ist/#%C3%86ffect%20Radio%20%3A%20gavcloud%20%C2%B7%20AE352"></link><link href="https://gavart.ist/static/%25C3%2586ffect%2520Radio%2520%253A%2520gavcloud%2520%25C2%25B7%2520AE352.html" rel="alternative" type="text/html"></link><id>94af3c1f-47de-6e19-213f-49a762004d5f</id><updated>2026-01-05T23:26:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">All-vinyl DJ Set for Æffect Radio Twitch stream, broadcasting live from Los Angeles, CA.</h2><h2 class="">Featuring: Sote, Abelcain, Scorn, Venetian Snares, Team Doyobi, Burial, Wendy Carlos, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laskfar%20Vortok">Laskfar Vortok</a>, Base Force One, Foxdye, and more …</h2><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/mufVBxBUa2k?si=_wvnaccF1gfZEcjo" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Æffect Radio : gavcloud · AE352 (Live Stream)</title><link href="https://gavart.ist/#%C3%86ffect%20Radio%20%3A%20gavcloud%20%C2%B7%20AE352%20(Live%20Stream)"></link><link href="https://gavart.ist/static/%25C3%2586ffect%2520Radio%2520%253A%2520gavcloud%2520%25C2%25B7%2520AE352%2520(Live%2520Stream).html" rel="alternative" type="text/html"></link><id>b89ba57e-93be-09b3-449c-a096857ad197</id><updated>2026-01-05T23:26:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/mufVBxBUa2k?si=_wvnaccF1gfZEcjo" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>TCHO Chocolate</title><link href="https://gavart.ist/#TCHO%20Chocolate"></link><link href="https://gavart.ist/static/TCHO%2520Chocolate.html" rel="alternative" type="text/html"></link><id>14d10446-b16b-3c37-73e9-cc699ace6119</id><updated>2026-01-05T09:53:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Conference of The Birds</title><link href="https://gavart.ist/#The%20Conference%20of%20The%20Birds"></link><link href="https://gavart.ist/static/The%2520Conference%2520of%2520The%2520Birds.html" rel="alternative" type="text/html"></link><id>57bf358f-1552-2b7d-3cfe-40ee2e0f61a7</id><updated>2026-01-05T00:25:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The world's birds gathered for their conference <br></br>And said: "our constitution makes no sense. <br></br>All nations in the world require a king; <br></br>How is it we alone have no such thing? <br></br>Only a kingdom can be justly run; <br></br>We need a king and must inquire for one." <br></br> <br></br>They argued how to set about their quest. <br></br>The hoopoe fluttered forward; on his breast <br></br>There shone the symbol of the Spirit's Way <br></br>And on his head Truth's crown, a feathered spray. <br></br>Discerning, righteous and intelligent, <br></br>He spoke: "My purposes are heaven-sent; <br></br>I keep God's secrets, mundane and divine, <br></br>In proof of which behold the holy sign <br></br><em>Bismillah</em> etched for ever on my beak. <br></br>No one can share the grief with which I seek <br></br>My wits find water in the trackless waste. <br></br>I come as Solomon's close friend and claim <br></br>The matchless wisdom of that mighty name <br></br>(He never asked for those who quit this court, <br></br>But when I left him once alone he sought <br></br>With anxious vigilance for my return— <br></br>Measure my worth by this great king's concern!). <br></br>I bore his letters—back again I flew— <br></br>Whatever secrets he divined I knew; <br></br>A prophet loved me; God has trusted me; <br></br>What other bird has won such dignity? <br></br>For years I traveled over many lands, <br></br>Past oceans, mountains, valleys, desert sands, <br></br>And when the Deluge rose I flew around <br></br>The world itself and never glimpsed dry ground; <br></br>With Solomon I set out to explore <br></br>The limits of the earth from shore to shore. <br></br>I know our king—but how can I alone <br></br>Endure the journey to his distant throne? <br></br>Join me, and when at last we end our quest <br></br>Our king will greet you as His honored guest. <br></br> <br></br>How long will you persist in blasphemy? <br></br>Escape your selfhood's vicious tyranny— <br></br>Whoever can evade the Self transcends <br></br>This world and as a lover he ascends. <br></br>Set free your soul; impatient of delay, <br></br>Step out along your sovereign's royal Way; <br></br>We have a king beyond Kaf's mountain peak <br></br>The Simorgh lives, the sovereign whom you seek, <br></br>And He is always near to us, though we <br></br>Live far from his transcendent majesty. <br></br>A hundred thousand veils of dark and light <br></br>Withdraw His presence from our mortal sight, <br></br>And in both worlds no being shares the throne <br></br>That marks the Simorgh's power and his alone— <br></br>He reigns in undisturbed omnipotence— <br></br>Bathed in the light of His magnificence— <br></br>No mind, no intellect can penetrate <br></br>The mystery of his unending state: <br></br>How many hundreds thousands pray <br></br>For patience and true knowledge of the Way <br></br>That leads to him whom reason cannot claim, <br></br>Nor mortal purity describe or name; <br></br>There soul and mind bewildered miss the mark <br></br>And, faced by Him, like dazzled eyes, are dark— <br></br>No sage could understand His perfect grace, <br></br>Nor seer discern the beauty of His face. <br></br>His creatures strive to find a path to Him, <br></br>Deluded by each new, deceitful whim, <br></br>But fancy cannot work as she would wish; <br></br>You cannot weigh the moon like so much fish! <br></br>How many search for him who's heads are sent <br></br>Like polo-balls in some great tournament <br></br>From side to giddy side—how many cries, <br></br>How many countless groans assail the skies! <br></br>Do not imagine that the way is short; <br></br>Vast seas and deserts lie before His court. <br></br>Consider carefully before you start; <br></br>The journey asks of you a lion's heart. <br></br>The road is long, the sea is deep—one flies <br></br>First buffeted by joy and then by sighs; <br></br>If you desire this quest, give up your soul <br></br>And make your sovereign's court your only goal. <br></br>First wash your hands of life if you would say: <br></br>"I am a pilgrim of our sovereign's Way"; <br></br>Renounce your soul for love; He you persue <br></br>Will sacrifice His inmost soul for you. <br></br> <br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Farid%20ud-Din%20Attar">Farid ud-Din Attar</a><br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Conference%20of%20The%20Birds">The Conference of The Birds</a></em> (1177)<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>14,918 — The Enjoyer</title><link href="https://gavart.ist/#14%2C918%20%E2%80%94%20The%20Enjoyer"></link><link href="https://gavart.ist/static/14%252C918%2520%25E2%2580%2594%2520The%2520Enjoyer.html" rel="alternative" type="text/html"></link><id>59de2e8e-157d-8ded-04bd-61bae9b8cf78</id><updated>2026-01-05T00:24:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>I have been asking this question a lot these last few days as I work at the piano. "Are you the enjoy-er?" I suppose this is arises from an occasional descent into monotony during practice. The question seems to affirm the miraculousness of what I am actually doing; the reverence it deserves; the sensuous enjoyment of sound; the priviledge and sacrifice that learning to perform music at a very high level entails. Checking myself to see if I am indeed <a class="tc-tiddlylink tc-tiddlylink-missing" href="#The%20Enjoyer">The Enjoyer</a> puts my mind at ease. And I start to begin to see its wider application in learning and in other pursuits. To truly enjoy what you are doing brings great benefit, satisfaction, and unexpected results.</p></div></content><author><name>undefined</name></author></entry><entry><title>Henry Miller</title><link href="https://gavart.ist/#Henry%20Miller"></link><link href="https://gavart.ist/static/Henry%2520Miller.html" rel="alternative" type="text/html"></link><id>c2dd5a4a-ed93-2c3e-40bf-4ff430d09cf9</id><updated>2026-01-04T22:58:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tropic of Cancer</title><link href="https://gavart.ist/#Tropic%20of%20Cancer"></link><link href="https://gavart.ist/static/Tropic%2520of%2520Cancer.html" rel="alternative" type="text/html"></link><id>6ecd6f20-d20c-41aa-57bb-e85e7b8f31e5</id><updated>2026-01-04T22:58:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
 </p></div></content><author><name>undefined</name></author></entry><entry><title>Molybdomancy</title><link href="https://gavart.ist/#Molybdomancy"></link><link href="https://gavart.ist/static/Molybdomancy.html" rel="alternative" type="text/html"></link><id>44040bba-7bce-3bce-2efd-927057ecbc76</id><updated>2026-01-03T16:44:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Complete Guide to Mastering Suno</title><link href="https://gavart.ist/#The%20Complete%20Guide%20to%20Mastering%20Suno"></link><link href="https://gavart.ist/static/The%2520Complete%2520Guide%2520to%2520Mastering%2520Suno.html" rel="alternative" type="text/html"></link><id>d90f3bf3-81e8-423d-a298-0308b4ee46f4</id><updated>2026-01-03T11:52:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Machine Learning</title><link href="https://gavart.ist/#Machine%20Learning"></link><link href="https://gavart.ist/static/Machine%2520Learning.html" rel="alternative" type="text/html"></link><id>091fa912-1c04-7db1-dd48-c3e2ab5f3c91</id><updated>2026-01-03T11:51:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fringe Drifters</title><link href="https://gavart.ist/#Fringe%20Drifters"></link><link href="https://gavart.ist/static/Fringe%2520Drifters.html" rel="alternative" type="text/html"></link><id>82575238-7eb1-9c81-d8a9-685bdea030ad</id><updated>2026-01-03T11:41:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Radiant Matter Surrounding</title><link href="https://gavart.ist/#Radiant%20Matter%20Surrounding"></link><link href="https://gavart.ist/static/Radiant%2520Matter%2520Surrounding.html" rel="alternative" type="text/html"></link><id>c872e0a6-9e92-bb1a-a50b-cf64b9f1aa5b</id><updated>2025-12-30T12:15:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Whirlwinds through time, with an emphasis on music for voice, strings, and delirium.</h2><h2 class="">Music by George Lewis, Peteris Vasks, Ellen Reid, Toru Takemitsu, Antonio Vivaldi, Anton Arensky, Karlheinz Stockhausen, Galina Ustvolskaya, Robert Schumann, Hildegard von Bingen, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">J.S. Bach</a>, and more.</h2><h2 class="">Artwork by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LADY%20BAMBS">LADY BAMBS</a></h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?light=1&amp;feed=%2F__gavcloud__%2Fradiant-matter-surrounding%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>Prototype for Counter-Sublime</title><link href="https://gavart.ist/#Prototype%20for%20Counter-Sublime"></link><link href="https://gavart.ist/static/Prototype%2520for%2520Counter-Sublime.html" rel="alternative" type="text/html"></link><id>9506c5bc-3008-11aa-b4a2-50fa4bf61341</id><updated>2025-12-30T12:14:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Welcome to the prototype of a new radio program titled Tonestrukt Presents … The Counter-Sublime. <a class="tc-tiddlylink-external" href="https://tonestrukt.org" rel="noopener noreferrer" target="_blank">Tonestrukt</a> is a Los Angeles based record label of new.classical, field.recording and genre-less music. The Counter-Sublime aims to dive into (un)familiar territories of instrumental music, with a focus on shifting narratives, international coverage, and abstractions upon the forms of notated music.</h2><h2 class="">Music by Yusef Lateef, Nguyễn Thiên Đạo, Rebecca Saunders, Serpentwithfeet, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carlos%20Ch%C3%A1vez">Carlos Chávez</a>, Cassandra Miller, Johann Jakob Froberger, Duke Ellington, Nobukazu Takemura, Louis Andriessen, Rashad Becker, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wolfgang%20Amadeus%20Mozart">Wolfgang Amadeus Mozart</a>.</h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?light=1&amp;feed=%2F__gavcloud__%2Fprototype-for-counter-sublime%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>Flashover Daguerreologue</title><link href="https://gavart.ist/#Flashover%20Daguerreologue"></link><link href="https://gavart.ist/static/Flashover%2520Daguerreologue.html" rel="alternative" type="text/html"></link><id>00a9d2d1-35ca-de8e-3227-5bf21db753c1</id><updated>2025-12-30T12:13:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">an imaginary interview with an old photo of yourself, with traversals of eras, with a happenstance focus on film/video games/pop/electronic genres containing classical quotations and/or orchestral instrumentation.</h2><h2 class="">Featuring Charles Koechlin, Björk, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou">Emahoy Tsegué-Maryam Guèbrou</a>, Nobuo Uematsu, Genevieve Artadi, Igorrr, Jeremy Haladyna, gnarwallaby, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sergei%20Prokofiev">Sergei Prokofiev</a>, Moby, Howard Shore, Sting, Sevish, Esaias Reusner, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">J.S. Bach</a>, and more …</h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?light=1&amp;feed=%2F__gavcloud__%2Fflashover-daguerreologue%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>Chiromantic Discoverables Underneath A Scattering Goblet</title><link href="https://gavart.ist/#Chiromantic%20Discoverables%20Underneath%20A%20Scattering%20Goblet"></link><link href="https://gavart.ist/static/Chiromantic%2520Discoverables%2520Underneath%2520A%2520Scattering%2520Goblet.html" rel="alternative" type="text/html"></link><id>62dd3a32-9c67-af3f-731c-c730a82ecd26</id><updated>2025-12-30T12:13:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A blended inchoate chasm filtered by Rrose, Matmos, Lauren Bousfield, Hiroshi Okubo, Have A Few Get Some, Gareth Clarke, Aerial, Moses Sumney, Milanese, Mick Smiley, Africa HiTech and more.</h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?light=1&amp;feed=%2F__gavcloud__%2Fchiromantic-discoverables-underneath-a-scattering-goblet%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>Final Party HOUR2 • KCHUNG</title><link href="https://gavart.ist/#Final%20Party%20HOUR2%20%E2%80%A2%20KCHUNG"></link><link href="https://gavart.ist/static/Final%2520Party%2520HOUR2%2520%25E2%2580%25A2%2520KCHUNG.html" rel="alternative" type="text/html"></link><id>7a8e85ed-0dcc-fcc8-d02f-3fc3af2e7fb6</id><updated>2025-12-30T12:13:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">guest mix for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Christopher%20Carley">mONTY cANTSIN's</a> Final Party <a class="tc-tiddlylink-external" href="https://www.kchungradio.org/" rel="noopener noreferrer" target="_blank">KCHUNG Radio</a> broadcast on 15 December 2022 live on 1630AM Los Angeles, California, United States. </h2><h2 class="">Featuring Pierre Vasseur, Miss Nelson &amp; Bruce Haack, Windows98の, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Conlon%20Nancarrow">Conlon Nancarrow</a>, William S. Burroughs, Felix Kubin, Matmos, Terminal 11, and more.</h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?feed=%2F__gavcloud__%2Ffinal-party-hour2-kchung-radio-15-dec-2022%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>Descarapelando las épocas debajo de la supervisión de la alcaldesa</title><link href="https://gavart.ist/#Descarapelando%20las%20%C3%A9pocas%20debajo%20de%20la%20supervisi%C3%B3n%20de%20la%20alcaldesa"></link><link href="https://gavart.ist/static/Descarapelando%2520las%2520%25C3%25A9pocas%2520debajo%2520de%2520la%2520supervisi%25C3%25B3n%2520de%2520la%2520alcaldesa.html" rel="alternative" type="text/html"></link><id>cd9a7fc9-fc83-b88f-5d24-7a33b94e207a</id><updated>2025-12-30T12:13:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Featuring Moor Mother, Mr. Bungle, Cassandra Miller, Björk, Sviatoslav Richter, Goran Bregović, Prince, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou">Emahoy Tsegué-Maryam Guèbrou</a>, David Bowie, Rinaldo Alessandrini &amp; Concerto Italiano and more.</h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?feed=%2F__gavcloud__%2Fdescarapelando-las-%C3%A9pocas-debajo-de-la-supervisi%C3%B3n-de-la-alcaldesa%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>arise all over, semantic tilt-shift</title><link href="https://gavart.ist/#arise%20all%20over%2C%20semantic%20tilt-shift"></link><link href="https://gavart.ist/static/arise%2520all%2520over%252C%2520semantic%2520tilt-shift.html" rel="alternative" type="text/html"></link><id>7077ad21-90e9-7c37-47a5-5409f51f0097</id><updated>2025-12-30T12:12:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Featuring serpentwithfeet, Enya, Mari Samuelsen, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Austin%20Peralta">Austin Peralta</a>, Lansing-Dreiden, Patrick Paige II, and more</h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?feed=%2F__gavcloud__%2Farise-all-over-semantic-tilt-shift%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>Secret Zen</title><link href="https://gavart.ist/#Secret%20Zen"></link><link href="https://gavart.ist/static/Secret%2520Zen.html" rel="alternative" type="text/html"></link><id>e2095bd8-fbc2-8e49-3d3f-a5b953374d42</id><updated>2025-12-30T12:12:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Featuring <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Terminal%2011">Terminal 11</a>, Arca, F.U.S.E, Like A Villain, SaliYah, Kindohm, and more.</h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?feed=%2F__gavcloud__%2Fsecret-zen%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>The chamfered edges of atomic disintegration in the age of alignment</title><link href="https://gavart.ist/#The%20chamfered%20edges%20of%20atomic%20disintegration%20in%20the%20age%20of%20alignment"></link><link href="https://gavart.ist/static/The%2520chamfered%2520edges%2520of%2520atomic%2520disintegration%2520in%2520the%2520age%2520of%2520alignment.html" rel="alternative" type="text/html"></link><id>b2366f38-612a-d3ae-f11a-c32c1ecc49e9</id><updated>2025-12-30T12:11:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Featuring Rust, Portrait XO, Hajime Mizoguchi, Knower, Charles Koechlin, Aphex Twin, Nadia Sirota, Ania Kourtis &amp; Yoshihiro Kikuchi, Aliceffekt, and more</h2><p><iframe frameborder="0" height="400" src="https://www.mixcloud.com/widget/iframe/?light=1&amp;feed=%2F__gavcloud__%2Fthe-chamfered-edges-of-atomic-disintegration-in-the-age-of-alignment%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>Live on Synthdactyl Program KSPC 88.7FM</title><link href="https://gavart.ist/#Live%20on%20Synthdactyl%20Program%20KSPC%2088.7FM"></link><link href="https://gavart.ist/static/Live%2520on%2520Synthdactyl%2520Program%2520KSPC%252088.7FM.html" rel="alternative" type="text/html"></link><id>107a2343-4ecc-0dd1-00a0-a64d6a70e4cf</id><updated>2025-12-30T12:11:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Guest DJ Set for DJ A/D's Synthdactyl Program on KSPC, broadcasting live from Pomona College, Claremont, CA.</h2><h2 class="">Prominently features my remix work and the works of artist from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a> collective, with various interjections of inspirational tracks from around the globe.</h2><h2 class="">Originally aired 2024 February 25 7PM PST</h2><h2 class=""><a class="tc-tiddlylink-external" href="https://spinitron.com/KSPC/pl/18604931/Synthdactyl-Program" rel="noopener noreferrer" target="_blank">Hear the full show on KSPC (with interview)</a></h2><p><iframe frameborder="0" height="400" src="https://player-widget.mixcloud.com/widget/iframe/?feed=%2F__gavcloud__%2Flive-on-synthdactyl-program-kspc-887-fm-25-february-2024%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>The Summer of Tiger, Snow Lion, Garuda &amp; Dragon</title><link href="https://gavart.ist/#The%20Summer%20of%20Tiger%2C%20Snow%20Lion%2C%20Garuda%20%26%20Dragon"></link><link href="https://gavart.ist/static/The%2520Summer%2520of%2520Tiger%252C%2520Snow%2520Lion%252C%2520Garuda%2520%2526%2520Dragon.html" rel="alternative" type="text/html"></link><id>82112222-e0a2-e83e-a855-1b801593937d</id><updated>2025-12-30T12:10:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Featuring <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah Badu</a>, Nadah El-Shazly, Areni Agbabian, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nailah%20Hunter">Nailah Hunter</a>, Ozzy Osbourne, Weyes Blood, Amina Claudine Myers, Savages, Olive Kimoto, and more.</h2><p><iframe allow="encrypted-media; fullscreen; autoplay; idle-detection; speaker-selection; web-share;" frameborder="0" height="400" src="https://player-widget.mixcloud.com/widget/iframe/?feed=%2F__gavcloud__%2Fthe-summer-of-tiger-snow-lion-garuda-dragon%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>After The Blue Dusk Disintegrates To Lead In Restful Soaring</title><link href="https://gavart.ist/#After%20The%20Blue%20Dusk%20Disintegrates%20To%20Lead%20In%20Restful%20Soaring"></link><link href="https://gavart.ist/static/After%2520The%2520Blue%2520Dusk%2520Disintegrates%2520To%2520Lead%2520In%2520Restful%2520Soaring.html" rel="alternative" type="text/html"></link><id>dacf5819-3ced-ccc2-232e-cd5d55b5fc95</id><updated>2025-12-30T12:10:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Featuring Enya, Vangelis, Alice Coltrane, Vashti Bunyan, Edvard Grieg, Mercedes Sosa, and more</h2><p><iframe allow="encrypted-media; fullscreen; autoplay; idle-detection; speaker-selection; web-share;" frameborder="0" height="400" src="https://player-widget.mixcloud.com/widget/iframe/?feed=%2F__gavcloud__%2Falways-after-soaring-comes-the-blue-dusk-which-is-restful%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>PELLYVISION w/ gavcloud</title><link href="https://gavart.ist/#PELLYVISION%20w%2F%20gavcloud"></link><link href="https://gavart.ist/static/PELLYVISION%2520w%252F%2520gavcloud.html" rel="alternative" type="text/html"></link><id>29d910e6-4fe0-32dd-e93a-e687ab49db2c</id><updated>2025-12-30T12:08:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allowfullscreen="true" frameborder="0" height="360" src="https://player.vimeo.com/video/450182050" title="vimeo-player" width="640"></iframe>
</div>
<iframe frameborder="0" height="120" src="https://www.mixcloud.com/widget/iframe/?hide_cover=1&amp;feed=%2Fdublab%2Fpellyvision-w-gavcloud-082020%2F" width="100%"></iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>New Horizons Pluto Imagery Data Transfer Rate</title><link href="https://gavart.ist/#New%20Horizons%20Pluto%20Imagery%20Data%20Transfer%20Rate"></link><link href="https://gavart.ist/static/New%2520Horizons%2520Pluto%2520Imagery%2520Data%2520Transfer%2520Rate.html" rel="alternative" type="text/html"></link><id>1baa6524-32a2-e08b-bd00-241ee9dea8a0</id><updated>2025-12-29T12:11:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>New Horizons transmitted at 2,000 bits per second from 3 billion miles away.  Slower than a 1990s dial-up modem. It took 16 months to download all the flyby data. </p><p>The spacecraft had to hit a target box 100km wide, arriving within 150 seconds of schedule, after 9 years of flight.  Miss it and the preloaded observation commands point at empty space.</p><p>Ten days before arrival, the spacecraft crashed and went into safe mode. Engineers had 72 hours to restore everything. </p><p>The probe is now 5 billion miles out, still whispering data back to Earth. We got 50 gigabits of Pluto photos using technology slower than your phone’s bluetooth.</p><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">The math on this image is insane.<br></br><br></br>New Horizons transmitted at 2,000 bits per second from 3 billion miles away. Slower than a 1990s dial-up modem. It took 16 months to download all the flyby data. <br></br><br></br>The spacecraft had to hit a target box 100km wide, arriving within 150 seconds… <a href="https://t.co/vGCogVbwtf"><a class="tc-tiddlylink-external" href="https://t.co/vGCogVbwtf" rel="noopener noreferrer" target="_blank">https://t.co/vGCogVbwtf</a></a></p>— Aakash Gupta (@aakashgupta) <a href="https://twitter.com/aakashgupta/status/2005184450846663043?ref_src=twsrc%5Etfw">December 28, 2025</a></blockquote> <script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>Reliquie</title><link href="https://gavart.ist/#Reliquie"></link><link href="https://gavart.ist/static/Reliquie.html" rel="alternative" type="text/html"></link><id>01065ec6-b67c-0969-0a2c-b92ef1d24c2e</id><updated>2025-12-28T22:27:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/uaHjfK0VKIE" title="YouTube video player" width="560"></iframe>
</div></p><h3 class=""><strong>Title</strong>: <br></br><strong>Director</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Anderson">Daniel Anderson</a><br></br><strong>Composer</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ernst%20Krenek">Ernst Krenek</a><br></br><strong>Production Company</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a><br></br><strong>Release Date</strong>: 2023 July 14<br></br></h3><h2 class="">A concert film and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie%20%C2%B7%20a%20Sonata%20by%20Franz%20Schubert%20%26%20Ernst%20Krenek">recording</a> of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a>'s unfinished <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20C%20major%20%27Reliquie%27%20D.%20840">Sonata in C major 'Reliquie' D. 840</a>, with a completion written by German modernist and 12-tone composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ernst%20Krenek">Ernst Krenek</a> in the style of Schubert, composed while he was in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berlin">Berlin</a> in the year 1921.</h2><p><div class="row">
<div class="column"><h2 class="">Presented by<br></br><a class="tc-tiddlylink-external" href="https://teachingmachine.tv/zones/cinema/reliquie/" rel="noopener noreferrer" target="_blank">The Teaching Machine</a></h2><h2 class="">Conceived and performed by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></h2><h2 class="">Concert co-produced &amp; directed by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Anderson">Daniel Anderson</a> </h2><h2 class="">Dramaturge<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Diana%20Wyenn">Diana Wyenn</a></h2><h2 class="">Additional Cinematography<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jake%20Bloch">Jake Bloch</a><br></br>Johnny Gutierrez</h2></div>
<div class="column"><h2 class="">Concert Audio Engineer<br></br>Andrew Funcheon</h2><h2 class="">Concert Stylist and Spanish Subtitles<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a></h2><h2 class="">Monologue Cinematography<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alex%20Brown">Alex Brown</a></h2><h2 class="">Monologue Audio Engineer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sean%20Huntley">Sean Huntley</a></h2><h2 class="">Titles<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#McKay%20Felt">McKay Felt</a></h2></div>
</div></p><p>View the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie%20%E2%80%A2%20Working%20Notes">Reliquie • Working Notes</a> and production materials.</p></div></content><author><name>undefined</name></author></entry><entry><title>Cinema</title><link href="https://gavart.ist/#Cinema"></link><link href="https://gavart.ist/static/Cinema.html" rel="alternative" type="text/html"></link><id>2d365e42-1520-ea39-d539-527b81cd069e</id><updated>2025-12-28T22:26:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>Original projects and cinematic materials</code></p><p><div class="row">
<div class="column"><h3 class=""></h3><p><ul>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie">Reliquie</a><br></br>
			<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Anderson">Daniel Anderson</a></span><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></span> ·  2023  </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Eyes%20In%20The%20Sky">The Eyes In The Sky</a><br></br>
			<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></span> ·  2013  </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Voyage%20to%20Nereid">Voyage to Nereid</a><br></br>
			<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></span> ·  2012  </em></sup>
		</li>
	
</ul></p><h3 class=""></h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#This%20Is%20My%20Place">This Is My Place</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a></span> · 2024  </em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a></span><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a></span> · 2022  </em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Children%20of%20The%20Void">Children of The Void</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a></span> · 2019  </em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cycle%20of%20Apples">Cycle of Apples</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maha%20Al-Saati">Maha Al-Saati</a></span> · 2019  </em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hair%3A%20The%20Story%20of%20Grass">Hair: The Story of Grass</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maha%20Al-Saati">Maha Al-Saati</a></span> · 2018  </em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#In%20Our%20Time">In Our Time</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a></span> · 2018  </em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fear%3A%20Audibly">Fear: Audibly</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maha%20Al-Saati">Maha Al-Saati</a></span> · 2017  </em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anamnesia">Anamnesia</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a></span> · 2013  </em></sup>
      </li>
  
</ul></p><h3 class=""></h3><p><ul>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dia%20Art%20Foundation%20Film%20Program%20%E2%80%A2%20David%20Lamelas%20%C2%B7%20The%20Machine">Dia Art Foundation Film Program • David Lamelas · The Machine</a><br></br>
			<sup><em>New York City, New York, United States • 2026 March 4 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cinematek%202024%20%E2%80%A2%20Lectures%2C%20introductions%2C%20workshops...">Cinematek 2024 • Lectures, introductions, workshops...</a><br></br>
			<sup><em>Brussels, Belgium • 2024 December 1 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#MALBA%20Cine%202024%20%C2%B7%20Funci%C3%B3n%20especial">MALBA Cine 2024 · Función especial</a><br></br>
			<sup><em>Buenos Aires, Argentina • 2024 September 8 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Museum%20Contemporary%20Art%20Chicago%20%26%20Gene%20Siskel%20Film%20Center">Museum Contemporary Art Chicago &amp; Gene Siskel Film Center</a><br></br>
			<sup><em>Chicago, Illinois, United States • 2024 April 4 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Festival%20of%20Invisible%20Cinema%20XVII%202023">Festival of Invisible Cinema XVII 2023</a><br></br>
			<sup><em>Zagreb, Croatia • 2023 December 16 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Leeds%20International%20Film%20Festival%20XXXVII%202023">Leeds International Film Festival XXXVII 2023</a><br></br>
			<sup><em>Leeds, United Kingdom • 2023 November 4 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Grolandais%20International%20Film%20Festival%20XXII%202023">Grolandais International Film Festival XXII 2023</a><br></br>
			<sup><em>Toulouse, France • 2023 September 24 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Etrange%20Festival%20XXIX%202023">Etrange Festival XXIX 2023</a><br></br>
			<sup><em>Paris, France • 2023 September 6 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Offscreen%20Film%20Festival%202023">Offscreen Film Festival 2023</a><br></br>
			<sup><em>Brussels, Belgium • 2023 March 26 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera%20Philadelphia%20Festival%20O22">Opera Philadelphia Festival O22</a><br></br>
			<sup><em>Philadelphia, Pennsylvania, United States • 2022 September 30 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Slamdance%20Film%20Festival%202019">Slamdance Film Festival 2019</a><br></br>
			<sup><em>Park City, Utah, United States • 2019 January 25-31 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#MALBA%20Cine%20Programaci%C3%B3n%202018">MALBA Cine Programación 2018</a><br></br>
			<sup><em>Buenos Aires, Argentina • 2018 May 10 &amp; 17 </em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Getty%20Center%20%C2%B7%20Museum%20Lecture%20Hall">The Getty Center · Museum Lecture Hall</a><br></br>
			<sup><em>Los Angeles, California, United States • 2018 May 8 </em></sup>
		</li>
	
</ul></p></div>
<div class="column"><h3 class=""></h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sense%204.0%20%3A%20Stalker%20Live%20Score">Sense 4.0 : Stalker Live Score</a><br></br>
<sup><em>Los Angeles, California, United States • 2022 August 6</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chronopolis%20Live%20Score">Chronopolis Live Score</a><br></br>
<sup><em>Santa Monica, California, United States • 2016 January 18</em></sup>
      </li>
  
</ul></p><h3 class=""></h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Double-Headed%20Coin%20%E2%80%A2%20Operations%20of%20The%20Dominant%20In%20Barry%20Lyndon">The Double-Headed Coin • Operations of The Dominant In Barry Lyndon</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cinema%20of%20The%20Void">Cinema of The Void</a></span> · 2024 November 19</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20French%20Connection%3A%20Police%20Brutality%20En%20Tandem%20With%20The%20Tendencies%20of%20Artificial%20Megastructures">The French Connection: Police Brutality En Tandem With The Tendencies of Artificial Megastructures</a><br></br>
<sup><em><span><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cinema%20of%20The%20Void">Cinema of The Void</a></span> · 2020 July 1</em></sup>
      </li>
  
</ul></p><h3 class=""></h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Making%20of%20Stanley%20Kubrick%27s%202001%3A%20A%20Space%20Odyssey">The Making of Stanley Kubrick's 2001: A Space Odyssey</a><br></br>
<sup><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Piers%20Bizony">Piers Bizony</a>  •  2015</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Eyes%20Wide%20Open%3A%20A%20Memoir%20of%20Stanely%20Kubrick">Eyes Wide Open: A Memoir of Stanely Kubrick</a><br></br>
<sup><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Frederic%20Raphael">Frederic Raphael</a>  •  1999</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gothic%3A%20Transmutations%20of%20Horror%20in%20Late-Twentieth-Century%20Art">Gothic: Transmutations of Horror in Late-Twentieth-Century Art</a><br></br>
<sup><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Christoph%20Grunenberg">Christoph Grunenberg</a>  •  1997 May 30</em></sup>
      </li>
  
</ul></p><h3 class=""></h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie">Reliquie</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema%20%28Official%20Teaser%29">Polia &amp; Blastema (Official Teaser)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema%20%28Official%20Trailer%29">Polia &amp; Blastema (Official Trailer)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chronopolis%20Live%20Score%20%28Live%20at%20Vidiots%202016%29">Chronopolis Live Score (Live at Vidiots 2016)</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Voyage%20to%20Nereid">Voyage to Nereid</a> 
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Eyes%20In%20The%20Sky">The Eyes In The Sky</a> 
      </li>
  
</ul></p></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Charnel house</title><link href="https://gavart.ist/#Charnel%20house"></link><link href="https://gavart.ist/static/Charnel%2520house.html" rel="alternative" type="text/html"></link><id>fedce128-37bd-6211-4637-b1eb4f9f2fd1</id><updated>2025-12-28T21:51:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fediverse</title><link href="https://gavart.ist/#Fediverse"></link><link href="https://gavart.ist/static/Fediverse.html" rel="alternative" type="text/html"></link><id>3c26ea92-6049-a109-3576-d8c0c7f838ad</id><updated>2025-12-28T21:24:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Etymologies</title><link href="https://gavart.ist/#Etymologies"></link><link href="https://gavart.ist/static/Etymologies.html" rel="alternative" type="text/html"></link><id>ca6e9867-143a-5504-735f-69431be54dae</id><updated>2025-12-28T21:24:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>Etymologies log</code></p><p><input type="text" value=""></input> <button>Fetch Etymology</button> <br></br> 
<sup>Search using all-lowercase</sup></p><p><ul>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Echolalia">Echolalia</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Posh">Posh</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laser">Laser</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Casuistry">Casuistry</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Innominate">Innominate</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Limpid">Limpid</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cromulent">Cromulent</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Auspicious">Auspicious</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sacrifice">Sacrifice</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dayroom">Dayroom</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spellbound">Spellbound</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Libation">Libation</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Consider">Consider</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Satiate">Satiate</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Aesthetic">Aesthetic</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Monster">Monster</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vestige">Vestige</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Angst">Angst</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hysteria">Hysteria</a></li>
	
</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Digitally Literate · Federating Your Second Brain</title><link href="https://gavart.ist/#Digitally%20Literate%20%C2%B7%20Federating%20Your%20Second%20Brain"></link><link href="https://gavart.ist/static/Digitally%2520Literate%2520%25C2%25B7%2520Federating%2520Your%2520Second%2520Brain.html" rel="alternative" type="text/html"></link><id>50d1c127-8b10-09b3-1378-68772d4014db</id><updated>2025-12-28T15:13:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The purpose of art is not the release of a momentary ejection of adrenaline</title><link href="https://gavart.ist/#The%20purpose%20of%20art%20is%20not%20the%20release%20of%20a%20momentary%20ejection%20of%20adrenaline"></link><link href="https://gavart.ist/static/The%2520purpose%2520of%2520art%2520is%2520not%2520the%2520release%2520of%2520a%2520momentary%2520ejection%2520of%2520adrenaline.html" rel="alternative" type="text/html"></link><id>dd54897e-7674-2ec3-cbd3-4f2368d27916</id><updated>2025-12-26T09:08:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> but rather the gradual lifelong construction of a state of wonder and serenity.</p></div></content><author><name>undefined</name></author></entry><entry><title>Pain and suffering are always inevitable for a large intelligence and a deep heart.</title><link href="https://gavart.ist/#Pain%20and%20suffering%20are%20always%20inevitable%20for%20a%20large%20intelligence%20and%20a%20deep%20heart."></link><link href="https://gavart.ist/static/Pain%2520and%2520suffering%2520are%2520always%2520inevitable%2520for%2520a%2520large%2520intelligence%2520and%2520a%2520deep%2520heart..html" rel="alternative" type="text/html"></link><id>a4ce6756-a4cd-a55f-86c0-f16185af9a79</id><updated>2025-12-25T20:43:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Albert.DATA · Sphinx Gate · Baseck · Max Jaffe &amp; Gavin Gamboa</title><link href="https://gavart.ist/#Albert.DATA%20%C2%B7%20Sphinx%20Gate%20%C2%B7%20Baseck%20%C2%B7%20Max%20Jaffe%20%26%20Gavin%20Gamboa"></link><link href="https://gavart.ist/static/Albert.DATA%2520%25C2%25B7%2520Sphinx%2520Gate%2520%25C2%25B7%2520Baseck%2520%25C2%25B7%2520Max%2520Jaffe%2520%2526%2520Gavin%2520Gamboa.html" rel="alternative" type="text/html"></link><id>d1d79839-6b4a-a271-92ca-77d92a81c447</id><updated>2025-12-25T20:38:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="700"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Albert Barqué-Duran</title><link href="https://gavart.ist/#Albert%20Barqu%C3%A9-Duran"></link><link href="https://gavart.ist/static/Albert%2520Barqu%25C3%25A9-Duran.html" rel="alternative" type="text/html"></link><id>565f3f85-3156-88ce-fd44-75a8def23022</id><updated>2025-12-25T20:37:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li><a class="tc-tiddlylink-external" href="https://www.interaliamag.org/interviews/albert-barque-duran/" rel="noopener noreferrer" target="_blank">Interalia Magazine Interview</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Luis Aguilar</title><link href="https://gavart.ist/#Luis%20Aguilar"></link><link href="https://gavart.ist/static/Luis%2520Aguilar.html" rel="alternative" type="text/html"></link><id>6ee00aeb-a13b-207b-8d4c-93365d4967c7</id><updated>2025-12-25T20:18:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Monday Evening Concerts • "Written On Heaven" A Portrait of Emahoy Tsegué-Maryam Guèbrou</title><link href="https://gavart.ist/#Monday%20Evening%20Concerts%20%E2%80%A2%20%22Written%20On%20Heaven%22%20A%20Portrait%20of%20Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou"></link><link href="https://gavart.ist/static/Monday%2520Evening%2520Concerts%2520%25E2%2580%25A2%2520%2522Written%2520On%2520Heaven%2522%2520A%2520Portrait%2520of%2520Emahoy%2520Tsegu%25C3%25A9-Maryam%2520Gu%25C3%25A8brou.html" rel="alternative" type="text/html"></link><id>41d94229-b1b5-d2e8-c568-c1b0c58fe43f</id><updated>2025-12-25T20:15:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote digitalGarden"><p><em>I didn’t want to be famous, really. I asked God that my name be written on Heaven, not on Earth.</em><br></br> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou">Emahoy Tsegué-Maryam Guèbrou</a>
</p></blockquote><img src="./files/img/attended-events/mec-written-on-heaven-tsegue-maryam-gebru.jpg" width="600"></img><p><u>PERFORMERS</u><br></br><br></br>Thomas Feng, pianist and co-curator<br></br>with Gloria Cheng, pianist (Kurtág / Bach)<br></br><br></br>Myra Hinrichs, violin I<br></br>Er-Gene Kahng (Nov 2), Xenia Deviatkina-Loh (Nov 3), violin II<br></br>Wendy Richman, viola<br></br>Chris Cho, cello<br></br>Matt Kline, bass<br></br></p><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jean%20Philippe%20Oliver%20Viol">Jean Philippe Oliver Viol</a>, Olive Kimoto, Lewis Pesacov</p></div></content><author><name>undefined</name></author></entry><entry><title>Music is the silence between the notes.</title><link href="https://gavart.ist/#Music%20is%20the%20silence%20between%20the%20notes."></link><link href="https://gavart.ist/static/Music%2520is%2520the%2520silence%2520between%2520the%2520notes..html" rel="alternative" type="text/html"></link><id>31f29486-eda1-0a88-7fba-78bf20e81fbe</id><updated>2025-12-25T19:46:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>In feature films, the director is God; in documentary films, God is the director.</title><link href="https://gavart.ist/#In%20feature%20films%2C%20the%20director%20is%20God%3B%20in%20documentary%20films%2C%20God%20is%20the%20director."></link><link href="https://gavart.ist/static/In%2520feature%2520films%252C%2520the%2520director%2520is%2520God%253B%2520in%2520documentary%2520films%252C%2520God%2520is%2520the%2520director..html" rel="alternative" type="text/html"></link><id>8e268bf9-c67e-de60-4572-41f3f35d2f85</id><updated>2025-12-25T19:26:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Critique of LLM sentience</title><link href="https://gavart.ist/#Critique%20of%20LLM%20sentience"></link><link href="https://gavart.ist/static/Critique%2520of%2520LLM%2520sentience.html" rel="alternative" type="text/html"></link><id>72cf3eba-d084-30ba-c8ab-0c27bdb72072</id><updated>2025-12-25T19:16:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Can <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LLM">LLM</a>s be sentient? Apple's recent <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Illusion%20of%20Thinking%3A%20Understanding%20the%20Strengths%20and%20Limitations%20of%20Reasoning%20Models%20via%20the%20Lens%20of%20Problem%20Complexity">research paper</a> refutes that they are capable of reasoning. See also <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Emily%20M.%20Bender">Emily M. Bender</a>'s critique of large language models, which she describes as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Stochastic%20Parrot">stochastic parrots</a>.</p><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">Is everyone fucking nuts? Did we actually believe that after decades and decades of studying the brain and coming up with next to zilch, that a handful of rich, arrogant midwits in Silicon Valley would come to a full understanding of consciousness and deliver to us artificial general intelligence? Do you know that the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Swiss%20Blue%20Brain%20Project">Swiss Blue Brain Project</a> and Human Brain Project, both terminated last year after years of expensive research, which sought to digitally reconstruct entire brains, discovered next to nothing useful about intelligence or consciousness, except that a brain, even a mouse brain, is so complex that it overwhelms super computers? Ten years of the HBP made "no major contributions" to an understanding of the brain. We do not understand the mind or the brain. AI is a toy, a fake. What we have is a language model—an algorithm. Give it up. It is a joke. <a href="https://t.co/gxfIJMKjMh"><a class="tc-tiddlylink-external" href="https://t.co/gxfIJMKjMh" rel="noopener noreferrer" target="_blank">https://t.co/gxfIJMKjMh</a></a></p>— The Libidinousfrustrarian (@TLiterarian) <a href="https://twitter.com/TLiterarian/status/1931520181710316027?ref_src=twsrc%5Etfw">June 8, 2025</a></blockquote> <script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Steganography</title><link href="https://gavart.ist/#Steganography"></link><link href="https://gavart.ist/static/Steganography.html" rel="alternative" type="text/html"></link><id>cd0c5202-63ee-cc35-a500-a286c1d48010</id><updated>2025-12-25T19:14:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">this is nasty. steganography.<br></br><br></br>10 years ago they embed your account id in video game screenshots.<br></br><br></br>today, any photo u take, any screenshot, from camera, phone, or laptop, might embed your device id, or worse.<br></br><br></br>it is nearly impossible to know. <a href="https://t.co/OikCCJGgDM"><a class="tc-tiddlylink-external" href="https://t.co/OikCCJGgDM" rel="noopener noreferrer" target="_blank">https://t.co/OikCCJGgDM</a></a></p>— Xah Lee (@xah_lee) <a href="https://twitter.com/xah_lee/status/1972510542968561794?ref_src=twsrc%5Etfw">September 29, 2025</a></blockquote> <script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>This being human is a guest house.</title><link href="https://gavart.ist/#This%20being%20human%20is%20a%20guest%20house."></link><link href="https://gavart.ist/static/This%2520being%2520human%2520is%2520a%2520guest%2520house..html" rel="alternative" type="text/html"></link><id>186f45e7-458d-1dc6-b3e7-82a2cf3b0b29</id><updated>2025-12-25T10:20:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Every morning is a new arrival. A joy, a depression, a meanness, some momentary awareness comes as an unexpected visitor … Welcome them and entertain them all. Treat each guest honorably. The dark thought, the shame, the malice, meet them at the door laughing, and invite them in. Be grateful for whoever comes, because each has been sent as a guide from beyond.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>One may call the world a myth, in which bodies and things are visible, but souls and minds are hidden.</title><link href="https://gavart.ist/#One%20may%20call%20the%20world%20a%20myth%2C%20in%20which%20bodies%20and%20things%20are%20visible%2C%20but%20souls%20and%20minds%20are%20hidden."></link><link href="https://gavart.ist/static/One%2520may%2520call%2520the%2520world%2520a%2520myth%252C%2520in%2520which%2520bodies%2520and%2520things%2520are%2520visible%252C%2520but%2520souls%2520and%2520minds%2520are%2520hidden..html" rel="alternative" type="text/html"></link><id>90d37d80-9873-3ca0-0dbc-3e1d4917fb31</id><updated>2025-12-25T10:20:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Technic%20and%20Magic%20%C2%B7%20The%20Reconstruction%20of%20Reality">Technic and Magic · The Reconstruction of Reality</a> (60)<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>The more joyous and certain his spirit becomes, the more man unlearns loud laughter</title><link href="https://gavart.ist/#The%20more%20joyous%20and%20certain%20his%20spirit%20becomes%2C%20the%20more%20man%20unlearns%20loud%20laughter"></link><link href="https://gavart.ist/static/The%2520more%2520joyous%2520and%2520certain%2520his%2520spirit%2520becomes%252C%2520the%2520more%2520man%2520unlearns%2520loud%2520laughter.html" rel="alternative" type="text/html"></link><id>c9eaa09d-aef5-b1a6-b931-de669acc9505</id><updated>2025-12-25T10:18:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>; instead a more spiritual smile constantly wells up in him.<br></br><br></br><em>Human, All-Too Human</em> (1878)<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Just as Socrates felt that it was necessary to create a tension in the mind so that individuals could rise from the bondage of myths and half-truths</title><link href="https://gavart.ist/#Just%20as%20Socrates%20felt%20that%20it%20was%20necessary%20to%20create%20a%20tension%20in%20the%20mind%20so%20that%20individuals%20could%20rise%20from%20the%20bondage%20of%20myths%20and%20half-truths"></link><link href="https://gavart.ist/static/Just%2520as%2520Socrates%2520felt%2520that%2520it%2520was%2520necessary%2520to%2520create%2520a%2520tension%2520in%2520the%2520mind%2520so%2520that%2520individuals%2520could%2520rise%2520from%2520the%2520bondage%2520of%2520myths%2520and%2520half-truths.html" rel="alternative" type="text/html"></link><id>1b9481dc-9546-cc32-6548-ecce2f2b4276</id><updated>2025-12-25T10:16:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> to the unfettered realm of creative analysis and objective appraisal, we must we see the need for nonviolent gadflies to create the kind of tension in society that will help men rise from the dark depths of prejudice and racism to the majestic heights of understanding and brotherhood.<br></br><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Martin%20Luther%20King%2C%20Jr%20%C2%B7%20Letter%20from%20Birmingham%20Jail">Letter from Birmingham Jail, 1963 April 16</a><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>You who do not know how the mind is joined to the body know nothing of the works of God.</title><link href="https://gavart.ist/#You%20who%20do%20not%20know%20how%20the%20mind%20is%20joined%20to%20the%20body%20know%20nothing%20of%20the%20works%20of%20God."></link><link href="https://gavart.ist/static/You%2520who%2520do%2520not%2520know%2520how%2520the%2520mind%2520is%2520joined%2520to%2520the%2520body%2520know%2520nothing%2520of%2520the%2520works%2520of%2520God..html" rel="alternative" type="text/html"></link><id>dd15a418-f3a2-b9bc-d3f8-7f1576e3a1ba</id><updated>2025-12-25T10:15:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><strong></strong><br></br><br></br>Paraphrased inscription on a beam in the library of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Michel%20de%20Montaigne">Michel de Montaigne’s</a> home near Périgord, France.<sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Signature%20moves%3A%20are%20we%20losing%20the%20ability%20to%20write%20by%20hand%3F">1</a></sup><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>In my work with the defendants I was searching for the nature of evil and I now think I have come close to defining it.</title><link href="https://gavart.ist/#In%20my%20work%20with%20the%20defendants%20I%20was%20searching%20for%20the%20nature%20of%20evil%20and%20I%20now%20think%20I%20have%20come%20close%20to%20defining%20it."></link><link href="https://gavart.ist/static/In%2520my%2520work%2520with%2520the%2520defendants%2520I%2520was%2520searching%2520for%2520the%2520nature%2520of%2520evil%2520and%2520I%2520now%2520think%2520I%2520have%2520come%2520close%2520to%2520defining%2520it..html" rel="alternative" type="text/html"></link><id>ca9a6426-a8a2-5875-2a4e-80fb8e39ad76</id><updated>2025-12-25T10:13:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> A lack of empathy. It’s the one characteristic that connects all the defendants, a genuine incapacity to feel with their fellow men. Evil, I think, is the absence of empathy.<br></br><br></br>Captain G. M. Gilbert<br></br>Army psychologist assigned to watching the defendants at the Nuremberg trials<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>The Great Man … is colder, harder, less hesitating, and without respect and without the fear of “opinion”</title><link href="https://gavart.ist/#The%20Great%20Man%20%E2%80%A6%20is%20colder%2C%20harder%2C%20less%20hesitating%2C%20and%20without%20respect%20and%20without%20the%20fear%20of%20%E2%80%9Copinion%E2%80%9D"></link><link href="https://gavart.ist/static/The%2520Great%2520Man%2520%25E2%2580%25A6%2520is%2520colder%252C%2520harder%252C%2520less%2520hesitating%252C%2520and%2520without%2520respect%2520and%2520without%2520the%2520fear%2520of%2520%25E2%2580%259Copinion%25E2%2580%259D.html" rel="alternative" type="text/html"></link><id>39118833-dc86-0ff6-7266-5f3d4ca6acfe</id><updated>2025-12-25T06:25:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>; he lacks the virtues that accompany respect and “respectability”, and altogether everything that is the “virtue of the herd”. If he cannot lead, he goes alone. … He knows he is incommunicable: he finds it tasteless to be familiar. … When not speaking to himself, he wears a mask. There is a solitude within him that is inaccessible to praise or blame.<br></br><br></br><em>The Will to Power</em><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>In the old-paradigm definition we would say that a living body vibrates at 10¹⁵ Hertz</title><link href="https://gavart.ist/#In%20the%20old-paradigm%20definition%20we%20would%20say%20that%20a%20living%20body%20vibrates%20at%2010%C2%B9%E2%81%B5%20Hertz"></link><link href="https://gavart.ist/static/In%2520the%2520old-paradigm%2520definition%2520we%2520would%2520say%2520that%2520a%2520living%2520body%2520vibrates%2520at%252010%25C2%25B9%25E2%2581%25B5%2520Hertz.html" rel="alternative" type="text/html"></link><id>7a86cb70-4e79-46fa-281b-2b8e9e9176dc</id><updated>2025-12-24T15:17:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, meaning that there is a material body in space and time that resonates at 10¹⁵ vibrations per second. In the new paradigm definition we say that interfering standing waves vibrating at 10¹⁵ Hertz constitute a living body.<br></br><br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#What%20Is%20Reality%3F%20The%20New%20Map%20of%20Cosmos%2C%20Consciousness%2C%20and%20Existence">What is Reality?</a></em> (2016)<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>It is better to fail in originality than to succeed in imitation.</title><link href="https://gavart.ist/#It%20is%20better%20to%20fail%20in%20originality%20than%20to%20succeed%20in%20imitation."></link><link href="https://gavart.ist/static/It%2520is%2520better%2520to%2520fail%2520in%2520originality%2520than%2520to%2520succeed%2520in%2520imitation..html" rel="alternative" type="text/html"></link><id>ae0591b4-7f3e-39fe-8dff-3d133e4eb58e</id><updated>2025-12-24T14:51:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Some people wish above all to conform to the rules, I wish only to render what I can hear</title><link href="https://gavart.ist/#Some%20people%20wish%20above%20all%20to%20conform%20to%20the%20rules%2C%20I%20wish%20only%20to%20render%20what%20I%20can%20hear"></link><link href="https://gavart.ist/static/Some%2520people%2520wish%2520above%2520all%2520to%2520conform%2520to%2520the%2520rules%252C%2520I%2520wish%2520only%2520to%2520render%2520what%2520I%2520can%2520hear.html" rel="alternative" type="text/html"></link><id>7f18f570-f2cd-bfe1-723b-3fc85230beb4</id><updated>2025-12-24T14:51:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> … There is no theory. You only have to listen. Pleasure is the law.</p></div></content><author><name>undefined</name></author></entry><entry><title>To allow the market mechanism to be sole director of the fate of human beings and their natural environment</title><link href="https://gavart.ist/#To%20allow%20the%20market%20mechanism%20to%20be%20sole%20director%20of%20the%20fate%20of%20human%20beings%20and%20their%20natural%20environment"></link><link href="https://gavart.ist/static/To%2520allow%2520the%2520market%2520mechanism%2520to%2520be%2520sole%2520director%2520of%2520the%2520fate%2520of%2520human%2520beings%2520and%2520their%2520natural%2520environment.html" rel="alternative" type="text/html"></link><id>3a200c99-f913-fabd-e0fb-4581c81eebbc</id><updated>2025-12-24T14:49:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, indeed, even of the amount and use of purchasing power, would result in the demolition of society. For the alleged commodity, ‘labor power’ cannot be shoved about, used indiscriminately, or even left unused, without affecting the human individual who happens to be the bearer of this peculiar commodity. In disposing of a man's labor power the system would, incidentally, dispose of the physical, psychological, and moral entity of ‘man’ attached to the tag. Robbed of the protective covering of cultural institutions, human beings would perish from the the effects of social exposure; they would die as the victims of acute social dislocation through vice, perversion, crime, and starvation. Nature would be reduced to its elements, neighborhoods and landscapes defiled, rovers polluted, military safety jeopardized, the power to produce food and raw materials destroyed...</p></div></content><author><name>undefined</name></author></entry><entry><title>The truth about intimate relationships is that they can never be any better than our relationship with ourselves.</title><link href="https://gavart.ist/#The%20truth%20about%20intimate%20relationships%20is%20that%20they%20can%20never%20be%20any%20better%20than%20our%20relationship%20with%20ourselves."></link><link href="https://gavart.ist/static/The%2520truth%2520about%2520intimate%2520relationships%2520is%2520that%2520they%2520can%2520never%2520be%2520any%2520better%2520than%2520our%2520relationship%2520with%2520ourselves..html" rel="alternative" type="text/html"></link><id>f70a5520-a532-9733-d075-d570e81bda80</id><updated>2025-12-24T14:46:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> How we are related to ourselves determines not only the choice of the Other but the quality of the relationship… All relationships… are symptomatic of the state of our inner life, and no relationship can be any better than our relationship to our own unconscious.</p></div></content><author><name>undefined</name></author></entry><entry><title>I'm not trying to be popular, I'm not trying to fit in. I'm not trying to win awards. I’m trying to be authentic</title><link href="https://gavart.ist/#I'm%20not%20trying%20to%20be%20popular%2C%20I'm%20not%20trying%20to%20fit%20in.%20I'm%20not%20trying%20to%20win%20awards.%20I%E2%80%99m%20trying%20to%20be%20authentic"></link><link href="https://gavart.ist/static/I'm%2520not%2520trying%2520to%2520be%2520popular%252C%2520I'm%2520not%2520trying%2520to%2520fit%2520in.%2520I'm%2520not%2520trying%2520to%2520win%2520awards.%2520I%25E2%2580%2599m%2520trying%2520to%2520be%2520authentic.html" rel="alternative" type="text/html"></link><id>9323839c-079e-b6a7-70f4-5f8759603ca2</id><updated>2025-12-24T14:46:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, and share emotions and concepts that I find meaningful, intending to have some type of positive presence in the world—that's it. </p></div></content><author><name>undefined</name></author></entry><entry><title>If society has so denatured itself through necessity and greed</title><link href="https://gavart.ist/#If%20society%20has%20so%20denatured%20itself%20through%20necessity%20and%20greed"></link><link href="https://gavart.ist/static/If%2520society%2520has%2520so%2520denatured%2520itself%2520through%2520necessity%2520and%2520greed.html" rel="alternative" type="text/html"></link><id>47a4dc29-0d0d-669f-6de1-c4abb1c7eacc</id><updated>2025-12-24T14:45:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> that it can now receive the gifts of nature only rapaciously—that it snatches the fruit unripe from the trees in order to sell it most profitably, and is compelled to empty each dish in its determination to have enough—the earth will be impoverished and the land will yield bad harvests.</p><p><em>One-Way Street</em></p></div></content><author><name>undefined</name></author></entry><entry><title>I want to beg you, as much as I can, dear sir, to be patient toward all that is unsolved in your heart</title><link href="https://gavart.ist/#I%20want%20to%20beg%20you%2C%20as%20much%20as%20I%20can%2C%20dear%20sir%2C%20to%20be%20patient%20toward%20all%20that%20is%20unsolved%20in%20your%20heart"></link><link href="https://gavart.ist/static/I%2520want%2520to%2520beg%2520you%252C%2520as%2520much%2520as%2520I%2520can%252C%2520dear%2520sir%252C%2520to%2520be%2520patient%2520toward%2520all%2520that%2520is%2520unsolved%2520in%2520your%2520heart.html" rel="alternative" type="text/html"></link><id>d76810f6-08a3-7ba8-7f5f-2aa48336800c</id><updated>2025-12-24T14:44:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> and to try to love the questions themselves like locked rooms and like books that are written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.<br></br><br></br><em>Letters To A Young Poet</em><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>The man of talent is like a marksman who hits a mark others cannot hit</title><link href="https://gavart.ist/#The%20man%20of%20talent%20is%20like%20a%20marksman%20who%20hits%20a%20mark%20others%20cannot%20hit"></link><link href="https://gavart.ist/static/The%2520man%2520of%2520talent%2520is%2520like%2520a%2520marksman%2520who%2520hits%2520a%2520mark%2520others%2520cannot%2520hit.html" rel="alternative" type="text/html"></link><id>7d306637-5fc8-a9d9-df60-1102876d9180</id><updated>2025-12-24T14:44:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>; the man of genius is like a marksman who hits a mark they cannot even see to.<br></br><br></br><em>The World as Will and Representation (1886)</em><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>I have naturally formed the habit of restraining my thoughts. Thoughtless words hardly ever escaped my tongue or pen.</title><link href="https://gavart.ist/#I%20have%20naturally%20formed%20the%20habit%20of%20restraining%20my%20thoughts.%20Thoughtless%20words%20hardly%20ever%20escaped%20my%20tongue%20or%20pen."></link><link href="https://gavart.ist/static/I%2520have%2520naturally%2520formed%2520the%2520habit%2520of%2520restraining%2520my%2520thoughts.%2520Thoughtless%2520words%2520hardly%2520ever%2520escaped%2520my%2520tongue%2520or%2520pen..html" rel="alternative" type="text/html"></link><id>0f3e5487-721a-8fa1-2bc3-ca91ad898498</id><updated>2025-12-24T14:43:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Experience has taught me that silence is part of the spiritual discipline of a votary of truth. We find so many people impatient to talk. All this talking can hardly be said to be of any benefit to the world. It is so much waste of time. <strong>My shyness has been in reality my shield and buckler</strong>. It has allowed me to grow. It has helped me in my discernment of truth.</p></div></content><author><name>undefined</name></author></entry><entry><title>I am very attached to the formal structure of a work</title><link href="https://gavart.ist/#I%20am%20very%20attached%20to%20the%20formal%20structure%20of%20a%20work"></link><link href="https://gavart.ist/static/I%2520am%2520very%2520attached%2520to%2520the%2520formal%2520structure%2520of%2520a%2520work.html" rel="alternative" type="text/html"></link><id>a028a3af-214c-2b10-b956-4bc57ecd1328</id><updated>2025-12-24T14:39:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, but not only that … I think that the formal structure exists only to express particluar feelings, you see, a knife is sharp in order to kill; the 'form' of the knife is not confined to the knife alone but depends on the uses to which it is put.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Radical agency is not about the sharing of boundaries. It is about deborderisation.</title><link href="https://gavart.ist/#Radical%20agency%20is%20not%20about%20the%20sharing%20of%20boundaries.%20It%20is%20about%20deborderisation."></link><link href="https://gavart.ist/static/Radical%2520agency%2520is%2520not%2520about%2520the%2520sharing%2520of%2520boundaries.%2520It%2520is%2520about%2520deborderisation..html" rel="alternative" type="text/html"></link><id>4d8d01f5-a62e-c1ef-ddfa-0693e2197323</id><updated>2025-12-24T14:39:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The idea according to which self and experience – or for that matter radical agency –  must now be found in the intimate microspheres of everyday life must be subjected to a thorough critique. Too often, it is presumed that our intimate interiorities, our moods, our states of mind are “safe spaces”, the only spaces immune to racism and neoliberal intoxication. In fact, under contemporary conditions, there is no longer any “zone of being” that is free from “contamination”.<br></br><br></br>The political cannot be reduced to the painstaking management of emotionally safe spaces and shared atmospheres. <br></br><br></br><em><a class="tc-tiddlylink-external" href="https://www.newframe.com/thoughts-on-the-planetary-an-interview-with-achille-mbembe/" rel="noopener noreferrer" target="_blank">Thoughts on The Planetary</a></em><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Completing the unfinished work of a great master is a very delicate task.</title><link href="https://gavart.ist/#Completing%20the%20unfinished%20work%20of%20a%20great%20master%20is%20a%20very%20delicate%20task."></link><link href="https://gavart.ist/static/Completing%2520the%2520unfinished%2520work%2520of%2520a%2520great%2520master%2520is%2520a%2520very%2520delicate%2520task..html" rel="alternative" type="text/html"></link><id>c024140e-987b-b6f3-1c47-5bd6670cce95</id><updated>2025-12-24T14:37:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> In my opinion it can honestly be undertaken only if the original fragment contains all of the main ideas of the unfinished work. In such a case a respectful craftsman may attempt, after an absorbing study of the master's style, to elaborate on those ideas in a way which to the best of his knowledge might have been the way of the master himself. The work in question will probably have analogies among other, completed works of the master, and careful investigation of his methods in similar situations will indicate possible solutions of the problems posed by the unfinished work. Even then the artist who goes about the ticklish task will feel slightly uneasy, knowing from his own experience as a composer that the creative mind does not always follow its own precedents. He is more conscious of the fact that unpredictability is one of the most jealously guarded prerogatives of genius. ... However, scruples of this kind may be set aside once we are certain that the author of the fragment has put forth the essential thematic material that was expected to go into the work. If this is not the case, I feel that no one, not even the greatest genius, should dare to complete the fragments left by another genius.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Above all, be at ease, be as natural and spacious as possible.</title><link href="https://gavart.ist/#Above%20all%2C%20be%20at%20ease%2C%20be%20as%20natural%20and%20spacious%20as%20possible."></link><link href="https://gavart.ist/static/Above%2520all%252C%2520be%2520at%2520ease%252C%2520be%2520as%2520natural%2520and%2520spacious%2520as%2520possible..html" rel="alternative" type="text/html"></link><id>16acd6db-5d11-5b8a-4569-94a72a6c9437</id><updated>2025-12-24T14:34:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Slip quietly out of the noose of your habitual anxious self, release all grasping, and relax into your true nature. Think of your ordinary emotional, thought-ridden self as a block of ice left out in the sun. If you are feeling hard and cold, let this aggression melt away in the sunlight of your meditation. Let peace work on you and enable you to gather your scattered mind into the mindfulness of Calm Abiding, and awaken in you the awareness and insight of Clear Seeing. And you will find all your negativity disarmed, your aggression dissolved, and your confusion evaporating slowly like mist into the vast and stainless sky of your absolute nature.<br></br><br></br><em>The Tibetan Book of Living and Dying</em><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Cybism is a new sensibility emerging in art respecting the integration of certain aspects of science, technology and consciousness</title><link href="https://gavart.ist/#Cybism%20is%20a%20new%20sensibility%20emerging%20in%20art%20respecting%20the%20integration%20of%20certain%20aspects%20of%20science%2C%20technology%20and%20consciousness"></link><link href="https://gavart.ist/static/Cybism%2520is%2520a%2520new%2520sensibility%2520emerging%2520in%2520art%2520respecting%2520the%2520integration%2520of%2520certain%2520aspects%2520of%2520science%252C%2520technology%2520and%2520consciousness.html" rel="alternative" type="text/html"></link><id>03405bc0-a1fe-8729-7a4a-6591944fbfd2</id><updated>2025-12-24T14:33:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>—a consciousness struggling to attend to the prevailing current spirit of our age. This cybistic zeitgeist I identify as being precisely a quality-of-life desire in which everything, everywhere, all at once is connected in a rhizomatic web of communication. Therefore, cybism is no longer content with the regurgitation of standardized repertoires. Rather I detect in art a fertile attraction towards the abstractions of advanced scientific discovery – discovery now stripped of its fundamentally reductive logical methodology. Moreover, cybism can be used to characterize a certain group of researchers and their understanding of where cultural space is developing today. Cybists reflect on system dynamics with a hybrid blending (cybridization) of the computational supplied virtual with the analog. Digitization is a key metaphor for the cybists only in the sense that it is the fundamental translating system today.</p></div></content><author><name>undefined</name></author></entry><entry><title>Death ! that struck when I was most confiding</title><link href="https://gavart.ist/#Death%20!%20that%20struck%20when%20I%20was%20most%20confiding"></link><link href="https://gavart.ist/static/Death%2520!%2520that%2520struck%2520when%2520I%2520was%2520most%2520confiding.html" rel="alternative" type="text/html"></link><id>4e6581e3-29bd-1308-3b04-58e1985c9faf</id><updated>2025-12-24T14:32:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br>In my certain faith of joy to be—<br></br>Strike again, Time's withered branch dividing<br></br>From the fresh root of Eternity !<br></br><br></br>Leaves, upon Time's branch, were growing brightly,<br></br>Full of sap, and full of silver dew;<br></br>Birds beneath its shelter gathered nightly;<br></br>Daily round its flowers the wild bees flew.<br></br><br></br>Sorrow passed, and plucked the golden blossom;<br></br>Guilt stripped off the foliage in its pride;<br></br>But, within its parent's kindly bosom,<br></br>Flowed for ever Life's restoring-tide.<br></br><br></br>Little mourned I for the parted gladness,<br></br>For the vacant nest and silent song—<br></br>Hope was there, and laughed me out of sadness;<br></br>Whispering, " Winter will not linger long!"<br></br><br></br>And, behold ! with tenfold increase blessing,<br></br>Spring adorned the beauty-burdened spray;<br></br>Wind and rain and fervent heat, caressing,<br></br>Lavished glory on that second May !<br></br><br></br>High it rose—no winged grief could sweep it;<br></br>Sin was scared to distance with its shine;<br></br>Love, and its own life, had power to keep it<br></br>From all wrong—from every blight but thine !<br></br><br></br>Cruel Death ! The young leaves droop and languish;<br></br>Evening's gentle air may still restore—<br></br>No ! the morning sunshine mocks my anguish—<br></br>Time, for me, must never blossom more !<br></br><br></br>Strike it down, that other boughs may flourish<br></br>Where that perished sapling used to be;<br></br>Thus, at least, its moldering corpse will nourish<br></br>That from which it sprung—Eternity.<br></br><br></br>Emily Brontë<br></br>1846<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>I distrust those people who know so well what God wants them to do</title><link href="https://gavart.ist/#I%20distrust%20those%20people%20who%20know%20so%20well%20what%20God%20wants%20them%20to%20do"></link><link href="https://gavart.ist/static/I%2520distrust%2520those%2520people%2520who%2520know%2520so%2520well%2520what%2520God%2520wants%2520them%2520to%2520do.html" rel="alternative" type="text/html"></link><id>27ac6b00-288d-7101-0e24-19574df6cf18</id><updated>2025-12-24T11:42:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, because I notice it always coincides with their own desires.</p></div></content><author><name>undefined</name></author></entry><entry><title>Then you see immediately what this apparent lightness, this ease, costs</title><link href="https://gavart.ist/#Then%20you%20see%20immediately%20what%20this%20apparent%20lightness%2C%20this%20ease%2C%20costs"></link><link href="https://gavart.ist/static/Then%2520you%2520see%2520immediately%2520what%2520this%2520apparent%2520lightness%252C%2520this%2520ease%252C%2520costs.html" rel="alternative" type="text/html"></link><id>cd2331b6-a0bb-4581-6d68-b94e69527681</id><updated>2025-12-24T11:39:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>; what enormous spiritual energy is required to create it. This is where real technique comes from.</p></div></content><author><name>undefined</name></author></entry><entry><title>This country, with its institutions, belongs to the people who inhabit it.</title><link href="https://gavart.ist/#This%20country%2C%20with%20its%20institutions%2C%20belongs%20to%20the%20people%20who%20inhabit%20it."></link><link href="https://gavart.ist/static/This%2520country%252C%2520with%2520its%2520institutions%252C%2520belongs%2520to%2520the%2520people%2520who%2520inhabit%2520it..html" rel="alternative" type="text/html"></link><id>052ea569-cea4-c5c9-c6e5-b7b2ba1e40d5</id><updated>2025-12-24T11:38:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Whenever they shall grow weary of the existing government, they can excercise their constitutional right of amending it, or their revolutionary righ to dismember or overthrow it.<br></br><br></br>First Inaugural Address<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>What need is there to weep over parts of life? The whole of it calls for tears.</title><link href="https://gavart.ist/#What%20need%20is%20there%20to%20weep%20over%20parts%20of%20life%3F%20The%20whole%20of%20it%20calls%20for%20tears."></link><link href="https://gavart.ist/static/What%2520need%2520is%2520there%2520to%2520weep%2520over%2520parts%2520of%2520life%253F%2520The%2520whole%2520of%2520it%2520calls%2520for%2520tears..html" rel="alternative" type="text/html"></link><id>5804155d-c08e-081a-92a7-e9f74efe79bf</id><updated>2025-12-24T10:39:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ctenophora</title><link href="https://gavart.ist/#Ctenophora"></link><link href="https://gavart.ist/static/Ctenophora.html" rel="alternative" type="text/html"></link><id>4fb1a95b-fbcc-c0aa-f3f1-b5a73f8c51b8</id><updated>2025-12-24T10:12:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lanolin</title><link href="https://gavart.ist/#Lanolin"></link><link href="https://gavart.ist/static/Lanolin.html" rel="alternative" type="text/html"></link><id>9a9e03db-c28e-0fae-00cc-a31bfbd5862c</id><updated>2025-12-24T10:10:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Always dream and shoot higher than you know you can do.</title><link href="https://gavart.ist/#Always%20dream%20and%20shoot%20higher%20than%20you%20know%20you%20can%20do."></link><link href="https://gavart.ist/static/Always%2520dream%2520and%2520shoot%2520higher%2520than%2520you%2520know%2520you%2520can%2520do..html" rel="alternative" type="text/html"></link><id>a2f3be18-ffcf-1604-cd0a-597a80c84550</id><updated>2025-12-24T10:09:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Don't bother just to be better than your contemporaries and predecessor. Try to be better than yourself.</p></div></content><author><name>undefined</name></author></entry><entry><title>Oh horror! horror! horror! Tongue, nor heart cannot conceive, nor name thee! Confusion now hath made his masterpiece!</title><link href="https://gavart.ist/#Oh%20horror!%20horror!%20horror!%20Tongue%2C%20nor%20heart%20cannot%20conceive%2C%20nor%20name%20thee!%20Confusion%20now%20hath%20made%20his%20masterpiece!"></link><link href="https://gavart.ist/static/Oh%2520horror!%2520horror!%2520horror!%2520Tongue%252C%2520nor%2520heart%2520cannot%2520conceive%252C%2520nor%2520name%2520thee!%2520Confusion%2520now%2520hath%2520made%2520his%2520masterpiece!.html" rel="alternative" type="text/html"></link><id>42528464-67bc-d15b-30cb-735f2c22cc42</id><updated>2025-12-24T10:04:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br><br></br><em>Macbeth</em> Act 2, scene 3<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Posh</title><link href="https://gavart.ist/#Posh"></link><link href="https://gavart.ist/static/Posh.html" rel="alternative" type="text/html"></link><id>9936606f-9515-88d1-658c-03414389ae3e</id><updated>2025-12-24T10:03:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Potentially an maritime acronym for <em>Port Out, Starboard Home</em>, indicating the part of the vessel with the best view.</p></div></content><author><name>undefined</name></author></entry><entry><title>Laser</title><link href="https://gavart.ist/#Laser"></link><link href="https://gavart.ist/static/Laser.html" rel="alternative" type="text/html"></link><id>d47bda86-cb76-322c-2295-0e84e9cd109d</id><updated>2025-12-24T10:01:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>An acronym for light amplification by stimulated emission of radiation.</p></div></content><author><name>undefined</name></author></entry><entry><title>Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.</title><link href="https://gavart.ist/#Let%20us%20not%20seek%20to%20satisfy%20our%20thirst%20for%20freedom%20by%20drinking%20from%20the%20cup%20of%20bitterness%20and%20hatred."></link><link href="https://gavart.ist/static/Let%2520us%2520not%2520seek%2520to%2520satisfy%2520our%2520thirst%2520for%2520freedom%2520by%2520drinking%2520from%2520the%2520cup%2520of%2520bitterness%2520and%2520hatred..html" rel="alternative" type="text/html"></link><id>727468aa-92d8-bc69-9307-5df900617459</id><updated>2025-12-24T09:36:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>You should read only when your own thoughts dry up</title><link href="https://gavart.ist/#You%20should%20read%20only%20when%20your%20own%20thoughts%20dry%20up"></link><link href="https://gavart.ist/static/You%2520should%2520read%2520only%2520when%2520your%2520own%2520thoughts%2520dry%2520up.html" rel="alternative" type="text/html"></link><id>496ab4dc-3d65-b3f0-3e2a-ff9316b75020</id><updated>2025-12-24T09:31:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, which will of course happen frequently enough even to the best heads; but to banish your own thoughts so as to take up a book is a sin against the holy ghost; it is like deserting untrammeled nature to look at a herbarium or engravings of landscapes.</p></div></content><author><name>undefined</name></author></entry><entry><title>If he (Schubert's brother Ferdinand) could but see these heavenly lakes and mountains, the sight of which threatens to devour or crush us, he would not love this puny earthly existence so</title><link href="https://gavart.ist/#If%20he%20(Schubert's%20brother%20Ferdinand)%20could%20but%20see%20these%20heavenly%20lakes%20and%20mountains%2C%20the%20sight%20of%20which%20threatens%20to%20devour%20or%20crush%20us%2C%20he%20would%20not%20love%20this%20puny%20earthly%20existence%20so"></link><link href="https://gavart.ist/static/If%2520he%2520(Schubert's%2520brother%2520Ferdinand)%2520could%2520but%2520see%2520these%2520heavenly%2520lakes%2520and%2520mountains%252C%2520the%2520sight%2520of%2520which%2520threatens%2520to%2520devour%2520or%2520crush%2520us%252C%2520he%2520would%2520not%2520love%2520this%2520puny%2520earthly%2520existence%2520so.html" rel="alternative" type="text/html"></link><id>7102bef1-f2ea-4af5-cec5-4f5ae8e54154</id><updated>2025-12-24T09:19:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, , nor would he consider it anything but good fortune to be entrusted to the indescribable power of the earth to create new life.<br></br><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Schubert%27s%20Songs%3A%20A%20Biographical%20Study">Schubert's Songs: A Biographical Study</a><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Give sorrow words; the grief that does not speak knits up the o'er wrought heart and bids it break.</title><link href="https://gavart.ist/#Give%20sorrow%20words%3B%20the%20grief%20that%20does%20not%20speak%20knits%20up%20the%20o'er%20wrought%20heart%20and%20bids%20it%20break."></link><link href="https://gavart.ist/static/Give%2520sorrow%2520words%253B%2520the%2520grief%2520that%2520does%2520not%2520speak%2520knits%2520up%2520the%2520o'er%2520wrought%2520heart%2520and%2520bids%2520it%2520break..html" rel="alternative" type="text/html"></link><id>89db77d7-6822-8d58-0562-c886a17892b6</id><updated>2025-12-24T08:57:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br><br></br><em>Macbeth</em><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.</title><link href="https://gavart.ist/#We%20are%20caught%20in%20an%20inescapable%20network%20of%20mutuality%2C%20tied%20in%20a%20single%20garment%20of%20destiny.%20Whatever%20affects%20one%20directly%2C%20affects%20all%20indirectly."></link><link href="https://gavart.ist/static/We%2520are%2520caught%2520in%2520an%2520inescapable%2520network%2520of%2520mutuality%252C%2520tied%2520in%2520a%2520single%2520garment%2520of%2520destiny.%2520Whatever%2520affects%2520one%2520directly%252C%2520affects%2520all%2520indirectly..html" rel="alternative" type="text/html"></link><id>f6892c1a-9bb9-6f35-c337-6cc2bcc988ec</id><updated>2025-12-24T08:55:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Martin%20Luther%20King%2C%20Jr%20%C2%B7%20Letter%20from%20Birmingham%20Jail">Letter from Birmingham Jail, 1963 April 16</a><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Weak or strong, clever or simple, we are all brothers.</title><link href="https://gavart.ist/#Weak%20or%20strong%2C%20clever%20or%20simple%2C%20we%20are%20all%20brothers."></link><link href="https://gavart.ist/static/Weak%2520or%2520strong%252C%2520clever%2520or%2520simple%252C%2520we%2520are%2520all%2520brothers..html" rel="alternative" type="text/html"></link><id>9ae289af-94d5-73a1-02b7-96468dc7dae3</id><updated>2025-12-24T08:55:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Animal%20Farm">Animal Farm</a><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Wherever there is a ruin, there is hope for treasure</title><link href="https://gavart.ist/#Wherever%20there%20is%20a%20ruin%2C%20there%20is%20hope%20for%20treasure"></link><link href="https://gavart.ist/static/Wherever%2520there%2520is%2520a%2520ruin%252C%2520there%2520is%2520hope%2520for%2520treasure.html" rel="alternative" type="text/html"></link><id>fcef7bc5-957b-005f-21ff-a655ac3239c6</id><updated>2025-12-24T08:54:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br>why do you not seek the treasure of God in the wasted heart ?<br></br><br></br><em>Diwan-i kabir ya Kulliyat-I Shams</em> (1247)<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>I resisted recognizing that the everyday belongs to the spirit of the Godhead. I fled this thought, I hid myself behind the highest and coldest stars.</title><link href="https://gavart.ist/#I%20resisted%20recognizing%20that%20the%20everyday%20belongs%20to%20the%20spirit%20of%20the%20Godhead.%20I%20fled%20this%20thought%2C%20I%20hid%20myself%20behind%20the%20highest%20and%20coldest%20stars."></link><link href="https://gavart.ist/static/I%2520resisted%2520recognizing%2520that%2520the%2520everyday%2520belongs%2520to%2520the%2520spirit%2520of%2520the%2520Godhead.%2520I%2520fled%2520this%2520thought%252C%2520I%2520hid%2520myself%2520behind%2520the%2520highest%2520and%2520coldest%2520stars..html" rel="alternative" type="text/html"></link><id>747eb8fe-8e23-5b73-123a-2714654bb0b1</id><updated>2025-12-24T08:53:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> But the spirit of the depths caught up with me, and forced the bitter drink between my lips.<br></br><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Red%20Book%20%C2%B7%20Liber%20Nouvus">The Red Book · Liber Nouvus</a> (121)<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Time is a manacle. Time is tyrannical, Super-mechanical, Superorganical</title><link href="https://gavart.ist/#Time%20is%20a%20manacle.%20Time%20is%20tyrannical%2C%20Super-mechanical%2C%20Superorganical"></link><link href="https://gavart.ist/static/Time%2520is%2520a%2520manacle.%2520Time%2520is%2520tyrannical%252C%2520Super-mechanical%252C%2520Superorganical.html" rel="alternative" type="text/html"></link><id>225f80f3-65f0-0747-1212-55fd8ff07dfc</id><updated>2025-12-24T08:52:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Dispossessed">The Dispossessed</a><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Truth, like love and sleep, resents</title><link href="https://gavart.ist/#Truth%2C%20like%20love%20and%20sleep%2C%20resents"></link><link href="https://gavart.ist/static/Truth%252C%2520like%2520love%2520and%2520sleep%252C%2520resents.html" rel="alternative" type="text/html"></link><id>0ddc74b1-8727-6530-5214-a6f7103eec5d</id><updated>2025-12-24T08:51:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br>
Approaches that are too intense.</p></div></content><author><name>undefined</name></author></entry><entry><title>Power concedes nothing without a demand.</title><link href="https://gavart.ist/#Power%20concedes%20nothing%20without%20a%20demand."></link><link href="https://gavart.ist/static/Power%2520concedes%2520nothing%2520without%2520a%2520demand..html" rel="alternative" type="text/html"></link><id>3e4e4024-ff98-9d46-b5ec-057e9e8e4dbf</id><updated>2025-12-24T08:50:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>After some months I went out again one evening for a stroll. There is probably nothing more pleasant than to walk about outside in the evening after a hot summer's day</title><link href="https://gavart.ist/#After%20some%20months%20I%20went%20out%20again%20one%20evening%20for%20a%20stroll.%20There%20is%20probably%20nothing%20more%20pleasant%20than%20to%20walk%20about%20outside%20in%20the%20evening%20after%20a%20hot%20summer's%20day"></link><link href="https://gavart.ist/static/After%2520some%2520months%2520I%2520went%2520out%2520again%2520one%2520evening%2520for%2520a%2520stroll.%2520There%2520is%2520probably%2520nothing%2520more%2520pleasant%2520than%2520to%2520walk%2520about%2520outside%2520in%2520the%2520evening%2520after%2520a%2520hot%2520summer's%2520day.html" rel="alternative" type="text/html"></link><id>b17837d4-2d59-4259-4c4e-8e8fa1f220e1</id><updated>2025-12-24T08:46:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, and the fields between Währing and Döbling [suburbs of Vienna. Ed.] seem to have been fashioned for this purpose. I felt so contented there with my brother Carl in the mysterious twilight. 'How beautiful it all is!' I cried and stood still, quite delighted. The churchyard nearby reminded us of our dear mother.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Bad playing results when one plays to prove that one plays well.</title><link href="https://gavart.ist/#Bad%20playing%20results%20when%20one%20plays%20to%20prove%20that%20one%20plays%20well."></link><link href="https://gavart.ist/static/Bad%2520playing%2520results%2520when%2520one%2520plays%2520to%2520prove%2520that%2520one%2520plays%2520well..html" rel="alternative" type="text/html"></link><id>af55110b-717e-9880-cfe4-315298f88be1</id><updated>2025-12-24T08:45:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> But worse, to set one's self to play without flaw or fault.</p></div></content><author><name>undefined</name></author></entry><entry><title>The world is made up of compost of the millions and millions who have died and are blowing about</title><link href="https://gavart.ist/#The%20world%20is%20made%20up%20of%20compost%20of%20the%20millions%20and%20millions%20who%20have%20died%20and%20are%20blowing%20about"></link><link href="https://gavart.ist/static/The%2520world%2520is%2520made%2520up%2520of%2520compost%2520of%2520the%2520millions%2520and%2520millions%2520who%2520have%2520died%2520and%2520are%2520blowing%2520about.html" rel="alternative" type="text/html"></link><id>2dd3efc9-ca0f-ba58-10f2-ed2273876a93</id><updated>2025-12-24T08:44:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>. The dead are blowing in your nostrils every hour, every second you breathe in. It's a macabre way of putting it, perhaps; but anything that's at all accurate about life is always macabre. After all, you're born, you die.  </p></div></content><author><name>undefined</name></author></entry><entry><title>The new musical material, emptied of its sense, is transformed into deadening stimuli</title><link href="https://gavart.ist/#The%20new%20musical%20material%2C%20emptied%20of%20its%20sense%2C%20is%20transformed%20into%20deadening%20stimuli"></link><link href="https://gavart.ist/static/The%2520new%2520musical%2520material%252C%2520emptied%2520of%2520its%2520sense%252C%2520is%2520transformed%2520into%2520deadening%2520stimuli.html" rel="alternative" type="text/html"></link><id>c667d509-2c64-727a-219d-e48b428ca776</id><updated>2025-12-24T08:41:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> by its endless repetition. Scarcely felt is the obligation of achieving that uniqueness of the work, that unrepeatableness enjoined on musical composition by the emancipation of music from all pre-established form.</p></div></content><author><name>undefined</name></author></entry><entry><title>There is so much confusing chatter here that you never know whether you are clever or stupid</title><link href="https://gavart.ist/#There%20is%20so%20much%20confusing%20chatter%20here%20that%20you%20never%20know%20whether%20you%20are%20clever%20or%20stupid"></link><link href="https://gavart.ist/static/There%2520is%2520so%2520much%2520confusing%2520chatter%2520here%2520that%2520you%2520never%2520know%2520whether%2520you%2520are%2520clever%2520or%2520stupid.html" rel="alternative" type="text/html"></link><id>47e55ff3-a4eb-6ab3-2a4a-ba77085235b5</id><updated>2025-12-24T08:36:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>. Your Graces! I am beginning to discover how happy I was in Graz and I can't quite get accustomed to Vienna; it is of course rather big, but, on the other hand, it is devoid of warmth, sincerity, genuine ideas, sensible words and, particularly, of intelligent actions. There is so much confusing chatter here that you never know whether you are clever or stupid, and you seldom or never attain inner happiness. "Tis of course possible that I am myself to blame for that, for I am slow to warm up.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Do we not, in truth, ask the impossible of music</title><link href="https://gavart.ist/#Do%20we%20not%2C%20in%20truth%2C%20ask%20the%20impossible%20of%20music"></link><link href="https://gavart.ist/static/Do%2520we%2520not%252C%2520in%2520truth%252C%2520ask%2520the%2520impossible%2520of%2520music.html" rel="alternative" type="text/html"></link><id>eea54ad6-a3d0-5da2-c480-0ae9e729c1b8</id><updated>2025-12-23T23:43:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> when we expect it to express feelings, to translate dramatic situations, even imitate nature ?</p></div></content><author><name>undefined</name></author></entry><entry><title>I have never found anyone who could perform my works as well as you can</title><link href="https://gavart.ist/#I%20have%20never%20found%20anyone%20who%20could%20perform%20my%20works%20as%20well%20as%20you%20can"></link><link href="https://gavart.ist/static/I%2520have%2520never%2520found%2520anyone%2520who%2520could%2520perform%2520my%2520works%2520as%2520well%2520as%2520you%2520can.html" rel="alternative" type="text/html"></link><id>6ef00ee7-80a6-d841-d618-4cc97a4c9bd4</id><updated>2025-12-23T23:42:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, the great pianists not excepted, they only have the mechanics and affection. You are the true guardian of my brainchildren.</p></div></content><author><name>undefined</name></author></entry><entry><title>20.967158, -89.623238</title><link href="https://gavart.ist/#20.967158%2C%20-89.623238"></link><link href="https://gavart.ist/static/20.967158%252C%2520-89.623238.html" rel="alternative" type="text/html"></link><id>dfb4bbd0-2e78-2103-c57c-82f412a10eb2</id><updated>2025-12-23T23:13:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>The most terrifying fact about the universe is not that it is hostile but that it is indifferent</title><link href="https://gavart.ist/#The%20most%20terrifying%20fact%20about%20the%20universe%20is%20not%20that%20it%20is%20hostile%20but%20that%20it%20is%20indifferent"></link><link href="https://gavart.ist/static/The%2520most%2520terrifying%2520fact%2520about%2520the%2520universe%2520is%2520not%2520that%2520it%2520is%2520hostile%2520but%2520that%2520it%2520is%2520indifferent.html" rel="alternative" type="text/html"></link><id>87f240b4-7d16-93cf-7a0b-ad0ac28fd856</id><updated>2025-12-23T23:03:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>; but if we can come to terms with this indifference and accept the challenges of a life within the boundaries of death—however mutable man may be able to make them—our existence as a species can have genuine meaning and fulfilment. However vast the darkness we must supply our own light.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Every gun that is made, every warship launched, every rocket fired signifies, in the final sense, a theft from those who hunger and are not fed, those who are cold and are not clothed.</title><link href="https://gavart.ist/#Every%20gun%20that%20is%20made%2C%20every%20warship%20launched%2C%20every%20rocket%20fired%20signifies%2C%20in%20the%20final%20sense%2C%20a%20theft%20from%20those%20who%20hunger%20and%20are%20not%20fed%2C%20those%20who%20are%20cold%20and%20are%20not%20clothed."></link><link href="https://gavart.ist/static/Every%2520gun%2520that%2520is%2520made%252C%2520every%2520warship%2520launched%252C%2520every%2520rocket%2520fired%2520signifies%252C%2520in%2520the%2520final%2520sense%252C%2520a%2520theft%2520from%2520those%2520who%2520hunger%2520and%2520are%2520not%2520fed%252C%2520those%2520who%2520are%2520cold%2520and%2520are%2520not%2520clothed..html" rel="alternative" type="text/html"></link><id>15f644f8-f5bc-54ad-0203-e3f2206f7797</id><updated>2025-12-23T22:54:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>This world in arms is not spending money alone. It is spending the sweat of its laborers, the genius of its scientists, the hopes of its children.</p><p>The cost of one modern heavy bomber is this: a modern brick school in more than 30 cities. It is two electric power plants, each serving a town of 60,000 population. It is two fine, fully equipped hospitals. It is some fifty miles of concrete pavement. We pay for a single fighter with a half-million bushels of wheat. We pay for a single destroyer with new homes that could have housed more than 8,000 people.</p><p>This is not a way of life at all, in any true sense. Under the cloud of threatening war, it is humanity hanging from a cross of iron.</p></div></content><author><name>undefined</name></author></entry><entry><title>Hyperobject</title><link href="https://gavart.ist/#Hyperobject"></link><link href="https://gavart.ist/static/Hyperobject.html" rel="alternative" type="text/html"></link><id>0c12aa6e-fcf5-d939-7825-70facf1e37c7</id><updated>2025-12-23T20:36:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Focusing on radiation's capacity to spread silently on the Earth's surface like a virus—and to remain in our habitat without us noticing it, Timothy Morton has defined radiation as a <strong>Hyperobject</strong>. As massive objects, whose vastness in time and space challenge our understanding of them since we are not able to see their totality, hyperobjects affect our lives deeply due to their viscosity and ubiquity.</p></div></content><author><name>undefined</name></author></entry><entry><title>Institute for Postnatural Studies · Compost Reader</title><link href="https://gavart.ist/#Institute%20for%20Postnatural%20Studies%20%C2%B7%20Compost%20Reader"></link><link href="https://gavart.ist/static/Institute%2520for%2520Postnatural%2520Studies%2520%25C2%25B7%2520Compost%2520Reader.html" rel="alternative" type="text/html"></link><id>97c8430e-6e96-22a8-5d4e-b592af2d1057</id><updated>2025-12-23T20:24:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hyperobject">Hyperobject</a></p><p class="digitalGarden"><p>Focusing on radiation's capacity to spread silently on the Earth's surface like a virus—and to remain in our habitat without us noticing it, Timothy Morton has defined radiation as a <strong>Hyperobject</strong>. As massive objects, whose vastness in time and space challenge our understanding of them since we are not able to see their totality, hyperobjects affect our lives deeply due to their viscosity and ubiquity.</p></p></div></content><author><name>undefined</name></author></entry><entry><title>Show tiddlers with specific amount of forward/backlinks</title><link href="https://gavart.ist/#Show%20tiddlers%20with%20specific%20amount%20of%20forward%2Fbacklinks"></link><link href="https://gavart.ist/static/Show%2520tiddlers%2520with%2520specific%2520amount%2520of%2520forward%252Fbacklinks.html" rel="alternative" type="text/html"></link><id>71760860-06c0-7060-6361-4043e7c9863b</id><updated>2025-12-23T20:24:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C2%A1He%20aqu%C3%AD%21%20%C2%A1El%20Volc%C3%A1n%21">¡He aquí! ¡El Volcán!</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#10%2C010%20Fragmented%20Impromptus">10,010 Fragmented Impromptus</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Humoresques%20For%20The%20Verge%20Of%20Sanities">Humoresques For The Verge Of Sanities</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prince%202016">Prince 2016</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rewonk">Rewonk</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Territory%20of%20the%20Nine%20Pollutants">Territory of the Nine Pollutants</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Voyages%20and%20Wanderings%20in%20Far-off%20Seas%20and%20Lands">Voyages and Wanderings in Far-off Seas and Lands</a></div><hr></hr><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C2%A1He%20aqu%C3%AD%21%20%C2%A1El%20Volc%C3%A1n%21">¡He aquí! ¡El Volcán!</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#10%2C010%20Fragmented%20Impromptus">10,010 Fragmented Impromptus</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Humoresques%20For%20The%20Verge%20Of%20Sanities">Humoresques For The Verge Of Sanities</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prince%202016">Prince 2016</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Rewonk">Rewonk</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Territory%20of%20the%20Nine%20Pollutants">Territory of the Nine Pollutants</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Voyages%20and%20Wanderings%20in%20Far-off%20Seas%20and%20Lands">Voyages and Wanderings in Far-off Seas and Lands</a></div></div></content><author><name>undefined</name></author></entry><entry><title>Cobra (John Zorn)</title><link href="https://gavart.ist/#Cobra%20(John%20Zorn)"></link><link href="https://gavart.ist/static/Cobra%2520(John%2520Zorn).html" rel="alternative" type="text/html"></link><id>f0da30b5-7b38-02eb-c198-bddaf98f4a3e</id><updated>2025-12-23T17:17:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The composition consists of a set of cues notated on cards, and rules corresponding to the cues that direct the players what to do in response to the cards. The number of players, instrumentation, and length of the piece is indeterminate, but a "prompter" is essential to the piece, holding the cards at his or her discretion and issuing other cues. Because there is no traditional musical notation and the players improvise, the piece may sound radically different from performance to performance.</p></div></content><author><name>undefined</name></author></entry><entry><title>Mem-fractive properties of mushrooms</title><link href="https://gavart.ist/#Mem-fractive%20properties%20of%20mushrooms"></link><link href="https://gavart.ist/static/Mem-fractive%2520properties%2520of%2520mushrooms.html" rel="alternative" type="text/html"></link><id>3ac103de-aee7-66b4-3de6-817cf21322d6</id><updated>2025-12-23T17:17:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class="">Abstract</h3><p>"Memristors close the loop for I–V characteristics of the traditional, passive, semi-conductor devices. A memristor is a physical realisation of the material implication and thus is a universal logical element. Memristors are getting particular interest in the field of bioelectronics. Electrical properties of living substrates are not binary and there is nearly a continuous transitions from being non-memristive to mem-fractive (exhibiting a combination of passive memory) to ideally memristive. In laboratory experiments we show that living oyster mushrooms Pleurotus ostreatus exhibit mem-fractive properties. We offer a piece-wise polynomial approximation of the I–V behaviour of the oyster mushrooms. We also report spiking activity, oscillations in conduced current of the oyster mushrooms."</p></div></content><author><name>undefined</name></author></entry><entry><title>Rayleigh scattering</title><link href="https://gavart.ist/#Rayleigh%20scattering"></link><link href="https://gavart.ist/static/Rayleigh%2520scattering.html" rel="alternative" type="text/html"></link><id>dc48fd23-dce6-5243-7dc3-0806ec8a89fa</id><updated>2025-12-21T09:43:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>We see blue above us because of how light from the sun interacts with Earth's atmosphere. The visible light spectrum contains a variety of colors, ranging from red light to violet. When all of the colors are mixed, the light appears white, Marc Chenard, a meteorologist at the National Weather Service, told Live Science. But once the white light traveling from the sun reaches Earth, some of the colors begin to interact with molecules and small particles in the atmosphere, he said.</p><p>Each color in the visible light spectrum has a different wavelength. Red and orange light waves, for instance, have longer wavelengths, while blue and violet light have much shorter wavelengths. It's the shorter wavelengths of light that are more likely to be scattered — or absorbed and re-emitted in a different direction — by the air and gas molecules in Earth's atmosphere, Chenard said. The molecules in the atmosphere, largely nitrogen and oxygen, scatter the blue and violet light in every direction through a phenomenon called <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Rayleigh_scattering" rel="noopener noreferrer" target="_blank">Rayleigh scattering</a>. That's what makes the sky blue.</p><p>This preferential scattering of blue light also plays into the colors of sunrise and sunset. At sunset, as a particular point is turning farther and farther from the sun, sunlight must travel farther through the atmosphere to reach your eyes. By the time the sunlight reaches you, all of the blue light has been scattered away. As a result, the orange, red and yellow wavelengths are all that's left to color the sunset.</p></div></content><author><name>undefined</name></author></entry><entry><title>Filtered Transclusions and Linking Hierarchies</title><link href="https://gavart.ist/#Filtered%20Transclusions%20and%20Linking%20Hierarchies"></link><link href="https://gavart.ist/static/Filtered%2520Transclusions%2520and%2520Linking%2520Hierarchies.html" rel="alternative" type="text/html"></link><id>062eee44-734c-6722-b19b-8a888346d1ce</id><updated>2025-12-21T09:41:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Here's an example from the <a class="tc-tiddlylink-external" href="https://tonestrukt.org/#Cities" rel="noopener noreferrer" target="_blank">Tonestrukt Editions</a> wiki:</p><pre><code>&lt;ul style="list-style: telugu;"&gt;
   &lt;$list filter="[tags[]tag[City]sort[]]"&gt;
      &lt;li&gt;
        &lt;$link to={{{ [all[current]tagging[]tagging[]tag[Editions]] }}}  &gt;
          &lt;$macrocall $name="tag-pill" tag={{{ [all[current]] }}} /&gt;
        &lt;/$link&gt;
      &lt;/li&gt;
  &lt;/$list&gt;
&lt;/ul&gt;</code></pre><p>why use <code>tagging[]</code> twice in the filter run ?
let's step thru each way there:</p><p><code>[all[current]]</code> fetches all the city names.</p><p><code>[all[current]tagging[]]</code> fetches the artist names (because artists are tagged with a tag that is itself tagged <code>[[City]]</code></p><p>so currently our filter run is returning all the artist names. We need one last step, to fetch everything that's tagged with those artist names: </p><p><code>[all[current]tagging[]tagging[]]</code> </p><ul><li>where <code>[all[current]</code> are the all tiddlers tagged <code>[[City]]</code></li><li>the first <code>tagging[]</code> are the tiddlers tagged <code>[[Artist]]</code></li><li>the second <code>tagging[]</code> are the tiddlers tagged <code>[[Editions]]</code></li></ul><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">then in our list, we want to interject the link to the album instead of the link to the city tiddler. this is where the filtered transclusion comes in:<br></br><br></br> <a href="https://t.co/Qd5GEpUMFb">pic.twitter.com/Qd5GEpUMFb</a></p>— Ꮹανiη Ꮐaмвoα 🌱☁️✨ (@gavcloud) <a href="https://twitter.com/gavcloud/status/1500217889902645248?ref_src=twsrc%5Etfw">March 5, 2022</a></blockquote> 

<script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>Scripts in TiddlyWiki</title><link href="https://gavart.ist/#Scripts%20in%20TiddlyWiki"></link><link href="https://gavart.ist/static/Scripts%2520in%2520TiddlyWiki.html" rel="alternative" type="text/html"></link><id>1a103bbc-7a7f-4362-fca8-e1efa6154cf5</id><updated>2025-12-21T09:00:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Angiogensis</title><link href="https://gavart.ist/#Angiogensis"></link><link href="https://gavart.ist/static/Angiogensis.html" rel="alternative" type="text/html"></link><id>6a36afc3-3298-91a4-8a84-bc249b84bb31</id><updated>2025-12-20T14:20:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Minaret Winter Jazz Festival '25</title><link href="https://gavart.ist/#Minaret%20Winter%20Jazz%20Festival%20'25"></link><link href="https://gavart.ist/static/Minaret%2520Winter%2520Jazz%2520Festival%2520'25.html" rel="alternative" type="text/html"></link><id>dc8b34e3-2ef0-57b6-a11d-a9cad4591af8</id><updated>2025-12-20T13:11:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/minaret-winter-jazz-fest-25.JPG" width="500"></img></p><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jake%20Bloch">Jake Bloch</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Wild Up &amp; The Collective Orchestra • Gavin Bryars · Jesus' Blood Never Failed Me</title><link href="https://gavart.ist/#Wild%20Up%20%26%20The%20Collective%20Orchestra%20%E2%80%A2%20Gavin%20Bryars%20%C2%B7%20Jesus'%20Blood%20Never%20Failed%20Me"></link><link href="https://gavart.ist/static/Wild%2520Up%2520%2526%2520The%2520Collective%2520Orchestra%2520%25E2%2580%25A2%2520Gavin%2520Bryars%2520%25C2%25B7%2520Jesus'%2520Blood%2520Never%2520Failed%2520Me.html" rel="alternative" type="text/html"></link><id>b6c16e25-2feb-1aa8-6d50-1c5ccb8f56fc</id><updated>2025-12-20T12:59:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/performance/wildup-gavin-bryars-2025/photos/DV4A6827-Pano-2.jpg"></img><br></br><sup>Photo: David Haskel</sup></p><h2 class="">For <em>Jesus Blood Never Failed Me Yet</em>, Wild Up musicians and members of the public gather to learn and perform Gavin Bryars’ haunting masterwork side by side. The work unfolds from a fragile recording of an unhoused man’s song, with his voice serving as conductor, guide, and beacon. The audience is invited to bring their own instruments and learn directly from Wild Up teaching artists before the performance, and together, they create a shared act of listening, learning, and making music. </h2><h2 class="">Proceeds from the concert, after <a class="tc-tiddlylink-external" href="https://www.2220arts.org/" rel="noopener noreferrer" target="_blank">2220 Arts + Archives</a> venue costs, will be donated to the <a class="tc-tiddlylink-external" href="https://www.lafoodbank.org/" rel="noopener noreferrer" target="_blank">Los Angeles Regional Food Bank</a>.</h2><img src="./files/img/performance/wildup-gavin-bryars-2025/IMG_0232.jpg"></img><img src="./files/img/performance/wildup-gavin-bryars-2025/IMG_0231.jpg"></img><p><sup>Photos: David Haskell &amp; Sam Lee</sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Does my key fob have more computing power than the Lunar lander?</title><link href="https://gavart.ist/#Does%20my%20key%20fob%20have%20more%20computing%20power%20than%20the%20Lunar%20lander%3F"></link><link href="https://gavart.ist/static/Does%2520my%2520key%2520fob%2520have%2520more%2520computing%2520power%2520than%2520the%2520Lunar%2520lander%253F.html" rel="alternative" type="text/html"></link><id>e74f39a6-2c59-4d5b-49ac-590efa4bf304</id><updated>2025-12-19T10:21:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>TL/DL: yes, it does, and by significant amount.</p><ul><li>Key fob has nRF52840l, 64 MHz ARM, 1024 KB Flash, 256 KB RAM</li><li>Apollo Guidance Computer was 2MHz, ~72 KB ROM, ~4 KB RAM</li></ul><p>The comparison might be up to 10x different due to more efficient architecture and different MIPS/MHz ratio, but it does not change much, since the differences are so dramatic.</p></div></content><author><name>undefined</name></author></entry><entry><title>shadcn</title><link href="https://gavart.ist/#shadcn"></link><link href="https://gavart.ist/static/shadcn.html" rel="alternative" type="text/html"></link><id>63651b30-3126-a901-7bbd-ab177f35182b</id><updated>2025-12-19T10:15:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>DATAOS.software</title><link href="https://gavart.ist/#DATAOS.software"></link><link href="https://gavart.ist/static/DATAOS.software.html" rel="alternative" type="text/html"></link><id>17a7f177-8b31-9518-bce7-413bda04107c</id><updated>2025-12-19T10:04:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Music Genre</title><link href="https://gavart.ist/#Music%20Genre"></link><link href="https://gavart.ist/static/Music%2520Genre.html" rel="alternative" type="text/html"></link><id>244577f6-b13d-c885-c10c-9008309cd933</id><updated>2025-12-19T09:45:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Dorico</title><link href="https://gavart.ist/#Dorico"></link><link href="https://gavart.ist/static/Dorico.html" rel="alternative" type="text/html"></link><id>9e24bc64-1661-f8a2-d7da-bae9f23efae0</id><updated>2025-12-19T09:45:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><div class="markdown">
<h2>Dorico | default keybindings</h2>
<p>adjust octave<br></br>
<code class="_codified_">command + option + up/down arrow key</code><br></br>
<br></br>
adjust note rhythmic value<br></br>
<code class="_codified_">shift option left right arrow key</code><br></br>
<br></br>
shift note (or staff object i.e. clef) forwards/backwards<br></br>
<code class="_codified_">option left right arrow key</code><br></br>
<br></br>
managing multiple voices on note input<br></br>
<code class="_codified_">shift v to add, v to toggle until desired</code><br></br>
<br></br>
adjusting objects in engrave mode<br></br>
<code class="_codified_">use option + arrow key for fine adjust, command option + arrow for gross adjust</code><br></br>
<br></br>
remove or add bar(s)<br></br>
<code class="_codified_">shift b , -1 , 1, etc</code><br></br>
<br></br>
specify octave placement during note input<br></br>
<code class="_codified_">shift alt [note] to send note above, control + [note] to send below</code><br></br>
<br></br>
jump to next bar line / previous barline<br></br>
<code class="_codified_">command + left / right arrow</code><br></br>
<br></br>
increase / decrease grid value<br></br>
<code class="_codified_">option  ] • option  [</code><br></br>
<br></br>
respell accidental<br></br>
<code class="_codified_">option = • option -</code><br></br>
<br></br>
zoom in / out<br></br>
<code class="_codified_">command = / -</code><br></br>
<br></br>
system break (engrave mode)<br></br>
<code class="_codified_">shift s</code>
<br></br>
</p>
<h3>custom keybindings<br></br></h3>
<p><strong>write mode:</strong><br></br>
<br></br>
split beam<br></br>
<code class="_codified_">control \</code><br></br>
<br></br>
beam together<br></br>
<code class="_codified_">control option \</code><br></br>
<br></br>
navigate to next / prev barline<br></br>
<code class="_codified_">command page up / page down</code><br></br>
<br></br>
<strong>engrave mode:</strong><br></br>
<br></br>
make into system<br></br>
<code class="_codified_">option command m</code><br></br>
<br></br>
make into frame<br></br>
select in-point, while holding command select out-point (usually the barline) and then<br></br>
<code class="_codified_">shift option command m</code><br></br>
<br></br>
</p>
<h2>OP-1 Mappings</h2>
<p>increase grid<br></br>
<code class="_codified_">7 / m1</code><br></br>
<br></br>
decrease grid<br></br>
<code class="_codified_">6 •···</code><br></br>
<br></br>
scissor<br></br>
<code class="_codified_">scissor / join</code><br></br>
<br></br>
<strong>note values</strong><br></br>
<br></br>
whole note<br></br>
<code class="_codified_">1</code><br></br>
<br></br>
half note<br></br>
<code class="_codified_">2</code><br></br>
<br></br>
dotted note<br></br>
<code class="_codified_">3</code><br></br>
<br></br>
quarter note<br></br>
<code class="_codified_">4</code><br></br>
<br></br>
eight note<br></br>
<code class="_codified_">1 / in</code><br></br>
<br></br>
16th note<br></br>
<code class="_codified_">2 / out</code><br></br>
<br></br>
32nd note<br></br>
<code class="_codified_">3 / repeat</code><br></br>
<br></br>
64th note<br></br>
<code class="_codified_">4 / tape studder</code><br></br>
<br></br>
respell note name above<br></br>
<code class="_codified_">microphone</code><br></br>
<br></br>
respell note name below<br></br>
<code class="_codified_">com</code><br></br>
<br></br>
lengthen note by grid duration<br></br>
<code class="_codified_">sequencer</code><br></br>
<br></br>
shorten note by grid duration<br></br>
<code class="_codified_">8 / m2</code><br></br>
<br></br>
<br></br>
<strong>playback</strong><br></br>
<br></br>
play from selection (P)<br></br>
<code class="_codified_">play button</code><br></br>
<br></br>
stop playback<br></br>
<code class="_codified_">stop button</code><br></br>
<br></br>
<strong>mode switching</strong><br></br>
<br></br>
setup mode<br></br>
<code class="_codified_">waveform / sound</code><br></br>
<br></br>
write mode<br></br>
<code class="_codified_">drum kit</code><br></br>
<br></br>
engrave mode<br></br>
<code class="_codified_">tape</code><br></br>
<br></br>
print mode<br></br>
<code class="_codified_">mixer</code><br></br>
<br></br>
</p>
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Thompson</title><link href="https://gavart.ist/#Ken%20Thompson"></link><link href="https://gavart.ist/static/Ken%2520Thompson.html" rel="alternative" type="text/html"></link><id>8584d1bd-b699-df76-e445-3afae1bdeecf</id><updated>2025-12-03T08:50:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Garage · Distributed Object Storage</title><link href="https://gavart.ist/#Garage%20%C2%B7%20Distributed%20Object%20Storage"></link><link href="https://gavart.ist/static/Garage%2520%25C2%25B7%2520Distributed%2520Object%2520Storage.html" rel="alternative" type="text/html"></link><id>68fe5321-f59b-4682-630c-a940d4c89917</id><updated>2025-12-03T08:37:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Hardware</title><link href="https://gavart.ist/#Hardware"></link><link href="https://gavart.ist/static/Hardware.html" rel="alternative" type="text/html"></link><id>3c02a379-965a-b0df-cd77-b1c484450433</id><updated>2025-12-03T08:35:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>openmediavault</title><link href="https://gavart.ist/#openmediavault"></link><link href="https://gavart.ist/static/openmediavault.html" rel="alternative" type="text/html"></link><id>f1ed12aa-cbf6-f4ab-07c8-fcbf270e6f87</id><updated>2025-12-03T08:35:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>OpenWebUI</title><link href="https://gavart.ist/#OpenWebUI"></link><link href="https://gavart.ist/static/OpenWebUI.html" rel="alternative" type="text/html"></link><id>f06c1f2b-3a84-5e03-f215-608a76fb444c</id><updated>2025-12-02T21:48:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>IBM Granite</title><link href="https://gavart.ist/#IBM%20Granite"></link><link href="https://gavart.ist/static/IBM%2520Granite.html" rel="alternative" type="text/html"></link><id>aaf2321f-cd8a-0274-a49c-b0f2c95e9eb4</id><updated>2025-12-02T21:47:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Radio Alhara</title><link href="https://gavart.ist/#Radio%20Alhara"></link><link href="https://gavart.ist/static/Radio%2520Alhara.html" rel="alternative" type="text/html"></link><id>dd558b5d-24b8-151e-dd1d-d0b0c7242bd7</id><updated>2025-12-02T21:00:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>LiquidSoap</title><link href="https://gavart.ist/#LiquidSoap"></link><link href="https://gavart.ist/static/LiquidSoap.html" rel="alternative" type="text/html"></link><id>a67798b4-3e4c-a45f-348a-301aa35ce0b3</id><updated>2025-12-02T20:59:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Oral History Group</title><link href="https://gavart.ist/#Oral%20History%20Group"></link><link href="https://gavart.ist/static/Oral%2520History%2520Group.html" rel="alternative" type="text/html"></link><id>c7ccb3a4-61b3-7d77-642c-ce3030efd358</id><updated>2025-12-02T20:36:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mixlr</title><link href="https://gavart.ist/#Mixlr"></link><link href="https://gavart.ist/static/Mixlr.html" rel="alternative" type="text/html"></link><id>517728f0-7eea-d730-f662-911aed47c2a5</id><updated>2025-12-02T20:29:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A Pattern Language: Towns, Buildings, Construction</title><link href="https://gavart.ist/#A%20Pattern%20Language%3A%20Towns%2C%20Buildings%2C%20Construction"></link><link href="https://gavart.ist/static/A%2520Pattern%2520Language%253A%2520Towns%252C%2520Buildings%252C%2520Construction.html" rel="alternative" type="text/html"></link><id>23574bab-b9ae-0fdb-a06f-955a9885154b</id><updated>2025-12-02T14:34:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Introduced to me by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beth%20Hagenbuch">Beth Hagenbuch</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Biogeometry</title><link href="https://gavart.ist/#Biogeometry"></link><link href="https://gavart.ist/static/Biogeometry.html" rel="alternative" type="text/html"></link><id>c41b3501-ae74-054d-53ff-970f01e76b23</id><updated>2025-12-02T14:30:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>BioGeometry is a new field of science that uses specially designed language of shapes, color, sound, motion and wave configuration, to induce harmony into biological subtle energy systems. The cornerstone of BioGeometry is the One Harmonizing Subtle Energy Quality (BG3) at the center of the natural forming process. The term BioGeometry is a proprietary label that was coined by Dr. Ibrahim Karim. It is composed of the roots: Geo = Earth, Metry = measurement, Bio= life, Geometry = Earth measurement (as in land surveys).  BioGeometry = measurement of the life energy of the earth (including all life systems within it).</p></div></content><author><name>undefined</name></author></entry><entry><title>Edgar Miller</title><link href="https://gavart.ist/#Edgar%20Miller"></link><link href="https://gavart.ist/static/Edgar%2520Miller.html" rel="alternative" type="text/html"></link><id>cea6426a-cc43-8708-82a2-d9854140c96d</id><updated>2025-11-30T11:23:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Maylee Todd • MOUTH</title><link href="https://gavart.ist/#Maylee%20Todd%20%E2%80%A2%20MOUTH"></link><link href="https://gavart.ist/static/Maylee%2520Todd%2520%25E2%2580%25A2%2520MOUTH.html" rel="alternative" type="text/html"></link><id>1d549988-085e-bf37-d0d3-5365b30060c7</id><updated>2025-11-28T18:54:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><strong>Program</strong>: NOW Festival Week 1 • <a class="tc-tiddlylink-external" href="https://www.redcat.org/events/2025/now/week1" rel="noopener noreferrer" target="_blank">Maylee Todd • MOUTH</a><br></br><strong>Organization</strong>: <a class="tc-tiddlylink-external" href="https://redcat.org/" rel="noopener noreferrer" target="_blank">REDCAT</a><br></br><strong>Location</strong>: <br></br><strong>Date</strong>: </h3><h2 class="">Part surreal cabaret, part psychological spiral, MOUTH is a journey through the chaos of identity and mental health. This boundary-blurring performance fuses music, raw humor, video projections, and inflatable set design to create an unsettling yet ecstatic experience. Highlighting songs from her forthcoming LP, <a class="tc-tiddlylink-external" href="https://instagram.com/mayleetodd" rel="noopener noreferrer" target="_blank">Maylee Todd</a> shapeshifts as she tells stories of attraction, self-doubt, and endurance in a sonic and visual fever dream.</h2><h2 class="">Performed and Composed by <a class="tc-tiddlylink-external" href="https://instagram.com/mayleetodd" rel="noopener noreferrer" target="_blank">Maylee Todd</a><br></br>Tech by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavcloud">gavcloud</a><br></br>Choreographed by <a class="tc-tiddlylink-external" href="https://www.instagram.com/flyladydi/" rel="noopener noreferrer" target="_blank">fly lady di</a> and <a class="tc-tiddlylink-external" href="https://www.instagram.com/anthonyrayishere/" rel="noopener noreferrer" target="_blank">Anthony Martinez</a><br></br>Lighting Designed by Chu-Hsuan Chang</h2><h2 class=""><strong>Software</strong><br></br><a class="tc-tiddlylink-external" href="https://www.reallusion.com/ICLONE/" rel="noopener noreferrer" target="_blank">iClone</a><br></br><a class="tc-tiddlylink-external" href="https://www.reallusion.com/iclone/motion-capture/default.html" rel="noopener noreferrer" target="_blank">Motion LIVE</a> (Face Tracking)<br></br><a class="tc-tiddlylink-external" href="https://vdo.ninja/" rel="noopener noreferrer" target="_blank">VDO.ninja</a> (Live Camera)<br></br><a class="tc-tiddlylink-external" href="https://obsproject.com/" rel="noopener noreferrer" target="_blank">OBS</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Four Larks Frankenstein</title><link href="https://gavart.ist/#Four%20Larks%20Frankenstein"></link><link href="https://gavart.ist/static/Four%2520Larks%2520Frankenstein.html" rel="alternative" type="text/html"></link><id>d6c7646c-3649-62b1-41eb-833f962b1bf7</id><updated>2025-11-28T11:59:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><strong>Program</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks">Four Larks</a> production of <a class="tc-tiddlylink-external" href="https://bildwissenschaft.vortok.info/archive/four-larks-frankenstein/" rel="noopener noreferrer" target="_blank">Frankenstein</a><br></br><strong>Organization</strong>: <a class="tc-tiddlylink-external" href="https://thewallis.org/" rel="noopener noreferrer" target="_blank">The Wallis Center for Performing Arts, Dance &amp; Music Theater</a><br></br><strong>Location</strong>: <br></br><strong>Date</strong>: </h3><h2 class="">🏆 <strong><a class="tc-tiddlylink-external" href="https://bildwissenschaft.vortok.info/archive/four-larks-frankenstein/" rel="noopener noreferrer" target="_blank">31st Annual LA STAGE ALLIANCE OVATION AWARD WINNER</a></strong></h2><ul class="digitalGarden"><li><em>Video/Projection Design — Intimate Theater</em></li></ul><img src="https://bildwissenschaft.vortok.info/site/assets/files/1371/d9f6e420-7f23-48da-8382-2f0f89b7ff65.jpg.webp"></img><p class="digitalGarden">Featuring Max Baumgarten, Lu Coy, Philip Graulty, Yvette Cornelia Holzwarth, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Joanna%20Lynn-Jacobs">Joanna Lynn-Jacobs</a>, Kila Packett, Lukas Papenfusscline, Craig Piaget, James Vitz-Wong, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Kasper%20Washington">Kasper Washington</a>, James Waterman, &amp; Claire Woolner</p><p class="digitalGarden">Created, Directed &amp; Composed* by <a class="tc-tiddlylink-external" href="https://fourlarks.com/artist/mat/" rel="noopener noreferrer" target="_blank">Mat Sweeney</a><br></br>Choreography* &amp; Scenic / Properties Design by <a class="tc-tiddlylink-external" href="https://fourlarks.com/artist/sebastian" rel="noopener noreferrer" target="_blank">Sebastian Peters-Lazaro</a><br></br>Costume Design by <a class="tc-tiddlylink-external" href="https://lena-sands.squarespace.com/about" rel="noopener noreferrer" target="_blank">Lena Sands</a><br></br>Lighting Design by <a class="tc-tiddlylink-external" href="https://www.brandonbaruch.com/" rel="noopener noreferrer" target="_blank">Brandon Baruch</a><br></br>Sound Design by <a class="tc-tiddlylink-external" href="https://alexhawthorn.com/" rel="noopener noreferrer" target="_blank">Alex Hawthorn</a><br></br>Projection Design by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laskfar%20Vortok">Laskfar Vortok</a><br></br>Set Dressing by Regan Baumgarten<br></br>Make-Up Design by <a class="tc-tiddlylink-external" href="https://alessandro-rumie-abbg.squarespace.com/home" rel="noopener noreferrer" target="_blank">Jesse Rasmussen</a> &amp; Pamela Bjorklund<br></br>Photographs by Kevin Parry &amp; James Vitz-Wong &amp; Laskfar Vortok<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Dais</title><link href="https://gavart.ist/#Dais"></link><link href="https://gavart.ist/static/Dais.html" rel="alternative" type="text/html"></link><id>0fa3f2fe-af0b-8174-6a28-fb9779a6cf30</id><updated>2025-11-28T10:30:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="https://upload.wikimedia.org/wikipedia/commons/e/e3/Dais_2_%28PSF%29.png" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Consilience</title><link href="https://gavart.ist/#Consilience"></link><link href="https://gavart.ist/static/Consilience.html" rel="alternative" type="text/html"></link><id>bcf40353-51c1-7c5f-c4bd-d621110078d1</id><updated>2025-11-28T10:30:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Commons Transition Primer</title><link href="https://gavart.ist/#Commons%20Transition%20Primer"></link><link href="https://gavart.ist/static/Commons%2520Transition%2520Primer.html" rel="alternative" type="text/html"></link><id>e1284e7d-087c-8fe8-6bd7-6e0a3be3b14f</id><updated>2025-11-28T10:17:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Agregore</title><link href="https://gavart.ist/#Agregore"></link><link href="https://gavart.ist/static/Agregore.html" rel="alternative" type="text/html"></link><id>9c38a527-c569-2190-f363-4bc6b42ca887</id><updated>2025-11-28T10:01:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Humans did not invent computation … We merely rediscovered a phenomenon nature had already exploited</title><link href="https://gavart.ist/#Humans%20did%20not%20invent%20computation%20%E2%80%A6%20We%20merely%20rediscovered%20a%20phenomenon%20nature%20had%20already%20exploited"></link><link href="https://gavart.ist/static/Humans%2520did%2520not%2520invent%2520computation%2520%25E2%2580%25A6%2520We%2520merely%2520rediscovered%2520a%2520phenomenon%2520nature%2520had%2520already%2520exploited.html" rel="alternative" type="text/html"></link><id>43415031-683a-57c4-95bd-691ee9a39336</id><updated>2025-11-27T09:37:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, developed mathematical theories to understand it better and worked out how to engineer it on a different substrate.</p></div></content><author><name>undefined</name></author></entry><entry><title>Blaise Agüera y Arcas</title><link href="https://gavart.ist/#Blaise%20Ag%C3%BCera%20y%20Arcas"></link><link href="https://gavart.ist/static/Blaise%2520Ag%25C3%25BCera%2520y%2520Arcas.html" rel="alternative" type="text/html"></link><id>502c13d6-dda1-071b-86de-c6aace4da4df</id><updated>2025-11-27T09:36:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jonny Kim</title><link href="https://gavart.ist/#Jonny%20Kim"></link><link href="https://gavart.ist/static/Jonny%2520Kim.html" rel="alternative" type="text/html"></link><id>1917b1e5-c1b2-3b64-d9c5-783ccb507933</id><updated>2025-11-27T09:33:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jlin · UCLA Center for The Art of Performance</title><link href="https://gavart.ist/#Jlin%20%C2%B7%20UCLA%20Center%20for%20The%20Art%20of%20Performance"></link><link href="https://gavart.ist/static/Jlin%2520%25C2%25B7%2520UCLA%2520Center%2520for%2520The%2520Art%2520of%2520Performance.html" rel="alternative" type="text/html"></link><id>f0562dd0-4e27-3e66-cf7e-32ee36d3f568</id><updated>2025-11-27T09:28:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/jlin-cap-ucla-2025.jpg" width="600"></img><p>Attended with Rox &amp; Sierra, Philip Meyer &amp; Chelsea, Mads Falcone, Mookie</p></div></content><author><name>undefined</name></author></entry><entry><title>November · Garfield Bright III</title><link href="https://gavart.ist/#November%20%C2%B7%20Garfield%20Bright%20III"></link><link href="https://gavart.ist/static/November%2520%25C2%25B7%2520Garfield%2520Bright%2520III.html" rel="alternative" type="text/html"></link><id>b5ddb6e0-8996-eb75-6712-844522167fbd</id><updated>2025-11-25T20:22:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/november-garfield-bright-iii-record-release.jpeg" width="600"></img><p>Attended with Solana Rivas, Ronnie T Clark, Kristopher Young, Lauren Goshinski, Zane Kalnina</p></div></content><author><name>undefined</name></author></entry><entry><title>Emahoy Tsegué-Maryam Guèbrou</title><link href="https://gavart.ist/#Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou"></link><link href="https://gavart.ist/static/Emahoy%2520Tsegu%25C3%25A9-Maryam%2520Gu%25C3%25A8brou.html" rel="alternative" type="text/html"></link><id>5dfaaeb0-bd7f-6603-b48b-80f761a141d7</id><updated>2025-11-25T19:58:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>I didn’t want to be famous, really. I asked God that my name be written on Heaven, not on Earth.</title><link href="https://gavart.ist/#I%20didn%E2%80%99t%20want%20to%20be%20famous%2C%20really.%20I%20asked%20God%20that%20my%20name%20be%20written%20on%20Heaven%2C%20not%20on%20Earth."></link><link href="https://gavart.ist/static/I%2520didn%25E2%2580%2599t%2520want%2520to%2520be%2520famous%252C%2520really.%2520I%2520asked%2520God%2520that%2520my%2520name%2520be%2520written%2520on%2520Heaven%252C%2520not%2520on%2520Earth..html" rel="alternative" type="text/html"></link><id>dcb83454-3a29-4c34-4fa9-088c7f812c8a</id><updated>2025-11-25T19:57:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Monday Evening Concerts • Tyshawn Sorey · 'For Julius Eastman'</title><link href="https://gavart.ist/#Monday%20Evening%20Concerts%20%E2%80%A2%20Tyshawn%20Sorey%20%C2%B7%20'For%20Julius%20Eastman'"></link><link href="https://gavart.ist/static/Monday%2520Evening%2520Concerts%2520%25E2%2580%25A2%2520Tyshawn%2520Sorey%2520%25C2%25B7%2520'For%2520Julius%2520Eastman'.html" rel="alternative" type="text/html"></link><id>44947f8f-3712-328e-e991-d6a6ae3738e5</id><updated>2025-11-25T19:55:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Redcat NOW Festival 2025 • Week 3</title><link href="https://gavart.ist/#Redcat%20NOW%20Festival%202025%20%E2%80%A2%20Week%203"></link><link href="https://gavart.ist/static/Redcat%2520NOW%2520Festival%25202025%2520%25E2%2580%25A2%2520Week%25203.html" rel="alternative" type="text/html"></link><id>dc384dda-45bd-41cc-91e5-31d5dfe75c3b</id><updated>2025-11-25T19:31:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/redcat-now-2025-week-3.jpg" width="600"></img><p>Attended with Sebastian Peters-Lazaro, Anna Luisa Petrisko, Tiara Jackson</p></div></content><author><name>undefined</name></author></entry><entry><title>The Music of Pauline Oliveros with Shelley Burgon</title><link href="https://gavart.ist/#The%20Music%20of%20Pauline%20Oliveros%20with%20Shelley%20Burgon"></link><link href="https://gavart.ist/static/The%2520Music%2520of%2520Pauline%2520Oliveros%2520with%2520Shelley%2520Burgon.html" rel="alternative" type="text/html"></link><id>6badd3ff-99ff-461f-13d7-ada28848d2d5</id><updated>2025-11-25T19:14:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/music-of-pauline-oliveros-shelley-burgon-2220-2025.jpg" width="600"></img><p>Attended with Elaine, Églantine, Narin</p></div></content><author><name>undefined</name></author></entry><entry><title>FARMING · Ted Hearne w/ Taylor Levine + Bakudi Scream</title><link href="https://gavart.ist/#FARMING%20%C2%B7%20Ted%20Hearne%20w%2F%20Taylor%20Levine%20%2B%20Bakudi%20Scream"></link><link href="https://gavart.ist/static/FARMING%2520%25C2%25B7%2520Ted%2520Hearne%2520w%252F%2520Taylor%2520Levine%2520%252B%2520Bakudi%2520Scream.html" rel="alternative" type="text/html"></link><id>91246d7c-fa3f-9b61-b15e-8182dc593523</id><updated>2025-11-25T19:14:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/FARMING+Nov20+LA+Release+Show+-+final.jpeg" width="600"></img><p>Attended with Jurakhan, Elliot</p></div></content><author><name>undefined</name></author></entry><entry><title>Redcat NOW Festival 2024 • Week 1</title><link href="https://gavart.ist/#Redcat%20NOW%20Festival%202024%20%E2%80%A2%20Week%201"></link><link href="https://gavart.ist/static/Redcat%2520NOW%2520Festival%25202024%2520%25E2%2580%25A2%2520Week%25201.html" rel="alternative" type="text/html"></link><id>072803a2-1cdb-4a4e-a1e2-2e070c678478</id><updated>2025-11-25T19:14:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/redcat-now-festival-2024-week-1.jpg" width="600px"></img></p><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anderson%20Matthew">Anderson Matthew</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Fight For The Future</title><link href="https://gavart.ist/#Fight%20For%20The%20Future"></link><link href="https://gavart.ist/static/Fight%2520For%2520The%2520Future.html" rel="alternative" type="text/html"></link><id>630b81d8-5d12-a3b8-cb51-bc62627ebffe</id><updated>2025-11-23T13:06:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>SciOp</title><link href="https://gavart.ist/#SciOp"></link><link href="https://gavart.ist/static/SciOp.html" rel="alternative" type="text/html"></link><id>427c00fd-e196-235c-ba87-4e30e46c9959</id><updated>2025-11-23T13:06:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kefir</title><link href="https://gavart.ist/#Kefir"></link><link href="https://gavart.ist/static/Kefir.html" rel="alternative" type="text/html"></link><id>651253d8-096d-2d0c-b51d-d3c13013161f</id><updated>2025-11-23T13:03:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Haven</title><link href="https://gavart.ist/#Haven"></link><link href="https://gavart.ist/static/Haven.html" rel="alternative" type="text/html"></link><id>55643241-eb61-a88e-fa8a-3e57626326f8</id><updated>2025-11-23T13:01:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Health</title><link href="https://gavart.ist/#Health"></link><link href="https://gavart.ist/static/Health.html" rel="alternative" type="text/html"></link><id>605669ca-b962-bf94-4d99-ce89cf9e58d9</id><updated>2025-11-23T13:00:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Archival</title><link href="https://gavart.ist/#Archival"></link><link href="https://gavart.ist/static/Archival.html" rel="alternative" type="text/html"></link><id>2da31bb1-0b4f-6940-bab2-6ea97a8f5b1c</id><updated>2025-11-23T12:59:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Distributed Press</title><link href="https://gavart.ist/#Distributed%20Press"></link><link href="https://gavart.ist/static/Distributed%2520Press.html" rel="alternative" type="text/html"></link><id>ae7b0f72-15fe-577d-77e0-e353e90a2698</id><updated>2025-11-23T12:39:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sutty</title><link href="https://gavart.ist/#Sutty"></link><link href="https://gavart.ist/static/Sutty.html" rel="alternative" type="text/html"></link><id>822832e3-f267-5321-5265-9e748cf5f625</id><updated>2025-11-23T12:39:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Decentralized</title><link href="https://gavart.ist/#Decentralized"></link><link href="https://gavart.ist/static/Decentralized.html" rel="alternative" type="text/html"></link><id>8c924197-e3bc-090d-4a80-6b1c23d68eb9</id><updated>2025-11-23T12:39:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>compost.digital</title><link href="https://gavart.ist/#compost.digital"></link><link href="https://gavart.ist/static/compost.digital.html" rel="alternative" type="text/html"></link><id>71f92eca-6f8a-ca4a-8a73-45a0fb65e925</id><updated>2025-11-23T12:38:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Claire Scrolls</title><link href="https://gavart.ist/#The%20Claire%20Scrolls"></link><link href="https://gavart.ist/static/The%2520Claire%2520Scrolls.html" rel="alternative" type="text/html"></link><id>07450bae-63fd-adc6-0cc8-bc731321c4d1</id><updated>2025-11-23T12:30:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>DS &amp; Durga</title><link href="https://gavart.ist/#DS%20%26%20Durga"></link><link href="https://gavart.ist/static/DS%2520%2526%2520Durga.html" rel="alternative" type="text/html"></link><id>aa329578-4eb0-acdd-fb51-508703e9171a</id><updated>2025-11-23T12:27:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fragrance</title><link href="https://gavart.ist/#Fragrance"></link><link href="https://gavart.ist/static/Fragrance.html" rel="alternative" type="text/html"></link><id>ff732343-d3f2-3754-adfa-4f13dbfc5019</id><updated>2025-11-23T12:27:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Max Jaffe · You Want That Too!</title><link href="https://gavart.ist/#Max%20Jaffe%20%C2%B7%20You%20Want%20That%20Too!"></link><link href="https://gavart.ist/static/Max%2520Jaffe%2520%25C2%25B7%2520You%2520Want%2520That%2520Too!.html" rel="alternative" type="text/html"></link><id>22d6c1a4-5708-16fd-8544-632a419c5247</id><updated>2025-11-22T12:59:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">I am very pleased to be presented as a guest collaborator on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a>'s exceptional new instrumental record <em>You Want That Too!</em> made under the auspices of prodcuer/engineer Pete Min for <a class="tc-tiddlylink-external" href="https://www.colorfieldrecords.com/" rel="noopener noreferrer" target="_blank">Colorfield Records</a>. From the release description:</h2><blockquote class="tc-quote"><p>Eclectic, tuneful, and exuberant, Max Jaffe’s 𝙔𝙤𝙪 𝙒𝙖𝙣𝙩 𝙏𝙝𝙖𝙩 𝙏𝙤𝙤! is the product of an open and exploratory environment as much as it is the result of Jaffe’s direction. Recorded with Pete Min at his Lucy’s Meat Market studio in Los Angeles, the ten tracks that comprise 𝙔𝙤𝙪 𝙒𝙖𝙣𝙩 𝙏𝙝𝙖𝙩 𝙏𝙤𝙤! feature a variety of top tier collaborators. In fact, Jaffe says, “the collaborators tell a story.”</p><p>Some players are folks that Jaffe has been passing like ships in the night for years, only to finally connect at Min’s studio. Others are new connections, new friends, new nodes in an ever-expanding network of the great cosmic conversation that is music. 
</p></blockquote><h2 class="">Produced by Max Jaffe and Pete Min<br></br>Written by Max Jaffe<br></br>Recorded and mixed by Pete Min<br></br>at Lucy’s Meat Market in Eagle Rock, California</h2><h2 class="">Mastered for vinyl by Kevin Gray<br></br>Cohearant Audio<br></br>Manufactured at RTI</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a>: drum set, acoustic and electronic percussion, synthesizers, piano (1-10)<br></br><a class="tc-tiddlylink-external" href="https://shelleyburgon.bandcamp.com/album/the-in-between" rel="noopener noreferrer" target="_blank">Shelley Burgon</a>: harp (2)<br></br><a class="tc-tiddlylink-external" href="https://www.handhabits.band/" rel="noopener noreferrer" target="_blank">Meg Duffy</a>: electric guitar, MIDI guitar (2, 5, 8)<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>: piano, synthesizers (4, 6, 8)<br></br><a class="tc-tiddlylink-external" href="https://logankane.bandcamp.com/" rel="noopener noreferrer" target="_blank">Logan Kane</a>: double bass (4, 6, 9)<br></br><a class="tc-tiddlylink-external" href="https://jeffparkersounds.com/" rel="noopener noreferrer" target="_blank">Jeff Parker</a>: electric guitar (1, 9)<br></br><a class="tc-tiddlylink-external" href="https://www.danielrotem.com/" rel="noopener noreferrer" target="_blank">Daniel Rotem</a>: soprano saxophone (4, 6), tenor saxophone (4, 6, 9)<br></br><a class="tc-tiddlylink-external" href="https://spencerzahn.bandcamp.com/album/statues-live" rel="noopener noreferrer" target="_blank">Spencer Zahn</a>: fretless electric bass (1, 5, 8)</h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://instagram.com/bookjerk" rel="noopener noreferrer" target="_blank">Sara McGrath</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Prima · Wait For The Signs</title><link href="https://gavart.ist/#Prima%20%C2%B7%20Wait%20For%20The%20Signs"></link><link href="https://gavart.ist/static/Prima%2520%25C2%25B7%2520Wait%2520For%2520The%2520Signs.html" rel="alternative" type="text/html"></link><id>9e539f55-c59d-c082-7d87-a197dccd6c37</id><updated>2025-11-22T12:32:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">“hot lava” is a palimpsest to loving and not loving. Diving into the burroughs of broken beats and deep chords, struck by lightening of text. Spoken word jumping into melody and back into language.</h2><h2 class="">Production<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black">Josseline Black</a><br></br>Moritz Kerschbaumer</h2><h2 class="">Additional Production on <em>Wait For The Signs</em><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavcloud">gavcloud</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Permaweb</title><link href="https://gavart.ist/#Permaweb"></link><link href="https://gavart.ist/static/Permaweb.html" rel="alternative" type="text/html"></link><id>c95af913-a89a-c483-f69c-ff1cc78d77f4</id><updated>2025-11-22T12:18:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Canada</title><link href="https://gavart.ist/#Canada"></link><link href="https://gavart.ist/static/Canada.html" rel="alternative" type="text/html"></link><id>445d337b-5cd5-de47-6f99-333df6b0c2a7</id><updated>2025-11-22T12:00:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Hypha</title><link href="https://gavart.ist/#Hypha"></link><link href="https://gavart.ist/static/Hypha.html" rel="alternative" type="text/html"></link><id>2e180df8-feab-0c9a-1c8f-13de65446b76</id><updated>2025-11-22T12:00:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>See also their publicly available <a class="tc-tiddlylink-external" href="https://handbook.hypha.coop/Hypha-Worker-Co-operative/co-operative.html" rel="noopener noreferrer" target="_blank">Handbook</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Mondragon Corporation</title><link href="https://gavart.ist/#Mondragon%20Corporation"></link><link href="https://gavart.ist/static/Mondragon%2520Corporation.html" rel="alternative" type="text/html"></link><id>bc0cf62e-5a2a-4c18-3079-dba7d097314f</id><updated>2025-11-22T11:52:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cooperative</title><link href="https://gavart.ist/#Cooperative"></link><link href="https://gavart.ist/static/Cooperative.html" rel="alternative" type="text/html"></link><id>6c88c36f-faab-88d2-5586-5aa3111d7686</id><updated>2025-11-22T11:51:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Air-Edel</title><link href="https://gavart.ist/#Air-Edel"></link><link href="https://gavart.ist/static/Air-Edel.html" rel="alternative" type="text/html"></link><id>8509a3a0-56e9-62c3-e917-c71e9323194f</id><updated>2025-11-20T16:25:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>founded by George Martin</p></div></content><author><name>undefined</name></author></entry><entry><title>Igloo Music</title><link href="https://gavart.ist/#Igloo%20Music"></link><link href="https://gavart.ist/static/Igloo%2520Music.html" rel="alternative" type="text/html"></link><id>d93fbce1-2ab5-46f6-424a-e3ee92c917df</id><updated>2025-11-20T16:24:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Noah Hubbell, engineer</p></div></content><author><name>undefined</name></author></entry><entry><title>Strong Music</title><link href="https://gavart.ist/#Strong%20Music"></link><link href="https://gavart.ist/static/Strong%2520Music.html" rel="alternative" type="text/html"></link><id>3708113f-a3d0-b56f-55bd-077dd1ff652d</id><updated>2025-11-20T16:21:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Carter Armstrong</p></div></content><author><name>undefined</name></author></entry><entry><title>Excetera</title><link href="https://gavart.ist/#Excetera"></link><link href="https://gavart.ist/static/Excetera.html" rel="alternative" type="text/html"></link><id>b8d0abe4-9a19-6dca-7f24-0e013cdaaa00</id><updated>2025-11-20T16:19:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Regent Publishing Services Limited</title><link href="https://gavart.ist/#Regent%20Publishing%20Services%20Limited"></link><link href="https://gavart.ist/static/Regent%2520Publishing%2520Services%2520Limited.html" rel="alternative" type="text/html"></link><id>33f23a04-a5ac-1ba3-cbe5-4087118cac01</id><updated>2025-11-20T16:18:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>South China Morning Post</title><link href="https://gavart.ist/#South%20China%20Morning%20Post"></link><link href="https://gavart.ist/static/South%2520China%2520Morning%2520Post.html" rel="alternative" type="text/html"></link><id>125d605d-3ea3-35dc-912a-4b94badac54c</id><updated>2025-11-20T10:36:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>China</title><link href="https://gavart.ist/#China"></link><link href="https://gavart.ist/static/China.html" rel="alternative" type="text/html"></link><id>ae54a5c0-26f3-1ada-0889-92587d92cb3a</id><updated>2025-11-20T10:36:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Stockholm</title><link href="https://gavart.ist/#Stockholm"></link><link href="https://gavart.ist/static/Stockholm.html" rel="alternative" type="text/html"></link><id>fcfff492-e007-27b6-3cf5-dff9f59bc2a4</id><updated>2025-11-20T10:32:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>EMS • Elektronmusik Studion</title><link href="https://gavart.ist/#EMS%20%E2%80%A2%20Elektronmusik%20Studion"></link><link href="https://gavart.ist/static/EMS%2520%25E2%2580%25A2%2520Elektronmusik%2520Studion.html" rel="alternative" type="text/html"></link><id>eb727906-0204-b42c-2c2e-c3822e082623</id><updated>2025-11-20T10:32:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Residencies</title><link href="https://gavart.ist/#Residencies"></link><link href="https://gavart.ist/static/Residencies.html" rel="alternative" type="text/html"></link><id>9e716b36-16e6-ad66-fb13-b1c1e6eef7ac</id><updated>2025-11-19T10:18:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kamasi Washington · Blue Note</title><link href="https://gavart.ist/#Kamasi%20Washington%20%C2%B7%20Blue%20Note"></link><link href="https://gavart.ist/static/Kamasi%2520Washington%2520%25C2%25B7%2520Blue%2520Note.html" rel="alternative" type="text/html"></link><id>5ab4dc12-04d1-9fbd-cd66-5ab3b9c3b392</id><updated>2025-11-17T16:27:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/kamasi-washington-bluenote.JPG"></img><p>Miles Mosely, bass • Tony Austin, drums • Ricky Washington, flute/sporano • Ryan Porter, trombone • Cameron Graves, keyboard</p><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ian%20Simon">Ian Simon</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Stephen Kenn</title><link href="https://gavart.ist/#Stephen%20Kenn"></link><link href="https://gavart.ist/static/Stephen%2520Kenn.html" rel="alternative" type="text/html"></link><id>170ce89a-780e-c6fa-779c-204c65a1f8ef</id><updated>2025-11-17T14:31:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Furniture</title><link href="https://gavart.ist/#Furniture"></link><link href="https://gavart.ist/static/Furniture.html" rel="alternative" type="text/html"></link><id>bb3a8b2e-3901-4207-4e49-741a0121d623</id><updated>2025-11-17T14:31:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wiki</title><link href="https://gavart.ist/#Wiki"></link><link href="https://gavart.ist/static/Wiki.html" rel="alternative" type="text/html"></link><id>bf111e36-22a7-2a3b-5dc7-84b5903983ca</id><updated>2025-11-17T14:30:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mycorrhiza Wiki</title><link href="https://gavart.ist/#Mycorrhiza%20Wiki"></link><link href="https://gavart.ist/static/Mycorrhiza%2520Wiki.html" rel="alternative" type="text/html"></link><id>414e024a-d7b5-77fd-290d-bdd34fa6f02a</id><updated>2025-11-17T14:30:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Art Record</title><link href="https://gavart.ist/#Art%20Record"></link><link href="https://gavart.ist/static/Art%2520Record.html" rel="alternative" type="text/html"></link><id>ec015e71-879d-c855-9241-1775389ac52c</id><updated>2025-11-17T14:28:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Anna's Archive</title><link href="https://gavart.ist/#Anna's%20Archive"></link><link href="https://gavart.ist/static/Anna's%2520Archive.html" rel="alternative" type="text/html"></link><id>8c51e57b-9624-664c-febd-aa786918f3e4</id><updated>2025-11-17T14:23:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>NELA Computer Club</title><link href="https://gavart.ist/#NELA%20Computer%20Club"></link><link href="https://gavart.ist/static/NELA%2520Computer%2520Club.html" rel="alternative" type="text/html"></link><id>1a9f1955-7263-c654-7632-c2f990450385</id><updated>2025-11-17T14:23:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Books</title><link href="https://gavart.ist/#Books"></link><link href="https://gavart.ist/static/Books.html" rel="alternative" type="text/html"></link><id>6225eb5b-f8a0-31f7-50a1-b03f810ccc6a</id><updated>2025-11-17T14:21:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cyberia Computer Club</title><link href="https://gavart.ist/#Cyberia%20Computer%20Club"></link><link href="https://gavart.ist/static/Cyberia%2520Computer%2520Club.html" rel="alternative" type="text/html"></link><id>430de22d-f88f-fe69-3656-c396d5a07f92</id><updated>2025-11-17T14:20:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Community</title><link href="https://gavart.ist/#Community"></link><link href="https://gavart.ist/static/Community.html" rel="alternative" type="text/html"></link><id>7d61983c-34ed-c2a8-cabb-ea71c4732f62</id><updated>2025-11-17T14:17:45</updated><content type="xhtml"><div 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type="text/html"></link><id>81a956ee-ff30-8b0e-17de-830d1a537cbc</id><updated>2025-11-17T13:53:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A1 Bookbinding</title><link href="https://gavart.ist/#A1%20Bookbinding"></link><link href="https://gavart.ist/static/A1%2520Bookbinding.html" rel="alternative" type="text/html"></link><id>090811be-d61f-8d80-59c1-0491e4cd7fcf</id><updated>2025-11-17T09:57:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Deluge Sketches (score)</title><link href="https://gavart.ist/#Deluge%20Sketches%20(score)"></link><link href="https://gavart.ist/static/Deluge%2520Sketches%2520(score).html" rel="alternative" type="text/html"></link><id>ab123f46-8795-8740-20a5-953fe059c830</id><updated>2025-11-17T09:23:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A Choir of Filaments and Powders</title><link href="https://gavart.ist/#A%20Choir%20of%20Filaments%20and%20Powders"></link><link href="https://gavart.ist/static/A%2520Choir%2520of%2520Filaments%2520and%2520Powders.html" rel="alternative" type="text/html"></link><id>f83bd1cb-2323-8bdf-a593-acd2f1241a0f</id><updated>2025-11-17T09:17:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ken The Book Printer</title><link href="https://gavart.ist/#Ken%20The%20Book%20Printer"></link><link href="https://gavart.ist/static/Ken%2520The%2520Book%2520Printer.html" rel="alternative" type="text/html"></link><id>32435c53-fb8b-2714-2968-b4b744355314</id><updated>2025-11-16T15:32:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>China Best Printing</title><link href="https://gavart.ist/#China%20Best%20Printing"></link><link href="https://gavart.ist/static/China%2520Best%2520Printing.html" rel="alternative" type="text/html"></link><id>99a849df-0788-a54c-14d0-5bd618ca0c22</id><updated>2025-11-16T15:20:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Printed in China Online</title><link href="https://gavart.ist/#Printed%20in%20China%20Online"></link><link href="https://gavart.ist/static/Printed%2520in%2520China%2520Online.html" rel="alternative" type="text/html"></link><id>ae970510-b20d-32cd-129c-c69819686615</id><updated>2025-11-16T15:09:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Nonstop Printing</title><link href="https://gavart.ist/#Nonstop%20Printing"></link><link href="https://gavart.ist/static/Nonstop%2520Printing.html" rel="alternative" type="text/html"></link><id>4a45d45f-0444-1ad8-4b0d-c6ffb0be8daa</id><updated>2025-11-16T15:05:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Score Follower · Opportunities</title><link href="https://gavart.ist/#Score%20Follower%20%C2%B7%20Opportunities"></link><link href="https://gavart.ist/static/Score%2520Follower%2520%25C2%25B7%2520Opportunities.html" rel="alternative" type="text/html"></link><id>66f296f0-32c3-7cb0-c8f0-c03cd1e0590f</id><updated>2025-11-15T15:06:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Transformers</title><link href="https://gavart.ist/#Transformers"></link><link href="https://gavart.ist/static/Transformers.html" rel="alternative" type="text/html"></link><id>6f2de25e-e6c0-202b-db25-f1b4fc64279f</id><updated>2025-11-13T17:35:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">In Deep Learning, transformer is an architecture based on the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Multi-Headed%20Self-Attention">Multi-Head Attention mechanism</a>, in which text is converted to numerical representations called tokens, and each token is converted to a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vector">vector</a>.</p><h3 class="digitalGarden">Architecture </h3><p class="digitalGarden">All transformers have the same primary components:</p><ul class="digitalGarden"><li>Tokenizers<ul><li>Convert text into tokens</li></ul></li><li>Embedding layer<ul><li>Converts tokens and positions of the tokens into vector representations</li></ul></li><li>Transformer layers<ul><li>Carry out repeated transformations on the vector representations, extracting more and more linguistic information.<ul><li>These consist of alternating attention and feedforward layers. </li><li>There are two major types of transformer layers<ul><li>Encoder layers</li><li>Decoder layers</li></ul></li><li>Un-embedding layer, which converts the final vector representations back to a probability distribuition over the tokens.</li></ul></li></ul></li></ul><blockquote class="tc-quote digitalGarden"><p>At the core of the transformer is the self-attention mechanism, the ability to efficiently establish long-range contextual dependencies by establishing a hierarchy of relative priorities (attention scores) across an array of tokens. The training of a transformer consists in the optimization of next-token prediction, in doing so compressing the entirety of its dataset into a single, one-shot topology of relative priorities. Transformers pursue reward (the gratification of executing an intention) at the expense of developing instrumental convergences, cancerous close-fitting to the mimicry of a desired response at the cost of its situated comprehension.
<br></br>
— <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Interface%20after%20AI">Interface after AI</a>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Interface after AI</title><link href="https://gavart.ist/#Interface%20after%20AI"></link><link href="https://gavart.ist/static/Interface%2520after%2520AI.html" rel="alternative" type="text/html"></link><id>7f56f84a-a85b-acf7-8e83-87253ac14ef5</id><updated>2025-11-13T17:35:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Stafford Beer • Designing Freedom: The 1973 CBC Massey Lectures</title><link href="https://gavart.ist/#Stafford%20Beer%20%E2%80%A2%20Designing%20Freedom%3A%20The%201973%20CBC%20Massey%20Lectures"></link><link href="https://gavart.ist/static/Stafford%2520Beer%2520%25E2%2580%25A2%2520Designing%2520Freedom%253A%2520The%25201973%2520CBC%2520Massey%2520Lectures.html" rel="alternative" type="text/html"></link><id>4df523cb-6ec2-369a-5332-be1d3a75aa25</id><updated>2025-11-12T21:13:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cybernetics</title><link href="https://gavart.ist/#Cybernetics"></link><link href="https://gavart.ist/static/Cybernetics.html" rel="alternative" type="text/html"></link><id>5958d9a6-9c59-8f39-5c7d-979651644c1c</id><updated>2025-11-12T21:12:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Los Angeles Video Transfer</title><link href="https://gavart.ist/#Los%20Angeles%20Video%20Transfer"></link><link href="https://gavart.ist/static/Los%2520Angeles%2520Video%2520Transfer.html" rel="alternative" type="text/html"></link><id>aa9fa3df-cca1-598b-c8d7-9c1359f50211</id><updated>2025-11-12T18:56:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Stone Electronics</title><link href="https://gavart.ist/#Stone%20Electronics"></link><link href="https://gavart.ist/static/Stone%2520Electronics.html" rel="alternative" type="text/html"></link><id>6ce0e7ea-0fed-054d-88de-583d8a23ebcb</id><updated>2025-11-12T18:55:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Repair</title><link href="https://gavart.ist/#Repair"></link><link href="https://gavart.ist/static/Repair.html" rel="alternative" type="text/html"></link><id>0493d27e-20d1-1e35-6e53-e0a730b0ad08</id><updated>2025-11-12T18:54:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Busman's Holiday</title><link href="https://gavart.ist/#Busman's%20Holiday"></link><link href="https://gavart.ist/static/Busman's%2520Holiday.html" rel="alternative" type="text/html"></link><id>e26957fc-65c0-097a-4488-8f4b2dfd8ac8</id><updated>2025-11-12T12:56:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>1) A vacation during which one engages in activity that is similar to one's usual work. </p><p>2) A holiday or vacation during which one does something similar to what one does as work. </p><p>3) A holiday where you do the same things you do at work. </p></div></content><author><name>undefined</name></author></entry><entry><title>ntsc-rs</title><link href="https://gavart.ist/#ntsc-rs"></link><link href="https://gavart.ist/static/ntsc-rs.html" rel="alternative" type="text/html"></link><id>349b7467-cb08-4b01-158d-877da3283ca6</id><updated>2025-11-11T20:05:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Video</title><link href="https://gavart.ist/#Video"></link><link href="https://gavart.ist/static/Video.html" rel="alternative" type="text/html"></link><id>34e2d198-9a1d-bf75-cd63-1596133ee5ee</id><updated>2025-11-11T20:05:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Coleman Goughary</title><link href="https://gavart.ist/#Coleman%20Goughary"></link><link href="https://gavart.ist/static/Coleman%2520Goughary.html" rel="alternative" type="text/html"></link><id>dac556aa-10ae-ca62-30da-b584bb5c57ff</id><updated>2025-11-11T15:34:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Flightaware Misery Map</title><link href="https://gavart.ist/#Flightaware%20Misery%20Map"></link><link href="https://gavart.ist/static/Flightaware%2520Misery%2520Map.html" rel="alternative" type="text/html"></link><id>5f914500-a6db-4ec0-5f3b-4990890769d6</id><updated>2025-11-10T08:43:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Data Visualization</title><link href="https://gavart.ist/#Data%20Visualization"></link><link href="https://gavart.ist/static/Data%2520Visualization.html" rel="alternative" type="text/html"></link><id>f9537812-feb3-143e-5189-f1921693b550</id><updated>2025-11-10T08:43:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>eternal family</title><link href="https://gavart.ist/#eternal%20family"></link><link href="https://gavart.ist/static/eternal%2520family.html" rel="alternative" type="text/html"></link><id>5edff933-34d2-062c-ca3e-b9a49d45debb</id><updated>2025-11-06T18:39:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Calendars</title><link href="https://gavart.ist/#Calendars"></link><link href="https://gavart.ist/static/Calendars.html" rel="alternative" type="text/html"></link><id>e78ad330-3770-a674-3b41-13d684d40807</id><updated>2025-11-02T13:33:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Scenes</title><link href="https://gavart.ist/#Scenes"></link><link href="https://gavart.ist/static/Scenes.html" rel="alternative" type="text/html"></link><id>bb34f602-e45a-9fbc-b2cd-fee7a48673fc</id><updated>2025-11-02T13:33:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>still room</title><link href="https://gavart.ist/#still%20room"></link><link href="https://gavart.ist/static/still%2520room.html" rel="alternative" type="text/html"></link><id>afe67a7d-10c8-e7f7-ad30-3e2551c8a344</id><updated>2025-11-02T13:31:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kelly Moran · Olive Kimoto</title><link href="https://gavart.ist/#Kelly%20Moran%20%C2%B7%20Olive%20Kimoto"></link><link href="https://gavart.ist/static/Kelly%2520Moran%2520%25C2%25B7%2520Olive%2520Kimoto.html" rel="alternative" type="text/html"></link><id>f90449e2-1ae8-c9c0-8fbc-ff8eae7e59d1</id><updated>2025-11-02T13:08:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/kelly-moran-zebulon-2025.jpg"></img><p>Attended with Kárin, Joshua, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#McKay%20Felt">McKay Felt</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jessenia%20Moreira">Jessenia Moreira</a>, Jasmine, Ashkan</p></div></content><author><name>undefined</name></author></entry><entry><title>Kathryn Schuman and Friends · Living Earth</title><link href="https://gavart.ist/#Kathryn%20Schuman%20and%20Friends%20%C2%B7%20Living%20Earth"></link><link href="https://gavart.ist/static/Kathryn%2520Schuman%2520and%2520Friends%2520%25C2%25B7%2520Living%2520Earth.html" rel="alternative" type="text/html"></link><id>45f1afec-e59c-65c8-b995-42d399a696d5</id><updated>2025-11-02T13:08:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/kathryn-schuman-living-earth-2025.jpg" width="400"></img><p>Featuring <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sharon%20Chohi%20Kim">Sharon Chohi Kim</a>, Mikaela Elson, Patrick Shiroishi, et al</p><p>Attended with Trevor, Garret, Luc</p></div></content><author><name>undefined</name></author></entry><entry><title>Living Landscape · Zelia ZZ Tan</title><link href="https://gavart.ist/#Living%20Landscape%20%C2%B7%20Zelia%20ZZ%20Tan"></link><link href="https://gavart.ist/static/Living%2520Landscape%2520%25C2%25B7%2520Zelia%2520ZZ%2520Tan.html" rel="alternative" type="text/html"></link><id>003b2b00-8e62-071b-1e82-ccb53f26f927</id><updated>2025-11-02T13:02:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/living-landscape-zelia-zz-tan.jpg" width="400"></img><p>Attended with Daniel Sierra</p></div></content><author><name>undefined</name></author></entry><entry><title>Valencia</title><link href="https://gavart.ist/#Valencia"></link><link href="https://gavart.ist/static/Valencia.html" rel="alternative" type="text/html"></link><id>bddfcdfa-742c-2e57-ea81-bf96d27c35ba</id><updated>2025-11-02T12:41:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Apophenia</title><link href="https://gavart.ist/#Apophenia"></link><link href="https://gavart.ist/static/Apophenia.html" rel="alternative" type="text/html"></link><id>5cc156e9-91d5-b128-7ee2-d61e17ec25b5</id><updated>2025-11-01T09:48:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bandcamp • The Chaos Bazzar</title><link href="https://gavart.ist/#Bandcamp%20%E2%80%A2%20The%20Chaos%20Bazzar"></link><link href="https://gavart.ist/static/Bandcamp%2520%25E2%2580%25A2%2520The%2520Chaos%2520Bazzar.html" rel="alternative" type="text/html"></link><id>f3d89738-707e-7d83-139f-99a429bea16b</id><updated>2025-11-01T09:03:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>We Used To Read Things In This Country</title><link href="https://gavart.ist/#We%20Used%20To%20Read%20Things%20In%20This%20Country"></link><link href="https://gavart.ist/static/We%2520Used%2520To%2520Read%2520Things%2520In%2520This%2520Country.html" rel="alternative" type="text/html"></link><id>fdfb4e3b-46e2-7898-d8f9-a0c3e0534383</id><updated>2025-10-31T13:13:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Third Extension</title><link href="https://gavart.ist/#Third%20Extension"></link><link href="https://gavart.ist/static/Third%2520Extension.html" rel="alternative" type="text/html"></link><id>a9da52f7-4c7d-4853-e5de-f647ace51b01</id><updated>2025-10-31T12:24:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Muon tomography</title><link href="https://gavart.ist/#Muon%20tomography"></link><link href="https://gavart.ist/static/Muon%2520tomography.html" rel="alternative" type="text/html"></link><id>b4d3d1c2-1e17-efb1-ac82-1874b84ff5ad</id><updated>2025-10-28T14:26:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Muon tomography or muography is a technique that uses cosmic ray muons to generate two or three-dimensional images of volumes using information contained in the Coulomb scattering of the muons. Since muons are much more deeply penetrating than X-rays, muon tomography can be used to image through much thicker material than x-ray based tomography such as CT scanning. The muon flux at the Earth's surface is such that a single muon passes through an area the size of a human hand per second.</p><blockquote class="tc-quote"><p>Muons are cosmic particles, similar to neutrinos, that pass through us constantly—but also through solid rock and concrete, through cathedrals, pyramids, dams, and roads. In the 1960s, physicist Luis W. Alvarez of UC Berkeley launched a whole new form of architectural imaging when he realized that, if you can capture muons as they leave various structures—in Alvarez’s case, the Pyramid of Khafre outside Cairo—then you can create an image of what they’ve just passed through.</p><p><a class="tc-tiddlylink-external" href="https://bldgblog.com/2022/09/through-this-building-shines-the-cosmos/" rel="noopener noreferrer" target="_blank">BLDGBLOG • Through This Building Shines The Cosmos</a>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Underground Berlin</title><link href="https://gavart.ist/#Underground%20Berlin"></link><link href="https://gavart.ist/static/Underground%2520Berlin.html" rel="alternative" type="text/html"></link><id>64116a18-c4e8-ff9d-84d5-559c7a8d7a85</id><updated>2025-10-28T14:21:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Last Invention</title><link href="https://gavart.ist/#The%20Last%20Invention"></link><link href="https://gavart.ist/static/The%2520Last%2520Invention.html" rel="alternative" type="text/html"></link><id>442f6971-3b08-daed-0ad2-31031214761c</id><updated>2025-10-28T14:09:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Podcast</title><link href="https://gavart.ist/#Podcast"></link><link href="https://gavart.ist/static/Podcast.html" rel="alternative" type="text/html"></link><id>47963f16-3207-0d7c-31ba-16b99857ae9e</id><updated>2025-10-28T14:08:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Carl Gustav Jung</title><link href="https://gavart.ist/#Carl%20Gustav%20Jung"></link><link href="https://gavart.ist/static/Carl%2520Gustav%2520Jung.html" rel="alternative" type="text/html"></link><id>644bde6d-594c-9ec8-9385-c3c8c128848d</id><updated>2025-10-28T14:05:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>T.S. 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type="text/html"></link><id>0cb93782-8ab0-2603-ac5a-d5b9e918aab2</id><updated>2025-10-27T17:15:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>How To Argue With an AI Booster</title><link href="https://gavart.ist/#How%20To%20Argue%20With%20an%20AI%20Booster"></link><link href="https://gavart.ist/static/How%2520To%2520Argue%2520With%2520an%2520AI%2520Booster.html" rel="alternative" type="text/html"></link><id>ed2e90b3-a9c8-bac1-42e0-91869f5ed0dc</id><updated>2025-10-27T15:06:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Where's the Shovelware? Why AI Coding Claims Don't Add Up</title><link href="https://gavart.ist/#Where's%20the%20Shovelware%3F%20Why%20AI%20Coding%20Claims%20Don't%20Add%20Up"></link><link href="https://gavart.ist/static/Where's%2520the%2520Shovelware%253F%2520Why%2520AI%2520Coding%2520Claims%2520Don't%2520Add%2520Up.html" rel="alternative" type="text/html"></link><id>5de05b39-012b-2a23-bda0-5c479592176b</id><updated>2025-10-27T11:23:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Ick • The Politics of Contagion</title><link href="https://gavart.ist/#The%20Ick%20%E2%80%A2%20The%20Politics%20of%20Contagion"></link><link href="https://gavart.ist/static/The%2520Ick%2520%25E2%2580%25A2%2520The%2520Politics%2520of%2520Contagion.html" rel="alternative" type="text/html"></link><id>8e45bc4d-7f26-c0f2-36d0-7d485513cd87</id><updated>2025-10-27T10:24:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Donald Boat Story</title><link href="https://gavart.ist/#The%20Donald%20Boat%20Story"></link><link href="https://gavart.ist/static/The%2520Donald%2520Boat%2520Story.html" rel="alternative" type="text/html"></link><id>2da34ca8-1e7d-b546-7aa2-4ebe2862a232</id><updated>2025-10-27T10:23:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Knowledge Distillation</title><link href="https://gavart.ist/#Knowledge%20Distillation"></link><link href="https://gavart.ist/static/Knowledge%2520Distillation.html" rel="alternative" type="text/html"></link><id>d60730b2-87de-ba83-4764-72ea181c3d7e</id><updated>2025-10-27T09:50:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">Knowledge distillation or model distillation is the process of transferring knowledge from a large model to a smaller one. While large models (such as very deep neural networks or ensembles of many models) have more knowledge capacity than small models, this capacity might not be fully utilized. It can be just as computationally expensive to evaluate a model even if it utilizes little of its knowledge capacity. Knowledge distillation transfers knowledge from a large model to a smaller one without loss of validity. As smaller models are less expensive to evaluate, they can be deployed on less powerful hardware (such as a mobile device).</p><ul><li><a class="tc-tiddlylink-external" href="https://www.quantamagazine.org/how-distillation-makes-ai-models-smaller-and-cheaper-20250718/" rel="noopener noreferrer" target="_blank">Quanta • How Distillation Makes AI Models Smaller and Cheaper</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Yancey Strickler on Don Cherry's "Organic Music"</title><link href="https://gavart.ist/#Yancey%20Strickler%20on%20Don%20Cherry's%20%22Organic%20Music%22"></link><link href="https://gavart.ist/static/Yancey%2520Strickler%2520on%2520Don%2520Cherry's%2520%2522Organic%2520Music%2522.html" rel="alternative" type="text/html"></link><id>482801a5-f7db-f72d-d2ab-97bddba74a0c</id><updated>2025-10-26T10:20:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>I wasn’t planning on a music newsletter but let’s keep flowing. My absolute favorite musician is Don Cherry, a trumpet player, and in particular a style he made called “organic music.”</p><p>Cherry was a phenom as a musician (he played with Ornette Coleman) but also someone with his own voice. In the late ‘60s he left the US and moved to Sweden and his way of making music changed. He began to develop a unique blend of styles that was loosely improvised, beautifully alive, chaotic, and sweet. He would play this “organic music,” as he called it, with children. With shepherds he met in fields. It was music of the soul, of the universe.</p><p><a class="tc-tiddlylink-external" href="https://youtube.com/watch?v=Iu3OLnQvl-g" rel="noopener noreferrer" target="_blank">https://youtube.com/watch?v=Iu3OLnQvl-g</a></p><p>I love this idea of organic creation. Music that makes you feel free because it is free. An invitation to step off the performance of the stage and into the simplicity of life and being free. We should all aspire to this in our work.</p><p><a class="tc-tiddlylink-external" href="https://x.com/ystrickler/status/1982081355543412785" rel="noopener noreferrer" target="_blank">Source</a></p></div></content><author><name>undefined</name></author></entry><entry><title>On the foolishness of "natural language programming"</title><link href="https://gavart.ist/#On%20the%20foolishness%20of%20%22natural%20language%20programming%22"></link><link href="https://gavart.ist/static/On%2520the%2520foolishness%2520of%2520%2522natural%2520language%2520programming%2522.html" rel="alternative" type="text/html"></link><id>f6ed519a-9391-dae5-908b-d8765c525241</id><updated>2025-10-26T09:59:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Desire Distribution</title><link href="https://gavart.ist/#The%20Desire%20Distribution"></link><link href="https://gavart.ist/static/The%2520Desire%2520Distribution.html" rel="alternative" type="text/html"></link><id>b54d03af-8ebd-9ec9-3554-5da5e3b9dd76</id><updated>2025-10-26T09:46:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cognitive Shuffling</title><link href="https://gavart.ist/#Cognitive%20Shuffling"></link><link href="https://gavart.ist/static/Cognitive%2520Shuffling.html" rel="alternative" type="text/html"></link><id>6468b7a5-9728-bed0-159b-8ad73505232e</id><updated>2025-10-25T17:08:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Cognitive shuffling is a mental exercise that involves focusing your mind on words that have no association with one another, as a way of signaling to your brain that it’s time to fall asleep. The task is meant to be engaging enough to distract you from the thoughts that may be impeding sleep, but not so interesting that your brain perks up.
You start by taking a random word — “Pluto,” for example. Then think of as many words as you can that begin with the same first letter, like so: “Plane, poodle, play, peaches.” When you run out of “P” words, you can move on to the next letter of your original word, which is “L,” and do the same thing: “Love, light, lemur, linger.” Take a second or so to visualize each word.</p><p><a class="tc-tiddlylink-external" href="https://onlinelibrary.wiley.com/doi/10.1111/jsr.13719" rel="noopener noreferrer" target="_blank">Research suggests</a> that when people naturally drift off, their minds are often peppered with vivid images or distant thoughts, said Luc P. Beaudoin, a cognitive scientist and adjunct professor at Simon Fraser University in Canada who developed the cognitive shuffling technique. The goal is to help your mind mimic that process, he added.</p></div></content><author><name>undefined</name></author></entry><entry><title>Xeiaso</title><link href="https://gavart.ist/#Xeiaso"></link><link href="https://gavart.ist/static/Xeiaso.html" rel="alternative" type="text/html"></link><id>ee71ff50-3238-a23b-da73-3c397b902ee1</id><updated>2025-10-25T17:05:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Supreme Court Really Expects You to Take This Craven Horseshit Seriously</title><link href="https://gavart.ist/#The%20Supreme%20Court%20Really%20Expects%20You%20to%20Take%20This%20Craven%20Horseshit%20Seriously"></link><link href="https://gavart.ist/static/The%2520Supreme%2520Court%2520Really%2520Expects%2520You%2520to%2520Take%2520This%2520Craven%2520Horseshit%2520Seriously.html" rel="alternative" type="text/html"></link><id>94d8ef4a-ecf9-06f0-c643-acf087027839</id><updated>2025-10-25T17:02:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Law</title><link href="https://gavart.ist/#Law"></link><link href="https://gavart.ist/static/Law.html" rel="alternative" type="text/html"></link><id>81588d32-6ceb-e641-6d39-04db93603af1</id><updated>2025-10-25T17:01:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Metabolic Media</title><link href="https://gavart.ist/#Metabolic%20Media"></link><link href="https://gavart.ist/static/Metabolic%2520Media.html" rel="alternative" type="text/html"></link><id>e44d61f2-8038-356b-5676-dc5ca0348d89</id><updated>2025-10-25T16:38:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote"><p>This is the latest in a long evolution of industrial media that has been recognized by theorists and artists over decades. We could think of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vil%C3%A9m%20Flusser">Vilém Flusser</a>’s “technical images” in the 1980s, or Harun Farocki’s “operational images” in the early 2000s. Now we have “metabolic images.” Metabolic images are visual material made by consuming billions of other images to be broken down and absorbed by AI models via a gargantuan infrastructure that absorbs energy and water, and excretes media, atmospheric carbon, and other pollutants. If we consider all the forms of generative AI, including text, images, code, and video, it is fundamentally metabolic media. It has a burn rate that is astronomical and growing, and is now directly competing with humans for basic resources like land, energy, minerals, and fresh water.
</p></blockquote><blockquote class="tc-quote"><p>All this poses a problem for AI companies as well. Multiple studies have shown that AI systems degenerate when they are fed on too much of their own outputs—a phenomenon researchers call MAD (Model Autophagy Disease)<sup><a class="tc-tiddlylink-external" href="https://arxiv.org/abs/2307.01850" rel="noopener noreferrer" target="_blank">1</a></sup>. In other words, AI will eat itself, then gradually collapse into nonsense and noise. It happens slowly at first, then all at once. The researchers compare it to mad cow disease.
</p></blockquote><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Eating%20The%20Future%3A%20The%20Metabolic%20Logic%20of%20AI%20Slop">Eating The Future: The Metabolic Logic of AI Slop</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Eating The Future: The Metabolic Logic of AI Slop</title><link href="https://gavart.ist/#Eating%20The%20Future%3A%20The%20Metabolic%20Logic%20of%20AI%20Slop"></link><link href="https://gavart.ist/static/Eating%2520The%2520Future%253A%2520The%2520Metabolic%2520Logic%2520of%2520AI%2520Slop.html" rel="alternative" type="text/html"></link><id>acc71af2-0eba-68d8-45d2-2ed4018fdda5</id><updated>2025-10-25T16:37:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Krebs Cycle</title><link href="https://gavart.ist/#Krebs%20Cycle"></link><link href="https://gavart.ist/static/Krebs%2520Cycle.html" rel="alternative" type="text/html"></link><id>29cde216-b955-34be-29de-92b08b4d75ce</id><updated>2025-10-25T14:55:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The traditional Krebs cycle occurs in most forms of life that use oxygen to generate energy, whereby the body breaks down nutrients like glucose in a series of chemical reactions. During this process, carbon dioxide is released as waste and energy is captured in molecules that cells use to power their activities.</p></div></content><author><name>undefined</name></author></entry><entry><title>Paper Chase Press</title><link href="https://gavart.ist/#Paper%20Chase%20Press"></link><link href="https://gavart.ist/static/Paper%2520Chase%2520Press.html" rel="alternative" type="text/html"></link><id>50346f14-f8bb-7bc5-474a-f011f69c04be</id><updated>2025-10-25T12:36:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Print</title><link href="https://gavart.ist/#Print"></link><link href="https://gavart.ist/static/Print.html" rel="alternative" type="text/html"></link><id>13dba248-62cf-9128-167a-59100e154c8d</id><updated>2025-10-25T12:35:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Art Works Fine Art Publishing</title><link href="https://gavart.ist/#Art%20Works%20Fine%20Art%20Publishing"></link><link href="https://gavart.ist/static/Art%2520Works%2520Fine%2520Art%2520Publishing.html" rel="alternative" type="text/html"></link><id>b5351a91-8288-caa3-74c1-dca54116bf15</id><updated>2025-10-25T12:34:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>For The Birds Trapped in Airports</title><link href="https://gavart.ist/#For%20The%20Birds%20Trapped%20in%20Airports"></link><link href="https://gavart.ist/static/For%2520The%2520Birds%2520Trapped%2520in%2520Airports.html" rel="alternative" type="text/html"></link><id>f771f942-a52c-f111-d0bc-316ae948a5f7</id><updated>2025-10-25T12:31:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>DeleteMe</title><link href="https://gavart.ist/#DeleteMe"></link><link href="https://gavart.ist/static/DeleteMe.html" rel="alternative" type="text/html"></link><id>26f075fe-9070-7e61-e221-fdc39dfe6f35</id><updated>2025-10-25T12:30:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Privacy</title><link href="https://gavart.ist/#Privacy"></link><link href="https://gavart.ist/static/Privacy.html" rel="alternative" type="text/html"></link><id>c5f29bb3-6f91-58d2-e00f-5d4dc213a0ff</id><updated>2025-10-25T12:30:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ellesho.me/page</title><link href="https://gavart.ist/#ellesho.me%2Fpage"></link><link href="https://gavart.ist/static/ellesho.me%252Fpage.html" rel="alternative" type="text/html"></link><id>cec7f116-b3fa-fa38-4599-d52274c54c3b</id><updated>2025-10-24T14:29:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>How were protest signs in the 30s-50s U.S. so beautifully designed and lettered?</title><link href="https://gavart.ist/#How%20were%20protest%20signs%20in%20the%2030s-50s%20U.S.%20so%20beautifully%20designed%20and%20lettered%3F"></link><link href="https://gavart.ist/static/How%2520were%2520protest%2520signs%2520in%2520the%252030s-50s%2520U.S.%2520so%2520beautifully%2520designed%2520and%2520lettered%253F.html" rel="alternative" type="text/html"></link><id>2f7e7f19-dd35-0832-04d1-557274acd24f</id><updated>2025-10-24T10:44:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Graphic Design</title><link href="https://gavart.ist/#Graphic%20Design"></link><link href="https://gavart.ist/static/Graphic%2520Design.html" rel="alternative" type="text/html"></link><id>f36a773a-60a9-8ae7-fa7d-7895f423541a</id><updated>2025-10-24T10:43:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Vinegar Syndrome</title><link href="https://gavart.ist/#Vinegar%20Syndrome"></link><link href="https://gavart.ist/static/Vinegar%2520Syndrome.html" rel="alternative" type="text/html"></link><id>db9b4c4b-53d3-12a3-ca5f-1378f6440fc9</id><updated>2025-10-24T10:40:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Film</title><link href="https://gavart.ist/#Film"></link><link href="https://gavart.ist/static/Film.html" rel="alternative" type="text/html"></link><id>bae90233-0166-4a3e-a829-a63c67d6f882</id><updated>2025-10-24T10:40:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Radio Almania</title><link href="https://gavart.ist/#Radio%20Almania"></link><link href="https://gavart.ist/static/Radio%2520Almania.html" rel="alternative" type="text/html"></link><id>4e5c9d6c-0965-54c9-fcc8-be083f5ff577</id><updated>2025-10-24T10:39:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Disquiet</title><link href="https://gavart.ist/#Disquiet"></link><link href="https://gavart.ist/static/Disquiet.html" rel="alternative" type="text/html"></link><id>4dddd857-9760-abb6-2aa4-b1910725e73c</id><updated>2025-10-24T10:37:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Music Curiosities</title><link href="https://gavart.ist/#Music%20Curiosities"></link><link href="https://gavart.ist/static/Music%2520Curiosities.html" rel="alternative" type="text/html"></link><id>7efb33ee-23dd-4085-4772-1e1abf3e99ba</id><updated>2025-10-24T10:36:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Art Book</title><link href="https://gavart.ist/#Art%20Book"></link><link href="https://gavart.ist/static/Art%2520Book.html" rel="alternative" type="text/html"></link><id>7d411b86-6a73-d138-0b40-a25c91c40d00</id><updated>2025-10-24T10:00:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kureau</title><link href="https://gavart.ist/#Kureau"></link><link href="https://gavart.ist/static/Kureau.html" rel="alternative" type="text/html"></link><id>192f0eb9-1bcd-3b88-c598-986bed2ec2d4</id><updated>2025-10-23T10:37:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Agency</title><link href="https://gavart.ist/#Agency"></link><link href="https://gavart.ist/static/Agency.html" rel="alternative" type="text/html"></link><id>75ec3e55-a772-88b4-a132-f7528619817b</id><updated>2025-10-23T10:36:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Red Book · Liber Nouvus</title><link href="https://gavart.ist/#The%20Red%20Book%20%C2%B7%20Liber%20Nouvus"></link><link href="https://gavart.ist/static/The%2520Red%2520Book%2520%25C2%25B7%2520Liber%2520Nouvus.html" rel="alternative" type="text/html"></link><id>456a3f40-2cfd-e9ef-5482-82dc7c8d6775</id><updated>2025-10-23T10:28:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p>Written between 1913-1930</p></div></content><author><name>undefined</name></author></entry><entry><title>Romain Cazier</title><link href="https://gavart.ist/#Romain%20Cazier"></link><link href="https://gavart.ist/static/Romain%2520Cazier.html" rel="alternative" type="text/html"></link><id>b2af713c-2aa7-cf65-93cf-064b09c40d50</id><updated>2025-10-22T15:29:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ProcessWire</title><link href="https://gavart.ist/#ProcessWire"></link><link href="https://gavart.ist/static/ProcessWire.html" rel="alternative" type="text/html"></link><id>72e88c22-5052-347e-b077-4788be85fb21</id><updated>2025-10-22T15:28:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Hearing Things</title><link href="https://gavart.ist/#Hearing%20Things"></link><link href="https://gavart.ist/static/Hearing%2520Things.html" rel="alternative" type="text/html"></link><id>0cbddf9e-3771-9b7b-22eb-5fec83968289</id><updated>2025-10-22T12:10:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Music Journalism</title><link href="https://gavart.ist/#Music%20Journalism"></link><link href="https://gavart.ist/static/Music%2520Journalism.html" rel="alternative" type="text/html"></link><id>6332db0f-ec44-6a6d-61bc-e47a126a4027</id><updated>2025-10-22T12:10:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ivan Lins · 80th Birthday Concert</title><link href="https://gavart.ist/#Ivan%20Lins%20%C2%B7%2080th%20Birthday%20Concert"></link><link href="https://gavart.ist/static/Ivan%2520Lins%2520%25C2%25B7%252080th%2520Birthday%2520Concert.html" rel="alternative" type="text/html"></link><id>c23ef0d1-bc9a-942a-9e4c-632c6107952d</id><updated>2025-10-22T09:11:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Featuring: Ivan Lins (vocals, keyboards), Romero Lubambo (guitar), Andy Ezrin (piano), Francisco Fattoruso (bass), Gary Novak (drums)</p><p><img src="./files/img/attended-events/ivan-lins.jpg" width="700"></img></p><p>Attended with Mooki</p></div></content><author><name>undefined</name></author></entry><entry><title>San Cha · Inebria me</title><link href="https://gavart.ist/#San%20Cha%20%C2%B7%20Inebria%20me"></link><link href="https://gavart.ist/static/San%2520Cha%2520%25C2%25B7%2520Inebria%2520me.html" rel="alternative" type="text/html"></link><id>99802712-9865-a005-8dff-43d2a8bb43ad</id><updated>2025-10-22T09:03:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a>, Sebastian, Mat, Anna Luisa</p><p><img src="./files/img/attended-events/san-cha-inebreia-me-program.JPG" width="600px"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Ravel Valses nobles et sentimentales (Live Concert)</title><link href="https://gavart.ist/#Ravel%20Valses%20nobles%20et%20sentimentales%20(Live%20Concert)"></link><link href="https://gavart.ist/static/Ravel%2520Valses%2520nobles%2520et%2520sentimentales%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>80a7c23e-b9a0-0c27-0ac2-197f6ea9816f</id><updated>2025-10-21T23:05:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/67qYPsvUjSA?si=DMYYXpasjq7-C5A9" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>albumart-vid</title><link href="https://gavart.ist/#albumart-vid"></link><link href="https://gavart.ist/static/albumart-vid.html" rel="alternative" type="text/html"></link><id>fe0c0f16-7c93-1839-0a3f-2cebd9ca7278</id><updated>2025-10-21T22:52:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>This useful script combined three separate commands I would use to</p><ul><li>Create a video from album artwork that matched the length of the full release</li><li>use <code>sox</code> to concatenate all audio files</li><li>merge the resulting video and audio streams with <code>ffmpeg</code></li></ul><p>Usage (time, filename):<br></br>
<code>albumart-vid $1 $2</code></p><p>Example:<br></br>
<code>albumart-vid 12:31 "wallstone.mp4"</code></p><pre class="hljs"><code class="bash hljs"><span class="hljs-meta">#!/bin/bash</span>

<span class="hljs-comment"># Check if both duration and output filename are provided</span>
<span class="hljs-keyword">if</span> [ <span class="hljs-variable">$#</span> -ne 2 ]; <span class="hljs-keyword">then</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Usage: <span class="hljs-variable">$0</span> &lt;duration_in_seconds&gt; &lt;output_filename&gt;&quot;</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Example: <span class="hljs-variable">$0</span> 10 my-output-video.mp4&quot;</span>
    <span class="hljs-built_in">exit</span> 1
<span class="hljs-keyword">fi</span>

<span class="hljs-comment"># Duration for the cover video</span>
DURATION=<span class="hljs-variable">$1</span>

<span class="hljs-comment"># Output filename</span>
OUTPUT_FILENAME=<span class="hljs-variable">$2</span>

<span class="hljs-comment"># Check for cover image (PNG or JPG)</span>
COVER_IMAGE=<span class="hljs-string">&quot;&quot;</span>
<span class="hljs-keyword">if</span> [ -f <span class="hljs-string">&quot;cover.png&quot;</span> ]; <span class="hljs-keyword">then</span>
    COVER_IMAGE=<span class="hljs-string">&quot;cover.png&quot;</span>
<span class="hljs-keyword">elif</span> [ -f <span class="hljs-string">&quot;cover.jpg&quot;</span> ]; <span class="hljs-keyword">then</span>
    COVER_IMAGE=<span class="hljs-string">&quot;cover.jpg&quot;</span>
<span class="hljs-keyword">elif</span> [ -f <span class="hljs-string">&quot;cover.jpeg&quot;</span> ]; <span class="hljs-keyword">then</span>
    COVER_IMAGE=<span class="hljs-string">&quot;cover.jpeg&quot;</span>
<span class="hljs-keyword">else</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Error: No cover image found. Please ensure you have one of the following files:&quot;</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;  - cover.png&quot;</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;  - cover.jpg&quot;</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;  - cover.jpeg&quot;</span>
    <span class="hljs-built_in">exit</span> 1
<span class="hljs-keyword">fi</span>

<span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Using cover image: <span class="hljs-variable">$COVER_IMAGE</span>&quot;</span>

<span class="hljs-comment"># Create directory to store temporary files</span>
<span class="hljs-built_in">mkdir</span> -p temp_audio_processing

<span class="hljs-comment"># Step 1: Create cover video</span>
ffmpeg -loop 1 -i <span class="hljs-string">&quot;<span class="hljs-variable">$COVER_IMAGE</span>&quot;</span> -c:v libx264 -t <span class="hljs-string">&quot;<span class="hljs-variable">$DURATION</span>&quot;</span> -pix_fmt yuv420p temp_audio_processing/cover.mp4

<span class="hljs-comment"># Step 2: Combine FLAC files (with sample rate normalization)</span>
<span class="hljs-comment"># Find all FLAC files and create an array</span>
FLAC_FILES=()
<span class="hljs-keyword">while</span> IFS= <span class="hljs-built_in">read</span> -r -d <span class="hljs-string">&#x27;&#x27;</span> file; <span class="hljs-keyword">do</span>
    FLAC_FILES+=(<span class="hljs-string">&quot;<span class="hljs-variable">$file</span>&quot;</span>)
<span class="hljs-keyword">done</span> &lt; &lt;(find . -maxdepth 1 -name <span class="hljs-string">&quot;*.flac&quot;</span> -print0 | <span class="hljs-built_in">sort</span> -z)

<span class="hljs-comment"># Check if we have FLAC files</span>
<span class="hljs-keyword">if</span> [ <span class="hljs-variable">${#FLAC_FILES[@]}</span> -eq 0 ]; <span class="hljs-keyword">then</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;No FLAC files found in the current directory&quot;</span>
    <span class="hljs-built_in">exit</span> 1
<span class="hljs-keyword">fi</span>

<span class="hljs-comment"># Print out the files we&#x27;re going to combine (for debugging)</span>
<span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Combining the following FLAC files:&quot;</span>
<span class="hljs-built_in">printf</span> <span class="hljs-string">&#x27;%s\n&#x27;</span> <span class="hljs-string">&quot;<span class="hljs-variable">${FLAC_FILES[@]}</span>&quot;</span>

<span class="hljs-comment"># Check if we only have one FLAC file</span>
<span class="hljs-keyword">if</span> [ <span class="hljs-variable">${#FLAC_FILES[@]}</span> -eq 1 ]; <span class="hljs-keyword">then</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Only one FLAC file found, copying it directly...&quot;</span>
    <span class="hljs-built_in">cp</span> <span class="hljs-string">&quot;<span class="hljs-variable">${FLAC_FILES[0]}</span>&quot;</span> temp_audio_processing/combined.flac
<span class="hljs-keyword">else</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Multiple FLAC files found, normalizing and combining them...&quot;</span>
    
    <span class="hljs-comment"># Detect sample rates</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Detecting sample rates...&quot;</span>
    <span class="hljs-keyword">for</span> file <span class="hljs-keyword">in</span> <span class="hljs-string">&quot;<span class="hljs-variable">${FLAC_FILES[@]}</span>&quot;</span>; <span class="hljs-keyword">do</span>
        rate=$(ffprobe -v error -select_streams a:0 -show_entries stream=sample_rate -of csv=p=0 <span class="hljs-string">&quot;<span class="hljs-variable">$file</span>&quot;</span>)
        <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;  <span class="hljs-variable">$file</span>: <span class="hljs-variable">${rate}</span>Hz&quot;</span>
    <span class="hljs-keyword">done</span>
    
    <span class="hljs-comment"># Normalize all files to 44100 Hz (or use 48000 if you prefer)</span>
    TARGET_RATE=44100
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Normalizing all files to <span class="hljs-variable">${TARGET_RATE}</span>Hz...&quot;</span>
    
    NORMALIZED_FILES=()
    <span class="hljs-keyword">for</span> i <span class="hljs-keyword">in</span> <span class="hljs-string">&quot;<span class="hljs-variable">${!FLAC_FILES[@]}</span>&quot;</span>; <span class="hljs-keyword">do</span>
        normalized_file=<span class="hljs-string">&quot;temp_audio_processing/normalized_<span class="hljs-variable">${i}</span>.flac&quot;</span>
        <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;  Converting: <span class="hljs-variable">${FLAC_FILES[$i]}</span>&quot;</span>
        ffmpeg -i <span class="hljs-string">&quot;<span class="hljs-variable">${FLAC_FILES[$i]}</span>&quot;</span> -ar <span class="hljs-string">&quot;<span class="hljs-variable">$TARGET_RATE</span>&quot;</span> -ac 2 -sample_fmt s16 <span class="hljs-string">&quot;<span class="hljs-variable">$normalized_file</span>&quot;</span> -y -v quiet
        NORMALIZED_FILES+=(<span class="hljs-string">&quot;<span class="hljs-variable">$normalized_file</span>&quot;</span>)
    <span class="hljs-keyword">done</span>
    
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;All files normalized. Combining with sox...&quot;</span>
    
    <span class="hljs-comment"># Now use sox with the normalized files</span>
    sox <span class="hljs-string">&quot;<span class="hljs-variable">${NORMALIZED_FILES[@]}</span>&quot;</span> temp_audio_processing/combined.flac
    
    <span class="hljs-comment"># Alternative: if sox still fails, use ffmpeg</span>
    <span class="hljs-keyword">if</span> [ ! -f <span class="hljs-string">&quot;temp_audio_processing/combined.flac&quot;</span> ]; <span class="hljs-keyword">then</span>
        <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Sox failed, falling back to ffmpeg...&quot;</span>
        
        <span class="hljs-comment"># Create file list for ffmpeg</span>
        &gt; temp_audio_processing/filelist.txt
        <span class="hljs-keyword">for</span> file <span class="hljs-keyword">in</span> <span class="hljs-string">&quot;<span class="hljs-variable">${NORMALIZED_FILES[@]}</span>&quot;</span>; <span class="hljs-keyword">do</span>
            <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;file &#x27;<span class="hljs-variable">$PWD</span>/<span class="hljs-variable">$file</span>&#x27;&quot;</span> &gt;&gt; temp_audio_processing/filelist.txt
        <span class="hljs-keyword">done</span>
        
        <span class="hljs-comment"># Concatenate with ffmpeg</span>
        ffmpeg -f concat -safe 0 -i temp_audio_processing/filelist.txt -c copy temp_audio_processing/combined.flac -y
    <span class="hljs-keyword">fi</span>
<span class="hljs-keyword">fi</span>

<span class="hljs-comment"># Verify the combined file was created</span>
<span class="hljs-keyword">if</span> [ ! -f <span class="hljs-string">&quot;temp_audio_processing/combined.flac&quot;</span> ]; <span class="hljs-keyword">then</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Error: Failed to create combined.flac&quot;</span>
    <span class="hljs-built_in">exit</span> 1
<span class="hljs-keyword">else</span>
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;✓ Successfully created combined.flac&quot;</span>
    <span class="hljs-comment"># Show duration for verification</span>
    duration=$(ffprobe -v quiet -show_entries format=duration -of csv=p=0 temp_audio_processing/combined.flac)
    <span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Combined audio duration: <span class="hljs-variable">${duration}</span> seconds&quot;</span>
<span class="hljs-keyword">fi</span>

<span class="hljs-comment"># Step 3: Combine video and audio</span>
ffmpeg -i temp_audio_processing/cover.mp4 -i temp_audio_processing/combined.flac \
    -map 0:v -map 1:a -c:v copy -c:a aac -b:a 256k <span class="hljs-string">&quot;<span class="hljs-variable">$OUTPUT_FILENAME</span>&quot;</span>

<span class="hljs-comment"># Clean up temporary files</span>
<span class="hljs-built_in">rm</span> -r temp_audio_processing

<span class="hljs-built_in">echo</span> <span class="hljs-string">&quot;Processing complete. Output file: <span class="hljs-variable">$OUTPUT_FILENAME</span>&quot;</span></code></pre></div></content><author><name>undefined</name></author></entry><entry><title>The high-tech secret behind the stunning cinematography of ‘Uncut Gems’</title><link href="https://gavart.ist/#The%20high-tech%20secret%20behind%20the%20stunning%20cinematography%20of%20%E2%80%98Uncut%20Gems%E2%80%99"></link><link href="https://gavart.ist/static/The%2520high-tech%2520secret%2520behind%2520the%2520stunning%2520cinematography%2520of%2520%25E2%2580%2598Uncut%2520Gems%25E2%2580%2599.html" rel="alternative" type="text/html"></link><id>a513703b-d73f-b69f-eea0-61e1cc40f82d</id><updated>2025-10-20T19:15:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Photography</title><link href="https://gavart.ist/#Photography"></link><link href="https://gavart.ist/static/Photography.html" rel="alternative" 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rel="alternative" type="text/html"></link><id>86a86444-187e-8581-f159-aa1db420688b</id><updated>2025-10-17T14:19:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink-external" href="https://fourlarks.com/production/the-dark-night/#" rel="noopener noreferrer" target="_blank">PROOF • The Dark Night</a> • an evening of masquerade and symphonic macabre created by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks">Four Larks</a> for Cincinnati Symphony Orchestra with Matthias Pintscher, performing Aureliano Cattaneo’s <em>La nuit sombre per due voci e strumenti nello spacio</em> which intersperses itself into <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wolfgang%20Amadeus%20Mozart">Mozart</a>’s <em>Serenade for Winds K. 370a ‘Gran Partita’</em> … kicking off with an hour long baroque fantasia on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Harpsichord">harpsichord</a> by yours truly with troupe <a class="tc-tiddlylink-external" href="https://pones.org" rel="noopener noreferrer" target="_blank">Pones</a> and the marvelous sopranos <a class="tc-tiddlylink-external" href="https://www.joannalynnjacobs.com/" rel="noopener noreferrer" target="_blank">Joanna Lynn-Jacobs</a> and <a class="tc-tiddlylink-external" href="https://www.annaschubertsoprano.com/" rel="noopener noreferrer" target="_blank">Anna Schubert</a> for the activation.</h2><p><sup>Photos: JP Leong provided by the Cincinnati Symphony Orchestra &amp; Ben Savage</sup></p><p>Presented by the <a class="tc-tiddlylink-external" href="https://www.cincinnatisymphony.org/" rel="noopener noreferrer" target="_blank">Cincinnati Symphony Orchestra</a><br></br>Conducted by <a class="tc-tiddlylink-external" href="https://www.matthiaspintscher.com/" rel="noopener noreferrer" target="_blank">Matthias Pintscher</a><br></br>Production conceived, staged, and designed by <a class="tc-tiddlylink-external" href="https://fourlarks.com/artist/mat/" rel="noopener noreferrer" target="_blank">Mat Sweeney</a> &amp; <a class="tc-tiddlylink-external" href="https://fourlarks.com/artist/sebastian" rel="noopener noreferrer" target="_blank">Sebastian Peters-Lazaro</a><br></br></p><ul><li>Aureliano Cattaneo - La nuit sombre per due voci e strumenti nello spazio (U.S. Premiere)</li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wolfgang%20Amadeus%20Mozart">Wolfgang Amadeus Mozart</a> - Serenade No. 10 in B-flat Major, K. 370a (362), Gran Partita</li></ul><p>Vocal soloists <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Joanna%20Lynn-Jacobs">Joanna Lynn-Jacobs</a> &amp; <a class="tc-tiddlylink-external" href="https://www.annaschubertsoprano.com/" rel="noopener noreferrer" target="_blank">Anna Schubert</a><br></br>Harpsichord performance, Projections, &amp; Sound Design by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br>Costumes for the 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href="https://gavart.ist/static/Autechre%2520%25C2%25B7%2520northamerica.%2520twentytwentyfive..html" rel="alternative" type="text/html"></link><id>26e3ca71-b891-62f2-2526-5e97cb381f37</id><updated>2025-10-12T22:42:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/autechre-northamerica-2025.jpg"></img><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baseck">Baseck</a>, Mike Dobler, Christian &amp; Danielle, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a>, John King, Lotus, Edwin, Jonathan Snipes, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Terminal%2011">Terminal 11</a>, Tenkai, Parag, Krishna, Cyrus Rex, Lauren Nematon, Ryan &amp; Heather, Travis Stewart, Wheezie</p></div></content><author><name>undefined</name></author></entry><entry><title>Group Muse</title><link href="https://gavart.ist/#Group%20Muse"></link><link href="https://gavart.ist/static/Group%2520Muse.html" rel="alternative" type="text/html"></link><id>4306bf9b-9f94-e2cd-c78f-64d4c86762ab</id><updated>2025-10-09T10:59:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Scriptum</title><link href="https://gavart.ist/#Scriptum"></link><link href="https://gavart.ist/static/Scriptum.html" rel="alternative" type="text/html"></link><id>9aa5bd01-c1fb-17c5-2b80-a61f5886748c</id><updated>2025-10-09T10:58:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>img2pdf</title><link href="https://gavart.ist/#img2pdf"></link><link href="https://gavart.ist/static/img2pdf.html" rel="alternative" type="text/html"></link><id>3b00ff89-f7df-500b-7edd-7c41827f52b2</id><updated>2025-10-07T14:46:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Turn a directory of images into a pdf</p><p><code>$ img2pdf --first-frame-only *.jpg -o document.pdf</code></p></div></content><author><name>undefined</name></author></entry><entry><title>Venues</title><link href="https://gavart.ist/#Venues"></link><link href="https://gavart.ist/static/Venues.html" rel="alternative" type="text/html"></link><id>1e22a38a-384b-f474-fdda-eb94efa30d6c</id><updated>2025-10-07T13:50:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>NOW Instant Image Hall</title><link href="https://gavart.ist/#NOW%20Instant%20Image%20Hall"></link><link href="https://gavart.ist/static/NOW%2520Instant%2520Image%2520Hall.html" rel="alternative" type="text/html"></link><id>7e954561-488a-43ab-d303-9cfc6de50259</id><updated>2025-10-07T13:50:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Disappearing Polymorph</title><link href="https://gavart.ist/#Disappearing%20Polymorph"></link><link href="https://gavart.ist/static/Disappearing%2520Polymorph.html" rel="alternative" type="text/html"></link><id>a7159750-b278-093b-ae5d-3eb48fc063dc</id><updated>2025-10-03T12:15:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">This molecular configuration shall never appear again.</h2><h2 class="">Recorded and Mixed by Gavin Gamboa<br></br>Kawee’nga Studio<br></br>Los Angeles, California, United States<br></br>2024 November </h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://commons.wikimedia.org/wiki/File:Bismuth-crystal.jpgcreated-b-18068462/" rel="noopener noreferrer" target="_blank">Bismuth Crystal</a><br></br>Micha L. Rieser</h2></div></content><author><name>undefined</name></author></entry><entry><title>The Cortège</title><link href="https://gavart.ist/#The%20Cort%C3%A8ge"></link><link href="https://gavart.ist/static/The%2520Cort%25C3%25A8ge.html" rel="alternative" type="text/html"></link><id>f92cc471-e52f-5fce-d222-d75c314e1973</id><updated>2025-10-03T10:00:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/the-cortege-2025-flyer.jpg"></img><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LADY%20BAMBS">LADY BAMBS</a>, Samy, Cody &amp; Lana, Henna, Alex, Emma</p></div></content><author><name>undefined</name></author></entry><entry><title>Éliane Radigue · Carol Robinson • Occam Hexa 8</title><link href="https://gavart.ist/#%C3%89liane%20Radigue%20%C2%B7%20Carol%20Robinson%20%E2%80%A2%20Occam%20Hexa%208"></link><link href="https://gavart.ist/static/%25C3%2589liane%2520Radigue%2520%25C2%25B7%2520Carol%2520Robinson%2520%25E2%2580%25A2%2520Occam%2520Hexa%25208.html" rel="alternative" type="text/html"></link><id>ecc95a8d-e331-491a-81d7-e7fd54d6dbb4</id><updated>2025-10-03T09:50:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with Nina, Olive</p></div></content><author><name>undefined</name></author></entry><entry><title>Casuistry</title><link href="https://gavart.ist/#Casuistry"></link><link href="https://gavart.ist/static/Casuistry.html" rel="alternative" type="text/html"></link><id>ec54d2db-911a-ec6c-1553-aab30fe409e0</id><updated>2025-09-29T12:57:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>early 17th century: from French casuiste, from Spanish casuista, from Latin casus (see case).</p><p>A process of reasoning for resolving an ethical dilemma (moral problem) either by extracting or by extending abstract rules from a particular case of conscience, and reapplying those abstract rules to other, different ethical dilemmas. </p><p>Casuistry is a method of reasoning common to applied ethics and jurisprudence. Moreover, in philosophy, the term casuistry is a pejorative criticism of the use of clever, but unsound reasoning, especially in ethical questions, as in the case of sophistry.<sup><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Casuistry" rel="noopener noreferrer" target="_blank">1</a></sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Innominate</title><link href="https://gavart.ist/#Innominate"></link><link href="https://gavart.ist/static/Innominate.html" rel="alternative" type="text/html"></link><id>a919c0b4-9ee4-f5b3-b468-ff70284e818b</id><updated>2025-09-29T12:54:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From Latin innōminātus, from in- (“not”) + nōminātus (“named”).</p><ul><li>Having no name. </li><li>Anonymous. </li><li>Having no name; unnamed.<ul><li>"an innominate person or place"</li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Limpid</title><link href="https://gavart.ist/#Limpid"></link><link href="https://gavart.ist/static/Limpid.html" rel="alternative" type="text/html"></link><id>6dcded54-3737-e436-c80a-34b95776178e</id><updated>2025-09-29T12:53:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From French limpide, from Latin limpidus.</p><p>(especially of writing or music) clear and accessible or melodious: the limpid notes of a recorder.</p></div></content><author><name>undefined</name></author></entry><entry><title>Mass Shooting Tracker</title><link href="https://gavart.ist/#Mass%20Shooting%20Tracker"></link><link href="https://gavart.ist/static/Mass%2520Shooting%2520Tracker.html" rel="alternative" type="text/html"></link><id>df431ad5-74b2-2309-e368-55f62efc8f24</id><updated>2025-09-29T11:38:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>What does the money machine eat? It eats youth, spontaneity, life, beauty, and above all, it eats creativity.</title><link href="https://gavart.ist/#What%20does%20the%20money%20machine%20eat%3F%20It%20eats%20youth%2C%20spontaneity%2C%20life%2C%20beauty%2C%20and%20above%20all%2C%20it%20eats%20creativity."></link><link href="https://gavart.ist/static/What%2520does%2520the%2520money%2520machine%2520eat%253F%2520It%2520eats%2520youth%252C%2520spontaneity%252C%2520life%252C%2520beauty%252C%2520and%2520above%2520all%252C%2520it%2520eats%2520creativity..html" rel="alternative" type="text/html"></link><id>1f707609-bc4f-7fe6-50de-434d2dbc3736</id><updated>2025-09-25T20:50:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> It eats quality and shits quantity.</p></div></content><author><name>undefined</name></author></entry><entry><title>William S. Burroughs</title><link href="https://gavart.ist/#William%20S.%20Burroughs"></link><link href="https://gavart.ist/static/William%2520S.%2520Burroughs.html" rel="alternative" type="text/html"></link><id>54c22c27-1012-2c0a-0235-269bcba27e65</id><updated>2025-09-25T20:50:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>α-Ketoglutaric acid</title><link href="https://gavart.ist/#%CE%B1-Ketoglutaric%20acid"></link><link href="https://gavart.ist/static/%25CE%25B1-Ketoglutaric%2520acid.html" rel="alternative" type="text/html"></link><id>8358a124-ccde-1bc2-a898-ed08ff246783</id><updated>2025-09-25T20:39:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>We Need To Talk</title><link href="https://gavart.ist/#We%20Need%20To%20Talk"></link><link href="https://gavart.ist/static/We%2520Need%2520To%2520Talk.html" rel="alternative" type="text/html"></link><id>9eb37702-6025-349d-94bf-6113cff23c86</id><updated>2025-09-24T10:24:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>BLDGBLOG</title><link href="https://gavart.ist/#BLDGBLOG"></link><link href="https://gavart.ist/static/BLDGBLOG.html" rel="alternative" type="text/html"></link><id>dd708a0d-5d7e-3000-844c-9a42c7849d60</id><updated>2025-09-24T10:21:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Architecture</title><link href="https://gavart.ist/#Architecture"></link><link href="https://gavart.ist/static/Architecture.html" rel="alternative" type="text/html"></link><id>2d242bb3-6ec9-1b32-005f-9296ff03a912</id><updated>2025-09-24T10:21:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wikipedia is Resilient Because It Is Boring</title><link href="https://gavart.ist/#Wikipedia%20is%20Resilient%20Because%20It%20Is%20Boring"></link><link href="https://gavart.ist/static/Wikipedia%2520is%2520Resilient%2520Because%2520It%2520Is%2520Boring.html" rel="alternative" type="text/html"></link><id>dedd2994-7f0a-a8cd-4041-fa897ee7c4f9</id><updated>2025-09-23T21:01:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>My Brain Finally Broke</title><link href="https://gavart.ist/#My%20Brain%20Finally%20Broke"></link><link href="https://gavart.ist/static/My%2520Brain%2520Finally%2520Broke.html" rel="alternative" type="text/html"></link><id>5fe187c9-8b83-491c-33ad-d0f67f04041a</id><updated>2025-09-22T11:14:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Los Angeles Contemporary Archival</title><link href="https://gavart.ist/#Los%20Angeles%20Contemporary%20Archival"></link><link href="https://gavart.ist/static/Los%2520Angeles%2520Contemporary%2520Archival.html" rel="alternative" type="text/html"></link><id>3900d19d-d839-67cc-712b-ce33e06fbe2c</id><updated>2025-09-19T23:24:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kiwix</title><link href="https://gavart.ist/#Kiwix"></link><link href="https://gavart.ist/static/Kiwix.html" rel="alternative" type="text/html"></link><id>50bc20cd-5975-0716-657f-6b4648c65b17</id><updated>2025-09-19T15:03:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>rip.space · Censored Online, Thriving Offline: Post-Platform Websites</title><link href="https://gavart.ist/#rip.space%20%C2%B7%20Censored%20Online%2C%20Thriving%20Offline%3A%20Post-Platform%20Websites"></link><link href="https://gavart.ist/static/rip.space%2520%25C2%25B7%2520Censored%2520Online%252C%2520Thriving%2520Offline%253A%2520Post-Platform%2520Websites.html" rel="alternative" type="text/html"></link><id>186e4da2-a928-b294-f070-7bf6d03a6162</id><updated>2025-09-19T14:34:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><strong>Workshop Title</strong>: Censored Online, Thriving Offline: Post-Platform Websites<br></br><strong>Presenters</strong>: Maisa Imamović<br></br><strong>Organization</strong>: <a class="tc-tiddlylink-external" href="https://www.rip.space" rel="noopener noreferrer" target="_blank">rip.space</a> <br></br><strong>Date</strong>: 2025 September 19</h3><p>Create an offline version of a webdsite using this JavaScript snippet:</p><pre class="hljs"><code class="js hljs"><span class="hljs-keyword">function</span> <span class="hljs-title function_">checkOnlineStatus</span>(<span class="hljs-params"></span>) {
    <span class="hljs-keyword">if</span> (navigator.<span class="hljs-property">onLine</span>) {
        <span class="hljs-variable language_">document</span>.<span class="hljs-title function_">getElementById</span>(<span class="hljs-string">&#x27;offline-world&#x27;</span>).<span class="hljs-property">style</span>.<span class="hljs-property">display</span> = <span class="hljs-string">&#x27;none&#x27;</span>;
        <span class="hljs-variable language_">document</span>.<span class="hljs-title function_">getElementById</span>(<span class="hljs-string">&#x27;online-world&#x27;</span>).<span class="hljs-property">style</span>.<span class="hljs-property">display</span> = <span class="hljs-string">&#x27;block&#x27;</span>;
    } <span class="hljs-keyword">else</span> {
        <span class="hljs-variable language_">document</span>.<span class="hljs-title function_">getElementById</span>(<span class="hljs-string">&#x27;offline-world&#x27;</span>).<span class="hljs-property">style</span>.<span class="hljs-property">display</span> = <span class="hljs-string">&#x27;block&#x27;</span>;
        <span class="hljs-variable language_">document</span>.<span class="hljs-title function_">getElementById</span>(<span class="hljs-string">&#x27;online-world&#x27;</span>).<span class="hljs-property">style</span>.<span class="hljs-property">display</span> = <span class="hljs-string">&#x27;none&#x27;</span>;
    }
}

<span class="hljs-variable language_">window</span>.<span class="hljs-title function_">addEventListener</span>(<span class="hljs-string">&#x27;load&#x27;</span>, checkOnlineStatus);
<span class="hljs-variable language_">window</span>.<span class="hljs-title function_">addEventListener</span>(<span class="hljs-string">&#x27;online&#x27;</span>, checkOnlineStatus);
<span class="hljs-variable language_">window</span>.<span class="hljs-title function_">addEventListener</span>(<span class="hljs-string">&#x27;offline&#x27;</span>, checkOnlineStatus);</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Busy Beaver Hunters Reach Numbers That Overwhelm Ordinary Math</title><link href="https://gavart.ist/#Busy%20Beaver%20Hunters%20Reach%20Numbers%20That%20Overwhelm%20Ordinary%20Math"></link><link href="https://gavart.ist/static/Busy%2520Beaver%2520Hunters%2520Reach%2520Numbers%2520That%2520Overwhelm%2520Ordinary%2520Math.html" rel="alternative" type="text/html"></link><id>bd709aab-62ac-9ea5-a41b-6567ac9b8ff5</id><updated>2025-09-19T10:27:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mathematics</title><link href="https://gavart.ist/#Mathematics"></link><link href="https://gavart.ist/static/Mathematics.html" rel="alternative" type="text/html"></link><id>540b21ec-db27-6f50-87ee-585cedd6d5d0</id><updated>2025-09-19T10:26:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>DeepResearch</title><link href="https://gavart.ist/#DeepResearch"></link><link href="https://gavart.ist/static/DeepResearch.html" rel="alternative" type="text/html"></link><id>01439d27-fab8-92cf-f2fe-e211a64067d2</id><updated>2025-09-19T10:24:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tunera Type Foundry</title><link href="https://gavart.ist/#Tunera%20Type%20Foundry"></link><link href="https://gavart.ist/static/Tunera%2520Type%2520Foundry.html" rel="alternative" type="text/html"></link><id>b1371464-5604-5d98-715a-79039bc341da</id><updated>2025-09-16T21:19:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Not Your Type</title><link href="https://gavart.ist/#Not%20Your%20Type"></link><link href="https://gavart.ist/static/Not%2520Your%2520Type.html" rel="alternative" type="text/html"></link><id>a0471aed-dddc-a7be-1c93-a83e1bbaf6a9</id><updated>2025-09-16T08:38:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Typography</title><link href="https://gavart.ist/#Typography"></link><link href="https://gavart.ist/static/Typography.html" rel="alternative" type="text/html"></link><id>603850e0-7213-1401-265c-4fc01027db93</id><updated>2025-09-16T08:38:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Chopin Fantasy in F minor Opus 49 (Live Concert Mérida)</title><link href="https://gavart.ist/#Chopin%20Fantasy%20in%20F%20minor%20Opus%2049%20(Live%20Concert%20M%C3%A9rida)"></link><link href="https://gavart.ist/static/Chopin%2520Fantasy%2520in%2520F%2520minor%2520Opus%252049%2520(Live%2520Concert%2520M%25C3%25A9rida).html" rel="alternative" type="text/html"></link><id>d312bc6d-9673-8936-7095-0012067f1ff3</id><updated>2025-09-15T19:44:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/F4cX-g9Qc8k" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Grander Gestures · Record Release</title><link href="https://gavart.ist/#Grander%20Gestures%20%C2%B7%20Record%20Release"></link><link href="https://gavart.ist/static/Grander%2520Gestures%2520%25C2%25B7%2520Record%2520Release.html" rel="alternative" type="text/html"></link><id>02bf9014-13cc-80d6-87c7-cea1bb1831b8</id><updated>2025-09-14T15:22:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">I am playing piano in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Coleman%20Goughary">Coleman Goughary</a>'s ad hoc indie rock troupe for the release of his new record <a class="tc-tiddlylink-external" href="https://grandergestures.bandcamp.com/album/old-growth" rel="noopener noreferrer" target="_blank">Grander Gestures • Old Growth</a> released by <a class="tc-tiddlylink-external" href="https://linktr.ee/woodlandcreatures" rel="noopener noreferrer" target="_blank">Woodland Creatures</a>.</h2><p><div class="row">
<div class="column"><ul class="list-tree"><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Coleman%20Goughary">Coleman Goughary</a> · Composer / Lead Vocals</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/youngteamm/" rel="noopener noreferrer" target="_blank">Will Johnson</a> · Guitar</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/citizenkna/" rel="noopener noreferrer" target="_blank">Krishna Jhaveri</a> · Bass</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/raybellimusic/" rel="noopener noreferrer" target="_blank">Ray Belli</a> · Drums</li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> · Piano</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/edgarjsandoval/" rel="noopener noreferrer" target="_blank">Edgar Sandoval</a> · Violin</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/annabellefreedman/" rel="noopener noreferrer" target="_blank">Annabel Freedman</a> · Viola</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/legentis/" rel="noopener noreferrer" target="_blank">Mia Shae</a> · Cello</li><li>Ashley Jarmack · Flute</li><li>Lawrence Pi · Sax</li><li>Jennifer Hawkins · Trumpet</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/jessjacobswins/" rel="noopener noreferrer" target="_blank">Jess Jacobs</a> · French Horn</li><li>Tiffany Johns · Trombone</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/channingross/" rel="noopener noreferrer" target="_blank">Channing Ross</a> · Background Vocals (low)</li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/msmmmcg/" rel="noopener noreferrer" target="_blank">Margaret McGlynn</a> · Background Vocals (high)</li></ul></div>

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</div>

</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Drone Bath · Edition 007</title><link href="https://gavart.ist/#Drone%20Bath%20%C2%B7%20Edition%20007"></link><link href="https://gavart.ist/static/Drone%2520Bath%2520%25C2%25B7%2520Edition%2520007.html" rel="alternative" type="text/html"></link><id>a4933a10-e31b-897e-4a41-f3c6d3c97cb8</id><updated>2025-09-14T15:06:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">DRONEBATH is an electronic “sound bath” series featuring 3 hours of uninterrupted low frequency to facilitate a restful journey. Our lineup of ambient and electronic artists for this iteration are:</h2><p><div class="row">
<div class="column"><h2 class="">Drone Bath · Edition 007</h2><ul class="list-tree"><li><a class="tc-tiddlylink-external" href="https://instagram.com/lauraescude" rel="noopener noreferrer" target="_blank">Laura Escudé</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/saintsalo" rel="noopener noreferrer" target="_blank">DL Salo</a><ul><li>with <a class="tc-tiddlylink-external" href="https://instagram.com/georgecjensen_" rel="noopener noreferrer" target="_blank">George C. Jensen</a></li></ul></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/ivana.dama" rel="noopener noreferrer" target="_blank">Ivana Dama</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/rachelbeetz" rel="noopener noreferrer" target="_blank">Rachel Beetz</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/fancyfeces" rel="noopener noreferrer" target="_blank">Mitchell Brown</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavcloud">gavcloud</a></li></ul><ul><li>Curated by <a class="tc-tiddlylink-external" href="https://www.halstonbruce.com/" rel="noopener noreferrer" target="_blank">Halston Bruce</a></li><li>Sound by <a class="tc-tiddlylink-external" href="https://www.instagram.com/mobius_acoustics/" rel="noopener noreferrer" target="_blank">Mobius Acoustics</a></li><li>Flyer Designed by <a class="tc-tiddlylink-external" href="https://www.instagram.com/christostattoo/" rel="noopener noreferrer" target="_blank">Christos Tejada</a></li></ul></div>

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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Spectra Synthesis · 1st Edition</title><link href="https://gavart.ist/#Spectra%20Synthesis%20%C2%B7%201st%20Edition"></link><link href="https://gavart.ist/static/Spectra%2520Synthesis%2520%25C2%25B7%25201st%2520Edition.html" rel="alternative" type="text/html"></link><id>25f311d1-0b9c-f8b2-0b82-5fc0fb25499c</id><updated>2025-09-14T14:55:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Join us for Day 2 of Spectra Synthesis, an inaugural event series showcasing bold, experimental practices in real-time technologies, art, and sound. This evening of live audiovisual performances brings together a lineup of artists pushing the boundaries of moving image and sound, experimenting with emerging tools and technologies.</h2><p><div class="row">
<div class="column"><h2 class="">Spectra Synthesis · 1st Edition</h2><ul class="list-tree"><li><a class="tc-tiddlylink-external" href="https://djdave.xyz" rel="noopener noreferrer" target="_blank">DJ Dave</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/jay.borgwardt" rel="noopener noreferrer" target="_blank">Jay Bogwardt</a></li><li><a class="tc-tiddlylink-external" href="http://www.instagram.com/cabbibo" rel="noopener noreferrer" target="_blank">Cabbibo</a></li><li><a class="tc-tiddlylink-external" href="https://linktr.ee/c_robo_?fbclid=PAZXh0bgNhZW0CMTEAAaaUER7-fBh5ElraM4e_IHf3kFatwHf1jb7e0vnJ1qVKWtebcxmc5nSx078_aem_L8GzGgyBJaXKJ4FPgs6BrQ" rel="noopener noreferrer" target="_blank">C_Robo</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/girlsoldseparately" rel="noopener noreferrer" target="_blank">Yuka Isabel</a></li><li>Tellurics<ul><li><a class="tc-tiddlylink-external" href="https://donhanson.art" rel="noopener noreferrer" target="_blank">d0n.xyz</a></li><li><a class="tc-tiddlylink-external" href="https://harveymoon.com" rel="noopener noreferrer" target="_blank">Harvey Moon</a></li></ul></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Roxanne%20Harris">alsoknownasrox</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#About">gavcloud</a></li></ul></div>

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</div></p><p><sup>Photos by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spectra%20Studio">Spectra Studio</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Taylor%20Shechet">Taylor Shechet</a></sup></p><p>
	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-1-[DGd2pwGSGBN].mp4" style="width:100%;object-fit:contain;"></video>

	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-2-[DGd2qaxSwiT].mp4" style="width:100%;object-fit:contain;"></video>

	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-3-[DGd2rOEyBC-].mp4" style="width:100%;object-fit:contain;"></video>

	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-4-[DGd2r4yyFlz].mp4" style="width:100%;object-fit:contain;"></video>

	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-5-[DGd2s9iyJES].mp4" style="width:100%;object-fit:contain;"></video>

	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-6-[DGd2uTSSKze].mp4" style="width:100%;object-fit:contain;"></video>

	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-7-[DGd2tlqy6O_].mp4" style="width:100%;object-fit:contain;"></video>

	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-8-[DGd2yV9S660].mp4" style="width:100%;object-fit:contain;"></video>

	<video controls="controls" src="./files/vid/documentation/spectra-synthesis-2025-i/Video-9-[DGd2vhIya40].mp4" style="width:100%;object-fit:contain;"></video>

<sup>Videos by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Steve%20Nalepa">Steve Nalepa</a></sup></p><p></p></div></content><author><name>undefined</name></author></entry><entry><title>wplace.live</title><link href="https://gavart.ist/#wplace.live"></link><link href="https://gavart.ist/static/wplace.live.html" rel="alternative" type="text/html"></link><id>8b5119f4-f900-4fb2-d222-94b0d62bc14f</id><updated>2025-09-14T11:13:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Incepture</title><link href="https://gavart.ist/#Incepture"></link><link href="https://gavart.ist/static/Incepture.html" rel="alternative" type="text/html"></link><id>9c021cc4-fbff-e586-b89e-6ec2833a7103</id><updated>2025-09-14T09:42:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Web Curios</title><link 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>La nuit sombre · Kansas City Symphony</title><link href="https://gavart.ist/#La%20nuit%20sombre%20%C2%B7%20Kansas%20City%20Symphony"></link><link href="https://gavart.ist/static/La%2520nuit%2520sombre%2520%25C2%25B7%2520Kansas%2520City%2520Symphony.html" rel="alternative" type="text/html"></link><id>4041fa3c-92c3-7471-20b9-7c4c51cb13e9</id><updated>2025-09-12T10:51:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><em>La nuit sombre</em> • an evening of masquerade and symphonic macabre created by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks">Four Larks</a> for Kansas City Symphony with Matthias Pintscher, performing Aureliano Cattaneo’s <em>La nuit sombre per due voci e strumenti nello spacio</em> which intersperses itself into <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wolfgang%20Amadeus%20Mozart">Mozart</a>’s <em>Serenade for Winds K. 370a ‘Gran Partita’</em> … kicking off with an opening pre-show of florid baroque fantasias on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Harpsichord">harpsichord</a> by yours truly with troupe <a class="tc-tiddlylink-external" href="https://www.instagram.com/quixoticfusion/" rel="noopener noreferrer" target="_blank">QUIXOTIC</a> and sopranos <a class="tc-tiddlylink-external" href="https://marisolmontalvo.com/en/" rel="noopener noreferrer" target="_blank">Marisol Montalvo</a> and <a class="tc-tiddlylink-external" href="https://www.annaschubertsoprano.com/" rel="noopener noreferrer" target="_blank">Anna Schubert</a> for the activation.</h2><p><sup>Photos: Kansas City Symphony </sup></p><p>Presented by the <a class="tc-tiddlylink-external" href="https://www.kcsymphony.org/" rel="noopener noreferrer" target="_blank">Kansas City Symphony</a><br></br>Conducted by <a class="tc-tiddlylink-external" href="https://www.matthiaspintscher.com/" rel="noopener noreferrer" target="_blank">Matthias Pintscher</a><br></br>Production conceived, staged, and designed by <a class="tc-tiddlylink-external" href="https://fourlarks.com/artist/mat/" rel="noopener noreferrer" target="_blank">Matthew Diafos Sweeney</a> &amp; <a class="tc-tiddlylink-external" href="https://fourlarks.com/artist/sebastian" rel="noopener noreferrer" target="_blank">Sebastian Peters-Lazaro</a><br></br></p><ul><li>Aureliano Cattaneo - La nuit sombre per due voci e strumenti nello spazio</li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wolfgang%20Amadeus%20Mozart">Wolfgang Amadeus Mozart</a> - Serenade No. 10 in B-flat Major, K. 370a (362), Gran Partita</li></ul><p>Vocal soloists <a class="tc-tiddlylink-external" href="https://marisolmontalvo.com/en/" rel="noopener noreferrer" target="_blank">Marisol Montalvo</a> &amp; <a class="tc-tiddlylink-external" href="https://www.annaschubertsoprano.com/" rel="noopener noreferrer" target="_blank">Anna Schubert</a><br></br>Harpsichord performance, Projections, &amp; Sound Design by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br><a class="tc-tiddlylink-external" href="https://www.instagram.com/quixoticfusion/" rel="noopener noreferrer" target="_blank">QUIXOTIC</a> dancers: Sydnee Bell, Kenzie Cohen, Troy Gardner, Molly Sloan, Trip Starr, Kelsey Thomas<br></br>Costumes for the soloists created by Mieko Romming<br></br>Make-up and Hair Design by Pamela Bjorklund<br></br>Additional Costumes and Production Support provided by QUIXOTIC<br></br>Dance Captian and Wardrobe Assistant Kelsey Thomas<br></br>Illustrations by <a class="tc-tiddlylink-external" href="http://www.katiebakerart.com/" rel="noopener noreferrer" target="_blank">Katie Baker</a><br></br><br></br><sup>Photos: Gavin Gamboa</sup><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Music, Wit, and Wisdom</title><link href="https://gavart.ist/#Music%2C%20Wit%2C%20and%20Wisdom"></link><link href="https://gavart.ist/static/Music%252C%2520Wit%252C%2520and%2520Wisdom.html" rel="alternative" type="text/html"></link><id>143b92f1-f415-f131-d0c1-22ad74bb9b2e</id><updated>2025-09-12T09:03:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Art of Memory</title><link href="https://gavart.ist/#The%20Art%20of%20Memory"></link><link href="https://gavart.ist/static/The%2520Art%2520of%2520Memory.html" rel="alternative" type="text/html"></link><id>460f0987-61d4-c294-db0c-b83d5232c0f4</id><updated>2025-09-11T09:53:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
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type="text/html"></link><id>04321215-71ee-1025-7f4b-fe0b68bbb2fe</id><updated>2025-09-06T06:57:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Kansas City</title><link href="https://gavart.ist/#Kansas%20City"></link><link href="https://gavart.ist/static/Kansas%2520City.html" rel="alternative" type="text/html"></link><id>9cdcc316-e7fb-3f97-eb08-f790c2c9f5a4</id><updated>2025-09-06T06:56:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Missouri</title><link href="https://gavart.ist/#Missouri"></link><link href="https://gavart.ist/static/Missouri.html" rel="alternative" type="text/html"></link><id>06fa309b-609b-7c8f-7c39-a88abe2d507c</id><updated>2025-09-06T06:56:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>39.0958506, -94.5934101</title><link href="https://gavart.ist/#39.0958506%2C%20-94.5934101"></link><link href="https://gavart.ist/static/39.0958506%252C%2520-94.5934101.html" rel="alternative" type="text/html"></link><id>24bb4da3-e610-545b-d2aa-04231a22b797</id><updated>2025-09-04T21:40:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Plain Text</title><link href="https://gavart.ist/#Plain%20Text"></link><link href="https://gavart.ist/static/Plain%2520Text.html" rel="alternative" type="text/html"></link><id>e44b145b-d8b4-9b06-e0ad-2ced1ad56466</id><updated>2025-09-03T09:51:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A book may lie dormant for fifty years or for two thousand years in a forgotten corner of a library</title><link href="https://gavart.ist/#A%20book%20may%20lie%20dormant%20for%20fifty%20years%20or%20for%20two%20thousand%20years%20in%20a%20forgotten%20corner%20of%20a%20library"></link><link href="https://gavart.ist/static/A%2520book%2520may%2520lie%2520dormant%2520for%2520fifty%2520years%2520or%2520for%2520two%2520thousand%2520years%2520in%2520a%2520forgotten%2520corner%2520of%2520a%2520library.html" rel="alternative" type="text/html"></link><id>8fa74a1a-2efe-58df-8930-545e732278b0</id><updated>2025-09-03T07:26:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, only to reveal upon being opened, the marvels or the abysses that it contains, or the line that seems to have been written for me alone. In this respect the writer is not different from any other human being: whatever we say or do can have far-reaching consequences.</p></div></content><author><name>undefined</name></author></entry><entry><title>Marguerite Yourcenar</title><link href="https://gavart.ist/#Marguerite%20Yourcenar"></link><link href="https://gavart.ist/static/Marguerite%2520Yourcenar.html" rel="alternative" type="text/html"></link><id>a8c694aa-f6ae-32d4-fd17-bd668aa3b147</id><updated>2025-09-03T07:25:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>html in the park</title><link href="https://gavart.ist/#html%20in%20the%20park"></link><link href="https://gavart.ist/static/html%2520in%2520the%2520park.html" rel="alternative" type="text/html"></link><id>50f81f3a-d8d0-ef04-da0d-8b6627959019</id><updated>2025-09-01T20:20:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><sup>Photos: Ethan J. Hulbert</sup></p><p>A nice day at Silver Lake Meadow sharing HTML projects, organized by <a class="tc-tiddlylink-external" href="https://www.sneakyfelix.com/" rel="noopener noreferrer" target="_blank">Emily Archiardi</a> for HTML Day. I shared my recent work using <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a> for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">Digital Gardening</a> and personal wiki / personal knowledge curation. </p><p>See a list of attendees and more photos from <a class="tc-tiddlylink-external" href="https://www.ethanjhulbert.org/html-day-la-2025/#attendees" rel="noopener noreferrer" target="_blank">Ethan J. Hulbert's blog</a>.</p></div></content><author><name>undefined</name></author></entry><entry><title>Causal Islands: LA Community Edition</title><link href="https://gavart.ist/#Causal%20Islands%3A%20LA%20Community%20Edition"></link><link href="https://gavart.ist/static/Causal%2520Islands%253A%2520LA%2520Community%2520Edition.html" rel="alternative" type="text/html"></link><id>8ad1481e-1614-178b-0a6d-fc80dda6b872</id><updated>2025-08-27T13:50:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A beginner's introduction to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a> for personal knowledge curation as part of a new series of community workshops hosted by <a class="tc-tiddlylink-external" href="https://www.causalislands.com/" rel="noopener noreferrer" target="_blank">Causal Islands</a> in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Los%20Angeles">Los Angeles</a>. </h2><h2 class="">Special Thanks <a class="tc-tiddlylink-external" href="https://bmannconsulting.com/" rel="noopener noreferrer" target="_blank">Boris Mann</a> • Optional tutorial wiki <a class="tc-tiddlylink-external" href="https://gavart.ist/offline" rel="noopener noreferrer" target="_blank">here</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Fimages%2Fmisc%2Fhistory-of-note-taking">Brief History of Notetaking Apps</a></h2><p> </p><p><svg content="&amp;lt;mxfile host=&amp;quot;embed.diagrams.net&amp;quot; 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" style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:Helvetica;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;"><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div><div><br></br></div></div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="Helvetica" font-size="12px" text-anchor="middle" x="180" y="184">...</text></switch></g></g><g><ellipse cx="180" cy="180" fill="#fff2cc" pointer-events="all" rx="70" ry="70" stroke="#d6b656"></ellipse></g><g><rect fill="none" height="30" pointer-events="all" stroke="none" width="140" x="150" y="165"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe flex-start;width:130px;height:1px;padding-top:180px;margin-left:156px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:left;max-height:26px;overflow:hidden;"><div style="display:inline-block;font-size:17px;font-family:Helvetica;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#About">WHY</a></div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="Helvetica" font-size="17px" x="156" y="185"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#About">WHY</a></text></switch></g></g><g><rect fill="none" height="30" pointer-events="all" stroke="none" width="210" x="150" y="260"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe flex-start;width:200px;height:1px;padding-top:275px;margin-left:156px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:left;max-height:26px;overflow:hidden;"><div style="display:inline-block;font-size:17px;font-family:Helvetica;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">HOW</a></div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="Helvetica" font-size="17px" x="156" y="280"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">HOW</a></text></switch></g></g><g><rect fill="none" height="30" pointer-events="all" stroke="none" width="140" x="150" y="320"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe flex-start;width:130px;height:1px;padding-top:335px;margin-left:156px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:left;max-height:26px;overflow:hidden;"><div style="display:inline-block;font-size:17px;font-family:Helvetica;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Discography">WHAT</a></div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="Helvetica" font-size="17px" x="156" y="340">[[WHAT|Discograp...</text></switch></g></g></g><switch><g requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility"></g><a href="https://www.drawio.com/doc/faq/svg-export-text-problems" target="_blank" transform="translate(0,-5)"><text font-size="10px" text-anchor="middle" x="50%" y="100%">Text is not SVG - cannot display</text></a></switch></svg></p><p><sup>Based on the Golden Circle Theory by <a class="tc-tiddlylink-external" href="https://simonsinek.com/" rel="noopener noreferrer" target="_blank">Simon Sinek</a></sup></p><p> </p><h2 class="">Cross-Referencing my own data</h2><h3 class="">Get  items that have links tagged  or </h3><p><code>{{{ [tag[Bookcase]backlinks[]tag[Discography]] :or[tag[Quotations]backlinks[]tag[Discography]] }}}</code></p><p> </p><h3 class="">Get  or  items that have backlinks tagged </h3><p><code>{{{ [tag[Discography]links[]tag[Bookcase]sort[]] :or[tag[Discography]links[]tag[Quotations]sort[]] }}}</code></p><p> </p><h2 class="">Little Experiments With Filter Runs</h2><pre><code>&lt;div class="grid"&gt;
	&lt;$list filter="[tag[Bookcase]search:text[party]]"&gt;
		&lt;$link to={{{ [is[current]tags[]tag[Author]] }}}&gt;
		
			&lt;$view field="title"/&gt; • &lt;$view field="date" /&gt;&lt;br&gt;
			&lt;$image source={{!!book-cover}} width="300" /&gt;&lt;br&gt;
			&lt;$transclude $variable="tag-pill" tag={{{ [is[current]tags[]tag[Author]] }}} /&gt;
		
		&lt;/$link&gt;
	&lt;/$list&gt;
&lt;/div&gt;</code></pre><p>Revised by detecting backtransclusions for the notes</p><pre><code>&lt;$edit-text tiddler=&lt;&lt;currentTiddler&gt;&gt; field="query"/&gt;

&lt;div class="grid"&gt;
	&lt;$list filter="[prefix[$:/sections/bookcase/notes/]search:text{!!query}]"&gt;
		&lt;$link to={{{ [is[current]backtranscludes[]] }}}&gt;
			
			&lt;$list filter="[is[current]backtranscludes[]]"&gt;
				&lt;$view field="title" /&gt;&lt;br&gt;
				&lt;span style="font-size:10px;"&gt;&lt;$view field="date" /&gt;&lt;/span&gt;
			&lt;/$list&gt;
			
			&lt;br&gt;
			
			&lt;$image source={{{ [is[current]backtranscludes[]get[book-cover]] }}} width="300" /&gt;&lt;br&gt;
			&lt;$transclude $variable="tag-pill" 
			tag={{{ [is[current]backtranscludes[]tags[]tag[Author]] }}} /&gt;
		
		&lt;/$link&gt;
	&lt;/$list&gt;
&lt;/div&gt;</code></pre><h3 class="">Transcluding fields</h3><pre><code>&lt;$list filter="[tag[Discography]]"&gt;
	
	&lt;$transclude $tiddler={{{ [is[current]get[bandcamp-widget]] }}} mode="block" /&gt;
	
&lt;/$list&gt;</code></pre><h3 class="">Transforming lists + links</h3><pre><code>&lt;ul&gt;
 &lt;$list filter="[tag[Discography]tags[]tag[City]sort[]]"&gt;
  &lt;li&gt;
		&lt;$link to={{{ [is[current]tagging[]] +[tag[Discography]] }}} &gt;
			&lt;$transclude $tiddler={{{ [is[current]] }}} $field="title" /&gt;
		&lt;/$link&gt;
  &lt;/li&gt;
 &lt;/$list&gt;
&lt;/ul&gt;</code></pre><h3 class="">Transcluding lists from fields from anywhere in the wiki</h3><pre><code>&lt;$list filter="[title[Causal Islands · Using TiddlyWiki For Personal Knowledge Curation]get[organization]]"&gt;
	{{!!title}}
&lt;/$list&gt;</code></pre><img src="./files/img/workshops/causal-islands-la-2024.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>offline · using TiddlyWiki for personal knowledge curation</title><link href="https://gavart.ist/#offline%20%C2%B7%20using%20TiddlyWiki%20for%20personal%20knowledge%20curation"></link><link href="https://gavart.ist/static/offline%2520%25C2%25B7%2520using%2520TiddlyWiki%2520for%2520personal%2520knowledge%2520curation.html" rel="alternative" type="text/html"></link><id>a0b72803-975f-cef2-f497-a98c547b1f50</id><updated>2025-08-27T13:49:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A beginner's introduction to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a> for personal knowledge curation as part of a new series of workshops hosted by <a class="tc-tiddlylink-external" href="https://offline.place" rel="noopener noreferrer" target="_blank">offline</a> in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berlin">Berlin</a>. </h2><h2 class="">Special Thanks to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Liaizon%20Wakest">Liaizon Wakest</a></h2><h2 class="">See the tutorial wiki made for this event <a class="tc-tiddlylink-external" href="https://gavart.ist/offline" rel="noopener noreferrer" target="_blank">here</a></h2><p><main class="grid">
		
			<div class="tc-btn-invisible">
				<img class="grid-albumart-image" src="./files/img/workshops/offline-flyer-2023.jpg"></img>
			</div>
		
			<div class="tc-btn-invisible">
				<img class="grid-albumart-image" src="./files/img/workshops/offline-tape-sign.JPG"></img>
			</div>
		

	</main>poster design(s): <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Liaizon%20Wakest">Liaizon Wakest</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Orphic Fixations · Perspectives in Cinematic Opera with George R. Miller</title><link href="https://gavart.ist/#Orphic%20Fixations%20%C2%B7%20Perspectives%20in%20Cinematic%20Opera%20with%20George%20R.%20Miller"></link><link href="https://gavart.ist/static/Orphic%2520Fixations%2520%25C2%25B7%2520Perspectives%2520in%2520Cinematic%2520Opera%2520with%2520George%2520R.%2520Miller.html" rel="alternative" type="text/html"></link><id>e5c41f5e-63d6-ea3c-117b-b7daf0bb9bca</id><updated>2025-08-27T13:49:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/workshops/SK_Opera_V3-A.jpg" width="700"></img></p><h2 class="">With guest <a class="tc-tiddlylink-external" href="https://www.gmdirects.com/" rel="noopener noreferrer" target="_blank">George R. Miller</a></h2><h1 class="">I. Opening Clips</h1><h2 class="">Show opera as we traditionally know it for the stage, contrast with newer examples using cinematic approaches</h2><ul><li>The Met • La traviata 1981 Act I scene 3 "Dell'invito trascorsa…"</li><li>Don Giovanni • Salzburg <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Romeo%20Castellucci">Romeo Castellucci</a> Trailer</li><li>The Black Lodge <a class="tc-tiddlylink tc-tiddlylink-missing" href="#David%20T.%20Little">David T. Little</a></li><li>BAKUNAWA <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micaela%20Tobin">Micaela Tobin</a></li></ul><hr></hr><h1 class="">II. Gateway into Miller's cinematics</h1><h2 class="">An interleaved discussion of stage work and gestures from film</h2><ul><li><a class="tc-tiddlylink tc-tiddlylink-missing" href="#Under%20The%20Skin">Under The Skin</a> — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Jonathan%20Glazer">Jonathan Glazer</a> 1:00-9:00<ul><li>A defining reference point</li></ul></li><li>Castelucci Brusells 5:53</li><li>ISOLA (photo selections)</li><li>The Piano Teacher <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Michael%20Haneke">Michael Haneke</a> 21:00</li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> Winterreise<ul><li>The Cook, The Thief, His Wife and Her Lover — <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Peter%20Greenaway">Peter Greenaway</a> opening 15 min</li><li>Aria — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Jean-Luc%20Godard">Jean-Luc Godard</a></li><li>Melancolia — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Lars%20von%20Trier">Lars von Trier</a></li></ul></li><li><a class="tc-tiddlylink tc-tiddlylink-missing" href="#Arnold%20Schoenberg">Arnold Schoenberg</a> Gurre-Lieder</li><li>Bogeyman — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Reza%20Abdoh">Reza Abdoh</a> 55:00</li></ul><hr></hr><h1 class="">III. Closing</h1><h3 class="">How Cinema feeds off of Opera, how Opera feeds off of Cinema</h3><ul><li>Aria — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Ken%20Russell">Ken Russell</a></li></ul><p><sup>Photos by <a class="tc-tiddlylink-external" href="https://www.norbertshieh.com/" rel="noopener noreferrer" target="_blank">Norbert Shieh</a></sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Shadow Kitchen · Interior. Night. Dialogue.</title><link href="https://gavart.ist/#Shadow%20Kitchen%20%C2%B7%20Interior.%20Night.%20Dialogue."></link><link href="https://gavart.ist/static/Shadow%2520Kitchen%2520%25C2%25B7%2520Interior.%2520Night.%2520Dialogue..html" rel="alternative" type="text/html"></link><id>b074dcab-68f1-4ab5-fa95-ecbfc51ad79b</id><updated>2025-08-27T13:48:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/workshops/shadow-kitchen-2021.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Share.AV #006</title><link href="https://gavart.ist/#Share.AV%20%23006"></link><link href="https://gavart.ist/static/Share.AV%2520%2523006.html" rel="alternative" type="text/html"></link><id>1ad8333d-59f9-2d98-9dea-cbc8c95240d5</id><updated>2025-08-27T13:48:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A riff on <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Causal%20Islands%3A%20LA%20Community%20Edition">Causal Islands: LA Community Edition</a> … speed round :)</p></div></content><author><name>undefined</name></author></entry><entry><title>Spirit Bomb · Procedural Sound Design Techniques</title><link href="https://gavart.ist/#Spirit%20Bomb%20%C2%B7%20Procedural%20Sound%20Design%20Techniques"></link><link href="https://gavart.ist/static/Spirit%2520Bomb%2520%25C2%25B7%2520Procedural%2520Sound%2520Design%2520Techniques.html" rel="alternative" type="text/html"></link><id>75dbb0a1-1906-2d17-7abf-711036bdd2d5</id><updated>2025-08-27T13:48:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/workshops/SpiritbombTvSchedule_IndividualDays_2-Recovered-Recovered.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Babycastles · TiddlyWiki: Getting started with digital gardens</title><link href="https://gavart.ist/#Babycastles%20%C2%B7%20TiddlyWiki%3A%20Getting%20started%20with%20digital%20gardens"></link><link href="https://gavart.ist/static/Babycastles%2520%25C2%25B7%2520TiddlyWiki%253A%2520Getting%2520started%2520with%2520digital%2520gardens.html" rel="alternative" type="text/html"></link><id>65dfe25a-d180-e02d-cdc7-36c7ceb7d405</id><updated>2025-08-27T13:47:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">An intoduction to the open-source <a class="tc-tiddlylink-external" href="https://tiddlywiki" rel="noopener noreferrer" target="_blank">Tiddlywiki system</a> given as a part of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Babycastles">Babycastles</a> Academy. View the Full Lesson Plan here: <a class="tc-tiddlylink-external" href="https://babycastles.github.io/Babycastles-Academy/workshops/tiddlywiki-lesson-plan.html" rel="noopener noreferrer" target="_blank">Workshop Notes</a></h2><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/hB6sT1MnpTs" title="YouTube video player" width="560"></iframe>
</div></p><p><img src="./files/img/babycastles-tiddlywiki-workshop-poster.png"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Workshops</title><link href="https://gavart.ist/#Workshops"></link><link href="https://gavart.ist/static/Workshops.html" rel="alternative" type="text/html"></link><id>d7ec78eb-bbf0-90fc-809c-58ce7f57f739</id><updated>2025-08-27T13:47:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#html%20in%20the%20park">html in the park</a><br></br><sup><em>Los Angeles, California, United States · 2025 August 2</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Share.AV%20%23006">Share.AV #006</a><br></br><sup><em>Los Angeles, California, United States · 2025 March 30</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Orphic%20Fixations%20%C2%B7%20Perspectives%20in%20Cinematic%20Opera%20with%20George%20R.%20Miller">Orphic Fixations · Perspectives in Cinematic Opera with George R. Miller</a><br></br><sup><em>Los Angeles, California, United States · 2024 September 19</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Causal%20Islands%3A%20LA%20Community%20Edition">Causal Islands: LA Community Edition</a><br></br><sup><em>Los Angeles, California, United States · 2024 March 23</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Show%20Us%20Your%20Screens%20%C2%B7%20S%C3%B3Laura%20Studio">Show Us Your Screens · SóLaura Studio</a><br></br><sup><em>Berlin, Germany · 2023 June 14</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#offline%20%C2%B7%20using%20TiddlyWiki%20for%20personal%20knowledge%20curation">offline · using TiddlyWiki for personal knowledge curation</a><br></br><sup><em>Berlin, Germany · 2023 June 13</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spirit%20Bomb%20%C2%B7%20Procedural%20Sound%20Design%20Techniques">Spirit Bomb · Procedural Sound Design Techniques</a><br></br><sup><em>Los Angeles, California, United States · 2022 August 25</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Shadow%20Kitchen%20%C2%B7%20Interior.%20Night.%20Dialogue.">Shadow Kitchen · Interior. Night. Dialogue.</a><br></br><sup><em>Los Angeles, California, United States · 2021 October 20</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Babycastles%20%C2%B7%20TiddlyWiki%3A%20Getting%20started%20with%20digital%20gardens">Babycastles · TiddlyWiki: Getting started with digital gardens</a><br></br><sup><em>Brooklyn, New York, United States · 2021 April 4</em></sup>
      </li>
  
</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Auspicious</title><link href="https://gavart.ist/#Auspicious"></link><link href="https://gavart.ist/static/Auspicious.html" rel="alternative" type="text/html"></link><id>a51db976-4c45-b72f-5c62-0efd445c23ce</id><updated>2025-08-27T08:55:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Augury" rel="noopener noreferrer" target="_blank">Augury</a> was a Greco-Roman religious practice of observing the behavior of birds, to receive omens. When the individual, known as the augur, read these signs, it was referred to as "taking the auspices". </p><p>"Auspices" (Latin: auspicium) means "looking at birds". Auspex, another word for augur, can be translated to "one who looks at birds". Depending upon the birds, the auspices from the gods could be favorable or unfavorable (auspicious or inauspicious). Sometimes politically motivated augurs would fabricate unfavorable auspices in order to delay certain state functions, such as elections.</p></div></content><author><name>undefined</name></author></entry><entry><title>Fra Angelico</title><link href="https://gavart.ist/#Fra%20Angelico"></link><link href="https://gavart.ist/static/Fra%2520Angelico.html" rel="alternative" type="text/html"></link><id>9714edc3-199a-3379-68e0-69475568ea4d</id><updated>2025-08-27T08:50:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jaume Huguet</title><link href="https://gavart.ist/#Jaume%20Huguet"></link><link href="https://gavart.ist/static/Jaume%2520Huguet.html" rel="alternative" type="text/html"></link><id>f55515c8-bf7c-4f9f-5e15-594877ef4d43</id><updated>2025-08-27T08:49:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sam Bent YouTube Channel</title><link href="https://gavart.ist/#Sam%20Bent%20YouTube%20Channel"></link><link href="https://gavart.ist/static/Sam%2520Bent%2520YouTube%2520Channel.html" rel="alternative" type="text/html"></link><id>78ff7f6e-55fb-1a9d-c24c-4f4df4253c71</id><updated>2025-08-26T15:10:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Poems</title><link href="https://gavart.ist/#Poems"></link><link href="https://gavart.ist/static/Poems.html" rel="alternative" type="text/html"></link><id>155a78ad-2e48-b236-91d6-c22d666ee6b1</id><updated>2025-08-26T07:34:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>a collection of poems written by poets …</code></p><p><ul>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beannacht">Beannacht</a><br></br>
			
				<sup><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#John%20O%27Donohue">John O'Donohue</a></em></sup>  <sup><em> • 2010</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#i%20like%20my%20body%20when%20it%20is%20with%20your">i like my body when it is with your</a><br></br>
			
				<sup><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.E.%20Cummings">E.E. Cummings</a></em></sup>  <sup><em> • 1925</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Poem%20%28To%20F.S.%29">Poem (To F.S.)</a><br></br>
			
				<sup><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Langston%20Hughes">Langston Hughes</a></em></sup>  <sup><em> • 1925</em></sup>
		</li>
	
</ul>
</p></div></content><author><name>undefined</name></author></entry><entry><title>European Tree of The Year Award</title><link href="https://gavart.ist/#European%20Tree%20of%20The%20Year%20Award"></link><link href="https://gavart.ist/static/European%2520Tree%2520of%2520The%2520Year%2520Award.html" rel="alternative" type="text/html"></link><id>dc16cd6f-570a-335e-5bb8-241d267aeef5</id><updated>2025-08-25T15:40:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Environment</title><link href="https://gavart.ist/#Environment"></link><link href="https://gavart.ist/static/Environment.html" rel="alternative" type="text/html"></link><id>0ba29c6a-1afa-cf58-6b03-a26162c72274</id><updated>2025-08-25T15:38:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Scaling up and extrapolating CPU cycles into human-relatable timescales</title><link href="https://gavart.ist/#Scaling%20up%20and%20extrapolating%20CPU%20cycles%20into%20human-relatable%20timescales"></link><link href="https://gavart.ist/static/Scaling%2520up%2520and%2520extrapolating%2520CPU%2520cycles%2520into%2520human-relatable%2520timescales.html" rel="alternative" type="text/html"></link><id>dc1259a3-1bff-b297-e842-8e64185610b1</id><updated>2025-08-25T15:37:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A 3 GHz CPU runs at 3 billion cycles per second (3 × 10⁹ Hz).</p><ul><li>Time per cycle = 1 / (3 × 10⁹) seconds</li></ul><p>Let's play a thought experiment where we imagine these 3 cycles taking up the space of 1 second, in human terms. So, the time it takes to add two numbers might be said to be completed in 1 second.</p><p>What if we take a rendering of a single frame from a game engine?</p><ul><li>60 fps = 16.67 milliseconds per frame</li><li>At 3 GHz: 16.67ms × 3 billion cycles/second = ~50 million cycles per frame</li></ul><p>The time budget of 1/60th of a second for 60 fps, which is exactly 16.67 milliseconds.</p><p>Let's scale up the proportions to human timescales to get a sense of how brief 16.67 milliseconds really is.</p><h2 class="">If 1 second = 1 day:</h2><p>Starting values:</p><ul><li>1 second = 1 day = 24 hours = 1,440 minutes = 86,400 seconds</li><li>We want to scale 16.67 milliseconds = 0.01667 seconds</li></ul><h3 class="">Math:</h3><ul><li>Scale factor: 86,400 (since 1 second becomes 86,400 seconds)</li><li>0.01667 seconds × 86,400 = 1,440 seconds</li><li>1,440 seconds = 24 minutes</li></ul><p>So 16.67 milliseconds scales to 24 minutes.</p><h2 class="">If 1 second = 1 year:</h2><p>Starting values:</p><ul><li>1 year ≈ 365.25 days × 24 hours × 3,600 seconds = 31,557,600 seconds</li><li>We want to scale 16.67 milliseconds = 0.01667 seconds</li></ul><h3 class="">Math:</h3><ul><li>Scale factor: 31,557,600 (since 1 second becomes 31,557,600 seconds)</li><li>0.01667 seconds × 31,557,600 = 525,995 seconds</li><li>525,995 seconds ÷ 86,400 seconds/day = 6.09 days</li></ul><p>So 16.67 milliseconds scales to about 6 days.</p></div></content><author><name>undefined</name></author></entry><entry><title>Poem (To F.S.)</title><link href="https://gavart.ist/#Poem%20(To%20F.S.)"></link><link href="https://gavart.ist/static/Poem%2520(To%2520F.S.).html" rel="alternative" type="text/html"></link><id>8ace6c8a-9136-4d02-8623-b7f92ebddcc4</id><updated>2025-08-25T12:32:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>I loved my friend.<br></br>He went away from me.<br></br>There's nothing more to say.<br></br>The poem ends,<br></br>Soft as it began,—<br></br>I loved my friend.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Langston Hughes</title><link href="https://gavart.ist/#Langston%20Hughes"></link><link href="https://gavart.ist/static/Langston%2520Hughes.html" rel="alternative" type="text/html"></link><id>6bb31019-8ccc-4c97-855d-066ca9bdcb54</id><updated>2025-08-25T12:32:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Le Lenny Face Generator</title><link href="https://gavart.ist/#Le%20Lenny%20Face%20Generator"></link><link href="https://gavart.ist/static/Le%2520Lenny%2520Face%2520Generator.html" rel="alternative" type="text/html"></link><id>4b2904ac-4893-fdd9-a747-1af4954e94fa</id><updated>2025-08-25T11:42:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Text Art</title><link href="https://gavart.ist/#Text%20Art"></link><link href="https://gavart.ist/static/Text%2520Art.html" rel="alternative" type="text/html"></link><id>4fa585bf-e28e-2dbc-a281-4caced530cf7</id><updated>2025-08-25T11:41:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>41.4578187, 2.0680234</title><link href="https://gavart.ist/#41.4578187%2C%202.0680234"></link><link href="https://gavart.ist/static/41.4578187%252C%25202.0680234.html" rel="alternative" type="text/html"></link><id>b06310ce-71da-b3b0-10d8-03bb7fa0b0e4</id><updated>2025-08-25T10:34:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>public tableau viz of the day</title><link href="https://gavart.ist/#public%20tableau%20viz%20of%20the%20day"></link><link href="https://gavart.ist/static/public%2520tableau%2520viz%2520of%2520the%2520day.html" rel="alternative" type="text/html"></link><id>ab7177cb-193a-cc78-ce38-b76235432e17</id><updated>2025-08-25T10:19:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ask a Mathematician / Ask a Physicist</title><link href="https://gavart.ist/#Ask%20a%20Mathematician%20%2F%20Ask%20a%20Physicist"></link><link href="https://gavart.ist/static/Ask%2520a%2520Mathematician%2520%252F%2520Ask%2520a%2520Physicist.html" rel="alternative" type="text/html"></link><id>4aec9cc6-d2f0-1da9-1926-ab2b477c217a</id><updated>2025-08-25T10:17:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Physics</title><link href="https://gavart.ist/#Physics"></link><link href="https://gavart.ist/static/Physics.html" rel="alternative" type="text/html"></link><id>50ae99e9-c354-46c2-580e-4b540b0fd104</id><updated>2025-08-25T10:16:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>suna.garden</title><link href="https://gavart.ist/#suna.garden"></link><link href="https://gavart.ist/static/suna.garden.html" rel="alternative" type="text/html"></link><id>84344a8e-f6f3-a462-de50-5c00adb0aac9</id><updated>2025-08-25T10:13:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>blamesir neocities</title><link href="https://gavart.ist/#blamesir%20neocities"></link><link href="https://gavart.ist/static/blamesir%2520neocities.html" rel="alternative" type="text/html"></link><id>90acab40-24be-3b17-438c-34eaafffd51c</id><updated>2025-08-25T10:12:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>open structures</title><link href="https://gavart.ist/#open%20structures"></link><link href="https://gavart.ist/static/open%2520structures.html" rel="alternative" type="text/html"></link><id>0445bed6-3a99-b944-ac0b-531c95ac62cb</id><updated>2025-08-25T09:52:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>composable meme</title><link href="https://gavart.ist/#composable%20meme"></link><link href="https://gavart.ist/static/composable%2520meme.html" rel="alternative" type="text/html"></link><id>552fc133-7383-9172-6bd1-189b5f40c1ca</id><updated>2025-08-25T09:49:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>echo duemig</title><link href="https://gavart.ist/#echo%20duemig"></link><link href="https://gavart.ist/static/echo%2520duemig.html" rel="alternative" type="text/html"></link><id>7051bf59-f790-38c0-9dd2-982134122945</id><updated>2025-08-25T09:40:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ethan j. hulbert</title><link href="https://gavart.ist/#ethan%20j.%20hulbert"></link><link href="https://gavart.ist/static/ethan%2520j.%2520hulbert.html" rel="alternative" type="text/html"></link><id>8f701b31-ac5f-2b8a-9643-a64911017e0b</id><updated>2025-08-25T09:39:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Beannacht</title><link href="https://gavart.ist/#Beannacht"></link><link href="https://gavart.ist/static/Beannacht.html" rel="alternative" type="text/html"></link><id>34ffffa1-495a-96f2-50ff-7b04f2cd20ac</id><updated>2025-08-25T08:26:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>On the day when<br></br>the weight deadens<br></br>on your shoulders<br></br>and you stumble,<br></br>may the clay dance<br></br>to balance you.<br></br><br></br>And when your eyes<br></br>freeze behind<br></br>the grey window<br></br>and the ghost of loss<br></br>gets into you,<br></br>may a flock of colours,<br></br>indigo, red, green<br></br>and azure blue,<br></br>come to awaken in you<br></br>a meadow of delight.<br></br><br></br>When the canvas frays<br></br>in the currach of thought<br></br>and a stain of ocean<br></br>blackens beneath you,<br></br>may there come across the waters<br></br>a path of yellow moonlight<br></br>to bring you safely home.<br></br><br></br>May the nourishment of the earth be yours,<br></br>may the clarity of light be yours,<br></br>may the fluency of the ocean be yours,<br></br>may the protection of the ancestors be yours.<br></br><br></br>And so may a slow<br></br>wind work these words<br></br>of love around you,<br></br>an invisible cloak<br></br>to mind your life.<br></br><br></br><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>John O'Donohue</title><link href="https://gavart.ist/#John%20O'Donohue"></link><link href="https://gavart.ist/static/John%2520O'Donohue.html" rel="alternative" type="text/html"></link><id>3b641dfa-1dd8-baec-4772-0fed87d1b253</id><updated>2025-08-25T08:19:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The New Science</title><link href="https://gavart.ist/#The%20New%20Science"></link><link href="https://gavart.ist/static/The%2520New%2520Science.html" rel="alternative" type="text/html"></link><id>5ed4de99-65a8-f73f-467f-28772d1437dd</id><updated>2025-08-25T08:05:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ffmpeg</title><link href="https://gavart.ist/#ffmpeg"></link><link href="https://gavart.ist/static/ffmpeg.html" rel="alternative" type="text/html"></link><id>7bed46c5-c61c-0ac6-25ce-bf8a9922cc48</id><updated>2025-08-25T07:53:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><div class="markdown">

<h2>Converting Audio into Different Formats / Sample Rates</h2>
<p>Minimal example: transcode from MP3 to WMA:<br></br>
<code class="_codified_">ffmpeg -i input.mp3 output.wma</code>
</p>
<p>You can get the list of supported formats with:<br></br>
<code class="_codified_">ffmpeg -formats</code>
</p>
<p>You can get the list of installed codecs with:<br></br>
<code class="_codified_">ffmpeg -codecs</code>
</p>
<p>Convert WAV to MP3, mix down to mono (use 1 audio channel), set bit rate to 64 kbps and  sample rate to 22050 Hz:<br></br>
<code class="_codified_">ffmpeg -i input.wav -ac 1 -ab 64000 -ar 22050 output.mp3</code><br></br>
</p>
<p>Convert any MP3 file to WAV 16khz mono 16bit:<br></br>
<code class="_codified_">ffmpeg -i 111.mp3 -acodec pcm_s16le -ac 1 -ar 16000 out.wav</code><br></br>
</p>
<p>Convert any MP3 file to WAV 20khz mono 16bit for ADDAC WAV Player:<br></br>
<code class="_codified_">ffmpeg -i 111.mp3 -acodec pcm_s16le -ac 1 -ar 22050 out.wav</code><br></br>
</p>
<p><strong>cd into dir for batch process:</strong><br></br>
<code class="_codified_">for i in *.mp3; do ffmpeg -i "$i" -acodec pcm_s16le -ac 1 -ar 22050 "${i%.mp3}-encoded.wav"; done</code>
</p>
<p>Picking the 30 seconds fragment at an offset of 1 minute:<br></br>
In seconds<br></br>
<code class="_codified_">ffmpeg -i input.mp3 -ss 60 -t 30 output.wav</code><br></br>
</p>
<p>In HH:MM:SS format<br></br>
<code class="_codified_">ffmpeg -i input.mp3 -ss 0:01:00 -t 0:00:30 output.wav</code>
</p>
<p>Split an audio stream at specified segment rate (e.g. 3 seconds)<br></br>
<code class="_codified_">ffmpeg -i somefile.mp3 -f segment -segment_time 3 -c copy out%03d.mp3</code><br></br>
</p>
<h2>Extract Audio</h2>
<p><code class="_codified_">ffmpeg -i input-video.avi -vn -acodec copy output-audio.aac </code>
</p>
<p><code class="_codified_">vn</code> is no video.<br></br>
<code class="_codified_">acodec</code> copy says use the same audio stream that's already in there.
</p>
<p><code class="_codified_">ffmpeg -i video.mp4 -f mp3 -ab 192000 -vn music.mp3</code>
</p>
<p>The -i option in the above command is simple: it is the path to the input file. The second option -f mp3 tells ffmpeg that the ouput is in mp3 format. The third option i.e -ab 192000 tells ffmpeg that we want the output to be encoded at 192Kbps and -vn tells ffmpeg that we dont want video. The last param is the name of the output file.
</p>
<h2>Replace Audio on a Video without re-encoding.</h2>
<p><strong>preferred method</strong><br></br>
<code class="_codified_">ffmpeg -i INPUT.mp4 -i AUDIO.wav -shortest -c:v copy -c:a aac -b:a 256k OUTPUT.mp4</code>
</p>
<p>strip audio stream away from video<br></br>
<code class="_codified_">ffmpeg -i INPUT.mp4 -codec copy -an OUTPUT.mp4</code>
</p>
<p>combine the two streams together (new audio with originally exisiting video)<br></br>
<code class="_codified_">ffmpeg -i 36.MOV -i 36.wav -map 0:v -map 1:a -c copy -y 36-encoded.mov</code><br></br>
</p>
<p>or add an offset to audio<br></br>
<code class="_codified_">ffmpeg -i 36.MOV -itsoffset -0.25 -i 36.wav -map 0:v -map 1:a -c copy -y 36-encoded.mov</code><br></br>
</p>
<hr></hr>
<p>You say you want to "extract audio from them (mp3 or ogg)". But what if the audio in the mp4 file is not one of those? you'd have to transcode anyway. So why not leave the audio format detection up to ffmpeg?
</p>
<p>To convert one file:
</p>
<p><code class="_codified_">ffmpeg -i videofile.mp4 -vn -acodec libvorbis audiofile.ogg</code>
</p>
<p>To convert many files:
</p>
<p><code class="_codified_">for vid in *.mp4; do ffmpeg -i "$vid" -vn -acodec libvorbis "${vid%.mp4}.ogg"; done</code>
</p>
<p>You can of course select any ffmpeg parameters for audio encoding that you like, to set things like bitrate and so on.
</p>
<p>Use <code class="_codified_">-acodec libmp3lame</code>  and change the extension from <code class="_codified_">.ogg</code> to <code class="_codified_">.mp3</code> for mp3 encoding.
</p>
<p>If what you want is to really extract the audio, you can simply "copy" the audio track to a file using -acodec copy. Of course, the main difference is that transcoding is slow and cpu-intensive, while copying is really quick as you're just moving bytes from one file to another. Here's how to copy just the audio track (assuming it's in mp3 format):
</p>
<p><code class="_codified_">ffmpeg -i videofile.mp4 -vn -acodec copy audiofile.mp3</code>
</p>
<p>Note that in this case, the audiofile format has to be consistent with what the container has (i.e. if the audio is AAC format, you have to say audiofile.aac). You can use the ffprobe command to see which formats you have, this may provide some information:
</p>
<p><code class="_codified_">for file in *; do ffprobe $file 2&gt;&amp;1 |grep Audio; done</code>
</p>
<p>A possible way to automatically parse the audio codec and name the audio file accordingly would be:
</p>
<p><code class="_codified_">for file in *mp4 *avi; do ffmpeg -i "$file" -vn -acodec copy "$file".`ffprobe "$file" 2&gt;&amp;1 |sed -rn 's/.*Audio: (...), .*/\1/p'`; done</code>
</p>
<p>Note that this command uses sed to parse output from ffprobe for each file, it assumes a 3-letter audio codec name (e.g. mp3, ogg, aac) and will break with anything different.
</p>
<hr></hr>
<h2>Encoding multiple files</h2>
<p>You can use a Bash "for loop" to encode all files in a directory:
</p>
<p><code class="_codified_">$ mkdir newfiles</code> <br></br>
<code class="_codified_">$ for f in *.m4a; do ffmpeg -i "$f" -codec:v copy -codec:a libmp3lame -q:a 2 newfiles/"${f%.m4a}.mp3"; done</code>
</p>
<hr></hr>
<p><code class="_codified_">ffmpeg -i input.m4a -acodec libmp3lame -ab 128k output.mp3</code> <br></br>
m4a to mp3 conversion with ffmpeg and lame
</p>
<p>A batch file version of the same command would be:<br></br>
<code class="_codified_">for f in *.m4a; do ffmpeg -i "$f" -acodec libmp3lame -ab 256k "${f%.m4a}.mp3"; done</code>
</p>
<hr></hr>
<h2>Extract Single Image from a Video at Specified Frame</h2>
<p><code class="_codified_">$ vf [ss][filename][outputFileName]</code><br></br>
</p>
<p>where <code class="_codified_">vf</code> is a custom bash script as follows:<br></br>
<code class="_codified_">$ ffmpeg -ss $1 -i $2 -qmin 1 -q:v 1 -qscale:v 2 -frames:v 1 -huffman optimal $3.jpg</code><br></br>
<br></br>
ss offset = frame number divided by FPS of video = the decimal (in milliseconds) ffmpeg needs i.e. 130.5<br></br>
</p>
<h2>Duplicate video n number of times</h2>
<p><code class="_codified_">ffmpeg -stream_loop 3 -i input.mp4 -c copy output.mp4</code><br></br>
</p>
<h2>Merge Multiple Videos</h2>
<p>concat demuxer<br></br>
<code class="_codified_">$ cat mylist.txt</code><br></br>
<code class="_codified_">file '/path/to/file1'</code><br></br>
<code class="_codified_">file '/path/to/file2'</code><br></br>
<code class="_codified_">file '/path/to/file3'</code><br></br>
<br></br>
<code class="_codified_">$ ffmpeg -f concat -safe 0 -i mylist.txt -c copy output.mp4</code>
</p>
<h2>Rotate Video by editing metadata (without re-encoding).</h2>
<p><code class="_codified_">ffmpeg -i input.m4v -map_metadata 0 -metadata:s:v rotate="90" -codec copy output.m4v</code>
</p>
<h2>Split a Video into Images</h2>
<p><code class="_codified_">$ ffmpeg -i video.flv image%d.jpg</code>
</p>
<h2>Convert Images into a Video</h2>
<p><code class="_codified_">$ ffmpeg -f image2 -i image%d.jpg imagestovideo.mp4</code><br></br>
<code class="_codified_">$ ffmpeg -i image-%03d.png -c:v libx264 -pix_fmt yuv420p test.mp4</code><br></br>
<code class="_codified_">$ ffmpeg -r 1/5 -i image-%03d.png -c:v libx264 -vf fps=25 -pix_fmt yuv420p test.mp4</code><br></br>
</p>
<h2>Convert Single Image into a Video</h2>
<p><code class="_codified_">$ ffmpeg -loop 1 -i image.png -c:v libx264 -t 60 -pix_fmt yuv420p -vf scale=1920:1080 out.mp4</code><br></br>
</p>
<h2>Convert non-sequentially named Images in a directory</h2>
<p><code class="_codified_">$ ffmpeg -framerate 30 -pattern_type glob -i '*.jpeg' -c:v libx264 -pix_fmt yuv420p gan-1.mov</code><br></br>
</p>
<h2>Convert image sequence of many different sizes and conform to specific frame size</h2>
<p><code class="_codified_">$ ffmpeg -i image-%04d.jpg -c:v libx264 -pix_fmt yuv420p -vf "scale=max(1280\,a*720):max(1280\,720/a),crop=1280:720" test.mp4</code>
</p>
<h2>Guarantee aspect ratio from image sequence</h2>
<p><code class="_codified_">$ ffmpeg -i image-%04d.jpg -c:v libx264 -pix_fmt yuv420p -vf "scale=720:-2" test.mp4</code>
</p>
<h2>Evaluate which ratio to apply for scaling, then scale with the requisite amount of padding</h2>
<p><code class="_codified_">$ ffmpeg -i image-%04d.jpg -c:v libx264 -pix_fmt yuv420p -vf "scale=iw*min(1280/iw\,720/ih):ih*min(1280/iw\,720/ih), pad=1280:720:(1280-iw*min(1280/iw\,720/ih))/2:(720-ih*min(1280/iw\,720/ih))/2" test.mp4</code>
<br></br>
<br></br>
1920 version<br></br>
<br></br>
<code class="_codified_">$ ffmpeg -i image-%04d.jpg -c:v libx264 -pix_fmt yuv420p -vf "scale=iw*min(1920/iw\,1080/ih):ih*min(1920/iw\,1080/ih), pad=1920:1080:(1920-iw*min(1920/iw\,1080/ih))/2:(1080-ih*min(1920/iw\,1080/ih))/2" test.mp4</code>
</p>
<h2>Convert .mov (JPEG-A or other codec) to H264 .mp4</h2>
<p><code class="_codified_">ffmpeg -i input.mov -vcodec libx264 -pix_fmt yuv420p output.mp4</code><br></br>
</p>
<h2>Simple FLAC convert</h2>
<p><code class="_codified_">ffmpeg -i audio.xxx -c:a flac audio.flac</code>
</p>
<h2>Merge Two Mono tracks into Stereo</h2>
<p><code class="_codified_">ffmpeg -i left.wav -i right.wav -codec:a pcm_s16le -strict -2 -filter_complex "[0:a][1:a]amix" -ac 2 output.wav</code>
</p>
<h2>Mix Stereo to Mono</h2>
<p>You can modify a video file directly without having to re-encode the video stream. However the audio stream will have to be re-encoded.
<br></br>
Left channel to mono:
<code class="_codified_">ffmpeg -i video.mp4 -map_channel 0.1.0 -c:v copy mono.mp4</code><br></br>
<br></br>
Left channel to stereo:<br></br>
<code class="_codified_">ffmpeg -i video.mp4 -map_channel 0.1.0 -map_channel 0.1.0 -c:v copy stereo.mp4</code><br></br>
<br></br>
If you want to use the right channel, write <code class="_codified_">0.1.1</code> instead of <code class="_codified_">0.1.0.</code>
</p>
<h2>Trim End of file (mp3)</h2>
<p>Here's a command line that will slice to 30 seconds without transcoding:
<br></br>
<code class="_codified_">ffmpeg -t 30 -i inputfile.mp3 -acodec copy outputfile.mp3</code>
<br></br>
</p>
<h2>Subdivide an audio file by time interval</h2>
<p><code class="_codified_">ffmpeg -i file.wav -f segment -segment_time 5 -c copy out%03d.wav</code><br></br>
<br></br>
add a filter to fade in / fade out the segments (created in the above command)<br></br>
<code class="_codified_">for i in *.wav; do ffmpeg -i "$i" -c pcm_s16le -af "afade=t=in:st=0:d=0.05,afade=t=out:st=0.9:d=0.1" "${i%.wav}-fade.wav"; done</code>
</p>
<hr></hr>
<h2>To Encode or Re-encode ?</h2>
<p>Do you need to cut video with re-encoding or without re-encoding mode? You can try to following below command.<br></br>
Synopsis: ffmpeg -i [input_file] -ss [start_seconds] -t [duration_seconds] [output_file]
</p>
<h3>use ffmpeg cut mp4 video without re-encoding</h3>
<p>Example:<br></br>
<code class="_codified_">ffmpeg -i source.mp4 -ss 00:00:05 -t 00:00:10 -c copy cut_video.mp4</code><br></br>
</p>
<h3>use ffmpeg cut mp4 video with re-encoding</h3>
<p>Example:<br></br>
<code class="_codified_">ffmpeg -i source.mp4 -ss 00:00:05 -t 00:00:10 -async 1 -strict -2 cut_video.mp4</code><br></br>
</p>
<p>If you want to cut off section from the beginning, simply drop -t 00:00:10 from the command
</p>
<h2>reduce filesize</h2>
<p>Example:<br></br>
<code class="_codified_">ffmpeg -i input.mov -vcodec libx264 -crf 24 output.mp4</code><br></br>
<br></br>
It reduced a 100mb video to 9mb.. Very little change in video quality.
</p>
<p>Example:<br></br>
<code class="_codified_">ffmpeg -i video.mov -vf eq=saturation=0 -s 640x480 -c:v libx264 -crf 24 output.mp4</code><br></br>
<br></br>
make a grayscale version and scale to 640x480
</p>
<h2>Convert MP4 to WEBM</h2>
<p><code class="_codified_">ffmpeg -i input.mp4 -c:v libvpx-vp9 -crf 31 -b:v 1M output.webm</code><br></br>
<a class="tc-tiddlylink-external _codified_" href="http://trac.ffmpeg.org/wiki/Encode/VP9" rel="noopener noreferrer" target="_blank">more info</a><br></br>
</p>
<h2>Convert MKV to MP4</h2>
<p><code class="_codified_">ffmpeg -i file.mkv</code><br></br>
<br></br>
check for streams that you want (video/audio). be sure to convert/specify DTS 6 channel audio stream<br></br>
<br></br>
<code class="_codified_">ffmpeg -i input.mkv -strict experimental -map 0:0 -map 0:1 -c:v copy -c:a:1 libmp3lame -b:a 192k -ac 6 output.mp4</code>
</p>
<h2>Add Watermark overlay (png) to the center of a video</h2>
<p><code class="_codified_">ffmpeg -i source.mov -i watermark.png -filter_complex "overlay=x=(main_w-overlay_w)/2:y=(main_h-overlay_h)/2" output.mp4</code>
<br></br>
</p>
<h2>Reverse a video</h2>
<p><code class="_codified_">ffmpeg -i vid.mp4 -vf reverse reversed.mp4</code>
<br></br>
</p>
<h2>Concat a video with a reversed copy of itself for ping-pong looping effect</h2>
<p><code class="_codified_">ffmpeg -i input.mp4 -filter_complex "[0:v]reverse,fifo[r];[0:v][r] concat=n=2:v=1 [v]" -map "[v]" output.mp4</code>
<br></br>
</p>
<h2>Convert to different frame rate while preserving audio sync</h2>
<p><code class="_codified_">ffmpeg -i &lt;input&gt; -filter:v fps=fps=30 &lt;output&gt;</code>
<br></br>
</p>
<h2>Extract embeded subtitle track from mkv</h2>
<p><code class="_codified_">ffmpeg -i input.mkv -map "0:m:language:eng" -map "-0:v" -map "-0:a" output.srt</code>
<br></br>
</p>
<h2>Create tiled mosaic from every n-th frame in a video file</h2>
<p><code class="_codified_">ffmpeg -ss 13 -i test.mov -frames 1 -vf "select=not(mod(n\,400)),scale=854:480,tile=8x4" tile.png</code>
<br></br>
</p>
<h2>Created tiled mosaic by scene change in a video file</h2>
<p><code class="_codified_">$ ffmpeg -i YosemiteHDII.webm -vf "select=gt(scene\,0.4),scale=854:480,tile" -frames:v 1 preview.png</code>
<br></br>
do the same process but export the frames individually
<br></br>
<code class="_codified_">$ ffmpeg -i YosemiteHDII.webm -vf "select=gt(scene\,0.4),scale=854:480" -vsync vfr frame_%04d.png</code>
<br></br>
</p>
<h2>Convert H.264 to H.265 to correct for iOS Airdrop error message</h2>
<p><code class="_codified_">$ ffmpeg -i input.mp4 -c:v libx265 -vtag hvc1 -c:a copy output.mp4</code>
<br></br>
</p>
<h2>Add hardcoded subtitles to video</h2>
<p><code class="_codified_">$ ffmpeg -i mymovie.mp4 -vf subtitles=subtitles.srt mysubtitledmovie.mp4</code>
</p>
<h2>Pull down livestream as mp4</h2>
<p><code class="_codified_">yt-dlp --live-from-start --remux-video mp4 &lt;URL&gt;</code>
<br></br>
</p>
<hr></hr>
<p>more commands<br></br>
<a class="tc-tiddlylink-external _codified_" href="http://www.catswhocode.com/blog/19-ffmpeg-commands-for-all-needs" rel="noopener noreferrer" target="_blank">http://www.catswhocode.com/blog/19-ffmpeg-commands-for-all-needs</a>
</p>
</div></div></content><author><name>undefined</name></author></entry><entry><title>Book of Ecclesiastes</title><link href="https://gavart.ist/#Book%20of%20Ecclesiastes"></link><link href="https://gavart.ist/static/Book%2520of%2520Ecclesiastes.html" rel="alternative" type="text/html"></link><id>c10c802a-6656-7cb2-24d9-f74cb304dcdc</id><updated>2025-08-25T07:50:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Signature moves: are we losing the ability to write by hand?</title><link href="https://gavart.ist/#Signature%20moves%3A%20are%20we%20losing%20the%20ability%20to%20write%20by%20hand%3F"></link><link href="https://gavart.ist/static/Signature%2520moves%253A%2520are%2520we%2520losing%2520the%2520ability%2520to%2520write%2520by%2520hand%253F.html" rel="alternative" type="text/html"></link><id>9d8ada5d-a74d-25fe-e002-d4962e9d5a49</id><updated>2025-08-25T07:45:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Beyond Good and Evil · Prelude to a Philosophy of the Future</title><link href="https://gavart.ist/#Beyond%20Good%20and%20Evil%20%C2%B7%20Prelude%20to%20a%20Philosophy%20of%20the%20Future"></link><link href="https://gavart.ist/static/Beyond%2520Good%2520and%2520Evil%2520%25C2%25B7%2520Prelude%2520to%2520a%2520Philosophy%2520of%2520the%2520Future.html" rel="alternative" type="text/html"></link><id>e0e82605-2e64-e543-6aa2-f769d1f2901d</id><updated>2025-08-24T12:50:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Quiet: The Power of Introverts in a World That Can't Stop Talking</title><link href="https://gavart.ist/#Quiet%3A%20The%20Power%20of%20Introverts%20in%20a%20World%20That%20Can't%20Stop%20Talking"></link><link href="https://gavart.ist/static/Quiet%253A%2520The%2520Power%2520of%2520Introverts%2520in%2520a%2520World%2520That%2520Can't%2520Stop%2520Talking.html" rel="alternative" type="text/html"></link><id>1bac0d7e-c744-e357-be4c-5aa81e5defd6</id><updated>2025-08-22T10:35:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden">So what do introverted leaders do differently from—and sometimes better than—extroverts? One answer comes from the work of Wharton management professor Adam Grant, who has spent considerable time consulting with Fortune 500 executives and military leaders—from Google to the U.S. Army and Navy. When we first spoke, Grant was teaching at the Ross School of Business at the University of Michigan, where he'd become convinced that the existing research, which showed a correlation between extroversion and leadership, didn't tell the whole story. Grant told me about a wing commander in the U.S. Air Force one rank below general, in command of thousands of people, charged with protecting a high-security missile base—who was one of the most classically introverted people, as well as one of the finest leaders, Grant had ever met. This man lost focus when he interacted too much with people, so he carved out time for thinking and recharging. He spoke quietly, without much variation in his vocal inflections or facial expressions. He was more interested in listening and gathering information than in asserting his opinion or dominating a conversation. He was also widely admired; when he spoke, everyone listened. This was not necessarily remarkable—if you're at the top of the military hierarchy, people are supposed to listen to you. But in the case of this commander, says Grant, people respected not just his formal authority, but also the way he led: by supporting his employees' efforts to take the initiative. He gave subordinates input into key decisions, implementing the ideas that made sense, while making it clear that he had the final authority. He wasn't concerned with getting credit or even with being in charge; he simply assigned work to those who could perform it best. This meant delegating some of his most interesting, meaningful, and important tasks—work that other leaders would have kept for themselves. Why did the research not reflect the talents of people like the wing commander? Grant thought he knew what the problem was. First, when he looked closely at the existing studies on personality and leadership, he found that the correlation between extroversion and leadership was modest. Second, these studies were often based on people's perceptions of who made a good leader, as opposed to actual results. And personal opinions are often a simple reflection of cultural bias. But most intriguing to Grant was that the existing research didn't differentiate among the various kinds of situations a leader might face. It might be that certain organizations or contexts were better suited to introverted leadership styles, he thought, and others to extroverted approaches, but the studies didn't make such distinctions. Grant had a theory about which kinds of circumstances would call for introverted leadership. His hypothesis was that extroverted leaders enhance group performance when employees are passive, but that introverted leaders are more effective with proactive employees. To test his idea, he and two colleagues, professors Francesca Gino of Harvard Business School and David Hofman of the Kenan-Flagler Business School at the University of North Carolina, carried out a pair of studies of their own. In the first study, Grant and his colleagues analyzed data from one of the five biggest pizza chains in the United States. They discovered that the weekly profits of the stores managed by extroverts were 16 percent higher than the profits of those led by introverts—but only when the employees were passive types who tended to do their job without exercising initiative. Introverted leaders had the exact opposite results. When they worked with employees who actively tried to improve work procedures, their stores outperformed those led by extroverts by more than 14 percent.</p><p class="digitalGarden">In the second study, Grant's team divided 163 college students into competing teams charged with folding as many T-shirts as possible in ten minutes. Unbeknownst to the participants, each team included two actors. In some teams, the two actors acted passively, following the leader's instructions. In other teams, one of the actors said, "I wonder if there's a more efficient way to do this." The other actor replied that he had a friend from Japan who had a faster way to fold shirts. "It might take a minute or two to teach you," the actor told the leader, "but do we want to try it?" The results were striking. The introverted leaders were 20 percent more likely to follow the suggestion—and their teams had 24 percent better results than the teams of the extroverted leaders. When the followers were not proactive, though—when they simply did as the leader instructed without suggesting their own shirt-folding methods—the teams led by extroverts outperformed those led by the introverts by 22 percent. Why did these leaders' effectiveness turn on whether their employees were passive or proactive? Grant says it makes sense that introverts are uniquely good at leading initiative-takers. Because of their inclination to listen to others and lack of interest in dominating social situations, introverts are more likely to hear and implement suggestions. Having benefited from the talents of their followers, they are then likely to motivate them to be even more proactive. Introverted leaders create a virtuous circle of proactivity, in other words. In the T-shirt-folding study, the team members reported perceiving the introverted leaders as more open and receptive to their ideas, which motivated them to work harder and to fold more shirts. Extroverts, on the other hand, can be so intent on putting their own stamp on events that they risk losing others' good ideas along the way and allowing workers to lapse into passivity. "Often the leaders end up doing a lot of the talking," says Francesca Gino, "and not listening to any of the ideas that the followers are trying to provide." But with their natural ability to inspire, extroverted leaders are better at getting results from more passive workers. 
(56-57)</p><blockquote class="tc-quote digitalGarden"><p>Most inventors and engineers I've met are like me—they're shy and they live in their heads. They're almost like artists. In fact, the very best of them are artists. And artists work best alone where they can control an invention's design without a lot of other people de- signing it for marketing or some other committee. I don't believe anything really revolutionary has been invented by committee. If you're that rare engineer who's an inventor and also an artist, I'm going to give you some advice that might be hard to take. That advice is: Work alone. You're going to be best able to design revolutionary products and features if you’re working on your own. Not on a committee. Not on a team.<br></br></p><p>Steve Wozniak
</p></blockquote><p class="digitalGarden">(73)</p><p class="digitalGarden">In 2005 an Emory University neuroscientist named Gregory Berns decided to conduct an updated version of Asch's experiments. Berns and his team recruited thirty-two volunteers, men and women between the ages of nineteen and forty-one. The volunteers played a game in which each group member was shown two different three-dimensional objects on a computer screen and asked to decide whether the first object could be rotated to match the second. The experimeters used an MRI scanner to take snapshots of the volunteers' brains as they conformed to or broke with group opinion. The results were both disturbing and illuminating. First, they corroborated Asch's findings. When the volunteers played the game on their own, they gave the wrong answer only 13.8 percent of the time. But when they played with a group whose members gave unanimously wrong answers, they agreed with the group 41 percent of the time. But Berns's study also shed light on exactly why we're such conformists. When the volunteers played alone, the brain scans showed activity in a network of brain regions including the occipital cortex and parietal cortex, which are associated with visual and spatial perception, and in the frontal cortex, which is associated with conscious decision-making. But when they went along with their group's wrong answer, their brain activity revealed something very different. Remember, what Asch wanted to know was whether people conformed despite knowing that the group was wrong, or whether their perceptions had been altered by the group. If the former was true, Berns and his team reasoned, then they should see more brain activity in the decision-making prefrontal cortex. That is, the brain scans would pick up the volunteers deciding consciously to abandon their own beliefs to fit in with the group. But if the brain scans showed heightened activity in regions associated with visual and spatial perception, this would suggest that the group had somehow managed to change the individual's perceptions. That was exactly what happened—the conformists showed less brain activity in the frontal, decision-making regions and more in the areas of the brain associated with perception. Peer pressure, in other words, is not only unpleasant, but can actually change your view of a problem. 
(91)  </p><p class="digitalGarden">One such scientist is an eighty-two-year-old man named Jerome Kagan, one of the great developmental psychologists of the twentieth century. Kagan devoted his career to studying the emotional and cognitive development of children. In a series of groundbreaking longitudinal studies, he followed children from infancy through adolescence, documenting their physiologies and personalities along the way. Longitudinal studies like these are time-consuming, expensive, and therefore rare—but when they pay off, as Kagan's did, they pay off big. For one of those studies, launched in 1989 and still ongoing, Professor Kagan and his team gathered five hundred four-month-old infants in his Laboratory for Child Development at Harvard, predicting they'd be able to tell, on the strength of a forty-five-minute evaluation, which babies were more likely to turn into introverts or extroverts. If you've seen a four-month-old baby lately, this may seem an audacious claim. But Kagan had been studying temperament for a long time, and he had a theory. Kagan and his team exposed the four-month-olds to a carefully chosen set of new experiences. The infants heard tape-recorded voices and balloons popping, saw colorful mobiles dance before their eyes, and inhaled the scent of alcohol on cotton swabs. They had wildly varying reactions to the new stimuli. About 20 percent cried lustily and pumped their arms and legs. Kagan called this group "high-reactive." About 40 percent stayed quiet and placid, moving their arms or legs occasionally, but without all the dramatic limb-pumping. This group Kagan called "low-reactive." The remaining 40 percent fell between these two extremes. In a startlingly counterintuitive hypothesis, Kagan predicted that it was the infants in the high-reactive group—the lusty arm-pumpers—who were most likely to grow into quiet teenagers. When they were two, four, seven, and eleven years old, many of the children returned to Kagan's lab for follow-up testing of their reactions to new people and events. At the age of two, the children met a lady wearing a gas mask and a lab coat, a man dressed in a clown costume, and a radio-controlled robot. At seven, they were asked to play with kids they'd never met before. At eleven, an unfamiliar adult interviewed them about their personal lives. Kagan's team observed how the children reacted to these strange situations, noting their body language and recording how often and spontaneously they laughed, talked, and smiled. They also interviewed the kids and their parents about what the children were like outside the laboratory. Did they prefer one or two close friends to a merry band? Did they like visiting new places? Were they risk-takers or were they more cautious? Did they consider themselves shy or bold? Many of the children turned out exactly as Kagan had expected. The high-reactive infants, the 20 percent who'd hollered at the mobiles bobbing above their heads, were more likely to have developed serious, careful personalities. The low-reactive infants—the quiet ones—were more likely to have become relaxed and confident types. High and low reactivity tended to correspond, in other words, to introversion and extroversion. As Kagan mused in his 1998 book <em>Galen's Prophecy</em>, "Carl Jung's descriptions of the introvert and extrovert, written over seventy-five years ago, apply with uncanny accuracy to a proportion of our high- and low-reactive adolescents." Kagan describes two of those adolescents—reserved Tom and extroverted Ralph—and the differences between the two are striking. Tom, who was unusually shy as a child, is good at school, watchful and quiet, devoted to his girlfriend and parents, prone to worry, and loves learning on his own and thinking about intellectual problems. He plans to be a scientist. "Like … other famous introverts who were shy children," writes Kagan, comparing Tom to T. S. Eliot and the mathematician-philosopher Alfred North Whitehead, Tom "has chosen a life of the mind." Ralph, in contrast, is relaxed and self-assured. He engages the interviewer from Kagan's team as a peer, not as an authority figure twenty-five years his senior. Though Ralph is very bright, he recently failed his English and science classes because he'd been goofing around. But nothing much bothers Ralph. He admits his flaws cheerfully. Psychologists often discuss the difference between "temperament" and "personality." Temperament refers to inborn, biologically based behavioral and emotional patterns that are observable in infancy and early childhood; personality is the complex brew that emerges after cultural influence and personal experience are thrown into the mix. Some say that temperament is the foundation, and personality is the building. Kagan's work helped link certain infant temperaments with adolescent personality styles like those of Tom and Ralph.
(99-101)  </p><p class="digitalGarden">On the other hand, there is also a wide range of possible outcomes for each temperament. Low-reactive, extroverted children, if raised by attentive families in safe environments, can grow up to be energetic achievers with big personalities—the Richard Bransons and Oprahs of this world. But give those same children negligent caregivers or a bad neighborhood, say some psychologists, and they can turn into bullies, juvenile delinquents, or criminals. Lykken has controversially called psychopaths and heroes "twigs on the same genetic branch." Consider the mechanism by which kids acquire their sense of right and wrong. Many psychologists believe that children develop a conscience when they do something inappropriate and are rebuked by their caregivers. Disapproval makes them feel anxious, and since anxiety is unpleasant, they learn to steer clear of antisocial behavior. This is known as internalizing their parents' standards of conduct, and its core is anxiety. But what if some kids are less prone to anxiety than others, as is true of extremely low-reactive kids? Often the best way to teach these children values is to give them positive role models and to channel their fearlessness into productive activities. A low-reactive child on an ice-hockey team enjoys his peers' esteem when he charges at his opponents with a lowered shoulder, which is a "legal" move. But if he goes too far, raises his elbow, and gives another guy a concussion, he lands in the penalty box. Over time he learns to use his appetite for risk and assertiveness wisely. Now imagine this same child growing up in a dangerous neighbor hood with few organized sports or other constructive channels for his boldness. You can see how he might fall into delinquency. It may be that some disadvantaged kids who get into trouble suffer not solely from poverty or neglect, say those who hold this view, but also from the tragedy of a bold and exuberant temperament deprived of healthy outlets. 
(110-111)  </p><p class="digitalGarden">The upsides of the high-reactive temperament have been documented in exciting research that scientists are only now beginning to pull together. One of the most interesting findings, also reported in Dobbs's Atlantic article, comes from the world of rhesus monkeys, a species that shares about 95 percent of its DNA with humans and has elaborate social structures that resemble our own. In these monkeys as well as in humans, a gene known as the serotonin-transporter (SERT) gene, or 5-HTTLPR, helps to regulate the processing of serotonin, a neurotransmitter that affects mood. A particular variation, or allele, of this gene, sometimes referred to as the "short" allele, is thought to be associated with high reactivity and introversion, as well as a heightened risk of depression in humans who have had difficult lives. When baby monkeys with a similar allele were subjected to stress—in one experiment they were taken from their mothers and raised as orphans—they processed serotonin less efficiently (a risk factor for depression and anxiety) than monkeys with the long allele who endured similar privations. But young monkeys with the same risky genetic profile who were raised by nurturing mothers did as well as or better than their long-allele brethren—even those raised in similarly secure environments—at key social tasks, like finding playmates, building alliances, and handling conflicts. They often became leaders of their troops. They also processed serotonin more efficiently. Stephen Suomi, the scientist who conducted these studies, has speculated that these high-reactive monkeys owed their success to the enormous amounts of time they spent watching rather than participating in the group, absorbing on a deep level the laws of social dynamics. (This is a hypothesis that might ring true to parents whose high-reactive children hover observantly on the edges of their peer group, sometimes for weeks or months, before edging successfully inside.) Studies in humans have found that adolescent girls with the short allele of the SERT gene are 20 percent more likely to be depressed than long-allele girls when exposed to stressful family environments, but 25 percent less likely to be depressed when raised in stable homes. Similarly, short allele adults have been shown to have more anxiety in the evening than others when they've had stressful days, but less anxiety on calm days. High-reactive four-year-olds give more pro-social responses than other children when presented with moral dilemmas—but this difference remains at age five only if their mothers used gentle, not harsh, discipline. High-reactive children raised in supportive environments are even more resistant than other kids to the common cold and other respiratory illnesses, but get sick more easily if they're raised in stressful conditions. The short allele of the SERT gene is also associated with higher performance on a wide range of cognitive tasks. 
(112-113)  </p><p class="digitalGarden">In another famous study, introverts and extroverts were asked to play a challenging word game in which they had to learn, through trial and error, the governing principle of the game. While playing, they wore headphones that emitted random bursts of noise. They were asked to adjust the volume of their headsets up or down to the level that was "just right." On average, the extroverts chose a noise level of 72 decibels, while the introverts selected only 55 decibels. When working at the volume that they had selected—loud for the extroverts, quiet for the introverts—the two types were about equally aroused (as measured by their heart rates and other indicators). They also played equally well. When the introverts were asked to work at the noise level preferred by the extroverts, and vice versa, everything changed. Not only were the introverts over-aroused by the loud noise, but they also underperformed—taking an average of 9.1 trials rather than 5.8 to learn the game. The opposite was true for the extroverts—they were under-aroused (and possibly bored) by the quieter conditions, and took an average of 7.3 trials, compared with the 5.4 they'd averaged under noisier conditions.
(124)</p><p class="digitalGarden">Extroverts' dopamine pathways appear to be more active than those of introverts. Although the exact relationship between extroversion, dopamine, and the brain's reward system has not been conclusively established, early findings have been intriguing. In one experiment, Richard Depue, a neurobiologist at Cornell University, gave an amphetamine that activates the dopamine system to a group of introverts and extroverts, and found that the extroverts had a stronger response. Another study found that extroverts who win gambling games have more activity in the reward-sensitive regions of their brains than victorious introverts do. Still other research has shown that the medial orbitofrontal cortex, a key component of the brain's dopamine-driven reward system, is larger in extroverts than in introverts, By contrast, introverts "have a smaller response" in the reward system, writes psychologist Nettle, "and so go less out of their way to follow up [reward] cues." They will, "like anyone, be drawn from time to time to sex, and parties, and status, but the kick they get will be relatively small, so they are not going to break a leg to get there." In short, introverts just don't buzz as easily.
(160-161)</p><p class="digitalGarden">Introverts are not smarter than extroverts. According to IQ scores, the two types are equally intelligent. And on many kinds of tasks, particularly those performed under time or social pressure or involving multitasking, extroverts do better. Extroverts are better than introverts at handling information overload. Introverts' reflectiveness uses up a lot of cognitive capacity, according to Joseph Newman. On any given task, he says, "if we have 100 percent cognitive capacity, an introvert may have only 75 percent on task and 25 percent off task, whereas an extrovert may have 90 percent on task." This is because most tasks are goal-directed. Extroverts appear to allocate most of their cognitive capacity to the goal at hand, while introverts use up capacity by monitoring how the task is going. But introverts seem to think more carefully than extroverts, as the psychologist Gerald Matthews describes in his work. Extroverts are more likely to take a quick-and-dirty approach to problem-solving, trading accuracy for speed, making increasing numbers of mistakes as they go, and abandoning ship altogether when the problem seems too difficult or frustrating. Introverts think before they act, digest information thoroughly, stay on task longer, give up less easily, and work more accurately, Introverts and extroverts also direct their attention differently: if you leave them to their own devices, the introverts tend to sit around wondering about things, imagining things, recalling events from their past, and making plans for the future. The extroverts are more likely to focus on what's happening around them. It's as if extroverts are seeing "what is" while their introverted peers are asking "what if." (168) </p><p class="digitalGarden">Buffett takes pride not only in his track record, but also in following his own "inner scorecard." He divides the world into people who focus on their own instincts and those who follow the herd. "I feel like I'm on my back," says Buffett about his life as an investor, "and there's the Sistine Chapel, and I'm painting away. I like it when people say, Gee, that's a pretty good-looking painting.' But it's my painting, and when somebody says, Why don't you use more red instead of blue?' Good-bye. It's my painting. And I don't care what they sell it for. The painting itself will never be finished. That's one of the great things about it."
(177)</p><blockquote class="tc-quote digitalGarden"><p>Mahatma Gandhi
</p></blockquote><p class="digitalGarden">(200)</p><p class="digitalGarden">Some years ago, a research psychologist named Richard Lippa set out to answer this question. He called a group of introverts to his lab and asked them to act like extroverts while pretending to teach a math class. Then he and his team, video cameras in hand, measured the length of their strides, the amount of eye contact they made with their "students," the percentage of time they spent talking, the pace and volume of their speech, and the total length of each teaching session. They also rated how generally extroverted the subjects appeared, based on their recorded voices and body language. Then Lippa did the same thing with actual extroverts and compared the results. He found that although the latter group came across as more extroverted, some of the pseudo-extroverts were surprisingly convincing. It seems that most of us know how to fake it to some extent. Whether or not we're aware that the length of our strides and the amount of time we spend talking and smiling mark us as introverts and extroverts, we know it unconsciously. Still, there's a limit to how much we can control our self-presentation. This is partly because of a phenomenon called behavioral leakage, in which our true selves seep out via unconscious body language: a subtle look away at a moment when an extrovert would have made eye contact, or a skillful turn of the conversation by a lecturer that places the burden of talking on the audience when an extroverted speaker would have held the floor a little longer. How was it that some of Lippa's pseudo-extroverts came so close to the scores of true extroverts? It turned out that the introverts who were especially good at acting like extroverts tended to score high for a trait that psychologists call "self-monitoring." Self-monitors are highly skilled at modifying their behavior to the social demands of a situation. They look for cues to tell them how to act. When in Rome, they do as the Romans do, according to the psychologist Mark Snyder, author of Public Appearances, Private Realities, and creator of the Self-Monitoring Scale.
(212)</p><p class="digitalGarden">An intriguing answer comes from a University of Michigan business school study, not of married couples with opposite personality styles, but of negotiators from different cultures-in this case, Asians and Israelis. Seventy-six MBA students from Hong Kong and Israel were asked to imagine they were getting married in a few months and had to finalize arrangements with a catering company for the wedding reception. This "meeting" took place by video. Some of the students were shown a video in which the business manager was friendly and smiley; the others saw a video featuring an irritable and antagonistic manager. But the caterer's message was the same in both cases. Another couple was interested in the same wedding date. The price had gone up. Take it or leave it. The students from Hong Kong reacted very differently from the Israeli students. The Asians were far more likely to accept a proposal from the friendly business manager than from the hostile one; only 14 percent were willing to work with the difficult manager, while 71 percent accepted the deal from the smiling caterer. But the Israelis were just as likely to accept the deal from either manager. In other words, for the Asian negotiators, style counted as well as substance, while the Israelis were more focused on the information being conveyed. They were unmoved by a display of either sympathetic or hostile emotions. The explanation for this stark difference has to do with how the two cultures define respect. As we saw in chapter 8, many Asian people show esteem by minimizing conflict. But Israelis, say the researchers, "are not likely to view (disagreement) as a sign of disrespect, but as a signal that the opposing party is concerned and is passionately engaged in the task."
(231-232)</p></div></content><author><name>undefined</name></author></entry><entry><title>38.9460763, 1.4895681</title><link href="https://gavart.ist/#38.9460763%2C%201.4895681"></link><link href="https://gavart.ist/static/38.9460763%252C%25201.4895681.html" rel="alternative" type="text/html"></link><id>88a09a10-5e1a-d224-1b3a-1107247bf9d6</id><updated>2025-08-17T05:12:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Latent Space</title><link href="https://gavart.ist/#Latent%20Space"></link><link href="https://gavart.ist/static/Latent%2520Space.html" rel="alternative" type="text/html"></link><id>26d7d6f3-6856-2e03-dad2-1b259784b8ba</id><updated>2025-08-15T00:47:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">In <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deep%20Learning">deep learning</a>, latent space is a concept that refers to a transformed, often lower-dimensional representation of data, capturing its essential features and underlying patterns. This abstract space allows models to handle complex data more effectively by focusing on the most significant aspects of the data. </p><p class="digitalGarden">Latent space refers to an abstract, often lower-dimensional representation of data that is generated by a neural network. This space is termed "latent" because it captures hidden, underlying features of the data that are not directly observable in the input space. Essentially, it represents the data in a more compact form, where similar data points are positioned closer together.</p><p class="digitalGarden">From <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Latent_space" rel="noopener noreferrer" target="_blank">Wikipedia</a>:</p><blockquote class="tc-quote"><p>A latent space, also known as a latent feature space or embedding space, is an <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Embeddings">embedding</a> of a set of items within a manifold in which items resembling each other are positioned closer to one another.</p><p>In most cases, the dimensionality of the latent space is chosen to be lower than the dimensionality of the feature space from which the data points are drawn, making the construction of a latent space an example of dimensionality reduction, which can also be viewed as a form of data compression.</p><p>The interpretation of latent spaces in machine learning models is an ongoing area of research, but achieving clear interpretations remains challenging. The black-box nature of these models often makes the latent space unintuitive, while its high-dimensional, complex, and nonlinear characteristics further complicate the task of understanding it.
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Variational Autoencoders</title><link href="https://gavart.ist/#Variational%20Autoencoders"></link><link href="https://gavart.ist/static/Variational%2520Autoencoders.html" rel="alternative" type="text/html"></link><id>80699ad3-4b42-636d-a48e-bbcf475cae36</id><updated>2025-08-15T00:38:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink-external" href="https://www.youtube.com/watch?v=qJeaCHQ1k2w" rel="noopener noreferrer" target="_blank">Deepia Variational Autoencoders</a></p><p class="digitalGarden">Auto encoders are based on a simple but powerful concept. They take data, compress it into a low dimensional representation, and then reconstruct it back into it's original form.</p><p class="digitalGarden">The two core elements of VAEs are:</p><ul class="digitalGarden"><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deep%20Learning">Deep Learning</a></li><li>Bayesian statistics</li></ul><p class="digitalGarden">Takes input data with high-dimensionality and compress the data into a smaller representation.</p><ul class="digitalGarden"><li>Encoder</li><li>Bottlneck</li><li>Decoder</li></ul><h2 class="digitalGarden">Autoencoders</h2><p class="digitalGarden">An Autoencoder is an artificial neural network used to learn efficient representations of data. The model tries to describe very large data with as few features as possible. Training an autoencoder focuses on minimizing the difference on the original data and its reconstructed version. How do we measure the differences between inputs and outputs, i.e. images (fr training) ?</p><h3 class="digitalGarden">Loss Function</h3><p class="digitalGarden">THe simnpliest way to compare two images is to compare each pixel individually. We can calculate the difference between coressponding pixels, and then take the average of these differences. This method is called the mean squared error (MSE) … as the name indicates, each difference is squared to insure all values are positive and easier to work with. During training the autoencoder tries to reduce the mean squared error for each image it processes.</p><h3 class="digitalGarden">Latent Dimension</h3><p class="digitalGarden">The number of neurons at the end of the bottleneck … it is the most important part of the network. The higher number of neurons (dimensions) that exist in the latent space determines the higher reconstruction quality of the decoder's output. <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Latent%20Space">Latent Space</a> is the Autoencoders' greatest strength but also their greatest limitation. </p><h3 class="digitalGarden">Normal Autoencoders</h3><p class="digitalGarden">Similar to <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Image%20Segmentation">Image Segmentation</a>, you take an image and run it through a convolutional decoder, it goes through a bottleneck representation then gets remapped to a full output image. Instead of reconstructing the original image, you are trying to target a segmented version of your image (i.e. computer vision segmenting images for self-driving cars).</p><p class="digitalGarden">Another example of a normal autoencoder is <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Neural%20Inpainting">Neural Inpainting</a> is a technique when you take a small part of the image, throw it away, and ask the network to reconstruct the full image.</p><h2 class="digitalGarden">Variational Autoencoders</h2><p class="digitalGarden">Furthermore Autoencoders learn many irrelevant features. If a bit of noise is added to the input, the output results are poor. This is why most modern implementations of Autoencoders regularize the latent space. </p><p class="digitalGarden">The most famous type of regularized Autoencoder is a Variational Autoencoder (VAE).</p><p class="digitalGarden">Instead of mapping your input to a fixed vector, you want to map your input to a distribution. Your normal bottleneck vector (z) is replaced with two separate vectors, represented by the mean of your distribution and the standard deviation of your distribution. </p><h3 class="digitalGarden">Reparamaterization Trick</h3><p class="digitalGarden">Instead of sampling directly from the gaussian distribution, we introduce a random variable to handle the randomness outside of the network. Allows backpropogation through the entire network.</p></div></content><author><name>undefined</name></author></entry><entry><title>Rolling the ladder up behind us</title><link href="https://gavart.ist/#Rolling%20the%20ladder%20up%20behind%20us"></link><link href="https://gavart.ist/static/Rolling%2520the%2520ladder%2520up%2520behind%2520us.html" rel="alternative" type="text/html"></link><id>ac658811-581c-25ef-a1fa-58d2f8b4f154</id><updated>2025-08-14T23:56:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote"><p>And then in the news the AI companies claim "oh no we're just poor little victorian era orphans, we can't possibly afford to fairly compensate the people that made the things that make our generative AI models as great as they are". When the US copyright office <a class="tc-tiddlylink-external" href="https://www.forbes.com/sites/torconstantino/2025/05/29/us-copyright-office-shocks-big-tech-with-ai-fair-use-rebuke/" rel="noopener noreferrer" target="_blank">tried to make AI training not a fair use</a>, the head of that office suddenly found themselves jobless. Why must these companies be allowed to take everything without recourse or payment to the people that created the works that fundamentally power the models?</p><p>The actual answer to this is going to sound a bit out there, but stay with me: they believe that we're on the verge of creating artificial superintelligence; something that will be such a benevolent force of good that any strife in the short term will ultimately be cancelled out by the good that is created as a result. These people unironically believe that a machine god will arise and we'd be able to delegate all of our human problems to it and we'll all be fine forever. All under the thumb of the people that bought the GPUs with dollars to run that machine god.</p><p>As someone that grew up in a repressed environment full of evangelical christianity, I recognize this story instantly: it's the second coming of Christ wrapped in technology. Whenever I ask the true believers entirely sensible questions like "but if you can buy GPUs with dollars, doesn't that mean that whoever controls the artificial superintelligence thus controls everyone, even if the AI is fundamentally benevolent?" The responses I get are illuminating. They sound like the kinds of responses that evangelicals give when you question their faith.
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Portfolio Performance</title><link href="https://gavart.ist/#Portfolio%20Performance"></link><link href="https://gavart.ist/static/Portfolio%2520Performance.html" rel="alternative" type="text/html"></link><id>6e9dc843-ce50-1f4a-8876-5859a4cfe858</id><updated>2025-08-11T14:01:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Moneydance</title><link href="https://gavart.ist/#Moneydance"></link><link href="https://gavart.ist/static/Moneydance.html" rel="alternative" type="text/html"></link><id>bf2a9b32-5f17-333d-fb0b-b04f3c803621</id><updated>2025-08-11T13:48:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Shambhala · The Sacred Path of the Warrior</title><link href="https://gavart.ist/#Shambhala%20%C2%B7%20The%20Sacred%20Path%20of%20the%20Warrior"></link><link href="https://gavart.ist/static/Shambhala%2520%25C2%25B7%2520The%2520Sacred%2520Path%2520of%2520the%2520Warrior.html" rel="alternative" type="text/html"></link><id>157127a1-efbd-d71e-53cb-1a90718bdc9a</id><updated>2025-08-10T12:47:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden">The key to warriorship and the first principle of Shambhala vision is not being afraid of who you are. Ultimately, that is the definition of bravery: not being afraid of yourself. (28)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">You might think that when you experience fearlessness, you will hear the opening to Beethoven's Fifth Symphony or see a great explostion in the sky, but it doesn't happen that way. In the Shambhala tradition, discovering fearlessness comes from working with the softness of the human heart. (49)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Great Eastern Sun vision, on the other hand, is based on appreciating ourselves and appreciating our world, so it is a very gentle approach. Beacuse we appreciate the world, we don't make a mess in it. We take care of our bodies, we take care of our mind, we take care of our world. The world around us is regarded as very sacred, so we have to constantly serve our world and clean it up. (56)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Usually when you are delighted about something, you develop a thick skin, and you feel smug. You say to yourself, "I'm so delighted to be here." That is just self-affirmation. But in this case, delight has a touch of pain to it, because you feel sore or raw in relation to your world. In fact, tenderness and sadness, as well as gentleness, actually produce a sense of interest. You are so vulnerable that you cannot help being touched by your world. That is a sort of saving grace, or safety precaution, so that the warrior never goes astray and never grows a thick skin. Whenever there is interest, the warrior also reflects back to the sadness, the tenderness, which projects further genuineness and sparks further interest. (63)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In the ordinary sense, renunciation is often connected with asceticism. You give up the sense pleasures of the world and embrace an austere spiritual life in order to understand the higher mmeaning of existence. In the Shambhala context, renunciation is quite different. What the warrior renounces is anything in his experience that is a barrier between himself and others. In other words, renunciation is making yourself more available, more gentle and open to others. Any hesitation about opening yourself to others is removed. For the sake of others, you renounce your privacy. (66)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The warrior's discipline is unwavering and all-pervasive. Therefore, it is like the sun. The light of the sun shines wherever the sun rises. The sun does not decide to shine on one piece of land and neglect another. The sunshine is all-pervasive. Similarly, the warrior's discipline is not selective. The warrior never neglects his discipline or forgets it. His awareness and sensitivity are constantly extended. Even if a situation is very demanding or difficult, the warrior never gives up. He always conducts himself well, with gentleness and warmth, to begin with, and he always maintains his loyalty to sentient beings who are trapped in the setting-sun world. The warrior's duty is to generate warmth and compassion for others. He does this with complete absence of laziness. His discipline and dedication are unwavering. (71)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Letting go is completely conquering the idea that discipline is a punishment for a mistake or a bad deed that you have committed, or might like to commit. You have to completely conquer the feeling that there is something fundamentally wrong with your human nature and that therefore you need discipline to correct your behavior. As long as you feel that discipline comes from outside, there is still a lingering feeling that something is lacking in you. So letting go is connected with letting go of any vestiges of doubt or hesitation or embarrassment about being you as you are. You hae to relax with yourself in order to fully realize that discipline is simply the expression of your basic goodness. You have to appreciate yourself, respect yourself, and let go of your doubt and embarrassment so that you can proclaim you goodness and basic sanity for the benefit of others. (78)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">This self-existing energy is called <em>windhorse</em> in the Shambhala teachings. The <em>wind</em> principle is that the energy of basic goodness is strong and exuberant and brilliant. It can actully radiate tremendous power in your life. But at the same time, basic goodness can be ridden, which is the principle of the <em>horse</em>. By following the disciplines of warriorship, particularly the discipline of letting go, you can harness the wind of goodness. In some sense the horse is never tamed—basic goodness never becomes your personal possission. … … … So discovering windhorse is, first of all, acknowledging the strength of basic goodness in yourself and then fearlessly projecting that state of mind to others.</p><p class="digitalGarden">In that way, the warrior begins to understand the meaning of unconditional confidence. The Tibetan word for confidence is <em>ziji</em>. <em>Zi</em> means "shine" or "glitter," and <em>ji</em> means "splendor," or "dignity," and sometimes also has the sense of "monolithic". So <em>ziji</em> expresses shining out, rejoicing while remaining dignified. (84-5)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The goal of warriorship is to reconnect to the nowness of reality, so that you can go forward without destroying simplicity, without destroying your connection to this earth. (100)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When we fraw down the power and depth of vastness into a single perception, then we are discovering and invoking magic. By magic we do not mean unnatural power over the phenomenal world, but rather the discovery of innate or primordial wisdom in the world as it is. The wisdom we are discovering is wisdom without beginning, something naturally wise, the wisdom of the cosmic mirror. In Tibetan, this magical quality of existence, or natural wisdom, is called <em>drala</em>. <em>Dra</em> means "enemy" or "opponent" and <em>la</em> means "above." So <em>drala</em> literally means "above the enemy," "beyond the enemy." <em>Drala</em> is the unconditioned wisdom and power of the world that are beyond any dualism, therefore drala is above any enemy or conflict. It is wisdom beyond aggression. It is the self-existing wisdom and power of the cosmic mirror that are reflected both in us and in our world of perception. (103)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The opposite of setting-sun outlook and the way to invoke drala is to manifest the vision of the Great Eastern Sun. Great Eastern Sun vision, which we discussed, is the expression of true human goodness, based not on arrogance or aggression, but on gentleness and openness. It is the way of the warrior. (108)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Usually if we say someone is brave, we mean that he is not afraid of any enemy or he is willing to die for a cause or he is never intimidated. The Shambhala understanding of bravery is quite different. Here bravery is the courage to be—to live in the world without any deception and with tremendous kindess and caring for others. … … When you develop bravery, you make a connection with the elemental quality of existence. Bravery begins to heighten your existence, that is, to bring out the brilliant and genunine qualities of your environment and of your own being. So you begin to contact the magic of reality—which is already there in some sense. You actually can attract the power and strength and the primordial wisdom that arise from the cosmic mirror. (109)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The point of warriorship is to become a gentle and tamed human being who can make a genuine contribution to this world. The warrior's journey is based on discovering what is intrinsically good about human existence and how to share that basic nature of goodness with others. (126)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Recognizing that [sacred] link is both powerfull and auspicious. It allows us to stop complaining about and fighting with our world. Instead we can begin to celebrate and promote the sacredness of the world. (133)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">What is truly problematic is the attitude that violates the sacredness of life: thinking that the way to make a forceful statement is to turn the world topsy-turvy by ignoring its basic norms. You lose your trust in the phenomenal world, and at the same time, you become  an untrustworthy person yourself, someone who things that wheeling and dealing his way through life is the road to success. Maybe there is some temporary victory in that kind of appraoch, but ulimately you are throwing yourself into the gutter of the world. (138)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The way of the warrior, how to be a warrior, is not a matter of making amateurish attempts, hoping that one day you will be a professional. There is a difference between imitating and emulating. In emulating warriorship, the student of warriorship goes through stages of disciplined training and constantly looks back and re-examines his own footprints or handiwork. Sometimes you find signs of development, and sometimes you find signs that you missed the point. Nevertheless, this is the only way to actualize the path of the warrior. (154)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The monarch's power, in the Shambhala world, comes from being very soft. It comes from opening your heart so that you share your heart with others. You have nothing to hide, no suit of armor. Your experience is naked and direct. It is even beyond naked—it is raw, uncooked. (157)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The four dignities (meek … tiger, perky … snow lion, outrageous … garuda, and inscrutability … the dragon). </p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The warrior experiences a sense of relaxing in his achievement, which is not based on ego-centered concerns but on resting in unconditional confidence, free from aggression. (163)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Outrageousness does not mean being unreasonable or, for that matter, wild. Outrageoueness here refers to possessing the strength and power of warriorship. Ourageousness is based on the achievement of fearlessness, which means going completely beyond fear. In order to overcome fear, it is also necessary to overcome hope. When you hope for something in your life, if it doesn't happen, you are disappointed or upset. If it does happen, then you become elated and excited. You are constantly riding a roller coaster up and down. Because he has never encountered any doubt about himself at all, therefore the warrior of outrageous has nothning to hope for and nothing to fear. So it is said that the warrior of outrageous is never caught in the ambush of hope, and therefore fearlessness is achieved. (167)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The warrior doesn't have to struggle. A sense of struggle is not the style of inscrutability. The apprentice might feel impatient or inadequate. At that point you have to be inscrutable to yourself. Slowing down any impulse is said to be the best way to begin. (172)</p></div></content><author><name>undefined</name></author></entry><entry><title>Chögyam Trungpa</title><link href="https://gavart.ist/#Ch%C3%B6gyam%20Trungpa"></link><link href="https://gavart.ist/static/Ch%25C3%25B6gyam%2520Trungpa.html" rel="alternative" type="text/html"></link><id>f429b5b7-0fa1-6a66-672c-9b738a3c7e92</id><updated>2025-08-10T09:55:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sum custom fields inside of single tiddler</title><link href="https://gavart.ist/#Sum%20custom%20fields%20inside%20of%20single%20tiddler"></link><link href="https://gavart.ist/static/Sum%2520custom%2520fields%2520inside%2520of%2520single%2520tiddler.html" rel="alternative" type="text/html"></link><id>1935edf5-b00e-eb97-a21e-fbb6a4373df9</id><updated>2025-08-09T15:14:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><pre><code>&lt;$vars xfields="title created modified text tags"&gt;
{{{ [&lt;currentTiddler&gt;fields:exclude&lt;xfields&gt;] :map[&lt;..currentTiddler&gt;get&lt;currentTiddler&gt;] +[sum[]] }}}</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Cursed Knowledge · Immich</title><link href="https://gavart.ist/#Cursed%20Knowledge%20%C2%B7%20Immich"></link><link href="https://gavart.ist/static/Cursed%2520Knowledge%2520%25C2%25B7%2520Immich.html" rel="alternative" type="text/html"></link><id>8eb8abf4-dbe0-8331-75c1-0fe7158717f8</id><updated>2025-08-08T15:37:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Countering "hate the game not the player" reasoning</title><link href="https://gavart.ist/#Countering%20%22hate%20the%20game%20not%20the%20player%22%20reasoning"></link><link href="https://gavart.ist/static/Countering%2520%2522hate%2520the%2520game%2520not%2520the%2520player%2522%2520reasoning.html" rel="alternative" type="text/html"></link><id>431fa41f-ef0e-6657-3d58-7b68dabbc048</id><updated>2025-08-08T10:53:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Okay, here we go:</p><p>This was not about a gentleman's agreement at all - that was a rhetorical figure to demonstrate that it is not the game which is at fault, it’s both. The behaviour of the game and the behaviour of the actors in that game, and almost in any other game is not an input -&gt; output scenario, but instead, the output of the loop will be the input of the exact same loop. That is the definition of a feedback loop. It’s all recursion.</p><p>By shifting the responsibility to the ominous “game”, which is just another term for a system, you exclude the elements of a system from being part of the system itself.</p><p>There is a whole branch of science occupied with this. System Dynamics, Cybernetics, Chaos Theory, Systems Theory and whatnot. The argument that actors in a system are decoupled from the system or the environment as in a closed system approach is factually wrong. Apart from laboratories, there is practically no closed system on this planet.</p><p>The phrase “hate the game not the player” is cybernetic nonsense with the sole purpose of giving up responsibility. It does not matter that it gets repeated more often than not. It won’t be correct, no matter how many times the figure is used.</p></div></content><author><name>undefined</name></author></entry><entry><title>Penan People</title><link href="https://gavart.ist/#Penan%20People"></link><link href="https://gavart.ist/static/Penan%2520People.html" rel="alternative" type="text/html"></link><id>c7df4851-3a4b-c634-cc26-18fbba89acc9</id><updated>2025-08-08T10:40:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Nunavut</title><link href="https://gavart.ist/#Nunavut"></link><link href="https://gavart.ist/static/Nunavut.html" rel="alternative" type="text/html"></link><id>6aa30082-cd1b-e6d0-0f5b-f9fb22a3eda9</id><updated>2025-08-08T10:39:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wer nichts weiß, muss alles glauben.</title><link href="https://gavart.ist/#Wer%20nichts%20wei%C3%9F%2C%20muss%20alles%20glauben."></link><link href="https://gavart.ist/static/Wer%2520nichts%2520wei%25C3%259F%252C%2520muss%2520alles%2520glauben..html" rel="alternative" type="text/html"></link><id>df37ecb4-3940-76f1-21a1-6a3dbf99d433</id><updated>2025-08-07T10:09:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Those who know nothing have to believe everything.</p></div></content><author><name>undefined</name></author></entry><entry><title>It is not wrong to go back for that which you have forgotten.</title><link href="https://gavart.ist/#It%20is%20not%20wrong%20to%20go%20back%20for%20that%20which%20you%20have%20forgotten."></link><link href="https://gavart.ist/static/It%2520is%2520not%2520wrong%2520to%2520go%2520back%2520for%2520that%2520which%2520you%2520have%2520forgotten..html" rel="alternative" type="text/html"></link><id>a74d62e0-8a37-8af0-fe39-7a1c35a9b98c</id><updated>2025-08-07T10:08:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>It is not wrong to go back for that which you have forgotten.</p></div></content><author><name>undefined</name></author></entry><entry><title>Sacrifice</title><link href="https://gavart.ist/#Sacrifice"></link><link href="https://gavart.ist/static/Sacrifice.html" rel="alternative" type="text/html"></link><id>e8de52ec-04a3-13d0-1f51-aaa4f4afc594</id><updated>2025-08-07T10:06:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From Middle English sacrifice (“act of offering a life or object to a deity; the life or object so offered; (Christianity) act of consecrating the elements in the mass”), from Anglo-Norman sacrefiz, and Old French sacrifice, sacrifise (modern French sacrifice), from Latin sacrificium (“something offered to a deity, sacrifice”), from sacrum (“sacrifice, sacrificial rite”) + faciō (“to do, to make”) + -ium (suffix forming abstract nouns). The noun sacrum is the nominalized neuter of the adjective sacer (“devoted to a deity for sacrifice; holy, sacred”), ultimately from Proto-Indo-European *seh₂k- (“ceremony, ritual; to make sacred”), and the verb faciō is ultimately from Proto-Indo-European *dʰeh₁- (“to do; to place, put”). Related Latin formations include sacrificus (“of or pertaining to sacrifice, sacrificial”) and sacrificō (“to make a sacrifice”).</p></div></content><author><name>undefined</name></author></entry><entry><title>Tibet</title><link href="https://gavart.ist/#Tibet"></link><link href="https://gavart.ist/static/Tibet.html" rel="alternative" type="text/html"></link><id>bbae7b9f-40c7-d801-0129-a45b4be89807</id><updated>2025-08-07T10:04:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Oṃ maṇi padme hūm̐</title><link href="https://gavart.ist/#O%E1%B9%83%20ma%E1%B9%87i%20padme%20h%C5%ABm%CC%90"></link><link href="https://gavart.ist/static/O%25E1%25B9%2583%2520ma%25E1%25B9%2587i%2520padme%2520h%25C5%25ABm%25CC%2590.html" rel="alternative" type="text/html"></link><id>17d93b7c-0364-1710-cc6b-06c26997844e</id><updated>2025-08-07T10:04:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote"><p><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Wayfinders%20%C2%B7%20Why%20Ancient%20Wisdom%20Matters%20in%20the%20Modern%20World">Six syllables representing the six realms that must be passed before the whole of samsara is emptied and complete purity is embraced through the heart essence of the Buddha.</a></em>
</p></blockquote><p>The mantra is seen as the condensed form of all Buddhist teachings.</p><p>In Tibetan Buddhism, this is the most ubiquitous mantra and its recitation is a popular form of religious practice, performed by laypersons and monastics alike. It is also an ever-present feature of the landscape, commonly carved onto rocks, known as mani stones, painted into the sides of hills, or else it is written on prayer flags and prayer wheels.</p></div></content><author><name>undefined</name></author></entry><entry><title>Kaihōgyō</title><link href="https://gavart.ist/#Kaih%C5%8Dgy%C5%8D"></link><link href="https://gavart.ist/static/Kaih%25C5%258Dgy%25C5%258D.html" rel="alternative" type="text/html"></link><id>09827a81-5c90-047b-9f97-1c9a9597b0b0</id><updated>2025-08-07T10:04:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The <strong>kaihōgyō</strong> (回峰行, circling the mountain) is an ascetic practice performed by Tendai Buddhist monks.</p><blockquote class="tc-quote"><p>In the mountains of Japan, outside of Kyoto, Tendai monks sleep for two hours a day and, with only a bowl of noodles and a rice ball for food, run through the sacred cryptomeria forests seventeen hours at a stretch for seven years, covering at one point in their Kaihogyo initiation 80 kilometres a day for one hundred days. As a final ordeal they must go without food, water, and sleep for nine days, even as they sit in silent meditation, their bodies exposed to the roaring heat of a bonfire. Tradition dictates that those who fail to complete the training must end their lives. Beneath their white robes they carry a knife and a rope. Slung from their back are rope sandals. They wear out five pairs in a day. In the last four centuries only forty-six men have completed the ordeal, a riutal path of enlightenment that brings the initiate closer to the realm of the dead, all with the goal of revealing to the living that everyone and everything are equal, that human beings are not exceptional, that nothing is this world is permanent.<sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Wayfinders%20%C2%B7%20Why%20Ancient%20Wisdom%20Matters%20in%20the%20Modern%20World">1</a></sup>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>STVDIO NOUVEAU remix • sound.xyz</title><link href="https://gavart.ist/#STVDIO%20NOUVEAU%20remix%20%E2%80%A2%20sound.xyz"></link><link href="https://gavart.ist/static/STVDIO%2520NOUVEAU%2520remix%2520%25E2%2580%25A2%2520sound.xyz.html" rel="alternative" type="text/html"></link><id>8cd85d8d-a4ff-03bc-481f-bcc1c06289ac</id><updated>2025-08-07T09:26:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Minaret Presents · Julien Knowles · Louis Cole · Chris Fishman</title><link href="https://gavart.ist/#Minaret%20Presents%20%C2%B7%20Julien%20Knowles%20%C2%B7%20Louis%20Cole%20%C2%B7%20Chris%20Fishman"></link><link href="https://gavart.ist/static/Minaret%2520Presents%2520%25C2%25B7%2520Julien%2520Knowles%2520%25C2%25B7%2520Louis%2520Cole%2520%25C2%25B7%2520Chris%2520Fishman.html" rel="alternative" type="text/html"></link><id>10f19724-466c-88e0-1427-8b5e5ed7cd4a</id><updated>2025-08-07T09:18:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with Bora, Ephraim, Genevive, Richard, and Brian &amp; Josiah of Mobius Sound</p></div></content><author><name>undefined</name></author></entry><entry><title>Minaret Presents · Billy Mohler Quartet &amp; Knowles/Fishman</title><link href="https://gavart.ist/#Minaret%20Presents%20%C2%B7%20Billy%20Mohler%20Quartet%20%26%20Knowles%2FFishman"></link><link href="https://gavart.ist/static/Minaret%2520Presents%2520%25C2%25B7%2520Billy%2520Mohler%2520Quartet%2520%2526%2520Knowles%252FFishman.html" rel="alternative" type="text/html"></link><id>33cb874a-dd87-be0f-c926-7c41695414af</id><updated>2025-08-07T09:15:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/minaret-20250307.jpg" width="400"></img></p><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Phoebe%20Isobel">Phoebe Isobel</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Tod Machover · Schoenberg in Hollywood</title><link href="https://gavart.ist/#Tod%20Machover%20%C2%B7%20Schoenberg%20in%20Hollywood"></link><link href="https://gavart.ist/static/Tod%2520Machover%2520%25C2%25B7%2520Schoenberg%2520in%2520Hollywood.html" rel="alternative" type="text/html"></link><id>0fce2943-dd32-3c01-3f83-54a55c5b5ad9</id><updated>2025-08-07T09:14:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wade Davis</title><link href="https://gavart.ist/#Wade%20Davis"></link><link href="https://gavart.ist/static/Wade%2520Davis.html" rel="alternative" type="text/html"></link><id>9af9e05e-ba61-0c22-7f27-a3e4e41eabdb</id><updated>2025-08-06T15:34:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Wayfinders · Why Ancient Wisdom Matters in the Modern World</title><link href="https://gavart.ist/#The%20Wayfinders%20%C2%B7%20Why%20Ancient%20Wisdom%20Matters%20in%20the%20Modern%20World"></link><link href="https://gavart.ist/static/The%2520Wayfinders%2520%25C2%25B7%2520Why%2520Ancient%2520Wisdom%2520Matters%2520in%2520the%2520Modern%2520World.html" rel="alternative" type="text/html"></link><id>e7cb9446-23c8-f0f0-865c-954b271a12f4</id><updated>2025-08-06T15:34:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Octavio Paz</title><link href="https://gavart.ist/#Octavio%20Paz"></link><link href="https://gavart.ist/static/Octavio%2520Paz.html" rel="alternative" type="text/html"></link><id>0717eefa-66d5-fc62-51be-42af8478c3e3</id><updated>2025-08-06T11:58:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The ideal of a civilization for everyone implicit in the cult of progress and technique impoverishes and mutilates us.</title><link href="https://gavart.ist/#The%20ideal%20of%20a%20civilization%20for%20everyone%20implicit%20in%20the%20cult%20of%20progress%20and%20technique%20impoverishes%20and%20mutilates%20us."></link><link href="https://gavart.ist/static/The%2520ideal%2520of%2520a%2520civilization%2520for%2520everyone%2520implicit%2520in%2520the%2520cult%2520of%2520progress%2520and%2520technique%2520impoverishes%2520and%2520mutilates%2520us..html" rel="alternative" type="text/html"></link><id>50134beb-5c61-2ef0-8df4-ce6c9200688c</id><updated>2025-08-06T11:58:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Every view of the world that becomes extinct, every culture that disappears diminishes a possibility of life.</p></div></content><author><name>undefined</name></author></entry><entry><title>The intuitive mind is a sacred gift and the rational mind is a faithful servant.</title><link href="https://gavart.ist/#The%20intuitive%20mind%20is%20a%20sacred%20gift%20and%20the%20rational%20mind%20is%20a%20faithful%20servant."></link><link href="https://gavart.ist/static/The%2520intuitive%2520mind%2520is%2520a%2520sacred%2520gift%2520and%2520the%2520rational%2520mind%2520is%2520a%2520faithful%2520servant..html" rel="alternative" type="text/html"></link><id>70d45e9f-6b96-c5ef-7989-4d08290435ca</id><updated>2025-08-06T09:07:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> We have created a society that has honored the servant and has forgotten the gift.</p></div></content><author><name>undefined</name></author></entry><entry><title>Mario Schjetnan</title><link href="https://gavart.ist/#Mario%20Schjetnan"></link><link href="https://gavart.ist/static/Mario%2520Schjetnan.html" rel="alternative" type="text/html"></link><id>6c7b72ef-708b-58a8-ecd9-530beaff3ae6</id><updated>2025-08-05T13:29:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Conventional Wisdom</title><link href="https://gavart.ist/#Conventional%20Wisdom"></link><link href="https://gavart.ist/static/Conventional%2520Wisdom.html" rel="alternative" type="text/html"></link><id>d13547c2-1845-6cf6-bca3-96e7ead4a786</id><updated>2025-08-05T12:37:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>Collections of sayings, proverbs, and more …</code>
<ul>

	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#It%20is%20not%20wrong%20to%20go%20back%20for%20that%20which%20you%20have%20forgotten.">It is not wrong to go back for that which you have forgotten.</a></li>

	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Treat%20the%20earth%20well%2C%20it%20was%20not%20given%20to%20you%20by%20your%20parents.%20It%20was%20loaned%20to%20you%20by%20your%20children">Treat the earth well, it was not given to you by your parents. It was loaned to you by your children</a></li>

	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wer%20nichts%20wei%C3%9F%2C%20muss%20alles%20glauben.">Wer nichts weiß, muss alles glauben.</a></li>
</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Kenya</title><link href="https://gavart.ist/#Kenya"></link><link href="https://gavart.ist/static/Kenya.html" rel="alternative" type="text/html"></link><id>94984a8c-4896-946d-9baf-d24959cb6181</id><updated>2025-08-05T12:35:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Treat the earth well, it was not given to you by your parents. It was loaned to you by your children</title><link href="https://gavart.ist/#Treat%20the%20earth%20well%2C%20it%20was%20not%20given%20to%20you%20by%20your%20parents.%20It%20was%20loaned%20to%20you%20by%20your%20children"></link><link href="https://gavart.ist/static/Treat%2520the%2520earth%2520well%252C%2520it%2520was%2520not%2520given%2520to%2520you%2520by%2520your%2520parents.%2520It%2520was%2520loaned%2520to%2520you%2520by%2520your%2520children.html" rel="alternative" type="text/html"></link><id>7e3a51cd-b63e-1a21-0552-8e660702c9c6</id><updated>2025-08-05T12:35:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Marine chronometer</title><link href="https://gavart.ist/#Marine%20chronometer"></link><link href="https://gavart.ist/static/Marine%2520chronometer.html" rel="alternative" type="text/html"></link><id>f7968d03-38cc-0347-8f83-b9abde74b335</id><updated>2025-08-05T11:49:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mycorrhiza</title><link href="https://gavart.ist/#Mycorrhiza"></link><link href="https://gavart.ist/static/Mycorrhiza.html" rel="alternative" type="text/html"></link><id>d4cc9a62-f5c4-1896-8ea6-58595f4ac1fc</id><updated>2025-08-04T23:35:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>spines.resonant.love</title><link href="https://gavart.ist/#spines.resonant.love"></link><link href="https://gavart.ist/static/spines.resonant.love.html" rel="alternative" type="text/html"></link><id>d4ace5a6-ad52-9bf2-27f0-7916fef1a990</id><updated>2025-08-03T22:52:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>gifcities</title><link href="https://gavart.ist/#gifcities"></link><link href="https://gavart.ist/static/gifcities.html" rel="alternative" type="text/html"></link><id>4e7576df-1f62-b906-5a85-37265185d018</id><updated>2025-08-02T14:07:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>resonant.love</title><link href="https://gavart.ist/#resonant.love"></link><link href="https://gavart.ist/static/resonant.love.html" rel="alternative" type="text/html"></link><id>10405e9e-8937-fe22-4ac6-a62b8c811fb2</id><updated>2025-08-02T13:55:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Composer Trade MCP Prompts</title><link href="https://gavart.ist/#Composer%20Trade%20MCP%20Prompts"></link><link href="https://gavart.ist/static/Composer%2520Trade%2520MCP%2520Prompts.html" rel="alternative" type="text/html"></link><id>3698b8fa-61f0-e6d2-690e-3a9cac7f05e3</id><updated>2025-08-01T13:28:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Decidim</title><link href="https://gavart.ist/#Decidim"></link><link href="https://gavart.ist/static/Decidim.html" rel="alternative" type="text/html"></link><id>8c31a26f-894c-5220-708a-e833ad04d446</id><updated>2025-08-01T13:21:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tripartite classification of authority</title><link href="https://gavart.ist/#Tripartite%20classification%20of%20authority"></link><link href="https://gavart.ist/static/Tripartite%2520classification%2520of%2520authority.html" rel="alternative" type="text/html"></link><id>3e06a01f-de6e-b275-d8f6-106c0e80275f</id><updated>2025-08-01T13:19:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul class="digitalGarden"><li>charismatic authority (character, heroism, leadership, religious),</li><li>traditional authority (patriarchs, patrimonialism, feudalism) and</li><li>rational-legal authority (modern law and state, bureaucracy).</li></ul><p class="digitalGarden">These three types are ideal types and rarely appear in their pure form.</p><p class="digitalGarden">According to Weber, authority (as distinct from power (German: Macht)) is power accepted as legitimate by those subjected to it. The three forms of authority are said to appear in a "hierarchical development order". States progress from charismatic authority, to traditional authority, and finally reach the state of rational-legal authority which is characteristic of a modern liberal democracy. </p></div></content><author><name>undefined</name></author></entry><entry><title>The Composer's Site</title><link href="https://gavart.ist/#The%20Composer's%20Site"></link><link href="https://gavart.ist/static/The%2520Composer's%2520Site.html" rel="alternative" type="text/html"></link><id>f80f7488-c923-ec77-9442-7be0f8242497</id><updated>2025-08-01T12:32:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Revoking Birthright Citizenship</title><link href="https://gavart.ist/#Revoking%20Birthright%20Citizenship"></link><link href="https://gavart.ist/static/Revoking%2520Birthright%2520Citizenship.html" rel="alternative" type="text/html"></link><id>38898554-fa62-6c68-ea58-96581f49cd5f</id><updated>2025-08-01T12:30:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Ever since Donald Trump vowed to end birthright citizenship for the children of many immigrants, one question has loomed: How could the executive branch possibly implement such a sweeping rollback of constitutional rights? The United States has granted birthright citizenship to <a class="tc-tiddlylink-external" href="https://slate.com/news-and-politics/2025/01/trump-birthright-citizenship-executive-order-supreme-court.html" rel="noopener noreferrer" target="_blank">virtually all children</a> born on its soil since 1868, when the 14th Amendment enshrined that guarantee into law. What would it look like for the government to abruptly change course, adopting a radically different system of citizenship through presidential decree? How could the Trump administration identify the <a class="tc-tiddlylink-external" href="https://www.reuters.com/legal/government/us-supreme-court-may-rule-allowing-enforcement-trump-birthright-citizenship-2025-06-27/" rel="noopener noreferrer" target="_blank">roughly 150,000 babies</a> born each year who would no longer receive their fundamental right of citizenship? What penalty would it impose on these infants, some of whom would be rendered <a class="tc-tiddlylink-external" href="https://www.justsecurity.org/116328/trump-casa-statelessness/" rel="noopener noreferrer" target="_blank">literally stateless</a>?</p><p>For months, federal courts blocked the Trump administration from developing any such plans, finding the executive order unconstitutional from top to bottom. In June, however, the Supreme Court <a class="tc-tiddlylink-external" href="https://www.supremecourt.gov/opinions/24pdf/24a884_8n59.pdf" rel="noopener noreferrer" target="_blank">expressly permitted</a> the government to begin “developing and issuing public guidance about the executive’s plans to implement” Trump’s order. Acting on that decision, an immigration agency released the first stage of its “implementation plan” last Friday. It shocks the conscience. In dry bureaucratic language, the <a class="tc-tiddlylink-external" href="https://www.uscis.gov/sites/default/files/document/policy-alerts/IP-2025-0001-USCIS_Implementation_Plan_of_Executive_Order_14160%20%E2%80%93%20Protecting_the_Meaning_and_Value_of_American_Citizenship.pdf" rel="noopener noreferrer" target="_blank">memo</a> outlines a plan to revoke citizenship from the children of both immigrants who lack permanent legal status and many lawful residents, including visa holders, Dreamers, and asylum-seekers. It envisions intrusive federal review of parents’ papers—quite possibly in the hospital, before or shortly after birth—to gauge the newborn’s legal status. And it paves the way for people who spend their entire lives in the United States to be deported to countries in which they’ve never stepped foot, or to be condemned to the limbo of statelessness. To this administration, inflicting these unconstitutional harms isn’t a mere byproduct of the plan. It’s the whole point.</p><p>For more from Slate's Mark Joseph Stern: <a class="tc-tiddlylink-external" href="https://slate.com/news-and-politics/2025/07/trump-birthright-citizenship-supreme-court-ice-maternity-ward.html" rel="noopener noreferrer" target="_blank">https://slate.com/news-and-politics/2025/07/trump-birthright-citizenship-supreme-court-ice-maternity-ward.html</a>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Cursor Pro Subscription</title><link href="https://gavart.ist/#Cursor%20Pro%20Subscription"></link><link href="https://gavart.ist/static/Cursor%2520Pro%2520Subscription.html" rel="alternative" type="text/html"></link><id>e22af5fd-4934-9a60-4f1d-8d0f4f091307</id><updated>2025-07-30T17:35:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>n8n</title><link href="https://gavart.ist/#n8n"></link><link href="https://gavart.ist/static/n8n.html" rel="alternative" type="text/html"></link><id>5877e26c-078d-6409-fde5-4d508bf25721</id><updated>2025-07-30T16:41:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Artificial Intelligence</title><link href="https://gavart.ist/#Artificial%20Intelligence"></link><link href="https://gavart.ist/static/Artificial%2520Intelligence.html" rel="alternative" type="text/html"></link><id>5cd2adc9-e2a5-254e-4c1d-a803519f298b</id><updated>2025-07-30T16:40:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>crontab. guru</title><link href="https://gavart.ist/#crontab.%20guru"></link><link href="https://gavart.ist/static/crontab.%2520guru.html" rel="alternative" type="text/html"></link><id>6a218415-f090-999f-747b-007cc45816c9</id><updated>2025-07-30T15:40:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Softmax with temperature</title><link href="https://gavart.ist/#Softmax%20with%20temperature"></link><link href="https://gavart.ist/static/Softmax%2520with%2520temperature.html" rel="alternative" type="text/html"></link><id>7ddf7ec8-bde1-8944-762f-0b18b85aace9</id><updated>2025-07-29T10:02:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">Taking a probability distribution, each value is between zero and one, and they all need to add up to one. But in deep learning with the matrix vector multiplication, the outputs that you get by default don't fall within 0 - 1. </p><p class="digitalGarden">Softmax normalizes the output to a list that adds up to one. But it's not simply picking the maximum value (hence the soft prefix). Temperature (constant T) has the effect that when T is larger, you give more weight to the lower values, meaning the distribution is a little more uniform, whereas when T is 0, all the weight goes to the maximum value, or highest probability.</p></div></content><author><name>undefined</name></author></entry><entry><title>Backpropagation</title><link href="https://gavart.ist/#Backpropagation"></link><link href="https://gavart.ist/static/Backpropagation.html" rel="alternative" type="text/html"></link><id>b30409b7-2131-c049-f871-56c6ac836905</id><updated>2025-07-29T09:55:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">In <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Machine%20Learning">Machine Learning</a>, backpropagation is a gradient computation method commonly used for training a <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Neural%20Network">Neural Network</a> in computing parameter updates.</p><p class="digitalGarden">Backpropagation computes the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gradient">Gradient</a> of a <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Loss%20Function">Loss Function</a> with respect to the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Parameter%20Space">Weights</a> of the network for a single input—output example, and does so efficiently, computing the gradient one layer at a time, iterating backward from the last layer to avoid redundant calculations of intermediate terms in the chain rule.</p></div></content><author><name>undefined</name></author></entry><entry><title>Tensor</title><link href="https://gavart.ist/#Tensor"></link><link href="https://gavart.ist/static/Tensor.html" rel="alternative" type="text/html"></link><id>f20fc369-b14c-b5d4-0e69-5dab98bcb742</id><updated>2025-07-28T13:09:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">Tensors are numerical sequences or representations, matrices of numerical data that exist in the numerical encoding, hidden layer(s), and representational outputs. They are higher-dimensional arrays of real numbers.</p><p class="digitalGarden">Linear algebra and matrix vector multiplication are crucial components of the computations performed on these matrices.</p></div></content><author><name>undefined</name></author></entry><entry><title>Deep Learning</title><link href="https://gavart.ist/#Deep%20Learning"></link><link href="https://gavart.ist/static/Deep%2520Learning.html" rel="alternative" type="text/html"></link><id>6a68b641-2b3d-8a60-5c37-4d3c59e02694</id><updated>2025-07-28T13:04:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Some observations included from:</p><ul><li>Learn Pytorch for deep learning <a class="tc-tiddlylink-external" href="https://www.youtube.com/watch?v=Z_ikDlimN6A" rel="noopener noreferrer" target="_blank">Daniel Bourke</a></li><li><a class="tc-tiddlylink-external" href="https://www.youtube.com/watch?v=wjZofJX0v4M" rel="noopener noreferrer" target="_blank">LLM architecture</a> by 3Blue1Brown</li></ul><h2 class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Machine%20Learning">Machine Learning</a> </h2><p class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Machine%20Learning">Machine Learning</a> is a field of study in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Artificial%20Intelligence">artificial intelligence</a> concerned with the development and study of statistical algorithms that can learn from data and generalise to unseen data, and thus perform tasks without explicit instructions.</p><ul class="digitalGarden"><li>Starts with<ul><li>Features (Inputs)</li><li>Labels (Outputs)</li></ul></li><li>Figures out<ul><li>Rule set (Program)</li></ul></li></ul><h2 class="digitalGarden">Machine Learning vs Deep Learning</h2><p class="digitalGarden">Machine Learning works well with structured data (XGBoost). Deep Learning is for unstructured data, through the beauty of a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tensor">Tensor</a> (a high-dimenstional matrix). The training algorithm in Deep Learning models is called <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Backpropagation">Backpropagation</a>.</p><p class="digitalGarden">Deep Learning refers to a class of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Machine%20Learning">Machine Learning</a> algorithms in which a heirarchy of layers is used to transform input data into a progressively more abstract and composite representation. Most modern Deep Learning models are based on multi-layered Neural Networks such as Convolutional Neural Networks and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Transformers">Transformers</a>.</p><h2 class="digitalGarden">Transformers</h2><p class="digitalGarden">In Deep Learning, transformer is an architecture based on the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Multi-Headed%20Self-Attention">Multi-Head Attention mechanism</a>, in which text is converted to numerical representations called tokens, and each token is converted to a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vector">vector</a>.</p><h3 class="digitalGarden">Architecture </h3><p class="digitalGarden">All transformers have the same primary components:</p><ul class="digitalGarden"><li>Tokenizers<ul><li>Convert text into tokens</li></ul></li><li>Embedding layer<ul><li>Converts tokens and positions of the tokens into vector representations</li></ul></li><li>Transformer layers<ul><li>Carry out repeated transformations on the vector representations, extracting more and more linguistic information.<ul><li>These consist of alternating attention and feedforward layers. </li><li>There are two major types of transformer layers<ul><li>Encoder layers</li><li>Decoder layers</li></ul></li><li>Un-embedding layer, which converts the final vector representations back to a probability distribuition over the tokens.</li></ul></li></ul></li></ul><blockquote class="tc-quote digitalGarden"><p>At the core of the transformer is the self-attention mechanism, the ability to efficiently establish long-range contextual dependencies by establishing a hierarchy of relative priorities (attention scores) across an array of tokens. The training of a transformer consists in the optimization of next-token prediction, in doing so compressing the entirety of its dataset into a single, one-shot topology of relative priorities. Transformers pursue reward (the gratification of executing an intention) at the expense of developing instrumental convergences, cancerous close-fitting to the mimicry of a desired response at the cost of its situated comprehension.
<br></br>
— <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Interface%20after%20AI">Interface after AI</a>
</p></blockquote><h3 class="digitalGarden">Algorithms</h3><ul class="digitalGarden"><li>Machine Learning <ul><li>Random forest</li><li>Gradient Boosted Models</li><li>Naive Bayes</li></ul></li><li>Deep Learning<ul><li>Neural Network</li><li>Convolutional Neural Network</li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Transformers">Transformer</a><ul><li>A Transformer is specific kind of neural network (a machine learning model) based on the Multi-head Attention mechanism. </li><li>There are many kinds of models that you can build with Transformers (tools like DALLE text-to-image are based on Transformers).</li></ul></li></ul></li></ul><h3 class="digitalGarden">Anatomy of a Neural Network</h3><ul class="digitalGarden"><li>Input Data</li><li>Hidden Layers<ul><li>Can be many layers deep<ul><li>Referred to as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Embeddings">Embeddings</a>, feature representation, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Parameter%20Space">Weights</a></li></ul></li></ul></li><li>Output layer</li></ul><h3 class="digitalGarden">Types of Learning</h3><ul class="digitalGarden"><li>Supervised Learning<ul><li>Where you have data + labels</li></ul></li><li>Unsupervised or Self-Supervised Learning<ul><li>You only have the data itself, not the labels</li></ul></li><li>Transfer Learning<ul><li>Taking the patterns that one model has learned, and transferring it to another model</li></ul></li><li>Reinforcement Learning<ul><li>Rewards + observations given to an agent performing learning</li></ul></li></ul><h2 class="digitalGarden">Weights &amp; Biases</h2><p class="digitalGarden">The parameter space is the space of all possible parameter values that define a particular mathematical model. It is also sometimes called <strong>weight space</strong>, and is often a subset of finite-dimensional Euclidean space.</p><p class="digitalGarden">Weights are weighted sums in a matrix of such tunable parameters … (e.g. GPT-3 contains 175 billion parameters). Weighted sums are packaged together in a matrix vector product. It helps to think of the weights as tunable parameters that transform <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vector">vectors</a> that are drawn from the data being processed.</p><p class="digitalGarden">Weights determine how the model behaves.</p><p class="digitalGarden">Let's look at GPT-3 (Generative Pre-trained Transformer) </p><ul class="digitalGarden"><li>175 billion parameters<ul><li>27,983 matrices</li><li>each of those matrices are catagorized based into the following eight catagories<ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Embeddings">Embedding</a></li><li>Key</li><li>Query</li><li>Value</li><li>Output</li><li>Up-projection</li><li>Down-projection</li><li>Unembedding</li></ul></li></ul></li></ul><p class="digitalGarden">Essentially, Learning is the process of finding the right weights and biases for the model.</p><h2 class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tensor">Tensor</a></h2><p class="digitalGarden">Tensors are numerical sequences or representations, matrices of numerical data that exist in the numerical encoding, hidden layer(s), and representational outputs. They are higher-dimensional arrays of real numbers.</p><p class="digitalGarden">Linear algebra and matrix vector multiplication are crucial components of the computations performed on these matrices.</p><h3 class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Embeddings">Embeddings</a></h3><p class="digitalGarden">Embeddings associating each token with its high dimensional vector. Directions in this high dimensional space can correspond to semantic meaning, i.e. the difference between the man -&gt; woman vectors can correspond to the difference between king -&gt; queen vectors.</p><h3 class="digitalGarden">Context Size</h3><p class="digitalGarden">The context size limits how much text the transformer can incorporate when making a prediciton of the next word.</p><h3 class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Softmax%20with%20temperature">Softmax with temperature</a></h3><p class="digitalGarden">Taking a probability distribution, each value is between zero and one, and they all need to add up to one. But in deep learning with the matrix vector multiplication, the outputs that you get by default don't fall within 0 - 1. </p><p class="digitalGarden">Softmax normalizes the output to a list that adds up to one. But it's not simply picking the maximum value (hence the soft prefix). Temperature (constant T) has the effect that when T is larger, you give more weight to the lower values, meaning the distribution is a little more uniform, whereas when T is 0, all the weight goes to the maximum value, or highest probability.</p><h3 class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Attention%20%28Machine%20Learning%29">Attention</a></h3><p class="digitalGarden">The attention block allows the model to move the information encoded in one embedding into another, i.e. the different meanings of the English word <em>mole</em>.</p><p class="digitalGarden">The Attention Pattern can be visualized as a series of columns/rows where words (tokens) on the left (x-axis) are weighted as to how much they correspond tokens on the top (y axis). </p><p class="digitalGarden">Self-Attention (datasets correspond i.e. English to English) vs Cross-Attention (datasets are different i.e. English to Spanish). </p><p class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Multi-Headed%20Self-Attention">Multi-Headed Self-Attention</a> is where these attention blocks are run in parallel with each other. Given that one of the big lessons about deep learning in the last decade is that scale alone seems to give huge qualitative improvments to model performance, there's a huge advantage to parallelizable architectures that allow you do to this.</p><h3 class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Masking">Masking</a></h3><p><span class=" digitalGarden 

">We want to prevent later tokens from influencing earlier ones, so that the prediction happens in a forward moving sequence, otherwise training would be compromised. But before a softmax function can be applied to an <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Attention%20%28Machine%20Learning%29">Attention Pattern</a>, instead of setting the earlier words to 0, we don't get a normalized table of values adding up to one. Masking therefore transforms those earlier words in our table to -∞, so that when they undergo softmax, they turn into 0, thus helping maintain normalization.</span></p><h2 class="digitalGarden">Generative AI</h2><p class="digitalGarden">Generative AI, unlike Chat GPT, doesn't process existing data but is used to create new data from scratch. </p></div></content><author><name>undefined</name></author></entry><entry><title>Parameter Space</title><link href="https://gavart.ist/#Parameter%20Space"></link><link href="https://gavart.ist/static/Parameter%2520Space.html" rel="alternative" type="text/html"></link><id>a009edd9-e091-a0a6-df70-d44fd0cdebe8</id><updated>2025-07-28T13:04:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">The parameter space is the space of all possible parameter values that define a particular mathematical model. It is also sometimes called <strong>weight space</strong>, and is often a subset of finite-dimensional Euclidean space.</p><p class="digitalGarden">Weights are weighted sums in a matrix of such tunable parameters … (e.g. GPT-3 contains 175 billion parameters). Weighted sums are packaged together in a matrix vector product. It helps to think of the weights as tunable parameters that transform <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vector">vectors</a> that are drawn from the data being processed.</p><p class="digitalGarden">Weights determine how the model behaves.</p><p class="digitalGarden">Let's look at GPT-3 (Generative Pre-trained Transformer) </p><ul class="digitalGarden"><li>175 billion parameters<ul><li>27,983 matrices</li><li>each of those matrices are catagorized based into the following eight catagories<ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Embeddings">Embedding</a></li><li>Key</li><li>Query</li><li>Value</li><li>Output</li><li>Up-projection</li><li>Down-projection</li><li>Unembedding</li></ul></li></ul></li></ul><p class="digitalGarden">Essentially, Learning is the process of finding the right weights and biases for the model.</p></div></content><author><name>undefined</name></author></entry><entry><title>Over-fitting</title><link href="https://gavart.ist/#Over-fitting"></link><link href="https://gavart.ist/static/Over-fitting.html" rel="alternative" type="text/html"></link><id>8dfee61d-8094-6293-3130-a3c950f992f7</id><updated>2025-07-28T12:42:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">As neural models are very powerful, they are very prone to a phenomenon called over-fitting : fitting so much the data that they may be over-sensible to trivial details, and then failing to perform correctly on unseen data.</p></div></content><author><name>undefined</name></author></entry><entry><title>Epstein timeline</title><link href="https://gavart.ist/#Epstein%20timeline"></link><link href="https://gavart.ist/static/Epstein%2520timeline.html" rel="alternative" type="text/html"></link><id>e49ab229-9b5c-73b6-94e0-bfc6bacd25b8</id><updated>2025-07-27T12:53:46</updated><content type="xhtml"><div 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href="https://gavart.ist/#1%20dataset%20100%20visualizations"></link><link href="https://gavart.ist/static/1%2520dataset%2520100%2520visualizations.html" rel="alternative" type="text/html"></link><id>d0f6a0c2-01c0-806d-f19f-280082bd69a2</id><updated>2025-07-26T15:12:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Telepathic Instruments</title><link href="https://gavart.ist/#Telepathic%20Instruments"></link><link href="https://gavart.ist/static/Telepathic%2520Instruments.html" rel="alternative" type="text/html"></link><id>61a76fec-80e6-6c3a-4851-0716c22114a4</id><updated>2025-07-26T15:11:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Pelata Pieces</title><link href="https://gavart.ist/#Pelata%20Pieces"></link><link href="https://gavart.ist/static/Pelata%2520Pieces.html" rel="alternative" type="text/html"></link><id>db89199d-d218-bc12-d643-232f35869f5e</id><updated>2025-07-26T15:09:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bycepts Grotesque</title><link href="https://gavart.ist/#Bycepts%20Grotesque"></link><link href="https://gavart.ist/static/Bycepts%2520Grotesque.html" rel="alternative" type="text/html"></link><id>7940f5e3-122e-daf6-f41b-dc802202c0ad</id><updated>2025-07-26T15:05:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>webb.page</title><link href="https://gavart.ist/#webb.page"></link><link href="https://gavart.ist/static/webb.page.html" rel="alternative" type="text/html"></link><id>bd1de672-824f-9148-d921-33574a0c83ac</id><updated>2025-07-26T15:02:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Pattern Club</title><link href="https://gavart.ist/#Pattern%20Club"></link><link href="https://gavart.ist/static/Pattern%2520Club.html" rel="alternative" type="text/html"></link><id>b0c78f78-dc38-dbb0-19d9-ef15c4ef1d1b</id><updated>2025-07-26T14:59:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>kabelsalat</title><link href="https://gavart.ist/#kabelsalat"></link><link href="https://gavart.ist/static/kabelsalat.html" rel="alternative" type="text/html"></link><id>a8b8235d-208e-5861-8af5-4914a604f5ee</id><updated>2025-07-26T14:57:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>froos</title><link href="https://gavart.ist/#froos"></link><link href="https://gavart.ist/static/froos.html" rel="alternative" type="text/html"></link><id>07a5bf89-a8e5-c395-1189-89ab7d0958fc</id><updated>2025-07-26T14:57:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Live Coding</title><link href="https://gavart.ist/#Live%20Coding"></link><link href="https://gavart.ist/static/Live%2520Coding.html" rel="alternative" type="text/html"></link><id>bdd67f26-b730-1265-f2b1-3762dc9b3d3a</id><updated>2025-07-26T14:56:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>puravariedad.com</title><link href="https://gavart.ist/#puravariedad.com"></link><link href="https://gavart.ist/static/puravariedad.com.html" rel="alternative" type="text/html"></link><id>3d9ea0ff-afdb-c96a-f722-4fb202721318</id><updated>2025-07-26T14:48:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Garden</title><link href="https://gavart.ist/#Garden"></link><link href="https://gavart.ist/static/Garden.html" rel="alternative" type="text/html"></link><id>ea9f1881-279a-97a5-9f47-9e8d0a8bc695</id><updated>2025-07-26T14:43:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Willa Köerner</title><link href="https://gavart.ist/#Willa%20K%C3%B6erner"></link><link href="https://gavart.ist/static/Willa%2520K%25C3%25B6erner.html" rel="alternative" type="text/html"></link><id>4bd23679-cbe3-76e8-e713-52e45269dfb1</id><updated>2025-07-26T14:43:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>rotating.parts</title><link href="https://gavart.ist/#rotating.parts"></link><link href="https://gavart.ist/static/rotating.parts.html" rel="alternative" type="text/html"></link><id>3ccdb245-9464-e743-eb0a-14c69ab03950</id><updated>2025-07-26T14:27:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TODEPOND DOT COM</title><link href="https://gavart.ist/#TODEPOND%20DOT%20COM"></link><link href="https://gavart.ist/static/TODEPOND%2520DOT%2520COM.html" rel="alternative" type="text/html"></link><id>cff6d156-98e9-c9a3-f6eb-0cdd04af8f23</id><updated>2025-07-26T14:22:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Congratulations! You have reached the end of the internet</title><link href="https://gavart.ist/#Congratulations!%20You%20have%20reached%20the%20end%20of%20the%20internet"></link><link href="https://gavart.ist/static/Congratulations!%2520You%2520have%2520reached%2520the%2520end%2520of%2520the%2520internet.html" rel="alternative" type="text/html"></link><id>b0d4b081-0971-7a61-ca75-5f74e2697367</id><updated>2025-07-26T14:17:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Nick Briz</title><link href="https://gavart.ist/#Nick%20Briz"></link><link href="https://gavart.ist/static/Nick%2520Briz.html" rel="alternative" type="text/html"></link><id>468ae85b-f0b2-14c1-ca41-1574415c23a5</id><updated>2025-07-26T14:16:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>compost.party</title><link href="https://gavart.ist/#compost.party"></link><link href="https://gavart.ist/static/compost.party.html" rel="alternative" type="text/html"></link><id>19f81039-dd5c-2118-6308-8b59c1543339</id><updated>2025-07-26T14:01:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Solarpunk</title><link href="https://gavart.ist/#Solarpunk"></link><link href="https://gavart.ist/static/Solarpunk.html" rel="alternative" type="text/html"></link><id>ff4facdb-6a15-03e2-67c7-80cc2353099a</id><updated>2025-07-26T14:00:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Vector</title><link href="https://gavart.ist/#Vector"></link><link href="https://gavart.ist/static/Vector.html" rel="alternative" type="text/html"></link><id>57dea6f5-0392-81b7-fee5-17fc43bf3110</id><updated>2025-07-26T11:04:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">A vector is a list of numbers that signify input data, including bias and weights. These are lists of numbers that correspond to features or attributes of the data.</p></div></content><author><name>undefined</name></author></entry><entry><title>Masking</title><link href="https://gavart.ist/#Masking"></link><link href="https://gavart.ist/static/Masking.html" rel="alternative" type="text/html"></link><id>2a776f25-69ed-f87c-0c8d-068a1067668c</id><updated>2025-07-26T11:03:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><span class=" digitalGarden 

">We want to prevent later tokens from influencing earlier ones, so that the prediction happens in a forward moving sequence, otherwise training would be compromised. But before a softmax function can be applied to an <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Attention%20%28Machine%20Learning%29">Attention Pattern</a>, instead of setting the earlier words to 0, we don't get a normalized table of values adding up to one. Masking therefore transforms those earlier words in our table to -∞, so that when they undergo softmax, they turn into 0, thus helping maintain normalization.</span></p></div></content><author><name>undefined</name></author></entry><entry><title>Embeddings</title><link href="https://gavart.ist/#Embeddings"></link><link href="https://gavart.ist/static/Embeddings.html" rel="alternative" type="text/html"></link><id>ed922078-83ed-5a9d-9f04-168c82ba34e2</id><updated>2025-07-26T11:03:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">Embeddings associating each token with its high dimensional vector. Directions in this high dimensional space can correspond to semantic meaning, i.e. the difference between the man -&gt; woman vectors can correspond to the difference between king -&gt; queen vectors.</p></div></content><author><name>undefined</name></author></entry><entry><title>Machine Learning · Notes Index</title><link href="https://gavart.ist/#Machine%20Learning%20%C2%B7%20Notes%20Index"></link><link href="https://gavart.ist/static/Machine%2520Learning%2520%25C2%25B7%2520Notes%2520Index.html" rel="alternative" type="text/html"></link><id>ecb2227a-fc26-fb28-8ee0-1a666bcf7b11</id><updated>2025-07-26T10:27:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><ul>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Attention%20%28Machine%20Learning%29">Attention (Machine Learning)</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Backpropagation">Backpropagation</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deep%20Learning">Deep Learning</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Embeddings">Embeddings</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Emily%20M.%20Bender">Emily M. Bender</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Knowledge%20Distillation">Knowledge Distillation</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Latent%20Space">Latent Space</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Logits">Logits</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Masking">Masking</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Multi-Headed%20Self-Attention">Multi-Headed Self-Attention</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Neural%20Audio%20Synthesis">Neural Audio Synthesis</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Over-fitting">Over-fitting</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Parameter%20Space">Parameter Space</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reinforcement%20Learning">Reinforcement Learning</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Self-Attention">Self-Attention</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Self-fulfilling%20misalignment">Self-fulfilling misalignment</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Softmax%20with%20temperature">Softmax with temperature</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Stochastic%20Parrot">Stochastic Parrot</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tensor">Tensor</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Illusion%20of%20Thinking%3A%20Understanding%20the%20Strengths%20and%20Limitations%20of%20Reasoning%20Models%20via%20the%20Lens%20of%20Problem%20Complexity">The Illusion of Thinking: Understanding the Strengths and Limitations of Reasoning Models via the Lens of Problem Complexity</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Transformers">Transformers</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Variational%20Autoencoders">Variational Autoencoders</a></li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vector">Vector</a></li>
	
</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Logits</title><link href="https://gavart.ist/#Logits"></link><link href="https://gavart.ist/static/Logits.html" rel="alternative" type="text/html"></link><id>979f436d-e5bd-fc68-360e-991815f20e48</id><updated>2025-07-26T10:27:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">In the context of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deep%20Learning">Deep Learning</a> the Logits layer means the layer that feeds in to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Softmax%20with%20temperature">softmax</a> (or other such normalization). The output of the softmax are the probabilities for the classification task and its input is logits layer. The logits layer typically produces values from -infinity to +infinity and the softmax layer transforms it to values from 0 to 1.</p><p class="digitalGarden">Logits is the unnormalized final scores of your model. You apply <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Softmax%20with%20temperature">softmax</a> to it to get a probability distribution over your classes. </p></div></content><author><name>undefined</name></author></entry><entry><title>ubicloud • Life of an inference request (vLLM V1)</title><link href="https://gavart.ist/#ubicloud%20%E2%80%A2%20Life%20of%20an%20inference%20request%20(vLLM%20V1)"></link><link href="https://gavart.ist/static/ubicloud%2520%25E2%2580%25A2%2520Life%2520of%2520an%2520inference%2520request%2520(vLLM%2520V1).html" rel="alternative" type="text/html"></link><id>2ff232eb-52e5-5837-22aa-c8e5ce9aeeff</id><updated>2025-07-26T10:08:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>beets</title><link href="https://gavart.ist/#beets"></link><link href="https://gavart.ist/static/beets.html" rel="alternative" type="text/html"></link><id>88b1e961-db33-87e9-32ee-94bcb085128f</id><updated>2025-07-25T10:26:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" href="https://github.com/beetbox/beets" rel="noopener noreferrer" target="_blank">beets • Music library managment</a></p><h3 class="">Workaround for slow network drive performance when adding to the library</h3><p>Here is a <a class="tc-tiddlylink-external" href="https://github.com/beetbox/beets/issues/1976#issuecomment-216049761" rel="noopener noreferrer" target="_blank">hack/workaround</a>, which may be the best option. Basically I create a function/alias that has the database locally and then copies the relevant files to the mounted volume. I can also add a check to make sure the volume is mounted.</p><pre><code>function mybeet() {
  if [ -e /Volumes/Music/ ]; then
    beet "$@" &amp;&amp; \
    cp ~/.config/beets/config.yaml /Volumes/Music/data/beets.conf &amp;&amp; \
    cp ~/.config/beets/library.db /Volumes/Music/data/beets.db &amp;&amp; \
    # cp ~/.config/beets/beets.log /Volumes/Music/data/beets.log;
  else
    echo "Music library not found."
  fi
}</code></pre><p>This goes in my <code>.bash_profile</code>. And I can do the same beet command just as <code>mybeet</code> instead.</p><pre><code>$ mybeet import /music/</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Gradient</title><link href="https://gavart.ist/#Gradient"></link><link href="https://gavart.ist/static/Gradient.html" rel="alternative" type="text/html"></link><id>5e59525c-b7d1-d1cd-93be-0b9f36e9d09a</id><updated>2025-07-24T20:04:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">A gradient is a vector that points in the direction of the steepest increase of a function and has a magnitude equal to the rate of that increase.</p><p class="digitalGarden">The gradient tells you:</p><ul class="digitalGarden"><li><strong>Direction</strong><ul><li>Which way to move from your current point to increase the function value most rapidly.</li></ul></li><li><strong>Magnitude</strong><ul><li>How seep that increase is.</li></ul></li></ul><p class="digitalGarden">The gradient is fundamental in optimization, physics, and machine learning because it tells you how to change your inputs to most effectively change yor output.</p></div></content><author><name>undefined</name></author></entry><entry><title>Attention (Machine Learning)</title><link href="https://gavart.ist/#Attention%20(Machine%20Learning)"></link><link href="https://gavart.ist/static/Attention%2520(Machine%2520Learning).html" rel="alternative" type="text/html"></link><id>4bba9de1-4897-c0e3-57a4-7d62724c2d1b</id><updated>2025-07-24T19:55:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">The attention block allows the model to move the information encoded in one embedding into another, i.e. the different meanings of the English word <em>mole</em>.</p><p class="digitalGarden">The Attention Pattern can be visualized as a series of columns/rows where words (tokens) on the left (x-axis) are weighted as to how much they correspond tokens on the top (y axis). </p><p class="digitalGarden">Self-Attention (datasets correspond i.e. English to English) vs Cross-Attention (datasets are different i.e. English to Spanish). </p><p class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Multi-Headed%20Self-Attention">Multi-Headed Self-Attention</a> is where these attention blocks are run in parallel with each other. Given that one of the big lessons about deep learning in the last decade is that scale alone seems to give huge qualitative improvments to model performance, there's a huge advantage to parallelizable architectures that allow you do to this.</p></div></content><author><name>undefined</name></author></entry><entry><title>Trichotomy (score)</title><link href="https://gavart.ist/#Trichotomy%20(score)"></link><link href="https://gavart.ist/static/Trichotomy%2520(score).html" rel="alternative" type="text/html"></link><id>1e8f13fd-c5e4-368a-45ad-4003e4b5724d</id><updated>2025-07-24T18:26:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Public Domain</title><link href="https://gavart.ist/#Public%20Domain"></link><link href="https://gavart.ist/static/Public%2520Domain.html" rel="alternative" type="text/html"></link><id>1282faaa-ab2a-b95c-4105-2afbc71de28e</id><updated>2025-07-24T16:58:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ink &amp; Switch</title><link href="https://gavart.ist/#Ink%20%26%20Switch"></link><link href="https://gavart.ist/static/Ink%2520%2526%2520Switch.html" rel="alternative" type="text/html"></link><id>63414b6d-94e1-862d-c343-22eb834a5847</id><updated>2025-07-24T09:24:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>PKM</title><link href="https://gavart.ist/#PKM"></link><link href="https://gavart.ist/static/PKM.html" rel="alternative" type="text/html"></link><id>5d85d1a9-bfa7-4247-d3c6-c249e8d596d1</id><updated>2025-07-24T09:23:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Neural Audio Synthesis</title><link href="https://gavart.ist/#Neural%20Audio%20Synthesis"></link><link href="https://gavart.ist/static/Neural%2520Audio%2520Synthesis.html" rel="alternative" type="text/html"></link><id>ff0ea818-9854-8baf-8680-26fe35ce8efd</id><updated>2025-07-23T21:49:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Variational%20Autoencoders">Variational Autoencoders</a></h2><p>Creative applications in the image space</p><ul><li><strong>high level</strong> attribute manipulation</li><li><strong>random sampling</strong></li><li><strong>interpolation</strong> between two images</li><li><strong>style transfer</strong> between two domains</li><li><strong>inpainting</strong></li></ul><h2 class=""><u>Neural Audio Synthesis</u></h2><ul><li>Modelling audio waveform is <strong>complex</strong> <ul><li>High sampling rate of audio  = <strong>a lot of data</strong> to generate</li><li>waveform ≠ <strong>perception</strong></li><li>human ear is very good at perceiving <strong>unnatural artifacts</strong> (compare this to image models in which artifacts are actually pleasing aesthetically)</li></ul></li><li>Existing approaches<ul><li><strong>Autoregressive modelling</strong> <ul><li>wavenet, sampleRNN (very good models and produce excellent audio signals at the expense of quite a long synthesis time)</li></ul></li><li><strong>Spectral representation modelling</strong> (trying to ease learning process through compact models … not a trivial task however, and degrades audio quality)<ul><li>MelNET, MelSpecVAE, GANSynth</li></ul></li><li><strong>Synthesizer parameters modelling</strong> (training fails if you're asking for a sound that the synthesizer cannot produce)<ul><li>Neural Source Filter, DDSP</li></ul></li></ul></li></ul><h2 class=""><u>RAVE (addressing the trade-off between quality &amp; synthesis speed)</u></h2><p><strong><a class="tc-tiddlylink-external" href="https://forum.ircam.fr/projects/detail/acids-projects/" rel="noopener noreferrer" target="_blank">RAVE</a></strong> • <a class="tc-tiddlylink-external" href="https://www.youtube.com/watch?v=o09BSf9zP-0" rel="noopener noreferrer" target="_blank">a Realtime Audio Variational autoEncoder</a></p><h3 class="">a Gaussian VAE with a PQMF decoder trained for few hundred k steps then "switches" into a GAN mode with a frozen encoder, fits into RTX 3060.  </h3><ul><li><strong>2 stages</strong> during training</li><li><strong>Representation</strong> Learning<ul><li>Uses a spectral distance to build a <strong>perceptually relevant</strong> latent space</li><li>Dynamic latent space dimensionality estimation yielding a <strong>a compact representation</strong></li></ul></li><li>Adversarial <strong>Fine-tuning</strong><ul><li>Encoder is <strong>frozen</strong></li><li>Use a <strong>multiscale discriminator</strong> to increase the synthesized audio quality</li></ul></li></ul><h3 class=""><u>Unconditional audio generation</u></h3><p><strong>Prior model</strong></p><ul><li>trained on <strong>trajectories</strong> yielded by the encoder</li><li>propose new ones in an <strong>autoregressive</strong> fashion</li><li>= <strong>SampelRNN</strong> in the latent space </li><li>…at a much <strong>slower rate</strong> (20Hz)</li></ul><p><img src="./files/img/rave-python-max-code.jpg"></img><br></br><sup>notice encode obj: encode to 4 audio signals which coressponds to the four individual latent dimensions inside the latent space</sup></p><p> </p><ul><li>Some Github <a class="tc-tiddlylink-external" href="https://github.com/acids-ircam/RAVE/issues/312" rel="noopener noreferrer" target="_blank">Training Notes</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#My%20personal%20insights%20after%20weeks%20of%20using%20Rave%20%23300">My personal insights after weeks of using Rave #300</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Deepia · Deep Learning Animated</title><link href="https://gavart.ist/#Deepia%20%C2%B7%20Deep%20Learning%20Animated"></link><link href="https://gavart.ist/static/Deepia%2520%25C2%25B7%2520Deep%2520Learning%2520Animated.html" rel="alternative" type="text/html"></link><id>f91d464c-86c1-25d4-efb2-4c94117796c7</id><updated>2025-07-20T11:38:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Manim</title><link href="https://gavart.ist/#Manim"></link><link href="https://gavart.ist/static/Manim.html" rel="alternative" type="text/html"></link><id>cbcd3fec-ff4c-0ef0-c063-f8c41726d34a</id><updated>2025-07-20T11:37:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Agile Software Development</title><link href="https://gavart.ist/#Agile%20Software%20Development"></link><link href="https://gavart.ist/static/Agile%2520Software%2520Development.html" rel="alternative" type="text/html"></link><id>e6e750e3-c665-8123-e2ea-634d8efcd4c5</id><updated>2025-07-20T11:35:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li><strong>Individuals and interactions</strong> over processes and tools</li><li><strong>Working software</strong> over comprehensive documentation</li><li><strong>Customer collaboration</strong> over contract negotiation</li><li><strong>Responding to change</strong> over following a plan </li></ul><p>A key advantage of agile approaches is speed to market and risk mitigation. Smaller increments are typically released to market, reducing the time and cost risks of engineering a product that doesn't meet user requirements.</p></div></content><author><name>undefined</name></author></entry><entry><title>Metamagical Artificer</title><link href="https://gavart.ist/#Metamagical%20Artificer"></link><link href="https://gavart.ist/static/Metamagical%2520Artificer.html" rel="alternative" type="text/html"></link><id>b84c4d01-a0d6-ac72-3520-f590b8c31262</id><updated>2025-07-19T12:58:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>I also like that the author refers to themselves as a Technomancer. Personally I'm an metamagical artificer. I love meeting fellow adventurers.<sup><a class="tc-tiddlylink-external" href="https://news.ycombinator.com/item?id=44616029" rel="noopener noreferrer" target="_blank">1</a></sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Original Works</title><link href="https://gavart.ist/#Original%20Works"></link><link href="https://gavart.ist/static/Original%2520Works.html" rel="alternative" type="text/html"></link><id>f06d5737-3694-1f78-43fa-d419d53a211b</id><updated>2025-07-18T14:38:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>DubNote</title><link href="https://gavart.ist/#DubNote"></link><link href="https://gavart.ist/static/DubNote.html" rel="alternative" type="text/html"></link><id>cc000f35-f9a2-1a4b-e32d-389363a6b71a</id><updated>2025-07-17T16:54:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Orbita</title><link href="https://gavart.ist/#Orbita"></link><link href="https://gavart.ist/static/Orbita.html" rel="alternative" type="text/html"></link><id>018b3600-4686-3a6c-9d81-f1bf265f86d3</id><updated>2025-07-17T16:51:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>image-paint.constraint.systems</title><link href="https://gavart.ist/#image-paint.constraint.systems"></link><link href="https://gavart.ist/static/image-paint.constraint.systems.html" rel="alternative" type="text/html"></link><id>68a3d34c-31bf-60af-361b-770866d2a8e6</id><updated>2025-07-17T11:54:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Image Processing</title><link href="https://gavart.ist/#Image%20Processing"></link><link href="https://gavart.ist/static/Image%2520Processing.html" rel="alternative" type="text/html"></link><id>2c271d46-4e37-e905-0198-520140c51f13</id><updated>2025-07-17T11:53:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Long-term musical training can protect against age-related upregulation of neural activity in speech-in-noise perception</title><link href="https://gavart.ist/#Long-term%20musical%20training%20can%20protect%20against%20age-related%20upregulation%20of%20neural%20activity%20in%20speech-in-noise%20perception"></link><link href="https://gavart.ist/static/Long-term%2520musical%2520training%2520can%2520protect%2520against%2520age-related%2520upregulation%2520of%2520neural%2520activity%2520in%2520speech-in-noise%2520perception.html" rel="alternative" type="text/html"></link><id>fc783d0f-bb84-c088-dda5-b8673171a899</id><updated>2025-07-16T14:08:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Music Scholarship</title><link href="https://gavart.ist/#Music%20Scholarship"></link><link href="https://gavart.ist/static/Music%2520Scholarship.html" rel="alternative" type="text/html"></link><id>efce3b37-be32-d20e-0de0-358636f0436f</id><updated>2025-07-16T14:07:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Numero Venti</title><link href="https://gavart.ist/#Numero%20Venti"></link><link href="https://gavart.ist/static/Numero%2520Venti.html" rel="alternative" type="text/html"></link><id>2709851b-9805-0b1f-cfad-020e12627961</id><updated>2025-07-15T15:33:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wind Quintet No. 2 — PSAMATHE</title><link href="https://gavart.ist/#Wind%20Quintet%20No.%202%20%E2%80%94%20PSAMATHE"></link><link href="https://gavart.ist/static/Wind%2520Quintet%2520No.%25202%2520%25E2%2580%2594%2520PSAMATHE.html" rel="alternative" type="text/html"></link><id>8b929725-2f70-8bc2-f595-8b12ad113bb0</id><updated>2025-07-12T20:33:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lesabéndio • An Asteroid Opera</title><link href="https://gavart.ist/#Lesab%C3%A9ndio%20%E2%80%A2%20An%20Asteroid%20Opera"></link><link href="https://gavart.ist/static/Lesab%25C3%25A9ndio%2520%25E2%2580%25A2%2520An%2520Asteroid%2520Opera.html" rel="alternative" type="text/html"></link><id>4d0677ca-4ab0-650a-fa53-0ddaffea3b4e</id><updated>2025-07-12T20:33:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>J.S. Bach · Goldberg Variations</title><link href="https://gavart.ist/#J.S.%20Bach%20%C2%B7%20Goldberg%20Variations"></link><link href="https://gavart.ist/static/J.S.%2520Bach%2520%25C2%25B7%2520Goldberg%2520Variations.html" rel="alternative" type="text/html"></link><id>c3f137fb-5caf-de13-1fcf-711c97878410</id><updated>2025-07-12T19:11:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Goldberg%20Variations%20BWV%20988">Goldberg Variations BWV 988</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Ravel · Sonatine</title><link href="https://gavart.ist/#Ravel%20%C2%B7%20Sonatine"></link><link href="https://gavart.ist/static/Ravel%2520%25C2%25B7%2520Sonatine.html" rel="alternative" type="text/html"></link><id>2867259a-2683-375d-f698-79436642f36c</id><updated>2025-07-12T19:11:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatine">Sonatine</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven · Sonata 17 ‘Tempest’</title><link href="https://gavart.ist/#Beethoven%20%C2%B7%20Sonata%2017%20%E2%80%98Tempest%E2%80%99"></link><link href="https://gavart.ist/static/Beethoven%2520%25C2%25B7%2520Sonata%252017%2520%25E2%2580%2598Tempest%25E2%2580%2599.html" rel="alternative" type="text/html"></link><id>4b1fe825-1d10-2960-76b8-0314214fda24</id><updated>2025-07-12T19:06:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2017%20in%20D%20minor%20Opus%2031%20no.%202%20%E2%80%98Tempest%E2%80%99">Sonata 17 in D minor Opus 31 no. 2 ‘Tempest’</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Bielawa · Vireo Canons and Chorale</title><link href="https://gavart.ist/#Bielawa%20%C2%B7%20Vireo%20Canons%20and%20Chorale"></link><link href="https://gavart.ist/static/Bielawa%2520%25C2%25B7%2520Vireo%2520Canons%2520and%2520Chorale.html" rel="alternative" type="text/html"></link><id>6136ad23-f6bd-63c1-3d29-e61a391731c7</id><updated>2025-07-12T19:02:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vireo%20Canons%20and%20Chorale">Vireo Canons and Chorale</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Mozart · Fantasy in F Minor</title><link href="https://gavart.ist/#Mozart%20%C2%B7%20Fantasy%20in%20F%20Minor"></link><link href="https://gavart.ist/static/Mozart%2520%25C2%25B7%2520Fantasy%2520in%2520F%2520Minor.html" rel="alternative" type="text/html"></link><id>79f2055a-5cef-da15-09ab-d6d107d8313c</id><updated>2025-07-12T19:02:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Dayroom</title><link href="https://gavart.ist/#Dayroom"></link><link href="https://gavart.ist/static/Dayroom.html" rel="alternative" type="text/html"></link><id>832b41ad-b935-efe7-b2aa-bd4ed4471cfb</id><updated>2025-07-10T18:58:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>In the realm of prison slang, the term ‘dayroom’ holds a significant place. It is a word often used by inmates to refer to a shared space where they can gather and socialize during the daytime hours. However, the origins of this term go beyond its literal meaning and delve into the unique culture and language that has emerged within the prison system.</p><p>Within the prison slang lexicon, ‘dayroom’ has also evolved to describe poor behavior exhibited by inmates in this shared space. It is commonly used to refer to disruptive or unruly actions that occur within the dayroom, such as fights, arguments, or the violation of established rules.</p><p>While ‘dayroom’ originated as prison slang, it has gradually seeped into the broader cultural fabric of New York, particularly within certain communities. In these contexts, ‘dayroom’ is often used as a disparaging term to describe someone who exhibits negative characteristics or engages in questionable behavior.</p></div></content><author><name>undefined</name></author></entry><entry><title>Julian Beck Songs (score)</title><link href="https://gavart.ist/#Julian%20Beck%20Songs%20(score)"></link><link href="https://gavart.ist/static/Julian%2520Beck%2520Songs%2520(score).html" rel="alternative" type="text/html"></link><id>989f0b55-49b5-e6ce-7298-e12e3ba7f961</id><updated>2025-07-10T15:36:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Strangeloop Studios</title><link href="https://gavart.ist/#Strangeloop%20Studios"></link><link href="https://gavart.ist/static/Strangeloop%2520Studios.html" rel="alternative" type="text/html"></link><id>cb5c9421-676d-6f7a-c70d-5bc51b601898</id><updated>2025-07-09T09:10:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p><p> <a class="tc-tiddlylink-external" href="https://github.com/protrolium/sls2023" rel="noopener noreferrer" target="_blank">code repository</a> </p><p> <a class="tc-tiddlylink-external" href="https://processwire.com/sites/list/strangeloop-studios/" rel="noopener noreferrer" target="_blank">Site Showcase</a></p><p><a alt="" class="noExternalLinkIcon" href="https://strangeloop-studios.com/" target="_blank"><img src="https://d1juguve2xwkcy.cloudfront.net/assets/files/3121/sls-projects.webp"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Julian Beck Songs (manuscript)</title><link href="https://gavart.ist/#Julian%20Beck%20Songs%20(manuscript)"></link><link href="https://gavart.ist/static/Julian%2520Beck%2520Songs%2520(manuscript).html" rel="alternative" type="text/html"></link><id>b4ba83d1-e594-fd3e-04a4-3103dee1046d</id><updated>2025-07-08T21:54:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Manuscript</title><link href="https://gavart.ist/#Manuscript"></link><link href="https://gavart.ist/static/Manuscript.html" rel="alternative" type="text/html"></link><id>9b2478b4-1796-0fda-209e-14947b7c3d37</id><updated>2025-07-08T21:52:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><ul>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Julian%20Beck%20Songs%20%28manuscript%29">
				Julian Beck Songs 
			</a>
			<br></br>
			<sup><em>vocal tenor &amp; piano • 2018</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Capacitance%20%28manuscript%29">
				Capacitance 
			</a>
			<br></br>
			<sup><em>B♭ clarinet, tenor saxophone, violin, cello, piano • 2015</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Trichotomy%20%28manuscript%29">
				Trichotomy 
			</a>
			<br></br>
			<sup><em>violin, piano • 2015</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#String%20Quartet%20I%20%28manuscript%29">
				String Quartet I 
			</a>
			<br></br>
			<sup><em>string quartet • 2014</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#String%20Quartet%20II%20%3A%20Anima%20Exstasis%20%28manuscript%29">
				String Quartet II : Anima Exstasis 
			</a>
			<br></br>
			<sup><em>string quartet • 2014</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vectorial%20Monody%20%28manuscript%29">
				Vectorial Monody 
			</a>
			<br></br>
			<sup><em>solo viola, electronics • 2013</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wind%20Quintet%20%27Nereid%27%20%28manuscript%29">
				Wind Quintet 'Nereid' 
			</a>
			<br></br>
			<sup><em>two flutes, B♭ clarinet, oboe, bassoon • 2012</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Halcyon%20Suite%2C%20Opus%203%20%28manuscript%29">
				Halcyon Suite, Opus 3 
			</a>
			<br></br>
			<sup><em>solo piano • 2011</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2C%20Opus%204%20%28manuscript%29">
				Sonata, Opus 4 
			</a>
			<br></br>
			<sup><em>horn in f, piano • 2011</em></sup>
		</li>
	
		<li>
			<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Three%20Regular%20Axioms%2C%20Opus%202%20%28manuscript%29">
				Three Regular Axioms, Opus 2 
			</a>
			<br></br>
			<sup><em>solo piano • 2007</em></sup>
		</li>
	
</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Binary search</title><link href="https://gavart.ist/#Binary%20search"></link><link href="https://gavart.ist/static/Binary%2520search.html" rel="alternative" type="text/html"></link><id>2177c39f-5a92-3797-d71c-702c18595346</id><updated>2025-07-08T11:18:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/concepts/Binary_Search_Depiction.png"></img><p>Binary search compares the target value to the middle element of the array. If they are not equal, the half in which the target cannot lie is eliminated and the search continues on the remaining half, again taking the middle element to compare to the target value, and repeating this until the target value is found. If the search ends with the remaining half being empty, the target is not in the array.</p><p>Binary search runs in logarithmic time in the worst case. An <code>O(log n)</code> algorithm is considered highly efficient, as the ratio of the number of operations to the size of the input decreases and tends to zero when n increases. An algorithm that must access all elements of its input cannot take logarithmic time, as the time taken for reading an input of size n is of the order of n. </p></div></content><author><name>undefined</name></author></entry><entry><title>css-overrides</title><link href="https://gavart.ist/#css-overrides"></link><link href="https://gavart.ist/static/css-overrides.html" rel="alternative" type="text/html"></link><id>8f5d1ed7-11c2-289e-ec5f-42f9e6d491d3</id><updated>2025-07-08T10:20:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>/** 给卡片加上阴影 unstyle tiddler frame border */
.tc-tiddler-frame {
  box-shadow: ;
}</p><p>.tc-titlebar h2 {
	font-size: 1.5em;
}</p><p>.CodeMirror {
  border: none !important;
  background-color: rgb(21, 21, 21) !important;
}</p><p>a.tc-tiddlylink, a.tc-tiddlylink:hover {
  padding: 2px;
  padding-bottom: 0;
  white-space: normal;
  word-break: break-word;
  overflow: hidden;
  text-overflow: ellipsis;
  font-weight: bold;
  line-height: 1.3;
  color: ;
  border-bottom: ;
  text-decoration: none;
  /** hover动画 */
  transition: background 120ms ease-in 0s;
}</p><p>.tc-search {
	display: flex;
	flex-direction: row;
}</p><p>.tc-advanced-search input {
  width: 100%;
}</p><p>.tc-block-dropdown.tc-search-drop-down { 
	margin-left: 0;
}</p><p>/** 隐藏没用的搜索栏按钮 */
.tc-search &gt; span &gt; button:nth-child(1), .tc-search &gt; span &gt; button:nth-child(2) {
	display: inline-block; 
}</p><p>/* make sure the brain text is set for dark/light mode switches */
.sidebar-override { 
	color: currentcolor;
}</p><p>a.tc-tiddlylink-external:hover {
  -webkit-text-fill-color: inherit;
}</p><p>b, strong {
	font-weight: bold;
}</p></div></content><author><name>undefined</name></author></entry><entry><title>The Undiscovered Self</title><link href="https://gavart.ist/#The%20Undiscovered%20Self"></link><link href="https://gavart.ist/static/The%2520Undiscovered%2520Self.html" rel="alternative" type="text/html"></link><id>ce9d7820-3a6c-5de6-ba20-0a44ce677b79</id><updated>2025-07-08T09:13:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Self-fulfilling misalignment</title><link href="https://gavart.ist/#Self-fulfilling%20misalignment"></link><link href="https://gavart.ist/static/Self-fulfilling%2520misalignment.html" rel="alternative" type="text/html"></link><id>ba85f47d-829d-a627-55ac-d8190b2b0edf</id><updated>2025-07-08T08:54:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden"><a class="tc-tiddlylink-external" href="https://arxiv.org/abs/2309.00667" rel="noopener noreferrer" target="_blank">Taken out of context: On measuring situational awareness in llms</a> shows that <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LLM">LLM</a>s can internalize “expectations” about themselves in their weights, and then act on those expectations. </p><p class="digitalGarden">Do pretraining corpuses already contain data subsets which are “poisonous” to our models’ alignment properties? Perhaps so! Specifically, <a class="tc-tiddlylink-external" href="https://alignment.anthropic.com/2025/reward-hacking-ooc/" rel="noopener noreferrer" target="_blank">training on documents about reward hacking induces reward hacking</a>.</p><h2 class="digitalGarden">Potential Mitigations</h2><h3 class="digitalGarden">Data augmentation</h3><p class="digitalGarden">The simplest method would be to curate and generate a lot of high-quality data on how AI alignment is actually easy. For a start, we might consider:</p><ul class="digitalGarden"><li>The <a class="tc-tiddlylink-external" href="https://optimists.ai/" rel="noopener noreferrer" target="_blank">AI Optimism</a> blog</li><li><a class="tc-tiddlylink-external" href="https://www.lesswrong.com/w/ai-risk-skepticism" rel="noopener noreferrer" target="_blank">Top AI risk skepticism posts on LessWrong</a></li><li><a class="tc-tiddlylink-external" href="https://darioamodei.com/machines-of-loving-grace" rel="noopener noreferrer" target="_blank">Machines of Loving Grace</a></li></ul><h3 class="digitalGarden">Conditional Pretraining</h3><p class="digitalGarden">Korbak et al.’s <a class="tc-tiddlylink-external" href="https://arxiv.org/abs/2302.08582" rel="noopener noreferrer" target="_blank">conditional pretraining</a> prepends either <code>&lt;good&gt;</code> or <code>&lt;bad&gt;</code> to each sentence in a document, depending on how that sentence is scored by e.g. a reward model. At inference time, you simply condition the model on <code>&lt;good&gt;</code>. Korbak et al. found that conditional training improves the alignment of the trained model—even compared to finetuning! For most tasks, conditional training improved alignment more than filtering the data and it seemed to damage capabilities less. </p><h3 class="digitalGarden">Gradient Routing</h3><blockquote class="tc-quote digitalGarden"><p>We present <a class="tc-tiddlylink-external" href="https://turntrout.com/gradient-routing" rel="noopener noreferrer" target="_blank">gradient routing</a>, a way of controlling where learning happens in neural networks. Gradient routing applies masks to limit the flow of gradients during backpropagation. By supplying different masks for different data points, the user can induce specialized subcomponents within a model. We think gradient routing has the potential to train safer AI systems by making them more transparent or by enabling the removal or monitoring of bad capabilities.
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>ReFa Reader</title><link href="https://gavart.ist/#ReFa%20Reader"></link><link href="https://gavart.ist/static/ReFa%2520Reader.html" rel="alternative" type="text/html"></link><id>7a2f74fe-ba85-0e12-45dc-548ea29d6259</id><updated>2025-07-07T21:11:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>NONSEQ Performance Notes</title><link href="https://gavart.ist/#NONSEQ%20Performance%20Notes"></link><link href="https://gavart.ist/static/NONSEQ%2520Performance%2520Notes.html" rel="alternative" type="text/html"></link><id>949fac11-41e3-9b91-f249-710dcdbf33f8</id><updated>2025-07-07T17:26:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><strong>Acknowlegement</strong></h2><p>This performance takes place on the ancestral lands of the <a class="tc-tiddlylink-external" href="https://www.duwamishtribe.org/" rel="noopener noreferrer" target="_blank">Duwamish Tribe</a>, and I would like to thank them and their ancestors for their enduring presence, legacy, and stewardship of this area.</p><h2 class=""><strong>Program</strong></h2><h3 class=""><strong><em>Infrapunctus III</em> for electronics &amp; video (2022)</strong></h3><p>I've been thinking about the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bots%20As%20Digital%20Infrapunctures">Infrapucture concept</a> a lot lately, as a vision statement for changing the present (and not conceptualizing an un-realized future). Live-coded algorithmic pattern-based music suits this necessity of immediacy and involvment with the present moment in a fascinating and (for me) a newly interoperable way. Using a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#bash%20scripting">script that I developed</a>, I was able to auto-segment out a number of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#La%20Biblioth%C3%A8que%20Fantastique">prior compositions</a> into individual one-shots to be used as slices in the paradigm of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TidalCycles">TidalCycles</a> patterning scheme, which runs operations on the basis of cycles, providing continuous playback/feedback mechanisms that create an evolving structure.</p><blockquote class="tc-quote digitalGarden"><p>Digital infrapuncture is a term that draws attention to stress points in infrastructures and stimulates thinking about how to intervene. As private, corporate infrastructures slowly encroach on the public realm, they may enable privacy breaches through user data extraction, or determine the agency of the user, or may perpetuate systemic inequalities through their very design. Paying attention to the harms they produce is paramount.<br></br> 
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bots%20As%20Digital%20Infrapunctures">Deb Verhoeven</a>
</p></blockquote><div class="tc-reveal" hidden="true"></div><div class="tc-reveal"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TidalCycles">TidalCycles</a> code for <em>Infrapunctus III</em>   <button class="">Hide</button></p><pre class="hljs"><code class="haskell hljs"><span class="hljs-title">setcps</span> <span class="hljs-number">0.5</span>

<span class="hljs-title">d1</span>
  $ stutWith <span class="hljs-number">2</span> (<span class="hljs-number">0.125</span>*<span class="hljs-number">3</span>) ( (# lpf <span class="hljs-number">2000</span>) . (# room <span class="hljs-number">0.5</span>) . (# delay <span class="hljs-number">0.8</span>) . (# pan (irand <span class="hljs-number">982347</span>))) <span class="hljs-comment">-- set-up a stutter</span>
  $ s <span class="hljs-string">&quot;~ cp&quot;</span>
  # gain <span class="hljs-number">1.2</span>
  # size <span class="hljs-number">0.9</span>
  # delay <span class="hljs-number">0.125</span>
  # delayfb <span class="hljs-number">0.7</span>

<span class="hljs-title">let</span> timeBetweenStutters = shift&#x27; <span class="hljs-number">10</span> choose [<span class="hljs-number">0.0625</span>,(<span class="hljs-number">0.0625</span>/<span class="hljs-number">2</span>), <span class="hljs-number">0.125</span>]

<span class="hljs-comment">-- function on the fly for min/max (?)</span>

<span class="hljs-title">let</span> irange min max = irand (max - min) |+ min

<span class="hljs-title">d1</span>
    $ stutWith <span class="hljs-number">2</span> (<span class="hljs-number">0.125</span>*<span class="hljs-number">3</span>) ( stutWith <span class="hljs-number">20</span> (shift&#x27; <span class="hljs-number">10</span> $ choose [<span class="hljs-number">0.0625</span>,(<span class="hljs-number">0.0625</span>/<span class="hljs-number">2</span>), <span class="hljs-number">0.125</span>]) ( (|* lpf <span class="hljs-number">0.7</span>) . (|* gain <span class="hljs-number">0.9</span>) ) )
    $ s <span class="hljs-string">&quot;taor&quot;</span>
    # n (irand <span class="hljs-number">20</span> |+ <span class="hljs-number">40</span>)
    # gain <span class="hljs-number">1.0</span>
    # size <span class="hljs-number">0.9</span>
    # delay <span class="hljs-number">0.125</span>
    # delayfb <span class="hljs-number">0.7</span>

<span class="hljs-title">d2</span> $ s <span class="hljs-string">&quot;bd&quot;</span> # gain <span class="hljs-number">1.2</span>

<span class="hljs-title">hush</span>

<span class="hljs-title">panic</span>

<span class="hljs-comment">-- got the custom functions working &gt;:)</span>

<span class="hljs-title">d1</span>
  $ stutWith <span class="hljs-number">2</span> (<span class="hljs-number">0.125</span>*<span class="hljs-number">3</span>) ( stutWith <span class="hljs-number">20</span> (shift&#x27; <span class="hljs-number">10</span> $ choose [<span class="hljs-number">0.0625</span>,(<span class="hljs-number">0.0625</span>/<span class="hljs-number">2</span>), <span class="hljs-number">0.125</span>]) (|* lpf <span class="hljs-number">0.7</span>) . (|* gain <span class="hljs-number">0.9</span>) )
  $ s <span class="hljs-string">&quot;~ cp&quot;</span>
  # gain <span class="hljs-number">1.2</span>
  # size <span class="hljs-number">0.9</span>
  # lpf <span class="hljs-number">10000</span>

  hush

<span class="hljs-title">do</span>
  <span class="hljs-keyword">let</span> timeBetweenStutters = shift&#x27; <span class="hljs-number">10</span> $ choose [<span class="hljs-number">0.0625</span>,(<span class="hljs-number">0.0625</span>/<span class="hljs-number">2</span>), <span class="hljs-number">0.125</span>]
  <span class="hljs-keyword">let</span> stutterEffect = ( (|* lpf <span class="hljs-number">0.7</span>) . (|* gain <span class="hljs-number">0.9</span>) )
  <span class="hljs-keyword">let</span> initialTime = shift&#x27; <span class="hljs-number">11</span> $ choose [(<span class="hljs-number">0.125</span>*<span class="hljs-number">3</span>), <span class="hljs-number">0.125</span>, <span class="hljs-number">0.0625</span>*<span class="hljs-number">3</span>]
  d1
    <span class="hljs-comment">-- $ whenmod 10 8 (jux rev)</span>
    <span class="hljs-comment">-- $ every 4 (rip 0.8 0.1)</span>
    <span class="hljs-comment">-- $ every 5 (rip&#x27; 0 1 12 0.8 0.1)</span>
    <span class="hljs-comment">-- $ every 7 (# accelerate &quot;-1 1&quot;)</span>
    $ stack [
          g $ every <span class="hljs-number">3</span> rev
          $ every <span class="hljs-number">7</span> (|* speed <span class="hljs-string">&quot;-1&quot;</span>)
          $ stutWith <span class="hljs-number">2</span> initialTime ( stutWith <span class="hljs-number">20</span> timeBetweenStutters stutterEffect )
          $ s <span class="hljs-string">&quot;~ cp:2&quot;</span>
          # gain <span class="hljs-number">1</span>
          # size <span class="hljs-number">0.9</span>
          # lpf <span class="hljs-number">10000</span>
          # shape <span class="hljs-number">0.2</span>
          # speed <span class="hljs-number">0.5</span>
        , g $ sometimesBy <span class="hljs-number">0.2</span> ( roll&#x27; )
          $ shift
          $ sometimesBy <span class="hljs-number">0.3</span> ( one )
          $ shift
          $ degradeBy <span class="hljs-number">0.3</span>
          $ s <span class="hljs-string">&quot;qlat(9,16)&quot;</span>
          <span class="hljs-comment">-- # n &quot;17 [~ 85 138] 48 213&quot; 13,24,5</span>
          # n (irand <span class="hljs-number">35</span> |+ <span class="hljs-number">430</span>)
          # cut <span class="hljs-number">1</span>
          # gain <span class="hljs-number">1.1</span>
          # shape <span class="hljs-number">0.2</span>
          # speed (range <span class="hljs-number">0.96</span> <span class="hljs-number">1</span> $ shrand <span class="hljs-number">2191</span>)
        , g $ superimpose ((|* speed <span class="hljs-number">1</span>) . (# pan (shrand <span class="hljs-number">891</span>)))
          $ every <span class="hljs-number">7</span> (rip&#x27; <span class="hljs-number">0</span> <span class="hljs-number">1</span> <span class="hljs-number">10</span> <span class="hljs-number">0.8</span> <span class="hljs-number">0.1</span>)
          $ every <span class="hljs-number">7</span> (rip&#x27; <span class="hljs-number">0</span> <span class="hljs-number">1</span> <span class="hljs-number">10</span> <span class="hljs-number">0.8</span> <span class="hljs-number">0.1</span>)
          $ every <span class="hljs-number">7</span> (rip&#x27; <span class="hljs-number">0</span> <span class="hljs-number">1</span> <span class="hljs-number">10</span> <span class="hljs-number">0.8</span> <span class="hljs-number">0.1</span>)
          $ struct (binaryN <span class="hljs-number">16</span> <span class="hljs-string">&quot;321482&quot;</span>) <span class="hljs-comment">-- 321906</span>
          $ n (irand <span class="hljs-number">25</span> |+ <span class="hljs-number">930</span>) <span class="hljs-comment">-- 730 830 930 -- 190</span>
          <span class="hljs-comment">-- $ n &quot;29 41 13 ~ [22 38 245 ~] 85 37 51 101 58 197&quot;</span>
          # s <span class="hljs-string">&quot;bib2&quot;</span>
          # begin (shrand <span class="hljs-number">918340</span>)
          # gain <span class="hljs-number">1.0</span>
          # rel (range <span class="hljs-number">0.2</span> <span class="hljs-number">1.4</span> $ shrand <span class="hljs-number">484875</span>)
          # speed (range <span class="hljs-number">0.99</span> <span class="hljs-number">1.02</span> $ shrand <span class="hljs-number">984576</span>)
          # pan (shrand <span class="hljs-number">829</span>)
        , g $ rarely (stutWith <span class="hljs-number">2</span> (<span class="hljs-number">0.125</span>*<span class="hljs-number">3</span>) (# n <span class="hljs-number">1</span>))
          <span class="hljs-comment">-- $ n &quot;[100 28 37 ~ 191 ~ 87 60 15]/9&quot;</span>
          $ s <span class="hljs-string">&quot;bib2&quot;</span> |+ n (irand <span class="hljs-number">14</span> |+ <span class="hljs-number">180</span>)  <span class="hljs-comment">-- 280 480 180</span>
          # gain <span class="hljs-number">1.1</span>
          # room <span class="hljs-number">0.1</span>
          # size (range <span class="hljs-number">0.6</span> <span class="hljs-number">1.2</span> $ shrand <span class="hljs-number">983475</span>)
          # speed (range <span class="hljs-number">0.9</span> <span class="hljs-number">1.16</span> $ shrand <span class="hljs-number">492039</span>)
        , g $ whenmod <span class="hljs-number">4</span> <span class="hljs-number">2</span> (jux rev)
          $ sometimesBy <span class="hljs-number">0.3</span> (every <span class="hljs-number">4</span> (hurry (range <span class="hljs-number">0.9</span> <span class="hljs-number">1</span> $ shrand <span class="hljs-number">889487</span>)))
          $ rarely (stutWith <span class="hljs-number">2</span> (<span class="hljs-number">0.125</span>*<span class="hljs-number">3</span>) (# n <span class="hljs-number">1</span>))
          <span class="hljs-comment">-- $ n &quot;51 111 [127 ~ 22] ~ 77 93 [44 29 19]/4&quot;</span>
          $ s (struct (<span class="hljs-string">&quot;t ~ t*2 ~&quot;</span>) <span class="hljs-string">&quot;among&quot;</span>) |+ n (irand <span class="hljs-number">50</span> |+ <span class="hljs-number">730</span>)
          # gain <span class="hljs-number">1.1</span>
          # room <span class="hljs-number">0.21</span>
          # size (range <span class="hljs-number">0.2</span> <span class="hljs-number">1.1</span> $ shrand <span class="hljs-number">449391</span>)
          # speed (range <span class="hljs-number">0.99</span> <span class="hljs-number">1.01</span> $ shrand <span class="hljs-number">520163</span>)
        , g $ stutWith <span class="hljs-number">2</span> (<span class="hljs-number">0.125</span>*<span class="hljs-number">3</span>) ( stutWith <span class="hljs-number">10</span> (shift&#x27; <span class="hljs-number">3</span> $ choose [<span class="hljs-number">0.0625</span>,(<span class="hljs-number">0.0625</span>/<span class="hljs-number">2</span>), <span class="hljs-number">0.125</span>]) ( (|* lpf <span class="hljs-number">0.7</span>) . (|* gain <span class="hljs-number">0.9</span>) ) )
          $ s <span class="hljs-string">&quot;bib1*2&quot;</span> |+ n (irand <span class="hljs-number">25</span> |+ <span class="hljs-number">635</span>)
          # gain <span class="hljs-number">1.2</span>
          # size <span class="hljs-number">0.9</span>
          # delay <span class="hljs-number">0.125</span>
          # delayfb <span class="hljs-number">0.5</span>
        , <span class="hljs-comment">-- sometimesBy 0.05 (stutWith 2 initialTime ( stutWith 4 timeBetweenStutters stutterEffect ))</span>
          g $ struct (binaryN <span class="hljs-number">16</span> <span class="hljs-string">&quot;152901&quot;</span>) <span class="hljs-comment">--152901</span>
          $ s <span class="hljs-string">&quot;[taor ~]*3&quot;</span> |+ n (irand <span class="hljs-number">50</span> |+ <span class="hljs-number">40</span>) <span class="hljs-comment">--   20 30 50 |+ 40 90</span>
          # gain <span class="hljs-number">1</span>
      ]

      panic

  d2
    $ stack [
        g $ sometimesBy <span class="hljs-number">0.2</span> ( roll&#x27; )
        $ shift
        $ sometimesBy <span class="hljs-number">0.4</span> ( one )
        $ shift
        $ degradeBy <span class="hljs-number">0.3</span>
        $ s <span class="hljs-string">&quot;bd(3,8)&quot;</span>
        # n <span class="hljs-string">&quot;2 [~ 8] 2*2 3&quot;</span>
        # cut <span class="hljs-number">1</span>
        # gain <span class="hljs-number">1.1</span>
        # shape <span class="hljs-number">0.2</span>
        # speed (range <span class="hljs-number">0.96</span> <span class="hljs-number">1</span> $ shrand <span class="hljs-number">2191</span>)
      ]


<span class="hljs-title">hush</span>
<span class="hljs-title">panic</span>

<span class="hljs-title">d3</span> $ superimpose ((|* speed <span class="hljs-number">1.1</span>) . (# pan (shrand <span class="hljs-number">891</span>)))
  $ sound <span class="hljs-string">&quot;gc207-1&quot;</span> # begin (shrand <span class="hljs-number">27483</span>) # gain <span class="hljs-number">1.2</span> # rel <span class="hljs-number">0.1</span>
  # speed <span class="hljs-number">1</span>
  # pan (shrand <span class="hljs-number">829</span>)

<span class="hljs-title">hush</span></code></pre></div><h3 class=""><strong><em>Wanderer Jazz</em> for solo piano (2022)</strong></h3><p>This is a piece which incorporates three Jazz tunes which I find myself continually revisiting over the years (<em>Giant Steps, Nardis, My Favorite Things</em>), along with an original piece titled <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Boy%20From%20Ojai%20%28score%29">The Boy From Ojai</a> that I composed earlier this year. The structure is loosely mapped, and is intended to be a container for improvisational playing, a mixture between contemporary classical and jazz styles that I have explored in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Improvisation">other work</a>.</p><p><main class="grid">

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</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Reliquie • Working Notes</title><link href="https://gavart.ist/#Reliquie%20%E2%80%A2%20Working%20Notes"></link><link href="https://gavart.ist/static/Reliquie%2520%25E2%2580%25A2%2520Working%2520Notes.html" rel="alternative" type="text/html"></link><id>bf147982-6593-ba35-7abe-b7dac3c354c4</id><updated>2025-07-07T17:24:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">

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</main></p><p><img src="./files/img/schubert-krenek-shoot-1.jpg" width="450"></img> <img src="./files/img/schubert-krenek-shoot-2.jpg" width="450"></img><br></br>
<sup>Philosophical Research Society, Los Angeles, California, United States · 28 May 2022 · Photos by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a></sup></p><h1 class="">Schubert Unvollendete / Schubert Unfinished</h1><p class="digitalGarden">Working notes for a video performance and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie%20%C2%B7%20a%20Sonata%20by%20Franz%20Schubert%20%26%20Ernst%20Krenek">recording</a> of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a>'s unfinished <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20C%20major%20%27Reliquie%27%20D.%20840">Sonata in C major 'Reliquie' D. 840</a>, with a completion written by German modernist/12-tone composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ernst%20Krenek">Ernst Krenek</a> in the style of Schubert, composed while he was in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berlin">Berlin</a> in the year 1921.</p><p><div class="row">
  <div class="column"><h3 class=""><u>Sonata Plan</u></h3><ul><li><strong>I. Moderato</strong><ul><li>completed by Schubert</li></ul></li><li><strong>II. Andante</strong><br></br><ul><li>completed by Schubert</li></ul></li><li><strong>III. Menuetto — Allegretto</strong><ul><li>fragment by Schubert / completed by Krenek</li></ul></li><li><strong>IV. Rondo — Allegro</strong><ul><li>fragment by Schubert / completed by Krenek</li></ul></li></ul><p><img src="./files/img/schubert-krenek-midjourney-2.jpg" width="450"></img><br></br> 
<sup> 
<strong>Midjourney prompt:</strong><br></br>
<code>Schubert strolling in 1920s Berlin in the style of Egon Schiele</code>
</sup></p></div>
	<div class="column"><h3 class=""><u>Film Plan</u></h3><ul><li>Introduction vignette <ul><li><strong>I. Moderato</strong> <code>(~45 minutes)</code></li></ul></li><li>Second vignette<ul><li><strong>II. Andante</strong>  <code>(~22 minutes)</code></li></ul></li><li>Third vignette<ul><li><strong>III. Menuetto — Allegretto</strong> <code>(~15 minutes)</code></li></ul></li><li>Fourth vignette<ul><li><strong>IV. Rondo — Allegro</strong> <code>(~30 minutes)</code></li></ul></li></ul><p><img src="./files/img/schubert-krenek-piano.jpg" width="450"></img><br></br>
<sup>
Photo by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Anderson">Daniel Anderson</a>
</sup></p></div>
</div></p><h3 class=""><u>Production Plan</u></h3><ul><li>Location: Philosophical Research Society, Los Angeles, California</li><li>Black and White video</li><li>3-4 Cameras</li><li>Lighting concept</li></ul><p><img src="./files/img/SchubertKrenek_Diagram_v02.jpg" width="700"></img><br></br>
<sup>
Diagram by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Anderson">Daniel Anderson</a>
</sup></p><p> 
 
 </p><h3 class=""><u>Vignette Plan</u></h3><ul><li>A series of questions hypothetically asked to both Schubert &amp; Krenek. Poetic and oblique in nature and style, in opposition to standard repertoire interview/explanation.</li></ul><h4 class=""><strong>Movement I : Moderato</strong></h4><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a>, whom Dieter Fischer-Dieskau called the "Prince of Song", left this Earth when he was 31 years old. In his music he gave most of himself to the songs for solo voice and piano, Lieder as the form is known. And yet in the Symphonies, the String Quartets, the Cantatas, or the Sonatas for piano we find the probing restlessness of an indefatigable  composer, one who left <em>eleven</em> such sonatas for pianoforte in various states of <strong>incompletion</strong>, including this one, once referred to as <em>Reliquie</em> as it was thought to be some of the last music that he wrote, a relic of his own (as he would put it in a letter to his brother Ferdinand) "<a class="tc-tiddlylink tc-tiddlylink-missing" href="#The%20indescribable%20power%20of%20the%20earth%20to%20create%20new%20life">indescribable power of the earth to create new life</a>".</h2><h2 class="">I have a strange theory which is very perverse … and it is not infallible certainly … but it is that we are dealing with the skeleton of a sonata, a sketch that Schubert intended to revise further, as it seems to be <strong>lacking</strong> in the figuration and thematic gestures of the works he actually did complete. It makes it quite compelling to interpret the sparseness of these motives and progressions <em>instead</em> as something that is half-finished, half-formed, an idea in wait … merely a plane of potentialities.</h2><h2 class="">It is worth pointing out that the piano on which we are about to hear this rather lengthy and unusual work, a New York Steinway &amp; Sons from the 1870s, would have left the factory a mere forty or so years after Schubert's death, roughly equivalent to the time that I have been alive … its light and brilliant tone being well-suited to conveying Schubert's musical imagination.</h2><h4 class=""><strong>Movement II : Andante</strong></h4><h2 class="">Schubert was a wanderer. He wrote that "<a class="tc-tiddlylink tc-tiddlylink-missing" href="#Nothing%20more%20pleasant%20than%20to%20walk%20about%20outside%20in%20the%20evening">There is probably nothing more pleasant than to walk about outside in the evening after a hot summer's day</a>". Maybe we can deduce that from these activities, he was able to offset the pains of existence (notwithstanding an occasional audacious outburst), as was once expressed in his diary "<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Schubert%27s%20Songs%3A%20A%20Biographical%20Study">There are only a few moments which enlighten Life's gloom; in the afterlife the blissful moments will become everlasting joy and more blissful ones will give us glimpses of more blissful worlds</a>. Such is Schubert's profound connection to Life's gloom and pain as embodied in his slow movements, and <em>such</em> are the contrasts here between the major and minor modes in the Andante, a tempo indication which in itself proves suitable for a wanderer, as its literal meaning signifies <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Tempo#Basic_tempo_markings" rel="noopener noreferrer" target="_blank">at a walking pace</a>.</h2><h4 class=""><strong>Movement III : Menuetto</strong></h4><h2 class="">This third movement, a minuet, exists as a fragment which was left incomplete (except for the TRIO section which occurs in the middle of it, in G sharp minor, which Schubert <em>did</em> manage to complete). And here are where things get interesting, where we can locate a hybrid, an alternate universe in which Schubert completes his Sonata. Various people have taken it upon themselves to fill-in the gaps to these last two movements that Schubert left behind, but for today we will be focusing on the completion by the Austrian-born and later American émigré composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ernst%20Krenek">Ernst Krenek</a>, which is perhaps the best known, and the one I happened to discover, by chance, via YouTube algorithm. Krenek, who spent the last years of his life not very far from here—in the Colorado Desert of California—once discussed Schubert's style, admitting that he had at first "<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Schubert%20was%20a%20lucky%20inventor%20of%20pleasing%20tunes%20%E2%80%A6">shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking dramatic power and searching intelligence</a>. Krenek's music fully embraced the twelve-tone method of composition of the Second Viennese School, and so it is surprising to find in his completion of this Sonata fragment not only his reversal on how he felt about Schubert, eventually saying that actually he "<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Schubert%20was%20a%20lucky%20inventor%20of%20pleasing%20tunes%20%E2%80%A6">was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition</a>" but also we find a complete mimesis and commitment on the part of Krenek to the <em>late classical style</em>, taking each idea to its logical conclusion and in a voice <strong>so convincingly not his own</strong>. </h2><h4 class=""><strong>Movement IV : Rondo</strong></h4><h2 class="">Try to imagine the debauchery, ferocity, and free-spirited nature of Berlin in the 1920s—in the aftermath of The Great War, the time during which Krenek took up the task of completing Schubert's relic at the behest of his friend, the pianist Eduard Erdmann. Could one go back in time and find Krenek in a rowdy bar scene, a crowded room suffused with the lingering, wafting clouds of tobacco, expletives, all manner of impropriety, and a lost cultural innocence in the wake of political murders, hyperinflation, and global isolation? And despite this backdrop of instability, there's Krenek at the piano, over by the billiards table, making the <u>carefullest</u> of <em>deliberations</em> and <strong>decisions</strong> about how to proceed in the creation of a mutagenic composition, working out his ideas amidst the din. In <em>his</em> own words he stated that "<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Completing%20the%20unfinished%20work%20of%20a%20great%20master%20is%20a%20very%20delicate%20task.">Completing the unfinished work of a great master is a very delicate task. In my opinion it can honestly be undertaken only if the original fragment contains all of the main ideas of the unfinished work … Even then the artist who goes about the ticklish task will feel slightly uneasy, knowing from his own experience as a composer that the creative mind does not always follow its own precedents.</a>"</h2><p> 
 
 </p><h3 class=""><u>Title Cards</u></h3><img src="./files/img/schubert-unvollendete/mov-i.png"></img><img src="./files/img/schubert-unvollendete/mov-ii.png"></img><img src="./files/img/schubert-unvollendete/mov-iii.png"></img><img src="./files/img/schubert-unvollendete/mov-iv.png"></img><p> 
 
 </p><p> 
 
 </p></div></content><author><name>undefined</name></author></entry><entry><title>Self-Attention</title><link href="https://gavart.ist/#Self-Attention"></link><link href="https://gavart.ist/static/Self-Attention.html" rel="alternative" type="text/html"></link><id>a8c0423f-aba8-bc6e-3c87-8ec965c3f816</id><updated>2025-07-07T17:08:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">Self-attention is the primary building block of large language models (LLMs) and transformers in general. But, how exactly does it work?
<img src="./files/img/concepts/llms/self-attention/001-FslQGUeWwAM6Q7U.jpg"></img></p><p class="digitalGarden">The input to a self-attention mechanism is an ordered list of vectors. Each of these vectors represents a token within an underlying sequence. In language applications, these tokens roughly correspond to words (or subwords) in a sentence.
<img src="./files/img/concepts/llms/self-attention/002-FslNaVyX0AAAZZA.jpg"></img></p><p class="digitalGarden">Given this list of ordered vectors, self-attention computes a new vector for each token within the sequence. Put simply, each token’s new vector is computed as a weighted average of all other vectors within the sequence. 
<img src="./files/img/concepts/llms/self-attention/003-FslNjvFWwAIbMjG.jpg"></img></p><p class="digitalGarden">However, we don’t actually compute weighted averages of the vectors themselves! We first pass all of the vectors in the sequence through a (learnable) linear projection to produce “value” vectors, then take a weighted average of these value vectors.
<img src="./files/img/concepts/llms/self-attention/004-FslN4pVWAAAbt7U.jpg"></img></p><p class="digitalGarden">The final question is: how do we compute the attention weights used in the weighted average?</p><p class="digitalGarden">First, we pass all token vectors through two separate linear projections (just like for the value vectors) to produce the “key” and “query” vectors. 
<img src="./files/img/concepts/llms/self-attention/005-FslOG9jX0AI58OE.jpg"></img></p><p class="digitalGarden">Now, let’s assume we are computing the output vector for the i-th token. The attention weight between token i and another token j is just given by the inner product of the i-th query vector and the j-th key vector! 
<img src="./files/img/concepts/llms/self-attention/006-FslORWrWYAIyIBK.jpg"></img></p><p class="digitalGarden">The only remaining complication here is that we take a softmax over attention weights so that all attention weights for each token sum to one. The weighted average is performed for all tokens in the sequence. We can “vectorize” this operation as shown below. 
<img src="./files/img/concepts/llms/self-attention/007-FslOfcDWIAA9Yqn.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Ecstatic Truth</title><link href="https://gavart.ist/#Ecstatic%20Truth"></link><link href="https://gavart.ist/static/Ecstatic%2520Truth.html" rel="alternative" type="text/html"></link><id>644903c3-ceaa-b7b9-5dff-3203444d609e</id><updated>2025-07-07T17:08:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class="">Occupying an entirely different stratum of reality is what Herzog calls “ecstatic truth”—the kind of truth marine biologist Rachel Carson celebrated in her transcendent encounter with midsummer fireflies, which illuminated for her the type of truth haloed with “an odd and hard-to-describe feeling, with so many overtones beyond the facts themselves.” Herzog writes:</h3><blockquote class="tc-quote"><h2 class="">We must ask of reality: how important is it, really? And: how important, really, is the Factual? Of course, we can’t disregard the factual; it has normative power. But it can never give us the kind of illumination, the ecstatic flash, from which Truth emerges.</h2></blockquote><h3 class="">No masterpiece of Herzog’s better sparks that ecstatic flash than his film Fitzcarraldo—the story of an elaborate endeavor to stage an opera in the rainforest. Reflecting on his creative vision for the film and its broader conceptual commentary on the nature of truth, Herzog echoes Whitman’s conviction that music is the deepest and most direct expression of nature’s reality, and writes:</h3><blockquote class="tc-quote"><h2 class="">One maxim was crucial for me: an entire world must undergo a transformation into music, must become music; only then would we have produced opera. What’s beautiful about opera is that reality doesn’t play any role in it at all; and that what takes place in opera is the overcoming of nature. When one looks at the libretti from operas (and here Verdi’s Force of Destiny is a good example), one sees very quickly that the story itself is so implausible, so removed from anything that we might actually experience that the mathematical laws of probability are suspended. What happens in the plot is impossible, but the power of music enables the spectator to experience it as true.</h2></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>exiftool</title><link href="https://gavart.ist/#exiftool"></link><link href="https://gavart.ist/static/exiftool.html" rel="alternative" type="text/html"></link><id>514bfe93-0111-af12-4dfc-c3c75ac7ca26</id><updated>2025-07-06T19:56:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Remove GPS metadata from photos</p><p><code>exiftool -gps:all= -xmp:geotag= -r path/to/dir</code></p><p>Remove all metadata</p><p><code>exiftool -all:all= -r /path/to/files/</code></p></div></content><author><name>undefined</name></author></entry><entry><title>rename</title><link href="https://gavart.ist/#rename"></link><link href="https://gavart.ist/static/rename.html" rel="alternative" type="text/html"></link><id>d7fba04f-c8e1-7bcf-c603-b318a85b762c</id><updated>2025-07-06T19:54:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><div class="markdown">
<h1>rename | syntax and examples</h1>
<p><code class="_codified_">brew install rename</code><br></br> to install<br></br>
<br></br>
<code class="_codified_">rename "s/SEARCH/REPLACE/g"  *</code><br></br>
<br></br>
This will replace the string <code class="_codified_">SEARCH</code> with <code class="_codified_">REPLACE</code> in every file (that is, <code class="_codified_">*</code>). The <code class="_codified_">/g</code> means global, so if you had a <code class="_codified_">SEARCH_SEARCH.jpg</code>, it would be renamed <code class="_codified_">REPLACE_REPLACE.jpg</code>. If you didn't have <code class="_codified_">/g</code>, it would have only done substitution once, and thus now named <code class="_codified_">REPLACE_SEARCH.jpg</code>. If you want case-insensitive, add <code class="_codified_">/i</code> (that would be, <code class="_codified_">/gi</code> or <code class="_codified_">/ig</code> at the end).
</p>
<h2>Examples</h2>
<p>Uses Perl REGEX for i.e. <code class="_codified_">^</code> target beginning <code class="_codified_">$</code> target end
</p>
<p>Delete a string<br></br>
<code class="_codified_">rename 's/myString//' *</code><br></br>
<br></br>
Add a Prefix<br></br>
<code class="_codified_">rename 's/^/MyPrefix_/' * </code><br></br>
<br></br>
<code class="_codified_">document.pdf</code> renamed to <code class="_codified_">MyPrefix_document.pdf</code><br></br>
<br></br>
</p>
<hr></hr>
<p><code class="_codified_">rename -n -N 0001 's/.*/$N.jpg/' *.jpg</code><br></br>
sequentially rename a series of images (e.g. if there is an image sequence with some numbers missing in the sequence and you would like to rename everything sequentially).
<br></br>
</p>
<p><code class="_codified_">rename 's/^CD RIP //' *</code><br></br>
<br></br>
<code class="_codified_">CD RIP 01 Song.mp3</code> to <code class="_codified_">01 Song.mp3</code><br></br>
<br></br>
Notice the extra space in <code class="_codified_">'^CD RIP '</code>, without the space all files would have a space as the first character of the file. Also note, this will work without the <code class="_codified_">^</code>character, but would match <code class="_codified_">CD RIP</code> in any part of the filename. The <code class="_codified_">^</code> guarantees it only removes the characters if they are the beginning of the file.<br></br>
<br></br>
</p>
<hr></hr>
<h3>Dry Run</h3>
<p>use <code class="_codified_">-n</code>
</p>
</div></div></content><author><name>undefined</name></author></entry><entry><title>The Entangled Brain</title><link href="https://gavart.ist/#The%20Entangled%20Brain"></link><link href="https://gavart.ist/static/The%2520Entangled%2520Brain.html" rel="alternative" type="text/html"></link><id>e8a45f1a-5648-4cb3-67df-64d69428e8dd</id><updated>2025-07-06T16:55:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cytoarchitecture</title><link href="https://gavart.ist/#Cytoarchitecture"></link><link href="https://gavart.ist/static/Cytoarchitecture.html" rel="alternative" type="text/html"></link><id>d1e700a9-828f-1a8a-d1cb-e7e4ec19feea</id><updated>2025-07-06T16:24:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Record Collection</title><link href="https://gavart.ist/#Record%20Collection"></link><link href="https://gavart.ist/static/Record%2520Collection.html" rel="alternative" type="text/html"></link><id>098498a3-4fc6-dd45-73f1-4e71cba9d0d2</id><updated>2025-07-05T16:12:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>Recorded music that has made an impact on me</code></p><p>a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Works%20in%20Progress">Work in Progress</a> :)</p></div></content><author><name>undefined</name></author></entry><entry><title>The Illusion of Thinking: Understanding the Strengths and Limitations of Reasoning Models via the Lens of Problem Complexity</title><link href="https://gavart.ist/#The%20Illusion%20of%20Thinking%3A%20Understanding%20the%20Strengths%20and%20Limitations%20of%20Reasoning%20Models%20via%20the%20Lens%20of%20Problem%20Complexity"></link><link href="https://gavart.ist/static/The%2520Illusion%2520of%2520Thinking%253A%2520Understanding%2520the%2520Strengths%2520and%2520Limitations%2520of%2520Reasoning%2520Models%2520via%2520the%2520Lens%2520of%2520Problem%2520Complexity.html" rel="alternative" type="text/html"></link><id>a315c077-6145-c71a-fff6-cdc606c14368</id><updated>2025-07-05T16:02:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden"><img src="./files/img/concepts/llms/apple/Gs2slmza0AAf2r0.jpg" width="700"></img></p><p class="digitalGarden">Instead of using the same old math tests that AI companies love to brag about, <a class="tc-tiddlylink-external" href="https://machinelearning.apple.com/research/illusion-of-thinking" rel="noopener noreferrer" target="_blank">Apple</a> created fresh puzzle games. They tested Claude Thinking, DeepSeek-R1, and o3-mini on problems these models had never seen before.</p><p class="digitalGarden">The result ↓</p><p class="digitalGarden">All "reasoning" models hit a complexity wall where they completely collapse to 0% accuracy. No matter how much computing power you give them, they can't solve harder problems.</p><img src="./files/img/concepts/llms/apple/Gs2snUyakAAxZYn.jpg"></img><p class="digitalGarden">As problems got harder, these "thinking" models actually started thinking less. They used fewer tokens and gave up faster, despite having unlimited budget.</p><p class="digitalGarden">Apple researchers even tried giving the models the exact solution algorithm. Like handing someone step-by-step instructions to bake a cake. The models still failed at the same complexity points. They can't even follow directions consistently.</p><p class="digitalGarden">The research revealed three regimes:</p><ul class="digitalGarden"><li>Low complexity: Regular models actually win</li><li>Medium complexity: "Thinking" models show some advantage</li><li>High complexity: Everything breaks down completely</li></ul><p class="digitalGarden">Most problems fall into that third category.</p><img src="./files/img/concepts/llms/apple/Gs2spskacAAIAMu.jpg"></img><p class="digitalGarden">Apple discovered that these models are not reasoning at all, but instead doing sophisticated pattern matching that works great until patterns become too complex. Then they fall apart like a house of cards.</p><p class="digitalGarden">If these models were truly "reasoning," they should get better with more compute and clearer instructions. Instead, they hit hard walls and start giving up. Is that intelligence or memorization hitting its limits?</p><p class="digitalGarden">This research suggests we're not as close to AGI as the hype suggests. Current "reasoning" breakthroughs may be hitting fundamental walls that can't be solved by just adding more data or compute.</p><p class="digitalGarden">Models could handle 100+ moves in Tower of Hanoi puzzles but failed after just 4 moves in River Crossing puzzles. This suggests they memorized Tower of Hanoi solutions during training but can't actually reason.</p><img src="./files/img/concepts/llms/apple/Gs2sszdaoAA_sJB.jpg"></img><p class="digitalGarden">While AI companies celebrate their models "thinking," Apple basically said "Everyone's celebrating fake reasoning." The industry is chasing metrics that don't measure actual intelligence.</p><p class="digitalGarden">Apple's researchers used controllable puzzle environments specifically because:</p><ul class="digitalGarden"><li>They avoid data contamination</li><li>They require pure logical reasoning</li><li>They can scale complexity precisely</li><li>They reveal where models actually break</li></ul><p class="digitalGarden">Smart experimental design if you ask me.</p></div></content><author><name>undefined</name></author></entry><entry><title>Reinforcement Learning</title><link href="https://gavart.ist/#Reinforcement%20Learning"></link><link href="https://gavart.ist/static/Reinforcement%2520Learning.html" rel="alternative" type="text/html"></link><id>44f89957-01f5-e6cc-074e-161e0e2f6f24</id><updated>2025-07-05T15:57:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">Pretraining is considered a form of <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Imitation_learning" rel="noopener noreferrer" target="_blank">imitation learning</a> as models are trained to imitate the behavior of human authors. Imitation learning is a powerful technique that makes LLMs possible but it also has significant limitations.</p><p class="digitalGarden">Systems trained with imitation learning suffer from “compounding errors”: the more mistakes they make, the more likely they are to make additional mistakes, since mistakes put them into situations that aren’t well represented by the training data … these situations are termed “out of distribution.” As a result, a model’s behavior can become erratic over time.</p><p class="digitalGarden"><strong>Reinforcement learning</strong> is a methodology that trains the model via trial and error.</p><p class="digitalGarden">Suppose you wanted to train a self-driving car purely with reinforcement learning. You’d need to convert every principle of good driving—including subtle considerations like following distances, taking turns at intersections, and when it’s OK to cross a double yellow line—into explicit mathematical formulas. This is extremely difficult. It would be easier to collect examples of humans driving well and effectively tell the model “drive like this.” That’s imitation learning.</p><p class="digitalGarden"><img src="./files/img/concepts/llms/reinforcement-learning/reinforcement-learning-01.png"></img><br></br><sup>A Google DeepMind <a class="tc-tiddlylink-external" href="https://arxiv.org/abs/2501.17161" rel="noopener noreferrer" target="_blank">Paper from 2025</a> showing how reinforcement learning performs better in out-of-distribution situations, where as imitation learning is significantly worse in such scenarios.</sup></p><p class="digitalGarden">Reinforcement learning requires a reward model—a formula to determine whether a model’s output was successful or not. Developing a good reward model is easy to do in some domains—for example, you can judge a Go-playing AI based on whether it wins or loses.</p><img src="./files/img/concepts/llms/reinforcement-learning/reinforcement-learning-02.png"></img><p class="digitalGarden">OpenAI developed a clever technique to effectively automate human feedback. It’s called Reinforcement Learning from Human Feedback (RLHF):</p><ul class="digitalGarden"><li>Human raters look at pairs of LLM responses and choose the best one.</li><li>Using these human responses, OpenAI trains a new LLM to predict how much humans will like any given sample of text.</li><li>OpenAI uses this new text-rating LLM as a reward model to (post) train another LLM with reinforcement learning.</li></ul><p class="digitalGarden">You might think it sounds suspiciously circular to use an LLM to judge the output of another LLM. Why would one LLM be any better at judging the quality of a response than the other? But it turns out that recognizing a good response is often easier than generating one. So RLHF works pretty well in practice.</p><img src="./files/img/concepts/llms/reinforcement-learning/reinforcement-learning-03.png"></img><p class="digitalGarden">Reinforcement learning makes models more powerful is by enabling extended chain-of-thought reasoning. LLMs produce better results if they are prompted to “think step by step”.</p><p class="digitalGarden">Here is how DeepSeek describes its training process:</p><blockquote class="tc-quote digitalGarden"><p>The thinking time of [R1] shows consistent improvement throughout the training process. This improvement is not the result of external adjustments but rather an intrinsic development within the model. [R1] naturally acquires the ability to solve increasingly complex reasoning tasks by leveraging extended test-time computation. This computation ranges from generating hundreds to thousands of reasoning tokens, allowing the model to explore and refine its thought processes in greater depth.</p><p>One of the most remarkable aspects of this self-evolution is the emergence of sophisticated behaviors as the test-time computation increases. Behaviors such as reflection—where the model revisits and reevaluates its previous steps—and the exploration of alternative approaches to problem-solving arise spontaneously. These behaviors are not explicitly programmed but instead emerge as a result of the model’s interaction with the reinforcement learning environment.
</p></blockquote><p class="digitalGarden">RAG (Retrieval augmented generation) only works if a model is “agentic”—if it can stay on task across multiple rounds of searching and analysis. LLMs were terrible at this prior to 2024, as the examples of AutoGPT and BabyAGI demonstrate. Today’s models are much better at it, which allows modern RAG-style systems to produce better results with less scaffolding. You can think of “deep research” tools from OpenAI and others as very powerful RAG systems made possible by long-context reasoning.</p></div></content><author><name>undefined</name></author></entry><entry><title>The American Presidency Project</title><link href="https://gavart.ist/#The%20American%20Presidency%20Project"></link><link href="https://gavart.ist/static/The%2520American%2520Presidency%2520Project.html" rel="alternative" type="text/html"></link><id>908753c6-1c2a-ccca-daed-a56f1a64eea3</id><updated>2025-07-04T18:08:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bitcoin</title><link href="https://gavart.ist/#Bitcoin"></link><link href="https://gavart.ist/static/Bitcoin.html" rel="alternative" type="text/html"></link><id>d023ec04-0f79-f1a9-b2ac-960b43785089</id><updated>2025-07-04T16:01:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fooled By Randomness · The Hidden Role of Chance in Life and the Markets</title><link href="https://gavart.ist/#Fooled%20By%20Randomness%20%C2%B7%20The%20Hidden%20Role%20of%20Chance%20in%20Life%20and%20the%20Markets"></link><link href="https://gavart.ist/static/Fooled%2520By%2520Randomness%2520%25C2%25B7%2520The%2520Hidden%2520Role%2520of%2520Chance%2520in%2520Life%2520and%2520the%2520Markets.html" rel="alternative" type="text/html"></link><id>811d19c6-dfb3-b6e8-4b15-e1a76530de43</id><updated>2025-07-04T15:23:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Wittgenstein's Ruler</title><link href="https://gavart.ist/#Wittgenstein's%20Ruler"></link><link href="https://gavart.ist/static/Wittgenstein's%2520Ruler.html" rel="alternative" type="text/html"></link><id>01e452e4-5daf-b409-0997-5ef9222b1b8a</id><updated>2025-07-04T13:27:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>"Unless you have confidence in the ruler’s reliability, if you use a ruler to measure a table you may also be using the table to measure the ruler. The less you trust the ruler‘s reliability (in probability called the prior), the more information you are getting about the ruler and the less about the table."<sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fooled%20By%20Randomness%20%C2%B7%20The%20Hidden%20Role%20of%20Chance%20in%20Life%20and%20the%20Markets">1</a></sup></p><blockquote class="tc-quote"><p><em><a class="tc-tiddlylink-external" href="https://x.com/nntaleb/status/1642161491049627653" rel="noopener noreferrer" target="_blank">That ChatGPT passes exams is much more a reflection on exams than information about ChatGPT</a>.</em>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Constantine P. Cavafy</title><link href="https://gavart.ist/#Constantine%20P.%20Cavafy"></link><link href="https://gavart.ist/static/Constantine%2520P.%2520Cavafy.html" rel="alternative" type="text/html"></link><id>69b68300-9a54-8a3d-9d49-001c396a3678</id><updated>2025-07-04T13:01:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Spellbound</title><link href="https://gavart.ist/#Spellbound"></link><link href="https://gavart.ist/static/Spellbound.html" rel="alternative" type="text/html"></link><id>da191bf0-8a72-3655-0a50-3fef473ffab7</id><updated>2025-07-04T11:16:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The term “spellbound” is a compound word derived from the Old English “spell,” meaning “story, speech, discourse,” and “bound,” from the Old English “bunden” (the past participle of “bindan”), meaning “to bind.” The combination of “spell” and “bound” gives the sense of being tied or held by a magical or captivating force.</p></div></content><author><name>undefined</name></author></entry><entry><title>42.21282713022735, -83.35484411548573</title><link href="https://gavart.ist/#42.21282713022735%2C%20-83.35484411548573"></link><link href="https://gavart.ist/static/42.21282713022735%252C%2520-83.35484411548573.html" rel="alternative" type="text/html"></link><id>340c6b23-2b27-0098-eb46-c93abc05487c</id><updated>2025-07-03T07:38:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>State Department set to launch ‘Office of Remigration’</title><link href="https://gavart.ist/#State%20Department%20set%20to%20launch%20%E2%80%98Office%20of%20Remigration%E2%80%99"></link><link href="https://gavart.ist/static/State%2520Department%2520set%2520to%2520launch%2520%25E2%2580%2598Office%2520of%2520Remigration%25E2%2580%2599.html" rel="alternative" type="text/html"></link><id>67ccc38f-3e50-fdec-74c1-e0eb24a8f611</id><updated>2025-07-01T14:18:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Rules for Radicals · A Practical Primer for Reaslistic Radicals</title><link href="https://gavart.ist/#Rules%20for%20Radicals%20%C2%B7%20A%20Practical%20Primer%20for%20Reaslistic%20Radicals"></link><link href="https://gavart.ist/static/Rules%2520for%2520Radicals%2520%25C2%25B7%2520A%2520Practical%2520Primer%2520for%2520Reaslistic%2520Radicals.html" rel="alternative" type="text/html"></link><id>2baff22e-b466-20f9-939b-cf1199d68af4</id><updated>2025-06-30T14:56:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img> 
</p><p class="digitalGarden">What sense does it make for men to walk on the moon while other men are waiting on welfare lines, or in Vietnam killing and dying for a corrupt dictatorship in the name of freedom? These are the days when man has his hands on the sublime while he is up to his hips in the muck of madness. (xv)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">This failure of many of our younger activists to understand the art of communication has been disastrous. Even the most elementary grasp of the fundamental idea that one communicates within the experience of his audience—and gives full respect to the other's values—would have ruled out attacks on the American flag. The responsible organizer would have known that it is the establishment that has betrayed the flag while the flag, itself, remains the glourious symbol of America's hope and aspirations, and he would have conveyed this message to his audence. (xviii)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">A final word on our system. The democratic ideal springs from the ideas of liberty, equality, majority rule through free elections, protection of the rights of minorities, and freedom to subscrtibe to muliple loyalties in matters of religion, ecomonics, and politics rather than to a total loyalty to the state. The spirit of democracy is the idea of importance and worth in the individual, and faith in the kind of world where the individual can achieve as much of his potential as possible. (xxiv)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">It is not a world of peace and beauty and dispassionate rationality, but as Henry James once wrote, "Life <em>is</em>, in fact, a battle. Evil is insolent and strong; beauty enchanting but rare; goodness very apt to be weak; folly very apt to be defiant; wickedness to carry the day; imbeciles to be in great places, people of sense in small, and mankind generally unhappy. But the world as it stands is no narrow illusion, no phantasm, no evil dream of the night; we wake up to it again forever and ever; and we can neither forget it nor deny it nor dispense with it". (14)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-missing" href="#Niels%20Bohr">Niels Bohr</a> points out that the appearance of contradictions was a signal that the experiment was on the right track: "There is not much hope if we have only one difficulty, but when we have two, we can match them off against each other". Bohr called this "complementarity," meaning that the interplay of seemingly conflicting forces or opposites is the actual harmony of nature. Whitehead similarly observed, "In formal logic, a contradiction is the signal of a defeat; but in the evolution of real knowledge it marks the first step in progress towards a victory". (16)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">I present here a series of rules pertaining to the ethics of means and ends: first, that <em>one's concern with the ethics of means and ends varies inversely with one's personal interest in the issue.</em></p><p class="digitalGarden"><em>The second rule of the ethics of means and ends is that the judgement of the ethics of means is dependent upon the political position of those sitting in judgement.</em></p><p class="digitalGarden"><em>The third rule of the ethics of means and ends is that in war the end justifies almost any means.</em></p><p class="digitalGarden"><em>The fourth rule of the ethics of means and ends is that judgement must be made in the context of the times in which the action occurred and not from any other chronological vantage point.</em></p><p class="digitalGarden"><em>The fifth rule of the ethics of means and ends is that concern with ethics increases with the number of means available and vice versa.</em></p><p class="digitalGarden"><em>The sixth rule of the ethics of means and ends is that the less important the end to be desired, the more one can afford to engage in ethical evaluations of means.</em></p><p class="digitalGarden"><em>The seventh rule of ethics of means and ends is that generally success or failure is a mighty determinant of ethics.</em></p><p class="digitalGarden"><em>The eighth rule of the ethics of means and ends is that the morality of a means depends upon whether the means is being employed at a time of imminent defeat or imminent victory.</em></p><p class="digitalGarden"><em>The ninth rule of the ethics of means and ends is that any effective means is automatically judged by the opposition as being unethical.</em></p><p class="digitalGarden"><em>The tenth rule of the ethics of means and ends is that you do what you can with what you have and clothe it with moral garments.</em></p><p class="digitalGarden"><em>The eleventh rule of the ethics of means and ends is that goals must be phrased in general terms like "Liberty, Equality, Fraternity," "Of the Common Welfare," "Pursuit of Happiness," or "Bread and Peace".</em> <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Walt%20Whitman">Walt Whitman</a> put it: "The goal once named cannot be countermanded." It has been previously noted that the wise man of action knows that frequently in the stream of action of means towards ends, whole new and unexpected ends are among the major results of the action. (26-45)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden"><em>A bit of a blurred vision of a better world.</em> Much of an organizer's daily work is detail, repetitive and deadly in its monotony. In the totality of things he is engaged in one small bit. It is as though as an artist he is painting a tiny leaf. It is inevitable that sooner or later he will react with "What am I doing spendign my whole life just painting one little leaf? The hell with it, I quit." What keeps him going is a blurred vision of a great mural where other artists—organizers—are painting their bits, and each piece is essential to the total. (75)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Finally, the organizer is constantly creating the new out of the old. He knows that all new ideas arise from conflict; that every time man has had a new idea it has been a challenge to the sacred ideas of the past and the present and inevitably a conflict has raged. Curisotiy, irreverence, imagination, sense of humor, a free and open mind, and acceptance of the relativity of values and of the uncertainty of life, all inevitably fuse into the kind of person whose greatest joy is creation. He conceives of creaino as the very essence of the meaning of life. (80)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The white Canadian community development workers kept looking at the floor, very embarassed, during the unreeling of that scene, and giving sidelong looks at the Indians. After i was over one of the Indians stood up and said, "When Mr. Alinksy told us we were full of shit, that was the first time a white man has really talked to us as equals—you would never say that to us. You would always say 'Well, I can see your point of view but I'm a little confused,' and stuff like that. In other words you treat us as children". (112)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">There can be no such thing as a "controversial" issue. When there is agreement there is no issue; issues only arise when there is disagreement or controversy. An organizer must stir up dissatidfaction and discontent; provide a channel into which the people can angrily pour their frustrations. He must create a mechanism that can drain off the underlying guilt for having accepted the previous situation for so long a time. Out of this mechanism, a new community organization arises. </p><p class="digitalGarden">✴︎</p><p class="digitalGarden">We learn, when we respect the dignity of the people, that they cannot be denied the elementary right to participate fully in the solutions to their own problems. Self-respect arises only out of people who play an active role in solving their own crises and who are not helpess, passive, puppet-like recipients of private or public services. To give people help, while denying them a significant part in the action, contributes nothing to the development of the individual. In the deepest sense it is not giving but taking—taking their dignity. Denial of the opportunity for participation is the denial of human gidnity and democracy. I will not work. (123)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden"><em>Ridicule is man's most potent weapon</em>. It is almost impossible to counterattack ridicule. Also it infuriates the opposition, who then react to your advantage. (128)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">f  A leader may struggle toward a decision and weigh the merits and demerits of a situation which is 52 per cent positive and 48 per cent negative, but once the decision is reached he must assume that his cause is 100 per cent positive and the opposition 100 per cent negative. He can't toss forever in limbo, and avoid decision. He can't weigh arguments or reflect endlessly—he must decide and act. Otherwise there are Hamelt's words: </p><p class="digitalGarden">And thus the native hue of resolution<br></br>I sicklied o-er with the pale cast of thought,<br></br>And enterprises of great pith and moment<br></br>With thsi regard their currents turn awry,<br></br>And lose the name of action.<br></br></p><p class="digitalGarden">(134)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">To the question why was I "meddling" in the black ghetto after "everything" that Eastman Kodak had done for the blacks (there had been a bloody riot, National Guard, etc., the previous summer), I looked blank and replied, "Maybe I am innocent and uninformed of what has been happening here, but as far as I know the only thing Eastman Kodak has done on the race issue in America has been to introduce color film." The reaction was shock, anger, and resentment from Kodak. They were not being attacked or insulted–they were being laughed at, and this was insufferable. It was the first dart tossed at the big bull. Soon Eastman would become so angry that it would make the kind of charges that finally led to its own downfall. (137)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">For example, I have emphasized and re-emphasized that tactics means you do what you can with what you've got, and that power in the main has always gravitated towards those who have money and those whom people follow. The resources of the Have-Nots are (1) no money and (2) lots of people. All right, let's start from there. People can show their power by voting. What else? Well, they have physical bodies. How can they use them? Now a meleange of ideas begins to appear. Use the power of the law by making the establishment obey its own rules. Go outside the expeience of the enemy, stay inside the experience of yor people. Emphasize tactics that your people will enjoy. The threat is usually more terrifying than the tactic itself. Once all these rules and principles are festering in your imagination they grow into a synthesis. (138-9)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">This opens a new vista—not only do we have a whole class determined to keep its power and in constant conflict with the Have-Nots; at the same time, they are in conflict among themselves. Power is not static; it cannot be frozen and preserved like food; it must grow or die. Therefore, in order to keep power the status quo must get more. But from whom? There is just so much more than can be squeezed out of the Have-Nots—so the Haves must take it from each other. They are on a road from which there is no turning back. This power cannibalism of the Haves permits only temporary truces, and only when equally confronted by a common enemy. Even then there are regular breaks in the ranks, as individual units attempt to exploit the general threat for their own special benefit. Here is the vulnerable belly of the status quo. (149) </p><p class="digitalGarden">… Once one understands this internal battle for power within the status quo, one can begin to appraise effective tactics to exploit it. It is sad to see the stupidity of inexperienced organizers who make gross errors by failing to have even an elementary appreciation of this pattern. (150-1)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The basic tactic in warfare against the Haves is a mass political jujitsu: the Have-Nots do not rigidly oppose the Haves, but yield in such planned and skilled ways that the superior strength of the Haves becomes their own undoing. For example, since the Haves publicly pose as the custodians of responsibility, morality, law, and justice (which are frquently strangers to each other), they can be constantly pushed to live up to their own book of morality and regulations. No organization, including organized religion, can live up to the letter of its own book. You can club them to death with their "book" of rules and regulations. This is what that great revolutionary, Paul of Tarsus, knew when he wrote to the Corinthians: "Who also hath made us able ministers of the New Testament; not of the letter, but of the spirit; for the letter killeth." (152)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Another dramatic faliure to understand tactics came during the second Chicago public school boycott, in 1964, a struggle against a de facto segragated public school system. We know that the efficacy of any action is in the reaction it evokes from the Haves, so that the cycle escalates in a continuum of conflict. Lacking any reaction from the Haves (except public notice of the numbers of children involved), effects of the boycott were significantly over by the next day. This boycott was what I call a terminal tactic, one that crests, breaks, and disappears like a wave. Terminal tactics do not arouse the reaction that is essential for the development of a conflict. A terminal tactic is to be exercised only to finish a conflict, for it is ineffective in the development of the rhythm of give and tkae that one must have while stepping up the war and building the movement. (153)</p><p class="digitalGarden">In Chicago the Haves slipped badly when both a judge and a district attorney muttered that the book of regulations banned attempts to induce the absence of public school students, and growled ominously about an injunction against all civil rights leaders taking part in the development of the boycott. Here, as always, whenever the Haves start living by their book they present a golden opportunity to the Have-Nots to transform what had been a terminal tactic into a sweeping advance on many fronts. … Now was the time to start an intensive campaign of ridicule, insults, and taunting defiance, daring the district attorney and the judge either to live up to their regulations and issue the injunctions or stand publicly exposed as fearful frauds who were afraid to put the law where their mouths were. Such behavior on the part of the Have-Nots would probably have resulted in the injunction. But by this time the boycott tactic would have had shaking consequences. Immediately following the boyucott every civil rights leader in the city of Chicago involved in it would have been in violation of the court injunction. But the last thing that the establishment wants is to indict and imprison every single civil rights leader in the city of Chicago. Such a step would have shaken the power structure … and certainly put the entire issue of school segregation policy on the line. (153-4)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The pressure of time should be ever-present in the mind of the tactician as he begins to engage in action … Furthermore, the effect on the opposition would have been that the mayor, seeing a mass action of 8000 shrink to 800, would assume that if he only sits it out another two or three hours the 800 will shrink to 80, and if he sits it out for a day there will be nothing left. That would have gained us nothing. With this in mind, the leadership of the Woodlawn Organization made its confrontation with the mayor, told the mauor that they wanted action and quickly on their particular demands, and that they were going to give him just so much time to meet their demands. Having given their message, they said, they were now calling off their demonstration, but they would be back in the same numbers or more. And with that they turned around and led their still-enthusiastic army in an organized, full armed, powerful withdrawal, and left this mass impression upon the City Hall authorities. (160-1)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Tactics are not the product of careful cold reason, that they do not follow a table of organization or plan of attack. Accident, unpredictable reactions to your own actions, necessity, and improvisation dictate the direction and nature of tactics. … I cannot overemphasize that the tactic itself comes out of the free flow of action and reaction, and requires on the part of the organizer an easy acceptance of apparent disorganization. (165)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">I suggest that America's corporations are a spiritual slum, and their arrogance is the major threat to our future as a free society. (183)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Our rebels have contemptuously rejected the values and way of life of the middle class. They have stigmatized it as materialistic, decadent, bourgeois, degenerate, imperialistic, war-mongering, brutalized, and corrupt. They are right; but we must begin from where we are if we are to build power for change, and the power and the people are in the big middle-class majority … Instead of the infantile dramatics of rejection, he will now begin to dissect and examine that way of life as he never has before. (185)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Seeking some meaning in life, they turn to an extreme chauvinism and become defenders of the "American" faith. Now they even develop rationalizations for a life of futility and frustruations. "It's the Red menace!" Now they are not only the most vociferous in their espousal of law and order but ripe victims for such as demogogic Geroge Wallace, the John Birth Society, and the Red-menace perennials. Insecure in this fast-changing world, they cling ot illusory fixed points—which are very real to them. Even conversation is charted toward fixing your position in the world. (188)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">There are enourmous basic changes ahead. We cannot continue or last in the nihilistic absurdities of our time where nothing we do makes sense. The scene around us compels us to look away quickly, if we are to cling to any sanity. We are the age of pollution, progressively burying ourselves in our own waste. We announce that our water is contaminated by our own excrement, insecticides, and detergents, and then do nothing. Even a half-witted people, if sane, would long since have done the simple ans obvious—ban all detergents, develop new non-poluting insecticides, and immediately build waste-disposal units. Apparently we would rather be corpses in clean shirts. (191)</p></div></content><author><name>undefined</name></author></entry><entry><title>I-message</title><link href="https://gavart.ist/#I-message"></link><link href="https://gavart.ist/static/I-message.html" rel="alternative" type="text/html"></link><id>e9632450-52cc-938a-a3a3-6982ef07b95c</id><updated>2025-06-28T21:08:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Climate</title><link href="https://gavart.ist/#Climate"></link><link href="https://gavart.ist/static/Climate.html" rel="alternative" type="text/html"></link><id>96ebd2bd-e492-267c-eaf5-b922f2b54598</id><updated>2025-06-28T20:51:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A Deep Dive on Global Earth Observation Civilian Programs, Budgets and Trends</title><link 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>I am an Airbus A350 Pilot</title><link href="https://gavart.ist/#I%20am%20an%20Airbus%20A350%20Pilot"></link><link href="https://gavart.ist/static/I%2520am%2520an%2520Airbus%2520A350%2520Pilot.html" rel="alternative" type="text/html"></link><id>5530dbaf-31ba-3f7d-dc07-8085554ccdf8</id><updated>2025-06-28T19:29:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Critical Play: Radical Game Design</title><link href="https://gavart.ist/#Critical%20Play%3A%20Radical%20Game%20Design"></link><link href="https://gavart.ist/static/Critical%2520Play%253A%2520Radical%2520Game%2520Design.html" rel="alternative" type="text/html"></link><id>c8ba977d-db9c-4b78-3cc6-cf4f3e5930b0</id><updated>2025-06-28T08:28:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Critical%20Play%3A%20Radical%20Game%20Design">Critical Play: Radical Game Design</a></p></div></content><author><name>undefined</name></author></entry><entry><title>9191 — Critical Play: Radical Game Design</title><link href="https://gavart.ist/#9191%20%E2%80%94%20Critical%20Play%3A%20Radical%20Game%20Design"></link><link href="https://gavart.ist/static/9191%2520%25E2%2580%2594%2520Critical%2520Play%253A%2520Radical%2520Game%2520Design.html" rel="alternative" type="text/html"></link><id>f1915f98-37ab-9697-4eb9-2705ed21d2e7</id><updated>2025-06-28T08:28:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Critical%20Play%3A%20Radical%20Game%20Design">Critical Play: Radical Game Design</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Why Did They Kill: Cambodia In The Shadow of 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type="text/html"></link><id>a09e7ddc-ddc3-3a09-923f-e8444d52fcb5</id><updated>2025-06-28T08:26:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Future%20of%20Media%3A%20Resistance%20and%20Reform%20in%20the%2021st%20Century">The Future of Media: Resistance and Reform in the 21st Century</a></p></div></content><author><name>undefined</name></author></entry><entry><title>9243 — Why Did They Kill ?</title><link href="https://gavart.ist/#9243%20%E2%80%94%20Why%20Did%20They%20Kill%20%3F"></link><link href="https://gavart.ist/static/9243%2520%25E2%2580%2594%2520Why%2520Did%2520They%2520Kill%2520%253F.html" rel="alternative" type="text/html"></link><id>b1cd780d-3de2-cb48-14b6-bec0345a8a9b</id><updated>2025-06-28T08:26:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Why%20Did%20They%20Kill%3A%20Cambodia%20In%20The%20Shadow%20of%20Genocide">Why Did They Kill: Cambodia In The Shadow of Genocide</a></p></div></content><author><name>undefined</name></author></entry><entry><title>The Future of Media: Resistance and Reform in the 21st Century</title><link href="https://gavart.ist/#The%20Future%20of%20Media%3A%20Resistance%20and%20Reform%20in%20the%2021st%20Century"></link><link href="https://gavart.ist/static/The%2520Future%2520of%2520Media%253A%2520Resistance%2520and%2520Reform%2520in%2520the%252021st%2520Century.html" rel="alternative" type="text/html"></link><id>c15e1b6e-f8c9-2300-9689-fe49f1751bf5</id><updated>2025-06-28T08:24:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="500"></img><img height="733" src="./files/img/books/future-of-media-notes.JPG"></img></p><p class="digitalGarden">Imagine, for example, that there had been a modicum of public involvement when Congress lifted the national cap on how many radio stations a single company could own in 1996. That provision—written, as far as anyone can tell, by radio industry lobbyists and slipped into the bill by a compliant legislator—sailed through Congress without a shred of discussion or press coverage. It is safe to say that 99.99 percent of Americans were unaware of the legislation. As a result, radio broadcasting has become the province of a small number of firms that can own as many as eight stations each in a single market. Clear Channel owns over 1,200 stations nationally. Because of this single change in policy, competition has decreased, local radio news and programming have been decimated (too expensive and much less competitive pressure to produce local content), musical playlists have less nutrition and variety than the menu at McDonald's, while the amount of advertising has bloated. This is all due to a change in policy, not to the inexorable workings of the free market (Robert McChesney, 13).</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Unfortunately, the patterns revealed in the <em>Nightline</em> study can be found throughout the media. More recently, FAIR commissioned a study of one year of programming on the network newscasts (ABC World News Tonight, NBC Nightly News, CBS Evening News). The study analyzed over 14,000 sources appearing on network news shows in 2001 and found that:</p><ul class="digitalGarden"><li>92 percent of all united States sources interviewed were white, 85 percent were male;</li><li>Where party affiliation was identifiable, 75 percent were Republican, and 25 percent were Democrat;</li><li>Corporate representatives appeared about 35 times more frequently than did union representatives (a sad irony, given the state of the economy at the time of the study);</li><li>Women made up 15 percent of all sources, and were rarely featured as experts. </li><li>Racial imbalances in sourcing were dramatic: 7 percent of sources were black, 0.6 percent of all sources were Latino, 0.6 percent were Arab-American, and 0.2 percent were Asian_American. out of a total of 14,632 sources, only one on-camera source was identified as Native American. (Peter Hart, 52)</li></ul><p class="digitalGarden">✴︎</p><p class="digitalGarden">Given that the mainstream media are so overwhelmingly dominated by official sources, one might hope that public broadcasting could offer a healthy alternative, showcasing perspectives that fall outside this narrow consensus. In fact, that is the very purpose of public broadcasting. Unfortunately, FAIR'S source studies have revealed that national news offerings on PBS and National Public Radio (NPR) often mimic the same patterns found in mainstream corporate media. While public radio and television might theoretically exist to provide a home for voices that may otherwise be unheard, in reality they often end up repeating the offerings of corporate, advertiser-supported media. Environmental advocated, labor spokes-people, and other public-interest voices find themselves at the same disadvantage in "public" media as they do in commercial media.</p><p class="digitalGarden">Consider FAIR'S 1990 study of the guest list of the PBS show show <em>MacNeil/Lehrer NewsHour</em>, which happened to coincide with the Exxon Valdez oil spill. Though the event was an absolute environmental catastrophe, the <em>NewsHour</em> decided that one group wouldn't need to be part of the discussion of the oil spill: environmentalists. MacNeil/Lehrer had seven segments on the spill, but not one included an environmental representative. Some segments were limited to Exxon officials and friendly government officials, including one discussion that featured Alaska's governor counseling Exxon's chairman that he'd been too hard on his own company. (Peter Hart, 55)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Under the Reagan administration, the National. Association of Broadcasters Code of Conduct was deemed to be in violation of antitrust laws. The Fairness Doctrine's encouragement of discussion about local  issues of controversy was said to hamper debate. Laws created to subject radio and TV stations to local scrutiny were determined to be unnecessary because of the marketplace. Laws meant to encourage the hiring and promotion of minorities were now said to discriminate against whites. And, somehow, I could not convince my colleagues at CNN that this major change qualifies as news. (Mark Lloyd, 74)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The so-called liberal press—even the Big Five—was long supportive of such Republican right-wing causes as Nixon's execution of the Vietnam War and Reagan's adventures in South America. It took massive corruption and illegal tactics—such as the thefts and wiretapping at Watergate, and the arms and drug dealing of Iran-Contra—on the part of Republican administrations to wake these supposedly liberal bastions from their stupor. It took far less prompting for the Big Three to attack President Clinton for his affair with Monica Lewinsky. What, then, does it mean to be liberal? If being against burglary and illegal arms dealing is liberal, the press is liberal. If denouncing a married man for lying about adultery id liberal, the press is liberal. If being overtly skeptical of the use of military power is liberal, then the press is certainly not liberal. (Mark Lloyd, 78)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The closed-door [FCC] sessions, which are officially called ex parte meetings, are allowed under FCC rules. The meetings are not recorded, nor are the participants required to keep detailed minutes of the sessions. Non-FCC people who participate in the meetings are supposed to file a notice of the session by the end of the following day. The notice is meant to include a summary of what was discussed. Some critics charge that the ex parte process simply allows broadcasters and other industries the FCC regulates to conduct their meetings out of the public eye. … And that is precisely what George Stigler, a conservative economist at the University of Chicago, whose economics department is synonymous with free-market advocacy, suggested would happen to government regulatory agencies. Stigler coined the phrase "captive regulator" and argues that, given enough time, a regulatory agency will end up beholden to, and even a defender of, the very industry it is supposed to oversee in the public interest. (John Dunbar, 140)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Third, the political and financial muscle of television broadcasters has assured them important future roles. In what was perhaps its greatest legislative accomplishment since its founding, the National Association of Broadcasters inserted into the 1996 Communications Act and extraordinary provision giving existing TV licensees exclusive use, free of charge, of a huge swath of prime spectrum for digital TV transmission. Access to this spectrum assures placement on cable TV systems from the "must-carry" and "retransmission" rights granted in the 1992 Cable Act. Thus, however vestigial over-the-air TV technology may become in the future, over-the-air TV stations will have top billing on the nation's cable TV systems. The same is essentially true for radio; the FCC has authorized a "digital audio" technology that locks in the rights of existing broadcasters and makes it almost impossible for new commercial competitors to obtain spectrum. (Schwartzman, Leanza, Feld, 153)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">By the same token, a cable company has a greater incentive to air its own programming than to give access to another company's product. In a second, more disturbing, example, there is a demonstration of how economic incentives of vertically integrated media conglomerates can warp news coverage, as in the recent attempt by CBS, a subsidiary of Viacom, to secure an interview with u.S. Army Private First Class Jessica lynch. PFC Lynch attracted public attention during the Iraq war when a squad of Marines apparently rescued her after her capture by Iraqis. To land the first interview, CBS offered to leverage PFC Lynch across Viacom's media properties. In addition to a news interview promoting Lynch, Viacom offered to provide a two-hour CBS news documentary, a reunion with her rescuers, and a publicity campaign. The latter would feature segments on several CBS news programs including the <em>CBS Evening News</em>, an MTV appearance, a Country Music Television concert in her hometown, a two-hour made-for-TV movie produced by CBS Entertainment, and book publication with the imprimatur of Viacom's Simon &amp; Schuster. Although this proposed deal made economic sense for Viacom, it represents a serious breakdown in the ability of the public to receive news with confidence that it meets high standard of journalistic integrity (rather than simply being a cross-promotional advertisement). (Schwartzman, Leanza, Feld, 156)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The opportunity costs of poorly managed spectrum resource go well beyond lost government revenues from spectrum sales. A poorly managed spectrum resource will jeopardize the ability of future generations to shape political discourse and create new means of expression. A free and open spectrum will foster democratic freedoms just as access to unregulated, private printing presses did in the era of Thomas Paine and Benjamin Franklin, as mimeograph and Xerox machines did for student activists of the 1960s and 1970s, and as the open, end-to-end architecture of the Internet has empowered current legions of civic-minded bloggers and netizens. Public airwaves that are exclusively licensed and sold off to the highest industry bidder—or worse, given away without commanding any sort of compensation for their use—represent an immense waste of human and civic potential far beyond any economic calculation. Yet this is precisely the sort of privatization of the public airwaves that the bush administration's FCC has been attempting to push through since 2001.</p><p class="digitalGarden">Spectrum policy is rife with baffling contradictions. One one level, the spectrum policy debate can be understood as a First Amendment issue, with access to the airwaves seen as the basic infrastructure for wireless communications. On another level, spectrum can be seen as publicly owned natural resource (one with a profound capacity to enable democratic processes), making the allocation and cost of licenses an industrial policy issue demanding a fair return to the public. With such a wide range of corporate, government, and civic stakeholders, spectrum reform is a uniquely complex public policy issue with far-reaching implications. (Calabrese, Barranca, 208)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">What emerged from the Uruguay Round in 1994 were the World Trade Organization and 900 pages of one-size fits-all rules, setting policy on matters extending far beyond trade. WTO rules granted new powers and rights to corporations and restricted government action on local economic development, the environment, food safety, public health, economic justice, and even ways in which nations' tax dollars could be spent. If such an autocratic, antidemocratic governance system had been imposed by force over elected governments around the world, human rights monitors and United Nations inspectors would have been dispatched and the <em>New York Times</em> and <em>Washington Post</em> would have sounded the alarms in news coverage and editorials. Instead, the United States media stood complicit in enthroning the WTO's legitimacy and aiding the threat to democratically accountable policymaking and just economic development worldwide. (Wallach, Slevin, 277) </p><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Future%20of%20Media%3A%20Resistance%20and%20Reform%20in%20the%2021st%20Century">The Future of Media: Resistance and Reform in the 21st Century</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Saul D. Alinsky</title><link href="https://gavart.ist/#Saul%20D.%20Alinsky"></link><link href="https://gavart.ist/static/Saul%2520D.%2520Alinsky.html" rel="alternative" type="text/html"></link><id>1f053ef9-7092-c40d-6b45-9e2ba3aa2d3d</id><updated>2025-06-26T11:53:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A Portrait of the Artist as a Young Man</title><link href="https://gavart.ist/#A%20Portrait%20of%20the%20Artist%20as%20a%20Young%20Man"></link><link href="https://gavart.ist/static/A%2520Portrait%2520of%2520the%2520Artist%2520as%2520a%2520Young%2520Man.html" rel="alternative" type="text/html"></link><id>413e1d3f-45c5-ab08-6206-9a18e2952ee8</id><updated>2025-06-26T11:51:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Gavin Arturo Gamboa</title><link href="https://gavart.ist/#Gavin%20Arturo%20Gamboa"></link><link href="https://gavart.ist/static/Gavin%2520Arturo%2520Gamboa.html" rel="alternative" type="text/html"></link><id>21c1afb1-0df1-60e1-6f4f-a11cc7c669cc</id><updated>2025-06-26T10:45:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Website: <a class="tc-tiddlylink-external" href="https://gavart.ist" rel="noopener noreferrer" target="_blank">https://gavart.ist</a> • Email: <a class="tc-tiddlylink-external" href="mailto:in@gav.cloud" rel="noopener noreferrer" target="_blank">in@gav.cloud</a><br></br>
Born 1984 August 27 • Mérida, Yucatán, Mexico<br></br>
Language Fluency: English • Spanish</p><p><div class="tc-page-controls larger-button">
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</div></p><div style="width:800px;"><h2 class=""><u>Summary</u></h2><p>Self-taught composer and software developer with 8+ years of experience working in live production environments including tech, music, theater, cinema, virtual reality and television, with engagements and appearances in multiple cities in the United States, Mexico, and Europe. Highly knowledgeable in content creation, web-development, information design, machine learning, and FOSS.</p><h2 class=""><u>Strengths</u></h2><ul><li>I am able to analyze systems holistically, leading to a well-balanced understanding from several vantage points.</li><li>Curious and disciplined, with high attention to detail and quality.</li><li>I have a mature communication style and I am able to articulate my thoughts well.</li><li>I am self-motivated in teaching myself high-level skills to improve my output and efficiency.</li><li>I have ambition to explore new ideas and a knack for applying old ideas in new ways.	</li></ul><h2 class=""><u>Proficiency</u></h2><p>php, JavaScript, CSS, HTML5, Node.js, ProcessWire, JSON, MAMP, SQL, Git, Python, Postman, Google Suite, Adobe Creative Cloud (Premiere, Audition, Photoshop, Media Encoder), Davinci Resolve, Max/MSP, Personal Knowledge Management frameworks (TiddlyWiki, Notion, Obsidian, ClickUp), Shell scripting, Unix, macOS, Windows</p><ul><li>Proficient on command line using Bash, Git, and nnn.</li><li>Proficient with video codecs, editing, post.</li></ul></div><h2 class=""><u>Work History</u></h2><h3 class="">2020-2023</h3><ul><li><a class="tc-tiddlylink-external" href="https://spiritbomb.ai" rel="noopener noreferrer" target="_blank">Spirit Bomb Ltd</a><ul><li><strong>Lead Developer</strong> • Remote<ul><li>Full-Stack Software Engineer / DevOps<ul><li>Custom Frontend and Backend for company website</li><li>Built comprehensive wiki detailing in-house IP and product</li><li>AppScript automations to scrape social media post data<ul><li>Sentiment analysis and other metric benchmarks testing</li></ul></li><li>System Administration<ul><li>Email, Web Domain(s), Project Management software (ClickUp)</li></ul></li></ul></li><li>Blockchain Researcher / Developer<ul><li>Custom smart contracts for revenue splits on Ethereum</li><li>NFT-gated React SPA for collectors</li></ul></li><li>Sound Design<ul><li>Social media, teasers, tokenized collectibles</li></ul></li></ul></li></ul></li></ul><h3 class="">2015-2023</h3><div style="width:800px;"><ul><li><a class="tc-tiddlylink-external" href="https://strangeloop-studios.com" rel="noopener noreferrer" target="_blank">Strangeloop Studios LLC</a><ul><li><strong>Visual Content Design / DevOps</strong> • Los Angeles, California<ul><li>Full-Stack Software Engineer<ul><li>Custom Frontend and Backend for company website</li><li>System administration<ul><li>Email, Web Domain(s), Social Media accounts</li><li>NAS Server management, configuration, optimization</li></ul></li></ul></li><li>Visual Programming &amp; Design<ul><li>Algorithmic code-based visual design with Max/MSP</li><li>Resolume, Adobe Creative Cloud</li></ul></li><li>Projects with:  Flying Lotus • The Weeknd • Kendrick Lamar • Blackpink • Erykah Badu • Lil Nas X • Zeds Dead • Bonobo • Sza • Billie Eilish • G-Dragon • Vince Staples • David Gilmour, among others.</li></ul></li></ul></li></ul></div><h3 class="">2012-2020</h3><ul><li><a class="tc-tiddlylink-external" href="https://baduworldmarket.com" rel="noopener noreferrer" target="_blank">Controlfreaq Records, Inc.</a><ul><li><strong>Visual Content Design and Operation</strong> • United States / Europe / Japan<ul><li>Touring VJ, Visual Programming &amp; Design</li><li>Creative Producer / Media Content Creation </li><li>Animation for Broadcast Television</li></ul></li></ul></li></ul><h2 class=""><u>Projects • Exhibitions</u></h2><h3 class="">2025</h3><ul><li><a class="tc-tiddlylink-external" href="https://www.billboard.com/lists/young-thug-summer-smash-concert-recap/young-thug-apologizes-to-his-fans-for-being-away/" rel="noopener noreferrer" target="_blank">Young Thug • Summer Smash Tour</a><ul><li><strong>Visual Content • Video Editor</strong> <ul><li>Delivering for D3 Server and NotchLC pipelines</li></ul></li></ul></li></ul><h3 class="">2024</h3><ul><li><a class="tc-tiddlylink-external" href="https://gavart.ist/#Humoresques%20For%20Autoregressive%20Compute" rel="noopener noreferrer" target="_blank">Humoresques For Autoregressive Compute</a><ul><li><strong>Music Composition using Machine Learning</strong><ul><li>Realtime Audio Variational autoEncoder (IRCAM RAVE)</li><li>Torchscript model trained on 10.41 hours of recordings of my original music</li></ul></li></ul></li><li><a class="tc-tiddlylink-external" href="https://gavart.ist/#Temporal%20Tide%20%C2%B7%20S%C3%B3nar%202024" rel="noopener noreferrer" target="_blank">Temporal Tide · Sónar Festival • Barcelona ES</a><ul><li><strong>Participation in group exhibition</strong><ul><li>Audio/visual fixed-media utilizing data-sonification techniques</li><li>United Nations 2030 Agenda for Sustainable Development data</li></ul></li></ul></li><li><a class="tc-tiddlylink-external" href="https://gavart.ist/#Causal%20Islands%3A%20LA%20Community%20Edition" rel="noopener noreferrer" target="_blank">Causal Islands: Los Angeles Community Edition</a><ul><li><strong>Open-source software presentation &amp; workshop</strong><ul><li>Using TiddlyWiki For Personal Knowledge Curation</li></ul></li></ul></li></ul><h3 class="">2023</h3><ul><li><a class="tc-tiddlylink-external" href="https://strangeloop-studios.com/projects/concert-visuals/erykah-badu/unfollow-me-tour/" rel="noopener noreferrer" target="_blank">Erykah Badu • Unfollow Me Tour’</a> <ul><li><strong>Creative Producer • Animator</strong><ul><li>Parnelli Award Nominee • Media Content Creator of The Year</li></ul></li></ul></li><li><strong><a class="tc-tiddlylink-external" href="https://bethmorrisonprojects.org/bmp-producer-academy-2023-participants/" rel="noopener noreferrer" target="_blank">Beth Morrison Projects Producer Academy</a></strong><ul><li><strong>Mellon Foundation Grant recipient</strong><ul><li>Creative Producing in the Opera and performance industry</li></ul></li></ul></li><li><a class="tc-tiddlylink-external" href="https://transart.it/past-editions/23/en/home/a-journey-into-monstrous-spaces" rel="noopener noreferrer" target="_blank">Transart Festival • Bolzano IT</a><ul><li><strong>Composer</strong><ul><li>Situational chamber music for Argentinian artist David Lamelas</li></ul></li></ul></li><li><a class="tc-tiddlylink-external" href="https://gavart.ist/#offline%20%C2%B7%20using%20TiddlyWiki%20for%20personal%20knowledge%20curation" rel="noopener noreferrer" target="_blank">offline Workshop • Berlin</a><ul><li><strong>Open-source software presentation &amp; workshop</strong><ul><li>Using TiddlyWiki For Personal Knowledge Curation</li></ul></li></ul></li></ul><h2 class=""><u>Education</u></h2><h3 class="">2002-2007</h3><ul><li><strong>University of California Santa Barbara</strong><ul><li><strong>Bachelors of Music</strong> with a Major in Music (Honors)<ul><li>Emphasis in Piano Performance</li></ul></li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Desde el corazón de la tierra</title><link href="https://gavart.ist/#Desde%20el%20coraz%C3%B3n%20de%20la%20tierra"></link><link href="https://gavart.ist/static/Desde%2520el%2520coraz%25C3%25B3n%2520de%2520la%2520tierra.html" rel="alternative" type="text/html"></link><id>ee0eed3e-9f85-07de-ee88-f0567266f310</id><updated>2025-06-25T22:04:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Buttondown</title><link href="https://gavart.ist/#Buttondown"></link><link href="https://gavart.ist/static/Buttondown.html" rel="alternative" type="text/html"></link><id>b20a4e22-33b5-8848-8805-0269a81e0da4</id><updated>2025-06-25T21:30:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>EA Long Term Future Fund</title><link href="https://gavart.ist/#EA%20Long%20Term%20Future%20Fund"></link><link href="https://gavart.ist/static/EA%2520Long%2520Term%2520Future%2520Fund.html" rel="alternative" type="text/html"></link><id>acba654e-1c83-fe45-8a57-5299cd40122e</id><updated>2025-06-25T21:26:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Effective Altrusim Funds</title><link href="https://gavart.ist/#Effective%20Altrusim%20Funds"></link><link href="https://gavart.ist/static/Effective%2520Altrusim%2520Funds.html" rel="alternative" type="text/html"></link><id>0e15c49f-bc9a-e9cc-4f98-58dc3a806136</id><updated>2025-06-25T21:24:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Charities</title><link href="https://gavart.ist/#Charities"></link><link href="https://gavart.ist/static/Charities.html" rel="alternative" type="text/html"></link><id>ece9d0d9-a55a-3b0c-e2ca-a81e6c2123ab</id><updated>2025-06-25T21:23:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>14,907 — Chicago</title><link href="https://gavart.ist/#14%2C907%20%E2%80%94%20Chicago"></link><link href="https://gavart.ist/static/14%252C907%2520%25E2%2580%2594%2520Chicago.html" rel="alternative" type="text/html"></link><id>bba4cd9d-abe1-ca7c-d8c6-170b640d1ff7</id><updated>2025-06-25T10:30:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Day off in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chicago">Chicago</a> with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ian%20Simon">Ian Simon</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Andr%C3%A9%20Zakhya">André Zakhya</a>. We walked through Millenium Park, through the <a class="tc-tiddlylink-external" href="https://oudolf.com/" rel="noopener noreferrer" target="_blank">Piet Oudolf</a> gardens by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Art%20Institute%20of%20Chicago">The Art Institute of Chicago</a>, while a late Friday afternoon concert of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gustav%20Mahler">Mahler</a>'s First Symphony was being performed, with a preshow talk describing the differing versions according to withheld movements. Ian talked about <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Zach%20Scott%20Jaffe">Zach Scott Jaffe</a> recommending <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Blindsight">Blindsight</a>. </p><p>Learned that André and I's fathers share the same birthday. We ended up at the Chicago Athletic Club with <a class="tc-tiddlylink-external" href="https://strangeloop-studios.com/collaborators/harriet-cuddeford/" rel="noopener noreferrer" target="_blank">Harriet Cuddeford</a> talking about <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Eye%20Movement%20Desensitization%20and%20Reprocessing%20%28EMDR%29">Eye Movement Desensitization and Reprocessing (EMDR)</a> therapy, and the notion of maintaining a group of Wise Figures to call upon. I wonder who my wise figures would be ?</p><img src="./files/img/journal/IMG_8248.JPG"></img></div></content><author><name>undefined</name></author></entry><entry><title>14,905 — Young Thug Rehearsals at Rock Lititz Studio</title><link href="https://gavart.ist/#14%2C905%20%E2%80%94%20Young%20Thug%20Rehearsals%20at%20Rock%20Lititz%20Studio"></link><link href="https://gavart.ist/static/14%252C905%2520%25E2%2580%2594%2520Young%2520Thug%2520Rehearsals%2520at%2520Rock%2520Lititz%2520Studio.html" rel="alternative" type="text/html"></link><id>6f1f812a-6140-0821-74ed-8f81202380c9</id><updated>2025-06-25T10:25:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a> + <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Human%20Person">Human Person</a> • On site with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ian%20Simon">Ian Simon</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Andr%C3%A9%20Zakhya">André Zakhya</a></p><ul><li><a class="tc-tiddlylink-external" href="https://docs.google.com/spreadsheets/d/1vp7ms2w7tedkf-hfxS8mO-1cG8OkSLjb24kFAfWBVfg/edit?gid=1592941396#gid=1592941396" rel="noopener noreferrer" target="_blank">Google Sheet Tracker</a></li><li><a class="tc-tiddlylink-external" href="https://next.frame.io/project/bac689fb-53bb-4210-b14f-3b3f3b287bf6" rel="noopener noreferrer" target="_blank">Frame.io</a></li><li><a class="tc-tiddlylink-external" href="https://app.slack.com/client/T02CK024TSR/C08TNB80SCF" rel="noopener noreferrer" target="_blank">Slack</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Human Person</title><link href="https://gavart.ist/#Human%20Person"></link><link href="https://gavart.ist/static/Human%2520Person.html" rel="alternative" type="text/html"></link><id>e6a65352-05e0-77a2-fbb6-f6a08d0dc66a</id><updated>2025-06-25T10:22:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Temporal Tide · Sónar 2024</title><link href="https://gavart.ist/#Temporal%20Tide%20%C2%B7%20S%C3%B3nar%202024"></link><link href="https://gavart.ist/static/Temporal%2520Tide%2520%25C2%25B7%2520S%25C3%25B3nar%25202024.html" rel="alternative" type="text/html"></link><id>12abe82a-8de2-6a88-024f-733f8e6aee17</id><updated>2025-06-24T19:53:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="max-width"><img src=""></img></div></p><h3 class=""><strong>Title</strong>: <a class="tc-tiddlylink-external" href="https://soundobsessed-temporaltide.cargo.site/gavcloud" rel="noopener noreferrer" target="_blank">Temporal Tide: Sonified Narratives for a Sustainable Future</a> by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sound%20Obsessed">Sound Obsessed</a><br></br><strong>Release Date</strong>: <br></br><strong>Festival</strong>: <a class="tc-tiddlylink-external" href="https://sonar.es/en" rel="noopener noreferrer" target="_blank">Sónar 2024 Barcelona</a> <br></br><strong>Platforms</strong>: <br></br></h3><p><div class="siteFooter">
	<div class="siteCredit"><img src="data:image/svg+xml,%3Csvg%20xmlns%3D%22http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%22%20style%3D%22margin-top%3A-2px%3B%22%20width%3D%2222pt%22%20height%3D%2222pt%22%20viewBox%3D%220%200%20110%20110%22%3E%3Cdefs%3E%3CradialGradient%20id%3D%22gzr%22%20gradientTransform%3D%22translate(66.4578%2024.3575)%20scale(75.2908)%22%20gradientUnits%3D%22userSpaceOnUse%22%20r%3D%221%22%20cx%3D%220%22%20cy%3D%220%25%22%3E%3Cstop%20offset%3D%2215.62%25%22%20stop-color%3D%22hsl(248%2C%2070%25%2C%2094%25)%22%20%2F%3E%3Cstop%20offset%3D%2239.58%25%22%20stop-color%3D%22hsl(251%2C%2071%25%2C%2085%25)%22%20%2F%3E%3Cstop%20offset%3D%2272.92%25%22%20stop-color%3D%22hsl(269%2C%2073%25%2C%2073%25)%22%20%2F%3E%3Cstop%20offset%3D%2290.63%25%22%20stop-color%3D%22hsl(275%2C%2080%25%2C%2069%25)%22%20%2F%3E%3Cstop%20offset%3D%22100%25%22%20stop-color%3D%22hsl(278%2C%2083%25%2C%2068%25)%22%20%2F%3E%3C%2FradialGradient%3E%3C%2Fdefs%3E%3Cg%20transform%3D%22translate(5%2C5)%22%3E%3Cpath%20d%3D%22M100%2050C100%2022.3858%2077.6142%200%2050%200C22.3858%200%200%2022.3858%200%2050C0%2077.6142%2022.3858%20100%2050%20100C77.6142%20100%20100%2077.6142%20100%2050Z%22%20fill%3D%22url(%23gzr)%22%20%2F%3E%3Cpath%20stroke%3D%22rgba(0%2C0%2C0%2C0.075)%22%20fill%3D%22transparent%22%20stroke-width%3D%221%22%20d%3D%22M50%2C0.5c27.3%2C0%2C49.5%2C22.2%2C49.5%2C49.5S77.3%2C99.5%2C50%2C99.5S0.5%2C77.3%2C0.5%2C50S22.7%2C0.5%2C50%2C0.5z%22%20%2F%3E%3C%2Fg%3E%3C%2Fsvg%3E"></img>  <span class="siteCreditText"><a class="tc-tiddlylink-external" href="https://zora.co/collect/zora:0x765a9c9038bd39d3595e2b28cb85be3737cd04bc" rel="noopener noreferrer" target="_blank">Sound Obsessed x Sónar+D: Temporal Tide</a> </span> 
	</div>
	<div class="siteCredit"><svg class="tc-image-globe tc-image-button" height="22pt" viewBox="0 0 128 128" width="22pt"><g fill-rule="evenodd"><path d="M72.811 37.128v2.554c0 2.196.978 6.881 0 8.832-1.466 2.928-4.65 3.54-6.394 5.867-1.182 1.577-4.618 10.601-3.69 12.92 3.969 9.922 11.534 3.187 17.962 9.293.864.821 2.887 2.273 3.296 3.296 3.29 8.223-7.576 15.009 3.757 26.3 1.245 1.24 3.813-3.817 4.079-4.614.852-2.563 6.725-5.45 9.088-7.053 2.02-1.37 4.873-2.667 6.328-4.745 2.27-3.244 1.48-7.514 3.098-10.745 2.139-4.274 3.828-9.635 5.998-13.966 3.898-7.781 4.721 2.093 5.067 2.439.358.357 1.011 0 1.517 0 .094 0 1.447.099 1.516 0 .65-.935-1.043-17.92-1.318-19.297-1.404-7.01-6.944-15.781-11.865-20.5-6.274-6.015-7.09-16.197-18.259-14.954-.204.022-5.084 10.148-7.777 13.512-3.728 4.657-2.47-4.153-6.526-4.153-.081 0-1.183-.103-1.253 0-.586.88-1.44 3.896-2.306 4.417-.265.16-1.722-.239-1.846 0-2.243 4.3 8.256 2.212 5.792 7.952-2.352 5.481-6.328-1.997-6.328 8.56M44.467 7.01c9.685 6.13.682 12.198 2.694 16.215 1.655 3.303 4.241 5.395 1.714 9.814-2.063 3.608-6.87 3.966-9.623 6.723-3.04 3.044-5.464 8.94-6.79 12.911-1.617 4.843 14.547 6.866 12.063 11.008-1.386 2.311-6.746 1.466-8.437.198-1.165-.873-3.593-.546-4.417-1.78-2.613-3.915-2.26-8.023-3.625-12.128-.938-2.822-6.313-2.12-7.844-.593-.523.522-.33 1.792-.33 2.505 0 5.285 7.12 3.316 7.12 6.46 0 14.636 3.927 6.534 11.14 11.336 10.036 6.683 7.844 7.303 14.946 14.404 3.673 3.673 7.741 3.686 9.425 9.294 1.602 5.331-9.327 5.339-11.716 7.448-1.123.991-2.813 4.146-4.219 4.615-1.792.598-3.234.496-4.944 1.78-2.427 1.82-3.9 4.932-4.02 4.81-2.148-2.147-3.52-15.479-3.89-18.257-.588-4.42-5.59-5.54-6.986-9.03-1.57-3.927 1.524-9.52-1.129-13.761-6.52-10.424-11.821-14.5-15.35-26.292-.942-3.148 3.342-6.529 4.877-8.833 1.877-2.816 2.662-5.854 4.746-8.635C22.147 24.19 40.855 9.461 43.857 8.635l.61-1.625z"></path><path d="M64 126c34.242 0 62-27.758 62-62 0-34.242-27.758-62-62-62C29.758 2 2 29.758 2 64c0 34.242 27.758 62 62 62zm0-6c30.928 0 56-25.072 56-56S94.928 8 64 8 8 33.072 8 64s25.072 56 56 56z"></path></g></svg>  <span class="siteCreditText"><a class="tc-tiddlylink-external" href="https://sdgs.un.org/goals" rel="noopener noreferrer" target="_blank">United Nations 2030 Sustainability Goals</a> </span> 
	</div>
</div></p><h2 class="">As part of a group exhibit for <a class="tc-tiddlylink-external" href="https://sonar.es/en" rel="noopener noreferrer" target="_blank">Sónar Festival 2024</a>, and in partnership with <a class="tc-tiddlylink-external" href="https://www.instagram.com/startseu" rel="noopener noreferrer" target="_blank">S+T+ARTS</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sound%20Obsessed">Sound Obsessed</a> submitted a collection of fixed-media vignettes which utilized, as their basis, data relating to the United Nations <a class="tc-tiddlylink-external" href="https://sdgs.un.org/goals/" rel="noopener noreferrer" target="_blank">2030 Agenda for Sustainable Development</a>. The aim of <strong>Temporal Tide</strong> is to interpret critical data as audio/visual narratives. It calls for awareness, reflection, and collective action.</h2><h2 class="">Featuring contributions from</h2><p><div class="row">
<div class="column"><ul class="list-tree"><li><a class="tc-tiddlylink-external" href="https://instagram.com/ali.m.demirel" rel="noopener noreferrer" target="_blank">Ali M. Demirel</a> </li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/albert_data/" rel="noopener noreferrer" target="_blank">Albert.DATA</a></li><li><a class="tc-tiddlylink-external" href="http://www.anaroman.space/" rel="noopener noreferrer" target="_blank">Ana Roman</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/aevtarperform/" rel="noopener noreferrer" target="_blank">Cibelle</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#About">gavcloud</a></li><li><a class="tc-tiddlylink-external" href="http://noahpred.com/" rel="noopener noreferrer" target="_blank">Noah Pred</a></li><li><a class="tc-tiddlylink-external" href="http://lindred.com/" rel="noopener noreferrer" target="_blank">Lindred</a></li><li><a class="tc-tiddlylink-external" href="https://llyr.online" rel="noopener noreferrer" target="_blank">Llyr</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/portraitxo" rel="noopener noreferrer" target="_blank">Portrait XO</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/rtchad_moed" rel="noopener noreferrer" target="_blank">rTchAd</a></li><li><a class="tc-tiddlylink-external" href="https://www.symbios.wiki/" rel="noopener noreferrer" target="_blank">@sybios.wiki</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/thegladscientist/" rel="noopener noreferrer" target="_blank">The Glad Scientist</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/maneeech" rel="noopener noreferrer" target="_blank">Tom Guida</a></li><li><a class="tc-tiddlylink-external" href="https://twitter.com/TorstenGoerke" rel="noopener noreferrer" target="_blank">Torsten Goerke</a></li><li><a class="tc-tiddlylink-external" href="https://linktr.ee/yawaze" rel="noopener noreferrer" target="_blank">Yawä//Zē</a></li></ul></div>

<div class="column"><video controls="controls" src="./files/vid/documentation/sound-obsessed-sonar-2024-temporal-tide/gavcloud-building-the-entopia-1080p-v2.mp4" style="width:100%;object-fit:contain;"></video></div>
</div></p><h2 class="">The two pieces I created for this series focus on the following goals: <a class="tc-tiddlylink-external" href="https://sdgs.un.org/goals/goal4" rel="noopener noreferrer" target="_blank">Goal 4 Quality Education</a> in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tertiary%20Education%20Expenditures">Tertiary Education Expenditures</a> and <a class="tc-tiddlylink-external" href="https://sdgs.un.org/goals/goal9" rel="noopener noreferrer" target="_blank">Goal 9 Industry, Innovation, Infrastructure</a> in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Building%20The%20Entopia">Building The Entopia</a>. In both of these explorations a technique known as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Data%20Sonification">data sonification</a> was the foundational process, whereby numerical values from csv filetypes is converted and mapped onto musical structure, determining melodic and rhythmic information.</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio</a> 5.1.9<br></br><a class="tc-tiddlylink-external" href="https://manifest.audio/sonification-tools" rel="noopener noreferrer" target="_blank">Manifest Audio</a> Sonification Tools</h2><br></br><p><sup>Stills from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tertiary%20Education%20Expenditures">Tertiary Education Expenditures</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Building%20The%20Entopia">Building The Entopia</a> (2024)</sup></p></div></content><author><name>undefined</name></author></entry><entry><title>TriTarget</title><link href="https://gavart.ist/#TriTarget"></link><link href="https://gavart.ist/static/TriTarget.html" rel="alternative" type="text/html"></link><id>06d6adab-b0f6-7e55-d823-27326a86e29e</id><updated>2025-06-24T07:43:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kleptocracy, also referred to as thievocracy, is a government whose corrupt leaders use political power to expropriate the wealth of the people and land they govern</title><link href="https://gavart.ist/#Kleptocracy%2C%20also%20referred%20to%20as%20thievocracy%2C%20is%20a%20government%20whose%20corrupt%20leaders%20use%20political%20power%20to%20expropriate%20the%20wealth%20of%20the%20people%20and%20land%20they%20govern"></link><link href="https://gavart.ist/static/Kleptocracy%252C%2520also%2520referred%2520to%2520as%2520thievocracy%252C%2520is%2520a%2520government%2520whose%2520corrupt%2520leaders%2520use%2520political%2520power%2520to%2520expropriate%2520the%2520wealth%2520of%2520the%2520people%2520and%2520land%2520they%2520govern.html" rel="alternative" type="text/html"></link><id>dd9edd23-2a7f-90e6-4f85-47083e22587f</id><updated>2025-06-21T20:02:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, typically by embezzling or misappropriating government funds at the expense of the wider population … But there must be the look ahead, there must be a realization of the fact that to waste, to destroy, our natural resources, to skin and exhaust the land instead of using it so as to increase its usefulness, will result in undermining in the days of our children the very prosperity which we ought by right to hand down to them amplified and developed. </p><p>State of the Union Address, 1907 December 3</p></div></content><author><name>undefined</name></author></entry><entry><title>Chris Burden</title><link href="https://gavart.ist/#Chris%20Burden"></link><link href="https://gavart.ist/static/Chris%2520Burden.html" rel="alternative" type="text/html"></link><id>a8deeeac-70bf-5d5c-0d9f-dc1b6d54127d</id><updated>2025-06-21T14:31:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>To trust your intuition is exactly the opposite of any sort of formal education.</title><link href="https://gavart.ist/#To%20trust%20your%20intuition%20is%20exactly%20the%20opposite%20of%20any%20sort%20of%20formal%20education."></link><link href="https://gavart.ist/static/To%2520trust%2520your%2520intuition%2520is%2520exactly%2520the%2520opposite%2520of%2520any%2520sort%2520of%2520formal%2520education..html" rel="alternative" type="text/html"></link><id>f3dcc2c4-6c4c-cc22-296e-f7ea83a9767f</id><updated>2025-06-21T14:31:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>41.893243165841724, -87.6258912746065</title><link href="https://gavart.ist/#41.893243165841724%2C%20-87.6258912746065"></link><link href="https://gavart.ist/static/41.893243165841724%252C%2520-87.6258912746065.html" rel="alternative" type="text/html"></link><id>24a1d065-7e79-5bf3-2056-89a8364da62c</id><updated>2025-06-21T14:26:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>André Zakhya</title><link href="https://gavart.ist/#Andr%C3%A9%20Zakhya"></link><link href="https://gavart.ist/static/Andr%25C3%25A9%2520Zakhya.html" rel="alternative" type="text/html"></link><id>1f77f2d1-1ff3-5ce8-c0b6-7d198afcdfdd</id><updated>2025-06-21T14:19:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Salvador Dalí</title><link href="https://gavart.ist/#Salvador%20Dal%C3%AD"></link><link href="https://gavart.ist/static/Salvador%2520Dal%25C3%25AD.html" rel="alternative" type="text/html"></link><id>a2cd32f3-2ffd-5ffb-0aaf-c82a7c811e0a</id><updated>2025-06-20T15:13:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mistakes are almost always of a sacred nature.</title><link href="https://gavart.ist/#Mistakes%20are%20almost%20always%20of%20a%20sacred%20nature."></link><link href="https://gavart.ist/static/Mistakes%2520are%2520almost%2520always%2520of%2520a%2520sacred%2520nature..html" rel="alternative" type="text/html"></link><id>886af98b-66af-79df-9a78-9013dae6f643</id><updated>2025-06-20T15:13:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>40.173324009184704, -76.31319522677235</title><link href="https://gavart.ist/#40.173324009184704%2C%20-76.31319522677235"></link><link href="https://gavart.ist/static/40.173324009184704%252C%2520-76.31319522677235.html" rel="alternative" type="text/html"></link><id>5954f957-a3cd-2ec3-5257-0ad832a383b0</id><updated>2025-06-19T15:39:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Remaking Caligula (1979)</title><link href="https://gavart.ist/#Remaking%20Caligula%20(1979)"></link><link href="https://gavart.ist/static/Remaking%2520Caligula%2520(1979).html" rel="alternative" type="text/html"></link><id>78238d40-20cf-d582-7866-69c1aade240a</id><updated>2025-06-19T15:36:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/MbXx0eFaW_E?si=I3t7OPVhNkR0cZJM" title="YouTube video player" width="560"></iframe>
</div></p><p><em>For educational purposes:</em></p><p class="digitalGarden">This clip is a side-by-side comparison of four scenes from the original theatrical cut of Caligula (1979) followed by scenes from the edit supervised by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a> and restored by Thomas Negovan that I was brought on to re-score. </p><p class="digitalGarden">Our work on what ended up becoming <strong>Caligula: The Ultimate Cut</strong> was ultimately discarded and a different team became responsible for the final edit and music.</p><p><div class="row">
<div class="column"><p><img src="./files/img/posters/caligula-original-poster.jpg" width="400"></img></p></div>
<div class="column"><h3 class="">Further Reading</h3><ul><li><a class="tc-tiddlylink-external" href="https://www.mediamatic.net/en/page/3206/louis-rossetto" rel="noopener noreferrer" target="_blank">Louis Rossetto &amp; ghostwriting a book on the making of Caligula</a></li></ul><h3 class="">Where did this music end up ?</h3><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ridendo%20dicere%20severum">Ridendo dicere severum</a></li></ul><h3 class="">Project File Reference</h3><ul><li><u>allScenesAssembly-030</u><ul><li>latest completed assembly for silent film-version</li></ul></li></ul></div>
</div></p><p></p></div></content><author><name>undefined</name></author></entry><entry><title>Cedar 5e D&amp;D Wiki</title><link href="https://gavart.ist/#Cedar%205e%20D%26D%20Wiki"></link><link href="https://gavart.ist/static/Cedar%25205e%2520D%2526D%2520Wiki.html" rel="alternative" type="text/html"></link><id>f8850975-d6ab-f2ee-305c-c4c588ee80ee</id><updated>2025-06-19T15:15:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mermaid TW 5</title><link href="https://gavart.ist/#Mermaid%20TW%205"></link><link href="https://gavart.ist/static/Mermaid%2520TW%25205.html" rel="alternative" type="text/html"></link><id>506a1e5c-8478-3f8b-abb2-fb7b9163a7c5</id><updated>2025-06-19T08:46:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bookmarks &amp; Links</title><link href="https://gavart.ist/#Bookmarks%20%26%20Links"></link><link href="https://gavart.ist/static/Bookmarks%2520%2526%2520Links.html" rel="alternative" type="text/html"></link><id>1bba877a-359b-3d05-a2c9-ac06b4483a82</id><updated>2025-06-18T10:08:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><br></br><p><div class="row">
<div class="column"><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bookmarks">Bookmarks</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Friends%20%26%20Family">Friends &amp; Family</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Organizations">Organizations</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Record%20Labels">Record Labels</a></div></div>
<div class="column"><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#World%20Wide%20Web">World Wide Web</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Guestbook">Guestbook</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Site%20Analytics">Site Analytics</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Site%20Sustainability">Site Sustainability</a></div></div>
</div></p><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Susan Buck-Morss</title><link href="https://gavart.ist/#Susan%20Buck-Morss"></link><link href="https://gavart.ist/static/Susan%2520Buck-Morss.html" rel="alternative" type="text/html"></link><id>8234b419-4b8b-0079-8819-c58cffe26c45</id><updated>2025-06-14T10:41:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A weak messianic power belongs to the living generation, those human beings who share this moment in time.</title><link href="https://gavart.ist/#A%20weak%20messianic%20power%20belongs%20to%20the%20living%20generation%2C%20those%20human%20beings%20who%20share%20this%20moment%20in%20time."></link><link href="https://gavart.ist/static/A%2520weak%2520messianic%2520power%2520belongs%2520to%2520the%2520living%2520generation%252C%2520those%2520human%2520beings%2520who%2520share%2520this%2520moment%2520in%2520time..html" rel="alternative" type="text/html"></link><id>afae6fbc-76e4-db61-3d84-5b95765331f1</id><updated>2025-06-14T10:40:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>We have been endowed with a weak messianic power to which the past has a claim.</title><link href="https://gavart.ist/#We%20have%20been%20endowed%20with%20a%20weak%20messianic%20power%20to%20which%20the%20past%20has%20a%20claim."></link><link href="https://gavart.ist/static/We%2520have%2520been%2520endowed%2520with%2520a%2520weak%2520messianic%2520power%2520to%2520which%2520the%2520past%2520has%2520a%2520claim..html" rel="alternative" type="text/html"></link><id>4a6da03a-1820-f323-4146-a70a059d04f6</id><updated>2025-06-14T10:40:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Alban Berg Klaviersonate Opus 1 (Live Concert)</title><link href="https://gavart.ist/#Alban%20Berg%20Klaviersonate%20Opus%201%20(Live%20Concert)"></link><link href="https://gavart.ist/static/Alban%2520Berg%2520Klaviersonate%2520Opus%25201%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>57e14ff5-3091-1929-a7f4-cc0cc16787fd</id><updated>2025-06-12T09:46:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/KDGrB0fIYkY?si=ExNtCwg9IXL_sodL" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Rough Music</title><link href="https://gavart.ist/#Rough%20Music"></link><link href="https://gavart.ist/static/Rough%2520Music.html" rel="alternative" type="text/html"></link><id>8b0e5e84-549e-cc75-a4bc-e3bea68f84dd</id><updated>2025-06-12T09:32:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Infatuation</title><link href="https://gavart.ist/#The%20Infatuation"></link><link href="https://gavart.ist/static/The%2520Infatuation.html" rel="alternative" type="text/html"></link><id>78cae507-5f0b-282e-34c8-658831a8d6c9</id><updated>2025-06-12T08:57:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sound Design</title><link href="https://gavart.ist/#Sound%20Design"></link><link href="https://gavart.ist/static/Sound%2520Design.html" rel="alternative" type="text/html"></link><id>eaf5b9f5-7bdc-a13d-c8cd-a4e54c638d93</id><updated>2025-06-12T08:56:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mixing Music 101</title><link href="https://gavart.ist/#Mixing%20Music%20101"></link><link href="https://gavart.ist/static/Mixing%2520Music%2520101.html" rel="alternative" type="text/html"></link><id>ed32ec72-253c-afe5-28ba-df7d3d31a647</id><updated>2025-06-12T08:55:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Walter Gropius</title><link href="https://gavart.ist/#Walter%20Gropius"></link><link href="https://gavart.ist/static/Walter%2520Gropius.html" rel="alternative" type="text/html"></link><id>a892659a-3549-43cb-1afa-ef1b368a66d5</id><updated>2025-06-11T11:44:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Abraham Lincoln</title><link href="https://gavart.ist/#Abraham%20Lincoln"></link><link href="https://gavart.ist/static/Abraham%2520Lincoln.html" rel="alternative" type="text/html"></link><id>2f7cfa60-3df2-a25f-ce27-ad69cd4be673</id><updated>2025-06-11T11:42:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Andrei Bely</title><link href="https://gavart.ist/#Andrei%20Bely"></link><link href="https://gavart.ist/static/Andrei%2520Bely.html" rel="alternative" type="text/html"></link><id>498f18c1-8302-6cb1-eca0-7aee0953ef42</id><updated>2025-06-09T14:53:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>James Joyce held him in high regard even before his literary fame took hold. <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a> says <em><a class="tc-tiddlylink-external" href="https://tertulia.com/book/kotik-letaev-andrei-belyx/9780810116269" rel="noopener noreferrer" target="_blank">Kotik Letaev</a></em> (1918) is his favorite novel.</p></div></content><author><name>undefined</name></author></entry><entry><title>Music A.I. Workshop with Dadabots</title><link href="https://gavart.ist/#Music%20A.I.%20Workshop%20with%20Dadabots"></link><link href="https://gavart.ist/static/Music%2520A.I.%2520Workshop%2520with%2520Dadabots.html" rel="alternative" type="text/html"></link><id>83bea30e-f311-709f-9be5-a0e4a243993a</id><updated>2025-06-09T12:18:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink-external" href="https://docs.google.com/document/d/1GjSiK6aj0EA8VtmpaXQAvRDbMVF6z-hCgxZ1_7R_1rE/edit" rel="noopener noreferrer" target="_blank">Music A.I. Workshop with Dadabots • Google Doc</a><br></br> with CJ Carr + Zack Zukowski | <a class="tc-tiddlylink-external" href="https://dadabots.com" rel="noopener noreferrer" target="_blank">dadabots.com</a><br></br>2024 June 8</h2><ul><li>PJing</li><li>Infodumping</li><li>Q&amp;A</li><li>Playing with Tools</li><li>Running Stable Audio Open on your own</li><li>More Q&amp;A</li></ul><h2 class="">Web Tools</h2><ul><li><a class="tc-tiddlylink-external" href="https://stableaudio.com/" rel="noopener noreferrer" target="_blank">Stable Audio</a></li><li><a class="tc-tiddlylink-external" href="https://suno.com/" rel="noopener noreferrer" target="_blank">Suno</a><ul><li>Prompt with detailed descriptions of the layers you’d like to hear in the music</li><li>Try to use misspelled artist or album names (in v2 custom mode)<ul><li><a class="tc-tiddlylink-external" href="https://www.musicbusinessworldwide.com/suno-is-a-music-ai-company-aiming-to-generate-120-billion-per-year-newton-rex/" rel="noopener noreferrer" target="_blank">https://www.musicbusinessworldwide.com/suno-is-a-music-ai-company-aiming-to-generate-120-billion-per-year-newton-rex/</a></li></ul></li></ul></li><li><a class="tc-tiddlylink-external" href="https://www.udio.com/" rel="noopener noreferrer" target="_blank">Udio</a><ul><li>Prompt: a rap song by an artist called beminem</li><li><a class="tc-tiddlylink-external" href="https://youtu.be/nkN9XYFNS8E?feature=shared" rel="noopener noreferrer" target="_blank">https://youtu.be/nkN9XYFNS8E?feature=shared</a><br></br></li></ul></li><li><a class="tc-tiddlylink-external" href="https://www.controlla.xyz/voice" rel="noopener noreferrer" target="_blank">Controlla.xyz</a><ul><li>Some people have noticed rateyourmusic.com genre tags work well for targeting specific sounds<ul><li><a class="tc-tiddlylink-external" href="https://www.musicbusinessworldwide.com/yes-udios-output-resembles-copyrighted-music-too/" rel="noopener noreferrer" target="_blank">https://www.musicbusinessworldwide.com/yes-udios-output-resembles-copyrighted-music-too/</a></li></ul></li></ul></li></ul><h2 class="">Swap voices with RVC</h2><p>Real time voice swap<br></br>
RVC / SoViTS SVC<br></br>
SVC • <a class="tc-tiddlylink-external" href="https://github.com/RVC-Boss/sovits" rel="noopener noreferrer" target="_blank">https://github.com/RVC-Boss/sovits</a><br></br>
RVC • <a class="tc-tiddlylink-external" href="https://github.com/IAHispano/Applio" rel="noopener noreferrer" target="_blank">https://github.com/IAHispano/Applio</a></p><h2 class="">VSTs</h2><p><a class="tc-tiddlylink-external" href="https://github.com/acids-ircam/RAVE" rel="noopener noreferrer" target="_blank">RAVE</a><br></br>
<a class="tc-tiddlylink-external" href="https://datamindaudio.ai/" rel="noopener noreferrer" target="_blank">https://datamindaudio.ai/</a> <br></br>
<a class="tc-tiddlylink-external" href="https://neutone.ai/morpho" rel="noopener noreferrer" target="_blank">https://neutone.ai/morpho</a></p><h2 class="">Open Tools</h2><p><strong>Stable Audio Open v1.0</strong></p><ul><li>Pretrained Sound Effects with a T5 text conditioned Diffusion Transformer Model</li></ul><p><strong>Blog:</strong>
<a class="tc-tiddlylink-external" href="https://stability.ai/news/introducing-stable-audio-open" rel="noopener noreferrer" target="_blank">https://stability.ai/news/introducing-stable-audio-open</a></p><p><strong>Code:</strong>
<a class="tc-tiddlylink-external" href="https://github.com/Stability-AI/stable-audio-tools/" rel="noopener noreferrer" target="_blank">https://github.com/Stability-AI/stable-audio-tools/</a> </p><ul><li>open source code for training and inference</li></ul><p><strong>Weights:</strong>
<a class="tc-tiddlylink-external" href="https://huggingface.co/stabilityai/stable-audio-open-1.0" rel="noopener noreferrer" target="_blank">https://huggingface.co/stabilityai/stable-audio-open-1.0</a> </p><ul><li>Free pretrained model weights for researchers using CC-0 CC-BY datasets from Free Music Archive and Freesound.org</li><li>To use weights<ul><li>sign up for Hugging Face</li><li>Submit information to the stable-audio-open-1.0 form linked above</li><li>Go to Hugging Face Settings -&gt; Access Tokens -&gt; New Token -&gt; give it a name -&gt; set to read access -&gt; copy token and store to a text file for authentication in Google Colab</li></ul></li></ul><p><strong>Fine Tuning:</strong>
<a class="tc-tiddlylink-external" href="https://www.youtube.com/watch?v=ex4OBD_lrds" rel="noopener noreferrer" target="_blank">https://www.youtube.com/watch?v=ex4OBD_lrds</a></p><ul><li>Watch Lyra’s 4 hour tutorial on how to fine tune on your own datasets (requires GPU)</li></ul><p>Hugging Face Hosted Inference Web App
<a class="tc-tiddlylink-external" href="https://huggingface.co/spaces/artificialguybr/Stable-Audio-Open-Zero" rel="noopener noreferrer" target="_blank">https://huggingface.co/spaces/artificialguybr/Stable-Audio-Open-Zero</a></p><p>Run Your Own Stable Audio Code with Colab and A Gradio Web App
<a class="tc-tiddlylink-external" href="https://colab.research.google.com/drive/16-2_G_2zQlcmT3bdiy2UiDx9QFyc57nC?usp=sharing" rel="noopener noreferrer" target="_blank">run stable audio.ipynb</a></p><ul><li>Try using detailed prompts and test the results of negative prompting<ul><li>Prompt: <code>Rock beat played in a treated studio, session drumming on an acoustic kit</code></li><li>Negative Prompt: <code>field recording</code></li></ul></li></ul><p>Locally Run Source Separation
<a class="tc-tiddlylink-external" href="https://ultimatevocalremover.com/" rel="noopener noreferrer" target="_blank">https://ultimatevocalremover.com/</a> 
remove layers and create stems with open source model</p><p>Prompt Jockey Generated Tracks Live with DJay Pro
<a class="tc-tiddlylink-external" href="https://www.algoriddim.com/apps" rel="noopener noreferrer" target="_blank">https://www.algoriddim.com/apps</a></p><p><strong>Stable Audio Papers:</strong></p><ul><li><a class="tc-tiddlylink-external" href="https://arxiv.org/abs/2402.04825v3" rel="noopener noreferrer" target="_blank">[2402.04825] Fast Timing-Conditioned Latent Audio Diffusion</a></li><li><a class="tc-tiddlylink-external" href="https://arxiv.org/abs/2404.10301" rel="noopener noreferrer" target="_blank">[2404.10301] Long-form music generation with latent diffusion</a></li></ul><p><strong>Misc:</strong></p><ul><li><a class="tc-tiddlylink-external" href="https://www.youtube.com/watch?v=oAn9SqKH_wk" rel="noopener noreferrer" target="_blank">Beatboxing through a neural net</a></li><li><a class="tc-tiddlylink-external" href="https://iil.is/news/ravemodels" rel="noopener noreferrer" target="_blank">Fast RAVE training</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Emily M. Bender</title><link href="https://gavart.ist/#Emily%20M.%20Bender"></link><link href="https://gavart.ist/static/Emily%2520M.%2520Bender.html" rel="alternative" type="text/html"></link><id>9a01fe89-95fc-ad39-bcd2-453239774bdf</id><updated>2025-06-09T12:00:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Stochastic Parrot</title><link href="https://gavart.ist/#Stochastic%20Parrot"></link><link href="https://gavart.ist/static/Stochastic%2520Parrot.html" rel="alternative" type="text/html"></link><id>f3a08e38-8088-0689-01a9-a2ffb43ba041</id><updated>2025-06-09T11:59:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>In machine learning, the term stochastic parrot is a metaphor to describe the claim that large language models, though able to generate plausible language, do not understand the meaning of the language they process. The term was coined by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Emily%20M.%20Bender">Emily M. Bender</a> in the 2021 artificial intelligence research paper "On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? 🦜" by Bender, Timnit Gebru, Angelina McMillan-Major, and Margaret Mitchell</p></div></content><author><name>undefined</name></author></entry><entry><title>Swiss Blue Brain Project</title><link href="https://gavart.ist/#Swiss%20Blue%20Brain%20Project"></link><link href="https://gavart.ist/static/Swiss%2520Blue%2520Brain%2520Project.html" rel="alternative" type="text/html"></link><id>d6f020ad-3dc6-4c8b-5cc9-e6747dfedbb1</id><updated>2025-06-09T11:52:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Blue_Brain_Project" rel="noopener noreferrer" target="_blank">Blue Brain Project</a> was a Swiss brain research initiative that aimed to create a digital reconstruction of the mouse brain. The project was founded in May 2005 by the Brain Mind Institute of École Polytechnique Fédérale de Lausanne (EPFL) in Switzerland. The project ended in December 2024. Its mission was to use biologically-detailed digital reconstructions and simulations of the mammalian brain to identify the fundamental principles of brain structure and function.</p></div></content><author><name>undefined</name></author></entry><entry><title>TypingMind</title><link href="https://gavart.ist/#TypingMind"></link><link href="https://gavart.ist/static/TypingMind.html" rel="alternative" type="text/html"></link><id>ea529319-aa77-e693-20de-b576326be4d9</id><updated>2025-06-09T11:52:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>LLM Visualization</title><link href="https://gavart.ist/#LLM%20Visualization"></link><link href="https://gavart.ist/static/LLM%2520Visualization.html" rel="alternative" type="text/html"></link><id>b328f0a9-ad04-5acc-4b71-89a52de68cad</id><updated>2025-06-09T11:52:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Multi-Headed Self-Attention</title><link href="https://gavart.ist/#Multi-Headed%20Self-Attention"></link><link href="https://gavart.ist/static/Multi-Headed%2520Self-Attention.html" rel="alternative" type="text/html"></link><id>9d97c8d2-daff-4118-46c3-f42c914835d9</id><updated>2025-06-09T11:52:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">Each “block” of a large language model (LLM) is comprised of self-attention and a feed-forward transformation. However, the exact self-attention variant used by LLMs is masked, multi-headed self-attention. Let’s break down what this means…
<img src="./files/img/concepts/llms/multi-headed/001-FtNoc37XoAY2xfx.jpg"></img></p><p class="digitalGarden">First, we need to understand <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Self-Attention">Self-Attention</a> and how it works.</p><p class="digitalGarden">Masked self-attention is quite similar to normal self-attention, but it only considers a subset of tokens when computing attention. Namely, we only compute attention scores for tokens that precede the current token in the sequence!
<img src="./files/img/concepts/llms/multi-headed/002-FtNmwbvX0AUM9cY.jpg"></img></p><p class="digitalGarden">Concretely, attention weights for tokens after the current token are “masked” (set to zero). This is useful for tasks like next word prediction for LLMs, as it prevents the model from “looking forward” in the sequence when predicting the next word.
<img src="./files/img/concepts/llms/multi-headed/003-FtNm2aiWIA844vG.jpg"></img></p><p class="digitalGarden">To understand multi-head self-attention, recall that self-attention perform three different linear projections of input token vectors, producing key, query, and value vectors.
<img src="./files/img/concepts/llms/multi-headed/004-FtNm8tVX0AMI87k.jpg"></img></p><p class="digitalGarden">Key and query vectors are used to compute attention weights for each valid pair of tokens. These attention weights (after softmax is applied) are used to take a weighted average of value vectors, which is the output of self-attention.
<img src="./files/img/concepts/llms/multi-headed/005-FtNnBt_X0AAu-MR.jpg"></img></p><p class="digitalGarden">Multi-headed self-attention performs the same procedure in parallel across multiple “heads”. Each head has separate, learnable matrices for producing key, query, and value vectors.
<img src="./files/img/concepts/llms/multi-headed/006-FtNnG6JXoAAzpiW.jpg"></img></p><p class="digitalGarden">To get the final output of the multi-headed self-attention layer, we can aggregate the outputs of each self-attention head (e.g., via adding, concatenating, etc.).
<img src="./files/img/concepts/llms/multi-headed/007-FtNnOLUWIAAilA_.jpg"></img></p><p class="digitalGarden">To make computational costs more reasonable, we reduce the dimension of each self-attention head. In other words, the size of token vectors in each attention head is smaller than the size of the token vectors within the transformer in general.
<img src="./files/img/concepts/llms/multi-headed/008-FtNnRuKWYAAvwfD.jpg"></img></p><p class="digitalGarden">To do this, we just modify the dimensions of our linear projection! For example, if we use 8 attention heads and have a token embedding size of 800, we may project tokens to a size of 100 within each attention head.
<img src="./files/img/concepts/llms/multi-headed/009FtNnWoyWcAEX0k1.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>GGUF, the long way around</title><link href="https://gavart.ist/#GGUF%2C%20the%20long%20way%20around"></link><link href="https://gavart.ist/static/GGUF%252C%2520the%2520long%2520way%2520around.html" rel="alternative" type="text/html"></link><id>b35ac8ca-7f06-cb16-926c-f626adfe7dbe</id><updated>2025-06-09T11:52:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Sorrows of Young Werther</title><link href="https://gavart.ist/#The%20Sorrows%20of%20Young%20Werther"></link><link href="https://gavart.ist/static/The%2520Sorrows%2520of%2520Young%2520Werther.html" rel="alternative" type="text/html"></link><id>8c1847b5-d1ca-e042-543c-74ae49268aa9</id><updated>2025-06-07T23:05:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven Sonata 8 in C minor Opus 13 ‘Grande sonate pathétique’ (Live Concert)</title><link href="https://gavart.ist/#Beethoven%20Sonata%208%20in%20C%20minor%20Opus%2013%20%E2%80%98Grande%20sonate%20path%C3%A9tique%E2%80%99%20(Live%20Concert)"></link><link href="https://gavart.ist/static/Beethoven%2520Sonata%25208%2520in%2520C%2520minor%2520Opus%252013%2520%25E2%2580%2598Grande%2520sonate%2520path%25C3%25A9tique%25E2%2580%2599%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>3b0b474b-bb39-a197-39b6-bcde68ab9f8e</id><updated>2025-06-06T16:51:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/NzAQ3vkzH4c?si=xGQw7hd_hHKqnV71" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Zygmunt Bauman</title><link href="https://gavart.ist/#Zygmunt%20Bauman"></link><link href="https://gavart.ist/static/Zygmunt%2520Bauman.html" rel="alternative" type="text/html"></link><id>f817615d-f606-5675-2a38-1c6b5fa3c787</id><updated>2025-06-04T22:59:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>I'm on the lookout for <a class="tc-tiddlylink-external" href="https://tertulia.com/book/consuming-life-zygmunt-bauman/9780745640020" rel="noopener noreferrer" target="_blank">Consuming Life</a> (2007) </p></div></content><author><name>undefined</name></author></entry><entry><title>14,890 — Young Miko Rehearsals at Perfect Cue Studio</title><link href="https://gavart.ist/#14%2C890%20%E2%80%94%20Young%20Miko%20Rehearsals%20at%20Perfect%20Cue%20Studio"></link><link href="https://gavart.ist/static/14%252C890%2520%25E2%2580%2594%2520Young%2520Miko%2520Rehearsals%2520at%2520Perfect%2520Cue%2520Studio.html" rel="alternative" type="text/html"></link><id>89c5635f-5758-043c-8e7d-90e3dc472ea3</id><updated>2025-06-04T12:24:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/journal/IMG_8066.jpg"></img><p>Prep for Governor's Ball NYC with Drew Gnagey (LD), Isabel Levin (Production Manager), Travis Shirley (Creative Director), and Denis Axspire (VJ)</p></div></content><author><name>undefined</name></author></entry><entry><title>18.430990127394086, -66.07120410152437</title><link href="https://gavart.ist/#18.430990127394086%2C%20-66.07120410152437"></link><link href="https://gavart.ist/static/18.430990127394086%252C%2520-66.07120410152437.html" rel="alternative" type="text/html"></link><id>45963a0a-dfc9-ec21-4f36-46bb46f609aa</id><updated>2025-06-03T11:16:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Gatha</title><link href="https://gavart.ist/#Gatha"></link><link href="https://gavart.ist/static/Gatha.html" rel="alternative" type="text/html"></link><id>2de114a1-e819-14cc-215e-adb8d1331a26</id><updated>2025-05-28T10:31:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tertulia</title><link href="https://gavart.ist/#Tertulia"></link><link href="https://gavart.ist/static/Tertulia.html" rel="alternative" type="text/html"></link><id>0d4adbef-1f4d-fdcf-c70b-d7d4217623d5</id><updated>2025-05-27T11:07:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Philosophy</title><link href="https://gavart.ist/#Philosophy"></link><link href="https://gavart.ist/static/Philosophy.html" rel="alternative" type="text/html"></link><id>e5348e0c-4648-0066-c8c2-176421798201</id><updated>2025-05-27T11:01:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Crossposting</title><link href="https://gavart.ist/#Crossposting"></link><link href="https://gavart.ist/static/Crossposting.html" rel="alternative" type="text/html"></link><id>add240d8-ad17-6389-6548-a97c471bf703</id><updated>2025-05-27T11:00:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>FOSS</title><link href="https://gavart.ist/#FOSS"></link><link href="https://gavart.ist/static/FOSS.html" rel="alternative" type="text/html"></link><id>b963dedb-999d-ed3a-2c75-b3b8ebdf5389</id><updated>2025-05-27T10:48:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ocenaudio</title><link href="https://gavart.ist/#ocenaudio"></link><link href="https://gavart.ist/static/ocenaudio.html" rel="alternative" type="text/html"></link><id>3edd0309-c3d0-c7a1-b666-24f1d52e8da8</id><updated>2025-05-27T10:48:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Critical Listening</title><link href="https://gavart.ist/#Critical%20Listening"></link><link href="https://gavart.ist/static/Critical%2520Listening.html" rel="alternative" type="text/html"></link><id>c8142dad-e1ce-adf1-3e0d-4cffbbd4415a</id><updated>2025-05-27T10:45:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Anukari</title><link href="https://gavart.ist/#Anukari"></link><link href="https://gavart.ist/static/Anukari.html" rel="alternative" type="text/html"></link><id>43427244-85bf-f03c-24a8-a30ba6a7d5ee</id><updated>2025-05-27T10:40:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Virtual Instrument</title><link href="https://gavart.ist/#Virtual%20Instrument"></link><link href="https://gavart.ist/static/Virtual%2520Instrument.html" rel="alternative" type="text/html"></link><id>3416a229-4166-fafa-9ea7-04ff45a6ef9b</id><updated>2025-05-27T10:39:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Otoacoustic Emissions</title><link href="https://gavart.ist/#Otoacoustic%20Emissions"></link><link href="https://gavart.ist/static/Otoacoustic%2520Emissions.html" rel="alternative" type="text/html"></link><id>efe71eb5-8d6c-77c1-8ea4-106deda0afdb</id><updated>2025-05-27T10:39:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>An otoacoustic emission (OAE) is a sound that is generated from within the inner ear. Having been predicted by Austrian astrophysicist Thomas Gold in 1948, its existence was first demonstrated experimentally by British physicist David Kemp in 1978, and otoacoustic emissions have since been shown to arise through a number of different cellular and mechanical causes within the inner ear.</p><p>Broadly speaking, there are two types of otoacoustic emissions: spontaneous otoacoustic emissions (SOAEs), which occur without external stimulation, and evoked otoacoustic emissions (EOAEs), which require an evoking stimulus.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maryanne%20Amacher">Maryanne Amacher</a>'s practice dealt heavily with otoacoustic emissions in her sound installation work.</p></div></content><author><name>undefined</name></author></entry><entry><title>Maryanne Amacher</title><link href="https://gavart.ist/#Maryanne%20Amacher"></link><link href="https://gavart.ist/static/Maryanne%2520Amacher.html" rel="alternative" type="text/html"></link><id>691bf566-86b2-4771-0d28-54c941006938</id><updated>2025-05-27T10:36:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tamasha</title><link href="https://gavart.ist/#Tamasha"></link><link href="https://gavart.ist/static/Tamasha.html" rel="alternative" type="text/html"></link><id>e0121cb8-9945-5c4d-0c5a-6173cb104490</id><updated>2025-05-27T09:27:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Transmogrificantus Octet</title><link href="https://gavart.ist/#Transmogrificantus%20Octet"></link><link href="https://gavart.ist/static/Transmogrificantus%2520Octet.html" rel="alternative" type="text/html"></link><id>701e171e-cb98-d06b-6b7b-ef16d444969f</id><updated>2025-05-24T14:25:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Transmogrificantus Octet is a two movement string octet, written in memory of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Austin%20Peralta">Austin Peralta</a>, whose ideas and love of music had a profound impact on me. His dynamic, improvisational language and the breathtaking scope of his knowledge were endearing aspects of his character, and they led one to this sense that he possessed a wisdom beyond his years; a limitless propensity for illuminating insights, be they musical, metaphysical, or linguistic. During those challenging, virtuosic moments in which he performed, enraptured in extemporaneous abandon, he reached great heights of musical expression. This octet is less an imitation of his musical direction and more embracing of the classical style which he knew well, and which he always seemed to have a deferential love for.</h2><p><u>Thank You</u><br></br>David Wexler, Gemma Soldati, Kathleen Soldati, Jake Bloch, Ben Olsen, Ian Simon, Jeff LeRoy, Stephen Bruner, Kevin Marques Moo, Matthew David, Wylie Vasquez Cable, Jason &amp; Cassidy Turbin, Mike Harrison, Wayne Behlendorf, Ted Nava, Micah Nelson, Gustavo Aldana, Grace Oh, Theo Jemison, Alex Backman, Irwin Krinsky, Ivan, Carlota, Mom/Dad, Yolanda Kol</p><p><div class="row">
<div class="column"><h2 class="">Presented by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a><br></br></h2><h2 class="">Performed by<br></br>The Anamnesia Octet</h2><h2 class="">Produced by<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a></h2><h2 class="">Recording Engineer<br></br><a class="tc-tiddlylink-external" href="https://www.traviswarner.com/" rel="noopener noreferrer" target="_blank">Travis Warner</a></h2></div>
<div class="column"><h2 class="">Mastering<br></br>Shaun Michaud at <a class="tc-tiddlylink-external" href="https://www.parmarecordings.com/" rel="noopener noreferrer" target="_blank">PARMA Recordings</a></h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ben%20Olsen">Ben Olsen</a></h2><h2 class="">Distributed by<br></br><a class="tc-tiddlylink-external" href="https://alphapuprecords.com/" rel="noopener noreferrer" target="_blank">AlphaPup Records</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dome%20of%20Doom">Dome of Doom</a></h2><h2 class="">Release Date<br></br>2014 July 29</h2></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Erykah Badu · Unfollow Me Tour</title><link href="https://gavart.ist/#Erykah%20Badu%20%C2%B7%20Unfollow%20Me%20Tour"></link><link href="https://gavart.ist/static/Erykah%2520Badu%2520%25C2%25B7%2520Unfollow%2520Me%2520Tour.html" rel="alternative" type="text/html"></link><id>953db722-45ab-1ca4-c9c0-2308a92bc757</id><updated>2025-05-24T11:00:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><strong>Artist</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah Badu</a><br></br><strong>Project</strong>: <a class="tc-tiddlylink-external" href="https://unfollowmetour.com/" rel="noopener noreferrer" target="_blank">Unfollow Me Tour</a><br></br><strong>Production Company</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a><br></br><strong>Collaborators</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Steve%20Teeps">Steve Teeps</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nic%20Juister">Nic Juister</a> • <a class="tc-tiddlylink-external" href="https://instagram.com/vincefraser" rel="noopener noreferrer" target="_blank">Vince Fraser</a><br></br><strong>Location</strong>: <a class="tc-tiddlylink-external" href="https://unfollowmetour.com/tour" rel="noopener noreferrer" target="_blank">Various locations</a><br></br><strong>Date</strong>: 2023 11 June - 23 July</h3><p><img src="https://strangeloop-studios.com/site/assets/files/1307/badu-unfollow-me-001-1.webp"></img><br></br><sup>Photo by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tony%20Krash">Tony Krash</a></sup></p><h2 class="">I produced the visual show for the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah Badu</a> <strong>Unfollow Me Tour</strong> with <a class="tc-tiddlylink-external" href="https://strangeloop-studios.com/projects/concert-visuals/erykah-badu/unfollow-me-tour/" rel="noopener noreferrer" target="_blank">Strangeloop Studios</a> and in collaboration with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#London">London</a>-based visual artist <a class="tc-tiddlylink-external" href="https://instagram.com/vincefraser" rel="noopener noreferrer" target="_blank">Vince Fraser</a>, who created a variety of looks using Stable Diffusion.</h2><p><div class="row">
<div class="column"><h2 class=""><strong><u> Media Content Creation Credits</u></strong></h2><h2 class="">Producer / Animation<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laskfar%20Vortok">Laskfar Vortok</a></h2><h2 class="">Creative Director / Animation<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a></h2><h2 class="">Stable Diffusion Animation<br></br><a class="tc-tiddlylink-external" href="https://instagram.com/vincefraser" rel="noopener noreferrer" target="_blank">Vince Fraser</a></h2><h2 class="">Stage Design / Production Manager<br></br><a class="tc-tiddlylink-external" href="https://www.facebook.com/SeeREDnow/" rel="noopener noreferrer" target="_blank">Martin Thomas &amp; Relentless Entertainment Design LLC</a></h2><h2 class="">Animation<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nic%20Juister">Nic Juister</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Steve%20Teeps">Steve Teeps</a></h2></div>
<div class="column"><h2 class="">VJ<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Michael%20Moon">Michael Moon</a></h2><h2 class="">Previz<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vince%20Mcklevie">Vince Mcklevie</a></h2><h2 class="">Associate Producer<br></br>Nick Maresh</h2><h2 class="">Associate Producer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ian%20Simon">Ian Simon</a></h2><h2 class="">Video Production Team<br></br> <a class="tc-tiddlylink-external" href="https://www.screenworksnep.com/" rel="noopener noreferrer" target="_blank">Screenworks</a></h2></div>
</div></p><h3 class=""></h3><h2 class=""><a class="tc-tiddlylink-external" href="https://www.thecut.com/article/erykah-badu-profile.html" rel="noopener noreferrer" target="_blank">Peak Erykah Badu · The Cut Feature</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Erykah Badu • Live Nudity : Meditate on Deez</title><link href="https://gavart.ist/#Erykah%20Badu%20%E2%80%A2%20Live%20Nudity%20%3A%20Meditate%20on%20Deez"></link><link href="https://gavart.ist/static/Erykah%2520Badu%2520%25E2%2580%25A2%2520Live%2520Nudity%2520%253A%2520Meditate%2520on%2520Deez.html" rel="alternative" type="text/html"></link><id>d776a0cc-8fc2-609d-e52b-01cfdb8a6c9a</id><updated>2025-05-23T23:22:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>This Is My Place</title><link href="https://gavart.ist/#This%20Is%20My%20Place"></link><link href="https://gavart.ist/static/This%2520Is%2520My%2520Place.html" rel="alternative" type="text/html"></link><id>0190a412-612d-62a2-1d40-15cac8de3f44</id><updated>2025-05-22T16:33:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/film-score/this-is-my-place-still-001.jpg"></img><h3 class=""><strong>Title</strong>: This Is My Place<br></br><strong>Director</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a><br></br><strong>Composer</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br><strong>Oranization</strong>: <a class="tc-tiddlylink-external" href="https://islaa.org/" rel="noopener noreferrer" target="_blank">Institute for Studies on Latin American Art (ISLAA)</a><br></br><strong>Release Date</strong>: <br></br><strong>Premiere</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Museum%20Contemporary%20Art%20Chicago%20%26%20Gene%20Siskel%20Film%20Center">Museum Contemporary Art Chicago &amp; Gene Siskel Film Center</a> (US) • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#MALBA%20Cine%202024%20%C2%B7%20Funci%C3%B3n%20especial">MALBA Cine 2024 · Función especial</a> (AR)</h3><h2 class="">This Is My Place is a fictional documentary about the itinerant life and conceptual artwork of artist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a>, whose sculpture Situacíon de cuatro placas de aluminio (Four Changeable Plaques) (1966), is currently on view in Endless. Commissioned by the <a class="tc-tiddlylink-external" href="https://islaa.org/" rel="noopener noreferrer" target="_blank">Institute for Studies on Latin American Art (ISLAA)</a>, the film features Lamelas interviewed by Marilyn and Larry Fields Curator <a class="tc-tiddlylink-external" href="https://mcachicago.org/About/Who-We-Are/Staff/Carla-Acevedo-Yates" rel="noopener noreferrer" target="_blank">Carla Acevedo-Yates</a>. Lamelas reflects on a life defined by migration between cultures and countries, and how those experiences shaped his artistic practice, which for decades has centered explorations of time and place.</h2><p> </p><p class="largerList"><ul>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dia%20Art%20Foundation%20Film%20Program%20%E2%80%A2%20David%20Lamelas%20%C2%B7%20The%20Machine">Dia Art Foundation Film Program • David Lamelas · The Machine</a><br></br>
		<sup><em>New York City, New York, United States</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cinematek%202024%20%E2%80%A2%20Lectures%2C%20introductions%2C%20workshops...">Cinematek 2024 • Lectures, introductions, workshops...</a><br></br>
		<sup><em>Brussels, Belgium</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#MALBA%20Cine%202024%20%C2%B7%20Funci%C3%B3n%20especial">MALBA Cine 2024 · Función especial</a><br></br>
		<sup><em>Buenos Aires, Argentina</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Museum%20Contemporary%20Art%20Chicago%20%26%20Gene%20Siskel%20Film%20Center">Museum Contemporary Art Chicago &amp; Gene Siskel Film Center</a><br></br>
		<sup><em>Chicago, Illinois, United States</em></sup>
	</li>
	
</ul>	</p></div></content><author><name>undefined</name></author></entry><entry><title>Brainfeeder THE HIT Livestream</title><link href="https://gavart.ist/#Brainfeeder%20THE%20HIT%20Livestream"></link><link href="https://gavart.ist/static/Brainfeeder%2520THE%2520HIT%2520Livestream.html" rel="alternative" type="text/html"></link><id>2e45cba9-abb8-6d88-edaf-0a0171ee62b4</id><updated>2025-05-22T15:58:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="700"></img><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Puzzle%20Weasel%20%E2%80%A2%20with%20Frank%20Moka">Puzzle Weasel</a> w/ <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Frank%20Moka">Frank Moka</a></p><p><div class="video-container">
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Deluge : Nailah Hunter · Max Jaffe · Gavin Gamboa</title><link href="https://gavart.ist/#Deluge%20%3A%20Nailah%20Hunter%20%C2%B7%20Max%20Jaffe%20%C2%B7%20Gavin%20Gamboa"></link><link href="https://gavart.ist/static/Deluge%2520%253A%2520Nailah%2520Hunter%2520%25C2%25B7%2520Max%2520Jaffe%2520%25C2%25B7%2520Gavin%2520Gamboa.html" rel="alternative" type="text/html"></link><id>23e35f81-aba2-275e-bc82-5879bc675f59</id><updated>2025-05-22T13:25:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink-external" href="https://instagram.com/delugesound" rel="noopener noreferrer" target="_blank">Deluge</a> + Mythscience present …</h2><h1 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nailah%20Hunter">Nailah Hunter</a> · <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a> · <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br>with special guest <a class="tc-tiddlylink-external" href="https://www.lonnieholley.com/" rel="noopener noreferrer" target="_blank">Lonnie Holley</a></h1><h2 class=""><em>inner-vation • in-nerv-ation</em></h2><h2 class="">Three seasoned improvisers gather to assure us of an immense and unexpected field of action in the debut of their trio ensemble for DELUGE. Delving into a blend of acoustic and digital palettes, the performance will take the omega point as the field, the liquidation of dwelling the center of gravity, and the mathematics of the temporal turned inside out. Departing from genre while maintaining it in its rearview glance (as does the Angelus Novus) … jazz, mystical folk, and the avant-garde dissolve into each other, innervating an architecture of dronology and cosmic transport.</h2><p><img src="" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>W Srebrnym Planie : Multimedia Overture to On The Silver Globe</title><link href="https://gavart.ist/#W%20Srebrnym%20Planie%20%3A%20Multimedia%20Overture%20to%20On%20The%20Silver%20Globe"></link><link href="https://gavart.ist/static/W%2520Srebrnym%2520Planie%2520%253A%2520Multimedia%2520Overture%2520to%2520On%2520The%2520Silver%2520Globe.html" rel="alternative" type="text/html"></link><id>fd454d80-f3ea-e8f7-f159-e55fd5a2c881</id><updated>2025-05-22T13:21:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="700"></img><h2 class="">There are an absence of linguistic aphorisms at one's disposal when trying to describe the experience of watching Andrzej Żuławski's On the Silver Globe (1988), which struck me like a lightning bolt after initially watching it for the first time during the early years of the COVID-19 global pandemic. On the one hand, you are immediately shocked into a primeval mode of understanding and unable to form comprehensions of what you are witnessing; on the other hand, the traces leave their marks indelibly in the psyche, as they do on the skin of actual survivors of lighting strikes, in fractal-like disseminations. When I was invited to participate in a new screening of the film held at the PRS I wanted to present something that could trace the lines of the film itself, or rather the lightning that I experienced, rather than merely accompany it as an overture with a piece of through-composed or improvised music. </h2><p><div class="video-container">
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</div></p><h2 class="">A methodology was devised to take a bird's eye view of a large subsection of the film's individual frames chronologically from beginning to end and then downsample the color information in each of those individual frames so that the pixel data becomes 2000-byte text strings comprised of numerical sequences. These sequences are then used to generate a stream of musical data that we can listen to as we move through the grid of frames, one by one, forming alchemical isomorphs of the visual content with new sonic entities, ones that make themselves heard as well as seen as they undergo this process of transformation. It is my hope then that the performance will remain inextricably linked to the intrinsic components of the celluloid, and allow for a critical dissection of its contents in our perspectival memory as well as inform a pre-intuited and abstracted grasping of the film's merits before viewing it in its totality. Hence the title of my piece Within the Silver Plane, envisions and de-visions the latent elements contained and hidden within the flatness of the single frame.</h2></div></content><author><name>undefined</name></author></entry><entry><title>A Journey into Monstrous Spaces · Transart Festival</title><link href="https://gavart.ist/#A%20Journey%20into%20Monstrous%20Spaces%20%C2%B7%20Transart%20Festival"></link><link href="https://gavart.ist/static/A%2520Journey%2520into%2520Monstrous%2520Spaces%2520%25C2%25B7%2520Transart%2520Festival.html" rel="alternative" type="text/html"></link><id>895b209c-3749-f054-4028-0520bf224a53</id><updated>2025-05-22T13:19:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/transart23/LQ-TA23-a journey into monstrous spaces-FADN©Tiberio-Sorvillo_63A3416.jpg"></img><br></br><sup>Members of <a class="tc-tiddlylink-external" href="https://www.instagram.com/halvcirkel" rel="noopener noreferrer" target="_blank">Halvcirkel Quartet</a> and Lorenzo Ziller. Photo: <a class="tc-tiddlylink-external" href="https://www.instagram.com/tiberio_sorvillo/" rel="noopener noreferrer" target="_blank">Tiberio Sorvillo</a></sup></p><h2 class="">A multifarious evening will be held in the scenographic spaces of the Antonio Dalle Nogare Foundation, which presents <a class="tc-tiddlylink-external" href="https://fondazioneantoniodallenogare.com/en/david-lamelas-i-have-to-think-about-it/" rel="noopener noreferrer" target="_blank">I Have to Think About It</a>, the first retrospective exhibition by Argentine artist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a> to be held in an Italian institution. A journey through the depths of space - or rather, of spaces - as well as of time. Material, physical space: that of the body of dancer and choreographer Carlo Massari in his triptych of metamorphoses. Metaphorical space: that of the depths of the human soul, which the author Madame Nielsen brings to light with a reading performance, with a musical accompaniment by Halvcirkel String Quartet. Finally, the exhibition space is filled with music with David Lamelas' piece <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tausendvierhundertsechzehn%20%28score%29">1416 m3</a>, composed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> and performed live by a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#String%20Quartet">string quartet</a> and a baritone.</h2><p><main class="grid">
		
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</div></p><p><img src="./files/img/attended-events/transart23/LQ-TA23-a journey into monstrous spaces-FADN©Tiberio-Sorvillo_63A3342.jpg"></img><br></br><sup>Peter Paul Kainrath, David Lamelas, and Gavin Gamboa introduce <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tausendvierhundertsechzehn">Tausendvierhundertsechzehn</a></sup></p><h2 class=""><strong>Programme</strong></h2><h2 class="">Part I – 20.00<br></br>METAMORPHOSIS – Larva (25 min)</h2><h2 class="">Part II – 20.45<br></br>Durch den endlosen Sommer in das Lamento der Liebe (45 min)</h2><h2 class="">Part III – 21.35<br></br>METAMORPHOSIS – Blatta (23 min)</h2><h2 class="">Part IV – 22.30<br></br>1416m3 (25 min)</h2><h2 class="">Part V– 00.00<br></br>METAMORPHOSIS - Sapiens (19 min)</h2><h2 class=""><strong>Artists</strong></h2><h2 class=""><a class="tc-tiddlylink-external" href="https://www.instagram.com/carlodiegomassari/" rel="noopener noreferrer" target="_blank">Carlo Massari</a><br></br><a class="tc-tiddlylink-external" href="https://www.instagram.com/madame.nielsen/" rel="noopener noreferrer" target="_blank">Madame Nielsen</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Halvcirkel%20Quartet">Halvcirkel Quartet</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></h2><p><main class="grid">
		
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	Photos: <a class="tc-tiddlylink-external" href="https://www.instagram.com/tiberio_sorvillo/" rel="noopener noreferrer" target="_blank">Tiberio Sorvillo</a></p><h3 class=""><strong>Additonal Links</strong></h3><ul><li><a class="tc-tiddlylink-external" href="https://transart.it/en/program/a-journey-into-monstrous-spaces" rel="noopener noreferrer" target="_blank">Transart23 · Program</a></li><li><a class="tc-tiddlylink-external" href="https://fondazioneantoniodallenogare.com/en/a-journey-into-monstrous-spaces-transart/" rel="noopener noreferrer" target="_blank">TRANSART «A JOURNEY INTO MONSTROUS SPACES · IN FIVE PARTS»</a></li></ul><p><a class="noExternalLinkIcon" href="https://transart.it/en/program/a-journey-into-monstrous-spaces" target="_blank"><img src="./files/img/attended-events/transart23/transart23-event-schedule.jpg"></img></a>
<img src="./files/img/attended-events/transart23/website-description.png"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Holy Doors : Opening for Mandy Kahn Book Release</title><link href="https://gavart.ist/#Holy%20Doors%20%3A%20Opening%20for%20Mandy%20Kahn%20Book%20Release"></link><link href="https://gavart.ist/static/Holy%2520Doors%2520%253A%2520Opening%2520for%2520Mandy%2520Kahn%2520Book%2520Release.html" rel="alternative" type="text/html"></link><id>b506f6b7-1666-538b-d1ef-0da41f688d30</id><updated>2025-05-22T13:17:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="700"></img><h2 class="">In addition to reading poems from her latest collection published by <a class="tc-tiddlylink-external" href="https://hatandbeard.com/products/holy-doors-poems-by-mandy-kahn" rel="noopener noreferrer" target="_blank">Hat &amp; Beard Press</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mandy%20Kahn">Mandy Kahn</a> be sharing a new multi-voice piece about <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Corita_Kent" rel="noopener noreferrer" target="_blank">Sister Corita Kent</a>, a multi-voice dance piece, and a poetry installation that features the work of eight glorious Los Angeles poets. You’ll see Elena Karina Byrne, Lois P. Jones, Peggy Dobreer, Elena Secota, Nicelle Davis, Susan Rogers, Stephen Kalinich and Kerry McPherson share their poetry in a flowing installation that covers the grounds. Performances by Gavin Gamboa, Kaylee Gibson, Nick Thurston, Rebecca Hazlewood, Ruthie Prillaman and Rosalind Smith.</h2><img src="./files/img/performance/holy-doors-2023/IMG_1880.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>NonSeq : Live in Seattle</title><link href="https://gavart.ist/#NonSeq%20%3A%20Live%20in%20Seattle"></link><link href="https://gavart.ist/static/NonSeq%2520%253A%2520Live%2520in%2520Seattle.html" rel="alternative" type="text/html"></link><id>0c679875-a1c2-4c35-ea21-278a8067c120</id><updated>2025-05-22T13:17:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><h2 class="">Nonsequitur is pleased to start off 2022 with the introduction of NonSeq, a new artist-led curator series aimed at positively stimulating the local music scene with visionary and generative live performances. </h2><h2 class="">For NonSeq, Nonsequitur co-founder and Director Steve Peters hands over curation of our concerts to a team of four celebrated local artists who will take over programming of twelve events in 2022. Pianist Marina Albero, polymath/writer and Seattle Star founder <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Omar%20Willey">Omar Willey</a>, guitarist Carlos Snaider, and flautist Leanna Keith will each curate three concerts apiece in the coming year. All of them have a unique presence in the Seattle creative community, and bring a wealth of collective knowledge and experience to the project.</h2><h2 class="">View the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NONSEQ%20Performance%20Notes">Program Note</a></h2><img src=""></img><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">Immense thank you(s) to Seattle friends and Nonsequitur &amp; Wayward Music Series. Grateful to be one of the <a href="https://twitter.com/creativecommons?ref_src=twsrc%5Etfw">@creativecommons</a>-working artists selected by curator Omar Willey, whose generosity and dedication to art and community are profound. Incredible to get to share with you 💐 <a href="https://t.co/LmgGZoqCfu">pic.twitter.com/LmgGZoqCfu</a></p>— Ꮹανiη Ꮐaмвoα 🌱☁️✨ (@gavcloud) <a href="https://twitter.com/gavcloud/status/1560810265536409600?ref_src=twsrc%5Etfw">August 20, 2022</a></blockquote> <script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>Mandy Kahn *I Like Peace</title><link href="https://gavart.ist/#Mandy%20Kahn%20*I%20Like%20Peace"></link><link href="https://gavart.ist/static/Mandy%2520Kahn%2520*I%2520Like%2520Peace.html" rel="alternative" type="text/html"></link><id>6dfae2f1-d1fb-5fc9-2d94-145a9a24e577</id><updated>2025-05-22T13:14:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><p>video by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Michael%20Moon">Michael Moon</a></p><h3 class=""><strong>Program</strong></h3><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Emahoy%20Tsegu%C3%A9-Maryam%20Gu%C3%A8brou">Emahoy Tsegué-Maryam Guèbrou</a><br></br>
<em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Song%20of%20The%20Sea">The Song of The Sea</a> (1953)</em></p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexander%20Scriabin">Alexander Scriabin</a><br></br>
<em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%202%20in%20G%20sharp%20minor%2C%20Opus%2019">Piano Sonata No. 2 in G sharp minor, Opus 19 </a></em> (1898)</p></div></content><author><name>undefined</name></author></entry><entry><title>Impromptu/Interlude with Erykah Badu &amp; Dallas Symphony Orchestra</title><link href="https://gavart.ist/#Impromptu%2FInterlude%20with%20Erykah%20Badu%20%26%20Dallas%20Symphony%20Orchestra"></link><link href="https://gavart.ist/static/Impromptu%252FInterlude%2520with%2520Erykah%2520Badu%2520%2526%2520Dallas%2520Symphony%2520Orchestra.html" rel="alternative" type="text/html"></link><id>eb0fb512-6c10-e897-a249-92b1cdf7781e</id><updated>2025-05-22T13:11:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">I am honored to have joined-in to perform this <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Improvisation">impromptu</a> transition between songs as a part of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah's</a> symphonic concert with Dallas Symphony Orchestra.</h2><p><div class="video-container">
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Anna Lusia Record Release</title><link href="https://gavart.ist/#Anna%20Lusia%20Record%20Release"></link><link href="https://gavart.ist/static/Anna%2520Lusia%2520Record%2520Release.html" rel="alternative" type="text/html"></link><id>5c962b1a-19bc-31bb-2c87-1bbb8a32f18b</id><updated>2025-05-22T13:10:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="700"></img><h2 class="">I'm playing a closing ceremony for interplanetary sonic matrix angel &amp; light-channeler <a class="tc-tiddlylink-external" href="https://www.instagram.com/annaluisapetrisko/" rel="noopener noreferrer" target="_blank">@annaluisapetrisko</a> and her new record <a class="tc-tiddlylink-external" href="https://practicalrecords.bandcamp.com/album/green" rel="noopener noreferrer" target="_blank">GREEN</a> this friday with these lovely soundcasters <a class="tc-tiddlylink-external" href="https://www.instagram.com/adeeroberson/" rel="noopener noreferrer" target="_blank">@adeeroberson</a> <a class="tc-tiddlylink-external" href="https://www.instagram.com/juliussmack/" rel="noopener noreferrer" target="_blank">@juliussmack</a> <a class="tc-tiddlylink-external" href="https://www.instagram.com/frincess/" rel="noopener noreferrer" target="_blank">@frincess</a> <a class="tc-tiddlylink-external" href="https://www.instagram.com/practicalrecords/" rel="noopener noreferrer" target="_blank">@practicalrecords</a> at LeRoy's Friday starts at 8PM 5-10$ donation / free molecular recompiling on distant exoplanets ✅ 💚 🔋 🍏 🌿 🐸 🌴 🌳 🌈</h2></div></content><author><name>undefined</name></author></entry><entry><title>1685 : audio/visual mutations of Scarlatti</title><link href="https://gavart.ist/#1685%20%3A%20audio%2Fvisual%20mutations%20of%20Scarlatti"></link><link href="https://gavart.ist/static/1685%2520%253A%2520audio%252Fvisual%2520mutations%2520of%2520Scarlatti.html" rel="alternative" type="text/html"></link><id>2c5651b2-a290-0c3e-721f-34da6d5bd8db</id><updated>2025-05-22T13:09:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src=""></img><h2 class="">The final installment of the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1685%20%E2%80%A2%20Shadow%20Owes%20Its%20Birth%20To%20Light">1685</a> cycle takes Scarlatti’s well-known <em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20B%20minor%20K.%2027">Sonata in B minor K. 27</a></em> as the basis for a long-form <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Improvisation">improvisatory</a> recomposition, expanding its baroque delicacy into drones, semi-permeable membranes, and as evocations of ragas, lines, grids, and waves. Instrumentation is for solo piano with electronics (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Modular%20Synthesizer">modular synthesizer</a> live processing), and visuals (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP/Jitter</a>) that are influenced by live audio capture.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Johannesgasse Solisten : Konzert “Aus der neuen Welt”</title><link href="https://gavart.ist/#Johannesgasse%20Solisten%20%3A%20Konzert%20%E2%80%9CAus%20der%20neuen%20Welt%E2%80%9D"></link><link href="https://gavart.ist/static/Johannesgasse%2520Solisten%2520%253A%2520Konzert%2520%25E2%2580%259CAus%2520der%2520neuen%2520Welt%25E2%2580%259D.html" rel="alternative" type="text/html"></link><id>b77ed581-f6fc-c02f-9354-d259a05f0cdd</id><updated>2025-05-22T13:09:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><h3 class=""><strong>Program</strong></h3><h3 class="">Sean Hickey (1970*)<br></br><em>Clarinet Concerto (arranged) | II</em></h3><h3 class="">Gavin Gamboa (1984*)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#When%20you%20come%20to%20a%20fork%20in%20the%20road%2C%20take%20it.">When you come to a fork in the road, take it. (2018)</a></em></h3><h3 class="">Emer Kinsella (1987*)<br></br><em>Paralysis</em></h3><h3 class="">Penka Kouneva (1967*)<br></br><em>Water over parched land</em></h3><h3 class="">Dimitri Cervo (1968*)<br></br><em>Toro Lobiana</em></h3><p><img src="" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>1416 m³ · Pacific Standard Time LA/LA</title><link href="https://gavart.ist/#1416%20m%C2%B3%20%C2%B7%20Pacific%20Standard%20Time%20LA%2FLA"></link><link href="https://gavart.ist/static/1416%2520m%25C2%25B3%2520%25C2%25B7%2520Pacific%2520Standard%2520Time%2520LA%252FLA.html" rel="alternative" type="text/html"></link><id>a0c8de02-8bc7-6134-9dbc-c2d559a40af5</id><updated>2025-05-22T13:06:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><h2 class="">Concert on the occasion of the exhibition <a class="tc-tiddlylink-external" href="http://www.pacificstandardtime.org/lala/" rel="noopener noreferrer" target="_blank">Pacific Standard Time LA/LA</a></h2><h2 class="">Presented by<br></br><a class="tc-tiddlylink-external" href="http://www.getty.edu/foundation/" rel="noopener noreferrer" target="_blank">The Getty Foundation</a><br></br><a class="tc-tiddlylink-external" href="https://www.csulb.edu/carolyn-campagna-kleefeld-contemporary-art-museum" rel="noopener noreferrer" target="_blank">University Art Museum, California State University Long Beach</a></h2><h2 class="">Concept<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a> in cooperation with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Le%C3%B3n%20de%20Castillo">León de Castillo</a></h2><h2 class="">Performed by<br></br>León de Castillo &amp; the Marcel Rubin Quartett &amp; Bob Cole Conservatory students</h2><h2 class=""><u>Marcel Rubin Quartett (Vienna)</u><br></br>Vera Otasek<br></br>Emer Kinsella<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jean%20Philippe%20Oliver%20Viol">Jean Philippe Oliver Viol</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Attilia%20Kiyoko%20Cernitori">Attilia Kiyoko Cernitori</a></h2><h2 class=""><u>Bob Cole Conservatory quartet (CSULB)</u><br></br>Makena Clark<br></br>Jaclyn Kim<br></br>Melissa McGlumphy<br></br>Hyunji Yi</h2><h2 class="">David Lamelas conceived <em><a class="tc-tiddlylink tc-tiddlylink-missing" href="#1416m%C2%B3%20%3A%20Concert%20%E2%80%9CV%E2%80%9D">Tausendvierhundertsechzehn for Tenor and String Quartet</a></em> with Los Angeles-based composer Gavin Gamboa to give shape to the invisible and temporal. 1416m³ sonically fills the architectural volume of space over a period of time. Gamboa and Mexican tenor León de Castillo join Lamelas to perform <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1416%20%E3%8E%A5%20%28Double%20Quartet%20Version%29">1416 m³ live, with a student group from the CSULB Bob Cole Conservatory</a>.</h2><h2 class=""><a class="tc-tiddlylink-external" href="http://www.pacificstandardtime.org/en/events/event/view/tausendvierhundertsechzehn-for-tenor-string-quartet" rel="noopener noreferrer" target="_blank">Pacific Standard Time LA/LA 2017</a></h2><h2 class="">Videography, Editing, and Sound:<br></br><a class="tc-tiddlylink-external" href="http://tinatallon.com/" rel="noopener noreferrer" target="_blank">Tina Tallon</a>, <a class="tc-tiddlylink-external" href="http://saltartsdocumentation.com/" rel="noopener noreferrer" target="_blank">SaltArts Documentation</a></h2><p><img src="./files/img/csulb-concert-kw-dl.jpg" width="700"></img>
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</p></div></content><author><name>undefined</name></author></entry><entry><title>Alex the Brown OBSCURA Closing Reception</title><link href="https://gavart.ist/#Alex%20the%20Brown%20OBSCURA%20Closing%20Reception"></link><link href="https://gavart.ist/static/Alex%2520the%2520Brown%2520OBSCURA%2520Closing%2520Reception.html" rel="alternative" type="text/html"></link><id>54ca1080-fb17-e466-a750-d72bb86b7a03</id><updated>2025-05-22T13:02:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Make Music Day 2017 : Italian Cultural Institute</title><link href="https://gavart.ist/#Make%20Music%20Day%202017%20%3A%20Italian%20Cultural%20Institute"></link><link href="https://gavart.ist/static/Make%2520Music%2520Day%25202017%2520%253A%2520Italian%2520Cultural%2520Institute.html" rel="alternative" type="text/html"></link><id>372a8eca-9b6e-6f97-c1db-c1a314cc84d0</id><updated>2025-05-22T12:59:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/performance/make-music-day-2017/19453209_1202446109865115_9063041899832907232_o.jpg"></img></p><h3 class=""><strong>Program</strong></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Giuseppe%20Domenico%20Scarlatti">Domenico Scarlatti</a> (1685-1757)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20B%20minor%20K.%2027">Sonata in B minor K. 27</a> (1738)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#About">Gavin Gamboa</a> (1984*)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mareas">Mareas / Maree / Tides</a> (2017)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Roberto%20Abraham">Roberto Abraham</a> (1959*)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Preludio%20No.%203">Preludio No. 3</a> (2015)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Manuel%20Ponce">Manuel Ponce</a> (1882-1948)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Preludio%20y%20Fuga%20sobre%20un%20Tema%20de%20H%C3%A4ndel">Preludio y fuga sobre un tema de Handel</a> (1915)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ferruccio%20Busoni">Ferruccio Busoni</a> (1866-1924)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatina%203%20ad%20usum%20infantis%20Madeline%20M.%2A%20Americanae">Sonatina No. 3</a> — IV. Molto tranquillo | V. Polonaise (1915)</em></h3><p><div class="video-container">
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<img src=""></img></p></div></content><author><name>undefined</name></author></entry><entry><title>MetaBird : Międzynarodowe Spotkania Teatrów Tańca</title><link href="https://gavart.ist/#MetaBird%20%3A%20Mi%C4%99dzynarodowe%20Spotkania%20Teatr%C3%B3w%20Ta%C5%84ca"></link><link href="https://gavart.ist/static/MetaBird%2520%253A%2520Mi%25C4%2599dzynarodowe%2520Spotkania%2520Teatr%25C3%25B3w%2520Ta%25C5%2584ca.html" rel="alternative" type="text/html"></link><id>6f5c3bb3-3210-044e-8f23-fbb54fa6660d</id><updated>2025-05-22T12:55:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src=""></img><h2 class="">Ethology is the scientific and objective study of animal behavior, usually with a focus on behavior under natural conditions.*</h2><h2 class="">Hygin Delimat and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black">Josseline Black</a> apply certain metaphors derived from the bird kingdom to the public/private identity of their imagined human and question the appearance of genuine individuality. Our Ethology unfolds as an evolution, a continuous process of learning amidst the swaying demands of conformity and rebellion.</h2><h2 class="">According to ethology:</h2><blockquote class="tc-quote"><cite><em>Imprinting is any kind of phase-sensitive learning that is rapid and apparently independent of the consequences of behavior. Imprinting happens for example at the very beginning of bird’s life, when it attaches to and later considers as its mother, the firstly seen animate or inanimate entity.
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Mobbing in animals is an antipredator adaptation in which individuals of prey species mob a predator by cooperatively attacking or harassing it, usually to protect their offspring. A simple definition of mobbing is an assemblage of individuals around a potentially dangerous predator.</em></cite></blockquote><h2 class="">Concept/choreography<br></br>Hygin Delimat with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black">Josseline Black</a></h2><h2 class="">Performance<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black">Josseline Black</a></h2><h2 class="">Dramaturgy<br></br>Grzegorz Kondrasiuk</h2><h2 class="">Technical support<br></br>Grzegorz Polak</h2><h2 class="">Production<br></br>Lublin Dance Theatre</h2><p><img src="./files/img/performance/metabird/Screen-Shot-2017-02-03-at-10.55.48-AM.png"></img>
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<img src="./files/img/performance/metabird/IMG_0274-e1486148414937.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Performance for Four Larks “La Bibliothèque Fantastique”</title><link href="https://gavart.ist/#Performance%20for%20Four%20Larks%20%E2%80%9CLa%20Biblioth%C3%A8que%20Fantastique%E2%80%9D"></link><link href="https://gavart.ist/static/Performance%2520for%2520Four%2520Larks%2520%25E2%2580%259CLa%2520Biblioth%25C3%25A8que%2520Fantastique%25E2%2580%259D.html" rel="alternative" type="text/html"></link><id>dd56c785-a479-90f3-15bd-24ac06e7dc80</id><updated>2025-05-22T12:44:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/performance/four-larks-2016/CsANeVYVMAAyyjZ.jpg"></img></p><h3 class=""><strong>Program</strong></h3><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#La%20Biblioth%C3%A8que%20Fantastique">La Bibliothèque Fantastique</a></li><li>Recitation of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Conference%20of%20The%20Birds">The Conference of The Birds</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#String%20Trio%20I%20%3A%20Into%20The%20Magnificent%20Sea%2C%20I%20Dispose%20Of%20Thee">String Trio I : Into The Magnificent Sea, I Dispose Of Thee</a><ul><li>Emily Call, violin</li><li>Joshua Heaphey, viola</li><li>Garik Terzian, cello</li></ul></li></ul><h3 class="">Named after a <a class="tc-tiddlylink-external" href="https://www.facebook.com/events/1797992753780957/?active_tab=discussion" rel="noopener noreferrer" target="_blank">post-show event concert series</a> which ran in conjunction with Four Larks production of The Temptation of St. Anthony at Basic Flowers, Downtown Los Angeles, 27 August - 2 October 2016</h3><p><img src="./files/img/performance/four-larks-2016/Screen-Shot-2016-09-11-at-5.14.19-PM.png"></img>
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<img src="./files/img/posters/four-larks-2016.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Chronopolis Live Score</title><link href="https://gavart.ist/#Chronopolis%20Live%20Score"></link><link href="https://gavart.ist/static/Chronopolis%2520Live%2520Score.html" rel="alternative" type="text/html"></link><id>449d8505-8fc2-30c9-6e63-0be18aeea4b3</id><updated>2025-05-22T12:26:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><h2 class="">Polish animator and filmmaker Piotr Kamler's 1983 groundbreaking work <em>Chronopolis</em> offers a rich expanse for sonic recontextualizations through its phantasmagorical landscapes and futuristic leanings. In homage to this early work of visionary cinema, composers and visual artists Strangeloop and Gavin Gamboa (founders and members of the art collective <a class="tc-tiddlylink-external" href="http://teachingmachine.tv/" rel="noopener noreferrer" target="_blank">The Teaching Machine</a>) take to recreating a sound world fit for its dizzying hyper-reality.</h2><h2 class="">Performed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></h2><h2 class="">Photographed by <a class="tc-tiddlylink-external" href="https://theojemison.com/" rel="noopener noreferrer" target="_blank">Theo Jemison</a></h2><h2 class="">Produced by <a class="tc-tiddlylink-external" href="https://vidiotsfoundation.org/" rel="noopener noreferrer" target="_blank">Vidiots</a> in association with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Institute%20For%20Cinema%20Studies">The Institute For Cinema Studies</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Concierto de piano : Cultura Mazatlán 2015</title><link href="https://gavart.ist/#Concierto%20de%20piano%20%3A%20Cultura%20Mazatl%C3%A1n%202015"></link><link href="https://gavart.ist/static/Concierto%2520de%2520piano%2520%253A%2520Cultura%2520Mazatl%25C3%25A1n%25202015.html" rel="alternative" type="text/html"></link><id>59b9a16e-2cf6-635e-710b-b30bcc3fca11</id><updated>2025-05-22T12:20:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/performance/concierto-mazatlan-2015/IMG_4219.jpg"></img></p><h3 class=""><strong>Program</strong></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johannes%20Brahms">Johannes Brahms</a> (1833-1897)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Balladen%20Opus%2010%20%C2%B7%20No.%204%20in%20B%20Major">Ballade, Op. 10 no. 4 in B Major — Andante con moto</a> (1854)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20A%20minor%20BWV%20965">Prelude, Fugue, and Gigue from Sonata in A minor BWV 965</a> (circa. 1700)</em><br></br>after<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jan%20Adams%20Reincken">Jan Adams Reincken</a> (1623-1722)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#HORTUS%20MUSICUS%20recentibus%20aliquot%20flosculis%20SONATEN%2C%20ALLEMANDEN%2C%20COURANTEN%2C%20SARABANDEN%2C%20et%20GIGUEN%20Cum%202%20Violin%2C%20Viola%20%28da%20Gamba%29%2C%20et%20Basso%20continuo">HORTUS MUSICUS Trio Sonata</a> (1687)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%208%20in%20C%20minor%20Opus%2013%20%E2%80%98Grande%20sonate%20path%C3%A9tique%E2%80%99">Grande sonate pathétique, Op. 13</a> (1799)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carlos%20Ch%C3%A1vez">Carlos Chávez</a> (1899-1978)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonatina%20for%20piano">Sonatina for piano</a> (1925)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gy%C3%B6rgy%20Ligeti">György Ligeti</a> (1923-2006)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Musica%20Ricercata">Musica Ricercata</a> : VI, VII, VIII (1953)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2014%20in%20C%20sharp%20minor%20%E2%80%98Quasi%20una%20fantasia%E2%80%98%20Opus%2027%20no.%202">Sonata Quasi Una Fantasia Op. 27 no. 2 “Moonlight”</a> (1801)</em></h3><p><div class="video-container">
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<img src=""></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Liederkonzert in Wien</title><link href="https://gavart.ist/#Liederkonzert%20in%20Wien"></link><link href="https://gavart.ist/static/Liederkonzert%2520in%2520Wien.html" rel="alternative" type="text/html"></link><id>1ecfc706-e40d-ab58-b76e-c5fa45737598</id><updated>2025-05-22T12:17:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><h3 class=""><strong>Program</strong>:</h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gustav%20Mahler">Gustav Mahler</a> (1860-1911)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Lieder%20eines%20fahrenden%20Gesellen">Lieder eines fahrenden Gesellen</a> (1885)</em></h3><ul><li><em>I. Wenn mein Schatz Hochzeit macht</em></li><li><em>II. Ging heut Morgen übers Feld</em></li></ul><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gy%C3%B6rgy%20Ligeti">György Ligeti</a> (1923-2006)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Musica%20Ricercata">Musica Ricercata : VII</a> (1953)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><em>Gigue after Reincken : <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20A%20minor%20BWV%20965">Sonata in A minor BWV 965</a> (circa. 1700)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%208%20in%20C%20minor%20Opus%2013%20%E2%80%98Grande%20sonate%20path%C3%A9tique%E2%80%99">Grande sonate pathétique</a> : III Rondo (1799)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Consuelo%20Vel%C3%A1zquez">Consuelo Velázquez</a> (1911-2005)<br></br><em>Bésame Mucho (1940)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gonzalo%20Roig">Gonzalo Roig</a> (1890-1970)<br></br><em>Quiéreme Mucho (1917)</em></h3><p><img src="./files/img/performance/lieder-konzert-wien-2015/IMG_3809.jpg"></img>
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<img src="./files/img/performance/lieder-konzert-wien-2015/IMG_3808.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>1416 m³ : Concert “V”</title><link href="https://gavart.ist/#1416%20m%C2%B3%20%3A%20Concert%20%E2%80%9CV%E2%80%9D"></link><link href="https://gavart.ist/static/1416%2520m%25C2%25B3%2520%253A%2520Concert%2520%25E2%2580%259CV%25E2%2580%259D.html" rel="alternative" type="text/html"></link><id>8dcd3d74-aa1f-879b-c427-54d72b6f110f</id><updated>2025-05-22T12:15:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/performance/1416m3/kunsthalleBasel-postPerformance.jpg"></img></p><h2 class="">On <a class="tc-tiddlylink-external" href="https://www.kunsthallebasel.ch/exhibition/david-lamelas/" rel="noopener noreferrer" target="_blank">Sunday, September 21, 2014 in the Oberlichtsaal</a>, the work <em>1416 m³</em> is premiered live in front of an audience. This composition has been written by US-based composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> (*1984, México) following the concept of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a> (in cooperation with the Austrian-Mexican tenor <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Le%C3%B3n%20de%20Castillo">León de Castillo</a>). </h2><h2 class="">The situational chamber piece <em>Tausendvierhundertsechzehn for Tenor and String Quartet</em> (which is performed by Castillo and the Marcel Rubin Quartet) represents sonically the amount of cubic meters at the Oberlichtsaal. The tenor will describe the architecture of the space where the concert takes place by filling each cubic meter of the space with sound.</h2><p><a class="noExternalLinkIcon" href="https://www.kunsthallebasel.ch/exhibition/david-lamelas/" target="_blank"><img src="./files/img/performance/1416m3/09_DavidLamelas_KHB2014_highres_GinaFolly-1400x933.jpg"></img></a>
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<a class="noExternalLinkIcon" href="https://www.kunsthallebasel.ch/exhibition/david-lamelas/" target="_blank"><img src=""></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Claro de Luna</title><link href="https://gavart.ist/#Claro%20de%20Luna"></link><link href="https://gavart.ist/static/Claro%2520de%2520Luna.html" rel="alternative" type="text/html"></link><id>7e399f3b-f8c3-1e0b-e1ac-086b79c7f654</id><updated>2025-05-22T12:12:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/performance/merida-2014/IMG_0125.JPG"></img></p><h3 class=""><strong>Program</strong></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johannes%20Brahms">Johannes Brahms</a> (1833-1897)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Balladen%20Opus%2010%20%C2%B7%20No.%204%20in%20B%20Major">Ballade, Op. 10 no. 4 in B Major — Andante con moto</a> (1854)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20A%20minor%20BWV%20965">Sonata in A minor BWV 965</a> (circa. 1700)</em><br></br>after<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jan%20Adams%20Reincken">Jan Adams Reincken</a> (1623-1722)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#HORTUS%20MUSICUS%20recentibus%20aliquot%20flosculis%20SONATEN%2C%20ALLEMANDEN%2C%20COURANTEN%2C%20SARABANDEN%2C%20et%20GIGUEN%20Cum%202%20Violin%2C%20Viola%20%28da%20Gamba%29%2C%20et%20Basso%20continuo">HORTUS MUSICUS recentibus aliquot flosculis SONATEN, ALLEMANDEN, COURANTEN, SARABANDEN, et GIGUEN Cum 2 Violin, Viola (da Gamba), et Basso continuo</a> (1687)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2014%20in%20C%20sharp%20minor%20%E2%80%98Quasi%20una%20fantasia%E2%80%98%20Opus%2027%20no.%202">Sonata Quasi Una Fantasia Op. 27 no. 2 “Moonlight”</a> (1801)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#About">Gavin Gamboa</a> (1984*)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gamboa%20Ballade%20I%20%28Live%20Concert%29">Ballade I</a> (2014)</em></h3><p><div class="video-container">
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</div></p><h2 class="">In this program I have attempted to field those pieces which most qualify as having a definite air of Nachtmusik, evocative of the brooding pathos that the night has historically represented. Beethoven’s well-known Moonlight Sonata, perhaps the most explicit nocturnal reference here (despite that byname originating from a critic and not from Beethoven himself) closes the program, while Brahms’ Fourth Ballade, severed from its context from the rest of the Opus 10 <em>Ballades</em>, provides the dreamy, lullaby-esque pivot from which the rest of the program proceeds.</h2><h2 class="">The Fourth Ballade in particular is replete with descending legato figurations not usually encountered in Brahms’ piano writing, as well as an idiosyncratic formal layout: A-B-A-C-B. The second theme – Più Lento — bears a resemblance to Schumann’s Romanze in F sharp major, Opus 28 No. 2. Is it a clandestine testament of love? … a dirge to a composer no longer capable of facing reality? … or the young Brahms’ meditations of death? Its delicacy and stasis made it seem appropriate for the murky atmospheres associated with the contemplative night.</h2><p><div class="video-container">
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</div></p><h2 class="">Moving now to the early 1700s, to a time when the teenage Johann Sebastian Bach was devouring all the music at his disposal, fervently transcribing whatever he could get his hands on, and getting as deep as he could into the existing music of his day. An older contemporary, Jan Adams Reincken, hailing from the north, is thought to have been a significant influence on the young J.S. Bach. At a point, Bach improvised on a particular chorale in the form of Reincken, just before the latter’s death at an advanced age. It is said that after hearing the younger man’s improvisation, Reincken remarked: “I thought that this art was dead, but I see that it lives in you.” This indicates that Bach showed great respect for Reincken’s craft. In fact, the young musician from Thuringia had been intimately acquainted with Reincken’s music some years before, when he based a fugue and two sonatas for keyboard on pieces drawn from Reincken’s Trio Sonatas, <em>Hortus Musicus</em>.</h2><h2 class="">These provide an extremely productive window into Bach’s early compositional practice — his transcriptions ranging from embellishments to entirely independent pieces based on Reincken’s subjects. The first of these Reincken Trio Sonatas, in A minor, is the one performed here, where Bach has kept the designation ‘Sonata’, and made the mere transcription of this chamber music into something more akin to a hybrid, where authorship is becomes blurred, hazy, and remarkably intertwined. Delving further into this relationship, Christoph Wolff in his ‘Bach: Essays on His Life and Music’ explains:</h2><blockquote class="tc-quote digitalGarden"><p>Without a doubt, Reincken represented a versatile and colorful musical personality of a special sort. He was a virtuoso of high order and an esteemed organ expert … At the same time, he also possessed theoretical interests and clearly had an encompassing professional knowledge of the musical literature. In this respect, Reincken must have appeared incomparably more fascinating to the young Bach than Buxtehude or Böhm … The very fact that Bach did not arrange any works by a North German composer other than Reincken, not even by Buxtehude or Böhm, underlines Reincken’s significance.
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</div></p><h2 class="">Beethoven’s Opus 27 set of Sonatas are the only ones which he gave the title ‘Quasi una fantasia’. Categorically opposed in form to the sonatas of the late 17th and early 18th centuries, it did away with the thematically animated, sonata-allegro first movement. Moonlight, by contrast, contains a first movement which feels as though it were improvised, and one which is subdued to the point of acting as a prologue. Then, the cautiously lively second movement — Allegretto (which Liszt likened to a flower opening up in blossom) — leads attacca into a final movement which still startles and captivates 200 years later in its maximalistic perpetuum.</h2><p><div class="video-container">
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</div></p><p><img src=""></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Música hace 100 años</title><link href="https://gavart.ist/#M%C3%BAsica%20hace%20100%20a%C3%B1os"></link><link href="https://gavart.ist/static/M%25C3%25BAsica%2520hace%2520100%2520a%25C3%25B1os.html" rel="alternative" type="text/html"></link><id>f2b06254-c526-2573-6e54-0c2d0101523f</id><updated>2025-05-22T12:11:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/performance/Bellows_CliffDwellers-2.jpg" width="700"></img><br></br><sup>George Bellows, <em>Cliff Dwellers</em> (1913)</sup></p><h3 class=""><strong>Program</strong></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Well-Tempered%20Clavier%2C%20Book%20I">The Well-Tempered Clavier, Book I</a></em></h3><ul><li><em>Prelude &amp; Fugue in A flat Major, BWV 862</em></li><li><em>Prelude &amp; Fugue in E minor, BWV 855</em></li><li><em>Prelude &amp; Fugue in G Major, BWV 860</em></li></ul><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alban%20Berg">Alban Berg</a> (1885-1935)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Klaviersonate%2C%20Opus%201">Klaviersonate, Opus 1</a> (1910)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2013%20in%20E%20flat%20major%20%E2%80%98Quasi%20una%20fantasia%E2%80%99%20Opus%2027%20no.%201">Sonata Quasi Una Fantasia Opus 27 no. 1</a> (1801)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maurice%20Ravel">Maurice Ravel</a> (1875-1937)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Valses%20nobles%20et%20sentimentales">Valses nobles et sentimentales</a> (1911)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Igor%20Stravinsky">Igor Stravinsky</a> (1882-1971)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Serenade%20in%20A">Serenade in A</a> (1925)</em></h3><ul><li><em>Hymn</em></li><li><em>Romanze</em></li><li><em>Rondoletto</em></li><li><em>Cadenza Finale</em></li></ul><h3 class="">Gavin Gamboa (1984*)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C2%A1He%20aqu%C3%AD%21%20%C2%A1El%20Volc%C3%A1n%21">¡He aquí! ¡El Volcán!</a> (world premiere)</em></h3><p><div class="video-container">
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</div></p><h2 class="">The <em>Serenade in A</em> of 1925 represented Stravinsky’s new instrumental style, which embraced a detached, sterilized romanticism with an orchestral logic in the articulations and textures, all within the limitations of the piano dynamic. The four phases which make up this work convey the properties of a classical Serenade in the abstract (dynamics, texture, rhythm, melody), and lead to a conception of the dance associations without actually being dance pieces in and of themselves.</h2><h2 class="">The state of the displaced motion and lyricism of the Serenade allow for transformations and transpositions of all kinds; a controlled interplay of accents, dynamics, and rhythmic irregularity. It is the opposite of impressionistic texture, more suitable to a mechanical exactness rather than ephemeral nuances. It also stands in contrast to everything else Stravinsky wrote for the instrument — one of his most inventive and original — sharing only faint resemblances to the technicalities of the <em>Piano Sonata</em> or <em>Trois mouvements de Petrouchka</em>. </h2><p><div class="video-container">
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</div></p><h2 class="">If Stravinsky’s work was serving to enhance his exposure, the eight ‘waltzes’ contained in Maurice Ravel’s <em>Valses Nobles et Sentimentales</em> could be considered an exercise in anonymity. It was first performed at a concert sponsored by the Société Musicale Indépendante, which also featured pieces by Zoltán Kodály, Charles Koechlin, Vincent d’Indy, and Erik Satie. The pieces were performed without indicating who the composers were — the idea being that it would function to supplant a certain deftness in critics’ predispositions when critiquing new works. Whether or not this was successful is unclear. Furthermore, as was the case with <em>Le Sacre du printemps</em>, Ravel’s Valses generated a negative reaction of boos and cat-calls.</h2><h4 class=""><img src="./files/img/performance/stravinskyRavel-1.jpg" width="700"></img><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Igor%20Stravinsky">Igor Stravinsky</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maurice%20Ravel">Maurice Ravel</a></h4><h2 class="">The audience may have misinterpreted it as parody or a provocation, since the waltzes themselves are understated and distributed throughout a landscape of brooding dissonances. There is a deeply cosmic quality to this work that is capable of being lost in a hurried, blithe performance. Ravel, in a direct allusion to Schubert (who in 1823 composed a set of 34 dances titled <em>Valses sentimentales</em>, and in 1826 another set of 12 titled Valses nobles) seems to have been prompted into his own explorations, channeling sensual sonorities, buoyant figurations, and profound elegance and restraint into the Viennese waltz form, filtered through his Parisian sensibility. It seemed appropriate to pair this effervescent, evocative impressionist work with the diametrically opposed angularity and rigidity of Stravinsky’s cubist conception of the Serenade, achieving a coherence and binary oppositional balance that each composer may have found mutually reinforcing.</h2><p><div class="video-container">
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</div></p><h2 class="">Alban Berg’s Opus 1, a piano sonata from 1910, is unusual for a sonata in that it is comprised of a single movement; it represents a compression, a latitudilization of multi-movement time, and it follows a strict motivic economy, imbued with a thick chromaticism that negates any key center or orbit (although it does begin, end, and momentarily imply the key of B minor throughout). Berg composed the sonata while studying with Arnold Schoenberg, whose ideas of ‘developing variation’ nurtured the motivic unity internal to the work.</h2><h4 class=""><img src="./files/img/performance/alban_berg.jpg" width="700"></img><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alban%20Berg">Alban Berg</a></h4><h2 class="">Wagnerian operatic gestures form the gestalt as well as the point of departure for the organicism of Berg’s tightly-knit structures, which are also marvelously pianistic. Extensive use of the whole-tone scale recall impressionistic tendencies, pointing to Ravel. The rhythmic complexities and disjunct harmonic progressions remind us of similar occurrences in Stravinsky’s Serenade, although the latter seems more sparse and adroit. One enters and leaves its realm as if enveloped in a wandering dream; the musical equivalent of time-travel; manifold transfigurations.</h2><p><div class="video-container">
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</div></p><h2 class="">After Berg’s <em>Klaviersonate</em> we are introduced to another idiosyncratic piano sonata, this time by Beethoven: Op. 27 no. 1 in E-flat Major, his 13th sonata, and the companion of the famous ‘Moonlight’ sonata Op. 27 no. 2. Beethoven wrote this piece in his early 30s, at a time during which he must have felt the onset of his irreversible total deafness. Beethoven designates this a Sonata ‘Quasi una fantasia’, which is the only sonata with this odd subtitle. The four movement plan of the sonata actually disregards the formal rules of sonata-allegro form, and each movement flows into the next — attaca — or without pause … another uncharacteristic feature. For being so forward and rule-bending, I found it appropriate to include in the program; it looks ahead to the future, it rearranges itself, it becomes something different. Like Berg’s Sonata, it flows continuously from start to finish. Like the Rondoletto in Stravinsky’s Serenade, the concluding 4th movement is a Rondo hybrid with a similarly incessant, driving rhythm, always returning to the familiar refrain. Like the Epilogue in Ravel’s Valses, it quotes thematic material which occurred in earlier movements. It represents a departure for Beethoven, one in a long series of departures he would continue to make throughout his life.</h2><h2 class="">The music of 100 years ago is grounded in individualistic use of counterpoint, and it seemed relevant to connect the lasting influence of J.S. Bach to these keyboard works. The program opens with three selections from the first book of the <em>Well-Tempered Clavier</em> : E, G, A-flat — a major/minor mixture (if you hear the pitches simultaneously) which I felt exemplifies the thrust of the modernists, who chose dissonance when expressing the clashing, mechanized forces of the external world in their music. Bach, an adventurer in his own right, seems useful here, in order help us conceptualize the sounds of order and symmetry, establishing the context by which we can then gauge the asymmetrical, the unruly, the ahistorical harmonic substrates and abstract forms of the future.</h2><p><div class="video-container">
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</div></p><p><img src="" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Bartók ⎮ Schubert ⎮ J.S. Bach ⎮ Gamboa</title><link href="https://gavart.ist/#Bart%C3%B3k%20%E2%8E%AE%20Schubert%20%E2%8E%AE%20J.S.%20Bach%20%E2%8E%AE%20Gamboa"></link><link href="https://gavart.ist/static/Bart%25C3%25B3k%2520%25E2%258E%25AE%2520Schubert%2520%25E2%258E%25AE%2520J.S.%2520Bach%2520%25E2%258E%25AE%2520Gamboa.html" rel="alternative" type="text/html"></link><id>e2f1de37-7f89-4edd-3b00-f2bc757fd33d</id><updated>2025-05-22T12:09:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><h3 class=""><strong>Program</strong>:</h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#B%C3%A9la%20Bart%C3%B3k">Béla Bartók</a> (1881-1945)<br></br><em>six pieces from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mikrokosmos%2C%20Vol.%20IV">Mikrokosmos, Vol. IV</a> Sz. 107, BB 105</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> (1797-1828)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%20in%20A%20minor%2C%20D.%20784">Sonata in A minor, D. 784</a></em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Well-Tempered%20Clavier%2C%20Book%20I">The Well-Tempered Clavier, Book I</a></em></h3><ul><li><em>Prelude &amp; Fugue in E flat Major, BWV 852</em></li><li><em>Prelude &amp; Fugue in C minor, BWV 847</em></li><li><em>Prelude &amp; Fugue in B minor, BWV 869</em></li><li><em>Prelude &amp; Fugue in D Major, BWV 850</em></li></ul><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a> (1984*)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Halcyon%20Suite">Halcyon Suite, Opus 3</a> (world premiere)</em></h3><h2 class="">Béla Bartók, a Hungarian pianist/composer as well as a proto-ethnomusicoligist, had a profound interest and analytical approach to folk music, as is evident in a distinct style that integrates folk ethos with classicism in the spirit of 20th century modernism. Mikrokosmos is a collection of 153 miniature piano works composed between 1926 and 1939.</h2><h2 class="">It is likely that Bartók envisioned these pieces as a continuation of the pedagogical tradition (and, it could be argued, the philosophical framework) exemplified by J.S. Bach’s Well-Tempered Clavier. The wonderful nature of these pieces is that they are meant to demonstrate and to present all sorts of puzzles, specific musical and technical challenges, and introduce new harmonic and melodic understandings. The realizations of Bartók’s unique harmonic awareness (Intermezzo), in the use of polyrhythms and irregular time signatures (Minor and Major), as well as in the distinctly Eastern influence which he cultivated and used as inspiration (From The Island Of Bali) shed light on his historical significance.</h2><hr></hr><p><div class="video-container">
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</div></p><h2 class="">Franz Schubert‘s Sonata in A minor was written in 1823 and is a piece of monumentally tragic darkness and melancholy, the first movement resembling nothing more than a skeleton of sonata-allegro form, with minimum harmony and rhythm supplanting themes and melodies. The conventional, comforting ornamental structures of his time are done-away with in order to emphasize very stark key changes and chromatic trajectories. With a deliberate aim to strictly embody the fundamentals, it is unique in its texture and overall composition.</h2><h2 class="">Given these extraordinary qualities, it happens that this Sonata is rarely heard in concert and evokes curiosity behind the foundation of its emotional terrain. In it, the listener can discern a psychological agitation entangled in the haunted and brooding contemplations of one succumbing to the more devastating effects of illness and despair (for Schubert, this would have been contracting Syphilis in 1822). Yet, an evocative counterpoise is assumed in moments of sublime beauty — achieved in the contrasting moments which bring balance and heartfelt longing into devastatingly intimate proximity.</h2><hr></hr><p><div class="video-container">
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</div></p><h2 class="">The best known of J.S. Bach‘s clavier works is the famous set of preludes and fugues known as the Well-Tempered Clavier. This musical text was intended to function as a fundamental guide for the understanding of harmony and rhythm. The objective – to introduce the 24 major and minor keys — was a challenging notion at the time; the established traditions of instrumental tuning did not allow for the simultaneous use of many keys with multiple sharps or flats on one instrument. Bach was attempting to integrate a type of tempered tuning that has remained the foundation of musical thought to this day.</h2><h2 class="">Despite being initially implemented as teaching guides for his students, Bach’s complete collection of the preludes and fugues are now highly regarded musical works, not only for how influential they have been but also because of their unique intricacies and complexities. In principle and compositionally speaking, the preludes are lyrical and free; the fugues — strict. All these vary wonderfully in subject, texture, form, and treatment. Indeed, they represent a form of metaphysical sustenance for the spirit and offer a portal into the musical arts. For the 30-year-old Mozart, an encounter with a Bach fugue transformed his creative style. For Beethoven, performance of the clavier works reinforced his early reputation and inspired his musical development. For many others, they remain valuable historical artifacts and tools to understanding tonality and musical invention.</h2><hr></hr><p><div class="video-container">
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</div></p><h2 class="">Halcyon Suite, composed in 2011, is a suite for piano comprised of three toccatas, each of which embody contrasting styles and character. It is dedicated to my grandmother, the Yucatecan composer and singer Doña Josefina Patrón de Gamboa (1943-1994). </h2><h2 class="">Detroit, Michigan<br></br> 2013 February 20</h2><p><img src=""></img>
<img src="./files/img/performance/IMG_13411.jpg"></img><br></br><sup>photo: Yolanda Kol</sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Variaciones Diabelli : Concierto Mérida 2011</title><link href="https://gavart.ist/#Variaciones%20Diabelli%20%3A%20Concierto%20M%C3%A9rida%202011"></link><link href="https://gavart.ist/static/Variaciones%2520Diabelli%2520%253A%2520Concierto%2520M%25C3%25A9rida%25202011.html" rel="alternative" type="text/html"></link><id>f2df3b6f-03b7-f786-5ac3-b1fc2ae53f98</id><updated>2025-05-22T12:06:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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</div></p><h2 class="">The Diabelli Variations encapsulate the totality of Beethoven’s compositional style with all of its behaviors, digressions, interjections, wonders, injunctions, and developments completely intact and, with a remarkably adventurous spirit, operating in stunning fluidity in one of the most outrageous and seemingly baffling compositions ever written for the piano. Here, we find the traditional genre of classical Theme and Variations maximized into a work of serious experimentation and contemplation; one which is veiled as a game of charade while it assumes epic proportions in both duration as well as thematic treatment and variety.</h2><h2 class="">Many apocryphal stories are attributed to the origin of the Diabelli Variations. Whatever the reasons Beethoven decided to write this exceptional set of miniatures were, what survives has been described as a microcosm of his entire oeuvre, and with good reason. The piece is singular in the constellation of works Beethoven produced; a late work written during a time in which his deafness must have seemed, in every respect, conclusive. Pointing towards the future in astonishing ways while abandoning what must in those days have seemed to be the last semblances of a rational harmonic restraint, the Diabelli Variations surely would have confirmed Beethoven’s continual ability to completely captivate his audiences with the enthralling figuration unique to his conception of technique; one can only imagine what contemporary audiences and admirers must have thought of these dazzling ‘impossibilities’ of the keyboard.</h2><h2 class="">There are many difficulties in presenting a work like this to an audience, aside from the sheer length of the piece and the stamina and consistency required to execute it. One of them is the built-in feature of disjunct separations occuring between each variation which imbues a kind of discontinuity that pervades the work. Indeed, Beethoven exploits this jarring facet of the Theme and Variations genre to create dramatic contrasts from variation to variation. Also too, there is the fact that the majority of these variations reside in a single tonal space — C major — except for four variations in C minor and the penultimate Fugue in which Beethoven modulates to the key of Eb Major (the relative major of the C minor sections which precede it) which makes it especially demanding on the listener. Yet, there exists a wealth of activity and tension which excites and compliments this homogenous tonal landscape. There is a brutish and aggressive nature to many of the variations, bending the original theme beyond all recognition. And as well there are some of the more sublime and introspective moments Beethoven ever conceived on any instrument; powerful episodes which the performer must grapple with. For being one of the most important works Beethoven ever wrote, it is surprisingly under-performed. Coming into contact with this bizarre and monumental piece can be an illuminating experience, especially when it’s able to reveal the true extent of Beethoven’s technical ingenuity and musical genius.</h2><p><img src=""></img><br></br>
poster design: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Marci%20Pinna">Marci Pinna</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Abraham ⎮ Ligeti ⎮ Chopin ⎮ Beethoven ⎮ Bach</title><link href="https://gavart.ist/#Abraham%20%E2%8E%AE%20Ligeti%20%E2%8E%AE%20Chopin%20%E2%8E%AE%20Beethoven%20%E2%8E%AE%20Bach"></link><link href="https://gavart.ist/static/Abraham%2520%25E2%258E%25AE%2520Ligeti%2520%25E2%258E%25AE%2520Chopin%2520%25E2%258E%25AE%2520Beethoven%2520%25E2%258E%25AE%2520Bach.html" rel="alternative" type="text/html"></link><id>ae9687ef-0200-1deb-3da5-a7a9dcababbe</id><updated>2025-05-22T12:04:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/peon-contreras-2016.jpg"></img></p><h3 class=""><strong>Program</strong></h3><h3 class="">Gavin Gamboa (1984*)<br></br><em>Sonatina (2011)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">Johann Sebastian Bach</a> (1685-1750)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Well-Tempered%20Clavier%2C%20Book%20I">The Well-Tempered Clavier, Book I</a></em></h3><ul><li><em>Prelude &amp; Fugue in G minor, BWV 861</em></li><li><em>Prelude &amp; Fugue in C sharp minor, BWV 849</em></li></ul><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Ludwig van Beethoven</a> (1770-1827)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sonata%2027%20in%20E%20minor%20Opus%2090">Sonata 27 in E minor Opus 90</a> (1814)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Roberto%20Abraham">Roberto Abraham</a> (1959*)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Preludio%20No.%202">Preludio No. 2</a> (1985)</em> &amp; <em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Preludio%20No.%203">Preludio No. 3</a> (2015)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gy%C3%B6rgy%20Ligeti">György Ligeti</a> (1923-2006)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Musica%20Ricercata">Musica Ricercata</a> : VII, VIII (1953)</em></h3><h3 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fr%C3%A9d%C3%A9ric%20Chopin">Frédéric Chopin</a> (1810-1849)<br></br><em><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Fantaisie%20in%20F%20minor%20Opus%2049">Fantaisie in F minor, Opus 49</a> (1841)</em></h3><p><div class="video-container">
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</div></p><p><img src=""></img><br></br>Poster design: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Marci%20Pinna">Marci Pinna</a></p></div></content><author><name>undefined</name></author></entry><entry><title>The World Porn Made</title><link href="https://gavart.ist/#The%20World%20Porn%20Made"></link><link href="https://gavart.ist/static/The%2520World%2520Porn%2520Made.html" rel="alternative" type="text/html"></link><id>3c739e40-a0b2-399d-b264-7f2c7a3f3eb4</id><updated>2025-05-20T22:41:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Boonta Vista</title><link href="https://gavart.ist/#Boonta%20Vista"></link><link href="https://gavart.ist/static/Boonta%2520Vista.html" rel="alternative" type="text/html"></link><id>f0212795-62f0-b712-40ce-965fd7de914e</id><updated>2025-05-19T09:36:25</updated><content type="xhtml"><div 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tadpoles steal show in wildlife photography contest</title><link href="https://gavart.ist/#Tadpoles%20steal%20show%20in%20wildlife%20photography%20contest"></link><link href="https://gavart.ist/static/Tadpoles%2520steal%2520show%2520in%2520wildlife%2520photography%2520contest.html" rel="alternative" type="text/html"></link><id>96b0ff14-4ac1-5f70-7bfa-c4840a55b0b6</id><updated>2025-05-19T09:18:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Nature</title><link href="https://gavart.ist/#Nature"></link><link href="https://gavart.ist/static/Nature.html" rel="alternative" type="text/html"></link><id>d212ce7f-dc23-57d1-9628-334b5a2a2b2f</id><updated>2025-05-19T09:18:20</updated><content type="xhtml"><div 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href="https://gavart.ist/static/B%25C3%25A1lint%2520Magyar.html" rel="alternative" type="text/html"></link><id>17b59dd3-5e58-ce01-86a5-08dee3cf15e1</id><updated>2025-05-19T09:06:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Location Sound</title><link href="https://gavart.ist/#Location%20Sound"></link><link href="https://gavart.ist/static/Location%2520Sound.html" rel="alternative" type="text/html"></link><id>9d8d2c3c-1c0e-c473-8527-7b7aa2322243</id><updated>2025-05-18T21:24:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Trew Audio</title><link href="https://gavart.ist/#Trew%20Audio"></link><link href="https://gavart.ist/static/Trew%2520Audio.html" rel="alternative" type="text/html"></link><id>d8e6e510-2a55-e13f-a270-a8a43531dfe0</id><updated>2025-05-18T21:22:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Pro Audio</title><link href="https://gavart.ist/#Pro%20Audio"></link><link href="https://gavart.ist/static/Pro%2520Audio.html" rel="alternative" type="text/html"></link><id>f5704505-7983-4cfb-110e-114d84dd4f58</id><updated>2025-05-18T21:22:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>pinokio</title><link href="https://gavart.ist/#pinokio"></link><link href="https://gavart.ist/static/pinokio.html" rel="alternative" type="text/html"></link><id>0eee7950-a085-d46a-42e1-4b1e05513d23</id><updated>2025-05-18T21:11:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The White Rose · Research &amp; Notes</title><link href="https://gavart.ist/#The%20White%20Rose%20%C2%B7%20Research%20%26%20Notes"></link><link href="https://gavart.ist/static/The%2520White%2520Rose%2520%25C2%25B7%2520Research%2520%2526%2520Notes.html" rel="alternative" type="text/html"></link><id>83ae6808-cbb2-f9dc-6111-046417d608cd</id><updated>2025-05-18T20:48:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Meeting Notes</h2><h3 class="">2023 June 30 • <a class="tc-tiddlylink-external" href="https://www.jenniferrosenfeld.com/" rel="noopener noreferrer" target="_blank">Jennifer Rosenfeld</a> • <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Diana%20Wyenn">Diana Wyenn</a></h3><h3 class=""><u>Instrumentation</u></h3><p>Piano - <em>orchestra</em> <br></br>Strings - <em>internal experience</em><br></br>Harp - <em>strategic moments (spiritual dimensions) … allusions to Russia</em><br></br></p><ul><li><a class="tc-tiddlylink-external" href="https://www.thewhiterosemusical.com/music" rel="noopener noreferrer" target="_blank">Music Reference</a></li></ul><h3 class=""><u>Establishing place</u></h3><p>Abstract setting … avoid photographs<br></br>World to grow from piece of paper<br></br>Music as invitation for movement<br></br><br></br>Distinction between typewritten words and the written page.<br></br>The written page should 'blanket the space' — <a class="tc-tiddlylink-external" href="https://www.rawpixel.com/image/7614811/image-paper-heart-vintage" rel="noopener noreferrer" target="_blank">writing everywhere</a><br></br><br></br>How typewritten material can be invoked as not final … despite it's medium.<br></br></p><hr></hr><h1 class="">Script</h1><h3 class=""><strong>Page 7</strong></h3><p>Invoking people … but avoiding photographs. Line drawings of people ?</p><h3 class=""><strong>Page 8</strong></h3><p>Transition from one letter to the next "Dear sir" </p><p>"I read other documents in Josephine's file"<br></br> 
Filing-cabinet … Filing through papers</p><p><main class="grid">
		
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	</main></p><h3 class=""><strong>Page 9</strong></h3><p>Once the rest of the cast comes in we are no longer in the Hoover Archives, we roll into the past. Shift from cold archive to warm mountain.</p><p>Songs about nature. </p><p>Snaps back to being alone in the archive.</p><p><main class="grid">
		
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	</main></p><h3 class=""><strong>Page 11</strong></h3><p>Cartographic Maps … Boundaries … Piano as surface.</p><p><main class="grid">
		
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	</main></p><h3 class=""><strong>Page 12</strong></h3><p>Avoidance … things are stripped away. White Rose takes over the space … but then it is abandoned.</p><h3 class=""><strong>Page 13</strong></h3><p>When Josephine enters … <code>Quotes</code> showing actual quotations. Sophie's text introduced</p><h3 class="">German / English text dichotomy</h3><h3 class=""><strong>Page 15</strong></h3><p>Does it start in German, and then transition to English ?
Flipping the page</p><p>Allusions to Schubert Trout Quintet / Handel / Bach
do we see notated music ? We are outside … how do we give this feeling with video.</p><p><main class="grid">
		
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	</main></p><h3 class=""><strong>Page 16 Sophie's Song</strong></h3><p>We are indoors. Windows impressions. Clock hanging on the wall.</p><p><main class="grid">
		
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	</main></p><h3 class=""><strong>Page 19</strong></h3><p>Shifting back to Jennifer in research mode. Do we give a visual cue each time ?</p><h3 class=""><strong>Page 22</strong></h3><p>Scene change from family home to college apartment. Hans is kind of a slob (?). Visuals introduce each character — using their real photographs</p><h3 class=""><strong>Page 27</strong></h3><p>Out of the classroom … back into Jennifer's world. Introducing Prof Huber. Visuals introduce each character — using their real photographs.</p><h3 class=""><strong>Page 28</strong> </h3><p>Bleeding in the scene and in the research at the same time.</p><h3 class=""><strong>Page 39</strong> </h3><p>For video to think.</p><p>We are here for an idea. It unites us, it binds us. It is to<br></br>that idea that we must be loyal, above all else.<br></br>     IT PIERCES LIKE AN ARROW,<br></br>     IT’S GRIP ON YOU WON’T BEND.<br></br>     THE PATH IS DARK AND NARROW<br></br>     WITH A LIGHT AT THE VERY END.<br></br><br></br><br></br>Windlicht — lantern. Light and darkness. <br></br></p><h3 class=""><strong>Page 40 bottom</strong></h3><p>Writing the leaflets. Taking single words out of the pamphlets to emphasize. Choosing certain words.</p><h3 class=""><strong>Page 45</strong></h3><p>Jennifer interrupts their world.</p><h3 class=""><strong>Page 46</strong> </h3><p>Russia as a place of nostalgia not of a place of longing. Alexander from place called Orenberg.</p><h3 class=""><strong>Page 49</strong> </h3><p>Frequency of letter writing could be portrayed as abstract text rapidly being assembled.</p><h3 class=""><strong>Page 51</strong></h3><p>Abstracted news reel footage indicating that the war has come home.</p><p><main class="grid">
		
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	</main></p><h3 class=""><strong>Page 55</strong></h3><p>The realization that there are falsehoods. Buried in text? Four windows of browsers going crazy ? End of romanticism.</p><h3 class=""><strong>Page 57</strong></h3><p>Many people believe that our age is the last. And we are brought back into the school setting.</p><p>Anchored by University + Huber's speech — architectural rendering of an imperial arched doorway (?)</p><img src="./files/img/misc/universitat.png"></img><p><main class="grid">
		
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	</main></p><h3 class=""><strong>Page 61</strong></h3><p>Shadow play, indicating movement. Diffuse shapes. We end up in prison.</p><h3 class=""><strong>Page 63</strong></h3><p>Silhouettes of three judges.
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	</main></p></p><h3 class=""><strong>Page 65</strong></h3><h3 class=""><strong>Page 67</strong> </h3><p>(projections with mugshots: Hans Scholl, Sophie Scholl, and
Christoph Probst are executed on February 22, 1943)</p><p>(projections: Alexander Schmorell and Kurt Huber are executed on
July 14, 1943)</p><h3 class=""><strong>Page 68</strong></h3><p>Willie alone in general. </p><h3 class=""><strong>Page 72</strong> </h3><p>Ascending the mountain as diffuse light from the heavens.</p><h3 class=""><strong>Page 74</strong></h3><p>Return to the opening usage of text. Overlaying of text.</p><h3 class=""><strong>END</strong></h3><p>THE WHITE ROSE LIVES ON</p></div></content><author><name>undefined</name></author></entry><entry><title>RAV x Sound Obsessed Mixtape</title><link href="https://gavart.ist/#RAV%20x%20Sound%20Obsessed%20Mixtape"></link><link href="https://gavart.ist/static/RAV%2520x%2520Sound%2520Obsessed%2520Mixtape.html" rel="alternative" type="text/html"></link><id>b2797dc4-4294-94eb-4379-994d74e8002c</id><updated>2025-05-16T15:44:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="siteFooter">
	<div class="siteCredit"><img src="data:image/svg+xml,%3Csvg%20xmlns%3D%22http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%22%20style%3D%22margin-top%3A-2px%3B%22%20width%3D%2222pt%22%20height%3D%2222pt%22%20viewBox%3D%220%200%20110%20110%22%3E%3Cdefs%3E%3CradialGradient%20id%3D%22gzr%22%20gradientTransform%3D%22translate(66.4578%2024.3575)%20scale(75.2908)%22%20gradientUnits%3D%22userSpaceOnUse%22%20r%3D%221%22%20cx%3D%220%22%20cy%3D%220%25%22%3E%3Cstop%20offset%3D%2215.62%25%22%20stop-color%3D%22hsl(248%2C%2070%25%2C%2094%25)%22%20%2F%3E%3Cstop%20offset%3D%2239.58%25%22%20stop-color%3D%22hsl(251%2C%2071%25%2C%2085%25)%22%20%2F%3E%3Cstop%20offset%3D%2272.92%25%22%20stop-color%3D%22hsl(269%2C%2073%25%2C%2073%25)%22%20%2F%3E%3Cstop%20offset%3D%2290.63%25%22%20stop-color%3D%22hsl(275%2C%2080%25%2C%2069%25)%22%20%2F%3E%3Cstop%20offset%3D%22100%25%22%20stop-color%3D%22hsl(278%2C%2083%25%2C%2068%25)%22%20%2F%3E%3C%2FradialGradient%3E%3C%2Fdefs%3E%3Cg%20transform%3D%22translate(5%2C5)%22%3E%3Cpath%20d%3D%22M100%2050C100%2022.3858%2077.6142%200%2050%200C22.3858%200%200%2022.3858%200%2050C0%2077.6142%2022.3858%20100%2050%20100C77.6142%20100%20100%2077.6142%20100%2050Z%22%20fill%3D%22url(%23gzr)%22%20%2F%3E%3Cpath%20stroke%3D%22rgba(0%2C0%2C0%2C0.075)%22%20fill%3D%22transparent%22%20stroke-width%3D%221%22%20d%3D%22M50%2C0.5c27.3%2C0%2C49.5%2C22.2%2C49.5%2C49.5S77.3%2C99.5%2C50%2C99.5S0.5%2C77.3%2C0.5%2C50S22.7%2C0.5%2C50%2C0.5z%22%20%2F%3E%3C%2Fg%3E%3C%2Fsvg%3E"></img>  <span class="siteCreditText"><a class="tc-tiddlylink-external" href="https://zora.co/collect/eth:0xb3fedc641853cc2cade5310e3916a6520e10c134" rel="noopener noreferrer" target="_blank">R.AV x Sound Obsessed Mixtape</a> </span> 
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<path d="M321 -2.28882e-05L143.451 102.482V40.7305L-0.00012207 109.892L169.787 8.30412V71.1442L321 -2.28882e-05Z" fill="#0066FF"></path></svg>  <span class="siteCreditText"><a class="tc-tiddlylink-external" href="https://www.r-av.club/Release/RAV001" rel="noopener noreferrer" target="_blank">R.AV 001</a> </span> 
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</div></p><h2 class="">A portion of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Der%20Verstiegenheit%20Quartett">Der Verstiegenheit Quartett</a>, music composed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Neural%20Audio%20Synthesis">Realtime Audio Variational autoEncoder</a>, is featured on the <a class="tc-tiddlylink-external" href="https://www.r-av.club/Release/RAV001" rel="noopener noreferrer" target="_blank">RAV x Sound Obsessed A/V Mixtape</a> with a visual collaboration by <a class="tc-tiddlylink-external" href="https://instagram.com/rtchad_moed" rel="noopener noreferrer" target="_blank">rTchAd</a></h2><h2 class=""><a class="tc-tiddlylink-external" href="https://r-av.club" rel="noopener noreferrer" target="_blank">R.AV</a> and <a class="tc-tiddlylink-external" href="https://soundobsessed.com" rel="noopener noreferrer" target="_blank">Sound Obsessed</a> brought together a group of musicians, visual artists, and creative technologists for a month-long collaboration inviting participants to explore how AI technologies can help artists and creatives reimagine their practice.</h2><h2 class="">The outcome of their experimentation is a collective A/V mixtape showcasing the possibilities of AI in enhancing and pushing human creativity, rather than replacing it.</h2><h2 class="">Through this project, R.AV and Sound Obsessed hope to facilitate a cultural shift against the narrative of glorified automation in the AI space and encourage curiosity and exploration in using these new tools.</h2><h2 class="">Featuring contributions from</h2><p><div class="row">
<div class="column"><ul class="list-tree"><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/albert_data/" rel="noopener noreferrer" target="_blank">Albert.DATA</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/dadabots_/" rel="noopener noreferrer" target="_blank">Dadabots</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/d0n.xyz" rel="noopener noreferrer" target="_blank">d0n.xyz</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/_dj_ony" rel="noopener noreferrer" target="_blank">dreams of sound</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#About">gavcloud</a></li><li><a class="tc-tiddlylink-external" href="http://www.instagram.com/beatsbykabuki" rel="noopener noreferrer" target="_blank">Kabuki</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/kalamishere" rel="noopener noreferrer" target="_blank">Kalam Ali</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/gan.tttt/" rel="noopener noreferrer" target="_blank">Matthew D. Gantt</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/ngpdata" rel="noopener noreferrer" target="_blank">Nicholas G. Padilla</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/noahpred/" rel="noopener noreferrer" target="_blank">Noah Pred</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/luisbetancoourt/" rel="noopener noreferrer" target="_blank">Petra</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/portraitxo" rel="noopener noreferrer" target="_blank">Portrait XO</a></li><li><a class="tc-tiddlylink-external" href="https://instagram.com/rtchad_moed" rel="noopener noreferrer" target="_blank">rTchAd</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/skulptormusica/" rel="noopener noreferrer" target="_blank">Skulptor</a></li><li><a class="tc-tiddlylink-external" href="https://www.instagram.com/thegladscientist/" rel="noopener noreferrer" target="_blank">The Glad Scientist</a></li><li><a class="tc-tiddlylink-external" href="https://twitter.com/TorstenGoerke" rel="noopener noreferrer" target="_blank">Torsten Goerke</a></li><li><a class="tc-tiddlylink-external" href="https://linktr.ee/yawaze" rel="noopener noreferrer" target="_blank">Yawä//Zē</a></li><li><a class="tc-tiddlylink-external" href="https://twitter.com/yotammann" rel="noopener noreferrer" target="_blank">Yotam Mann</a></li></ul></div>

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</div></p><h2 class="">Visit the virtual gallery at <a class="tc-tiddlylink-external" href="https://newart.city/show/soundobsessedxravclub" rel="noopener noreferrer" target="_blank">New Art City</a><br></br>View the <a class="tc-tiddlylink-external" href="https://app.0xsplits.xyz/accounts/0x080DC1fe9d0ff50DD0e23a7eeA16Ae6C6DbE2Eed/" rel="noopener noreferrer" target="_blank">0xSplit distributions</a> for this release<br></br>View the <a href="" target="_blank">Liner Notes PDF</a></h2><p><a class="noExternalLinkIcon" href="https://newart.city/catalog/soundobsessedxravclub" target="_blank"><img src="./files/img/collections/new-art-city.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Personal Knowledge Management</title><link href="https://gavart.ist/#Personal%20Knowledge%20Management"></link><link href="https://gavart.ist/static/Personal%2520Knowledge%2520Management.html" rel="alternative" type="text/html"></link><id>5c3450d3-1d4c-f325-33d0-b5a4fac7ccbf</id><updated>2025-05-16T13:24:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="digitalGarden">Platforms + Frameworks</h2><ul class="digitalGarden"><li><a class="tc-tiddlylink-external" href="https://tiddlywiki.com" rel="noopener noreferrer" target="_blank">TiddlyWiki</a></li><li><a class="tc-tiddlylink-external" href="https://subconscious.network/" rel="noopener noreferrer" target="_blank">Noosphere Protocol</a></li><li><a class="tc-tiddlylink-external" href="https://logseq.com" rel="noopener noreferrer" target="_blank">LogSeq</a></li><li><a class="tc-tiddlylink-external" href="https://roamresearch.com/" rel="noopener noreferrer" target="_blank">Roam Research</a></li><li><a class="tc-tiddlylink-external" href="https://obsidian.md" rel="noopener noreferrer" target="_blank">Obsidian</a></li><li><a class="tc-tiddlylink-external" href="https://orgmode.org/" rel="noopener noreferrer" target="_blank">Org Mode</a></li><li><a class="tc-tiddlylink-external" href="https://notion.so" rel="noopener noreferrer" target="_blank">Notion</a></li><li><a class="tc-tiddlylink-external" href="https://evernote.com" rel="noopener noreferrer" target="_blank">Evernote</a></li><li><a class="tc-tiddlylink-external" href="https://are.na" rel="noopener noreferrer" target="_blank">Arena</a></li></ul><h2 class="digitalGarden">OS + Graph</h2><ul class="digitalGarden"><li><a class="tc-tiddlylink-external" href="https://anagora.org/index" rel="noopener noreferrer" target="_blank">Agora</a></li><li><a class="tc-tiddlylink-external" href="https://tana.inc/" rel="noopener noreferrer" target="_blank">Tana</a></li><li><a class="tc-tiddlylink-external" href="https://wonderos.org/" rel="noopener noreferrer" target="_blank">WonderOS</a></li><li><a class="tc-tiddlylink-external" href="https://patternatlas.com/" rel="noopener noreferrer" target="_blank">Pattern Atlas</a></li><li><a class="tc-tiddlylink-external" href="https://twitter.com/kosmik_app" rel="noopener noreferrer" target="_blank">Kosmik.app</a></li></ul><h2 class="digitalGarden">People</h2><ul class="digitalGarden"><li><a class="tc-tiddlylink-external" href="https://flancia.org/" rel="noopener noreferrer" target="_blank">Flancian</a></li><li><a class="tc-tiddlylink-external" href="https://alexanderobenauer.com/" rel="noopener noreferrer" target="_blank">Alexander Obenauer</a></li><li><a class="tc-tiddlylink-external" href="https://github.com/prathyvsh" rel="noopener noreferrer" target="_blank">Prathyush Pramod</a></li><li><a class="tc-tiddlylink-external" href="https://fortelabs.com/blog/" rel="noopener noreferrer" target="_blank">Tiago Forte</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>borisisntreal</title><link href="https://gavart.ist/#borisisntreal"></link><link href="https://gavart.ist/static/borisisntreal.html" rel="alternative" type="text/html"></link><id>3a155ad0-555a-162e-4d70-67eef079039f</id><updated>2025-05-15T13:04:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>34.12800893390943, -118.1443884242263</title><link href="https://gavart.ist/#34.12800893390943%2C%20-118.1443884242263"></link><link href="https://gavart.ist/static/34.12800893390943%252C%2520-118.1443884242263.html" rel="alternative" type="text/html"></link><id>31b21765-b7be-039f-4cf4-67ed2b804872</id><updated>2025-05-15T12:45:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Dividual</title><link href="https://gavart.ist/#Dividual"></link><link href="https://gavart.ist/static/Dividual.html" rel="alternative" type="text/html"></link><id>850172c2-7369-807f-33de-4439fd70bd0d</id><updated>2025-05-14T08:07:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Coined by Arjun Appadurai and used in <a class="tc-tiddlylink-external" href="https://press.uchicago.edu/ucp/books/book/chicago/B/bo22228827.html" rel="noopener noreferrer" target="_blank">Banking on Words · The Failure of Language in the Age of Derivative Finance</a></p><p>The Dividual explores an emergent subjectivity divided from itself and always-already a part of something. Since antiquity, the Individual (άτομο or átomo in Greek, individuum in Latin) has been defined philosophically, legally, and psychologically as an entity that is distinctively separate from the rest and indivisible from itself. In many societies, the individual is perceived as an objective subjectivity. As the relations and social institutions that constitute the individual and those that are formed around it change, there have been throughout history struggles around the gender, class, race, age, ethnicity, and species of those recognized as individuals.</p><p>While the long history of individuation is well documented in philosophy, literature, law, and social sciences, it is in the history of the arts that we find iterations and examples of the dividual and its proposition. Within the realization of individual-based structures collapsing all around us before, during, and after the pandemic, various recent cultural products, describe the rise and fall of individualism and invite conversations on other forms of being in the world. The Dividual denotes a broad set of subjectivities that are divided and at the same time always in relation to others. Through a multidisciplinary approach, these contingent subjectivities propose us other forms of self.</p><p>Six different perspectives provide entry points to this incipient subjectivity: In anthropological literature of South Asia and Melanesia (McKim Marriott, Marilyn Strathern) and of the Andean and Amazonia (Eduardo Viveiros de Castro), the dividual appears as a form of kinship. In the critique of the society of control and the rise of digital and financial networks (Gilles Deleuze, Gerald Raunig, Arjun Appadurai, Michaela Ott, John Cheney-Lippold), it is presented as a distributed subjectivity. In Black study (Frantz Fanon, Robin D. G. Kelley, Cedric Robinson, MLK, Marronage, Octavia E. Butler, Sylvia Wynter, Fred Moten and Stefano Harney), it is experienced as a presence that expands historically and by that generates the solidarity of the undercommons. Within the shock of modernity, it emerges as a form of being that both expands and divides the individual (in digressive modernities such as Feminism, Marxism, psychoanalysis and surrealism). In relation to the Soviet science of management and shock work (Platon Kerzhenetsev, Andrei Platonov, Sergei Eisenstein, El Lissitzky, Evald Ilyenkov, Bertolt Brecht, Walter Benjamin), it is perceived through new divisions of labor that provide measures or scales between individual and mass, or person and collective. And in the philosophy of symbiogenesis (Lynn Margulis, Boris Kozo-Polyansky, Bruno Latour, Alexander Tarakhovsky), it is perceived as a holobiont—a unit that is an assembly of elements folded into one another. The Dividual is informed by the persistence of these social imaginaries, their histories and futures, and provides us with a proposition for living, thinking, and organizing.</p></div></content><author><name>undefined</name></author></entry><entry><title>KM28</title><link href="https://gavart.ist/#KM28"></link><link href="https://gavart.ist/static/KM28.html" rel="alternative" type="text/html"></link><id>940ebeba-65d3-f4ef-bc67-4fc39da5ae9c</id><updated>2025-05-14T07:53:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Echtzeitmusik</title><link href="https://gavart.ist/#Echtzeitmusik"></link><link href="https://gavart.ist/static/Echtzeitmusik.html" rel="alternative" type="text/html"></link><id>3c8e8e45-20ad-fbd9-9bb5-1121a5771042</id><updated>2025-05-14T07:52:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>nlnet foundation</title><link href="https://gavart.ist/#nlnet%20foundation"></link><link href="https://gavart.ist/static/nlnet%2520foundation.html" rel="alternative" type="text/html"></link><id>3d02be43-e272-5fb3-739d-8a5b80d8f60c</id><updated>2025-05-14T07:49:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Consider</title><link href="https://gavart.ist/#Consider"></link><link href="https://gavart.ist/static/Consider.html" rel="alternative" type="text/html"></link><id>9bfb93aa-9c18-6a1e-e365-e92efd7ccb7b</id><updated>2025-05-14T07:01:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From Middle English consideren, from Middle French considerer, from Latin considerare.</p><p>Considering that this etymology supposedly incorporates <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Astronomy">astronomy</a>, intended as science or practical knowledge, this article aims to offer a different explanation for desīderāre and consīderāre. In ancient times the observation of the sky was pivotal for various activities because the stars were providing humans with accurate indications of time. These indicators were composed of different constellations. While sīdus refers to a constellation or group of stars, a single star is named stella in Latin. Besides, agriculture was an indispensable and time-based activity, which was impossible to do without the help of the sky although it was fundamental for the survival of communities. This interdependence was present in both Greek and Latin literature, as the star-based calendars are a common trait found in many ancient civilizations. Against this background, this article argues that desīderāre and consīderāre pertain to the agricultural language and it incorporates both values of expectation and pondering that are related to the anxiety for the new vital cycles and the planning of agricultural works.<sup><a class="tc-tiddlylink-external" href="https://www.researchgate.net/publication/360088717_Considerare_and_desiderare_An_astronomic_etymology" rel="noopener noreferrer" target="_blank">1</a></sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Brussels · 2023 March</title><link href="https://gavart.ist/#Brussels%20%C2%B7%202023%20March"></link><link href="https://gavart.ist/static/Brussels%2520%25C2%25B7%25202023%2520March.html" rel="alternative" type="text/html"></link><id>8c13d10f-f33b-7adb-cbd4-04bf311708b8</id><updated>2025-05-14T06:55:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>
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</p></div></content><author><name>undefined</name></author></entry><entry><title>Anemoia</title><link href="https://gavart.ist/#Anemoia"></link><link href="https://gavart.ist/static/Anemoia.html" rel="alternative" type="text/html"></link><id>9ca13fca-506b-f66d-2788-cd2f87a202b0</id><updated>2025-05-13T17:12:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Nostalgia for a time or a place one has <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anemoiac%20Elegy">never known</a>.</p></div></content><author><name>undefined</name></author></entry><entry><title>James Joyce</title><link href="https://gavart.ist/#James%20Joyce"></link><link href="https://gavart.ist/static/James%2520Joyce.html" rel="alternative" type="text/html"></link><id>c6ad8813-9fde-026e-04f4-a90e7e7ba958</id><updated>2025-05-13T17:05:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>52.5247002302613, 13.340605209032086 2</title><link href="https://gavart.ist/#52.5247002302613%2C%2013.340605209032086%202"></link><link href="https://gavart.ist/static/52.5247002302613%252C%252013.340605209032086%25202.html" rel="alternative" type="text/html"></link><id>02f990cb-aa3f-e090-e01e-f7e98abb2301</id><updated>2025-05-11T16:22:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>KNM Contemporaries · re.construction part 3</title><link href="https://gavart.ist/#KNM%20Contemporaries%20%C2%B7%20re.construction%20part%203"></link><link href="https://gavart.ist/static/KNM%2520Contemporaries%2520%25C2%25B7%2520re.construction%2520part%25203.html" rel="alternative" type="text/html"></link><id>279f3286-da72-2a40-5a87-a7d60ad14c21</id><updated>2025-05-11T16:22:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Nadah El Shazly</title><link href="https://gavart.ist/#Nadah%20El%20Shazly"></link><link href="https://gavart.ist/static/Nadah%2520El%2520Shazly.html" rel="alternative" type="text/html"></link><id>ffec2c27-4a19-a651-c40d-4ec84593d570</id><updated>2025-05-11T04:00:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>AL.Berlin Presents · Nadah El Shazly with 3Phaz</title><link href="https://gavart.ist/#AL.Berlin%20Presents%20%C2%B7%20Nadah%20El%20Shazly%20with%203Phaz"></link><link href="https://gavart.ist/static/AL.Berlin%2520Presents%2520%25C2%25B7%2520Nadah%2520El%2520Shazly%2520with%25203Phaz.html" rel="alternative" type="text/html"></link><id>0c991b60-d693-b6cc-071a-2427f4487bb5</id><updated>2025-05-11T03:58:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/nadah-el-shazly-berlin-2025.jpg" width="600"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>52.5247002302613, 13.340605209032086 1</title><link href="https://gavart.ist/#52.5247002302613%2C%2013.340605209032086%201"></link><link href="https://gavart.ist/static/52.5247002302613%252C%252013.340605209032086%25201.html" rel="alternative" type="text/html"></link><id>2aafeb92-6a5e-e9ef-85fc-822c18436ee5</id><updated>2025-05-11T02:51:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Bandbrechend</title><link href="https://gavart.ist/#Bandbrechend"></link><link href="https://gavart.ist/static/Bandbrechend.html" rel="alternative" type="text/html"></link><id>7212097f-95ed-882a-0b46-6fef7a0698eb</id><updated>2025-05-10T17:43:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Bahn + brechend in German.
Pioneering … literally path-breaker (trail-blazer).<br></br>
Shared with me by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jean%20Philippe%20Oliver%20Viol">a friend</a>.</p></div></content><author><name>undefined</name></author></entry><entry><title>Spielraum</title><link href="https://gavart.ist/#Spielraum"></link><link href="https://gavart.ist/static/Spielraum.html" rel="alternative" type="text/html"></link><id>a8b3f84f-331a-c098-9bbe-73e003883ae3</id><updated>2025-05-10T17:42:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><em>Space for play</em>—a space for trying to do things differently. Beyond the door of the work ahead lies an empty space, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Seeing%20%3C%E2%80%95%3E%20Making%3A%20Room%20for%20Thought">an interiority of creative posibility</a>. </p></div></content><author><name>undefined</name></author></entry><entry><title>Jantelagen</title><link href="https://gavart.ist/#Jantelagen"></link><link href="https://gavart.ist/static/Jantelagen.html" rel="alternative" type="text/html"></link><id>912cb5db-1aee-01ca-f6b8-68ad492b437b</id><updated>2025-05-10T17:41:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A code of conduct originating in fiction and now used colloquially to denote a social attitude of disapproval towards expressions of individuality and personal success.</p><p>The Jantelagen is not an actual law. It stems from a novel, <em><a class="tc-tiddlylink-external" href="https://openlibrary.org/books/OL6339150M/A_fugitive_crosses_his_tracks" rel="noopener noreferrer" target="_blank">En flykting korsar sitt spår</a></em> (1933), written in Norwegian, by the Danish author <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Aksel_Sandemose" rel="noopener noreferrer" target="_blank">Aksel Sandemose</a>, in which he states the eleven rules from the village of Jante, a fictional place in Denmark which is inspired by Sandemose’s hometown, Nykøbing.</p><p>Learned this from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Phoebe%20Isobel">a friend</a>.</p></div></content><author><name>undefined</name></author></entry><entry><title>Ted Hearne · over and over vorbei nicht vorbei</title><link href="https://gavart.ist/#Ted%20Hearne%20%C2%B7%20over%20and%20over%20vorbei%20nicht%20vorbei"></link><link href="https://gavart.ist/static/Ted%2520Hearne%2520%25C2%25B7%2520over%2520and%2520over%2520vorbei%2520nicht%2520vorbei.html" rel="alternative" type="text/html"></link><id>89130d40-922c-0b55-3274-03d6d2a598aa</id><updated>2025-05-10T08:21:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>rsync</title><link href="https://gavart.ist/#rsync"></link><link href="https://gavart.ist/static/rsync.html" rel="alternative" type="text/html"></link><id>89a4551b-0f29-c1a6-5264-8b1cb8747021</id><updated>2025-05-10T08:12:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><div class="markdown">
<h2>using rsync</h2>
<p><code class="_codified_">$ rsync -avE --progress /source/ /destination</code>
</p>
<ul>
<li>-v --verbose</li>
<li>-a --archive (preserve all attributes)</li>
<li>-n --dry-run</li>
<li>-E, --executability (preserve executability)</li>
<li>--delete This tells rsync to delete extraneous files from the receiving side (files that aren't on the sending side), but only for the directories that are being synchronized.</li>
</ul>
<p>trailing slash after source/ means copy contents inside names folder. without trailing slash it copies the folder itself
</p>
<p>use flag --dry-run before executing
</p>
<p>exclude directories using curly brackets: --exclude={.ccache,build}
</p>
<h3>building from a list of directories</h3>
<p><code class="_codified_">$ rsync -avr --files-from=/path/to/list.txt / /path/to/destination/</code><br></br>
<br></br>
if full paths are given in list, use <code class="_codified_">/</code> for the source directory. use <code class="_codified_">-r</code> recursive option to seek for sub-directories.
</p>
<p><h2 class="">ssh into server while setting permissions</h2><p>The following will make <code>chmod 644</code> for files and <code>chmod 755</code> for directories when updating the <a class="tc-tiddlylink-external" href="https://faircamp.gavart.ist" rel="noopener noreferrer" target="_blank">faircamp</a> subdirectory. </p><p><pre><code>rsync -av --iconv=UTF-8-MAC,UTF-8 --chmod=Du=rwx,Dgo=rx,Fu=rw,Fgo=r --progress -e ssh /Volumes/Samsung_T3/FAIRCAMP/.faircamp_build/ gavartist@iad1-shared-e1-06.dreamhost.com:/home/gavartist/faircamp.gavart.ist</code></pre> </p><p>Sometimes it complains and asks for the ssh password, in which case you need to re-initialize rsa identity </p><p><code>$ ssh-add ~/.ssh/thermo_id_rsa</code>
</p></p>
</div></div></content><author><name>undefined</name></author></entry><entry><title>50.97719940790752, 11.321501595480429</title><link href="https://gavart.ist/#50.97719940790752%2C%2011.321501595480429"></link><link href="https://gavart.ist/static/50.97719940790752%252C%252011.321501595480429.html" rel="alternative" type="text/html"></link><id>cac64ee8-ef3b-4c19-34ee-ed871d3c3740</id><updated>2025-05-10T08:06:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Change the NodeJS Startup Filter</title><link href="https://gavart.ist/#Change%20the%20NodeJS%20Startup%20Filter"></link><link href="https://gavart.ist/static/Change%2520the%2520NodeJS%2520Startup%2520Filter.html" rel="alternative" type="text/html"></link><id>41b8314c-d0b1-0e27-4bf4-d88047eb928e</id><updated>2025-05-10T08:04:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-shadow tc-tiddlylink-resolves" href="#%24%3A%2Fconfig%2FSyncFilter">$:/config/SyncFilter</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Minaret Winter Jazz Festival · Genevieve Artadi + YIBS</title><link href="https://gavart.ist/#Minaret%20Winter%20Jazz%20Festival%20%C2%B7%20Genevieve%20Artadi%20%2B%20YIBS"></link><link href="https://gavart.ist/static/Minaret%2520Winter%2520Jazz%2520Festival%2520%25C2%25B7%2520Genevieve%2520Artadi%2520%252B%2520YIBS.html" rel="alternative" type="text/html"></link><id>455ab223-1e3a-61f5-d728-fe6657a18485</id><updated>2025-05-10T07:17:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with Ephraim, Karim</p><p><img src="./files/img/attended-events/minaret-wimter-jazz-2024-genevieve-artadi.jpg" width="600px"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Così fan tutte · Detroit Opera</title><link href="https://gavart.ist/#Cos%C3%AC%20fan%20tutte%20%C2%B7%20Detroit%20Opera"></link><link href="https://gavart.ist/static/Cos%25C3%25AC%2520fan%2520tutte%2520%25C2%25B7%2520Detroit%2520Opera.html" rel="alternative" type="text/html"></link><id>b894244e-dff0-07af-dbd4-ee3e3c055d7d</id><updated>2025-05-10T07:17:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Director: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Yuval%20Sharon">Yuval Sharon</a><br></br>Attended with Beth Hagenbuch, Ken Weikal, Rod Hagenbuch<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Record Labels</title><link href="https://gavart.ist/#Record%20Labels"></link><link href="https://gavart.ist/static/Record%2520Labels.html" rel="alternative" type="text/html"></link><id>7521e661-967d-4261-e4f3-d9a11ea3c568</id><updated>2025-05-10T07:16:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>
<ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Besom%20Presse" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://besompresse.com" target="_blank">
				Besom Presse
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					*perceptually activated* and rigorous works on paper and sound media
				</li>
			</ul>
		</li>
</ul>

<ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Brainfeeder" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://brainfeedersite.com" target="_blank">
				Brainfeeder
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Record label based in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Los%20Angeles">Los Angeles</a>
				</li>
			</ul>
		</li>
</ul>

<ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Control%20Freaq%20Records" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.discogs.com/label/117418-Control-Freaq-Records" target="_blank">
				Control Freaq Records
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah Badu's</a> record label
				</li>
			</ul>
		</li>
</ul>

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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dome%20of%20Doom" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://domeofdoom.org" target="_blank">
				Dome of Doom
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					artist run record label specializing in physical media, with vinyl and cassette
				</li>
			</ul>
		</li>
</ul>

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		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Evar%20Records" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://evar-records.com/" target="_blank">
				Evar Records
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Los%20Angeles">Los Angeles</a> based electronic label
				</li>
			</ul>
		</li>
</ul>

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		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hyperdelia" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://hyperdelia.com/" target="_blank">
				Hyperdelia
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Record Label based in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berlin">Berlin</a>
				</li>
			</ul>
		</li>
</ul>

<ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Otono" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://otono.space/" target="_blank">
				Otono
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					advanced sounds from Latin America
				</li>
			</ul>
		</li>
</ul>

<ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Our%20Silent%20Canvas" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://oursilentcanvas.org/" target="_blank">
				Our Silent Canvas
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					sculpting sound into the strange and beautiful
				</li>
			</ul>
		</li>
</ul>

<ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Private%20Selection%20Records" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://privateselection.bandcamp.com/" target="_blank">
				Private Selection Records
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					record label based in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Los%20Angeles">Los Angeles</a>
				</li>
			</ul>
		</li>
</ul>

<ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://teachingmachine.tv" target="_blank">
				The Teaching Machine
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					a future-arts collective
				</li>
			</ul>
		</li>
</ul>

<ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tonestrukt%20Editions" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://tonestrukt.org" target="_blank">
				Tonestrukt Editions
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					an interdependent publisher
				</li>
			</ul>
		</li>
</ul>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Organizations</title><link href="https://gavart.ist/#Organizations"></link><link href="https://gavart.ist/static/Organizations.html" rel="alternative" type="text/html"></link><id>fe8d31f9-1681-817b-4b14-38c2933b8b75</id><updated>2025-05-10T07:15:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#3TONcinema" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://3toncinema.info" target="_blank">
				3TONcinema
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					16MM micro-orphanage and film collection
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Babycastles" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.babycastles.com/" target="_blank">
				Babycastles
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Learning resource &amp; DIY tech community
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beth%20Morrison%20Projects" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://bethmorrisonprojects.org/" target="_blank">
				Beth Morrison Projects
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					one of the foremost creators and producers of new opera-theatre and music theatre
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Coaxial%20Arts" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://coaxialarts.org/" target="_blank">
				Coaxial Arts
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Arts hub/venue and community non-profit
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cykik" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.cykik.com/" target="_blank">
				Cykik
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					We are engineers, filmmakers, hackers, and designers.
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://fourlarks.com" target="_blank">
				Four Larks
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Theater company
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Free%20Music%20Archive" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://freemusicarchive.org/" target="_blank">
				Free Music Archive
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Creative Commons Archive
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Human%20Person" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://humanperson.com/" target="_blank">
				Human Person
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					visual effects and animation studio
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#KPBJ" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://kpbj.fm/" target="_blank">
				KPBJ
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					KPBJ is an independent, community-driven FM radio station based in Shadow Hills, California.
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#KPFK%2090.7%20FM" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.kpfk.org/" target="_blank">
				KPFK 90.7 FM
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Independent Radio Station based in California
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#offline" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://offline.place" target="_blank">
				offline
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					hackerspace in Berlin, Germany
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sound%20Obsessed" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.soundobsessed.com/" target="_blank">
				Sound Obsessed
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Collective of artists, musicians, scientists, and creative technologists building an evolving archive to celebrate the journey, milestones, and challenges of sonic innovation.
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spectra%20Studio" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://spectra.studio" target="_blank">
				Spectra Studio
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Spectra Studio is a multidisciplinary collective based in Los Angeles, California.
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spirit%20Bomb" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://spiritbomb.ai" target="_blank">
				Spirit Bomb
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					media label comprised of virtual artists
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://strangeloop-studios.com" target="_blank">
				Strangeloop Studios
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					visual effects and animation studio
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Institute%20For%20Cinema%20Studies" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://instituteforcinemastudies.weebly.com/" target="_blank">
				The Institute For Cinema Studies
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					non-profit foundation supporting innovation in the film and new media arts
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Y-E-S" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://y-e-s.org/" target="_blank">
				Y-E-S
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Composer Collective
				</li>
			</ul>
		</li>
</ul>
</p><p><ul style="list-style:none;">
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ziklibrenbib" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="http://www.ziklibrenbib.fr/" target="_blank">
				Ziklibrenbib
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					CC Music curation/aggregation
				</li>
			</ul>
		</li>
</ul>
</p></div></content><author><name>undefined</name></author></entry><entry><title>52.5247002302613, 13.340605209032086</title><link href="https://gavart.ist/#52.5247002302613%2C%2013.340605209032086"></link><link href="https://gavart.ist/static/52.5247002302613%252C%252013.340605209032086.html" rel="alternative" type="text/html"></link><id>77f06b0a-9cc5-2203-9b8a-9b655684d70e</id><updated>2025-05-10T07:10:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><table><tbody><tr class="evenRow"><td align="left">latitude</td><td align="left"></td></tr><tr class="oddRow"><td align="left">longitude</td><td align="left"></td></tr></tbody></table><p><div style="width:100%;height:600px;"></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Ted Hearne</title><link href="https://gavart.ist/#Ted%20Hearne"></link><link href="https://gavart.ist/static/Ted%2520Hearne.html" rel="alternative" type="text/html"></link><id>bf640570-1c94-43dc-9188-6b0cf6082b36</id><updated>2025-05-08T22:23:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Weimar</title><link href="https://gavart.ist/#Weimar"></link><link href="https://gavart.ist/static/Weimar.html" rel="alternative" type="text/html"></link><id>00f8780e-567b-a1b5-689c-43337d826371</id><updated>2025-05-08T22:22:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Friends &amp; Family</title><link href="https://gavart.ist/#Friends%20%26%20Family"></link><link href="https://gavart.ist/static/Friends%2520%2526%2520Family.html" rel="alternative" type="text/html"></link><id>30200d09-9e3e-4d59-7a8e-c99b10479897</id><updated>2025-05-07T15:58:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><span class="tc-tag-list-item" data-tag-title="Friends &amp; Family"><span class="tc-drop-down tc-reveal" hidden="true"></span></span></h3><p><ul style="list-style:none;">
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Terminal%2011" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://terminal11.bandcamp.com/" target="_blank">
				Terminal 11
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / Visual Artist
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#DJ%20A1" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.instagram.com/dja1/" target="_blank">
				DJ A1
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / DJ
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Maha%20Al-Saati" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://malsaati.wordpress.com/" target="_blank">
				Maha Al-Saati
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Filmmaker / Director
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Anderson" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://opustechnica.com/projects" target="_blank">
				Daniel Anderson
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / Director / Editor
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://baduworldmarket.com" target="_blank">
				Erykah Badu
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Touring Artist / Singer / DJ / Producer
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#LADY%20BAMBS" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://linktr.ee/ginlookhere" target="_blank">
				LADY BAMBS
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Visual Artist / Animator
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Albert%20Barqu%C3%A9-Duran" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://albert-data.com/" target="_blank">
				Albert Barqué-Duran
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Musician / Software Engineer
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baseck" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.instagram.com/baseck/" target="_blank">
				Baseck
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / Turntablist / DJ
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Estevan%20Carlos%20Benson" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://estevancarlos.com" target="_blank">
				Estevan Carlos Benson
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Composer / Visual Artist / Educator
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Durand%20Bernarr" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.durandbernarr.com/" target="_blank">
				Durand Bernarr
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Vocalist / Songwriter
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://vimeo.com/josselineblack" target="_blank">
				Josseline Black
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Dancer / Writer / Artist
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jake%20Bloch" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.imdb.com/name/nm3573382/" target="_blank">
				Jake Bloch
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Filmmaker / Story Producer / Cinematographer
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				Jah Born
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				Alex Brown
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				Wylie Vasquez Cable
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				Victor Castellon
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				León de Castillo
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				Joshua Cataldo
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				Scott Cazan
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				Attilia Kiyoko Cernitori
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					Cellist / Conductor
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				Jon Chau
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				Alexis Story Crawshaw
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					Composer / Technologist
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				Helen Crispin
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				JP Cutter
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				D'LEAU
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				Daedelus
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				Andreas Dzialocha
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				Max Einstein
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				Carmina Escobar
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				Xárene Eskandar
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				McKay Felt
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					Illustrator / Visual Artist
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			<a class="links-tab" href="https://www.thebedband.org/" target="_blank">
				Ivan Gamboa
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					Guitarist / Songwriter / Singer
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				Agustín González Garza
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					Photographer / Visual Artist
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				Carlos Genova
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					Painter
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				Meghan Gordon
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					Artist / Writer / Curator
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				Coleman Goughary
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				Guðmundur Steinn Gunnarsson
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				Roxanne Harris
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				Michael Gregory Harrison
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				Ted Hearne
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				Ali Helnwein
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				Darcy Huebler
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				Nailah Hunter
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				Sean Huntley
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					Documentarian / Producer
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				Genus Inkasso
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					experimental producer / noise artist from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berlin">Berlin</a>
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				Phoebe Isobel
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					Musician / Producer / Artist
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				Max Jaffe
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					Percussionist / Composer
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				Zach Scott Jaffe
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					Writer / Lawyer / Producer
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				José James
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				Ghassan Khoury
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				Anthony Do-Hoon Kim
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				Sharon Chohi Kim
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				Tony Krash
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					Photographer
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				Káryyn
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				Four Larks
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					Theater company
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				Aaron Lemke
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				Anna Luisa
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				Joanna Lynn-Jacobs
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				Anderson Matthew
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				Cameron McCloud
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				Vince Mcklevie
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				Frank Moka
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				Michael Moon
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					Visual Artist
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				Jessenia Moreira
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					Music Managment / Painter
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				Steve Nalepa
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					Musician / Audio Engineer
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			<a class="links-tab" href="https://www.thebasicpremisegallery.com/" target="_blank">
				Ted Nava
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					Artist / Curator
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			<a class="links-tab" href="http://centuryguild.net/" target="_blank">
				Thomas Negovan
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					Curator / Collector / Producer
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				Micah Nelson
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				Liew Niyomkarn
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				Ben Olsen
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				Keren Oo
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				Jorge Gamboa Patrón
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				PBDY
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					Producer / DJ
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				Austin Peralta
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					Composer / Pianist
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				Luciano Perna
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					Photographer / Sculptor / Video-artist
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				Marci Pinna
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					Illustrator / Graphic Designer / DJ
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			<a class="links-tab" href="https://halvcirkel.com/" target="_blank">
				Halvcirkel Quartet
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				<li style="margin-bottom:10px;">
					String Quartet
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				Lyris Quartet
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				<li style="margin-bottom:10px;">
					String Quartet
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			<a class="links-tab" href="https://www.pomona.edu/directory/people/elijah-l-quetin" target="_blank">
				Elijah L. Quetin
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					Astrophysicist
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				Adee Roberson
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					Musician / Visual Artist / Bodywork
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				Nadah El Shazly
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				Taylor Shechet
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				Maiani da Silva
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				Ian Simon
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				Sarah Sitkin
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				Jonathan Snipes
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				Harlan Steinberger
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				Strangeloop
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					Visual Artist / Filmmaker / Animator
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				Natalie Sun
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				Steve Teeps
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				Micaela Tobin
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					Vocalist / Composer
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				Maylee Todd
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					Composer / Vocalist / Visual Artist
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				Ian Valentine
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				Alexia Veytia-Rubio
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				Jean Philippe Oliver Viol
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				Francis Waite
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				Liaizon Wakest
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				Oliver Weeks
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				Valsassina Ensemble Wien
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					Chamber Orchestra
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				Omar Willey
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				Kenneth H. Williams
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				Diana Wyenn
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				Portrait XO
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			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://andrezakhya.com" target="_blank">
				André Zakhya
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Visual Artist / Environment Artist / Unreal Engine
				</li>
			</ul>
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bastian%20Zimmermann" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://positionen.berlin" target="_blank">
				Bastian Zimmermann
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Artist / Curator
				</li>
			</ul>
		</li>
	
</ul>
</p><h3 class=""><span class="tc-tag-list-item" data-tag-title="Musician"><span class="tc-drop-down tc-reveal" hidden="true"></span></span></h3><p><ul style="list-style:none;">
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Terminal%2011" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://terminal11.bandcamp.com/" target="_blank">
				Terminal 11
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / Visual Artist
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#DJ%20A1" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.instagram.com/dja1/" target="_blank">
				DJ A1
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / DJ
				</li>
			</ul>
		</li>
	
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://baduworldmarket.com" target="_blank">
				Erykah Badu
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Touring Artist / Singer / DJ / Producer
				</li>
			</ul>
		</li>
	
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Albert%20Barqu%C3%A9-Duran" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://albert-data.com/" target="_blank">
				Albert Barqué-Duran
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Musician / Software Engineer
				</li>
			</ul>
		</li>
	
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baseck" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.instagram.com/baseck/" target="_blank">
				Baseck
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / Turntablist / DJ
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Durand%20Bernarr" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.durandbernarr.com/" target="_blank">
				Durand Bernarr
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Vocalist / Songwriter
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Josseline%20Black" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://vimeo.com/josselineblack" target="_blank">
				Josseline Black
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Dancer / Writer / Artist
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jah%20Born" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://linktr.ee/jahborn" target="_blank">
				Jah Born
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / Musician
				</li>
			</ul>
		</li>
	
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wylie%20Vasquez%20Cable" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.wyliecable.com/" target="_blank">
				Wylie Vasquez Cable
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Producer / Double Bassist / <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dome%20of%20Doom">Dome of Doom</a> Founder
				</li>
			</ul>
		</li>
	
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Le%C3%B3n%20de%20Castillo" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://en.wikipedia.org/wiki/Le%C3%B3n_de_Castillo" target="_blank">
				León de Castillo
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Vocal Tenor / Artistic Director
				</li>
			</ul>
		</li>
	
		<li>
		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scott%20Cazan" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://portfolio.scottcazan.com/" target="_blank">
				Scott Cazan
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Composer / Developer
				</li>
			</ul>
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				Attilia Kiyoko Cernitori
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				Jon Chau
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				Alexis Story Crawshaw
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				D'LEAU
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				Daedelus
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					Producer / DJ
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				Andreas Dzialocha
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					Composer / Technologist
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				Carmina Escobar
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			<a class="links-tab" href="https://www.thebedband.org/" target="_blank">
				Ivan Gamboa
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					Guitarist / Songwriter / Singer
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			<a class="links-tab" href="https://www.grandergestures.com/ • https://smooth-loop.com/" target="_blank">
				Coleman Goughary
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					Composer / Technologist
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				Guðmundur Steinn Gunnarsson
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					Composer / Video Scores
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				Roxanne Harris
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					Computer Scientist / Musician
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				Ted Hearne
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					Composer / Educator
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				Ali Helnwein
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					Composer
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				Nailah Hunter
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				Genus Inkasso
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					experimental producer / noise artist from <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berlin">Berlin</a>
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				Phoebe Isobel
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				Max Jaffe
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				José James
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					vocalist / singer / songwriter
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				Anthony Do-Hoon Kim
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					Conductor / Pianist
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				Sharon Chohi Kim
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					Vocalist / Composer
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				Káryyn
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				Anna Luisa
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					Composer / Visual Artist
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				Joanna Lynn-Jacobs
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					Vocalist / Singer
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				Cameron McCloud
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					Lyricist / Vocalist
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Frank%20Moka" title="Access Wiki Entry">
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				Frank Moka
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					Percussionist / Producer
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			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
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				Steve Nalepa
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					Musician / Audio Engineer
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				Micah Nelson
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				Liew Niyomkarn
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				Jorge Gamboa Patrón
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				PBDY
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				Nadah El Shazly
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				Taylor Shechet
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				Maiani da Silva
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				Ringo Rashad Smith
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					Producer / DJ
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				Jonathan Snipes
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				Harlan Steinberger
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					Audio Engineer
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				Micaela Tobin
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					Vocalist / Composer
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				Maylee Todd
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					Composer / Vocalist / Visual Artist
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			<a class="links-tab" href="https://solo.to/youcancallmeoliver" target="_blank">
				Jean Philippe Oliver Viol
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					Producer / DJ / Sound Designer / Curator / A&amp;R
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				Oliver Weeks
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				Kenneth H. Williams
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				LADY BAMBS
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				Estevan Carlos Benson
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				Helen Crispin
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				Sterling Crispin
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				Xárene Eskandar
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				McKay Felt
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				Agustín González Garza
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				Carlos Genova
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				Darcy Huebler
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				Aron Johnson
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				Nic Juister
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				Vince Mcklevie
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				Michael Moon
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				Jessenia Moreira
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				Keren Oo
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				Marci Pinna
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				Adee Roberson
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				Sarah Sitkin
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				Strangeloop
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			<a class="links-tab" href="https://www.steveteeps.com/" target="_blank">
				Steve Teeps
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			<ul>
				<li style="margin-bottom:10px;">
					Visual Artist / Animator / Character Design
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			<a class="links-tab" href="https://www.instagram.com/ianvalentine__/" target="_blank">
				Ian Valentine
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			<ul>
				<li style="margin-bottom:10px;">
					Visual Artist / Animator / Producer
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			<a class="links-tab" href="https://linktr.ee/Franceswaite" target="_blank">
				Francis Waite
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					Illustrator / Visual Artist
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Liaizon%20Wakest" title="Access Wiki Entry">
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			<a class="links-tab" href="https://wake.st/" target="_blank">
				Liaizon Wakest
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			<ul>
				<li style="margin-bottom:10px;">
					Visual Artist / Social Media Anarchist
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			<a class="links-tab" href="https://andrezakhya.com" target="_blank">
				André Zakhya
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				<li style="margin-bottom:10px;">
					Visual Artist / Environment Artist / Unreal Engine
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			</ul>
		</li>
	
</ul>
</p><h3 class=""><span class="tc-tag-list-item" data-tag-title="Ensemble"><span class="tc-drop-down tc-reveal" hidden="true"></span></span></h3><p><ul style="list-style:none;">
	
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Halvcirkel%20Quartet" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://halvcirkel.com/" target="_blank">
				Halvcirkel Quartet
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					String Quartet
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			<a class="links-tab" href="http://www.lyrisquartet.com/" target="_blank">
				Lyris Quartet
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				<li style="margin-bottom:10px;">
					String Quartet
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Valsassina%20Ensemble%20Wien" title="Access Wiki Entry">
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			<a class="links-tab" href="http://www.valsassinaensemble.com/" target="_blank">
				Valsassina Ensemble Wien
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			<ul>
				<li style="margin-bottom:10px;">
					Chamber Orchestra
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		</li>
	
</ul>
</p><h3 class=""><span class="tc-tag-list-item" data-tag-title="Scientist"><span class="tc-drop-down tc-reveal" hidden="true"></span></span></h3><p><ul style="list-style:none;">
	
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Albert%20Barqu%C3%A9-Duran" title="Access Wiki Entry">
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		</a>
			<a class="links-tab" href="https://albert-data.com/" target="_blank">
				Albert Barqué-Duran
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Musician / Software Engineer
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		</a>
			<a class="links-tab" href="https://www.linkedin.com/in/joshua-cataldo-21430230" target="_blank">
				Joshua Cataldo
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			<ul>
				<li style="margin-bottom:10px;">
					electrical engineer / scientist
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Einstein" title="Access Wiki Entry">
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		</a>
			<a class="links-tab" href="https://meinstein.github.io/odad/" target="_blank">
				Max Einstein
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Data Scientist
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ghassan%20Khoury" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.uclahealth.org/providers/ghassan-khoury" target="_blank">
				Ghassan Khoury
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					M.D. / Infectious Disease Specialist
				</li>
			</ul>
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		<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Elijah%20L.%20Quetin" title="Access Wiki Entry">
			<svg class="tc-image-folder tc-image-button" height="20px" viewBox="0 0 128 128" width="20px"><g fill-rule="evenodd"><path d="M55.694 128H8C3.58 128 0 124.414 0 119.996V48.004C0 43.584 3.584 40 7.999 40H16v-8c0-4.418 3.578-8 8-8h32a8 8 0 018 8v8h40.001c4.418 0 7.999 3.586 7.999 8.004V59.83l-8-.082v-7.749A4 4 0 0099.997 48H56V36c0-2.21-1.793-4-4.004-4H28.004A4 4 0 0024 36v12H12.003A4 4 0 008 52v64a4 4 0 004.003 4h46.76l-3.069 8z"></path><path d="M23.873 55.5h96.003c4.417 0 7.004 4.053 5.774 9.063l-13.344 54.374c-1.228 5.005-5.808 9.063-10.223 9.063H6.08c-4.417 0-7.003-4.053-5.774-9.063L13.65 64.563c1.228-5.005 5.808-9.063 10.223-9.063zm1.78 8.5h87.994c2.211 0 3.504 2.093 2.891 4.666l-11.12 46.668c-.614 2.577-2.902 4.666-5.115 4.666H12.31c-2.211 0-3.504-2.093-2.891-4.666l11.12-46.668C21.152 66.09 23.44 64 25.653 64z"></path></g></svg>
		</a>
			<a class="links-tab" href="https://www.pomona.edu/directory/people/elijah-l-quetin" target="_blank">
				Elijah L. Quetin
			</a>
			<ul>
				<li style="margin-bottom:10px;">
					Astrophysicist
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				E. Elias Merhige
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				Strangeloop
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</p></div></content><author><name>undefined</name></author></entry><entry><title>Halvcirkel Quartet</title><link href="https://gavart.ist/#Halvcirkel%20Quartet"></link><link href="https://gavart.ist/static/Halvcirkel%2520Quartet.html" rel="alternative" type="text/html"></link><id>44c06c65-44ca-b2cc-e19a-9ba3ecda7eae</id><updated>2025-05-07T15:56:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Terminal 11</title><link href="https://gavart.ist/#Terminal%2011"></link><link href="https://gavart.ist/static/Terminal%252011.html" rel="alternative" type="text/html"></link><id>3115d9f7-b21a-07d3-dedb-3435ccb09552</id><updated>2025-05-07T05:02:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Josseline Black</title><link href="https://gavart.ist/#Josseline%20Black"></link><link href="https://gavart.ist/static/Josseline%2520Black.html" rel="alternative" type="text/html"></link><id>b7c692a5-fb18-4326-e1a3-c7cfa21d96c9</id><updated>2025-05-07T04:57:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Eye Movement Desensitization and Reprocessing (EMDR)</title><link href="https://gavart.ist/#Eye%20Movement%20Desensitization%20and%20Reprocessing%20(EMDR)"></link><link href="https://gavart.ist/static/Eye%2520Movement%2520Desensitization%2520and%2520Reprocessing%2520(EMDR).html" rel="alternative" type="text/html"></link><id>4a05e2a6-a8e7-48ac-6640-2d3686314c2c</id><updated>2025-05-07T03:44:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Body%20Keeps%20The%20Score%20%C2%B7%20Brain%2C%20Mind%2C%20and%20Body%20In%20The%20Healing%20of%20Trauma">EMDR is a form of psychotherapy designed to treat post-traumatic stress disorder (PTSD)</a>. It was devised by Francine Shapiro in 1987. EMDR involves talking about traumatic memories while engaging in side-to-side eye movements or other forms of bilateral stimulation. It is also used for some other psychological conditions.</p></div></content><author><name>undefined</name></author></entry><entry><title>Ben Olsen</title><link href="https://gavart.ist/#Ben%20Olsen"></link><link href="https://gavart.ist/static/Ben%2520Olsen.html" rel="alternative" type="text/html"></link><id>800e3eb8-418f-c5dd-cbee-16a1e2fd8a47</id><updated>2025-05-07T03:42:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Spectral Centroid</title><link href="https://gavart.ist/#Spectral%20Centroid"></link><link href="https://gavart.ist/static/Spectral%2520Centroid.html" rel="alternative" type="text/html"></link><id>6aa4485d-8946-2c44-929f-d0c84851aa78</id><updated>2025-05-07T03:41:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The spectral centroid is roughly equivalent to the "center of mass" of a slice of spectrum, and corresponds to the perceived "brightness" of a sound, (where a higher centroid typically corresponds to a brighter sound, and a lower centroid is a duller sound), and is a useful quantity in distinguishing the frequency distribution between audio.</p><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ben%20Olsen">Applying Computer Vision Foundation Models to Audio Source Separation</a> (2023)</p></div></content><author><name>undefined</name></author></entry><entry><title>Principal-agent dilemma</title><link href="https://gavart.ist/#Principal-agent%20dilemma"></link><link href="https://gavart.ist/static/Principal-agent%2520dilemma.html" rel="alternative" type="text/html"></link><id>5fc5bd7a-1f87-1c3f-2977-e479b7426bfb</id><updated>2025-05-07T03:04:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Token%20Economy%20%C2%B7%20How%20the%20Web3%20reinvents%20the%20Internet">Principal-agent dilemma</a> occurs when someone (the agent) has the power to make decisions impacting another person or institution (the principal), but fails to do so in their best interest, such as the relationship between politicians and voters, or managers and shareholders.</p></div></content><author><name>undefined</name></author></entry><entry><title>Elsa von Freytag-Loringhoven</title><link href="https://gavart.ist/#Elsa%20von%20Freytag-Loringhoven"></link><link href="https://gavart.ist/static/Elsa%2520von%2520Freytag-Loringhoven.html" rel="alternative" type="text/html"></link><id>2b7ece1b-898e-0562-bcae-5c095eb42a57</id><updated>2025-05-07T02:39:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Steve Teeps</title><link href="https://gavart.ist/#Steve%20Teeps"></link><link href="https://gavart.ist/static/Steve%2520Teeps.html" rel="alternative" type="text/html"></link><id>3d4f5443-6517-c532-479a-8c4650676dc2</id><updated>2025-05-07T02:14:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Baduizm(s) Jitter Network</title><link href="https://gavart.ist/#Baduizm(s)%20Jitter%20Network"></link><link href="https://gavart.ist/static/Baduizm(s)%2520Jitter%2520Network.html" rel="alternative" type="text/html"></link><id>be9916ab-9c2b-87b3-9506-fd0d0429d9de</id><updated>2025-05-06T08:16:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baduizm%28s%29%20%C2%B7%20Visual%20Album">Baduizm(s) · Visual Album</a></p></div></content><author><name>undefined</name></author></entry><entry><title>If we surrendered to Earth's intelligence, we could rise up, rooted like trees.</title><link href="https://gavart.ist/#If%20we%20surrendered%20to%20Earth's%20intelligence%2C%20we%20could%20rise%20up%2C%20rooted%20like%20trees."></link><link href="https://gavart.ist/static/If%2520we%2520surrendered%2520to%2520Earth's%2520intelligence%252C%2520we%2520could%2520rise%2520up%252C%2520rooted%2520like%2520trees..html" rel="alternative" type="text/html"></link><id>15e535b1-393e-1f78-842a-43b7338ed48a</id><updated>2025-05-06T08:03:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Gretel Ehrlich</title><link href="https://gavart.ist/#Gretel%20Ehrlich"></link><link href="https://gavart.ist/static/Gretel%2520Ehrlich.html" rel="alternative" type="text/html"></link><id>d82786cb-c141-d332-72ef-788a0014a5ea</id><updated>2025-05-06T08:02:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Everything in nature invites us constantly to be what we are.</title><link href="https://gavart.ist/#Everything%20in%20nature%20invites%20us%20constantly%20to%20be%20what%20we%20are."></link><link href="https://gavart.ist/static/Everything%2520in%2520nature%2520invites%2520us%2520constantly%2520to%2520be%2520what%2520we%2520are..html" rel="alternative" type="text/html"></link><id>8cca2fad-fb5f-d9ff-ebe2-ebb02612281f</id><updated>2025-05-06T08:02:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Chamfer</title><link href="https://gavart.ist/#Chamfer"></link><link href="https://gavart.ist/static/Chamfer.html" rel="alternative" type="text/html"></link><id>e837b737-dc29-d881-0729-6d9f4aca6b29</id><updated>2025-05-06T06:17:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A chamfer /ˈʃæm.fər/ or /ˈtʃæm.fər/ is a transitional edge between two faces of an object. Sometimes defined as a form of bevel, it is often created at a 45° angle between two adjoining right-angled faces.</p></div></content><author><name>undefined</name></author></entry><entry><title>Autoamputation</title><link href="https://gavart.ist/#Autoamputation"></link><link href="https://gavart.ist/static/Autoamputation.html" rel="alternative" type="text/html"></link><id>74841fdc-dae2-1a22-24ba-af7caf9f7266</id><updated>2025-05-06T05:38:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a> says: <em>think of the automobile as a technology being the autoamputation of human legs; the personal computer as an autoamputator of human memory. Technologies which extent human sense and mobility end up replacing, hence, destroying those senses and means of mobility.</em></p><p>Technology exists to extend certain ratios in human sense perception while dulling others. McLuhan refers to this process as “autoamputation”: we heighten some senses and dull others in response to social irritants. In many cases, the irritants are unconscious, but pervasive. Ultimately, these alteration in the ratios results in changes in human perception, INCLUDING THE PERCEPTION OF TECHNOLOGY. Originally, the phonograph was seen as a tool for specialists and researchers: soon, it became a means of entertainment and distributing music. Television was originally a tool developed for use by the government: now it has became our major means of receiving both entertainment and news about the outside world. Computers, once little more than oversized calculators and data storage machines, have consolidated all other forms of technology into individualized tools of personalized communication. </p></div></content><author><name>undefined</name></author></entry><entry><title>Vestigial stasis</title><link href="https://gavart.ist/#Vestigial%20stasis"></link><link href="https://gavart.ist/static/Vestigial%2520stasis.html" rel="alternative" type="text/html"></link><id>da147da9-4730-2b90-33c7-52157527c1ef</id><updated>2025-05-06T05:33:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Our accumulated digital personas determine what we are served based on what we have previously been served and how we reacted then, creating a perverse and recursive feedback loop that assumes who we are now instead of who we actually might be, a form of vestigial stasis where the vestiges of our past unconsensually haunt us and directly prohibit our present and future selves from accessing the potential of who we could be in the future, trapped in an unintentional prison of our own design.</p></div></content><author><name>undefined</name></author></entry><entry><title>Deaf Gain</title><link href="https://gavart.ist/#Deaf%20Gain"></link><link href="https://gavart.ist/static/Deaf%2520Gain.html" rel="alternative" type="text/html"></link><id>f6d3425e-a986-37b8-0b18-1b2bd0946646</id><updated>2025-05-06T05:31:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The term Deaf-Gain was coined by U.K. artist <a class="tc-tiddlylink-external" href="https://aaronwilliamson.org/about/" rel="noopener noreferrer" target="_blank">Aaron Williamson</a> (1960-) in 1998 as "a counter-emphasis to "hearing loss" in his lecture at the University of California San Diego.</p></div></content><author><name>undefined</name></author></entry><entry><title>Murmuration</title><link href="https://gavart.ist/#Murmuration"></link><link href="https://gavart.ist/static/Murmuration.html" rel="alternative" type="text/html"></link><id>3aad1727-d774-be55-0363-d19673851702</id><updated>2025-05-06T05:26:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Swarm behaviour, or swarming, is a collective behaviour exhibited by entities, particularly animals, of similar size which aggregate together, perhaps milling about the same spot or perhaps moving en masse or migrating in some direction. It is a highly interdisciplinary topic. As a term, swarming is applied particularly to insects, but can also be applied to any other entity or animal that exhibits swarm behaviour. The term flocking or murmuration can refer specifically to swarm behaviour in birds, herding to refer to swarm behaviour in tetrapods, and shoaling or schooling to refer to swarm behaviour in fish.</p></div></content><author><name>undefined</name></author></entry><entry><title>Ichion Jobutsu —  音成仏</title><link href="https://gavart.ist/#Ichion%20Jobutsu%20%E2%80%94%20%20%E9%9F%B3%E6%88%90%E4%BB%8F"></link><link href="https://gavart.ist/static/Ichion%2520Jobutsu%2520%25E2%2580%2594%2520%2520%25E9%259F%25B3%25E6%2588%2590%25E4%25BB%258F.html" rel="alternative" type="text/html"></link><id>895e9af2-2528-acdd-88ef-ee7b4b2e3e2f</id><updated>2025-05-06T05:25:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The idea that a single sound can lead to enlightenment; It was originally associated with the Edo–period shakuhachi master <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Kurosawa_Kinko" rel="noopener noreferrer" target="_blank">Kinko Kurosawa</a> (1710-1771).  Like many Japanese phrases from the world of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Zen">Zen</a>, it is difficult to translate into English, but it could loosely be translated as ‘awakening (or Buddhahood) within a single tone’.</p></div></content><author><name>undefined</name></author></entry><entry><title>preparing images for batch import in TiddlyWiki</title><link href="https://gavart.ist/#preparing%20images%20for%20batch%20import%20in%20TiddlyWiki"></link><link href="https://gavart.ist/static/preparing%2520images%2520for%2520batch%2520import%2520in%2520TiddlyWiki.html" rel="alternative" type="text/html"></link><id>742fe14b-8ff1-cecf-412a-2fbbd40caa0f</id><updated>2025-05-06T02:29:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">A script for grabbing filenames of photos in a directory and formatting for the x-dictionaary-tiddler format for inputing into <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Fmacros%2FMyImages">$:/macros/MyImages</a> for batch external image import.</h2><h3 class="">Usage</h3><p><code>$ img-list [path-to-directory]</code></p><p>This bash script is saved to <code>/usr/local/bin</code>. You can make it executable globally with <code>sudo chmod +x myScriptName</code></p><pre><code>#!/bin/bash

# Check if a path argument was provided
if [ "$#" -ne 1 ]; then
    echo "Usage: $0 path_to_directory"
    exit 1
fi

# The first argument is the directory path
IMAGE_DIR="$1"

# Check if the directory exists
if [ ! -d "$IMAGE_DIR" ]; then
    echo "Error: Directory not found."
    exit 1
fi

# Go to the directory
cd "$IMAGE_DIR" || exit

# Initialize an empty variable to store the result
result=""

# Loop through each jpg file
for IMAGE in *.jpg; do
    # Check if it's a file
    if [ -f "$IMAGE" ]; then
        # Append filename and format to the result variable
        line="$IMAGE : x"
        echo "$line"
        result+="$line\n"
    fi
done

# Copy the result to the clipboard using pbcopy
echo -ne "$result" | pbcopy</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Galeria Foco</title><link href="https://gavart.ist/#Galeria%20Foco"></link><link href="https://gavart.ist/static/Galeria%2520Foco.html" rel="alternative" type="text/html"></link><id>e843bad5-5877-782b-614e-d2987cfd2270</id><updated>2025-05-05T08:29:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Heptabase</title><link href="https://gavart.ist/#Heptabase"></link><link href="https://gavart.ist/static/Heptabase.html" rel="alternative" type="text/html"></link><id>0027498c-719f-9969-3c0b-7a70bf313fc6</id><updated>2025-05-05T05:42:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kara</title><link href="https://gavart.ist/#Kara"></link><link href="https://gavart.ist/static/Kara.html" rel="alternative" type="text/html"></link><id>7ce8dca8-3579-dc69-2f57-8b5ba1557ab1</id><updated>2025-05-05T05:39:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TW • What's in the core ?</title><link href="https://gavart.ist/#TW%20%E2%80%A2%20What's%20in%20the%20core%20%3F"></link><link href="https://gavart.ist/static/TW%2520%25E2%2580%25A2%2520What's%2520in%2520the%2520core%2520%253F.html" rel="alternative" type="text/html"></link><id>7f09224d-c06c-c2d7-bd38-69fe22e412ec</id><updated>2025-05-05T05:30:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li>A single page wiki, more portable than almost any other tool</li><li>A standalone system requiring only a web browser, with very few compatibility issues</li><li>A simple markup to handle basic and complex formatting</li><li>An editor toolbar so that you don’t have to remember all markup rules</li><li>A templating mechanism</li><li>The ability to use one bit of content in many places, without cut/paste</li><li>A built in database, with sophisticated querying tools</li><li>An internationalizable interface, with 34 built-in languages</li><li>A customizable search tool</li><li>An alerting mechanism</li><li>Many multimedia options</li><li>An easy-to-use journaling system</li><li>The quick ability to change color palettes</li><li>The ability to override any part of the UI you like</li><li>A robust plugin system that allows users to share customizations</li><li>… and much more</li></ul><p><a class="tc-tiddlylink-external" href="https://talk.tiddlywiki.org/t/we-should-recommend-new-users-to-pre-configured-tiddlywiki-editions-long-post/12170/12?u=gavcloud" rel="noopener noreferrer" target="_blank">via talk.tiddlywiki forum</a></p><p><a class="tc-tiddlylink-external" href="https://talk.tiddlywiki.org/t/tw2036-planning-for-v5-4-0/12450/36?u=gavcloud" rel="noopener noreferrer" target="_blank">Jeremy Ruston on Universality</a></p><ul><li>Universality of usefulness is an important criterion for inclusion of a feature in the core. (If a specific feature is deemed to have too narrow a use case to make it into the core, then we would generally instead add the hooks to make it possible to implement the feature in a plugin)</li><li>Universality of audience means that we want TiddlyWiki to be accessible to everybody in the world, regardless of language, disability, culture, but united in the desire to make sense of a complex world</li><li>Universality of platform is the idea that TiddlyWiki should support the widest possible range of devices, browsers, operating system etc.</li></ul></div></content><author><name>undefined</name></author></entry><entry><title>bookmarks.luuse.fun</title><link href="https://gavart.ist/#bookmarks.luuse.fun"></link><link href="https://gavart.ist/static/bookmarks.luuse.fun.html" rel="alternative" type="text/html"></link><id>42aec29e-17df-8305-8300-08522de976b5</id><updated>2025-05-04T13:16:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Dwight D. Eisenhower</title><link href="https://gavart.ist/#Dwight%20D.%20Eisenhower"></link><link href="https://gavart.ist/static/Dwight%2520D.%2520Eisenhower.html" rel="alternative" type="text/html"></link><id>40a2f537-5fdb-7231-b0e1-c7708fff040c</id><updated>2025-05-04T02:49:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Intention Tower Knowlege Graph</title><link href="https://gavart.ist/#Intention%20Tower%20Knowlege%20Graph"></link><link href="https://gavart.ist/static/Intention%2520Tower%2520Knowlege%2520Graph.html" rel="alternative" type="text/html"></link><id>c90273d2-f71f-6dbb-43bb-482fb14faf53</id><updated>2025-05-03T06:06:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Prosopopoeia</title><link href="https://gavart.ist/#Prosopopoeia"></link><link href="https://gavart.ist/static/Prosopopoeia.html" rel="alternative" type="text/html"></link><id>9ecc47ea-9733-7fa7-6cd4-f02c76729db9</id><updated>2025-05-02T09:23:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The attribution of a face or a voice to something inanimate.<br></br>
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Forensis%20%E2%80%A2%20The%20Architecture%20of%20Public%20Truth">Forensis • The Architecture of Public Truth</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Ur-Fascism</title><link href="https://gavart.ist/#Ur-Fascism"></link><link href="https://gavart.ist/static/Ur-Fascism.html" rel="alternative" type="text/html"></link><id>6b7205b0-f1c4-b24e-4235-30a50b516631</id><updated>2025-05-02T09:22:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Difference Between Evergreen and Zettelkasten Notes</title><link href="https://gavart.ist/#Difference%20Between%20Evergreen%20and%20Zettelkasten%20Notes"></link><link href="https://gavart.ist/static/Difference%2520Between%2520Evergreen%2520and%2520Zettelkasten%2520Notes.html" rel="alternative" type="text/html"></link><id>99af8e65-b117-0d33-f7ee-0077258f988b</id><updated>2025-05-02T09:22:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Evergreen Notes is very similar to Zettelkasten, and the core principles are almost the same. The difference is:</p><ul><li>Zettelkasten <ul><li>consider literature notes and permanent notes as a tool for building outputs (academic papers, blogs)</li></ul></li><li>Evergreen / <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">Digital Garden</a><ul><li>focuses on knowledge accumulation</li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Ferruccio Busoni</title><link href="https://gavart.ist/#Ferruccio%20Busoni"></link><link href="https://gavart.ist/static/Ferruccio%2520Busoni.html" rel="alternative" type="text/html"></link><id>ffa085cc-456e-25e8-d3b0-29a3ac5a8fc8</id><updated>2025-05-01T17:23:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The City in History</title><link href="https://gavart.ist/#The%20City%20in%20History"></link><link href="https://gavart.ist/static/The%2520City%2520in%2520History.html" rel="alternative" type="text/html"></link><id>f014947b-173f-2eb6-b8fe-de20fa8fc173</id><updated>2025-05-01T15:16:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden">Thus the most precious collective invention of civilization, the city, second only to language itself in the transmission of culture, became from the outset the container of disruptive internal forces, directed toward ceaseless destruction and extermination. As a result of that deep-rutted heritage, the very survival of civilization, or indeed of any large and unmutilated portion of the human race, is now in doubt—and may long remain in doubt whatever temporary accommodations may be made. Each historic civilization, as Patrick Geddes long ago pointed out, begins with a living urban core, the polis, and ends in a common graveyard of dust and bones, a Necropolis, or city of the dead: fire-scorched ruins, shattered buildings, empty workshops, heaps of meaningless refuse, the population massacred or driven into slavery.
(53)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">It is no accident that the emergence of the city as a self-contained unit, with all its historic organs fully differentiated and active, coincided with the development of the permanent record: with glyphs, ideograms, and script, with the first abstractions of number and verbal signs. By the time this happened, the amount of culture to be transmitted orally was beyond the capacity of a small group to achieve even in a long lifetime. It was no longer sufficient that the funded experience of the community should repose in the minds of the most aged members.
(97)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In early communities, labor itself is a part-time activity, impossible to segregate completely from other functions of life, like religion, play, communal intercourse, even sexuality. In the city specialized work became for the first time and all-day, year-round occupation. As a result, the specialized worker, a magnified hand, or arm, or eye, achieved excellence and efficiency in the part, to a degree impossible to reach except by such specialization; but he lost his grip on life as whole. This sacrifice was one of the chronic miscarriages of civilization: so universal that i has become 'second nature' to urban man. The blessing of a varied, fully humanized life, released from occupational constraints, was monopolized by the ruling classes. The nobles recognized this; and in more than one culture reserved the title 'true men' for themselves.
(103)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The separation and division of property began with the bestowal of gifts by the absolute rulers upon their fellow nobles, their adherents, their servants, in reward for services done. When it has escaped from the common domain, it could be passed on, subdivided, or augmented. By a fairly early date, around 1700 B.C., when the Code of Hammurabi was promulgated, detailed laws dealing with private property, its transfer, its load, its bequest, reveal the rise of this new legal entity.
(108)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Despite its negations, the city produced a purposeful life that at many points magnificently over-rode the original aims that had brought it into existence. <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Aristotle">Aristotle</a> put into words the nature of this transition from the preparatory urban processes and functions to emergent human purposes, in terms it would be hard to improve: "Men come together in the city to live; they remain there in order to live the good life." To define the nature of the city in any particular cultural setting would be in part to define both the local and the more universal qualities of the good life.
(111)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The characteristic activities of the ancient city have, finally, a special quality: they exist in a state of tension and interplay that moves periodically toward a crisis or a climax. This is characterized at an early state in the city's development by a new art, the art of the drama. There are at least two sources of the drama which prepare for its appearance in the city. One of them was admirably explored by Jane Harrison in her 'Ancient Art and Ritual.' There she shows how drama, the 'thing done,' originated in the ancient seasonal rituals of the village, in which all the villagers had a part to play. The very notion of playing a part, of performing a role, may in fact have had its beginning in magical and religious ceremonial, before it took on any other form.
These rites reflected the static qualities of the village community. In the translation of such rites to the city, the roles became magnified; and the though the themes would remain close to the original myths and legends, a growing self-consciousness in playwright and actor would stimulate improvisations and departures. That passage from ritual to drama, from the stable and the repetitive to the dynamic, the adventurous, the rationally critical, the self-conscious and reflective, and in some degree non-confomist, was one of the marked achievements of the city. (114)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Take away the dramatic occasions of urban life, those of the arena, the law court, the trial, the parliament, the sport field, the council meeting, the debate, and half the essential activities of the city would vanish and more than half of its meanings and values would be diminished, if not nullified. Out of ritual and dramatic action, in all their forms, something even more important emerged: nothing less than the human dialogue. Perhaps the best definition of the city in its higher aspects is to say that it is a place designed to offer the widest facilities for significant conversation. (116)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Between the eighth and the sixth century B.C., a new urban fabric began to knit together over the Aegean. This was a period stamped by the introduction of the alphabet and, around 650 B.C., by the invention of coined money; and it was marked by a devolution of power from the citadel to the democratic village-based community, and by the rise of the village itself to anew degree of self-consciousness and cosmic insight, to which the 'Works and Days' and the 'Theogony' of <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Hesiod">Hesiod</a> both bear testimony. Hesiod's mixture of homely practical insight and religious myth and speculation established the temper and tone for the new urban order: both aspects of life came to a fuller consciousness in the Greek polis. The powers of the fabled kings and bellicose warriors who occupied the Acropolis were passed on to the city. (124)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Plato">Plato</a> turned his back on the disorder and confusion of Athens, to rearrange the social functions of the city on an obsolete primitive pattern, he also turned his back, unfortunately, on the essential life of the city itself, with its power to crossbreed, to intermingle, to reconcile opposites, to create new syntheses, to elicit new purposes not predetermined by the petrified structure itself. in short, he rejected the potentiality—not unrelated to what Plato would have regarded as inadmissible confusion—of transcending race and caste and overcoming vocational limitations. Hew saw no way of unifying the divided selves of man without freezing them into so many fixed, graded, and classified parts of the polis.
So strictly did <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Plato">Plato</a> sort out the classes in his ideal city, the philosophers, the warriors, the craftsmen, and the husbandmen, that he returned to the order of an insect community, whose social adaptations are sealed in biological structures that have remained unchanged for tens of millions of years. what he did not suspect apparently was that this geometric heaven might, in terms of man's suppressed potentialities, turn out to be a living hell. (175)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">So, though <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Plato">Plato</a> was willing to make the most radical changes in property, sexual and martial relations, and education, he left the primitive institutions of the citadel intact; indeed, he expanded all their evil possibilities. Economic exploitation, slavery, war, specialized life-time labor—all these were left untouched. Plato's polis relied for daily meat and drink on these sacred but diseased cows. Incredibly, despite his emancipation, through logic and mathematics, from vulgar beliefs, Plato retained all the superstitions of his own class, including the belief that manual occupations are by nature base. That prejudice long delayed the development of the natural sciences, until late medieval doctrine and practice finally overcame this sacerdotal dualism. (182)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">By making the city, the artifact they themselves had created, into their god, the Greeks lost hold of the greatest gift of divine experience—the impulse and the capacity to transcend natural limitations. The invisible city, as yet only incarnated in a handful of great citizens, whose new lines of magnetic force had issued from Olympia, Delphi, and Cos, never assumed a more effective political and physical structure. While that city was still in fluid form, it had nurtured men of larger stature, of higher potentialities, than had ever before gathered in such numbers, among such a small population. But when the moment to pass from individual ideation and incarnation to collective embodiment took place, the city, self-infatuated, returned to an earlier form, highly organized and ordered, sanitary, wealthy, even sumptuously beautiful; but sadly inferior to the inchoate polis of the fifth century in its capacity for creation. (189)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In sum, in the great feats of engineering where Rome stood supreme, in the aqueducts, the underground sewers, and the paved ways, their total application was absurdly spotty and inefficient. By its very bigness and its rapacity, Rome defeated itself and never caught up with its own needs. There seems little doubt that the smaller provincial cities were better managed in these departments, just because they had not overpassed the human measure.
One cannot leave the subject of sewage disposal without noting another feature that casts serious doubt on the intelligence and competence of the municipal officials of Rome, for it records a low point in sanitation and hygiene that more primitive communities never descended to. The most elementary precautions against disease were lacking in the disposal of the great mass of reuse and garbage that accumulates in a big city; and Rome, in the heyday of the empire, must have numbered around a million human beings, give or take a few hundred thousand. If the disposal of fecal matter in carts and in open trenches was a hygienic misdemeanor, what shall one say of the disposal of other forms of offal and ordure in open pits? Not least, the indiscriminate dumping of human corpses into such noisome holes, scattered on the outskirts of the city, forming as it were a <em>cordon malsanitaire.</em></p><p class="digitalGarden">Even without this invitation to typhoid, typhus, and cholera, the prevalence of malaria had made Rome and the surrounding campagna one of the most unhealthy areas in the world, right through the nineteenth century … To make up for lack of health-department statistics, a large number of altars and shrines dedicated to the Goddess of Fever testify to the chronic threat of malarial infection; while the repeated onslaught of plagues, virulent and devastating, is on the record, with thousands dying in a single day. Is it any wonder that Rome, even in the palmiest days of imperial glory, was visited by a succession of desolating plagues—23 B.C., and A.D. 65, 79, and 162?</p><p class="digitalGarden">As an emergency measure to meet such mass inhumations, there might have been some justification for these pits; but as a matter of everyday practice they testify to Rome's chronic contempt for life. the quantity of dead matter that was thus dumped every day might indeed have frightened an even better technical organization than the Romans ever developed; for when the great gladiatorial spectacles were put on, as many as five thousand animals, including creatures as large as the elephant and the water buffalo, might be slaughtered in a single say, to say nothing of the hundreds of human beings who were likewise done to death in the arena. So incredible is the evidence that I prefer to quote directly one of the scholars who examined it first hand, the archaeologist, Rodolfo Lanciani.</p><p class="digitalGarden">"It is hard," says Lanciani, "to conceive the idea of a Roman carnarium, an assemblage of pits into which men and beasts, bodies and carcasses, and any kind of unmentionalble refuse, were thrown in disorder. Imagine what must have been the conditions of these dreadful districts in times of plague, when the pits (puticuli) were kept open by night and day. And when the pits became filled, up to the mouth, the moat which skirted the wall of Servius Tullius, between the Colline and the Esquilin gates, was filled with corpses, thrown in as if they were carrion, until the level of the adjacent streets was reached."</p><p class="digitalGarden">In his excavations, Lanciani found about seventy-five pits or vaults, twelve feet square, thirty deep, filled with a "uniform mass of black, viscid, unctuous matter," and he remembered that on the day of finding the third pit, he was "obliged to relieve my gang of workmen from time to time, because the stench from that putrid mound, turned up after a lapse of twenty centuries, was unbearable, even for men inured to every kind of hardship, as were my excavators." (216-218)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Early capitalism itself, however, proved a disruptive rather than an integrating force in the life of the medieval town. For capitalism precipitated the change from the old protective economy, based on function and status, aiming at security, moralized in some degree by religious precept and by a close sense of family ties and duties, to a new trading economy, based on individual enterprise, pricked by the desire for monetary gain. The economic history of the medieval town is largely a story of the transfer of power from a group of protected producers, earning a modest living, achieving a state of relative equality, to a small group of privileged wholesale merchants, the friends and rivals of princes, engaged in large scale transactions, often over long distances, for the sake of immense gains. With this transfer went the elevation of a new hierarchy, with rank and station based mainly on money, and the power money can command. 
(257)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In the course of three centuries, the Europe we know today was opened or re-opened for settlement. This feat compares exactly with the opening of the North American continent between the seventeenth and twentieth centuries. One may, indeed, regard the American conquest as a continuation of the original process of settlement on a new soil, for the colonization of New England, at all events, was on medieval urban lines, as that of Cavalier Virginia and Dutch New York was on an even older feudal pattern of a manorial economy, with slaves and indentured servants (temporary serfs).
This extension of the agricultural base, this increase in physical power, were what in turn made possible the increase of population. According to Prosper Boissonade's estimate, the region between the Thine and the Moselle increased its population tenfold between the tenth and thirteenth centuries. The English counties, which had numbered 1,200,00 souls in 1086—an exact figure supplied by the 'Domesday Book'—reached a total of 2,355,000 toward 1370. Everywhere ,if the birth rate was not higher, the number of people who survived and lived long enough to reproduce was certainly greater. 
(259)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The social activities of the medieval town did not shrink as the new capitalistic economy grew up: they rather shifted from self-help to alms-giving and foundational philanthropy, and finally by necessity, to state aid. Outside the Church, on institution survived from the old guilds and even increased its power and influence: perhaps the most important single new institution produced by the medieval culture. With an  instinctive recognition of its importance, the name of this institution was originally the common term for all guilds in the twelfth century: <em>universitas.</em>
The <em>universitas</em> became <em>the</em> guild. Like other forms of craft association, the aim of the university was to prepare for the practice of a vocation and to regulate the conditions under which its members performed their work. The new learning, Greek and Arabic medicine from Salerno, the new-formed corpus of Latin law, even the challenge to theology offered by Averroës, Avicenna, and above all, <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Aristotle">Aristotle</a>, needed a new civic organ. Each of the great schools that originally formed the university, jurisprudence, medicine, and theology, was professional in character: though they had a system of general studies, their humanism lay in their life rather than in their specialized studies of ancient literature; indeed, the general 'humanistic' education that began to come in with the renascence college, particularly in England, was an upper-class graft on the original tree. To this day, it is the professional schools that help to differentiate the university from the college. (275)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Wander around the survivals of these medieval markets today! Whether they be as drab as the Sunday market in Whitechapel, as spacious as that on the plain Palais at Geneva, or as handsomely enthroned as the Straw Market in Florence, they still have some of the human delight of their medieval prototypes. the plastic-coated automation of the American supermarket, with its ghastly fluorescent lighting, its meretricious packaging, its cunningly baited booby traps ('impulse buying'), its poisonous forms of preservative antisepsis, its frozen and flavorless foods, in their artfully arrested decay, presents a contrast that betrays both an esthetic and a physiological as well as social loss. (298)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">If the earlier painters demonstrated Cartesian mathematics before <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Ren%C3%A9%20Descartes">René Descartes</a>, on their system of co-ordinates, the general sense of time likewise became more mathematical. From the sixteenth century on the domestic clock was widespread in upper-class households. But whereas baroque space invited movement, travel, conquest by speed—witness the early sail-wagons and velocipedes and the later <em>promenades aériennes</em> or chute-the chutes—baroque time lacked dimensions: it was a moment-to-moment continuum. Time no longer expressed itself as cumulative and continuous (durée), but as quanta of seconds and minutes: it ceased to be life-time. (365)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Whatever else the baroque plan stood for it signified the military conquest of space: the human results were not take into account, except in so far as they conspired to the advantage of the upper classes. But once the constraining fortification was gone, the indefinite length of the new avenue proved a handicap; for it belittled the king as well as his subjects. </p><p class="digitalGarden">Herein lies the paradox of power. Centralized political power takes its origin from the sheer force and capability of  a dominant personality: it reaches its negation when all these attributes and energies are absorbed by an official mechanism, whereby the original power is conveyed to a distant point through a bureaucratic and military organization. If tyranny is a consequence of democratic confusion and ineptitude, it is equally true that democratic vulgarization is an inevitable result of the final stage of tyranny: depersonalized efficiency. After a time, the mightiest of emperors, financial magnates, or dictators counts for no more than the man in the street: they are both cogs, caught in the same mechanism. (391)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Already it is plain in Washington—and will become plainer as the city receives the inundation of new expressways, which recklessly spoil every view and defile every approach to its finest urban prospects—that when traffic takes precedence over all other urban functions, it can no longer perform its own role, that of facilitating meeting and intercourse. The assumed right of the private motor car to go to any place in the city and park anywhere is nothing less than a license to destroy the city. L'Enfant's plan, by its very invitation to traffic, has now proved its own worst enemy. (408)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The leading philosophy of life was the offspring of two entirely dissimilar types of experience. One was the rigorous concept of mathematical order derived from the renewed study of the motions of the heavenly bodies: the highest pattern of mechanical regularity. The other was the physical process of breaking up, pulverizing, calcining, smelting, which the alchemists, working with the mechanically advanced mine workers of the late Middle ages, had turned from a mere mechanical process into the routine of scientific investigation. As formulated by the new philosophers of nature, this new order had no place for organisms or social groups, still less for the human personality. Neither institutional patterns nor aesthetic forms, neither history nor myth, derived from the external analysis of the 'physical world.' The machine alone could embody this order: only industrial capital boasted corporate form. </p><p class="digitalGarden">So immersed are we, even at this late date, in the surviving medium of paleotechnic beliefs that we are not sufficiently conscious of their profound abnormality. Few of us correctly evaluate the destructive imagery that the mine carried into every department of activity, sanctioning the anti-vital and the anti-organic. Before the nineteenth century the mine had, quantitatively speaking, only a subordinate part in man's industrial life. By the middle of the century it had come to underlie every part of it. And the spread of mining was accompanied by a general loss of form throughout society: a degradation of the landscape and a no less brutal disordering of the communal environment. (450)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">But at the same time, an <em>Abbau</em>, or un-building, was taking place, often at an even more rapid rate, in other parts of the environment: forests were slaughtered, soils were mined, whole animal species, such as the beaver, the bison, the wild pigeon, were practically wiped out, while the sperm whales and right whales were seriously decimated. Therewith the natural balance of organisms within their ecological regions was upset, and a lower and simpler biological order—sometimes marked by the complete extermination of the prevalent forms of life—followed Western man's ruthless exploitation of nature for the sake of his temporary and socially limited profit economy. (452)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Laissez-faire, even more than absolutism, destroyed the notion of a cooperative polity and a common plan. Did no the utilitarian expect the <em>effects</em> of rational design to appear from the unrestricted operation of conflicting random private interests? By giving rein to unrestricted competition, reason and co-operative order were to emerge: indeed rational planning, by preventing automatic adjustments, could it was supposed, only interfere with the higher workings of a divine economic providence. (454)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Victorian industrialist, exposing his fellow citizens to soot and smog, to vile sanitation and environmentally promoted disease, still nourished the belief that his work was contributing, ultimately, to 'peace and plenty.' But his heirs in the underground city have no such illusions—they are the prey of compulsive fears and corrupt fantasies whose ultimate outcome may be universal annihilation and extermination; and the more they devote themselves to adapting their urban environment to this possibility, the more surely they will bring on the unrestricted collective genocide many of them have justified in their minds as the necessary price of preserving 'freedom' and 'civilization.' The masters of the underground citadel are committed to a 'war' they cannot bring to an end, with weapons whose ultimate effects they cannot control, for purposes that they cannot accomplish. the underground city threatens in consequence to become the ultimate burial crypt of our incinerated civilization. Modern man's only alternative is to emerge once more into the light and have the courage, not to escape to the moon, but to return to his own human center—and to master the bellicose compulsions and irrationalities he shares with his rulers and mentors. He must not only unlearn the art of war, but acquire and master ,as never before, the arts of life. (481)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The ultimate outcome of the suburb's alienation from the city became visible only in the twentieth century, with the extension of the democratic ideal through the instrumentalities of manifolding and mass production. In the mass movement into suburban areas a new kind of community was produced, which caricatured both the historic city and the archetypal suburban refuge: a multitude of uniform, unidentifiable houses, lines up inflexibly at uniform distances, on uniform roads, in a treeless communal waste, inhabited by people of the same class, the same income, the same age group, witnessing the same television performances, eating the same tasteless pre-fabricated foods, from the same freezers, conforming in every outward and inward respect to a common mold, manufactured in the central metropolis. Thus the ultimate effect of the suburban escape in our time, is, ironically, a low-grade uniform environment from which escape is impossible. (486)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In the more urbanized parts of America, electric transportation, often on its own private right of way, like the steam railroad, achieved far higher rates of speed than the present motor bus. Far from supplementing public rail transportation, the private motor car became largely a clumsy substitute for it. Instead of maintaining a complex transportation system, offering alternative choices of route and speed to fit the occasion, the new suburban sprawl has become abjectly dependent upon a single form, the private motor car, whose extension has devoured the one commodity the suburb could rightly boast: space. Instead of buildings set in a park, we now have buildings set in a parking lot. (506)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Much of the thought about the prospective development of cities today has been based upon the currently fashionable ideological assumptions about the nature and destiny of man. Beneath its superficial regard for life and health lies a deep contempt for organic processes that involve maintaining the complex partnership of all organic forms, in an environment favorable to life in all its manifestations. Instead of regarding man's relation to air, water, soil and all his organic patterns as the oldest and most fundamental of all his relations—not to be constricted or effaced, but rather to be deepened and extended in both thought and act—the popular technology of our time devotes itself to contriving means to displace autonomous organic forms with ingenious mechanical (controllable! profitable!) substitutes. (527)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In short the monopoly of power and knowledge that was first established in the citadel has come back, in a highly magnified form, in the final stages of metropolitan culture. In the end every aspect of life must be brought under control: controlled weather, controlled movement, controlled association, controlled production, controlled prices, controlled fantasy, controlled ideas. But the only purpose of control, apart from the profit, power, and prestige of the controllers, is to accelerate the process of mechanical control itself.</p><p class="digitalGarden">The priests of this regime are easy to identify: the whole system, in its final stages, rests on the proliferation of secret, and thus controllable, knowledge; and the very division of labor that makes specialized scientific research possible also restricts the number of people capable of putting the fragments together. But where are the new gods? The nuclear reactor is the seat of their power: radio transmission and rocket flight their angelic means of communication and transportation: but beyond these minor agents of divinity the Control Room itself, with its Cybernetic Deity, giving His lighting-like decisions and His infallible answers: omniscience and omnipotence, triumphantly mated by science. Faced with this electronic monopoly of man's highest powers, the human can come back only at the most primitive level. (542)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Never before has the 'citadel' exercised such atrocious power over the rest of the human race. Over the greater part of history, the village and the countryside remained a constant reservoir of fresh life, constrained indeed by the ancestral patterns of behavior that had helped make man human, but with a sense of both human limitations and human possibilities. No matter what the errors and aberrations of the rulers of the city, they were still correctable. Even if whole urban populations were destroyed, more than nine-tenths of the human race still remained outside the circle of destruction. Today his factor of safety has gone: the metropolitan explosion has carried both the ideological and the chemical poisons of the metropolis to every part of the earth; and the final damage may be irretrievable. (559)</p></div></content><author><name>undefined</name></author></entry><entry><title>Satiate</title><link href="https://gavart.ist/#Satiate"></link><link href="https://gavart.ist/static/Satiate.html" rel="alternative" type="text/html"></link><id>33175b24-4a78-bdf4-70d2-319d58cf6b14</id><updated>2025-04-28T14:50:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>First attested in the 1440-1450's, in Middle English; borrowed from Latin satiātus, perfect passive participle of satiō (“to fill full, satiate, satisfy”) (see -ate (verb-forming suffix) and -ate (adjective-forming suffix)), from satis (“sufficient”).</p><p>satiate (third-person singular simple present satiates, present participle satiating, simple past and past participle satiated)</p><p>Used interchangeably with, and more common than, sate.</p></div></content><author><name>undefined</name></author></entry><entry><title>Devin</title><link href="https://gavart.ist/#Devin"></link><link href="https://gavart.ist/static/Devin.html" rel="alternative" type="text/html"></link><id>192ac18f-da6a-8c86-2577-f2274a91d741</id><updated>2025-04-26T03:52:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Deepwiki • TiddlyWiki 5</title><link href="https://gavart.ist/#Deepwiki%20%E2%80%A2%20TiddlyWiki%205"></link><link href="https://gavart.ist/static/Deepwiki%2520%25E2%2580%25A2%2520TiddlyWiki%25205.html" rel="alternative" type="text/html"></link><id>1b89d4e3-ba43-4bf2-46c1-65abe60514ae</id><updated>2025-04-26T03:51:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Simple Food For The Good Life</title><link href="https://gavart.ist/#Simple%20Food%20For%20The%20Good%20Life"></link><link href="https://gavart.ist/static/Simple%2520Food%2520For%2520The%2520Good%2520Life.html" rel="alternative" type="text/html"></link><id>a33d4284-5866-5cb5-3ef1-67b5ea203d00</id><updated>2025-04-23T10:14:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Opening Files from the System File Browser</title><link href="https://gavart.ist/#Opening%20Files%20from%20the%20System%20File%20Browser"></link><link href="https://gavart.ist/static/Opening%2520Files%2520from%2520the%2520System%2520File%2520Browser.html" rel="alternative" type="text/html"></link><id>7a3fd87a-62b3-03a0-8444-55814f3c80e0</id><updated>2025-04-17T09:23:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">File outside wiki's tiddlers folder (any location on your computer using absolute path)</h2><p>For example:</p><p><code>[ext[Some External File Link|file:///Users/linonetwo/Downloads/Z-Library.pdf]]</code></p><p><code>[ext[An External Folder Link|file:///Users/linonetwo/Downloads/]]</code></p><p>Here <code>file:///</code> means <code>file://</code> at the beginning, plus <code>/</code> for the system root folder, not <code>///.</code></p><h2 class="">Files inside wiki's folder (using relative path)</h2><p>Open image file using system image viewer</p><p><code>[[link to open image|file://tiddlers/TiddlyWikiIconBlack.png]]</code>
<code>[[link to open image|file://./tiddlers/TiddlyWikiIconBlack.png]]</code></p><p><code>file://. /</code> is the beginning of <code>file://</code>, plus <code>. /</code> means the current folder, so it has the same effect as <code>file://</code></p><p>Open the folder using system file browser</p><p><code>[[file://./files/]]</code></p><p>Files in <code>files/</code> folder can also be imported like this</p><p><code>[ext[File in files folder|file://../files/filename.pdf]]</code></p><p><a class="tc-tiddlylink-external" href="https://tidgi.fun/#TidGi%20Feature%20Handbook%2FReference%20External%20Files:%5B%5BTidGi%20Feature%20Handbook%2FReference%20External%20Files%5D%5D" rel="noopener noreferrer" target="_blank">Reference</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Denis Defreyne</title><link href="https://gavart.ist/#Denis%20Defreyne"></link><link href="https://gavart.ist/static/Denis%2520Defreyne.html" rel="alternative" type="text/html"></link><id>76a08e71-3edd-2722-d658-70e4165b108b</id><updated>2025-04-16T10:23:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Laskfar Vortok</title><link href="https://gavart.ist/#Laskfar%20Vortok"></link><link href="https://gavart.ist/static/Laskfar%2520Vortok.html" rel="alternative" type="text/html"></link><id>ef1bc392-b7a4-d5a7-a4c9-05c5b965077d</id><updated>2025-04-15T12:11:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Joanna Lynn-Jacobs</title><link href="https://gavart.ist/#Joanna%20Lynn-Jacobs"></link><link href="https://gavart.ist/static/Joanna%2520Lynn-Jacobs.html" rel="alternative" type="text/html"></link><id>1763e757-2b7d-5d53-24e4-fb8ee6a2bc50</id><updated>2025-04-15T12:00:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Radio Maiz · Radio Sudamerica · Espacio Sagrado</title><link href="https://gavart.ist/#Radio%20Maiz%20%C2%B7%20Radio%20Sudamerica%20%C2%B7%20Espacio%20Sagrado"></link><link href="https://gavart.ist/static/Radio%2520Maiz%2520%25C2%25B7%2520Radio%2520Sudamerica%2520%25C2%25B7%2520Espacio%2520Sagrado.html" rel="alternative" type="text/html"></link><id>263d8ecf-6ce1-09c4-200a-e891fc7a079f</id><updated>2025-04-15T11:28:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden"><div class="row">
<div class="column"><blockquote class="tc-quote"><p>Mi cabeza toca el cielo<br></br>Mis piez profundos en la tierra<br></br>Mi cuerpo se relaja<br></br>Mi mente expande<br></br>Serenidad por dentro<br></br>Respeto por fuera<br></br>Mi corazón sonrie<br></br>Mis pensamientos desaparecen<br></br>Llevo mi mente al infinito<br></br>Y traemos la mente al cuerpo<br></br>Y todo mi ser esta en harmonia perfecto<br></br>
</p></blockquote></div>

<div class="column"><blockquote class="tc-quote"><p>My head touches the sky<br></br>My feet are deep in the earth<br></br>My body relaxes<br></br>My mind expands<br></br>Serenity within<br></br>Respect without<br></br>My heart smiles<br></br>My thoughts disappear<br></br>I take my mind to infinity<br></br>And we bring the mind to the body<br></br>And my whole being is in perfect harmony<br></br>
</p></blockquote></div>
</div>
</p></div></content><author><name>undefined</name></author></entry><entry><title>TW • Introduction</title><link href="https://gavart.ist/#TW%20%E2%80%A2%20Introduction"></link><link href="https://gavart.ist/static/TW%2520%25E2%2580%25A2%2520Introduction.html" rel="alternative" type="text/html"></link><id>b92fc950-056d-a903-ca63-ae2bc529ddd5</id><updated>2025-04-14T21:40:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li>Tiddlywiki stores its data and runtime in a single HTML file, requiring no installs, no external dependencies, nothing but a web browser.</li><li>Its lack of a folder structure is perfect, and I love that because I don’t have to conform to someone else’s understanding of “common sense.” In this context, TiddlyWiki is universal. Like all other apps with preconceived folder structures, it can feel like you are trapped in a straightjacket.</li><li>TiddlyWiki on Node.js is extraordinarily reliable and rebuildable. All your tiddlers exist on the hard drive and are inherently immune to database corruption. Currently, no other note-taking app can top that. It just works.</li><li><a class="tc-tiddlylink-external" href="https://talk.tiddlywiki.org/t/insightful-appreciation-of-tiddlywiki-on-arstechnica/11987?u=gavcloud" rel="noopener noreferrer" target="_blank">ArsTechnica comment of appreciation</a></li></ul><p>Jeremy Ruston says</p><blockquote class="tc-quote"><p>My work is driven by beliefs such as “the highest calling of developers is to pass our magical powers onto others”, or “the only way to meet the diverse needs of everybody is to allow deep customisation of the user experience”. Another one is “the most important characteristic of software is the business model; we need business models that are aligned with user needs”. 
</p></blockquote><p>I find fascinating how many folks, typically on the younger side, gravitate to proprietary (and expensive!) software like Roam Research and others, in search for personal knowledge management solutions, without seriously considering TW.<sup><a class="tc-tiddlylink-external" href="https://news.ycombinator.com/item?id=25529903" rel="noopener noreferrer" target="_blank">1</a></sup></p><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki%20%E2%80%A2%20A%20Database%20For%20Your%20Notes">TiddlyWiki • A Database For Your Notes</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>TiddlyWiki • A Database For Your Notes</title><link href="https://gavart.ist/#TiddlyWiki%20%E2%80%A2%20A%20Database%20For%20Your%20Notes"></link><link href="https://gavart.ist/static/TiddlyWiki%2520%25E2%2580%25A2%2520A%2520Database%2520For%2520Your%2520Notes.html" rel="alternative" type="text/html"></link><id>5225a705-a852-0ece-57f1-ff965a3405d1</id><updated>2025-04-14T21:40:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ADHD wiki</title><link href="https://gavart.ist/#ADHD%20wiki"></link><link href="https://gavart.ist/static/ADHD%2520wiki.html" rel="alternative" type="text/html"></link><id>72f9f57a-ed03-6eef-b043-84ac0a96a95a</id><updated>2025-04-14T21:31:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Hydra Video Synth</title><link href="https://gavart.ist/#Hydra%20Video%20Synth"></link><link href="https://gavart.ist/static/Hydra%2520Video%2520Synth.html" rel="alternative" type="text/html"></link><id>d7726176-8902-d6ee-7b2c-5c73d353259c</id><updated>2025-04-14T20:32:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tadanori Yokoo</title><link href="https://gavart.ist/#Tadanori%20Yokoo"></link><link href="https://gavart.ist/static/Tadanori%2520Yokoo.html" rel="alternative" type="text/html"></link><id>fcc289c0-5a92-8fad-e0a7-0f3f8d92fe9e</id><updated>2025-04-11T18:11:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>For the first time, scientists map the half-billion connections that allow mice to see</title><link href="https://gavart.ist/#For%20the%20first%20time%2C%20scientists%20map%20the%20half-billion%20connections%20that%20allow%20mice%20to%20see"></link><link href="https://gavart.ist/static/For%2520the%2520first%2520time%252C%2520scientists%2520map%2520the%2520half-billion%2520connections%2520that%2520allow%2520mice%2520to%2520see.html" rel="alternative" type="text/html"></link><id>3f496b11-9428-3c8b-e784-0198a95d010c</id><updated>2025-04-10T12:23:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TidGi External Image Plug-in</title><link href="https://gavart.ist/#TidGi%20External%20Image%20Plug-in"></link><link href="https://gavart.ist/static/TidGi%2520External%2520Image%2520Plug-in.html" rel="alternative" type="text/html"></link><id>f36e8ff0-2633-2077-acd7-380aaa3e21ee</id><updated>2025-04-10T12:07:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Talk to GPT</title><link href="https://gavart.ist/#Talk%20to%20GPT"></link><link href="https://gavart.ist/static/Talk%2520to%2520GPT.html" rel="alternative" type="text/html"></link><id>320be749-8a0e-4194-32ed-1ad28cea706f</id><updated>2025-04-08T17:57:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>InferKit</title><link href="https://gavart.ist/#InferKit"></link><link href="https://gavart.ist/static/InferKit.html" rel="alternative" type="text/html"></link><id>a8e35f84-7f3e-b5f3-b9b9-793e77100a5f</id><updated>2025-04-08T17:57:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>GPT</title><link href="https://gavart.ist/#GPT"></link><link href="https://gavart.ist/static/GPT.html" rel="alternative" type="text/html"></link><id>1703f91c-5c4c-0ce1-69e1-713fe58318a9</id><updated>2025-04-08T17:57:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Seven Mysteries of Life</title><link href="https://gavart.ist/#The%20Seven%20Mysteries%20of%20Life"></link><link href="https://gavart.ist/static/The%2520Seven%2520Mysteries%2520of%2520Life.html" rel="alternative" type="text/html"></link><id>f28fa04c-b646-d97a-a690-e557900ed1d7</id><updated>2025-04-06T23:31:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Vengeance Is Mine, All Others Pay Cash</title><link href="https://gavart.ist/#Vengeance%20Is%20Mine%2C%20All%20Others%20Pay%20Cash"></link><link href="https://gavart.ist/static/Vengeance%2520Is%2520Mine%252C%2520All%2520Others%2520Pay%2520Cash.html" rel="alternative" type="text/html"></link><id>6f6ad0d6-1e57-5a5c-4de3-f02ba838a1bc</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Waking Up</title><link href="https://gavart.ist/#Waking%20Up"></link><link href="https://gavart.ist/static/Waking%2520Up.html" rel="alternative" type="text/html"></link><id>b9c0ac82-b8b7-8cf5-3de8-ee80d8bd54fe</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>War Music: An Account of Homer's Illiad</title><link href="https://gavart.ist/#War%20Music%3A%20An%20Account%20of%20Homer's%20Illiad"></link><link href="https://gavart.ist/static/War%2520Music%253A%2520An%2520Account%2520of%2520Homer's%2520Illiad.html" rel="alternative" type="text/html"></link><id>38e4024f-e478-69b4-9c68-3c609d8a1631</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>What Is Reality? The New Map of Cosmos, Consciousness, and Existence</title><link href="https://gavart.ist/#What%20Is%20Reality%3F%20The%20New%20Map%20of%20Cosmos%2C%20Consciousness%2C%20and%20Existence"></link><link href="https://gavart.ist/static/What%2520Is%2520Reality%253F%2520The%2520New%2520Map%2520of%2520Cosmos%252C%2520Consciousness%252C%2520and%2520Existence.html" rel="alternative" type="text/html"></link><id>f843df17-2bb1-8c9b-d743-0c9892d27e51</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>What We Leave Behind</title><link href="https://gavart.ist/#What%20We%20Leave%20Behind"></link><link href="https://gavart.ist/static/What%2520We%2520Leave%2520Behind.html" rel="alternative" type="text/html"></link><id>bb92a85f-64c6-9186-f311-4ad29fea6fab</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>When We Cease To Understand The World</title><link href="https://gavart.ist/#When%20We%20Cease%20To%20Understand%20The%20World"></link><link href="https://gavart.ist/static/When%2520We%2520Cease%2520To%2520Understand%2520The%2520World.html" rel="alternative" type="text/html"></link><id>7464b4de-2804-95e5-ace2-d74f19c1eebe</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Where Art Belongs</title><link href="https://gavart.ist/#Where%20Art%20Belongs"></link><link href="https://gavart.ist/static/Where%2520Art%2520Belongs.html" rel="alternative" type="text/html"></link><id>29d5acae-bf19-0d0d-fbd8-3303c7c2fa43</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Where The Heart Beats: John Cage, Zen Buddhism, and the inner life of Artists</title><link href="https://gavart.ist/#Where%20The%20Heart%20Beats%3A%20John%20Cage%2C%20Zen%20Buddhism%2C%20and%20the%20inner%20life%20of%20Artists"></link><link href="https://gavart.ist/static/Where%2520The%2520Heart%2520Beats%253A%2520John%2520Cage%252C%2520Zen%2520Buddhism%252C%2520and%2520the%2520inner%2520life%2520of%2520Artists.html" rel="alternative" type="text/html"></link><id>374210c3-9729-a285-0f23-56d10606e8f3</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="digitalGarden">Fragments from <em>Silence</em></h2><blockquote class="tc-quote digitalGarden"><p>Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments … We can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.</p><p>Hung Mung said, “…Cultivate a grand similarity with the chaos of the plastic ether; unloose your mind; set your spirit free; be still as if you had no soul.”</p><p>In Zen they say: If something is boring after two minutes, try it for four. If still boring, try it for eight, sixteen, thirty-two, and so on. Eventually one discovers that it’s not boring at all but very interesting.</p><p>The sounds that had accidentally occurred while it was being played were in no sense an interruption … “Why do I write music?” An Indian musician told me the traditional answer in India was “To sober the mind and thus make it susceptible to divine influences.”</p><p>John Cage (1961)
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Who Are You? Identification, Deception, and Surveillance in Early Modern Europe</title><link href="https://gavart.ist/#Who%20Are%20You%3F%20Identification%2C%20Deception%2C%20and%20Surveillance%20in%20Early%20Modern%20Europe"></link><link href="https://gavart.ist/static/Who%2520Are%2520You%253F%2520Identification%252C%2520Deception%252C%2520and%2520Surveillance%2520in%2520Early%2520Modern%2520Europe.html" rel="alternative" type="text/html"></link><id>89b443db-0b0f-24f3-c2d8-a5768ad02e8e</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Who Owns Music?</title><link href="https://gavart.ist/#Who%20Owns%20Music%3F"></link><link href="https://gavart.ist/static/Who%2520Owns%2520Music%253F.html" rel="alternative" type="text/html"></link><id>61e935f9-f059-d16c-69e3-ea69143dd7bc</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">I am concerned about the enlightenment of all humans. Those who have been victimized by an oppressive system that imitates life as defined by capitalism, imperialism, and racism. I am also concerned about the dictaros of the world who send other people's children to war. I would like to love those I know who might be called family and those who I do not know with the same compassion. (22)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Music, like gracity and green plants, is a forever-pervasive force that seeps into our subconscious. Affecting us in ways we are not even aware of. Each musician hears music his or her own way. This individuality contributes to the development of systems of improvisation/composition. Aesthetics, philosophies, and musical training of the musician help to determine the color and character of the music. </p><p class="digitalGarden">Music is emotional, but the emotional state of the musician should not get in the way of the music's flow. The slightest variation of the traditoinal musical idea will carry the musician into a nrew musical world. There are over fifty countries in Africa, each one has its own culture and music. Diversity of people and music is paradoxical no matter how different (we are the same, and at the same time different).</p><p class="digitalGarden">One of the most important ideas that got from reading the works of Hazrat Inayat Khan was the concept of broadening the definition of music. Defining music as more than just sound. Sound was only one of its properties, and not the most important one. Music was actually anything that was beautiful. It was the elemental thing in life that made things resonant in the most perfect way possible. Music is life … Taking both the musician and the listener to another level of consciousness. The highest level of music could uplift and heal the human spirit. … Art exists to help guide us to the center of life. It is not a social ritual for the elite. Art is a spiritual ceremony in the most adorning religious sense, so we may reach the area where this mysterious force called existence radiates the most. (27-8)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">After the death of the composer, we are left with a score or tape of the music that we may follow. If the music were Ellington, Monk, or Charlie Parker, or even Mozart or Bach, we lose something in the translation, because the catalyst is missing from the equation. Create your own music! Creation, or rather discovery, does not stop when a music master dies. The well from which the master drew is still open. (42)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Approach music as if it were for the first time, as if it had nothing to do with sound or hearing. It is not about a musical form, past, present, or future. it is about the living now. (67).</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Everyone possesses a personal sense of rhythm and timing. This applies to how one moves, acts, and reacts to events, how we talk, walk, blink our eyes. There is rhythm in every gesture in life. Rhythm's side functions are melody and harmony. When our hearts beat, there is a song and a rhythmic pattern. The major function of the heart is to pump blood. The sound of that pumping blood is secondary to the actual pumping of the blood. To have life is to hear music everywhere. Sound is life; life is sound. (75)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">I would say that the one reason artists should be involved in art, regarless of style or fashion, is to uplift the receiver of the art in some way, and to help him or her see the best way of living here on earth as a human being. Art should inspire the reciever of that art to seek a greater understanding of life. The role of the artist is no different from the role of anyone else on earth. (S)he has been given a gift; (s)he can use it or waste it. I may sing and dance and play the violin, but what I seek is inside of me: the gift of life. Out of life, music is born … Life is music. (82)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Many musicians play this music for the wrong reasons, they don't prepare for the Lord, they lay out no carpet (but it is wrong to judge them. It's just that gifts given to man must be used properly, or they will be wasted). Some musicians imitate John Coltrane's sound. They don't examine the reason behind the sound, they seek to play new music but they don't wish to live new lives. One shouldn't choose to play free music, one plays because one must. What is important is not whether we play chord changes, classical or folk music, what is important is how we live. The beauty comes through those who welcome it. This music does not come from technique, all technique comes from the music, the music coming from a certain caring of life. </p><p class="digitalGarden">It is simply a gift from God. I'm not writing this to get you to play my music, but to get you to play your music. That every reality must grow to center around God. Music can be a form of prayer. As a follower of the Lord I must bear witness that art should serve in a spiritual way, so I keep asking artists to sing inspirational songs, more so to pray and love God. A lot of classically (traditionally) trained artists are attached to the culture game, to self-frustration (self-destruction): "I'm an artist, etc." We must realize that the most important thing is life, not making music or being a great this or that; the most important thing is life. Art must transcend itself. Direct all our energies to get to the center of life, that is, to live life the way it was designed for each particular individual, to live according to the universe. If that means giving up on our own philosophies, the small arguments we hold on to, these we must give up if they are in the way of our growth. It's not about agreement or disagreement, there is a feeling that trascends liking and disliking—that feeling is called love … when we make mistakes, we pray and ask for forgiveness within ourselves, and continue working. (95)</p></div></content><author><name>undefined</name></author></entry><entry><title>Whole Earth Discipline</title><link href="https://gavart.ist/#Whole%20Earth%20Discipline"></link><link href="https://gavart.ist/static/Whole%2520Earth%2520Discipline.html" rel="alternative" type="text/html"></link><id>f7ea2937-3c80-0b19-301b-71f6169f5498</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Working Musicians · Labor and Creativity in Film and Television Production</title><link href="https://gavart.ist/#Working%20Musicians%20%C2%B7%20Labor%20and%20Creativity%20in%20Film%20and%20Television%20Production"></link><link href="https://gavart.ist/static/Working%2520Musicians%2520%25C2%25B7%2520Labor%2520and%2520Creativity%2520in%2520Film%2520and%2520Television%2520Production.html" rel="alternative" type="text/html"></link><id>ede499fb-38ca-c9ba-e380-281782d5808b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">The products of today's cultural buisnesses—perhaps, especially, scores for film, television, and games—are no less commodities than industrial commodities theorized by Marx, the only difference being that the raw materials that commence the production process are found not in nature, but in people's imaginations. But once artistic works became produced as commodities by groups, much of what Marx theorized—about the division of labor, forms of value, and more—becomes analytically pertinent. (27)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In understanding how the exercise of power works in these fields, Foucault's writings illuminate. Foucault (1982, 208) says his work is about how people are turned into subjects- through the disciplines that call themselves sciences, through what he called "dividing practices" (labeling the sane and the mad, for example)—and how people turn themselves into subjects through, for example, the "domain of sexuality" that is, "how men have learned to recognize themselves as subjects of 'sexuality?" "Creativity" is another such endeavor, except that these musicians' freedom to act on their own creative desires is highly managed and sometimes denied altogether. </p><p class="digitalGarden">Foucault's conception of power is what one could call cultural; it is not direct confrontation, operating through cultural and social channels and understandings: "What defines a relationship of power is that it is a mode of action which does not act directly and immediately on others. Instead, it acts upon their actions: an action upon an action, on existing actions or on those which may arise in the present or the future" (1982, 220). The exercise of power, Foucault writes, "is a total structure of actions brought to bear upon possible actions; it incites, it induces, it seduces, it makes easier or more diff.-cult; in the extreme it constrains or forbids absolutely; it is nevertheless always a way of acting upon an acting subject or acting subjects by virtue of their acting or being capable of action. A set of actions upon other actions" (37)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">With a term as complex and culturally loaded as creativity, any attempt to answer this question will necessarily by complex and multifaceted. The word, as we know from Raymond Williams, is one of the most fetishized and romanticized in the English language as well as a highly gendered concept. Williams's history of the word in English is fascinating. The term originally was used in the sense of "make" or "produce" and was mainly employed in connection with God's creation of the world and its creatures, a term that shares the same root. According to Williams, in the era when create was used this way, creatures were seen as creations unable to create themselves. This meaning was in use until at least the sixteenth century.</p><p class="digitalGarden">What changed was the advent of the Renaissance, a period when men believed themselves to be able to create. Williams quotes Torquato Tasso: "There are two creators ... God and the poet." The shift to this meaning, writes Williams, is the specific source of the modern usage of the term, even though there was some ambivalence about it as the earlier meaning was retained by some. But by the seventeenth century, create and creation in the current meanings were in widespread use, and by the eighteenth century, the term became associated with art. Creative as a term was coined in that century. Writes Williams, "The decisive development was the conscious and then conventional association of creative with art and thought". By the early nineteenth century, he writes, the term was "conscious and powerful"; by the middle of the century, conventional. Creativity as a term describing a faculty, which emerged in the eighteenth century, became a general word for that faculty in the twentieth century.</p><p class="digitalGarden">Williams writes that the term's "emphasis on human capacity . .. has become steadily more important". Williams discusses what he characterizes as the difficulty of the term, which, he says, emphasizes originality and innovation, which then requires making distinctions between innovation and novelty. But creative has become so commonplace that the term can be used to describe almost anything, such as the production of advertising … (51)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Composers are paid a fee to produce a score and/or set of digital files in a certain amount of time, with parameters determined by their bosses. Accumulation by dispossession here works this way: Composers are viewed as naturally musical, naturally creative, their work akin to a natural product acquired by dispossessing the composer of ownership of the work, which is viewed by bosses as requiring refinement through labor processes embedded in supply chains. (86)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"So, you have to feel out the room, and sometimes I have asked, 'So, ultimately who am I going to be interfacing with about the music?"" Hutchinson said he usually receives some sort of an answer to that question, but sometimes he finds that he must wait and see. Hutchinson thought that "there is a lot of psychology to all of it, and ultimately it is making sure that everyone feels like they've been heard. And that's kind of tricky." (144)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">There is more to Han's argument, but I am most concerned with his point about self-exploitation and want to pursue that. Han builds his argument on the idea of freedom—which David Harvey (1985) had pointed out is a key trope in neoliberalism—that is, that neoliberalism exploits people's conceptions of their own freedom to deliver them into slavery: "Everything that belongs to practices and expressive forms of liberty emotion, play and communication—comes to be exploited." The endless project of self-fashioning and self-optimizing in today's society, which gives subjects a sense of freedom, is in fact subjugating them. This is a much more efficient form of exploitation than what Han terms "allo-exploitation," exploitation from without. Today, he says, neoliberal capitalism turns workers into entrepreneurs,"everyone is an auto-exploiting labourer in his or her own enterprise. People are now master and slave in one". And because of the efficiency of smart power, people don't even know they have been subjugated to it. "A significantly more efficient technology of power makes sure that people subordinate themselves to power relations on their own". Foucault's argument about the neoliberal subject who is an entrepreneur of himself "engages in auto-exploitation willingly-and even passionately" (179)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The overall decrease in funding in the past ten years has been a major change in the business. Producer Harvey Myman told me that producers can no longer hire someone to write a title song, for example. If a show did have a title song, Myman said, it would be removed when the show went into syndication so that royalties wouldn't have to be paid. Part of the reason for this, he said, is that with streaming, licenses have to be secured not just for the US but for the world, which is prohibitively expensive. (194)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Turning composers into managers is a form of control, a way to bureaucratize the production of music. And bureaucratization, as we know from David Graeber and personal experience stifles creativity and the imagination. The managerialization of the music supply chain is part of the bureaucratization of everyday life, a kind of managerialism we are all increasingly subject to, and actors in. (202)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Also, the pay scheme for streaming programs is different from that of broadcast or cable television. Recording engineer and mixer Phil McGowan said that because streaming services don't share their viewing data, the American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music, Inc. (BM1), the performing rights organizations that secure royalty payments for their rights-holder members, don't know how many people are viewing and therefore can't request royalties for their members. McGowan said that royalties are going away because everything that is seen after a theatrical release is now viewed via streaming, not tele-vision. A composer might receive a cash bonus from a streaming service if a program is successful, but it pales in comparison, McGowan said, to what composers would receive in the form of royalties. (204)</p><ul class="digitalGarden"><li><a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Penka_Kouneva" rel="noopener noreferrer" target="_blank">Penka Kouneva - Video Game &amp; Television Composer</a></li><li><a class="tc-tiddlylink-external" href="https://www.sharonfarber.com/" rel="noopener noreferrer" target="_blank">Sharon Farber - Film &amp; Television Composer</a></li><li><a class="tc-tiddlylink-external" href="https://www.imdb.com/name/nm1318089/" rel="noopener noreferrer" target="_blank">Mark Robertson - Orchestra Contractor</a></li><li><a class="tc-tiddlylink-external" href="https://www.imdb.com/name/nm0678659/" rel="noopener noreferrer" target="_blank">Craig Pettigrew - Music Supervisor</a></li><li><a class="tc-tiddlylink-external" href="https://www.soundonsound.com/people/alan-meyerson-mixing-movies" rel="noopener noreferrer" target="_blank">Alan Meyerson - Mixing Engineer for Hans Zimmer et al</a></li><li><a class="tc-tiddlylink-external" href="https://savantproductions.site/" rel="noopener noreferrer" target="_blank">Savant Productions - Music Production Services</a></li><li><a class="tc-tiddlylink-external" href="https://www.musicsupervisorslosangeles.com/" rel="noopener noreferrer" target="_blank">SYNCreport - Music Supervisor Resources</a></li><li><a class="tc-tiddlylink-external" href="https://afm47.org/" rel="noopener noreferrer" target="_blank">American Federation of Musicians Local 47 Los Angeles</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>XX · A Novel</title><link href="https://gavart.ist/#XX%20%C2%B7%20A%20Novel"></link><link href="https://gavart.ist/static/XX%2520%25C2%25B7%2520A%2520Novel.html" rel="alternative" type="text/html"></link><id>887efc4c-527f-02c9-3ac1-3570331a2451</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Zora Zine Print Issue 001</title><link href="https://gavart.ist/#Zora%20Zine%20Print%20Issue%20001"></link><link href="https://gavart.ist/static/Zora%2520Zine%2520Print%2520Issue%2520001.html" rel="alternative" type="text/html"></link><id>ebb56d56-369f-0dc1-8dcc-3ada3a1bcf70</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="">Mint at <a class="tc-tiddlylink-external" href="https://www.zine.supply/" rel="noopener noreferrer" target="_blank">zora.supply</a></h2><p class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Holly%20Herndon">Holly Herndon</a> mentions <a class="tc-tiddlylink-external" href="https://scholar.google.com/citations?user=qW1L0R0AAAAJ" rel="noopener noreferrer" target="_blank">Jordi Bonada</a> in her interview with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hans%20Ulrich%20Obrist">Hans Ulrich Obrist</a></p><p class="digitalGarden">…</p><p class="digitalGarden">Kristeva Quote: "In the end, as a requisite homage to Guillotin, it had to be called the guillotine for good. Some resistance, however weak, could be glimpsed here and there. It was hard to find a craftsman to make the fatal cleaver. The government's official carpenter, Guidon, prepared an exorbitant estimate: and didn't the tradition of the carpenters' guild forbid them from working on instruments of torture? In the end, a German from Strasbourg was recruited, Tobias Schmidt, harpsichord maker and sometime musician. The beheading machine had to be made y the rules of art: heads would be cut with a harpsichord's precision!" (79)</p><p class="digitalGarden">What, then, of those of us who want ot live in this era like artists? Unless one has a private income or patrons, autonomy is probably best achieved by finding those rare skills in the production of simulated value upon which the upper reaches of this ruling class thrive. Give them the kinds of property they deserve! As for fame, it turns out to be something of a curse. It might be better to be known only to those among whom one wants to be known. As for pleasure, it's best not to tell anyone where that is to be found, as the crowd now arrives with unprecedented alacrity. And as for revolution—we live in an era in which one struggles against the worst, not for the best. (157 <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#McKenzie%20Wark">McKenzie Wark</a>)</p><p class="digitalGarden">If you're a millennial, like myself, you're used to things getting worse. For as long as you've been around, seemingly all political and economic changes have been to your detriment. Neoliberalism is the overarching story of our young lives. Rampant privatization has eroded any chance for long-term stability and decimated the cultural sphere by shifting all creative pursuits into the domain of the market.</p><p class="digitalGarden">… </p><p class="digitalGarden">But this (mostly warranted) pessimism has had some unfortunate downstream effects. Many of today's radicals are unable to trace the extraction of surplus value, to locate the material causes of disparities in outcome, or to articulate any path to the prosperity and flourishing that was once so essential to the worldview of previous progressive eras. This confusion, incubated by our generation's unique lack of political possibilities, now works to obfuscate the real opportunities of the present. Most troublingly, many of today's so-called "dissidents" refuse to interface with any real structures of power. In doing so, they manage to hold fast to their shaky ideals but cede the ability to ever reshape the current state of things. Doomer prophecies are self-fulfilling.</p><p class="digitalGarden">…</p><p class="digitalGarden">Today's Web2 platforms, like the feudal lords of the past, hold sovereign reign over the territory and allow serfs to till the land in exchange for productive labor. Some people assume that because users are not charged for the digital space upfront, they are still somehow scraping by on the shrinking bounty of Web1's natural abundance. Make no mistake: you are only given the space for "free" so that your audience will look at ads. In a deudalistic exchange, users are allowed to cultivate the digital terrain so long as they produce value for its true owners. (162 <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Joshua%20Citarella">Joshua Citarella</a>)</p><p class="digitalGarden">The indirect funding structure of ad-driven media, where creators must stir controversy in order to reap ad views, has shaped cultural and political discourse for the past decade. The result is viral disinformation, outrage, sensation, political division, conspiracy, digital addiction, and many other social ills. In its infinite wisom, the United States Post Office (indisputably the greatest institution of modern American life) chose to require a postage stamp in order to mail a letter. Today, we send our messages for free and wonder why the internet is full of spam. Many do not know, and cannot imagine, that it could be any other way.</p><p class="digitalGarden">… </p><p class="digitalGarden">It's important to not overstate the current moment. Unlike the stories told by many of today's loudest and highest-paid voices (who thrive in an ad-driven media environment because they are quite literally financially incentivized to spread outrageous disinformation under the thin guise of creative practice), we are not moving from the digital equivalent of a hunter-gatherer gift economy (Web1) to a newly supercharged neoliberalism. Rather, we are slowly transitioning from an unchallengeable feaudalism (Web2) to a marginally improved bourgeois capitalism (Web3). The proposal is simple and achievable: more transparency into the extreme inequality of creative economies and the possibility for funding streams that do not float on the attention currency of ad views. (164 <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Joshua%20Citarella">Joshua Citarella</a>)</p><p class="digitalGarden">We live in an age of influence. A celebrity with no previous political experience was elected to the highest office in the land. After Trump became president, I thought there would be a backlash and that virtuosity would make a comeback in the arts: all of a sudden, the glorification of deskilling and winking con-artistry no longer felt very punk. (179 <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Whitney%20Mallett">Whitney Mallett</a>)</p></div></content><author><name>undefined</name></author></entry><entry><title>Tomb Index</title><link href="https://gavart.ist/#Tomb%20Index"></link><link href="https://gavart.ist/static/Tomb%2520Index.html" rel="alternative" type="text/html"></link><id>3204a903-aaba-3f8d-51cb-35a190806e37</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p><img src="$:/images/book-cover/tomb-index-marker-2304" width="400"></img><br></br>
<a class="tc-tiddlylink-external" href="https://opensea.io/assets/ethereum/0xa5c93e5d9eb8fb1b40228bb93fd40990913db523/2304" rel="noopener noreferrer" target="_blank">Tomb Index Marker 2304</a></p><p>Features excerpts of <br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Christopher%20S.%20Wood">Christopher S. Wood</a><br></br><em>Forgery, Replica, Fiction</em><br></br>2008<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Total Freedom: The Essential Krishnamurti</title><link href="https://gavart.ist/#Total%20Freedom%3A%20The%20Essential%20Krishnamurti"></link><link href="https://gavart.ist/static/Total%2520Freedom%253A%2520The%2520Essential%2520Krishnamurti.html" rel="alternative" type="text/html"></link><id>375ab634-be21-8bf2-2864-9940464e5d66</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Ultralearning</title><link href="https://gavart.ist/#Ultralearning"></link><link href="https://gavart.ist/static/Ultralearning.html" rel="alternative" type="text/html"></link><id>fa465f4f-fffe-efa5-4059-843b1521baa7</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">Ultralearning is defined as a strategy for acquiring skills and knowledge that is both self-directed and intense. (25)</p><p class="digitalGarden">The Ultralearning principles are:</p><ul class="digitalGarden"><li>Metalearning<ul><li>First Draw a Map</li></ul></li><li>Focus<ul><li>Sharpen Your Knife</li></ul></li><li>Directness<ul><li>Go Straight Ahead</li></ul></li><li>Drill<ul><li>Attack Your Weakest Point</li></ul></li><li>Retrieval<ul><li>Test to Learn</li></ul></li><li>Feedback<ul><li>Don't Dodge the Punches</li></ul></li><li>Rentention<ul><li>Don't Fill a Leaky Bucket</li></ul></li><li>Intuition<ul><li>Dig Deep Before Building Up</li></ul></li><li>Experimentation<ul><li>Explore Outside Your Comfort Zone</li></ul></li></ul><p class="digitalGarden">(48)</p><p class="digitalGarden">To borrow a term from chemistry, the <em>rate-determining step</em> is the slowest part in a chain of chemical reactions, forming a bottleneck. This is the strategy behind doing drills. By identifying a rate-determining step in your learning reaction, you can isolate it and work on it specifically. (110)</p><p class="digitalGarden">As you approach mastery, your time may end up focused mostly on drills as your knowledge of how the complex skill breaks down into individual components becomes more refined and accurate and improving any individual component gets harder and harder. (113)</p><p class="digitalGarden">Referring to a study by psychologists Jeffrey Karpicke and Janell Blunt: testing yourself-trying to retrieve information without looking at the text—clearly outperformed all other conditions, showing that continued free recall and testing  yourself among the best methods for learning/acquisition of information. (122)</p><p class="digitalGarden">What makes practicing retrieval so much better than review? One answer comes from the psychologist R. A. Bjork's concept of desirable difficulty. More difficult retrieval leads to better learning, provided the act of retrieval is itself successful. Free recall tests, in which students need to recall as much as they can remember without prompting, tend to result in better retention than cued recall tests, in which students are given hints about what they need to remember. (125)</p><p class="digitalGarden">Mechanisms of Retention:</p><ul class="digitalGarden"><li>Spacing: Repeat to Remember</li><li>Proceduralization: Automatic Will Endure</li><li>Overlearning: Practice Beyond Perfect</li><li>Mnemonics: A Picture Retains a Thousand Words</li></ul><p class="digitalGarden">(164)</p><p class="digitalGarden">How to Build Intuition:</p><ul class="digitalGarden"><li>Don't Give Up on Hard Problems Easily</li><li>Prove Things to Understand Them</li><li>Always Start with a Concrete Example</li><li>Don't Fool Yourself</li></ul><p class="digitalGarden">(185)</p><p class="digitalGarden">A finding from the literature on memory, known as the levels-of-processing effect, suggests that it isn't simply how much time you spend paying attention to information that determines what you retain but, crucially, how you think about that information while you pay attention to it. (189)</p><p class="digitalGarden">Standford psychologist Carol Dweck and "Growth mindset": wherein learners view their learning as something that can actively be improved. (207)</p></div></content><author><name>undefined</name></author></entry><entry><title>USER INFOTECHNODEMO</title><link href="https://gavart.ist/#USER%20INFOTECHNODEMO"></link><link href="https://gavart.ist/static/USER%2520INFOTECHNODEMO.html" rel="alternative" type="text/html"></link><id>31be671f-607b-e0e7-b7b6-5b004cd3465b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Utopian Entrepreneur</title><link href="https://gavart.ist/#Utopian%20Entrepreneur"></link><link href="https://gavart.ist/static/Utopian%2520Entrepreneur.html" rel="alternative" type="text/html"></link><id>504d1918-08a7-9b5f-b46e-2eba8767b2e2</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="digitalGarden"><strong>Popular Culture</strong></h2><p class="digitalGarden">Working with popular culture can be dismaying if you’re looking for depth and significance. Philosophical, political, and spiritual matters are seen to be central to the discourses of the arts and humanities, not the material of popular culture. In America, there’s long been a schism between art and popular culture. Too many artists circumscribe their audiences by restricting themselves to a kind of peer-to-peer philosophical dialogue, conducted exclusively in the academy and the gallery. The argument for this elitist practice is that the general public has been too dumbed-down by popular culture to understand higher-level discourse. But maybe the converse is true—perhaps the public doesn’t understand the philosophical dialogue because no one is making art for them.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When artists and philosophers talk only amongst themselves, they ignore the potential of popular culture to become a variety of dialogues with and between everyday people. Its discourse may be productive of desire and pleasure, but popular culture is also a language in which people discuss politics, religion, ethics, and action. Many creative people feel they must choose between the art world and popular culture, and people who see the general public as their audience may no longer be considered artists by many of their peers.
</p></div></content><author><name>undefined</name></author></entry><entry><title>The Musical Brain</title><link href="https://gavart.ist/#The%20Musical%20Brain"></link><link href="https://gavart.ist/static/The%2520Musical%2520Brain.html" rel="alternative" type="text/html"></link><id>b9bae398-16b5-b46f-a6e0-17f1d0c3df6e</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Mystery of Consciousness</title><link href="https://gavart.ist/#The%20Mystery%20of%20Consciousness"></link><link href="https://gavart.ist/static/The%2520Mystery%2520of%2520Consciousness.html" rel="alternative" type="text/html"></link><id>488cf54d-913f-2980-69d8-54eb86e30861</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Old Man and The Sea</title><link href="https://gavart.ist/#The%20Old%20Man%20and%20The%20Sea"></link><link href="https://gavart.ist/static/The%2520Old%2520Man%2520and%2520The%2520Sea.html" rel="alternative" type="text/html"></link><id>4c583cd0-2c79-1b29-deda-696e96c77c1e</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Pale King: An Unfinished Novel</title><link href="https://gavart.ist/#The%20Pale%20King%3A%20An%20Unfinished%20Novel"></link><link href="https://gavart.ist/static/The%2520Pale%2520King%253A%2520An%2520Unfinished%2520Novel.html" rel="alternative" type="text/html"></link><id>14866d33-6a03-6042-d642-17542abd8d2f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Plague</title><link href="https://gavart.ist/#The%20Plague"></link><link href="https://gavart.ist/static/The%2520Plague.html" rel="alternative" type="text/html"></link><id>6e8b432d-8fc5-4812-2b13-058e381c47c8</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden">A pestilence does not have human dimensions, so people tell themselves that it is unreal, that it is a bad dream which will end. But it does not always end and, from one bad dream to the next, it is people who end, humanists first of all because they have not prepared themselves. (30)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When one has fought a war, one hardly knows any more what a dead person is. And if a dead man has no significance unless one has seen him dead, a hundred million bodies spread through history are just a mist drifting through the imagination. (31)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">[Grand] did not deny that most of all he liked a certain bell in his neighbourhood that rang softly around five in the evening. But even to find the words to express such simple emotions cost him an enormous effort. In the end this problem had become his main worry. 'Oh, doctor,' he would say. 'I wish i could learn to expres smyself.' He mentioned this to Rieux every time they met.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">One might say that the first effect of this sudden and brutal attack of the disease was  to force the citizens of our town to act as though they had no individual feelings. (53)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Week after week we were reduced to starting the same letter over again and copying out the same appeals, so that after a certain time words which had at first been torn bleeding from our hearts became void of sense. (54)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Hence, foundering halfway between the abyss and the peak, they drifted rather than lived, given up to aimless days and sterile memories, wandering shadows who could only have found strength by resigning themselves to taking root in the soil of their distress. (57)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">He would be expressing himself from the depths of long days of meditation and suffering, the image that he wanted to communicate having been long tempered in the fire of waiting and passion. The other person, meanwhile, imagined a conventional emotion, the suffering that is hawked around the market-place, a mass-produced melancholy. Whether well-meant or not, the reply would always strike the wrong note and have to be abandoned. Or at least for those to whom silence was unbearable; since others could not find the true language of the heart, they resigned themselves to using the language of the market-place and themselves speaking in a conventional manner, that of the simple account of newspaper report, which is to some extent that of the daily chronicle of events. (60)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Every day, at around eleven o'clock in the major thoroughfares, there is a parade of young men and women among whom one can sense that passion for life which flourishes in the midst of great diasters. If the epdemic extends, so will the bounds of morality. We shall see the Milanese saturnalia beside the tombs. (92)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">At the beginning, when they thought that it was a sickness like any other, religion had its place. But when they saw that it was serious, they remembered pleasure. So in the dusty, blazing dusk all the anguish imprinted on their faces during the day resolves itself into a sort of crazed excitement, an uneasy freedom that enflames a whole population. (93)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The trouble is, there is nothing less spectacular than a pestilence and, if only because they last so long, great misfortunes are monotonous. In the memory of those who haved lived through them, the dreadful days of the plague do not seem like vast flames, cruel and magnificent, but rather like an endless trampling that flattened everything in its path. (138)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In the hollow of his face, as if fixed in grey clay, the mouth opened and almost immediately a single continuous cry came out, hardly altered by the boy's breathing, suddenly filling the room with a monotonous, discordant protest, so inhuman that it seemed to be coming from all the men at once. Rieux gritted his teeth and Tarrou turned away. Rambert went up to the bed beside Castel, who closed the book which had stayed open on his knees. Paneloux looked at this child's mouth, soiled by illness, full of that cry of all the ages. (167)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Rieux knew what the old man was thinking at that moment as he wept, and he thought the same: that this world without love was like a dead world and that there always comes a time when one grows tired of prisons, work and courage, and yearns for the face of another human being and the wondering, affectionate heart. (201)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">[Grand's opening senctence]: 'On a fine morning in the month of May, an elegant woman was riding a magnificent sorrel mare, amid the flowers, down the avenues of the Bois de Boulogne.' (202)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">He noted too the lightness of her step as she went from one room to another, her goodness, of which she had never given any actual proof to Tarrou but which shone through everything she did or said, and finally on the fact that, according to him, she knew everything without thinking about it, and that with so much silence and shadow she could withstand any light, including that of the plague. Here Tarrou's writing gave peculiar signs of failing. The lines that followed were hard to read and, as though to give a new proof of this weakness, the last words were the first that were personal: 'My mother was like that, I liked the same self-effacement in her and she is the one I always wanted to be with. Eight years ago, I cannot say that she died. She simply faded away a little more than usual and, when I turned round, she was no longer there.' (213)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">A gendarme went up to him and hit him twice, with this fist, as hard as he could, deliberately and with a kind of diligetn zeal. (235)</p></div></content><author><name>undefined</name></author></entry><entry><title>The Politics of Bitcoin: Software as Right-Wing Extremism</title><link href="https://gavart.ist/#The%20Politics%20of%20Bitcoin%3A%20Software%20as%20Right-Wing%20Extremism"></link><link href="https://gavart.ist/static/The%2520Politics%2520of%2520Bitcoin%253A%2520Software%2520as%2520Right-Wing%2520Extremism.html" rel="alternative" type="text/html"></link><id>75802b28-d684-30f6-47a8-cdfa201e2377</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">Understanding how Bitcoin comes to embody [extremist] ideas requires situating it within two broader analytical frameworks. The first of these is the phenomenon that scholars call <em>cyberlibertarianism</em>. In its most basic and limited form, cyberlibertarianism is sometimes summarized as the principle that "governments should not regulate the internet" (Malcolm 2013). This belief was articulated with particular force in the 1996 "Declaration of the Independence of Cyberspace" written by the libertarian activist, Grateful Dead lyricist, and Electronic Frontier Foundation founder (EFF is a leading "digital rights" and technology industry advocacy or-ganization) John Perry Barlow, which declared that "governments of the industrial world" are "not welcome" in and "have no sovereignty" over the digital realm. (3)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The most direct way to arrive at this perspective is to accept the definition of government developed by the far right, especially anarcho-capitalist theorists like Murray Rothbard and David Friedman, and echoed by politicians like Ronald Reagan and Margaret Thatcher. According to this view, "government" is inherently totalitarian and tyrannical; indeed, "government" and "tyranny" are essentially synonyms. (7)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Rather than a balance of powers and regular elections to curb the inherent possibility of abuse of power, the cypherpunks and crypto-anarchists accept, often without appearing even to realize it, the far-right, libertarian/anarcho-capitalist definition of government that extends from the German social theorist Max Weber (who famously and tendentiously defined the state as a "monopoly of the legitimate use of physical force within a given territory"; see Weber 1919, 33; see also Giddens 1985 for a thorough critique of Weber's definition) to Ronald Reagan's inaugural address of 1981, in which he famously claimed that "government is not the solution to our problem; government is the problem? In Why Government Is the Problem (1993), Milton Friedman, a key plaver in the creation of neoliberal economic doctrine, makes the same case at greater length. (9)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">There are certain keywords that move with a fair amount of ease between explicit right-wing discourse and more general political discussion but that serve as rallying cries for right-wing political action. Two of the most prominent and most relevant to Bitcoin are "tyranny" and "liberty" When the right wing uses them, these words are removed from their more general meanings and grafted onto holistic bodies of political thought, so that it can sound reasonable to oppose Social Security or Medicare on the grounds that they offend "liberty" and constitute "tyran-ny," despite the signal lack of substantive political thought that would make such assessments coherent. (11)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">John Birtch Society founder Robert Welch insists that inflation itself is a "tax," so that, as a 2009 JBS pamphlet called "What Is Money?" puts it, "the value of money ends up in the possession of whoever does the inflating." Rather than the standard economic definition of inflation as an increase in prices, the JBS defines inflation as "an increase in the amount of currency in circulation," despite the fact that inflation frequently does occur without any such increase (see Frisch 1983 for a comprehensive discussion); inflation can have many causes, of which the printing of money is only one. </p><p class="digitalGarden">This description radically misstates economic principles in several important ways. Most economists feel that moderate (but not runaway) inflation benefits an economy, particularly by encouraging the production of goods, since they may eventually sell for more than the producer would have been able to receive simply by holding on to his or her money (the reverse of this dynamic is the main argument against deflation; see Burdekin and Siklos 2004; Frisch 1983). The comparison of the value of US$1 between 1913 and 2009 is extremely decep-tive, because it fails to take into account critical factors such as wage rates, the interest rate on savings, and the possibility of investing that US$1 in capital markets or in industry. A much less conspiratorial take on economic history would point out that US$1 invested in something as simple as a bank savings account using compound interest will typically be worth much more than the simple rate of inflation would provide by 2009; even slightly more aggressive investment would produce even more gains. A far more reasonable form of comparison would be to ask whether the average laborer needs to work more or fewer hours to purchase a like good in two different circumstances-for example a quart of milk or a pound of flour. This is why economists calculate such statistics not in raw numbers but in inflation-adjusted terms: the point is that all prices in an economy tend to adjust with inflation, including labor.</p><p class="digitalGarden">(15-16)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Bitcoin literature also advances the more subtle extremist argument that inflation and deflation are caused by monetary policy rather than by more conventional aspects of economies like consumer prices, commodity and asset prices, productivity and other aspects of labor, and so on. It is a cardinal feature of right-wing financial thought to promote idea that inflation and deflation are the result of central bank actions, rather than the far more mainstream view that banks take action to manage inflation or deflation in response to external economic pressures. This view is repeated with remarkable persistence and with a remarkable lack of critical examination in a significant portion of discussions about Bitcoin, regardless of their overt politics. (22)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">A fourth and final pillar of extremist thought is also found both inside and outside Bitcoin discourse, but appears there with particular force: the idea that government itself is inherently evil, distinct in kind from other forms of power but not in terms of its responsibility to the democratic polity. Of course this view flows somewhat directly from the anarcho-capitalist thought of Rothbard and the antigovernment neoliberal doctrines of Reagan, Thatcher, and their supporters, the Koch brothers, the Cato and Heritage Foundations, and many more. It also flows directly from the views of crypto-anarchists and cypherpunks, and to only a slightly lesser extent from the general cyberlibertarian predisposition against internet reg-ulation, and the way that many "privacy advocates" focus so much of their energy on what governments are apparently doing and so little on what corporations are provably doing. At the limit, these perspectives suggest not simply that current governments are corrupt or misguided, but that the project of governance itself is an idea whose time has passed, one to be superseded by markets and market-like mechanisms that offer no resistance at all to concentrations of power, and no formal means beyond market forces to hold those who abuse power accountable to the rest of us. Ironically, in so many ways, and yet befitting the actual political work they do in the world, by painting the world today as if it were an ungoverned "tyranny," conspiratorial belief systems help to pave the way for just such tyrannies to emerge. (23)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"The root problem with conventional currency is all the trust that's required to make it work. The central bank must be trusted not to debase the currency, but the history of fiat currencies is full of breaches of that trust. Banks must be trusted to hold our money and transfer it electronically, but they lend it out in waves of credit bubbles with barely a fraction in reserve" (Nakamoto 2009).</p><p class="digitalGarden">Ironically, Nakamoto seems not to have realized that his belief that Bitcoin would be immune to "debasement" was based on a flawed monetarist definition of inflation, or that Bitcoin itself could fuel credit bubbles and fractional reserve banking. (31)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">This is why as august an antigovernment thinker as Noam Chomsky (2015) can have declared that libertarian theories, despite surface appearances, promote "corporate tyranny, meaning tyranny by unaccountable private concentrations of power, the worst kind of tyranny you can imagine." (32)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">To the degree that Bitcoin realizes the dreams of May and Hughes and the other cypherpunks, it is a dream of using software to dismantle the very project of representative governance, at the bidding of nobody but technologists and in particular technologists who loathe the political apparatus others have developed. That many of these same crypto-anarchist and cypher-punk technologists-to say nothing of the Bitcoin entrepreneurs who work closely with major Silicon Valley venture capitalists-today sit at or near the heads of the world's major corporations tells us everything we need to know about their attitude toward concentrated corporate power (33)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Widespread interest in Bitcoin first emerged from its utility as a means to bypass the "WikiLeaks blockade" As put in 2012 by Jon Matonis, founding board member and executive direc-for of the Bitcoin Foundation until he resigned in October 2014 (Casey 2014) and one of Bitcoin's most vocal advocates:</p><blockquote class="tc-quote digitalGarden"><p>Following a massive release of secret U.S. diplomatic cables in November 2010, donations to WikiLeaks were blocked by Bank of America, VISA, MasterCard, PayPal, and Western Union on December 7th, 2010. Although private companies certainly have a right to select which transactions to process or not, the political environment produced less than a fair and objective decision. It was coordinated pressure exerted in a politicized climate by the U.S. government and it won't be the last time that we see this type of pressure.</p><p>Fortunately, there is way around this and other financial blockades with a global payment method immune to political pressure and monetary censorship. (Matonis 2012b)
</p></blockquote><p class="digitalGarden">Bitcoin made it possible for individuals to donate to WikiLeaks despite it being a violation of U.S. law to do so. In Matonis's view, corporations participating with U.S. government laws is illegitimate and amounts to "censorship" and "political pres-sure": there is simply no consideration of the idea that it might be appropriate for financial providers to cooperate with the government against efforts that directly and purposely contravene perfectly valid law (regardless of whether one agrees with that law). Despite the fact that Bitcoin appears here to be operating against corporate power, what Matonis paints is a picture-one confirmed by the rhetoric surrounding newer proposals like blockchain-based corporations—of corporate and financial power operating without oversight and outside the constraints of governmental power. (35)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In the contexts of finance and money, the word "regulation" has two distinct meanings that can easily be conflated. The first is central bank modulation of the value of the dollar: this is what Bitcoin enthusiasts and right-wing conspiracy theorists refer to when they talk about the Federal Reserve "devaluing" U.s. currency by "printing more money. The second meaning, less frequently invoked but critical when it is mentioned, relates to the kinds of statutory oversight practiced by the U.S. Securities and Exchange Commission (SEC), with regard to financial markets, and to U.S. agencies like the Food and Drug Administration, the Environmental Protection Agency, the Occupational Safety and Health Administration, and the Equal Employment Opportunity Commission. These agencies, technically members of the executive branch, have been the targets of right-wing ire, especially since they expanded in scope and power during the New Deal. The "Lochner era" of Supreme Court jurisprudence, typically said to extend from about 1897 through to 1937, and overlapping to some extent with the "robber baron era", marked a period of severe constraint on the powers of the federal government to regulate business practices, under a doctrine known as "substan-tive due process" (see Gillman 1995 for a general overview). It is no accident that the birth of modern U.S. right-wing extremism coincides with the demise of Lochner, as the forms of regulato y oversight that were once again made legitimate then placed significant constraints on corporate power, and the animus toward this form of oversight, generated by corporate titans and those whose wealth depends on corporations, continues in a fairly unbroken line from the 1930s to the present day. </p><p class="digitalGarden">When Bitcoin enthusiasts extol the currency's existence beyond "regulation by nation-states," they frequently blur the lines between these two very different forms of regulation, which really are unconnected except at the most abstract level. After all, the Federal Reserve, as right-wing extremists never tire of pointing out, is not part of the government; OSHA, the EPA, the SEC, and the other agencies all are. The Fed has no direct enforcement power, whereas regulatory agencies typically do. The Fed's charge is twofold: to keep the unemployment rate relatively low, and to try to assure a constant, relatively modest rate of inflation. These are both modulatory effects: it is not a criminal or even civil violation for the inflation rate to get too high. Regulatory agencies, on the other hand, are concerned with implementing federal laws, most of which have been passed specifically to protect the health, safety, and/or welfare of U.S. citizens. They have a variety of powers to charge or to recommend charges of a criminal or civil nature against third parties, especially corporations, when those laws are violated.(36-37)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The irony is not in that usage; it is in the typically right-wing insistence that eliminating regulations will somehow eliminate the behavior that the regulations exist specifically to prevent. (39)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Each of these comments uses language and ideas from right-wing extremism without identifying itself as such. An unsuspecting reader-and for that matter an unsuspecting commentator-might believe these sentiments to be unobiec-tionable statements of fact, thus priming themselves to accept several lines of conspiratorial belief while having never opened a book by Eustace Mullins or a JBS pamphlet. This pattern is the rule rather than the exception. It is rare to find any story on Bitcoin regardless of venue-from mainstream publications to the far reaches of the Bitcoin-centric universe–that does not elicit significant and sustained commentary in which bedrock precepts of right-wing conspir-acism are presented as if they are obvious and uncontestable statements of fact. (42)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Among the most remarkable passages in this technical book is one in which Antonopoulos rewrites the economics of deflation in a way that serves the interests of Bitcoin promoters like himself, but at the same time dismisses out of hand almost all non-conspiratorial work on the topic. He does this not by mounting a sustained and detailed argument against the various economic accounts of deflation, but simply by providing his own ad-hoc argument that takes as a given a conspiratorial account of deflation (and its inverse, inflation). Antonopoulos does not refer to any economist, private or academic, when he states that "many economists argue that a deflationary economy is a disaster that should be avoided at all costs. That is because in a period of rapid deflation, people tend to hoard money instead of spending it, hoping that prices will fall" (176), failing to point out that he is being ambiguous about "spending" in passages like this, since it is much less consumer spending than production spending that makes deflation so destructive, because producers earn more money by saving than by manufacturing products. (47)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Money and currency are not identical. "Money," as we use the word today and as economists define it in standard textbooks, serves three critical functions: medium of exchange, store of value, and unit of account (see, e.g., Abel, Bernanke, and Croushore 2008, 248-49).' Medium of exchange means that a token (which need not be physical; a token might be nothing more than an entry in an accounting ledger) can be used to buy or sell products and services; store of value means that the tokens can be saved, and (despite a certain level of inherent volatility) can be relied on to maintain their purchasing power. Unit of account, sometimes also called measure of value, refers to the fact that the market uses the token in determining the value of products, which is to say, their prices. (50)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The majority of expert economic theory simply defines money as currency that is issued by a sovereign government. This theory is known as "Modern Monetary Theory" (MIMT) or "neo-chartalism" and has its roots in economics going back at least to John Maynard Keynes, whose views have perpetually been a major target for every sort of attack from right-wing thinkers.
According to this view, the difference between money and currency is that money is currency issued by the state and indicates the form of currency in which taxes must be paid. It is precisely the pegging of a given national currency to factors like taxation, national industrial production, and international trade that enables the store of value and unit of account functions of money. That is, nation-state sovereignty and the very idea of money are inextricably linked in our world, and so the notion of money that is not issued by a nation-state is essentially a contradic-tion. Like most right-wing discourses, Bitcoin rhetoric thrives on such paradoxical constructions. (54)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Frequently in Bitcoin discussions, one reads the circular assessment that "fiat" in "fiat money" refers to the "fat" af the state- that is, an official decree - that turns a currency into money. While there is an element of truth to this, it does not reflect the history and usage of the term "fiat money". since money is inherently a creation of the state, regardless of whether it is based on a token of intrinsic value, even a gold standard would be "fiat currency" according to this definition. One suspects that "fiat by the state" is used in these definitions because the thought of some non-state actor deliberately suggesting that it could flout national law and declare its own currency to be "money" would have been unthinkable until very recently. But there is no way around the fact that Bitcoin advocates have no mechanism except fiat by which to declare their currency to be money. The point of the "fiat" label is to distinguish currencies with "in-trinsic value" from those without it because these otherwise nearly worthless tokens have been declared to be of value by (someone's) fiat. Further, this definition is the one that has wide usage in conspiracy theories, which allege that the failure to peg "worthless" paper money to a commodity with intrinsic value is part of what deprives ordinary citizens of their wealth. According to these standard usages, Bitcoin could only be fiat money; Schroeder (2015, In2) writes that Bitcoin "can be considered a fiat currency in that it also has no underlying asset." (56)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The supposed problem with fiat currency, which happens to be a favored talking point of conspiratorial libertarians like Ron Paul and Rand Paul (Shoff 2012), is that it interferes with the store of value function of money. Without the stabilitv of value that they (erroneously) claim proceeds from either the use of valuable commodities as currency (e.g., gold used for coinage) or as a grounding mechanism for money (e.g., a "gold standard"), not just economic instability but actual totalitarian political power is the inevitable result. As Ron Paul put it in 2003 in a speech before the U.S. House of Representatives, "If unchecked, the economic and political chaos that comes from currency destruction inevitably leads to tyranny."</p><p class="digitalGarden">What people like Paul criticize about "flat" currencies is that "central bankers" can manipulate the value of the cur-rency, which is purportedly not the case with asset-backed currencies like gold. The whole point of this is to have a stable currency, one whose value does not fluctuate wildly. But because the value of Bitcoin cannot be modulated except by market transactions, it cannot separate its asset from currency functions. This makes it too volatile to use as a store of val-ue, despite the fact that advocates recommend it for its superior stability.</p><p class="digitalGarden">These paradoxes are endemic to right-wing rhetoric about money, much of which encourages pushes people to abandon national moneys and to put the proceeds in precious metals like gold (see, e.g., Mencimer 2010 on Glenn Beck's promotion of gold), because they are supposedly stable in value. Yet history shows that gold standards themselves are regulatory in nature, and no more free from manipulation, derivation, and speculation than are an other currencies; gold itself provides clear evidence of this in its recent price volatility. (57)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Suarez">Suarez's</a> books, the "<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daemon">Daemon</a>" is a set of autonomous algorithms designed by a genius-level software developer and set to begin running when he dies. The "Daemon" that is thereby unleashed, while not itself possessing any sort of will or desire, carries out a complex series of conditional orders that ultimately result in a complete global revolution: it resembles, though it is not, an "evil genius" bent on global power, one who centralizes and concentrates power in itself and in those it deems to be worthy subordinates (many people in the world of the novels think that some living person or group of persons is behind the "Daemon's" actions, although readers know that this is not the case). Despite the revolution having some positive aspects, it is hard to read these books and see Suarez as having any goal other than to show the malevolent intent and dangerous potential of such autonomous and uncontrollable algorithms with capital. (71)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Thus, in the introduction to a bizarrely earnest and destructive volume called From Bitcoin to Burning Man and Beyond (Clippinger and Bollier 2014), the editors, one of whom is a research scientist at MIT, write, "Enlightenment ideals of democratic rule seem to have run their course. A continuous flow of scientific findings are undermining many foundational claims about human rationality and perfectibility while exponential technological changes and exploding global demographics overwhelm the capacity of democratic institutions to rule effectively, and ultimately, their very legitimacy" (x). Such abrupt dismissals of hundreds of years of thought, work, and lives follows directly from cyberlibertari-an thought and extremist reinterpretations of political institutions. 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" style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;">honoring the muse with a point of view</div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="12px" text-anchor="middle" x="306" y="219">honoring the muse with a point of view</text></switch></g></g></g><g data-cell-id="12"><g><rect fill="none" height="30" pointer-events="all" stroke="none" transform="rotate(90,198,105)" width="210" x="93" y="90"></rect></g><g><g transform="translate(-0.5 -0.5)rotate(90 198 105)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:208px;height:1px;padding-top:105px;margin-left:94px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:9px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;">persistently serving your audience</div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="9px" text-anchor="middle" x="198" y="108">persistently serving your audience</text></switch></g></g></g><g data-cell-id="13"><g><rect fill="none" height="30" pointer-events="all" stroke="none" transform="rotate(90,168,295)" width="110" x="113" y="280"></rect></g><g><g transform="translate(-0.5 -0.5)rotate(90 168 295)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:108px;height:1px;padding-top:295px;margin-left:114px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:9px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:normal;overflow-wrap:normal;">quest for lucky break</div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="9px" text-anchor="middle" x="168" y="298">quest for lucky break</text></switch></g></g></g></g></g></g><switch><g requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility"></g><a href="https://www.drawio.com/doc/faq/svg-export-text-problems" target="_blank" transform="translate(0,-5)"><text font-size="10px" text-anchor="middle" x="50%" y="100%">Text is not SVG - cannot display</text></a></switch></svg><br></br>(105)<br></br><br></br>✴︎<br></br><br></br>The first obligation, as the blogger Rohan Rajiv helps us understand, is the obligation we have to the community. Once we trust ourselves to be more than invisible cogs (and perhaps even before we do that), we incur a debt. We owe the people who fed us, taught us, connected us, believed in us. We owe the people who expect something from us. <br></br><br></br>But that obligation doesn't come with a reflexive matching obligation on their part. <em>No one owes us anything.</em> Or, if they do, it's in our interest to act as if they don't. <br></br><br></br>Believing that we're owed something is a form of attachment. It's a foundation for us to count on, a chip on our shoulder for us to embrace whenever we feel afraid.<br></br><br></br>No one owes us applause or thanks. No one owes us money either. (88-89)<br></br><br></br>✴︎<br></br><br></br><strong>Intentional Action Has a Few Simple Elements</strong><br></br><br></br>1. Determine who it's for. Learn what they believe, what they fear, and what they want. <br></br>2. Be prepared to describe the change you seek to make. At least to yourself.<br></br>3. Care enough to commit to making that change.<br></br>4. Ship work that resonates with the people it's for. <br></br>5. Once you know whom it's for and what it's for, watch and learn to determine whether your intervention succeeded.<br></br>6. Repeat<br></br><br></br>✴︎<br></br><br></br>Our narratie informs our choices, our commitments, and most of all, our abilitym to make a difference in the culture. It's the frame we use to interpret the world around us. Two questions about your narrative:<br></br>1. Is it closely aligned to what's actually happening in the world?<br></br><br></br>… … …<br></br><br></br>2. Is it working? Is the narrative you use helping you achieve your goals? Because that's what it's for.<br></br><br></br>If it's getting in your way, then instead of trying to change the outside world to match your expectations of it, it might pay for you to change the narrative instead.<br></br><br></br>And you've already guessed: writer's block is simply a side effect of our narrative.It;s not an actual physical or organic ailment, simply a story we tell ourselves, one that leads to bad work habits and persistent fear. (166)<br></br><br></br>✴︎<br></br><br></br><br></br>Consider two kinds of batting practice. In one, the pitches are chunked into categories—twenty-five fastballs, twenty-five curve balls—in a predictable rhythm. At the end of this practice, hitters reported feeling a sense of confidence and flow.<br></br><br></br>The alternative involves mixing up the pitches randomly. But teacher Torre' Mills points out that the random method, where <strong>desirable difficulty</strong> is at work, actually improves players' skills more than the chunked approach. <br></br><br></br>Desirable difficulty is the hard work of doing hard work. Setting ourselves up for things that cause a struggle, because we know that after the struggle, we'll be at a new level.<br></br><br></br>Learning almost always involves incompetence. shortly before we get to the next level, we realize that we're not yet at that level and we feel insufficient. The difficulty is real, and it's desirable if our goal is to move forward.<br></br><br></br>When we intentionally avoid desirable difficulty, our practice suffers, because we're only coasting. The commitment, then, is to sign up for days, weeks, or years of serial incompetence and occasional frustration. To seek out desirable difficulty on our way to a place where our flow is actually productive in service of the change we seek to make.<br></br><br></br><br></br>""</p></div></content><author><name>undefined</name></author></entry><entry><title>The Prophet</title><link href="https://gavart.ist/#The%20Prophet"></link><link href="https://gavart.ist/static/The%2520Prophet.html" rel="alternative" type="text/html"></link><id>bd174714-9f3b-7a60-7633-7c29f69a4322</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Psychology of Man's Possible Evolution</title><link href="https://gavart.ist/#The%20Psychology%20of%20Man's%20Possible%20Evolution"></link><link href="https://gavart.ist/static/The%2520Psychology%2520of%2520Man's%2520Possible%2520Evolution.html" rel="alternative" type="text/html"></link><id>628e0915-fffb-70b1-339e-01f0709fb6c7</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Psychophysical Ear</title><link href="https://gavart.ist/#The%20Psychophysical%20Ear"></link><link href="https://gavart.ist/static/The%2520Psychophysical%2520Ear.html" rel="alternative" type="text/html"></link><id>fe4b3d37-3f39-3644-595f-a074edb5ba85</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Rhino Man and Other Uncommon Environmentalists</title><link href="https://gavart.ist/#The%20Rhino%20Man%20and%20Other%20Uncommon%20Environmentalists"></link><link href="https://gavart.ist/static/The%2520Rhino%2520Man%2520and%2520Other%2520Uncommon%2520Environmentalists.html" rel="alternative" type="text/html"></link><id>70cdd099-4cb2-569d-62f2-014d67ec25e6</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img> </p></div></content><author><name>undefined</name></author></entry><entry><title>The School of Life: An Emotional Education</title><link href="https://gavart.ist/#The%20School%20of%20Life%3A%20An%20Emotional%20Education"></link><link href="https://gavart.ist/static/The%2520School%2520of%2520Life%253A%2520An%2520Emotional%2520Education.html" rel="alternative" type="text/html"></link><id>84433686-91e2-5b98-5cca-26ebafe9c172</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Secret War Between Downloading and Uploading</title><link href="https://gavart.ist/#The%20Secret%20War%20Between%20Downloading%20and%20Uploading"></link><link href="https://gavart.ist/static/The%2520Secret%2520War%2520Between%2520Downloading%2520and%2520Uploading.html" rel="alternative" type="text/html"></link><id>b6078ce0-b836-b295-1fc2-9f68564d98ed</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Shattered Self: The End of Natural Evolution</title><link href="https://gavart.ist/#The%20Shattered%20Self%3A%20The%20End%20of%20Natural%20Evolution"></link><link href="https://gavart.ist/static/The%2520Shattered%2520Self%253A%2520The%2520End%2520of%2520Natural%2520Evolution.html" rel="alternative" type="text/html"></link><id>f491e471-474e-cce0-b728-5706018717fb</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Sound and The Fury</title><link href="https://gavart.ist/#The%20Sound%20and%20The%20Fury"></link><link href="https://gavart.ist/static/The%2520Sound%2520and%2520The%2520Fury.html" rel="alternative" type="text/html"></link><id>adf0b518-49a1-f27a-bab6-d3c8fa09449c</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Stack: On Software and Sovereignty</title><link href="https://gavart.ist/#The%20Stack%3A%20On%20Software%20and%20Sovereignty"></link><link href="https://gavart.ist/static/The%2520Stack%253A%2520On%2520Software%2520and%2520Sovereignty.html" rel="alternative" type="text/html"></link><id>d2a2f549-4af5-1466-a770-84b26520416b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>The Strange Case of Rachel K</title><link href="https://gavart.ist/#The%20Strange%20Case%20of%20Rachel%20K"></link><link href="https://gavart.ist/static/The%2520Strange%2520Case%2520of%2520Rachel%2520K.html" rel="alternative" type="text/html"></link><id>b14dd9f4-b00f-b99a-e253-423394f250f4</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Unbearable Lightness of Being</title><link href="https://gavart.ist/#The%20Unbearable%20Lightness%20of%20Being"></link><link href="https://gavart.ist/static/The%2520Unbearable%2520Lightness%2520of%2520Being.html" rel="alternative" type="text/html"></link><id>9c082f9c-ef2a-82de-d14f-edab2f1e72a0</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Untethered Soul</title><link href="https://gavart.ist/#The%20Untethered%20Soul"></link><link href="https://gavart.ist/static/The%2520Untethered%2520Soul.html" rel="alternative" type="text/html"></link><id>8ad41910-8b2d-0fcf-8924-288790b1db80</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Wall</title><link href="https://gavart.ist/#The%20Wall"></link><link href="https://gavart.ist/static/The%2520Wall.html" rel="alternative" type="text/html"></link><id>882504a4-23d6-6926-79ae-e6de84479e55</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The World of Animals · A treasury of lore, legend and literature by great writers and naturalists from the 5th century B.C. to the present.</title><link href="https://gavart.ist/#The%20World%20of%20Animals%20%C2%B7%20A%20treasury%20of%20lore%2C%20legend%20and%20literature%20by%20great%20writers%20and%20naturalists%20from%20the%205th%20century%20B.C.%20to%20the%20present."></link><link href="https://gavart.ist/static/The%2520World%2520of%2520Animals%2520%25C2%25B7%2520A%2520treasury%2520of%2520lore%252C%2520legend%2520and%2520literature%2520by%2520great%2520writers%2520and%2520naturalists%2520from%2520the%25205th%2520century%2520B.C.%2520to%2520the%2520present..html" rel="alternative" type="text/html"></link><id>44e75d92-2a83-28ee-36d7-200b1f87ce9d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>There Is No Antimemetics Division</title><link href="https://gavart.ist/#There%20Is%20No%20Antimemetics%20Division"></link><link href="https://gavart.ist/static/There%2520Is%2520No%2520Antimemetics%2520Division.html" rel="alternative" type="text/html"></link><id>b6e05a8f-88c5-9a7a-efe3-3e29b68603b7</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>This Will Change Everything</title><link href="https://gavart.ist/#This%20Will%20Change%20Everything"></link><link href="https://gavart.ist/static/This%2520Will%2520Change%2520Everything.html" rel="alternative" type="text/html"></link><id>c901c4e9-4d6c-d0bc-2fa6-edf0fb421977</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>To Note: Notation Across Disciplines</title><link href="https://gavart.ist/#To%20Note%3A%20Notation%20Across%20Disciplines"></link><link href="https://gavart.ist/static/To%2520Note%253A%2520Notation%2520Across%2520Disciplines.html" rel="alternative" type="text/html"></link><id>1f0d151a-4e21-d2be-7a5b-1d6d10620482</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="digitalGarden">THE PARADOX OF NOTATION (1)</h2><p class="digitalGarden">The notation of music presents itself as something of a paradox; an attempt to represent a fleeting series of sounds by means of a fixed spatial diagram. </p><p class="digitalGarden">Certain Musical parameters, such as pitch and rhythm, at first seem to lend themselves to a more consistent translation into stable notation than others, such as timbre and dynamics, but only in a contingent way; that is, by presupposing a standardised and stable relationship between a particular written sign and its sonic rendering. </p><p class="digitalGarden">Natural languages similarly rely on a collectively agreed method of translation between the written and the spoken sign; but while these signs encode conventionally established meaning that can be recombined productively to refer to things in the world, musical signs are intrinsically <em>meaningless</em> and refer only to themselves, <em>as</em> sounds.</p><p class="digitalGarden">(A musical phrase is pure phenomenon; it does not point to anything else in the world. It may encode implicit information, such as cultural context, social status or level of competence, but does not have a clearly defined referent that would constitute meaning in the same sense as that encoded by signs in a natural language.)</p><p class="digitalGarden">The fact that sounds can be represented in written notation, which allows for their free recombination and permutation within a given logical scheme, seems to deceptively bestow on music an ontological status similar to that of natural languages; as musical phrases can be constructed from smaller units such the same way as words ans sentences, it seems plausible that different combinations of pitches and rhythms would create different meanings. </p><p class="digitalGarden">(This results in a catefory mistake that is compounded by conflating musical and lingusitic sings' contrasting modes of reference in music that uses text; in other words, interpreting the music ans text to refer to the same thing together, as if the words could be some contiguous magic permeate a melodic phrase with their meaning.)</p><h2 class="digitalGarden">ORIGINS OF NOTATION</h2><p class="digitalGarden">The word music is derived freom the Greek <em>mousike tekhne,</em> 'the art of the Muses'. The Muses were the daughters of Mnemosyme, the Ancient Greek personification of memory, suggesting that the origins of music are rooted in oral culture; musical works being committed to memory and passed down the generations in an immediate way, from teacher to student. </p><p class="digitalGarden">The earliest known example of music notation is a Hurrian song from around 1400 BC; a set of instructions for a singer and a harpist carved in cuneiform on clay tablets found in the ancient Syrian city of Ugarit. Whilst any transcription of such instructions into modern notation is necessarily speculative, these tablets attest to a very obvious yet radical role of music notation; that of a vehicle for the recording, studying and reproduction of music that frees it from a dependence on one-to-one contact between musicians. This opens up the prospect of individual authorship of a mediated form of music that can be disseminated at a distance, both physical and temporal; the birth of a 'composer'.</p><p class="digitalGarden">(The development of writing in Ancient Greece has been seen to accompany a transition from the collective consciousness of oral culture to the self-consciouness of ilterate culture; the written word becoming a concrete record of an individual's thoughts, without the need for an interlocutor. Compare of instance Plato's writings, devised as imaginary debates between agonistic philosophers, to those of Aristotle, who writes in his 'own voice'.)</p><p class="digitalGarden">Notation codifies musical ideas and henceforth becomes an effective normative and evaluative standard for performance; individual and collective memory can only regulate musical works contemporaneously, while a score does so as an enduring and immutable law; it creates a new concept and mythology of the musical work. </p><h2 class="digitalGarden">THE USES OF NOTATION</h2><p class="digitalGarden">Whilst various tranditions of music notation arguably orginated as mnemonic and communicative tools for the reproduction of musical works, some of these traditions have developed into sufficiently general systems of symbolic representation to enable them to be used beyond their original context. These uses fall into two mutually exclusive categories: reactive or transcriptive notation (for instance the transcription of environmental sounds, such as birdsong) and generative or prescriptive notation (for instance the composition of musical works).</p><p class="digitalGarden">The mutually exclusive character of these categories is obscured by the standardised form of notation; for instance, the reactive transcription of a pre-existing musical work as a mnemonic device can be retrospectively mistaken for an example of a generative, prescriptive act of composition, as there is nothing in the apperance of such notation that necessarily distinguishes one from the other. Notation as a generalised system ignores the inherent tension in the switching polarity between these two categories and their relation to performance, neutralising their antithetical entanglement with a veneer of mute impartiality.</p><p class="digitalGarden">(Transcription, which presumes the performance to be the primary creative act, in fact already hints at the potential for a reversible function; that is, the prescriptive use of notation in the creation of a musical work, prior to any performance. This reversibility also leaves open the theoreticalpossibility that notation in fact originated from the latter category, as a generative, creative tool, and was only subsequently reconfigured for use as a reactive, mnemonic tool.)</p><p class="digitalGarden">Each notational tradition has its own limitations given by its internal logic and the parameters of sound that it is able to represent more or less accurately, and therefore any transcription in some way contorts sonic phenomena to fit within these parameters; much like the way Euclidean and non-Euclidean geometries map the same terrain to fit into their own, contrasting forms. Similarly, any notational system a priori limits the musical ideas it can support, and hence always already determines the kinds of aesthetic result that can be achieved in employing that system.</p><p class="digitalGarden">(No sound can be fully represented by any given notation, nor by any other recording device; this incomplete translatability between a sound and its visual reprsentation has contributed to the confusion in the ontological relation between the two.)</p><p class="digitalGarden">The internal logic of a given notational system, abstracted from the temporality of music performance, can also propagte new approaches to the manipulation of different musical parameters. The geometrical properties of music notation invite experimentation with various kinds of symmetries and processes that would not be available to a musician purely thinking and unfolding musical ideas in real time.</p><p class="digitalGarden">(This results in another category mistake, where temporal processes are assumed to be analogous with spatial proportions.)</p><h2 class="digitalGarden">THE EPOCHS OF NOTATION</h2><p class="digitalGarden">Radical historical changes in music notation have coincided with large-scale political, tecnological economic and cultural shifts, each such epoch reinventing the social role of music and its manner of reproduction and distribution. </p><h3 class="digitalGarden">THE CAROLINGIAN RENAISSANCE</h3><p class="digitalGarden">Up till Carlemagne's reign in the 8th century, sacred vocal music, the precursor to what we now think of as classical music, was by and large an oral tradition, studied and performed in the context of a stable monastic millieu. Charlemagne's push for cultural reformation and standardisation across his empire resulted in the institution of catherdral schools with transient ecclesiastical propulations, necessitatiin the developement of mnomonic devies for the learning and transmission of officially sanctioned versions of plainchant. </p><h2 class="digitalGarden">THE RENAISSANCE</h2><p class="digitalGarden">The invention of the printing press in the 15th century led to anothyer wave of standardisatio9n, accompanied by the commercialisation, of music. The advent of music printing gave composers access to the general public as a viable market, leading to the rise of instrumental music; a popular pastime for the aristocratic classes as an index of their social status. This began the elevation of the composer into an almost mythical figure; a divinely-inspired creator passing down a perfected piece of music to the interpreter in the mediated form of a score. This leads to a concept of the musical work as somehow being embodied by the score as the primary and eternal document, relegating any given perofrmance to a mere shadow of its ideal form.</p><h2 class="digitalGarden">THE GOLDEN AGE OF CAPITALISM</h2><p class="digitalGarden">In the decades after World War II, Western music notation experienced perhaps its most radical period of transformation, fuelled by the collective individualism of modernism (composers being compelled to create idiosyncratic compositional systems <em>ex nihilo</em>) and a reaction against the inherited norms of a culture that came close to self-annihilation twice within the space of 30 years. The 1950s and 1960s became and age of experimentation with various forms of graphic notation that reimagined how musical ideas could be represented visually. This period coincided with the commercialisation of the magnetic tape, which democratised ther recording and distribution of music and implicitly questioned the need for notation to retain its function as a way to faithfully inscribe musical ideas in a durable medium.</p><h3 class="digitalGarden">THE DIGITAL REVOLUTION</h3><p class="digitalGarden">The technological advances of the late 20th century brought with it another wave of demoractisation in the creation and reproduction of music. The proliferation of computer-aided compositional tools has returned music-making to a more immediate form of cultural practive (something that was never lost in various folk music traditions), where the triadic relation of composer-score-interpreter is no longer the norm. If the creation and recreation of musical works once more becomes an intergrated activity through the rise of self-sufficient composer-performers (acting individually or collectively, music notation may ultimately lose its use value and become obsolete; a situation that is already a given for practitioners of improvised music.</p><h2 class="digitalGarden">A BRIEF HISTORY OF NOTATION </h2><p class="digitalGarden">Ancient Greek music notation followed a process of development from ideographic signs to a phonetic system that worked combinatorially to produce larger units, much like the alphabet. This phonetic scheme represented each pitch with a unique symbol, and included a different set of symbols for vocal and instrumental music. In other words, the 'same' pitches in different octaves were represented by different symbols, and vocal and instrumental parts represented the 'same' pitch with a different symbol. Greek notation ceased to be used around the 4th century, and was replaced gradually by neumatic notation (from the Greek 'breath' or 'sign'), which was derived from Ancient Greek pitch accent diacritics.</p><p class="digitalGarden">The earliest records of music notation using neumes come from the 9th century, during the reign of Charlemangne, which also saw the birth of simple polyphony. This notation was used as a mnemonic device for the study of plainchant, and for a long time was not completely standardised; each monastery having its own variations on the generally adopted system. The neumes were designed to show the relative shapes of musical phrases, and relied on a choir master to give the initial pitch and gesture the size of the intervals.</p><p class="digitalGarden">The neumatic system followed a trajectory of gradual increase in its specificity, complexity and standardisation, through the invention of heightened neumes to show intervals, the addition of (initially 4) horizontal guidelines to show relative pitch movement more clearly, and the inclusion of an opening clef to show the main pitch of the chant. This process of greater precision in the pitch domain (imagined as the vertical axis) was accompanied by parallel developments in the rhythmic domain (imagined as the horizontal axis). Rhythms were implied by natural speech patterns until around the 10th century, when 'longa' (long) and 'breve' (short) rhythmic notation were incorporated into scores, followed by modal rhythmic patterns based on Ancient Greek lyric metres (Iambic, 'short-long', and Trochaic, 'long-short') in the 11th century, which employed ternary rhythmic units thought to symbolise the holy trinity. From the 13th century, plainchant became ever-more melismatic, requiring new notational strategies, including ever-smaller rhythmic divisions and a five-line stave to fit the wider range of melodies.</p><p class="digitalGarden">The <em>ars nova</em> and <em>ars subtilior</em> musical styles of the 14th century revised some features of the neumatic system, facilitating the development of a florid type of polyphony where each vocal line demonstrates a high degree of independence. Some of the notational inentions of the period were time signatures and barlines, visual grouping to simplify reading, the use of color notation for certain rhythmic features, and progressive further division of rhythmic values. There was a general push from contextual and relative notation to absolute notation in both pitch and rhythm, which allowed for more abstract compositional techniques to be employed. Here the symbiotic nature of the evolution of musical ideas and their notation becomes quite transparent, as the new notational features lent themselves to the use of mathematical procedures such as augmentation, diminution, inversion and mirroring of both pitch and rhythm. Musical materials could now be viewed as a graphical puzzle, out of time, to be combined and permutated in various ways whilst maintaining a certain level of logic and symmetry; a logic that could possibly be heard and recognised by the expert, if not the noice, creating an aura of learnedness for those who could perceive and understand these procedures in a performance of the musical work. Through such cimpositional strategies, the musical work became conceptualised as if it were a static physical object, with quantifiable spatial dimensions that could be rearranged and viewed from different angles; a notion that was analogous with perspective in painting.</p><p class="digitalGarden">There was also an interest in the general design and specific typography of musical scores, which at times resulted in graphically elaborate examples that compromised their role as a tool for the communication of <em>musical</em> ideas. Some such scores bear a striking resemblance to music from the second half of the 20th century, which experienced a resurgence of interest in the visual design of music notation. These two eras share many similarities in the general tenor of their musical practice, both overseeing an increasingly multilayered complexity based on a reappraisal of the notational system through the prism of mathemical logic. Whereas in the 21s century, this complexity has diffused into a plethora of idiosyncratic compositional techniques, the 15th century experienced a trend back towards simplicity, as the new notational system ossifed into an accepted standard across Europe.</p><p class="digitalGarden">During the Renaissance, instrumental music took hold in the European courts and amongst the rising bourgeoisie. Aided by the ease of reproduction and distribution of scores afforded by the printing press, composers began creating large repertoires of music for newly invented instruments, such as viols, that were used to accompany social dancing. These modern instruments utilised the five-line vocal stave, with absolute pitch notation, whereas older instruments such as the lute still used tablature notation, with the resultant pitch being relative to specific tunings.</p><p class="digitalGarden">While the historical trend throughout the Renaissance was for notation to gradually morph into a fixed, absolute system, certain discrepancies between written music and its sonic rendering remained. For instance, the prevailing performance practice dictated the chromatic alteration of identically notated pitches in specific contexts, in order to achieve more aesthetically appealing horizontal (voice-leading) or vertical (harmonic) results. These inflections were known as <em> musica ficta</em> 'false' or 'fictitious music', falling outside the 'true' notes of a given mode; the notational invariance of these musical structures belying their malleability as sonic material.</p><p class="digitalGarden">In the process of the old church modes contracting into the tonal system of major and minor scales towards the end of the Renaissance, the practice of such pitch alterations (what we now call 'accidentals') came to be systematically codified in written notation. This resulted in situations where a given pitch occurred simultaneously or near-simultaneously in two 'contradictory' versions, for instance 'C' and 'C#' (the latter being shown by the symbol '#' to sound a semitone higher than the former); one example of a phenomenon known as <em>false relation</em>. This conceptual clash (a non-identical identity), made explicity by the demands of standardised notation, demonstrates a fundamental problem, with the evolution of a relative notational scheme into an absolute one. The entire logic of the former is predicated on a particular performance practice (sacred vocal music) and its specific nomenclature, necessitating the adoption of various <em>ad hoc</em> measures, such as the use of 'accidentals' to denote pitch alterations, in its recasting as a generalised notational scheme; a permanently makeshift construct that can never completely hide the inherent contradictions at its core.</p><p class="digitalGarden">During the Baroque, a shorthand script for chord structures, called figured bass, was introduced into the notational scheme. This system of numbers, which was written below the bass part of a piece of music, provided a harmonic skeleton that was fleshed out by the keyboard player with various idiomatic ornamentations, reflecting the role of limited improvisation that was central to the performance practice of the time. Similar chord-number notations are still in use in types of music that maintain a level of specialised extemporisation as part of their language, for instance jazz and country music.</p><p class="digitalGarden">The Baroque period also introduced explicit dynamics into music notation, concurrently with the invention og the pianoforte, the first keyboard instrument able to be played with dynamic variation. Such markings became more widespread and explicit during the Classical and Romantic Eras, including 'impossible' (or psychological) instructions such as a crescendo on a sustained piano note, which were designed to convey to the performer a more detailed sense of the composer's intentions; developments that went hand in hand with the waning of improvisation as an essential part of the performance of composed music. This was concomitant with a creeping sense that the score, however precisely notated, could never fully express the true essence of the composer's musical ideas. The positivism of the score as an eternal mirror of the composer's vision was thus slowly being eroded by the very process of its becoming an increasingly sophisticated and nuanced expressive tool; as if the ability of notation to generate and reflect more complex musical ideas was in fact directly linked to self-destructive doubt about the solidity of its foundations.</p><p class="digitalGarden">In the Romantic Era, many instructions such as speed and expression markings began to be written in the composer's own language, instead of Italian as had been the custom, coinciding with the burgeoning nationalistic sentiment across Europe towards the end of the 19th century. This portended the impending fracturing of the universal notational scheme and paved the way for the birth of modernism in music around the turn of the 20th century, inspiring ever more individual attempts at systematising the dense and complex chromatic tonality that had been passed down by the Romantics.</p><p class="digitalGarden">One such system, serialism, renewed the <em>ars nova</em> fascination with symmetry, abstracting pitch and rhythm into matrices of numbers (such as magic squares) that could be manipulated without reference to temporality and then used as raw materials for composition. These permutational schemes recall anagrams and other wordplays, such as the 'Sator Square' of classical antiquity, which intriguingly combines strict (mirrored) symmetry in its arrangement of letters with a meaningful (if trivial) sequence of words. Such puzzles can only be constructed in a written form, demonstrating and uncanny independence of the script from its sonic counterpart, whether as speech or music; as if the written sign were inhabited by a ghostly secondary logic that mere sounds could only ever brush up against but never fully embody. </p><p class="digitalGarden">There were also attempts at creating new notational systems that weren't based on tonality, instead settin out to show features such as chromatic movement without the use of accidentals and attendant contradictions like the false relation. It was becoming clear that the logic of the inherited notational scheme was unable to support some of the new ideas in music, its internal logic (a relic of medieval modal music) becoming outgrown by experiments in areas such as microtonality, aleatorism and the use of new technologies, including the magnetic tape and electronic sound generators and processors.</p><p class="digitalGarden">After World War II, many composers began developing increasingly idiosyncratic notational systems, which compromised the universality of notation as a simple and effective means of communicating musical ideas. This proliferation of notational strategies reflected the plethora of new aesthetic and conceptual approaches to music, including many that stood in polemical opposition to one another. As a consequence, the universal standard of the five-line stave gave way to <em>ad hoc</em> solutions that required specific instructions and detailed study for the interpretation of each sign, which wered in many cases not applied consistently by different composers, or even by the same composer across different works.</p><p class="digitalGarden">Some of the new notational strategies involved: the addition of staves for information that could not fit on the standard stave; various text scores that described actions and provesses; diagrammatic scores for building a sonic situation or object; tablature notation for instruction of physical actions on instruments; using visual artefacts such as painting, film or sculpture as a 'score' that demanded a significant level of interpretation from the performer on how to translate these visual stimuli into musical material; algorithms and punch cards as scores for mechanically or electronically produced or reproduced music; and computer-generated notation that could transcribe elements of live performance into digital data, which could then be decoded for use with other media.</p><h2 class="digitalGarden">THE FALL OF NOTATION</h2><p class="digitalGarden">The tradition of wWestern music notation, which had forged a sufficiently close relationship between the written mark and a corresponding sound to be considered a functioning <em>notational symbol scheme</em>, lost its unquestioning representative fidelity in the face of the post-World War II avant-garde's challenge of the foundations of its historical continuum. This crisis heralded an age of deconstructive experimentation with notation (and the very concept of the musical work), leading to the widespread employment of different types of graphic scores, which could incorporate a broad range of visual signs from traditional notation to text, pictographs and abstract geometric shapes. The vital qustion of notation became less about how to create strict correspondence between a visual and sonic sign, and more about how different notational strategies could instigate new modes of music-making.</p><p class="digitalGarden">These developments resulted in notation functioning not just as instructions for performance, but also as an independent aesthetic object in its own right, with serious repercussions for the ontological status of the musical work; if the score is an object of aesthetic contemplation itself, in the visual domain, it severs its strict contract with its sonic counterpart, with which it traditionally had merely a regulatory relationship. In other words, the aesthetic effect of a musical work previously relied ultimately on its performance (whether imaginary or real), whereas a graphic score marks it as oscillating vertiginously between the visual and the sonic realms.</p><p class="digitalGarden">Graphic notation has a much more tenouous relationship with its sonic instantiation than conventional music notation, as it may be difficult to perceive a correlation between a score and its performance. in graphic notation, there is no longer a one-to-one representative scheme at work and the score can no longer act out its normative function, as a prescriptive and evaluative document (a law); it can not be used to judge a performance, as there are no clear criteria that determine success or failure. It cecomes more of a ludic contract between the composer and the performer, allowing the latter a much greatter role in the interpretation, and indeed the composition, of the work.</p><p class="digitalGarden">(As a thought experiment, one can imagine two performances of the same score yielding versions where no single element could be perceived to be replicated, and performances of two different scores that sound identical).</p><p class="digitalGarden">Many graphic scores in reality feature elements that retain some general characteristics of conventional notation, as well as instructions that refer to very specific actions, even if they may be open to varying sonic outcomes. (Notation of actions rather than sounds results in a choreography of gestures that confuses the concept of the musical work as a sonic phenomenon, recontextualising it as a much more open performative form that begins to converge with other disciplines, such as theatre and dance.) For instance, a common way to conceptualise ther two-dimensional space of the score is to see it mapped onto an invisible Cartesian axis, with pitch as the vertical and time as the horizontal domain. These scores still appeal to an intuitive visual logic in the arrangement of the musical ideas on the page and remain faithful to the original metaphor of conventional notation that translates musical phenomena into spatial relations. </p><p class="digitalGarden">The relationship between a graphic score and its performance could be seen to be akin to that of a genotype to a phenotype, the score acting as a kind of genetic code that can be expressed in different instantiations with different traits that cannot be fully predicted beforehand. The score thus specifies a potential for a unique situation that involves an element of chance beyond the composer's control. This creates a new paradox for the roles of the composer and performer, and the ontological status of the musical work. On the one hand, the composer retreats from the dictatorial role of controlling all the musical parameters, allowing (forcing) the performer to express a greater level of agency and spontaneity in the study and performance of a work. On the other hand, the composer still maintains authorship of the musical object, and becomes in some ways an even more mythical figure in the process, circumscribing the performer's liberty with his invisible wand. (The composer frees the performer from the bonds of noitation, but binds the performer's freedom to the composer's name).</p><p class="digitalGarden">Many musicians have discarde notation altogether as an obsolete tool or an unnecessary hinrance, developing alternative methods for the production and reproduction of musical works. These new traditions, such as free improvisation, sound art, musique concrète and digitally created music, all demonstrate that if music is understood as organised sound, it can be created and experienced directly as a sonic phenomenon, without the need of the representational shadow of the score to communicate its meaning or validate its existence.</p><h2 class="digitalGarden">THE PARADOX OF NOTATION (2)</h2><p class="digitalGarden">Notation performs a double sleight of hand that detaches music from its essence as a concrete sonic (and social) phenomenon; firstly by abstracting sound from its spatio-temporal reality (through transcription), and secondly by reifying musical ideas in a physical object, the score (through compoisition).</p><p class="digitalGarden">The development of notation as a mnemonic device begins as a way to record a musical work through transcription; this necessarily involves a process of filtering only the elements deemed to be essential to the work's reproduction (ignorning all others), and the invention of a spatial metaphor for their representation. </p><p class="digitalGarden">As these essential musical elements are mapped onto a two-dimensional axis with pitch as the vertial and time as horizontal, a further abstraction takes place; a concept of music as an idealised set of geometric proportions that are represented by this method of notation.</p><p class="digitalGarden">Notation becomes not only a way to transcribe sounds, but a generative and normative principle for new musical ideas and new ideas about music; it bends the composer's imagination into its own form.</p><p class="digitalGarden">Notation not only facilitates thinking about music in abstract terms; it <em>demands</em> it. </p><p class="digitalGarden">(This produces the fallacy of imagining a direct connection between a set of spatial proportions and the experience of a sonic phenomenon.)</p><p class="digitalGarden">Composition becomes the construction of idealised spatial symmetries using the elements of the given notational scheme; these are reified in the musical score, which acts like a fetish, magically embodying the composer's creative act in its geometric design.</p><p class="digitalGarden">The score-fetish, existing outside the temporality of music-making, reveals itself as the new mythical locus of the musical work; a self-contained, complete and perfect object traceable to a single point of origin, its author.</p><p class="digitalGarden">(The score-fetish appeals to our desire for certainty; it clarifies our social roles as a composer, performer, audience member or musicologist and vouches for the quality of the musical work.)</p><p class="digitalGarden">The score-fetish simultaneously conceals its own contingency on a specific concept of music and set of social relations that uphold its status as a immutable, magical object; it feigns ignorance of the possibility of a different way of music-making and its own role in upholding and perpetuating notation as a normative ideological construct. </p><p class="digitalGarden">(The score-fetish replaces the fleeting concreteness of sound as phenomenon with its own solid, comforting concreteness as a physical object; it reassures us that t5he musical work <em>really</em> exists.)</p></div></content><author><name>undefined</name></author></entry><entry><title>Token Economy · How the Web3 reinvents the Internet</title><link href="https://gavart.ist/#Token%20Economy%20%C2%B7%20How%20the%20Web3%20reinvents%20the%20Internet"></link><link href="https://gavart.ist/static/Token%2520Economy%2520%25C2%25B7%2520How%2520the%2520Web3%2520reinvents%2520the%2520Internet.html" rel="alternative" type="text/html"></link><id>e10346fa-4b04-3c83-652e-3f795ecfa2ed</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><h3 class="digitalGarden"><strong>Cryptoeconomics, Consensus &amp; Proof-of-Work</strong></h3><p class="digitalGarden">The underlying challenge of a P2P network with a set of anonymous network nodes is how to deal with malicious network nodes in the absence of centralized parties securing the system. One must always assume that there will be bad actors trying to disrupt any open and public network. How can such a distributed network reach consensus about which data is correct or which is not correct, or which process is true or false in such an untrusted setup? This is referred to as the “Byzantine Generals Problem.” A malicious node, also called a byzantine node, can intentionally send wrong information to all other nodes involved in the consensus process. Byzantine failures are considered the most difficult class of failures in distributed networks. Reliable consensus mechanisms must be resilient against DDoS (Distributed Denial of Service) attacks, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sybil%20Attack">sybil attacks</a>, and other cyber attacks. Before the emergence of Bitcoin, it was believed to be impossible to achieve fault-tolerant and attack-resistant consensus among untrusted nodes in a P2P network. (44)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Bitcoin network is (i) open source, (ii) public, and (iii) permissionless. (46)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">One of the biggest use cases of distributed ledgers is transparency and provenance along the supply chain of goods and services. Supply chains represent a complex network of geographically distant and legally independent entities that exchange goods, payments, and documents across a dynamic network. Their architecture is quite similar to blockchain networks, but as opposed to blockchain networks, all documents are managed in data silos. As a result, document handling systems along these supply-chain networks are often inefficient, have complex interfaces, and are cost intense. Sustainable behavior of companies and individuals alike is hard to track and not well rewarded. Buyers and sellers have little or no information about the provenance of the products they buy, including potential fraud, pollution, or human rights abuses.</p><p class="digitalGarden">Distributed ledgers allow a disparate group of network actors along a supply chain to exchange data seamlessly. Documents and transactions can be processed in almost real time, since auditing and enforcement can be automated, mitigating challenges such as multiple document copies and data inconsistencies. Tracking the provenance of goods and services along global supply chains can become much more feasible than today. Web3-based solutions can provide (i) more transparency of environmental impacts and (ii) origins, production type, and ingredients of the food we eat, and conditions under which the plants are grown or how animals are treated. (63)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Three relevant cryptographic building blocks are used in the context of public blockchain networks and other Web3 technologies: (i) hash functions, (ii) symmetric cryptography, and (iii) asymmetric cryptography (public-key cryptography). (69)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">A smart contract can be invoked from entities within (other smart contracts) and outside (external data sources) a blockchain network. External data feeds, so-called “oracles,” inject data that is relevant to the smart contract from the off-chain world into the smart contract. They can track performance of the agreement in real time and can therefore save costs, as compliance and controlling happen on the fly. Smart contracts reduce the transaction costs of agreements. Specifically, they reduce the costs of (i) reaching an agreement, (ii) formalization, and (iii) enforcement. If implemented correctly, smart contracts could provide transaction security superior to traditional contract law, thereby reducing coordination costs of auditing and enforcement of such agreements. Smart contracts also bypass the principal-agent dilemma of organizations, providing more transparency and accountability, and reducing bureaucracy (read more: Part 2 - Institutional Economics of DAOs). (106)</p><p class="digitalGarden">✴︎</p><h3 class="digitalGarden"><strong>Oracles</strong></h3><p class="digitalGarden">Blockchain networks and smart contracts cannot access data from outside of their network. In order to know what to do, a smart contract often needs access to information from the outside world that is relevant to the contractual agreement, in the form of data feeds, also referred to as “oracles.” These oracles are services that feed the smart contract with external information that can trigger predefined actions of the smart contract, which in turn induce state changes to the ledger. This external data stems either from software (Big Data application) or hardware (Internet of Things).</p><ul class="digitalGarden"><li>Software oracles: handle information data that originates from online sources, such as temperature, prices of stocks or commodities, flight or train arrival times, etc.</li><li>Hardware oracles: Some smart contracts need information directly from the physical world, for example, a car crossing a barrier where movement sensors must detect the vehicle and send the data to a smart contract, or RFID sensors in the supply chain industry.</li><li>Inbound oracles: provide data from the external world.</li><li>Outbound oracles: provide smart contracts with the ability to send data to the outside world.</li><li>Consensus-based oracles: get their data from human consensus and prediction markets like “Augur” or “Gnosis.” However, using only one source of information could be unreliable, as markets can be manipulated; rating systems for oracles might be needed. A combination of different oracle services might further increase data reliability if, for example, three out of five oracles could determine the outcome of an event.</li></ul><p class="digitalGarden">(112)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Bitcoin network can be considered to be the first true decentralized and autonomous organization, coordinated by the Bitcoin protocol, and which anybody is free to adopt. The Bitcoin network provides an operating system for money without banks and bank managers, and has stayed attack resistant and fault tolerant since the first block was created in 2009. No central entity controls the network, which means that as long as people keep participating in the network, only a worldwide power outage could shut down Bitcoin. The governance rules are tied to the network token, with the aim to steer the behavior of network nodes with an incentive mechanism that has proven to be an effective motivator for performing network services. (121)</p><p class="digitalGarden">✴︎</p><h3 class="digitalGarden"><strong>Role of Native Tokens on Public Network</strong></h3><p class="digitalGarden">Identifying different properties of a token can be used as a first step to fine-tune a future classification framework and also for designing the properties of a token. This identification of properties is a result of a process called “morphological analysis.” It is a framework for structuring the relevant questions as a first approach in a heuristic way, especially useful for exploring all the possible solutions to a multi-dimensional, non-quantified complex problem. I would, therefore, like to introduce the most important perspectives from which we can derive the properties of a token: (i) Technical perspective; (ii) Rights perspective; (iii) Fungibility perspective; (iv) Transferability perspective; (v) Durability perspective; (vi) Regulatory perspective; (vii) Incentive perspective; (viii) Supply perspective; and (ix) Token flow perspective. (158)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Zcash was launched in 2016. It grew out of the “Zerocoin” and the “Zerocash” protocol, using a variation of the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Zero%20Knowledge">zero-knowledge proofs</a> called “zk-SNARKs” (Zero-Knowledge Succinct Non-Interactive Argument of Knowledge), which was developed in 2015 and implemented for the first time in the Zcash protocol. Zero-knowledge proofs are a cryptographic algorithm that allow network nodes to prove possession of certain data without revealing the data itself. They can be used to obfuscate transaction data stored on the ledger (sender’s address, receiver’s address, amount transferred), allowing nodes to check the validity of encrypted transaction data without knowledge of the data. In such a setup, the “prover” can prove to the “verifier” that a statement is true, without revealing any information beyond the validity of the statement. (206-7)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">While the United States does not grant the right to secrecy of correspondence explicitly on a constitutional level, such rights have been argued through case law based on the Fourth Amendment to the Constitution of the United States of America. The Fourth Amendment also regulates the privacy rights related to the privacy of the home and private property. One might be able to reinterpret the secrecy of communication and the sanctity of the private property and the home as the “right to cryptographic encryption.” However, national jurisdictions vary on the “right to use encryption.” In some countries, such as France, the right to cryptographic encryption has been included into the national law.[^8] UNESCO has also published documents with recommendations on the human right to encryption. Other democratic countries such as Germany, the USA, and the UK have no such laws. (210)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The issue of our growing digital footprint and subsequent surveillance possibilities have been discussed by activists and authors like Evgeny Morozov (who warned of mass surveillance, political repression, and fake news, calling for a more socio-economic perspective on technology), Edward Snowden (who disclosed a series of international surveillance programs), or more lately by authors like Shoshana Zuboff (who wrote about “surveillance capitalism” and the commodification of personal information).</p><p class="digitalGarden">Morozov has been skeptical of the Internet’s ability to make the world more “democratic,” referring to it as “cyber-utopianism.” Instead, it can be used for information control and social engineering. He claims that the Internet provides powerful tools for “mass surveillance, political repression, and spreading nationalist and extremist propaganda.” He calls for a more socio-economic perspective on technology and criticizes “internet libertarians” for their often unreflected claims about the nature of the Internet and describes it as pseudo-open, pseudo-disruptive, and pseudo-innovative. (211)</p><p class="digitalGarden">✴︎</p><h3 class="digitalGarden"><strong>Mechanism Design</strong></h3><p class="digitalGarden">The design of consensus protocols is related to a sub-field of economics called “mechanism design,” which deals with the question of how to design a game that incentivizes everyone to contribute to a collective goal. Mechanism design theory uses economic incentives in combination with cryptography. The aim is to achieve a desired goal in a strategic setting where it is assumed that all players act rationally. It is also referred to as “reverse game theory,” since it starts at the end of the game, then goes backward when designing the mechanism. Hurwicz, Maskin, and Myerson were awarded the 2007 Nobel Prize in economics for their research on Mechanism Design. (274)
</p></div></content><author><name>undefined</name></author></entry><entry><title>The Inner Game of Music</title><link href="https://gavart.ist/#The%20Inner%20Game%20of%20Music"></link><link href="https://gavart.ist/static/The%2520Inner%2520Game%2520of%2520Music.html" rel="alternative" type="text/html"></link><id>4c619e31-c44f-f939-f8df-3b9b90c984a1</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="digitalGarden">Self 1 &amp; Self 2</h2><p class="digitalGarden">Self 1 is our interference. It contains our concepts of about how things should be, our judgments and associations.</p><p class="digitalGarden">Self 2 is the vast reservior of potential within each one of us. It contains our natural talents and abilities, and is a virtually unlimited resource that we can tap and develop. (16)</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden">Self 2 Performs Best in an "Unthinking" State</h2><p class="digitalGarden">Lulling the alert, self-conscious Self 1 seems to play an important part in imporving one's playing. When Self 1 is disorganized, its interfering rendencies are kept to a minimum, and we gain easier access to the resources of Self 2. Our best performances often happen when we least expect them to, because we are allowing Self 2 to get on with playing, without our ideas of what "should be" getting in the way. Self 2, then, is an unthinking state, one in which we are relaxed yet aware, and are letting our true ability and musicality express itself, without trying to control and manipulate it. (21)</p><p class="digitalGarden">✴︎</p><p><svg content="&amp;lt;mxfile host=&amp;quot;embed.diagrams.net&amp;quot; agent=&amp;quot;Mozilla/5.0 (Macintosh; Intel Mac OS X 10.15; rv:132.0) Gecko/20100101 Firefox/132.0&amp;quot; version=&amp;quot;24.8.6&amp;quot;&amp;gt;&amp;lt;diagram id=&amp;quot;OOICmCbY6njxxjAQEflH&amp;quot; name=&amp;quot;Page-1&amp;quot;&amp;gt;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&amp;lt;/diagram&amp;gt;&amp;lt;/mxfile&amp;gt;" height="568px" version="1.1" viewBox="-0.5 -0.5 430 568" width="430px" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink"><defs></defs><g><g data-cell-id="0"><g data-cell-id="1"><g data-cell-id="2"><g><path d="M 125 -25 L 315 135 L 125 295 Z" fill="rgb(255, 255, 255)" pointer-events="all" stroke="rgb(0, 0, 0)" stroke-miterlimit="10" transform="rotate(270,220,135)"></path></g></g><g data-cell-id="3"><g><rect fill="none" height="30" pointer-events="all" stroke="none" width="60" x="190" y="140"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:1px;height:1px;padding-top:155px;margin-left:220px;"><div data-drawio-colors="color: rgb(0, 0, 0); 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" style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:nowrap;">Learning</div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="12px" text-anchor="middle" x="395" y="257">Learning</text></switch></g></g></g><g data-cell-id="6"><g><rect fill="none" height="30" pointer-events="all" stroke="none" width="170" x="135" y="0"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:1px;height:1px;padding-top:15px;margin-left:220px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:nowrap;">Performance (achievement)</div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="12px" text-anchor="middle" x="220" y="19">Performance (achievement)</text></switch></g></g></g><g data-cell-id="7"><g><rect fill="none" height="30" pointer-events="all" stroke="none" width="50" x="370" y="538"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:1px;height:1px;padding-top:553px;margin-left:395px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:nowrap;">Trust</div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="12px" text-anchor="middle" x="395" y="557">Trust</text></switch></g></g></g><g data-cell-id="8"><g><path d="M 125 275 L 315 435 L 125 595 Z" fill="rgb(255, 255, 255)" pointer-events="all" stroke="rgb(0, 0, 0)" stroke-miterlimit="10" transform="rotate(270,220,435)"></path></g></g><g data-cell-id="9"><g><rect fill="none" height="40" pointer-events="all" stroke="none" width="130" x="155" y="435"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:1px;height:1px;padding-top:455px;margin-left:220px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:nowrap;"><div>RELAXED</div><div>CONCENTRATION<br></br></div></div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="12px" text-anchor="middle" x="220" y="459">RELAXED...</text></switch></g></g></g><g data-cell-id="10"><g><rect fill="none" height="30" pointer-events="all" stroke="none" width="160" x="140" y="300"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:1px;height:1px;padding-top:315px;margin-left:220px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:nowrap;">Will (including goal clarity)</div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="12px" text-anchor="middle" x="220" y="319">Will (including goal clari...</text></switch></g></g></g><g data-cell-id="11"><g><rect fill="none" height="30" pointer-events="all" stroke="none" width="80" x="0" y="538"></rect></g><g><g transform="translate(-0.5 -0.5)"><switch><foreignObject height="100%" pointer-events="none" requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility" width="100%" style="overflow:visible;text-align:left;"><div xmlns="http://www.w3.org/1999/xhtml" style="display:flex;align-items:unsafe center;justify-content:unsafe center;width:1px;height:1px;padding-top:553px;margin-left:40px;"><div data-drawio-colors="color: rgb(0, 0, 0); " style="box-sizing:border-box;font-size:0px;text-align:center;"><div style="display:inline-block;font-size:12px;font-family:&quot;color:rgb(0, 0, 0);line-height:1.2;pointer-events:all;white-space:nowrap;">Awareness</div></div></div></foreignObject><text fill="rgb(0, 0, 0)" font-family="&amp;quot;Helvetica&amp;quot;" font-size="12px" text-anchor="middle" x="40" y="557">Awareness</text></switch></g></g></g></g></g></g><switch><g requiredFeatures="http://www.w3.org/TR/SVG11/feature#Extensibility"></g><a href="https://www.drawio.com/doc/faq/svg-export-text-problems" target="_blank" transform="translate(0,-5)"><text font-size="10px" text-anchor="middle" x="50%" y="100%">Text is not SVG - cannot display</text></a></switch></svg></p><p class="digitalGarden">(27 + 30)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Do your performance goals crowd out your experience goals to the point where you lose track of them completely? If music was once a real joy but has become something of a grind over the course of time, reinstating your original experience goals may be the way to restore your love. </p><p class="digitalGarden">In setting your experience goals you may want to start with goals that have to do with your experience of Self 1 interference, and move on to goals that deal with your actual experience of music when the interference is dealt with. It's hard to have a good experience of the music until both your mental interference patterns and any major technical problems have been dealt with. (65)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">We sometimes describe the feeling of Self 2 being in control, quite unfairly, as "feeling our of control," because from a Self 1 perspective, that's what's happening. Self 1 is no longer in control. But when we sidestep Self 1, our body's wisdom, our instincts, and our immediate, intuitive responses come into play, and as a result, Self 2 can be counted on to give a superior performance. … … …</p><p class="digitalGarden">When we trust Self 2 to take over control from Self 1, we are not giving away our trust blindly: we are letting go to years of listening to music and practicing the physical movements involved in playing. Our body has stored away memories of every piece we've ever heard, and it responds directly through the nervous system, much faster than Self 1 can respond with a comment such as "Now make sure your third finger comes down evenly in this run." </p><p class="digitalGarden">Yehudi Menuhin, the great violinist, once expressed it to me this way: "Our control is best when we are least aware of it." (83)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Letting go finally happens when we can give up conscious control and allow ourselves to receive and transmit the musicianship of Self 2. We may still play some part in channeling Self 2's musicianship, but at some very fundamental level letting go means letting go of our conscious control of what is going on, and this is what gives our music spontaneity and power. (90)</p></div></content><author><name>undefined</name></author></entry><entry><title>The Left Hand of Darkness</title><link href="https://gavart.ist/#The%20Left%20Hand%20of%20Darkness"></link><link href="https://gavart.ist/static/The%2520Left%2520Hand%2520of%2520Darkness.html" rel="alternative" type="text/html"></link><id>efecb3de-92f3-f0b6-8b2c-1623401f0e65</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Life Changing Magic of Tidying Up</title><link href="https://gavart.ist/#The%20Life%20Changing%20Magic%20of%20Tidying%20Up"></link><link href="https://gavart.ist/static/The%2520Life%2520Changing%2520Magic%2520of%2520Tidying%2520Up.html" rel="alternative" type="text/html"></link><id>28a49d1c-d284-a9c3-b5ad-ce3639a4f0be</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Lightness of Being</title><link href="https://gavart.ist/#The%20Lightness%20of%20Being"></link><link href="https://gavart.ist/static/The%2520Lightness%2520of%2520Being.html" rel="alternative" type="text/html"></link><id>cfb202d9-9679-650a-b0c6-69f53264b321</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Loom of God: Mathematical Tapestries at The Edge of Time</title><link href="https://gavart.ist/#The%20Loom%20of%20God%3A%20Mathematical%20Tapestries%20at%20The%20Edge%20of%20Time"></link><link href="https://gavart.ist/static/The%2520Loom%2520of%2520God%253A%2520Mathematical%2520Tapestries%2520at%2520The%2520Edge%2520of%2520Time.html" rel="alternative" type="text/html"></link><id>886e9294-c44c-e990-2955-77d9947278c4</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Making of Stanley Kubrick's 2001: A Space Odyssey</title><link href="https://gavart.ist/#The%20Making%20of%20Stanley%20Kubrick's%202001%3A%20A%20Space%20Odyssey"></link><link href="https://gavart.ist/static/The%2520Making%2520of%2520Stanley%2520Kubrick's%25202001%253A%2520A%2520Space%2520Odyssey.html" rel="alternative" type="text/html"></link><id>eb2bfc63-889f-224b-4d90-cd5ce009f0cc</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Maniac</title><link href="https://gavart.ist/#The%20Maniac"></link><link href="https://gavart.ist/static/The%2520Maniac.html" rel="alternative" type="text/html"></link><id>741f5bc7-ea85-6153-ab1c-50dda0fe3d41</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Mirror of Magic: A History of Magic in the Western World</title><link href="https://gavart.ist/#The%20Mirror%20of%20Magic%3A%20A%20History%20of%20Magic%20in%20the%20Western%20World"></link><link href="https://gavart.ist/static/The%2520Mirror%2520of%2520Magic%253A%2520A%2520History%2520of%2520Magic%2520in%2520the%2520Western%2520World.html" rel="alternative" type="text/html"></link><id>9d3094c3-b25e-66d6-482e-7e872421b8b3</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Motivation Manifesto</title><link href="https://gavart.ist/#The%20Motivation%20Manifesto"></link><link href="https://gavart.ist/static/The%2520Motivation%2520Manifesto.html" rel="alternative" type="text/html"></link><id>36bdc56d-112c-e9c4-060f-ad095820a167</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Black Consciousness Reader</title><link href="https://gavart.ist/#The%20Black%20Consciousness%20Reader"></link><link href="https://gavart.ist/static/The%2520Black%2520Consciousness%2520Reader.html" rel="alternative" type="text/html"></link><id>1192bcac-4634-48c1-1aa1-0c7e2af2c10b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden"><em>It is not wrong to go back for that which you have forgotten.<br></br>— Ghanaian Proverb</em></p><p class="digitalGarden">There is a view within BC that reciprocal recognition by many whites, whose minority rights were guaranteed in the South African
Constitution, is minimal, and that their communication with blacks can be inauthentic. This doesn't make the BCM anti-white. As Biko said: 'As we proceed further towards the achievement of our goals, let us talk more about ourselves and our struggle and less about whites.' Instead, its task and purpose has more intellectual, political and social energy: to fight the intention among black people themselves to have them feel inferior. It's about total black emancipation psychological, intellectual, emotional, social and physical Even Mandela reflected this. In paying tribute to Biko in 2002, he said: 'Black is beautiful! Be proud of your blackness! [Biko] inspired our youth to shed themselves of the sense of inferiority they were born into as a result of more than 300 years of white rule.'</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Turner would, however, appeal to Biko that BC activists see different 'categories' of white South Africans, said Macqueen
namely 'racist, liberal and radical', concerned that South African Students' Organization (SASO) analysis 'was confused by a very loose grasp of the concept "liberal".' Turner argued that there were black and white racists, and black and white radicals. He emphasised that, rather than demonising white liberals, the aim should be the creation of a new culture.' Macqueen feels that both Biko and Turner' were committed to the quest for a true humanity'. Using the pseudonym Frank Talk in Black Review, Biko said 'true integration is the provision for each man, each group to rise and attain the envisioned self. He felt
'each group must be able to attain its style of existence without encroaching on or being thwarted by the
other', and urged 'mutual respect' and 'complete freedom of self-determination'.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">American journalist and writer Julie Frederikse once questioned Beyers Naudé as to whether or not there was a role for white people. He said: "A white person should learn that the contribution he can make to the struggle for liberation can only be a complementary one. A white should be willing to offer his skills, experience and knowledge but the initiative for change, the real steps to be taken, must come from the black community. Where some white liberals dubbed Biko and his associates 'black racists', Naudé and more radical white students within [Nusas] leadership 'did not see it that way.'</p><p class="digitalGarden">…</p><p class="digitalGarden">The spotlight had fallen on the divide between pontificating about the wrongs apartheid created versus a more radical activism. Specifically, we realised that verbal condemnation was the dance of privileged well-to-do people, unwilling to entertain material
discomfort as a consequence of their stance.'</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Sobukwe understood that the struggle in South Africa was fundamentally an anti-colonial struggle, not a mere civil rights struggle against apartheid. Apartheid was the symptom of the disease brought about by the Berlin Congress of 1885 which enabled Europe to partition Africa into its colonies, robbed African people of their countries and used the riches of Africa to develop Europe and underdevelop Africa. He knew how land dispossession of the African people came about in South Africa and that a doctor who treats the symptoms of a disease and not the disease itself is bound to fail.</p><p class="digitalGarden">Without Sobukwe's leadership, the UN would never have been seized with the problem of South Africa for over 30 years. As Frantz Fanon, the author of The Wretched of the Earth, writes, it was ... the Sharpeville uprising, led by Sobukwe, which made the vile system of apartheid known internationally. Without this uprising, there would never have been a UN Special Committee Against Apartheid. This world body would never have declared apartheid a crime against humanity. As a result of Sobukwe's leadership, the UN—in honour of the martyrs of the Sharpeville uprising—declared 21 March International Day for the Elimination of Racial Discrimination.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Sobukwe was a Pan-Africanist visionary. He preached Africanism and Pan-Africanism in South Africa when these concepts were frowned upon by his political opponents as 'anti-white'. But of course, today there is the Pan-African Parliament. There has been the Organisation of African Unity (OAU), which has been succeeded by the African Union. It is very clear that if Africa does not unite, she will not defeat the onslaughts of a new form of colonialism threatening Africa's people. Situations such as Libya, the Central African Republic, Somalia, Mali, South Sudan, and Boko Haram in Nigeria show that no African state can go it alone. Sobukwe was an ideological brother and comrade of Pan-Africanist luminaries such as Kwame Nkrumah, Julius Nyerere, Modibo Keita, Ahmed Sékou Touré, Patrice Lumumba ... He was a strong advocate of a 'United States of Africa'.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Carlos A. Cooks, who was born in the Dominican Republic and died in Harlem, New York, is regarded by many within the diaspora as a major figure. He set up and sustained the African Nationalist Legion, which he hoped would one day be able to join the African liberation struggle. A protagonist of street oratory, Cooks fought against 'ghetto minds' along with other heroes of Garvey's 'red, black and green' movement (red for blood, black for the hopes of black people, and green for their growth potential). These included Betty Shabazz, who would go on to marry Malcolm X in 1958.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">An ideological controversy later grew between Du Bois and respected orator and educator Booker T. Washington, whose Tuskegee Institute in Alabama for African-Americans became a powerful resource for Washington. Writes the Du Bois Centre in Kansas City: 'Du Bois was not opposed to Washington's power, but rather he was against his ideology of handling the power. On one hand Washington decried political activities among Negroes, and on the other hand dictated Negro political objectives from Tuskegee. Washington wanted to see the 'American Negro' emerge 'into a higher civilisation'. When Du Bois's <em>The Souls of Black Folks</em> included a critical discourse on Washington's philosophy, the battle was on. It reached a crescendo in the establishment in I906 of the Niagara Movement, which advocated civil justice and the end of caste discrimination'. Together with a group of white liberals, his associate William Trotter and members of the Niagara Movement (named for the 'mighty current' of change which they trusted would come), Du Bois was a somewhat reluctant inspiration for the National Association for the Advancement of Colored People (NAACP). He would become the controversial—and, later, effective and outspoken - editor-in-chief of the NAACP's successful Crisis magazine. Throughout, Du Bois objected to the involvement of the white liberals, feeling blacks should lead.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Ghana gained independence on 6 March 1957—the first of Britain's African colonies to get majority rule. To this day, the country remains heroic to other Africans and within BC. Nkrumah was determined to seize his country back from the British with an African outlook that imperialist powers had not seen on the continent. Demonstrating decolonisation at every cue, he adopted a dedicatedly African image by wearing the traditional Kente cloth of the south of his country, and the fugu robes of the north. But there were problematic tendencies in him, and an ambitious economic and social policy would spell doom for Ghana's path forward. Massive development spending was designed to lift the country out of its colonial dependency, but plummeting prices for its primary commodity, cocoa, ate into shrinking reserves, leading to unemployment, food insecurity and unmanageable prices.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Julius Kambarage Nyerere (1922-1999) Africa's ultimate 'mwalimu' or teacher retained a mutual respect with his beloved continent until the day he died. An early adherent of Fabian thinking, honed when he was studying in Scotland, Nyerere's dream
was to see socialism segue with traditional African communal life. (The Fabian Society, which founded the London School of Economics and Political Science in 1895 for the betterment of society', was a British socialist organisation which believed not in revolution but reformist democracies.) </p><p class="digitalGarden">Nyerere formed the legendary Tanganyika African Nations UNION (TANU), helping Tanganyika gain internal self-government under his administration in 1955, and then full independence: Tanzania in December 1961. Nyerere was elected president of a poor country with a foreign debt crisis, facing struggling commodities prices, in 1962. But he worked on a different method to accepting Western economic models, through ujamaa (traditionally, "the state of being a family', in Swahili), collectivised or cooperative work and nationalisation. This was not an untold success. Times were hard. The economy battled. Peasants were not united as to the benefits of ujamaa. But admiration for Nyerere was generally solid, and he achieved in other areas of social development, if not in building a radiantly socialist African economy. Nyerere's love for Africa was undisputed. Tanzania hosted soldier from the ANC, PAC, Frelimo and the Zimbabwe African Nations Liberation Army, and Nyerere famously oversaw the invasion of Idi Amin's Uganda after Amin flouted Tanzania's borders in 1978. Tanzania helped restore Ugandan leader Milton Obote to power.</p><p class="digitalGarden">The Congo's unparalleled natural resources saw the US seize uranium to manufacture the Hiroshima and Nagasaki bombs. But Lumumba, as Nzongola-Ntalaja writes, was determined to achieve genuine independence partly in order to have full control
over Congo's resources ... to utilise them to improve the living conditions of our people'. As the US connived at devastating human cost to combat Soviet interests in Congo, Lumumba became a threat to Western interests. 'To fight him,' writes Nzongola-Ntalaja, 'the US and Belgium used all the tools and resources at their disposal, including the UN secretariat under Dag Hammarskjöld and Ralph Bunche, to buy the support of ... Congolese rivals, and hired killers.'</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">It is important to talk about the ways in which anti-black racism exists politically and inter-personally, because you can essentially end up with a presidential candidate like Donald Trump who trades on anti-blackness, while not specifically denigrating black people. This is a very dangerous concept because he can be called anything from an everyday fascist to the anti-Christ, yet he is not calling me a nigger. He is not saying that I don't deserve to live, but he is saying our 'inner cities' are 'falling apart' and he has to send in the National Guard to restore order. This is essentially coded anti-blackness. He is specifically talking about 'inner cities' like Detroit, like Chicago and black political centres, and he is specifically talking about the failure of black leadership. And saying that in order for law and order to come back we have to restore order and send in the National Guard ... essentially it's easy to see that as not being anti-black. After all, there are National Guards who are black. There are black people who will participate in such an effort.</p><p class="digitalGarden">✴︎</p><blockquote class="tc-quote digitalGarden"><p>What kind of anti-racism is that? It's not something that gets us anywhere closer to freedom. It's essentially a negotiation with
capitalism, and when I say a negotiation with capitalism, I don't want to sound like I'm at a '70s Beatbox poetry thing saying words that people don't understand. A politic that allows powerful white people to not utter a negative word about black people but takes the rug out from black people, that denies black people access to water, equal education, employment and human dignity and essentially incarcerates them atrates of 10x times anyone else, a politic that says that's okay, is racist. It's not about whether someone can call me a name, which they can't. We can overcome this kind of inter-personal ugliness, even some of this structural ugliness, but instead we have a politic that tolerates a level of torture and brutality that should be unacceptable.</p><p>…</p><p>We need an extensive notion of blackness so that as many people as possible can participate. This means we have a duty to let go of this myth of the singular black male leader. [For instance] we cannot talk about black lives mattering if we cannot talk about transgender women being killed in black communities. Some people would say that's not a state violation. That's not police killing a black man. [But] you know what is a violation? It's that black man who does not value her life, who doesn't see her as a human being - and neither does the DA district attorney]. Black queer women have led the Black Lives Matter movement; they are in the frontlines physically and in our meanings and our spaces as we build up our infrastructure, leading the charge invisibly and emotionally. If we continue to rely on the trope of the singular black male leader, which we know not to be true, we cannot have a real movement. We have this myopic focus on black men and ignore what black women have had to shoulder. We also ignore how black women have been brutalised, yet our families are way multi-dimensional.</p><p>— Thenjiwe McHarris
</p></blockquote><p class="digitalGarden">✴︎</p><p class="digitalGarden">The practices of the late Malcolm X, assassinated in 1965, were deeply rooted in the theoretical foundations of the Black Panther Party. The Party even adopted Malcolm's words 'Freedom by any means necessary' as its slogan. Malcolm X was both a militant revolutionary with the dignity and self-respect to stand up and fight to win equality for all oppressed minorities, while also being a role model who sought positive social services—an aspect of his Consciousness work, which the Black Panthers would take to greater heights. The Panthers followed Malcolm's belief of international working-class unity across race and gender, uniting with other revolutionary groups. With Maoism as an ideology, the Party was envisaged as being in the vanguard of the revolution, while from Marxism, it addressed the capitalist economic system, embraced dialectical materialism and encouraged workers to assume the means of production.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">While Jones was detained and repeatedly tortured for nearly 18 months, Biko was tortured while kept naked and manacled for 20 days before being transferred to the Salam Building in Port Elizabeth. Like John Vorster Square in Johannesburg, that building's name was a byword for the violence of the security police. Between 6 and 7 September, Biko sustained 'at least three brain lesions occasioned by the application of force to his head'. The district surgeon Dr Ivor Lang could 'find nothing wrong' with Biko and recommended he be driven to the Pretoria prison hospital. On 1 September, Biko was loaded into a Land Rover without support, in that horrific condition, and taken 700 km away - a journey of more than I2 hours. He died on I2 September, the 46th person to die in prison since detention without trial was legalised in South Africa in 1963, and the one who would become the most important name among those.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Let's take it back to 1990. The dancefloor is heaving with writhing bodies in a dark Hillbrow nightclub. On stage four, raging hip
hoppers are giving it their all. Spitting out lyrics about the social ills of the time. The country was burning and their lyrical content could have had them arrested. The theme was BC and the group was Prophets of Da City (POC). Unlike Johannesburg rappers, Cape Town's POC—as they later became known—followed the five pillars of hip hop: rap, breakdancing (or b-boying), graffiti, DJing and knowledge of self. It was knowledge of self that inspired their BC lyrics, reflected even in their image from stills to clothing to record covers.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Black people classified 'coloured' living in King William's Town were moved to Schornville; black residents of Lady Selborne in Pretoria were 'relocated' to Ga-Rankuwa, Atteridgeville and Mamelodi, the 'Indian' area of Laudium and the 'coloured' area of Eersterust. By the early 1960s, the racist Bantu administration and development ministry had calculated that there were about 350 'black spots', mostly in Natal, which would have to be dealt with. Transkei fell first to the sword of the bantustan policy, three years before District Six in central Cape Town was declared a white.' With the Bantu Homelands Constitution Act in place by 1971, the government could allocate 'self-governing' status and effectively began to strip blacks of their South African citizenship—a right to live freely in their own country.</p><p class="digitalGarden">✴︎</p><blockquote class="tc-quote digitalGarden"><p>The importance of black solidarity to the various segments of the black community must not be understated. There have been in the past a lot of suggestions that there can be no viable unity amongst blacks because they hold each other in contempt. Coloureds despise Africans because, by their proximity to the Africans, they may lose the chances of assimilation into the white world. Africans despise the coloureds and Indians for a variety of reasons. Indians not only despise Africans, but in many instances also exploit the Africans in job and shop situations. All these stereotyped attitudes have led to mountainous inter-group suspicions amongst the blacks What we should at all times look at is the fact that: We are all oppressed by the same system; And we are oppressed to varying degrees is a deliberate design to stratify us not only socially but also in terms of the enemy's aspirations. Therefore it is to be expected that in terms of the enemy's plan there must be this suspicion, and that if we are committed to the problem of emancipation to the same degree, it is part of our duty to bring to the black people the deliberateness of the enemy's subjugation scheme. That we should go on with our programme, attracting to it only committed people and not just those eager to see an equitable distribution of groups amongst our ranks. This is a game common amongst liberals.</p><p>— Steve Biko (Paper Prepared for SASO, 1971)
</p></blockquote><p class="digitalGarden">✴︎</p><p class="digitalGarden"><u>Artists/Thinkers</u></p><ul class="digitalGarden"><li>Wally Serote, poet</li><li>Mafika Gwala, writer of sublime intent</li><li>Don Mattera, writer to whom we owe the 'Azania' concept</li><li>Miriam Tlali, writer of 'Muriel at Metropolitan'</li><li>Mzwakhe Mbuli, poet … "… the loudest black voice."</li><li>Jahmil XT Qubeka, filmmaker</li><li>Mweli TD Skota, intellectual … "human encyclopedia."</li><li>Judge Richard Goldstone, land justice rulings in Gaza and in South Africa.</li></ul><p class="digitalGarden"><u>Philosophies</u></p><ul class="digitalGarden"><li>Black Existentialism<ul><li>Ralph Ellison, <em>The Invisible Man</em>, James Baldwin, <em>Another Country</em>, Richard Wright, <em>Native Son</em></li></ul></li><li>Black feminist existential philosophy<ul><li>Anna J. Cooper (intellectual &amp; black liberation activist), bell hooks (cultural critic, writer), Katheryn Gines (assistant professor of Philosophy at Pennsylvania State University), Toni Morrison (writer, <em>Beloved</em>).</li></ul></li><li>Black nihilism<ul><li>Frantz Fanon <em>Black Skin, White Masks</em> (1952)</li></ul></li><li>Négritude<ul><li>The BC movement coined by Césaire would enable blacks to love themselves by rejecting white reason. Anti-imperialist and anti-colonial, its intention was to assert pride in African cultural values.</li></ul></li><li>Black Orpheus (Orphée Noir)<ul><li>Sartre's 1948 text had an important impact on Fanon, as it essentially opposed the 'integration' which white liberals proposed between blacks and whites, and advanced black existentialism as being at the core of a revolutionary working class. Biko was influenced by these ideas in <em>I Write What I Like</em>, saying that whites who were anti-racist could be 'black'.</li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>The Body Keeps The Score · Brain, Mind, and Body In The Healing of Trauma</title><link href="https://gavart.ist/#The%20Body%20Keeps%20The%20Score%20%C2%B7%20Brain%2C%20Mind%2C%20and%20Body%20In%20The%20Healing%20of%20Trauma"></link><link href="https://gavart.ist/static/The%2520Body%2520Keeps%2520The%2520Score%2520%25C2%25B7%2520Brain%252C%2520Mind%252C%2520and%2520Body%2520In%2520The%2520Healing%2520of%2520Trauma.html" rel="alternative" type="text/html"></link><id>a52757ce-0df0-9d54-ea59-cf2088dcaf80</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden">We are obviously still years from attaining that sort fo detailed understanding, but the birth of three new branches of science has led to an exploration of knowledge about the effects of psychological trauma, abuse, and neglect. Those new diciplines are neuroscience, the study of how the brain supports mental processes; developmental psychopathology, the study of the impact of adverse experiences on the development of mind and brain; and interpersonal neruobiology, the study of how our behavior influences the emotions, biology, and mind-sets of those around us. (2)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Twelve million women in the United States have been victims of rape. More that half of all rapes occur in girls below age fifteen. (20)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">[My teacher] Elvin Semrad taught us that most human suffering is related to love and loss and that the job of therapists is to help people "acknowledge, experience, and bear" the reality of life—with all its pleasures and heartbreak. "The greatest sources of our suffering are the lies we tell ourselves," he'd say, urging us to be honest with ourselves about every facet of our experience. He often said that people can never get better without knowing what they know and feeling  what they feel. (27)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Steven Maier &amp; Martin Seligman researched learned helplessness in animals, a condition they called "inescapable shock". After administering several courses of electric shock, the researches opened the doors of the cages and then shocked the dogs again. A group of control dogs who had never been shocked before immediately ran away, but the dogs who had earlier been subjected to inescapable shock made no attempt to flee, even when the door was wide open—they just lay there, whimpering and defecating. There mere opportunity to escape does not necessarily make traumatized animals, or people, take the road to freedom. Like these animals, many traumatized people simply give up. Rather than risk experimenting with new options, they stay stuck in the fear they know. (30)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The new generation of antipsychotics, such as Abilify, Risperdal, Zyprexa, and Seroquel, are the top-selling drugs in the United States. In 2012 the public spent $1,526,228,000 on Abilify, more than on any other medication.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">… intense emotions activate the limbic system, in particular an area within it called the amygdala. We depend on the amygdala to warn us of impending danger and to activate the body's stress response. Our study clearly showed that when traumatized people are presented with images, sounds, or thoughts related to their particular experience, the amygdala reacts with alarm—even, as in Marsha's case, thirteen years after the event. (42)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When words fail, haunting images capture the experience and return as nightmares and flashbacks. In contrast to the deavtivation of Broca's area, another region, Brodmann's area 19, lit up in our participants. This is a region in the visual cortex that registers images when they first enter the brain. We were surprised to see brain activation in this area so long after the original experience of the trauma. Under ordinary conditions raw images registered in area 19 are rapidly diffused to other brain areas that interpret the meaning of what has been seen. Once again, we were witnessing a brain region rekindled as if the trauma were actually occuring. 
 
… 
 
The scans also revealed that during flashbacks, our subjects' brains lit up only on the right side. … We now know that the two halves of the brain do speak different languages. The right is intuitive, emotional, visual, spatial, and tactual, and the left is linguistic, sequential, and analytical. While the left half of the brain does all the talking, the right half of the brain carries the music of experience. It communicates through facial expressions and body language and by making the sounds of love and sorrow: by singing, swearing, crying, dancing, or mimicking. The right brain is the first to develop in the womb, and it carries the nonverbal communication between mothers and infants. </p><p class="digitalGarden">Deactivation of the left hemisphere has a direct impact on the capacity to organize experience into logical sequences and to translate our shifting feelings and perceptions into words. (Broca's area, which blacks out during flashbacks, is on the left side). Without sequencing we can't identify cause and effect, grasp the long-term effects of our actions, or create coherent plans for the future. People who are very upset sometimes say they are "losing their minds." In technical terms they are experiencing the loss of their executive functioning. (44-45)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Our rational, cognitive bain is actualyl the youngest part of the brain and occupies only abut 30 pecent of the area inside our skull … Beneath the rational brain lie two evolutionarily older, and to some degree separate, brains, which are in charge of everythin else: the moment-by-moment registration and management of our body's physiology and the identification of comfort, safety, threat, hunger, fatigue, desire, longing, excitement, pleasure, and pain … The most primitive part, the part that is already online when we are born, is the ancient animal brain, often called the reptilian brain. It is located in the brain stem, just above the place where our spinal cord enters the skull. The reptilian brain is responsibe for all the things that newborn babies can do: eat, sleep, wake, cry, breathe, feel temperature, hunger, wetness, and pain; and rid the body of toxins by urinating and defacating. the brain stem and the hypothalamus (which sits directly above it ) together control the energy levels of the body. They coordinate the functioning of the heart and lungs and also the endocrine and immune systems, ensuring that these basic life-sustaining systems are maintained within the relativly stable internal balance known as homoestasis. (55-56)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Crucial for understanding trauma, the frontal lobes are also the seat of empathy—our ability to "feel into" someone else. One of the truly sensational discoveries of modern neuroscience took place in 1997, when in a lucky accident a group of Italian scientists identified specialized cells in the cortex that came to be knwon as mirror neurons. The researchers had attached electrodes to individual neurons in a monkey's premotor area, then set up a computer to monitor precisely which neurons fired when the monkey picked up a peanut or grasped a banana. At one point an experimenter was putting food pellets into a box when he looked up at the computer. The monkey's brain cells were firing at the exact location where the motor command neurons were located. But the monkey wasn't eating or moving. He was watching the researcher, and his brain was vicariously mirroring the researcher's actions … When people are in sync with each other, they tend to stand or sit in similar ways, and their voices take on the same rhythms. But our mirror neurons also make us vulnerable to others' negativity, so that we respond to their anger with fury or are gragged down by their depression. (58-59)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">All of the little signs we instivetively register during a conversation–the muscle shifts and tensions in the other person's face, eye movements and pupil dilation, pirch and speed of the voice-as well as the fluctuations in our own inner landscape—salivation, swallowing, breathing, and heart rate—are linked by a single regulatory system. All are a product of the synchrony between the two branches of the autonomic nervous system: the sympathetic, which acts as the body's accelerator, and the parasympathetic, which serves as its brake. … The sympathetic nervous system is responsible for arousal, including the fight-of-flight response (Darwin's "escape or avoidance behavior"). Almost two thousand years ago the Roman physician Galen gave it the name "sympathetic" because he observed that it functioned with the emotions (<em>sympathos</em>). The SNS moves blood to the muscles for quick action, partly by triggering the adrenal glands to squirt our adrenaline, which speeds up the heart rate and increases blood pressure. </p><p class="digitalGarden">The second branch of the autonomic nervous system is the parasympathetic ("againt emotions") nervous system, which promotes self-preservative functinos like digestion and wound healing. It triggers the release of acetylcholine ot put a brake on arousal, slowing te heart down, relaxing muscles, and returning breathing to normal. (79)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Default State Network … the mohawk of self-awareness, the midline structures of the brain, starting out right above our eyes, running through the center of the brain all the way to the back. All these midline structures are involved in our sense of self. The largest bright region at the back of the brain is the posterior cingulate, which gives us a physical sense of where we are—our internal GPS. It is strongly connected to the medial prefrontal cortex, the watchtower I discussed. It is also connected twith brain areas that register senstation coming from the rest of the body: the insula, whic relays messages from the viscera to the emotional centers; the parietal lobes, which integrate sensory information; and the anterior cingulate, which coordinates emotions and thinking.</p><p class="digitalGarden">The contrast with fMRI scans [between normal patients] and the eighteen chronic PTSD patiens with severe early-life trauma was startling. There was almost no activation of any of the self-sensing areas of the brain: The medial prefrontal cortex, the anterior cingulate, the parietal cortex, and the insula did not light up at all; the only area that showed a slight activation was the posterior cingulate, which is responsible for basic orientation in space.  … What we witnessed here was a tragic adaptation: in an effort to shut off terrifying sensations, patients also deadened their capacity to feel fully alive. (93-94)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Agency starts with what scientists call interoception, our awareness of our subtle sensory, body-based feelings: the greater that awareness, the greater our potential to control our lives. Knowing <em>what</em> we feel is the first step to knowing <em>why</em> we feel that way. … This is why mindfulness practive, which strengthens the medial prefrontal cortex, is a cornerstone of recovery from trauma. (97-98)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In one pattern called "avoidant attachment," the infants look like nothing really bothers them-they don't cry when their mother goes away and they ignore her when she comes back. However, this does not mean that they are unaffected. In fact, their chronically increased heart rates show that they are in a constant state of hyperarousal. My collagues and I call this pattern "dealing but not feeling." Most mothers of avoidant infants seem to dislike touching their children. They have trouble snuggling and holding them, and they don't use their facial expressions and voices to create pleasurable back-and-forth rhythms with their babies. </p><p class="digitalGarden">"Disorganized attachment" is "fright without solution". Children of this category make up the bulk of the children we treat and a substantial proportion of the adults who are seen in psychiatric clincs. Children in this situation have no one to turn to, and they are faced with an unsulvable dilemma; their mothers are sumultaneously necessary for survival and a source of fear. … If you observe such children in a nursery school or attachment laboraory, you see them look toward their parents when they enter the room and then quickly turn away. … Not knowing who is safe or whom they belong to, they may be intensely affectionate with strangers or may trust nobody. (118-119)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">[In another study] … Karlen and her colleagues had expected that hostile/intrusive behavior on the part of the mothers would be the most powerful predictor of mental instability in their adult children, but they discovered otherwise. Emotional withdrawl had the most profound and long-lasting impact. Emotional distance and role reversal (in which mothers expect children to look after them) were specifically linked to aggresive behavior against self and others in young adults. (122)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When the study was completed and the data analyzed, Rich reported that the group of incest survivors had abnormalities in their CD45 RA-to-RO ratio, compared with their nontraumatized peers. CD45 cells are the "memory cells" of the immune system. Some of them, called RA cells, have been activated by past exposure to toxins; they quickly respond to environmental threats they have encountered before. The RO cells, in contrast, are kept in reserve for new challenges; they are turned on to deal with threats the body has not met previously. The RA-to-RO ratio is the balance between cells that recognize known toxins and cells tha wait for new information to activate. In patients with histories of incest, the proportion of RA cells that are ready to pounce is larger than normal. This makes the immune system oversensitive to threat, so that it is prone to mount a defense when none is needed, even when this means attacking the body's own cells. Our study showed that, on a deep level, the bodies of incest victims have troubel distinguishing between danger and safety. (129)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When I first encountered patients like Marilyn, I used to challenge their thinking and try to help them see the world in a more positive, flexible way. One day a woman named kathy set me straight. A group member had arrived late to a session because her car had broken down, and Kathy immediately blamed herself: "I saw how rickety your car was last week; I knew I should have offered you a ride." Her self-criticism escalated to the point that, only a few minutes later, she was taking responsiblity for her sexual abuse: "I brought it on myself: I was seven years ol and I loved my daddy. I wanted him to love me, and I did what he wanted me to do. It was my own fault." When I intervened to reassure her, saying, "Come on, you were just a little girl-it was your father's responsibility to maintain the boundaries," Kathy turned toward me. "You know Basel," she said, "I know how important it is for you to be a good therapist, so when you make stupid comments like hat, I usually thank you profusely. After all, I am an incest survivor—I was trained to take care of the needs of grown-up, insecure men. But after two years I trust you enough to tell you that those comments make me feel terrib. Yes, it's true; I instinctively blame myself foer eveything bad that happens to the people around me. I know that isn't rational, and I feel really dumb for feeling this way, but I do. When you try and talk me into being more reasonable I only feel even more lonely and isolated—and it confirms the feeling that nobody in the whole world will ever understand what it feels like to be me."</p><p class="digitalGarden">I genuinely thanked her for her feedback, and I've tried ever since not to tell my patients that they should not feel the way they do. Kathy taught me that my responsibility goes much deeper: I have to help them reconstruct their inner map of the world. (130)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">As we later reported in the <em>American journal of Psychiatry</em>, 81 percent of the patients diagnosed with Borderline Personality Disorder at Cambridge Hospital reported severe histories of child abuse and/or neglect: in the vast majority the abuse began before age seven. (142)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The first time I heard Robert Anda present the results of the Adverse Childhood Experience study, he could not hold back his tears. In his career at the CDC he had previously worked in several major risk areas, including tobacco research and cardiovascular health. But when the ACE study data started to appear on his computer screen, he realized that they had stumbled upon the gravest and most costly public health issue in the United States: child abuse. He had calculated that its overall costs exceeded those of cancer or heart disease and that eradicatign child abuse in America would reduce the overall rate of depression by more than half, alcoholism by two-thirds, and suicide, IV druge use, and domestic violence by three-quarters. It would also have a dramatic effect on workplace performance and vastly decrease the need for incarceration. (150)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Recent research has swept away the simple idea that "having" a particular gene produces a particular result. It turns out that many genes work together to influence a single outcome. even more important, genes are not fixed; life events can trigger biochemical messages that turn them on or off by attaching methyl groups, a cluster of carbon and hydrogen atoms, to the outside of the gene (a process called methylation), making it more or less sensitive to messages from the body. While life events can change the begavior of the gene, they do not alter its fundamental structure. Methylation patterns, however, can be passed on to offspring—a phenomenon known as epigenetics. Once again, the body keeps the score, at the deepest levels of the organism. (154)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Nothing was written in stone. Neither the mother's personality, nor the infant's neurological anomalies at birth, nor its IQ, nor its temperament—including its activity level and reactivity to stress—predicted whether a child would develop serious behavioral problems in adolescence. The key issue, rather, was the nature of the parent-child relationship: how parents felt about and interacted with their kids. As with Suomi's monkeys, the combination of culnerable infants and inflexible caregivers made for clingy, uptight kids. Insensitive, pushy, and intrusive behavior on the part of the parents at six months predicted hyperactivity and attention problems in kindergarten and beyond. (162-163)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Economists have calculated that every dollar invested in high-quality home visitation, day care, and preschool programs results in seven dollars of savings on welfare payments, health-care costs, substance-abuse treatment, and incarceration, plus higher tax revenues due to better-paying jobs. (169)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Of course, we cannot monitor what happens during a traumatic experience, but we can reactivate the trauma in the laboratory … When memory traces of the original sounds, images, and sensations are reactivated, the frontal lobe shuts down, including, as we've seen, the region necessary to put feelings into words, the region that creates our sense of location in time, and the thalamus, which integrates the raw data of incoming sensations. At this point the emotional brain, which is not under conscious control and cannot communicate in words, takes over. The emotional brain (the limbic area and the brain stem) expresses its altered activation through changes in emotional arousal, body physiology, and muscular action. Under ordinary conditions these two memory systems—rational and emotional—collaborate to produce and integrated response. But high arousal not only changes the balance between them but also disconnects other brtain areas necessary for the proper storage and integration of incoming information, such as the hippocampus and the thalamus. as a result, the imprints of traumatic experiences are organized not as coherent logical narratives but in fragmented sensory and emotional traces: images, sounds, and physical sensations. (178)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Janet discovered that, while it is normal to change and distort one's memories, people with PTSD are unable to put the actual event, the source of thsoe memories, behind them. Dissociation prevents the trauma from becoming integrated within the conglomerated, ever-shifting stores of autobiographical memory, in essence creating a dual memory system. Normal memory integrated the elements of each experience into the continuous flow of self-experience by a complex process of association; think of a dense but flexible network where each elements exerts a subtle influence on many others. But in Julian's case, the sensations, thoughts, and emotions of the trauma were stored separately as frozen, barely comprehensible fragments. If the problem with PTSD is <em>dissociation</em>, the goal of treatment would be <em>association</em>: integrating the cut-off elements of the trauma into the ongoing narrative of life, so that the brain can recognize that "that was then, and this is now." (182-183)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In the United States the fate of veterans was also fraught with problems. In 1918, when they retuned home from the battlefields of France and Flanders, they had been welcomed as national heros … In 1924 Congress voted to award them a bonus of $1.25 for each day they had served overseas, but disbursement was postponed until 1945. By 1932 the nation was in the middle of the Great Depression, and in May of that year about fifteen thousand unemployed and penniless veterans camped on the Mall in Washington DC to petition for immediate payment of their bonuses. The Senate defeated the bill to move up disbursement by a vote of sixty two to eighteen. A month later President Hoover ordered the army to clear out the veterans' encampment. Army chief of staff General Douglas MacArthur commanded the troops, supported by six tanks. Major Dwight D. Eisenhower was the liaison with the Washington police, and Major George Patton was in charge of the cavalry. Soldiers with fixed bayonets charged, hurling tear gas into the crowd of veterans. The next morning the Mall was deserted and the camp was in flames. The veterans never received their pensions. (187-188)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Memory loss has been reported in people who have experienced natural diasters, accidents, war trauma, kidnapping, torture, concentraion camps, and physical and sexual abuse. Total memory loss is most common in childhood sexaul abuse, with incidence ranging from 19 percent to 38 percent. … Memory loss has been part of the criteria for PTSD since that diagnosis was first introduced. (192)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Trauma is much more than a story about something that happened long ago. The emotions and physical sensations that were imprinted during the trauma are experienced not as memories but as disruptive physical reactions in the present. In order to regain control over your self, you need to revisit the trauma: Sooner or later you need to confront what has happened to you, but only after you feel safe and will not be retraumatized by it. The first order of business is to find ways to cope with feeling overwhelmed by the sensations and emotions associated with the past. The engines or posttraumatic reactions are located in the emotional brain. In contrast with the rational brain, which expresses itself in thoughts, the emotional brain manifests itself in physical reactions: gut-wrenching sensations, heart pounding, breathing becoming fast and shallow, feelings of heartbreak, speaking with an uptight and reedy voice, and the characteristic body movements that signify collapse, ridigity, rage, or defensiveness. … The rational brain cannot <em>abolish</em> emotions, sensations, or thoughts. Understanding <em>why</em> you feel a certain way does not change <em>how</em> you feel. But it can keep you from surrendering to intense reactions. </p><p class="digitalGarden">The fundamental issue in resolving traumatic stress is to restore the proper balance between the rational and emotional brains … When we're triggered into states of hyper- or hypoarousal, we are pushed outside our "window of tolerance"—the range of optimal functioning. we become reactive and disorganized; our filters stop working—sounds and lights bother us, unwanted images from the past intrude on our minds, and we panic or fly intro rages. (206-207)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Emotions are registered in the body. Some 80 percent of the fibers of the vagus nerve (which connects the brain with many internal organs) are afferent; that is, they run frojm the body into the brain. This means tat we can directly train our arousal system by the way we breathe, chant, and move. (209)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Children from low-income families are four times as likely as the privately insured to receive antipsychotic medicines. In one year alone Texas Medicaid spent $96 million on antipsychotic drugs for teenagers and children—including three unidentified infants who were given the drugs before their first birthdays. (228)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">As long as you keep secrets and suppress information, you are fundamentally at war with yourself. Hiding your core feelings takes an enormous amount of energy, it saps your motivation to pursue worthwhile goals, and it leaves you feeling bored and shut down. Meanwhile, stress hormones keep flooding your body, leading to headaches, muscle aches, problems with your bowels or sexual functions—and irrational behaviors that may embarrass you and hurt the people around you. Only after you identify the source of these responses can you start using your feeligns as signals of problems that require your urgent attention.</p><p class="digitalGarden">Ignoring inner reality also eats away at your sense of self, identiy, and purpose. clinical psychologist Edna Foa and her colleagues developed the Posttraumatic Cognitions Inventory to assess how patients think about themselves. Symptoms of PTSD often include statements like "I feel dead inside," "I will never be able to feel normal emotions again," "I have permanently changed for the worse," I feel like an object, not like a person," "I have no future," and "I feel like I don't know myself anymore." The critical issue is allowing yourself to know what you know. That takes an enormous amount of courage. (235)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Neuroscience research has shown that we possess two distinct forms of self-awareness: one that keeps track of the self across time and one that registers the self in the present moment. The first, our autobiographical self, creates connections among experiences and assembles them into a coherent story. This system is rooted in language. Our narratives change with the telling, as our perspective changes and as we incorporate new input. The other system, moment-to-moment self-awareness, is based primarily in physical sensations, but if we feel safe and are not rushed, we can find words to communicate that experience as well. These two ways of knowing are localized in different parts of the brain that are largely disconnected from each other. Only the system devoted to self-awareness, which is based in the medial prefrontal cortex, can change the emotional brain. (238)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">We secured funding from the National Institute of Mental Health to compare the effects of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Eye%20Movement%20Desensitization%20and%20Reprocessing%20%28EMDR%29">EMDR</a> with standard doses of Prozac or a placebo. … the patients on EMDR did substantially better than those on either Prozac or the placebo: After eight EMDR sessions one in four were completely cured compared with on in ten of the Prozac group. But the real difference occurred over time: When we interviewed our subjects eight months later, 60 percent of those who had received EMDR scored as being completely cured. As the great psychiatrist Milton Erickson said, once you kick the log, the river will start flowing. Once poeple started to integrate their traumatic memories, they spontaneously continued to improve. In contrast, all those who had taken Prozac relapsed when they went off the drug.</p><p class="digitalGarden">This study was significant because it demonstrated that a focused, trauma-specific therapy for PTSD like EMDR could be much more effective than medication. (256)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Richard Schwartz is the developer of internal family systems therapy (IFS). … At the core of IFS is the notion that the mind of each of us is like a family in which the members have different levels of maturity, excitability, wisdom, and pain. The parts form a network or system in which change in any one part will affect all the others. (283)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">According to recent research, up to 90 percent of human communication occurs in the nonverbal, right-hemisphere realm. (300)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">As long as their map of the world is based on trauma, abuse, and neglect, people are likely to seek shortcuts to oblivion. Anticipating rejection, ridicule, and deprivation, they are reluctant to try out new options, certain that these will lead to failure. This lack of experimentation traps people in a matrix of fear, isolation, and scarcity where it is impossible to welcome the very experiences that might change their basic worldview. (307)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Alpha-theta training is a particularly fascinating neurofeedback procedure, because it can induce the sorts of hypnogogic states—the essence of hypnotic trance-that are discussed in chapter 15. When theta waves predominate in the brain, the mind's focus is on the internal world, a world of free-floating imagery. Alpha brain waves may act as a bridge from the external world to the internal, and vice versa. In alpha-theta training these frequencies are alternately rewarded. … In the twilight states fosterd by alpha/theta training, traumatic events may be sagely reexperienced and new associations fostered.</p><p class="digitalGarden">Eugene Peniston and Paul Kulkosky, researchers at the VA Medical Center in For Lyon, Colorado, used neurofeedback to treat twenty-nine Vietnam veterans with a twelve- to- fifteen-year history of chronic cpmbat-related PTSD. Fifteen of the men were randomly assigned to the EEG alpha-theta training and fourteen to a control group that received standard medical care, including psychotropic drugs and individual and group therapy. On average, participants in both groups had been hospitalized more than five times for their PTSD. The neurofedback facilitated twilight states of learning by rewarding both alpha and theta waves. As the men lay back in a recliner with their eyes closed, they were coached to allow the neurofeedback sounds to guide them into deep relaxation. They were also asked to use positive mental imagery (for example, being sober, living confidently and happily) as they moved toward the trancelike alpha-theta state.</p><p class="digitalGarden">This study, published in 1991, had one of the best outcomes ever recorded for PTSD. The neurodeedback group had a significant decrease in their PTSD symptoms, as well as in physical complaints, depression, anxiety, and paranoia. After the treatment phase the veterans and their family members were contacted monthly for a period of thirty months. Only three of the fifteen neurofeedbak-treated veterans reported disturbing flashbacks and nightmares. In contrast, every vet in the comparison group experienced an increase in PTSD symptoms during the follow-up period, and all of them required at least two further hospitalizations. (328)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In Shakespeare in the Courts, the specificity of the language that is used in rehearsal extends to the students' offstage speech. Kevin Coleman notes that their talk is riddled with the expression "I feel like …" He goes on: "If you are confusing your emotional experiences with your judgments, your work becomes vague. If you ask them, 'How did that feel?' they'll immediately say: 'It felt good' or 'That felt bad.' Both of those are judgments. So we never say, 'How did that feel?' at the end of a scene, because it invites them to go to the judgment part of their brain." Instead Coleman asks, "Did you notice any specific feelings that came up for you doing that scene?" That way they learn to name emotional experiences. (346)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">As the Adverse Childhood Experience study has shown, child abuse and neglect is the single most preventable cause of mental illness, the single most common cause of drug and alcohol abuse, and a significant contributor to leading causes of death such as diabetes, heart disease, cancer, stroke, and suicide. (353)</p></div></content><author><name>undefined</name></author></entry><entry><title>The Brain That Changes Itself</title><link href="https://gavart.ist/#The%20Brain%20That%20Changes%20Itself"></link><link href="https://gavart.ist/static/The%2520Brain%2520That%2520Changes%2520Itself.html" rel="alternative" type="text/html"></link><id>414c72ab-9831-c161-de3d-9f0ca1728a32</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">Excessive use of gentamicin [an antibiotic] is known to poison the inner ear structures and can be responsible for hearing loss … ringing in the ears … and devastation of the balance system. But because gentamicin is cheap and effective, it is still prescribed … (4)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Localizationism is an antiquated idea that the brain is like a complex machine, made up of parts, each of which performs a specific mental function and exists in a genetically predetermined or hardwired location … (11)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">… the temporal lobe (…normally processes sound and language), the occipital lobe (…normally processes visual imagery), and the parietal lobe (…normally processes spatial relationships and integrates information from other senses). (34)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Microelectrodes are so small and sensitive that they can be inserted inside or beside a single neuron and can detect when an individual #neuron fires off its electrical signal to other neurons. (50)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">It is important to understand that the nervous system is divided into two parts: the central nervous system (the brain and spinal chord), which is the command-and-control center of the system; it was thought to lack plasticity. The second part is the peripheral nervous system, which brings messages from the sense receptors to the #spinal #chord and brain and carries messages from the brain and spinal chord to the muscles and glands. The peripheral nervous system was long known to be plastic … (53)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Each neuron has three parts: the dendrites are treelike branches that receive input from other neurons. These dendrites lead into the cell body, which sustains the life of the cell and contains its DNA. Finally the axon is a living cable of varying lengths (from microscopic lengths in the brain, to some that can run down to the legs and reach up to six feet long). Axons are often compared to wires because they carry electrical impulses at very high speeds (from 2 to 200 mph) toward the dendrites of neighboring neurons. (53)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When a child learns to play [the] piano … s/he tends to use his whole upper body—wrist, arm, shoulder—to play each note. Even the facial muscles tighten … With practice, the pianist stops using irrelevant muscles … this because the child goes from using a massive number of neurons to an appropriate few, well-matched to the task … (67)</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>BDNF + Nucleus Basalis</strong></h2><p class="digitalGarden">BDNF is a nerve growth factor: brain-derived neurotrophic factor. BDNF plays a crucial role in reinforcing changes made in the brain in the critical period. … When we perform an activity that requires specific neurons to fire together, they release BDNF. This growth factor consolidates the connections between those neurons and helps to wire them together so they fire reliably in the future. … During the critical period BDNF turns on the nucleus basalis, the part of our brain that allows us to focus our attention—and keeps it on, throughout the entire critical period. Once turned on, the nucleus basalis helps us not only pay attention but remember what we are experiencing … the “modulatory control system of plasticity”— the neurochemical system that, when turned on, puts the brain in an extremely plastic state. (80)</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>Neuromodulators vs Neurotransmitters</strong></h2><p class="digitalGarden">While neurotransmitters are released in the synapses to excite or inhibit neurons, neuromodulators enhance or diminish the overall effectiveness of the synaptic connections and bring about enduring change … Oxytocin is sometimes called the commitment neuromodulator because it reinforces bonding in mammals. It is released when lovers connect and make love—in humans oxytocin is released in both sexes during #orgasm—and when couples parent and nurture their children. [118-9]</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>Changing the Brain by Imagining</strong></h2><p class="digitalGarden">From a neuroscientific point of view, imagining an act and doing it are not as different as they sound. When people close their eyes and visualize a simple object, such as the letter am the primary visual cortex lights up, just as it would if the subjects were actually looking at the letter a. Brain scans show that in action and imagination many of the same parts of the brain are activated. That is why visualizing can improve performance. (203-4)</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>Genes</strong></h2><p class="digitalGarden">Our genes have two functions. The first, the template function , allows our genes to replicate … The second is the transcription function. Each cell in our body contains all our genes, but not all those genes are turned on, or expressed. When a gene is activated it makes a new protein that alters the structure and function of the cell. … this transcription function is influences by what we do and think. (220)</p></div></content><author><name>undefined</name></author></entry><entry><title>The Code of The Extraordinary Mind</title><link href="https://gavart.ist/#The%20Code%20of%20The%20Extraordinary%20Mind"></link><link href="https://gavart.ist/static/The%2520Code%2520of%2520The%2520Extraordinary%2520Mind.html" rel="alternative" type="text/html"></link><id>ac33f1dc-6d5e-6c36-d055-e776864861dd</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Coming Insurrection</title><link href="https://gavart.ist/#The%20Coming%20Insurrection"></link><link href="https://gavart.ist/static/The%2520Coming%2520Insurrection.html" rel="alternative" type="text/html"></link><id>6f5fcb62-427e-f280-55f8-61cdb0ba12dc</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Creative Act · A Way of Being</title><link href="https://gavart.ist/#The%20Creative%20Act%20%C2%B7%20A%20Way%20of%20Being"></link><link href="https://gavart.ist/static/The%2520Creative%2520Act%2520%25C2%25B7%2520A%2520Way%2520of%2520Being.html" rel="alternative" type="text/html"></link><id>1feae56e-b1b5-eeb9-6b0d-dd6747b02c21</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Culture of The Copy: Striking Likenesses, Unreasonable Facsimiles</title><link href="https://gavart.ist/#The%20Culture%20of%20The%20Copy%3A%20Striking%20Likenesses%2C%20Unreasonable%20Facsimiles"></link><link href="https://gavart.ist/static/The%2520Culture%2520of%2520The%2520Copy%253A%2520Striking%2520Likenesses%252C%2520Unreasonable%2520Facsimiles.html" rel="alternative" type="text/html"></link><id>ac71c08d-61a4-0414-474e-a5ce3e68c87d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img> <img height="606" src="./files/img/books/culture-of-the-copy-dither.jpg"></img></p><p class="digitalGarden">Where there be one head an two bodies, that way lies theater. For centuries, European performers had been struggling to inhabit a second body. In 1536, for example, those of Bourges presenting a mystery play were applauded as "sage men, who knew so well how to feign through signs and gestures the characters they were representing that most of the audience thought the whole thing real and not feigned." At issue, of course, is how each society or era reconceives, and represents, the naturally human. During the eighteenth century, actor-directors like Aaron Hill in England began to demand a consistent stage presence, disparaging those "who between their speeches relax into an absent unattentiveness…looking round and examining the company of spectators." Actors should stay in character, which implied absorption: on canvases or on stage, figures had to be so "completely caught up" in their roles that awareness of audience lapsed. As dramaturge, Denis Diderot insisted "that representations of action, gesture, and facial expression actually convey what they ostensibly signify." His principles of acting—<em>Unité</em> of effect, <em>Naïveté</em> of feeling, <em>Instantanéité</em> of expression, <em>Oubli</em> (obliviousness) of spectators—were the principles of a <em>UNIO mystica</em>, the mystical union of one head and two bodies. (66)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Barrault had become a mime upon the premise that "There is no actor who can act convincingly with his own genuine emotion. Hence actors who want to play by their emotions are obliged to invent a false one." Disciplined movements evolving from the gut were safer, for they did not risk the painful discontinuity between person and persona that was the threat of the Doppelgänger. "The more difficult the play the more the actor, behind his Character, should husband his own sincerity, for the risk of the Character being found wanting in 'authenticity' is greater." Was this bad faith? Barrault wondered aloud (with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jean-Paul%20Sartre">Jean-Paul Sartre</a>) in 1941, shortly before he and Decroux mimed an homage to Beburau in a film of nineteenth-century bohemian life featuring <em>Les Enfants du Paradis,</em> the unruly "children" of "Paradise." (69)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Supercharged, she was one of the enabling fictions of Surrealism, which embraced the womannequin in all her manifestations—sleepwalker, found object, biomorph, dream subject. Surrealists stuck a womannequin's legs into the horn of a Victrola, her hand the armature for the needle; they mutilated large dolls; they sculpted humanoid figures as if long-necked womannequins. In Paris in 1938, visitors to an International Exposition of Surrealism proceeded along a Surrealist Street whose streetwalkers were womannequins dressed by André Masson, Max Ernst, Marcel Duchamp, Jean Arp, Yves Tanguy, Man Ray, Hans Bellmer, Joan Miró. "One of the most admired was Masson's, the head of which was enclosed in a bird cage, the mouth gagged by a black velvet band decorated with a pansy; beyond that it was adorned with nothing but a G string made of glass eyes." Where were pansies at the armpits, too, and a peacock mask curling up from the crotch, and a fracture line at the waist where top joined bottom. </p><p class="digitalGarden"><em>Assemblage</em> was a word Surrealists applied to their womannequins, who were, in modern art as in the clothing industry, heirs to the readymade. While Marcel Duchamp elevated a hatrack to unique Art, womanequins framed above eye leve lwould dissemble the mass-produced dress into a One-of-a-Kind. Indeed, the figures in Duchamp's <em>Nude Descending a Staircase, No. 2</em> and <em>The Passage from Virgin to Bride</em>/ (1912), with the curious swivel to their joints, rods to the pelvic girdle, pattern-wheel dots, and dressmaker's bastings, were those of a womannequin refracted through plate glass, like the womannequin with a skin of broken mirrros presented at the Salon d'Automne in 1911. Duchamp, who admitted to having stolen his Bride from mannequins in wedding dress at a country fair, once proposed that he be considered rather a <em>fenêtrier,</em> a window dresser, than a painter. (118-119)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"My apes were trying to become something else," said Gertrude Lintz,  whose trained chimpanzees worked in Tarzan movies and whose gorilla Buddy performed for the Ringling Brothers. "I cannot express it differently." The more systematically we have exploited "lower" animals to tell us about ourselves, the more they lay claim in their own right to personhood. My syntax, of course, begs the question, granting animals the subjectivity, political motives, and feelings of moral outrage now (more than ever) at issue. Even as we have perfected machines that hum on the verge of their own independence, we have gathered the species two by two, beginning with parrots and monkeys, around and arc all of whose tangents imply humanity.<br></br></p><p class="digitalGarden">…</p><p class="digitalGarden">Although <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Aristotle">Aristotle</a> had conceded everything but reason to animals, and although Neoplatonists had sometimes posited animals as human souls being scourged, the inferiority of animals was not sharply contested until the seventeenth century. If animals has souls, as Thomas Aquinas said, they had mortal souls. Rats, mice, moles, locusts, weevils, bees, and caterpillars were impounded for devouring crops, and pigs (in theory) sentenced to death for eating babies, but such medieval judgments determined quasi-legal culpability, not moral capability. Animals after all were (Aquinas) "intended for man's use in the natural order," to plow his fields and bear his burdens, even unto apes and parrots, wrote <em>Batman upon Bartholome His Booke De Proprietatibus</em> (1582), who were ordained "for man's mirth."<br></br></p><p class="digitalGarden">Even so, Galen in the second century had used pigs or goats as subjects for dissections of the brain, rather than the Barbary apes on which he ordinarily worked, because "you avoid seeing the unpleasant expression of the ape when it is being vivisected." Experiments upon live animals, revived in the sixteenth century upon the recovery of Galen's <em>On Anatomical Procedures</em>, would in the seventeenth century lead to questions about the plausibility of analogies between animal and human anatomy and about the extent of animal suffering. Medical excitement around the newly demonstrated pneumatics of blood circulation, for which William Harvey had dissected or vivisected 128 different animals, engendered investigations of the similarly dynamic respiratory system, toward which end Robert Boyle and Robert Hooke sacrificed larks, mice, vipers, ducks, cats, dogs, and wolves. But Hooke, who cut away a dog's thorax and diaphragm to observe its beating heart, was already writing to Boyle in 1664 that "I shall hardly be induced to make any further trials of this kind, because of the torture of the creature."<br></br></p><p class="digitalGarden">Literally. Animal spirits, "Particles of the Blood so exceedingly Rarified…as to be Capable of a Swifter Motion, and of a free Passage through such Parts of the Body as are impervious to the other Particles of the Blood," flowed through the nerve canals from animating soul to tips of claws. This was, for <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Ren%C3%A9%20Descartes">René Descartes</a> as for later "mechanical philosophers," a precarious neurology, devised to affirm the sensibilities of animals yet quarantine them from a rational soul. The Cartesian debating point that animals were mere automata, or sensing machines, invested them with a full palette of physical sensations so as better to delimit animal from human in terms of something peculiarly incorporeal, a self-reflective, reasoning soul. <br></br></p><p class="digitalGarden">…</p><p class="digitalGarden">Communing with animals, sympathizing with their plight, mourning their deaths, none of this implied their sapience or equality. The philosopher <a class="tc-tiddlylink tc-tiddlylink-missing" href="#David%20Hume">David Hume</a> thought animal intellect distinguishable from human only by degree, but animals had as yet been granted no intrinsic dignity. Protests against bloodsports recalled people to their own nobility rather than invoking the nobility of dogs, cocks, bulls, bears. In the same manner that early abolitionists meant to prove that slavery brutalized the soul of the slaveholders, antivivisectionists in the eighteenth century hoped to show that habits of cruelty toward animals subverted human nature. Samuel Johnson contended that a person "buys knowledge dear, who learns the use of the lacteals at the expence of his humanity." Wrote <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Immanuel%20Kant">Immanuel Kant</a>, "he who is cruel to animals becomes hard also in his dealing with men."<br></br></p><p class="digitalGarden"><a class="tc-tiddlylink tc-tiddlylink-missing" href="#Immanuel%20Kant">Kant</a>, however, defended experiments on live animals as a justifiable cruelty, "since animals must be regarded as man's instruments" toward (an implicit) Greater Good. In rebuttal, turning Kantian ethics against Kant, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Arthur%20Schopenhauer">Arthur Schopenhauer</a> insisted that animals be treated as ends in themselves. Humanity was to be defined by the ambit of its humanitarianism: if animals had mortal souls, then their deaths were final and we must not kill them casually or cruelly; if they had immortal souls, they were entitled to the respect due every human being. (168-169)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">On the other hand, we are not identical, nor do we wish to think of ourselves as clones. Copying is ultimately imperfect, our errors eventually our heirs. The more widespread the act of copying, the greater the likelihood of significant mistranscription. Genetic slip or evolution, scribal mistake or midrash, whatever we call it, miscopying raises hard questions about identity, security, and integrity. The same technical advances that render our skill at copying so impressive also intensify the dilemmas of forgery. We use copies to certify originals, originals to certify copies, then we stand bewildered. (212)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">I had meant here to pursue the fair copy, not the forged, thinking that forgery has to do with intentional misattribution, fair (and foul) copying with inadvertent error. That distinction is tenuous. Forgery has been complicated by ideals of selflessness. Since antiquity, authors of obscure, heterodox, or imitative works have stood in the shadows of names more prestigious. Ascriptions could be devout (the 900 sermons attributed to John Chrysostom) or devious (Pelagian tracts masquerading under the name of Saint Jerome, and enemy), playful (the 105 extra comedies of Plautus) or portentous (Paul's <em>Third</em> Letter to the Corinthians). Was it piety or self-interest that led monks to create originals, in archaic script, of charters whose fading copies were all that stood against a loss of lands Two-thirds of the ecclesiastical documents extant from before 1100 A.D. are, in part or whole, forgeries. After the Crusader treasure-hunts, the same could be said of relic—so many and multiplied (the six bodies of Saint Madeleine, the four heads of Gregory the Great) that Saint Juliana of Mont-Cornillon in the 1200s acquired the beatific power of discriminating true relic from false. </p><p class="digitalGarden">Forgery is but the extreme of copying: the extreme of fair copying, when what is forged is indiscernible from the original; the extreme of foul copying, when what is forged is a fabrication passed off in the name or style of another person or era. (218-219)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">And, true, it was the male artist Timm Ulrichs who in 1967 wittily "reprographed" one hundred (de)generations of the original 1936 title-page of "The Work of Art in the Age of Mechanical Reproduction," a repeatedly cited essay by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Walter%20Benjamin">Walter Benjamin</a>, the German-Jewish literary philosopher who died in 1940. Contemplating the culture of the copy from his library of the first editions, Benjamin the collector (for whom "not only books but copies of books have their fates") proposed that mass-produced texts were dislodging the authority of original manuscripts in the same serious extent that photographic reproductions were dissolving the aura of original works of visual art. Finding authenticity and power in multiples, such that "Every day the urge grows stronger to get hold of an object at very close range by way of its likeness, its reproduction," the masses might liberate themselves from outmoded industrial relations as they sloughed off a ritualistic (and now suspiciously fascist) aesthetic tradition of uniqueness and genius. But he to whom "the acquisition of an old book is its rebirth" did admit the childlikeness of his own faith in reanimation, and what must here pique our curiosity is the degree to which Benjamin's life, like the lives of Carlson and Lichtenberg, was haunted by the figure of a hunchback.</p><p class="digitalGarden">Benjamin's <em>buchlicht Männlein</em>, hunchbacked little fellow, was a folk scapegrace blamed for the clumsiness of a child who spills wine, topples a lamp. This German "Mr. Bungle" appeared in 1930 in the last chapter of <em>A Berlin Childhood around 1900</em> as summary figure of Benjamin's youth, awkward and myopic; he reappeared in the first lines of Benjamin's last major essay, the "Theses on the Philosophy of History," written in response to the start of World War II. There, a <em>buckliger Zwerg</em> a hunchbacked dwarf, is seen to be the (hidden) chessmaster guiding the moves of a Turkish (false) automaton. One must not be lulled or gulled into amazement at the machinery of history, wrote Benjamin; rather, one must embrace the emergency of event, "For every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably." The hunchback recalls to us, and recalls us to, a life needfully contingent. (239)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Copyright law is neither natural nor universal. First formalized in England in 1790, it was still being resisted by China in 1970s. An Englishman was bemused in 1903 by the attitude of the Chinese, to whom copyright law "was but the haggling of the harlot over the price of shame." For a Chinese writer, "If his views are copied out and passed around, he is delighted…If they are seized upon, printed, and scattered to the furthest corners of the Empire, he folds his hands and dies triumphant. He has said what was in him to say, and men have listened."</p><p class="digitalGarden">Since copyright law always lags behind the technologies of copying, it can seem as hoary to Westerners as it is incomprehensible to the Balinese and whorish to the Confucians. Its warrant derives from a wager that writers or artists will be discouraged from their efforts if society does not vouchsafe their works. This wager is less about uniqueness or plagiarism than about insecurity. For Anglo-American jurisprudence, the insecurity has been economic, the loss of investments of time and prospects of income from the sale of a physical property. In 1774, as the law was being adjusted after a spate of conflicts among publishers, Catharine Macaulay wrote sardonically against those who, in the name of the free spread of ideas, would reserve to (starving) writers a sole reward, fame: "authors, it seems are beings of a very high order, and infinitely above the low considerations of the useful, the convenient, and the necessary!" While English courts affirmed written work as private investment property, continental courts were confirming the enduring moral rights of authors, so had to confront spiritual and aesthetic insecurity—the tampering with a work expressive of an individual's spirit.<br></br></p><p class="digitalGarden">…</p><p class="digitalGarden">Socialists and Situationists, on the copyLeft, have held that the benefits of easy, timely, communal access outweigh an individual's need to profit from the (re)circulation of a text. Marxists have disputed the commodification of ideas which copyright -as-property-law indulges. "Developing" countries have resented the monopoly on information; to enforce foreign copyrights would be to serve as sheriff for "developed" powers, to perpetuate colonial tyranny, or at a minimum to collude in a scale of prices that mocks the common people. This last was the position of one developing nation, the United States of America, which with Russia and China rejected the Berne Copyright Convention of 1886—and would not be in full accord until the 1990s. (243-244)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Novelist John Hersey, sitting on the U.S. National. Commission on New Technological Uses of Copyrighted Works, protested in 1979 against a majority decision granting copyright to computer programs, which are sets of instructions to a machine <em>and</em> systems for dialogue with human beings. The decision, said Hersey, in principle equated humans to machines as species of information-processing systems and, in the long run, would diminish "those aspects of the human spirit which can never be fully quantified…courage, love, integrity, trust, the touch of flesh, the fire of intuition, the yearning and aspirations of what poets so vaguely but persistently call the soul." (245)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Preservation, no matter what theorists said, <em>was</em> restoration. People rich or middling chose to preserve that through which could be restored a sense of personal, ethnic, or national integrity and purpose. English architect George Gilbert Scott, lover of gothic churches, insisted in 1850 that the restorer "should forget <em>himself</em> in his veneration for the works of his predecessors," but such selflessness ran up against evangelical desires to retrieve "original detail" so as to rekindle an original faith. Wrote the most influential gothicist, French architect Eugène Emmanuel Viollet-le-Duc: "The term Restoration and the thing itself are both modern. To restore a building is not to preserve it, to repair, or rebuild it; it is to reinstate it in a condition of completeness which could never have existed at any given time." What fired his imagination was the "reinstating in its entirety and in its minutest details, of a fortress of the middle ages, the reproduction of its interior decoration, even to its furniture; in a word, giving back its form, its colour, and—if I may venture to say so—its former life." (273)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Granted that "tourism is the largest peacetime movement of people in the history of mankind" and constitutes the most global of industries, imperatives for preservation, restoration, and reenactment are likely to come less from curators than from tour guides, decorators, politicians, and filmmakers on the alert for memes—the purest of memes: that worn-through, picturesque look of objects made neither for markets nor museums but for daily use, matching images of the folk as a root cellar of practical wisdoms, and ecological preserve, an asylum of the spirit, a treasurehold of beauty. (278)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Should they opt for legitimate decay or a lively, reviving reproduction? Living Museums tend to choose that which <em>authenticates</em> over that which is authentic, a culturally congenial deceit. (279)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Through repetition and reenactment, documentary elevated last testaments into testimonials. "Consciousness raised to the second power, [which] is repetition," noted <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#S%C3%B8ren%20Kierkegaard">Søren Kierkegaard</a> in an essay on repetition translated into English around 1940. Life was repetition, and that was the beauty of it. "Indeed, if there were no repetition, what then would life be? Who would wish to be a tablet upon which time writes every instant a new inscription? or to be a mere memorial of the past?… Repetition is reality, and it is the seriousness of life." (288)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Fradulent? Placebos shrink tumors and mitigate asthma, arthritis, seasickness, depression. For pain, placebos can be more salutary than any pharmaceutical. They are to active drugs what docudramas are to cinema vérité, relying upon (dis)simulation. (294)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">An edict was issued not long ago that the entire history of art, not just the collages of Cubists, Dadaists, and Surrealists, is a history of sampling. Borrowing images, wrote art historian Leo Steinberg in 1978, is vital to "the abundant spiritual intercourse between artists and art," and "there is as much unpredictable originality in quoting, imitating, transposing, and echoing, as there is in inventing." Whatever artists do, they are held in the loose but loving embrace of artists past.</p><p class="digitalGarden">…</p><p class="digitalGarden">Once digital synthesizers became commonly available in the 1980s, one could sample a century of recorded sound to produce a duet with Nellie Melba and Miriam Mikeba or a concert performance with "John Coltrane's sax, Gene Frupa's drums, Paul McCartney's electric bass, Carole King's piano, and the voice of Billy Holiday." Tom Lord-Alge won the 1987 Grammy for Sound Engineering when he sampled the clapping and foot-stomping of the Supremes as background to a Steve Winwood album. Steve Stein, who insists that "you want the thing, you don't want the almost thing," jockeys samples of Otis Redding, Walter Cronkite, and Led Zeppelin to produce dance music for clubs. Claiming that art progresses by "chameleonization," the composer <a class="tc-tiddlylink tc-tiddlylink-missing" href="#John%20Oswald">John Oswald</a> has baldly sampled Stranvinsky's <em>Le Sacre du Printemps</em> to produce "a stylized state of strangely familiar angst." </p><p class="digitalGarden">Angst more familiar than strange. "Sometimes I feel guilty when people spend time getting their sounds just right, and I just take them," says one sampler and drummer. At one and the same neutered time, sampling is a signal of respect for and rebellion against those templates by which one's time is fitted to one's times. says Mike D. of the Beastie Boys: "One of the positive things about sampling is that you're incorporating a musical and cultural history into what you're doing." Kris Parker of Boogie Down Productions says, "Black people have been sampled for years, not only in music but in art, literature, everything," and turnabout is fair replay. Jon Hassell, collaborator with the Talking Heads, explains: "In African villages musical instruments are made from things that are closest at hand. In Bed[ford]-Stuy[vesant], it happens to be shards of James Brown or other cultural artifacts that are rearranged and recombined." Sampling is what imperialists did when they colonized "undeveloped" lands, calling theft "development"; sampling is what ghettoized colonies do in revolt against property laws wired around them. (309-310)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Plagiarism may be "a species of multiple verbal personality," an individual pathology of claiming to do for the first time what others have done before, but plagiarism more broadly is collateral to acts of replication by which we prove our sensations, our suspicions, and our times. Right, center, left, our culture of the copy tends to make plagiarism a necessity, and the more we look for replays to be superior to originals, the more we will embrace plagiarism as elemental. Survivalists and screenwriters learn how to steal plots. The automotive and electronics industries rely upon "reverse engineering" to get ahead. U.S. Senator Joe Biden, who in stump speeches during 1987 borrowed the life and the rhetoric of U.K. Labor leader Neil Kinnock, failed less because he had failed to learn the lesson of his F-for-plagiarism in a legal methods course at Syracuse Law School than because he failed to make Kinnock's life subservient to his own. (313-314)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Plagiarism is, moreover, a cultural addiction, and I use that word with malice, for the ubiquity of the metaphor of addiction is itself a clue to our embrace of the rhetoric of replay despite a professional anxiety about disorders of repetition. (315)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Being bored is perpetual déjà vu, so perpetual that what is familiar is neither comforting by its presence nor provocative by its recurrence. The plagiarist usurps time, the forger reverses it, the bore ignores it, she who is being bored resents it. In boredom, repetition is not a symptom but a state of being from which may spring every sort of masquerade. Anything rather than to be oneself. Even suicide.</p><p class="digitalGarden">Abridg'd, the history of boredom from the <em>taedium vitae</em> of Seneca's Rome to the condominimalism of Southern California is a history of nausea. Nausea as class vertigo: the disempowerment of traditional elites (Spansih caballeros, German burghers, French aristocrats, British gentlemen) left in place without effective position. Nausea next as the bitter regurgitations of individuals whose sense of self-worth is poisoned by society's indifference to what they can do: thus the vapours of the wealthy lady, the bile of the intellectual, the spleen of the romantic poet, the causticness of the critic. Nausea also as waves of regret or interminable waiting, experienced by exiles, outcasts, kids in summer school. Nausea lastly as surfeit. (316-317)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Beyond prosthetics, carbon copying guides our understanding of the "natural" sequences in the reproduction of living things: the very metaphors of molecular biology are of complementary pairs and exact transcription. The DNA double helix is stabilized by the "pairing of bases" between its two strands, a pairing achieved through "hydrogen bonding"; the DNA "master blueprint" is "transcribed" via the synthesis of messenger RNA—all to assure an "extreme copying fidelity."</p><p class="digitalGarden">Carbon copying is, for us faithful carbon-based life forms, a prime analog of the process of replication, the posture of couvade, and the promise of clongin—of impressing courselves into another in the midst of making something of ourselves. The carbon copy restores to us a companionate twin, running happily along with us, just as sympathetic fictions find clones in the closest of communion, expert at sharing, "inexpert at solitude."</p><p class="digitalGarden">Not the prospect of cloning itself, of cloning as couvade ,but the prospect of cloning gone wrong, cloning as the creation of a Doppelgänger, turns the halcyon into the horrible. Tollin D. Hotchkiss of Rockefeller University, who drafted the term "genetic engineering," warned in his seminal contribution of 1965 that, attempting "to produce the noblest Roman of all, one might unwittingly produce a Dogberry, a Caliban," a being of no social conscience. Finally the objections to cloning are to its (my) disposition toward such selfishness that one of me will never seem enough, that my Doubles will claim for themselves the eminence of a multiple me, scornful of the rest. What is most to be feared in our world of 2ds is a world of second-to-nones. (350-351)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Artificial intelligence and artificial life are metaphors to explain to ourselves what we are about. If we cannot yet make good upon the metaphors, our failures may be due to our habit, at each success, of raising the ante. We keep redefining intelligence and life in tandem with our experience of hardware and software and their bioelectronic diseases—voracious worms, recklessly replicating viruses. The philosophers Geroges Canguilhem and Didier Deleule explain that we are in the midst of reversing the Cartesian equation: from human being as devout thinking mechanism to machine as faithful ambassador or conquistador for the evolutionary human. Investors speak of "generations" of computers; cognitive scientists investigate "evolutionary robotics"; psychologists study computer-simulated organisms that "evolve" "motivational units"; bioscientists contrive "animats," engineered from what we know of Second Nature, animals, and from what we think we know about ourselves.</p><p class="digitalGarden">Alan Turing never confused simulation with duplication. His test was meant to show that camouflaged machine could approximate, not duplicate, those aspects of ourselves we take to betoken thoughtfulness and responsiveness. Machine intelligence, Turing knew, would always be virtual—but that should be enough to unpeg our arrogance.</p><p class="digitalGarden">We have before us now the converse prospect, or project. Virtual intelligence shows us what we expect to see, similar to aerial photographs of dummy squadrons; virtual reality dazzles us, making us unsure of what we see, feel, or hear. Like the disinformation of counter-intelligence, virtual intelligence orients us treacherously; virtual reality leads us to regard "the real world itself as simply one last run of a simulation."</p><p class="digitalGarden">Virtual reality is older than sin. It is the hallucination of heaven, the peyote vision, the dionysiac stupor. It is the play, the novel, the film, the radio mystery, the panorama, the pastoral symphony, the soap opera, any system devised for losing ourselves in another world. The tactile glove and optical goggles of what Jaron Lanier in 1989 dubbed "virtual reality" are no more freeing, and no less (hopes Lanier), than meditation.</p><p class="digitalGarden">I find it striking that the wraparound devices of these virtual reality (VR) systems should so resemble the mindreading <em>and</em> the brainwashing machines of futuristic fictions. Derivative of medical imaging techniques and prosthetics <em>and</em> of the flight simulators and satellite robots of our astronomilitary, VR draws upon one field devoted to forcing bonies to yield their particular secrets <em>and</em> upon a second field devoted to the defiance of gravity and bodiliness. VR comes to us Siamesed in the same manner that the man/or woman and the man/or machine are Siamesed during Turing tests: one working to be (thought)fully incorporated in the other, the other working for total divorce. The "virtual" of VR may refer to practically perfect communion or to practically perfect camouflage. VR may unlock our secret desires, freed of time and gravity, but it may also permit us to assume deceptive personae, free of those commitments that ground humanity. Entering upon VR spaces, we must be chary of that ogre which wants always to unhinge us from the messy world we are born into, a world we neglect to our peril.</p><p class="digitalGarden">Whatever we make of VR—whether we "recreate the commons" across cyberspace (hopes Jaron Lanier) or construct self-pleasuring digital copies of ourselves "In Hot Pursuit of Happiness" (speculates Stanislaw Lem)—VR is already making cyborgs of us, circumstantially if not substantially. To the extent that we follow our money, we become invested in that electronic network which maintains our stocks, credit cards, debts, futures. To the extent that we follow our entertainers and muses into the mazes of computer simulation, we become "live action" or human-machine "interfaces," binary visionaries, half here half not.</p><p class="digitalGarden">Of course, the world itself is only half here, maybe less than half. Describing the quantum behavior of the electron, the French physicist Paul Dirac in 1928 arrived at an equation with two solutions, one positive, one negative. Classical physics had routinely descarded negative solutions as artifacts of the operation of the √ and the <sup>2</sup>(√n<sup>2</sup> = ±n) but Dirac took seriously this "ghost-entity," a mathematical figment with real consequences. "on my new theory the state of negative energy has a physical meaning," he wrote; by acknowledging the ghost-entities, or "anti-electrons," he could preserve for quantum physics the principle of the conservation of energy. Such positively charged, negative-energy particles entailed some physical absurdities. No matter: he postulated a "world of negative-energy states uniformly occupied by an infinitie number of electrons"—a "Dirac sea"—or ocean, for by 1933 he thought that for every particle there should be "a corresponding anti-particle."</p><p class="digitalGarden">Some physicists objected that this was <em>meta</em>physics, but cloud chambers in 1933 revealed the shadowy paths of electron/anti-electron pairs created under the impact of cosmic rays, and Carl Anderson renamed the ghost-entities "positrons." Physicists and fiction writers began speculating about parallel universes and planets made of mirror matter; Isaac Asimov (chemist and novelist) conceived of androids with positronic brains. in 1955 another "nuclear ghost," the antiproton, was caught out in a Bevatron maze; in 1956 the antineutron. By 1990 there were, on paper, antiquarks with anticolors (antired, antigreen, antiblue). The nuclear ghosts of positron emission tomography were helping physicians locate brain tumors and study, of all things, schizophrenia. And physicists were anticipating the synthesis of antihydrogen for the storage of what is called "antimatter."  (362-364)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Mechanical players have not replaced human, as the English composer Edward Elgar feared they would, contemplating the player piano in 1907. Instead, musicians have made a pact with their Doppelgängers. In concert, musicians take their chances and make their mistake, for the gamble of "soul"; in recording studios, miked and Dolbyed and digitized, Doppelgängers do the definitive, replayable work. Which is the more authentic? We are confronted here with serious problems of discernment, for the spirit of live performance is of unrepeatable epiphany, and the spirit of the laser disc, like the spirit of Authentic Music, verges on scientific replication. Performance in front of a "live" audience is about getting right with the moment; performance within a recording studio is about getting the music right once and for all. (377)</p></div></content><author><name>undefined</name></author></entry><entry><title>The Dark Forest Anthology of the Internet</title><link href="https://gavart.ist/#The%20Dark%20Forest%20Anthology%20of%20the%20Internet"></link><link href="https://gavart.ist/static/The%2520Dark%2520Forest%2520Anthology%2520of%2520the%2520Internet.html" rel="alternative" type="text/html"></link><id>4ef1c945-61aa-703e-ab22-6084a408c998</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="600"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Dawn of Everything</title><link href="https://gavart.ist/#The%20Dawn%20of%20Everything"></link><link href="https://gavart.ist/static/The%2520Dawn%2520of%2520Everything.html" rel="alternative" type="text/html"></link><id>6940c844-dee1-a866-f84b-a6507a856b9d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>The Dispossessed</title><link href="https://gavart.ist/#The%20Dispossessed"></link><link href="https://gavart.ist/static/The%2520Dispossessed.html" rel="alternative" type="text/html"></link><id>0a4e3fbe-5aca-9fce-25b5-24924dee6217</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p><span class=" digitalGarden 

">You write music! Music is a cooperative art, organic by definition, social. It may be the noblest form of social behavior we’re capable of. It’s certainly one of the noblest jobs an individual can undertake. And by its nature, by the nature of any art, it’s a sharing. The artist shares. it’s the essence of his act.</span></p></div></content><author><name>undefined</name></author></entry><entry><title>The Doors of Perception</title><link href="https://gavart.ist/#The%20Doors%20of%20Perception"></link><link href="https://gavart.ist/static/The%2520Doors%2520of%2520Perception.html" rel="alternative" type="text/html"></link><id>b678d970-90fe-4e2f-8667-1a5f2f5f7083</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Earthquake Room</title><link href="https://gavart.ist/#The%20Earthquake%20Room"></link><link href="https://gavart.ist/static/The%2520Earthquake%2520Room.html" rel="alternative" type="text/html"></link><id>2e9059d9-b3ce-0003-c078-281f5f45de33</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Essential Writings of Ralph Waldo Emerson</title><link href="https://gavart.ist/#The%20Essential%20Writings%20of%20Ralph%20Waldo%20Emerson"></link><link href="https://gavart.ist/static/The%2520Essential%2520Writings%2520of%2520Ralph%2520Waldo%2520Emerson.html" rel="alternative" type="text/html"></link><id>b68e8388-dc50-e45b-be68-32ce7156a42d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Fountainhead</title><link href="https://gavart.ist/#The%20Fountainhead"></link><link href="https://gavart.ist/static/The%2520Fountainhead.html" rel="alternative" type="text/html"></link><id>7b01b1ce-9e90-fc43-fc55-2f90d247c607</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Future of Thinking: Learning Institutions in a Digital Age</title><link href="https://gavart.ist/#The%20Future%20of%20Thinking%3A%20Learning%20Institutions%20in%20a%20Digital%20Age"></link><link href="https://gavart.ist/static/The%2520Future%2520of%2520Thinking%253A%2520Learning%2520Institutions%2520in%2520a%2520Digital%2520Age.html" rel="alternative" type="text/html"></link><id>f3c66553-e1e3-6304-9642-165be43927b7</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Great Gatsby</title><link href="https://gavart.ist/#The%20Great%20Gatsby"></link><link href="https://gavart.ist/static/The%2520Great%2520Gatsby.html" rel="alternative" type="text/html"></link><id>cee9cf2d-30c1-65db-805e-581a6f58c9aa</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Illuminations</title><link href="https://gavart.ist/#The%20Illuminations"></link><link href="https://gavart.ist/static/The%2520Illuminations.html" rel="alternative" type="text/html"></link><id>4bb2174e-0de0-8804-0ce3-7380a95c0be1</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Impossible Art · Adventures in Opera</title><link href="https://gavart.ist/#The%20Impossible%20Art%20%C2%B7%20Adventures%20in%20Opera"></link><link href="https://gavart.ist/static/The%2520Impossible%2520Art%2520%25C2%25B7%2520Adventures%2520in%2520Opera.html" rel="alternative" type="text/html"></link><id>4061c79f-670c-0a11-3e95-756b8b5ac0d4</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img> <img src="./files/img/notes/the-impossible-art-aucoin-notes.jpg" width="354"></img></p><p class="digitalGarden">Dozens of Orpheus operas hit the stage in the eighteenth century, but only one has remained in the repertoire: Christoph Willibald Gluck's <em>Orfeo ed Euridice</em> (1762), whose many melodic earworms, as well as its relatively modest scope (it has the virtue, uncommon in opera, of being less than ninety minutes long), have made it the most frequently performed of all Orphic adaptations. It may seem surprising that Gluck's is practically the only eighteenth-century Orpheus opera to remain in circulation, since the Classical style that took root in European music in the latter half of the century might seem a natural fit for a story like this one. But I think there's a deep aesthetic mismatch here. The classical style is founded on the Enlightenment virtues of cleanness, clarity, and logic, wheras Orpheus thrives in an atmosphere of Dionysian darkness and mystery. This myth tells a fundamentally pessimistic story about human nature. Orpheus's impulse to look back wins out over his awareness that Eurydice will be lost if he does so. There is little comfort to be found for listeners who want to believe in the inevitable triumph of rational thought. (32)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Striggio's text is in terza rima, the rhyme scheme invented by <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Dante">Dante</a> in <em>The Divine Comedy</em>: the poetry is organized in three-line stanzas, each of whose first and third lines rhyme; the end rhyme of each stanza's middle line then becomes the end rhyme for the first and third lines of the following stanza. The stanzas thus rhyme <em>aba, bcb, cdc,</em> and so on. Like a Dantean canto, the text of "Possente spirto" concludes with a single four-line stanza, with alternating end rhymes. The basic effect of terza rima is a perpetual sense of deferred gratification, since each three-line stanza contains two rhyming lines and one that doesn't yet rhyme with anything. This "orphan" line then rhymes with two lines in the following stanza. After a long sequence of interleaved tercets, the solitary quatrain at the poem's end creates a satisfying sense of closure. (43)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Though I inevitably disagree with Auden's delimitations—his insistence that music is incapable of psychological ambiguity, for instance, strikes me as absurd—I find it energizing to wrestle with his ideas about music's essential nature. The clarity of his positions can help us clarify our own. It is, counterintuitively, <em>because</em> of Auden's fanboyish passion for music, and his attendant need to strip it of its complexities and treat it as an idealized Other, that he is an especially thought-provoking philosopher of the art form. </p><p class="digitalGarden">His theory of the prehistoric origin of music, for instance, is quietly revelatory. auden proposes that music probably did not originate with the ear—that is, with the desire to imitate external sounds—but rather with humankind's "direct experience of his own body," the body's inner "tensions and rhythms." He draws a contrast between music and the visual arts, which he believes <em>are</em> dependent on the eye, and on a desire to represent external things. I think many musicians would agree that Auden's diagnosis rings true: music is the result of an inner physical need, as dance is, and its external realization in sound is an aftereffect rather than a cause. (82-83)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">As for his own role, that of the librettist, Auden is sternly matter-of-fact in his insistence on its modesty and contingency. The librettist's task is to serve the composer, period: "The verses which the librettist writes are not addressed to the public but are really a private letter to the composer," since only the composer will read the words <em>as words</em>; by the time they reach the public, they will have been transformed beyond recognition. Their "moment of glory" is "the moment in which they suggest to [the composer] a certain melody." Once the words have been set to music, "they must efface themselves and cease to care what happens to them." To hear Auden tell it, the librettist's presentation of a text to the composer is a kind of virgin sacrifice. When we listen to operatic singing, Auden doubts that we hear words at all: he believes we hear only "sung syllables," and as a result, "in song, poetry is expendable, syllables are not." (85)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The scene changes to Bedlam … before singing a chorus that I think deserves a place in Auden's <em>Collected Poems:</em> </p><p class="digitalGarden">Leave all love and hope behind;<br></br>Out of sight is out of mind<br></br>In these caverns of the dead.<br></br>In the city overhead<br></br>Former lover, former foe<br></br>To their works and pleasures go<br></br>Nor consider who beneath<br></br>Weep and howl and gnash their teeth.<br></br>Down in Hell as up in Heaven<br></br>No hands are in marriage given,<br></br>Nor is honor or degree<br></br>Known in our society.<br></br>Banker, beggar, whore and wit<br></br>In a common darkness sit.<br></br>Seasons, fashions never change;<br></br>All is stale yet all is strange;<br></br>All are foes, and none are friends<br></br>In a night that never ends. (94)<br></br></p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Stravinsky's depictions of limited or liminal autonomy take two distinct forms: the individual whose autonomy is obliterated by a potent social collective; and the mechanistic sublime of the automaton. Examples of the former include <em> The Rite of Spring</em> (1913), with its ritual sacrifice of the Chosen One before the assembled elders; and <em>Les noces</em> (1923), which depicts a Russian peasant wedding. The singular power of <em>Les noces</em> derives from the sense that the celebrants who make up its cast are in the grip of some mysterious collective force that pulls them forward in a vertiginous, headlong rush: the sacred ritual of marriage has a will of its own, an impetus so powerful that it swallows up its participants, who submit to it with a giddy blend of joy and terror. (98)</p><p class="digitalGarden">✴︎ </p><p class="digitalGarden">Whitman thought of opera as an emancipatory volcanic force, one that was capable of precipitating transformative spiritual experiences in listeners who submitted to irs power. In one of the extravagant catalogues of human experience in "Song of Myself," a series of earthy work-sounds ("the heave'e'yo of stevedores unlading ships by the wharves," "the steam-whistle," etc.) is followed by a euphoric vision of opera:</p><p class="digitalGarden">I hear the trained soprano … she convulses me like the climax of my love-grip;<br></br>The orchestra whirls me wider than Uranus flies,<br></br>It wrenches unnamable ardors from my breast,<br></br>It throbs me to gulps of the farthest down horror,<br></br>It sails me …<br></br></p><p class="digitalGarden">Whitman experiences the art form with his whole body: opera invades and overloads his nervous system, prompting an ecstacy so extreme that it verges on trauma. The experience of operatic performance, for Whitman, seems barely distinguishable from sex, or an acid trip. (171)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"The gates of Hell," W. H. Auden once asserted, "are always standing wide open. The lost are perfectly free to leave whenever they like, but to do so would mean admitting that the gates were open, that is to say that there was another life outside." The gates of the Nobiles' mansion also stand wide open throughout Buñuel's film. The guests remain within not because some divine judge has orgained their impirsonment but rather because their soulds are hoplessly entangles with their material wealth: they refuse to recognize that there is "another life outside." In one of the film's more repugnant moments, one character delcares that the lower classes are surely less sensitive to pain than the gentry is. The working-class servatns in <em>The Exterminating Angel</em> are in reality <em>more</em> sensitive than the wealthy guests: the servants know better than to subject themselves to this nightmare of wandering aimlessly around a drawing room … </p><p class="digitalGarden">What is it that finally frees them? Adès's answer to this question differs strikingly from Buñuel's, and accordingly the climactic moment of the guests' liberation is one of the few significant points of divergence between film and opera. Buñuel's treatment of this moment reminds me of an analagous scene in <em>The Rake's Progress</em>, a work whose neat morality-tale framing might seem, on the surface, to have little to do with the antilogical world of <em>The Exterminating Angel</em>. Tom Rakewell, like <em>Angel</em>'s socialites, is trapped in a hell of his own making, a hell in his head, and what frees him is an act of <em>repetition:</em> he has convinced himself that Anne Trulove can never love him again, that he can never return to his old life. But when, with Anne's help, he guesses that Nick Shadow has played the same card twice, he is saved. (Look at the cells that make up the word "repetition": a petition redoubled, a plea reaffirmed.) As Edward Mendelson puts it, "when Rakewell … accepts repetition, it proves to be, as it is in Kierkegaard, the image of eternity in the world of time." (218)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When I am required to account for my love of opera to someone who's unfamiliar with the art form, I often feel—even in the throes of advocacy—like a crazy person. I'll be speaking passionately about opera's capacity to manifest otherwise-incommunicable inner experiences, its ability to layer <em>multiple</em> inner experiences simultaneously, its moments of intimate revelation—and then I'll notice that my interlocutor's eyebrows are raised in undisguised skepticism. (224)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">This emotional candor, which is in evidence throughout <em>Heart Chamber</em>'s libretto, is beautifully suited both to opera in general and to this piece in particular. Czernowin's aim is to explore the very edge of what two people in a relationship are capable of communicating to each other, as well as the limits of what they are capable of <em>feeling</em>, what the heart can contain within its "chamber"; the piece is both an investigation of limits and a transgression of them. As a result, one of its prevailing emotions is frustration: frustration that the burning core of love that each character feels cannot simply communicate itself to the other, but instead gets tangled up in the self's outer layers, the crust and the magma of each character's insecurities and anxieties. Both characters are plagued by a painful awareness that the words they speak are <em>not enough</em>—a struggle that one can feel in the very fierceness with which Czernowin wields the blunt instrument of her English. For the heart, any language is a second language. And in this piece, the pressure of the heart's frustration-its sadness that is must express itself in language at all—opens up a space for music. (230)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The more I read Sarah Ruhl's work, the more qualities I noticed that seemed ready-made for opera. For one thing, she prefers poetry to prose: her plays might <em>seem</em> to be written in prose, but their true fabric, secretly, is poetry. In this, she strikes me as something of a unicorn among contemporary American playwrights (at least the ones I've encountered), many of whom prefer to write in a register that's about as lyrical as the dialogue on <em>Seinfeld</em>.</p><p class="digitalGarden">Sarah also prefers text to subtext. She regards the postmodern fixation on subtext—the idea that, in a play, what a character is <em>really</em> saying can't possibly be what they <em>say</em> they say-with quizzical mistrust. "If you're acting in a play of mine," she writes in one essay, "please, don't think one thing and then say another thing. Think the thing you are saying."</p><p class="digitalGarden">These two aesthetic preferences-poetry over prose, text over subtext—are linked: "Did the rise of subtext correspond to the rise of prose on stage over and above poetry on stage?" she wonders. Poetry, like music, is capable of obliterating subtext with sheer <em>presence:</em> "How to indicate subtext when singing a song from <em>The Tempest</em>? One speaks or sings, 'Full fathom five thy father lies,' and one thinks something different? Impossible." This last statement might remind us of the ethos of … W.H. Auden, who insisted that "music is immediate actuality and neither potentiality nor passivity can live in its presence." (250-251)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In some ways, <em>The Marriage of Figaro</em> is responsible for my being a musician, and it's certainly responsible for my work in the field of opera. When I was eight years old or so, I loved classical music but couldn't stand opera, which I'd heard only bits of on Saturday-afternoon radio broadcasts. Operatic singing struck me as jarring and unpleasant. I was even a little embarassed on the singers' behalf: they seemed to have no idea how silly they sounded.</p><p class="digitalGarden">For whatever reason, maybe because I was enthusiastic about Mozart and was playing some of his piano music at the time, my parents brought home a VHS tape of <em>Figaro</em>—Peter Hall's production, recorded at Glyndebourne in 1973 … This video had a huge impact on me. It gave me a sense that I suddenly had direct access to formerly unknown adult emotions … I didn't grasp the nuances of <em>Figaro'</em>s plot, but something communicated itself to me nonetheless. In the opera's ensemble scenes, MozArt has a way of layering his characters' psychic states such that we experience <em>the sum total of the spiritual energy in the room.</em> In these scenes, no emotion or intention can be hiddden; every secret feeling is brought to light. All the guilt and desire and insecurities and loathing and love accumulate and cause the musical air molecules to vibrate furiously. (279)</p></div></content><author><name>undefined</name></author></entry><entry><title>Sexual Personae</title><link href="https://gavart.ist/#Sexual%20Personae"></link><link href="https://gavart.ist/static/Sexual%2520Personae.html" rel="alternative" type="text/html"></link><id>e1738e23-9eae-d928-8d0b-09f643ed6995</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Shock Doctrine: The Rise of Disaster Capitalism</title><link href="https://gavart.ist/#Shock%20Doctrine%3A%20The%20Rise%20of%20Disaster%20Capitalism"></link><link href="https://gavart.ist/static/Shock%2520Doctrine%253A%2520The%2520Rise%2520of%2520Disaster%2520Capitalism.html" rel="alternative" type="text/html"></link><id>6212451c-e7ac-b9ed-60d1-b346237106b3</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Smarter Than Us: The Rise of Machine Intelligence</title><link href="https://gavart.ist/#Smarter%20Than%20Us%3A%20The%20Rise%20of%20Machine%20Intelligence"></link><link href="https://gavart.ist/static/Smarter%2520Than%2520Us%253A%2520The%2520Rise%2520of%2520Machine%2520Intelligence.html" rel="alternative" type="text/html"></link><id>cbc021e9-bde9-2a39-5a69-23fbad10f217</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Sonic Warfare: Sound, Affect, and The Ecology of Fear</title><link href="https://gavart.ist/#Sonic%20Warfare%3A%20Sound%2C%20Affect%2C%20and%20The%20Ecology%20of%20Fear"></link><link href="https://gavart.ist/static/Sonic%2520Warfare%253A%2520Sound%252C%2520Affect%252C%2520and%2520The%2520Ecology%2520of%2520Fear.html" rel="alternative" type="text/html"></link><id>e36dc3cf-dde2-3568-7f6e-b182fddf0682</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h1 class="digitalGarden">Rhythmanalysis</h1><p class="digitalGarden">For Bachelard, it was rhythm and not melody that formed the image of duration. He warned of the misleading application of melody as a metaphor for duration. He wrote that music's action was discontinuous, and it was only its perception that provides it with an appearance of continuity by the employment of an always incomplete and deferred temporal synthesis. For him, this synthesis is what gives, in retrospect, melodic continuity to more or less isolated sonic sensations. By emphasizing rhythm over melody, Bachelard is emphasizing intensity over duration, arguing in fact that duration is merely an effect of intensity, in opposition to Bergson's notion of interpenetration. The endurance of a sonic event, the length of a note, pertains here to a second order and “entails a kind of acoustic penumbra that does not enter into the precise arithmetic of rhythm.”</p><h1 class="digitalGarden">UAOs (Unidentified Audio Objects)</h1><p class="digitalGarden">The UAO is a kind of mutant acousmatic or schizophonic vector, a contagious pulse of experience without origin. For Kodwo Eshun, a UAO is “an event that disguises itself as music, using other media as a Trojan horse to infiltrate the landscape with disguised elements of timelines and atopia.”</p><p class="digitalGarden">As predatory brand environments converge with generative music and consumer profiling, artificial sonic life-forms are released from the sterile virosonic labs of digital sound design into the ecology of fear. But what conceptual tools does an audio virology use to track the transmission of these contagious sonic algorithms (earworms) and their psychoaffective symptoms (“stuck tune syndrome” and so-called cognitive itches)? Cultural virologies have to date remained essentially dualist (in the Cartesian sense) and neo-Darwinian in their reduction of culture to a cognitive field composed of static, unchanging idea units, otherwise known as memes. A standard objection to cultural virologies such as memetics is that by attributing so much autonomy to networks of memes, they sideline the human labor and consciousness involved in the construction of culture. Like memetics, the conception of an audio virology consistent with the ontology of vibrational force … diverges from memetics in significant ways … It will be suggested that memetics, with its cognitive obsessions and constant academic superiority complex, can only inadequately deal with processes of affective contagion and the rhythmic differentiation and mutation of vibrational transmission vectors. Instead, the components of an audio virology [should] be sought that are capable of mapping the full spectrum of affective dynamics.</p></div></content><author><name>undefined</name></author></entry><entry><title>Speed and Politics: An Essay on Dromology</title><link href="https://gavart.ist/#Speed%20and%20Politics%3A%20An%20Essay%20on%20Dromology"></link><link href="https://gavart.ist/static/Speed%2520and%2520Politics%253A%2520An%2520Essay%2520on%2520Dromology.html" rel="alternative" type="text/html"></link><id>9b465f81-4105-92b0-1f7d-70facc4cf922</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Spontaneous Happiness</title><link href="https://gavart.ist/#Spontaneous%20Happiness"></link><link href="https://gavart.ist/static/Spontaneous%2520Happiness.html" rel="alternative" type="text/html"></link><id>c6713513-ce24-67a4-79c7-46d8a12ee160</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Subvert • Plan For The Artist-Owned Internet</title><link href="https://gavart.ist/#Subvert%20%E2%80%A2%20Plan%20For%20The%20Artist-Owned%20Internet"></link><link href="https://gavart.ist/static/Subvert%2520%25E2%2580%25A2%2520Plan%2520For%2520The%2520Artist-Owned%2520Internet.html" rel="alternative" type="text/html"></link><id>890c6e37-fe10-c06f-066c-da1c4dfb1c2d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p><span class=" digitalGarden 

">First Zine issued by the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Subvert%20%E2%80%A2%20Music%20Platform">Subvert • Music Platform</a> Co-op.</span></p></div></content><author><name>undefined</name></author></entry><entry><title>Sviatoslav Richter: Notebooks and Conversations</title><link href="https://gavart.ist/#Sviatoslav%20Richter%3A%20Notebooks%20and%20Conversations"></link><link href="https://gavart.ist/static/Sviatoslav%2520Richter%253A%2520Notebooks%2520and%2520Conversations.html" rel="alternative" type="text/html"></link><id>7b2a3d08-59c3-008c-c5ac-779ef2f70c7c</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Techgnosis: Myth, Magic + Mysticism in the Age of Information</title><link href="https://gavart.ist/#Techgnosis%3A%20Myth%2C%20Magic%20%2B%20Mysticism%20in%20the%20Age%20of%20Information"></link><link href="https://gavart.ist/static/Techgnosis%253A%2520Myth%252C%2520Magic%2520%252B%2520Mysticism%2520in%2520the%2520Age%2520of%2520Information.html" rel="alternative" type="text/html"></link><id>ed8608ea-ad0a-771b-ee6e-784cd90cdba7</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Technic and Magic · The Reconstruction of Reality</title><link href="https://gavart.ist/#Technic%20and%20Magic%20%C2%B7%20The%20Reconstruction%20of%20Reality"></link><link href="https://gavart.ist/static/Technic%2520and%2520Magic%2520%25C2%25B7%2520The%2520Reconstruction%2520of%2520Reality.html" rel="alternative" type="text/html"></link><id>4a1d7ff4-eb8b-72d6-4c3c-817442055cd1</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>The Age of Spiritual Machines</title><link href="https://gavart.ist/#The%20Age%20of%20Spiritual%20Machines"></link><link href="https://gavart.ist/static/The%2520Age%2520of%2520Spiritual%2520Machines.html" rel="alternative" type="text/html"></link><id>0b426c10-51f8-ef93-8094-f9f11571d50b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Anxiety of Influence: A Theory of Poetry</title><link href="https://gavart.ist/#The%20Anxiety%20of%20Influence%3A%20A%20Theory%20of%20Poetry"></link><link href="https://gavart.ist/static/The%2520Anxiety%2520of%2520Influence%253A%2520A%2520Theory%2520of%2520Poetry.html" rel="alternative" type="text/html"></link><id>e9c0960e-c1f8-b8b9-eb49-a0f6edbc5c44</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>The Art of Being</title><link href="https://gavart.ist/#The%20Art%20of%20Being"></link><link href="https://gavart.ist/static/The%2520Art%2520of%2520Being.html" rel="alternative" type="text/html"></link><id>67c2ba8e-58d4-e8d2-6cd6-143f3bbff82d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden">Concentration is such a rare phenomenon because one's will is not directed to one thing; nothing is worth the effort to concentrate on it, because no goal is pursued passionately. But there is more to it: People are afraid to concentrate because they are afraid of losing themselves if they are too absorbed in another person, in an idea, in an event. The less strong their self, the greater the fear of losing themselves in the act of concentration on the non-self. For the person with a dominant having orientation this fear of losing oneself is one of the main factors that operates against concentration. Finally, to concentrate requires inner activity, not busy-ness, and his activity is rare today when busy-ness is the key to success.
There is still another reason why people are afraid of concentrating: They think that concentrating is too strenuous an activity and that they would get tired quickly. In fact the opposite is true, as anyone can observe in oneself. Lack of concentration makes one tired, while concentration wakes one up. There is no mystery in this. In unconcentrated activity no energy is mobilized, since a low level of energy is sufficient to do the task. Mobilization of energy, which has a psychic as well as a physiological aspect, has the effect of making one feel alive. (45)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">One might suspect that these family and personal conflicts are put in the foreground [in psychoanalysis] in order to cover up the much more fundamental, severe, and painful conflicts between conscience, integrity, authenticity, and self-interest. Usually these latter conflicts are not even seen as such but are quickly shoved away as irrational, romantic, "infantile" impulses that need not and should not be pursued any further. Yet they are the crucial conflicts of everyone's life, much more crucial than divorce or not divorce—which, most of the time, is only the replacement of an older by an newer model. (59)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">A person who seeks optimal growth may also have neurotic symptoms and thus need analysis as a therapy. A person who has not been completely alienated, who has remained sensitive and able to feel, who has not lost the sense of dignity, who is not yet "for sale," who can still suffer over the suffering of others, who has not acquired fully the having mode of existence—briefly, a person who has remained a person and not become a thing—cannot help feeling lonely, powerless, isolated in present-day society. (65)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Still another approach is an autobiographical one. By this I mean speculations about one's history, beginning with one's early childhood and ending with one's projected future development. Try to get a picture of significant events, of your early fears, hopes, disappointments, events that decreased your trust and faith in people, and in yourself.
Ask: On whom am I dependent? What are my main fears? Who was I meant to be at birth? What were my goals and how did they change? What were the forks of the road where I took the wrong direction and went the wrong way? What efforts did I make to correct the error and return to the right way? Who am I now, and who would I be if I had always made the right decisions and avoided crucial errors? Whom did I want to be long ago, now, and in the future? What is my image of myself? What is the image I wish others to have of me? Where are the discrepancies between the two images, both between themselves and with what I sense is my real self? Who will I be if I continue to live as I am living now? What are the conditions responsible for the development as it happened? What are the alternatives for further development open to me now? What must I do to realize the possibility I choose? (72-73)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">A fifth approach is to let one's thoughts and feelings be centered around the goals of living, such as overcoming greed, hate, illusions, fears, possessiveness, narcissism, destructiveness, sadism, masochism, dishonesty, lack of authenticity, alienation, indifference, necrophilia, male patriarchal dominance or corresponding female submission, and to achieve independence, the capacity for critical thought, for giving, for loving. This approach consists in the attempt to uncover the unconscious presence of any of these "bad" traits, the way they are rationalized, how they form part of one's whole character structure, the conditions of their development. The process is often very painful and may arouse a great deal of anxiety. It requires that we become aware of being dependent, when we believe that we love and are loyal; that we become aware of our vanity (narcissism), when we believe ourselves to be nothing but kind and helpful; that we become aware of our sadism, when we believe that we want to do for others only what is good for them; that we discover our destructiveness, when we believe that it is our sense of justice that demands punishment; that we become aware of our cowardice, when we believe ourselves to be only prudent and "realistic", that we become aware of our arrogance, when we believe that we behave with extraordinary humility; that we are aware that we are afraid of freedom, when we think that we are only motivated by the wish not to hurt anybody, that we become aware that we are insincere, when we only thought that we did not want to be rude; that we discover that we are treacherous, when we believe that we are being particularly objective. In short, as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Wolfgang%20von%20Goethe">Goethe</a> put it, only if we can "imagine ourselves as the author of any conceivable crime," and mean it, can we be reasonably sure of having dropped the mask and of being on the way to becoming aware of who we are. (76)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">What matters is the entire context in which the effort is made or is a point somewhat difficult to grasp, because in our Western tradition duty and virtue are considered harsh taskmasters; in fact the best proof that one acts rightly is that it is unpleasant, the proof of the opposite that one likes to do it. The Eastern tradition is entirely different, and far superior in this respect. It bypasses the polarity between rigid, stiff discipline and lazy, slouching "comfort." It aims at a state of harmony, which is at the same time structuralized, "disciplined" (in the autonomous sense), alive, flexible and joyful. (79)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Modern man can produce effects in the material world that are greater than earlier man ever was able to achieve. But these effects are completely incommensurate with the physical and intellectual efforts invested in them. To drive a powerful automobile requires neither physical strength nor particular skill or intelligence. To fly and airplane requires a great deal of skill; to drop a hydrogen bomb, relatively little. To be sure, there are some activities that still require considerable skill and effort: those of artisans, physicians, scientists, artists, highly skilled workers, pilots, fishermen, horticulturists, and some other such occupations or professions. Yet these skill-requiring activities are increasingly fewer; the vast majority of men make a living by work that requires little intelligence, imagination, or concentration of any kind. Physical effects (results) are no longer proportionate to human effort, and this <em>separation between effort (and skill) and result</em> is one of the most significant and pathogenic features of modern society, because it tends to degrade effort and to minimize its significance. (94-95)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Also, "possessive having" can have another function than that of gaining without having to make an effort. In the first place, dead property gives power to its owner in a society centered around property. The one who has much property is usually politically powerful; he appears to be a great man because he is a powerful man; people admire his greatness because they prefer to admire to being afraid. The rich and powerful man can influence others by intimidating them or by buying them; hence, he acquires the possession of fame or admiration.
<a class="tc-tiddlylink tc-tiddlylink-missing" href="#Karl%20Marx">Marx</a> has given a beautiful analysis of this last point: </p><blockquote class="tc-quote digitalGarden"><p>That which exists for me through the medium of <em>money,</em> that which I can pay for (i.e., which money can buy), that <em>I am,</em> the possessor of the money. My own power is as great as the power of money. The properties of money are my own (the possessor's) properties and faculties. What I <em>am</em> and <em>can do</em> is, therefore, not at all determined by my individuality. I <em>am</em> ugly, but I can buy the <em>most beautiful woman</em> for myself. Consequently, I am not <em>ugly</em>, for the effect of <em>ugliness</em>, its power to repel, is annulled by money. As an individual I am <em>lame</em>, but money provides me with twenty-four legs. Therefore, I am not lame. I am a detestable, dishonorable, unscrupulous and stupid man, but money is honored and so also is its possessor. Money is the highest good, and so its possessor is good. Besides, money saves me the trouble of being dishonest; therefore, I am presumed honest. I am <em>stupid,</em> but since money is the <em>real mind</em> of all things, how should its possessor be stupid? Moreover, he can buy talented people for himself, and is not he who has power over the talented more talented than they? I who can have, through the power of money, <em>everything</em> for which the human heart longs, do I not possess all human abilities? Does not my money, therefore, transform all my incapacities into their opposites?</p><p>If <em>money</em> is the bond which binds me to <em>human</em> life, and society to me, and which links me with nature and man, is it not the bond of all <em>bonds?</em> Is it not, therefore also the universal agent of separation It is the real means of both <em>separation</em> and <em>union</em>, the galvano-<em>chemical</em> power of society …</p><p>Since money, as the existing and active concept of value, confounds and exchanges everything, it is the universal <em>confusion and transposition</em> of all things, the inverted world, the confusion and transposition of all natural and human qualities.
He who can purchase bravery is brave, though a coward. Money is not exchanged for a particular quality, a particular thing, or a specific human faculty, but for the whole objective world of man and nature. Thus, from the standpoint of its possessor, it exchanges every quality and object for every other, even though they are contradictory. It is the fraternization of incompatibles; it forces contraries to embrace.</p><p>Let us assume <em>man</em> to be <em>man</em>, and his relation to the world to be a human one. then love can only be exchanged for love, trust for trust, etc. If you wish to enjoy art you must be an artistically cultivated person; if you wish to influence other people you must be a person who really has a stimulating and encouraging effect upon others. Every one of your relations to man and to nature must be a <em>specific expression</em>, corresponding to the object of your will, of your <em>real individual</em> life. If you love without evoking love in return, i.e., if you are not able, by the <em>manifestation</em> of yourself as a loving person, to make yourself a <em>beloved person</em>, then your love is impotent and a misfortune.</p><p><sup><em>Economic and Philosophical Manuscripts 1844</em></sup></p><p>(104)</p></blockquote><p class="digitalGarden">✴︎</p><p class="digitalGarden">But there is a type of consumption that is not necessarily by mouth. The best example is the private automobile. It can be argued that such is functional property and for this reason not equivalent to dead possession. This would be true if the private car were really functional—but it is not. It does not stimulate or activate any of man's powers. It is a distraction, enables a person to run away from himself, produces a false sense of strength, helps to form a sense of identity based on the brand of car the man drives; it prevents him from walking and thinking, is sufficiently exacting to make a concentrated conversation impossible, and stimulates competition. One would need to write a book in order to give a full description of the irrational and pathogenic function of the type of consumption that the private automobile represents. (115)</p></div></content><author><name>undefined</name></author></entry><entry><title>The Art of Piano Playing</title><link href="https://gavart.ist/#The%20Art%20of%20Piano%20Playing"></link><link href="https://gavart.ist/static/The%2520Art%2520of%2520Piano%2520Playing.html" rel="alternative" type="text/html"></link><id>798dfdf1-6395-8c7f-3ef8-36513fdef4a6</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">One of the main mistakes in preparing for a concert (and in work in general) … is the complete divorce between their work at home and the performance in the concert hall. For them the notion of learning is identical with that of practicing; they are prepared to play by the hour some beautiful composition, thumping out every note, to practice each hand separately, and to repeat the same passage endlessly, in short to learn music without music. It does not occur to them the play the composition in its entirety thinking first of all of music; for them the notion of “music making” is incompatible with the notion of “work”. It is understandable that with such an exceptive method the best musical compositions are turned into exercises or etudes. The logical and practical mistake made by pianists who adopt this method, is that they consider it as an intermediate stage on the way to reaching some other, higher goal, but since they stop at this stage for too long … it becomes an end in itself beyond which nothing can be achieved.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden"></p></div></content><author><name>undefined</name></author></entry><entry><title>The Art of Piano Playing (A Scientific Approach)</title><link href="https://gavart.ist/#The%20Art%20of%20Piano%20Playing%20(A%20Scientific%20Approach)"></link><link href="https://gavart.ist/static/The%2520Art%2520of%2520Piano%2520Playing%2520(A%2520Scientific%2520Approach).html" rel="alternative" type="text/html"></link><id>2e990451-f46b-e1c9-a0b5-52dc8a3136f3</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img>
 </p></div></content><author><name>undefined</name></author></entry><entry><title>The Art of Practicing</title><link href="https://gavart.ist/#The%20Art%20of%20Practicing"></link><link href="https://gavart.ist/static/The%2520Art%2520of%2520Practicing.html" rel="alternative" type="text/html"></link><id>77af29ab-e78c-b501-062b-bcf5049002e2</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img></div></content><author><name>undefined</name></author></entry><entry><title>The Art of Travel</title><link href="https://gavart.ist/#The%20Art%20of%20Travel"></link><link href="https://gavart.ist/static/The%2520Art%2520of%2520Travel.html" rel="alternative" type="text/html"></link><id>6e545d70-3605-45a4-d760-de089fb8ff84</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">The southern Sinai at dawn. What, then, is this feeling? It is generated by a valley created four hundred million years ago, by a granite mountain 2,300 meters high and by the erosion of millennia marked on the walls of a succession of steep canyons. Beside all these, man seems merely dust postponed: the sublime as an encounter —pleasurable; intoxicating, even—with human weakness in the face of the strength, age and size of the universe. (164)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Encouraged by John Ruskin's democratic vision of drawing, I tried my hand at it during my travels. As to what I should draw, it seemed sensible to be guided by the same desire to possess beauty that had previously led me to take up my camera. In Ruskin's words, 'Your art is to be the praise of something that you love. It may only be the praise of a shell or a stone'. (222)</p></div></content><author><name>undefined</name></author></entry><entry><title>The Beauty of Gesture</title><link href="https://gavart.ist/#The%20Beauty%20of%20Gesture"></link><link href="https://gavart.ist/static/The%2520Beauty%2520of%2520Gesture.html" rel="alternative" type="text/html"></link><id>078ac95f-29fe-180e-a11d-44a1647b60cb</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">To each of us, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wolfgang%20Amadeus%20Mozart">Mozart's</a> sonata tells a different story, entirely visible in the gestures of the pianist. You could almost hear it on a silent keyboard. It would be fine music for the deaf. Like us, the deaf hear their thoughts in the silent music of motion. So they love music in their own way, for the sight of it. In Nicholas Philibert's film <em>The Country of the Deaf</em>, they even pretend to play a quartet, just to get the feel of it. Those who cannot hear at all, who depend upon gestures to communicate (the spoken word, when they manage—at the cost of great effort—to master its usage, remains for them a foreign language), know how great is the wealth of meaning conveyed by gestures. From this point of view, we are illiterates compared to the deaf. We are not aware of one one-hundredth of the potential messages of our gestures …</p><p class="digitalGarden">There is an easy explanation for our incompetence. Nothing has prepared us for the concept that everyday gestures might be philosophical exercises. No one has advised us to pay attention to them, to stop viewing them as chores, to start loving them and perfecting them …</p><p class="digitalGarden">In our society, exercising the memory of gestures seems out of place …</p></div></content><author><name>undefined</name></author></entry><entry><title>The Birth of Tragedy Or: Hellenism And Pessimism</title><link href="https://gavart.ist/#The%20Birth%20of%20Tragedy%20Or%3A%20Hellenism%20And%20Pessimism"></link><link href="https://gavart.ist/static/The%2520Birth%2520of%2520Tragedy%2520Or%253A%2520Hellenism%2520And%2520Pessimism.html" rel="alternative" type="text/html"></link><id>685c4bf4-48cc-d1f3-270a-88928c4a77e7</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p>Re-read in 2024 October</p><p class="digitalGarden">Insofar as the subject is the artist, however, he has already been released from his individual will, and has become, as it were, the medium through which the one truly existent subject celebrates his release in appearance. For to our humiliation and exaltation, one thing above all must be clear to us. The entire comedy of art is neither performed for our betterment or education nor are we the true authors of this art world. On the contrary, we may assume that we are merely images and artistic projections for the true author, and that we have our highest dignity in our significance as works of art—for it is only as an aesthetic phenomenon that existence and the world are eternally justified—while of course our consciousness of our own significance hardly differs from that which the soldiers painted on canvas have of the battle represented on it. Thus all our knowledge of art is basically quite illusory, because as knowing beings we are not one and identical with that being which, as the sole author and spectator of this comedy of art, prepares a perpetual entertainment for itself. Only insofar as the genius in the act of artistic creation coalesces with the primordial artist of the world, does he know anything of the eternal essence of art; for in this state he is, in a marvelous manner, like the weird image of the fairy tale which can turn its eyes at will and behold itself; he is at once subject and object, at once poet, actor, and spectator.</p></div></content><author><name>undefined</name></author></entry><entry><title>On Self-Loathing</title><link href="https://gavart.ist/#On%20Self-Loathing"></link><link href="https://gavart.ist/static/On%2520Self-Loathing.html" rel="alternative" type="text/html"></link><id>1d84da57-a8b2-9cbb-a60f-bb0367b31b3f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">This primal helplessness takes a very long time to dissipate. Even after two or three long years, the offspring is still weak, confused, incompetent and fragile. Its fingers are no thicker than twigs, it could be killed by a family dog, its mind is filled with a plethora of dazzlingly peculiar, unrealistic and sentimental notions. It thinks that teddy bears are alive, it has conversations with plants, it looks forward to Santa coming down the chimney, it wants to stand in circles holding hands with other diminutive people and sing songs about fairies and mummies and daddies, and later draw pictures of giant flowers and friendly butterflies before falling asleep sucking its thumb and nursing its comfort blanket. (78)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">We have served far too long an apprenticeship in the school of suffering. It is time to make the remarkable discovery that we can dismiss others as theey have dismssed us and concentrate for the remainder of our days on those blessed souls who already know how to freely grant us th ekindess and approcal we are worthy of. (102)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">… our self-contempt tends to be heightened because we refuse to think about luck. We look at where we have ended up and compare it with the more fortunate places of others and come to only one verdict; we must have been more stupid than they are, our characters must have been more corrupt than theirs. But in the process, we miss out on a critical explanatory factor: whatever our flaws may have been, we may have had to contend with a particularly vicious swerve of fate. There have been people every bit as hasty or unreasonable as us who (for now) have sailed on unmolested. Events have pressed more harshly on the vulnerable parts of our personalities. Anyone who would have been tested as we were would have failed in comparable ways. In assessing our destiny, we should remember to claim a very large role for the forces of foul luck. (108)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">As we wean ourselves off our self-hating ways, we should become wary of those situations and routines that can return us to the worst of our inclinations. We should minimise our exposure to media, surround ourselves with enthusiastic and warm-hearted people, avoid pushing ourselves too hard at work and make time to sift through our thoughts at the end of every day. We should embrace a quiet, nourishing lifestyle suitable for the emotional convalescents we are. There is no more need for manic ambition or for striving to be at the center of things. We should simultaneously note how much our progress can be undermined by contact with envious and hostile articles, by disappointed and vengeful friends, by chaotic busy days and by insincere and greedy colleagues. We are never more than one or two bad habits away from inner collapse. (123)</p></div></content><author><name>undefined</name></author></entry><entry><title>One Hundred Years of Solitude</title><link href="https://gavart.ist/#One%20Hundred%20Years%20of%20Solitude"></link><link href="https://gavart.ist/static/One%2520Hundred%2520Years%2520of%2520Solitude.html" rel="alternative" type="text/html"></link><id>6ea57b8d-a613-b8b9-d4e3-1caa661ce339</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Our Mathematical Universe: My Quest for the Ultimate Nature of Reality</title><link href="https://gavart.ist/#Our%20Mathematical%20Universe%3A%20My%20Quest%20for%20the%20Ultimate%20Nature%20of%20Reality"></link><link href="https://gavart.ist/static/Our%2520Mathematical%2520Universe%253A%2520My%2520Quest%2520for%2520the%2520Ultimate%2520Nature%2520of%2520Reality.html" rel="alternative" type="text/html"></link><id>411ec76c-37cf-9c04-4a9d-38dbb0ec705e</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h3 class="digitalGarden">The Mathematical-Regularity Prediction</h3><p class="digitalGarden">. . . . Wigner’s famous 1960 essay where he argued that “the enormous usefulness of mathematics in the natural sciences is something bordering on the mysterious,” and that “there is no rational explanation for it.” The Mathematical Universe Hypothesis provides this missing explanation. It explains the utility of mathematics for describing the physical world as a natural consequence of the fact that the latter is a mathematical structure, and we’re simply uncovering this bit by bit. The various approximations that constitute our current physics theories are successful because simple mathematical structures can provide good approximations of certain aspects of more-complex mathematical structures. In other words, our successful theories aren’t mathematics approximating physics, but mathematics approximating mathematics.</p></div></content><author><name>undefined</name></author></entry><entry><title>Paradais</title><link href="https://gavart.ist/#Paradais"></link><link href="https://gavart.ist/static/Paradais.html" rel="alternative" type="text/html"></link><id>770680f8-f26e-f652-0f5d-24a71e6c9727</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">… that the highway was all but deserted at that hour so he could cycle along it without having to wait for the evening traffic to calm down, and by the same token use the momentum he picked up to veer into the side road that opened up in the undergrowth, the shortcut that would lead him straight to his house, avoiding Progreso en-tirely, a dirt track which, at that time of night, was more like a living, breathing pit of darkness, a tunnel that echoed with deathly screeches and the croaks of cicadas and enormous toads hiding in the grass, a track that Polo would turn into without a second thought, without braking at all, befuddled by his thirst and pounding head, squinting from the sweat and insects in his face, pedaling furiously and with drunken abandon and placing all his trust in his muscle memory, which seemed to remember the places where the track grew narrow or gnarled with tree roots after all those years spent cycling back and forth twice a day through that tunnel of vines and ferns and boggy leaf mold that stank like a fresh grave: first as a young boy, to attend the school on the other side of the river, and then, when he was a bit older, to take the bus to Boca. (34)</p><p class="digitalGarden">He was one tough motherfucker, his grandfather, and completely in-comprehensible! Polo had loved him to death, and feared him, too, whenever the old man overdid it on the rotgut and suddenly started talking to himself like a madman and hurling things at the walls. Next to him, Polo felt stupid, clumsy, small, like someone who'd been born yesterday while his grandfather's life stretched back endlessly in time like a really long film in which Polo played a bit part, appearing for a couple of minutes towards the end to deliver some stupid line. His grandfather had never been a kid, that's why he didn't know how to be around them, he'd say. He had worked from the age of six: first as a drover, then as a loader and driver for a furni ture company, eventually climbing the ranks there to the position of sales clerk; then as a cook and teacher before doing a stretch inside, and finally, when he came to live in Progreso as a carpenter. And each and every one of those trades he'd learned himself, just watching how it was done, observing and repeating, carving out a living with whatever he had to hand. (54)</p></div></content><author><name>undefined</name></author></entry><entry><title>Paths To God: Living The Bhagavad Gita</title><link href="https://gavart.ist/#Paths%20To%20God%3A%20Living%20The%20Bhagavad%20Gita"></link><link href="https://gavart.ist/static/Paths%2520To%2520God%253A%2520Living%2520The%2520Bhagavad%2520Gita.html" rel="alternative" type="text/html"></link><id>671372eb-e354-b3ec-73b1-a27ad7a35bf8</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Pedro Páramo</title><link href="https://gavart.ist/#Pedro%20P%C3%A1ramo"></link><link href="https://gavart.ist/static/Pedro%2520P%25C3%25A1ramo.html" rel="alternative" type="text/html"></link><id>6b530e57-db23-f74b-0622-cea0ad05bb73</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Piano Pieces</title><link href="https://gavart.ist/#Piano%20Pieces"></link><link href="https://gavart.ist/static/Piano%2520Pieces.html" rel="alternative" type="text/html"></link><id>f36dbe4c-5d5e-1680-9654-f2b34dcb0587</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Poached · Inside The Dark World of Wildlife Trafficking</title><link href="https://gavart.ist/#Poached%20%C2%B7%20Inside%20The%20Dark%20World%20of%20Wildlife%20Trafficking"></link><link href="https://gavart.ist/static/Poached%2520%25C2%25B7%2520Inside%2520The%2520Dark%2520World%2520of%2520Wildlife%2520Trafficking.html" rel="alternative" type="text/html"></link><id>e673b9de-a47f-6502-6dd4-d97c26a9a5ab</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Politically Red</title><link href="https://gavart.ist/#Politically%20Red"></link><link href="https://gavart.ist/static/Politically%2520Red.html" rel="alternative" type="text/html"></link><id>ffcb8009-4ee0-3f5d-01e0-808c0134f363</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Portable Document Format</title><link href="https://gavart.ist/#Portable%20Document%20Format"></link><link href="https://gavart.ist/static/Portable%2520Document%2520Format.html" rel="alternative" type="text/html"></link><id>df8b8a3c-2e98-16c8-fa57-85b811006754</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Psychedelic Drugs Reconsidered</title><link href="https://gavart.ist/#Psychedelic%20Drugs%20Reconsidered"></link><link href="https://gavart.ist/static/Psychedelic%2520Drugs%2520Reconsidered.html" rel="alternative" type="text/html"></link><id>bbab7f5b-b28a-b72f-0ed7-a26158cb190f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Refraction and Water &amp; Music present WHAT'S GOOD: Creativity in the Age of Artificial Intelligence</title><link href="https://gavart.ist/#Refraction%20and%20Water%20%26%20Music%20present%20WHAT'S%20GOOD%3A%20Creativity%20in%20the%20Age%20of%20Artificial%20Intelligence"></link><link href="https://gavart.ist/static/Refraction%2520and%2520Water%2520%2526%2520Music%2520present%2520WHAT'S%2520GOOD%253A%2520Creativity%2520in%2520the%2520Age%2520of%2520Artificial%2520Intelligence.html" rel="alternative" type="text/html"></link><id>d9579628-02c0-102a-7c7f-a579400ac9b1</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p><a class="tc-tiddlylink-external" href="https://refraction.metalabel.app/whatsgoodzine" rel="noopener noreferrer" target="_blank">https://refraction.metalabel.app/whatsgoodzine</a> • <a class="tc-tiddlylink-external" href="https://zora.co/collect/eth:0x20b8a9a6f6bc81bb308d7d784f8130c6648991a3" rel="noopener noreferrer" target="_blank">Mint 45/200</a></p><p>References <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#RAV%20x%20Sound%20Obsessed%20Mixtape">RAV x Sound Obsessed Mixtape</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Rewilding The World</title><link href="https://gavart.ist/#Rewilding%20The%20World"></link><link href="https://gavart.ist/static/Rewilding%2520The%2520World.html" rel="alternative" type="text/html"></link><id>9f7ec057-2e5f-f5d3-f180-12ee1c9155de</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p><span class=" digitalGarden 

">Wolves accomplished what biologists called "landscape-level change." When browsers had the run of the place, feasting on tender vegetation that shaded rivers, they climinated shade and raised the water temperature. Trout are exquisitely sensitive to changes in temperature; they need cool, well-oxygenated water to reproduce and avoid stress. Warm water contains less oxygen. The return of wolves moved elk away from rivers; trees and shrubs grew over the water, shading it; the water temperature dropped; trout benefited; fly fishermen rejoiced. Studies showed that, in addition to effects on elk, sixteen species of vertebrates were affected by wolf predation. Populations of coyote dropped in density. Grizzly bears, capable of driving wolves off a kill, feasted on carrion. Other scavengers benefited as well, including bald and golden eagles, ravens, and magpies. Songbirds and amphibians also began to return. "Soon after we bring wolves back, plants are flourishing again," Ripple told the Seattle Times in 2005.<br></br><br></br>What he termed "the ecology of fear" proved more consequential than anyone had foreseen. The studies of what Terborgh called the "pathological ecology" at Lago Guri led scientists to understand that predators stabilize the environment, exerting "top-down" control. Plant reproduction, Ter borgh wrote, "is particularly sensitive to distortions in the animal community." Subtract predators, and plants go haywire. "As soon as we get rid of wolves, plants stop flourishing," Ripple noted." The technical term for these downward cause-and-effect spirals is "trophic-cascades"—trophic meaning nutritional—and the forces exerted by predators and other keystones are "top-down" forces or "top-down regulation."20 In the same way that white-tailed deer populations explode in the absence of predators, with disastrous consequences throughout North America, a large, competitive mussel species, Myti-lus californianus, in the Pacific Northwest can proliferate out of con-trol, taking over the seafloor, if its predator, the intertidal sea star, goes missing, eliminating a more complex array of algae and other species. As oceans are rapidly emptied of their biodiversity, entire marine ecosystems are failing, causing catastrophic effects on world food supplies … Inevitably, an ecosystem robbed of its top predators begins a remorseless process of impoverishment. (48-9)<br></br><br></br>✴︎<br></br><br></br>In South Africa, people were driven from what became Kruger; in Kenya, the Maasai were excluded from areas where they had traditionally grazed their cattle. Africans saw little difference between land seized for conservation and that taken by whites for their own use: the finest agricultural lands in the east and south of the continent, generally free of malaria and tsetse flies, ended up in the hands of Europeans. David Western, who grew up in Tanganyika (now Tanzania) during the 1950s and served briefly as head of the Kenya Wildlife Service, recalled hearing black Africans angrily condemning the parks: "First they took our animals, then our land." (115)<br></br><br></br>✴︎<br></br><br></br>Elephants are the fertilizers of Africa. Conservation biologists consider them keystone herbivores, essential to the maintenance of forested areas and open savannah grasslands. Their huge appetites and inefficient digestion- they digest only around 40 percent of what they eat-account for a tremendous impact on the environment. In the course of traveling their large home ranges, of up to 500 square miles, and migrating long distances in search of food and water, they are responsible for maintaining and restoring myriad ecosystems. The elephants that frequent the rain forests act as "forest engineers," creating openings in the understory called "light gaps," encouraging decomposition by trampling rotten logs, aerating soil as they dig for minerals, providing the mechanism for the dispersal and germination of many plants: up to a third of tree seeds in West Africa must pass through an elephant's gut to germinate. Their capacious deposits of dung spread the seeds of hundreds of species; their feeding habits, rooting out tender saplings and consuming young trees and shrubs, keep the savannah open. In the absence of elephants, woody plants would have shaded out grasslands and forests would have claimed the Serengeti long ago. (133)<br></br><br></br>✴︎<br></br><br></br>Biologists and behavioral experts have begun to believe that elephant aggression, expressed in rampages that have destroyed villages and schools, has become epidemic in recent years, in response to systematic poaching and culling. In a 2005 Nature article, Gay Bradshaw, a psychologist in environmental science, and other experts, including Cynthia Moss and Joyce Poole, theorize that elephant populations in Africa and Asia may be experiencing "psychobiological trauma" caused by habitat loss and disruption of the healthy dynamics of stable herds.* As humans poach and kill more elephants, the beleaguered giants are lashing out. Bradshaw has called the deterioration of the relationship between people and elephants "extraordinary. ... Where for centuries humans and el ephants lived in relatively peaceful coexistence, there is now hostlity and violence." Recently, rangers in Pilanesberg National Park in South Africa reported that young male elephants had attacked, raped, and killed sixty-three rhinos, hitherto unheard-of and aberrant behavior. The three elephants responsible, subsequently shot by park officials, were found to have been adolescents who had witnessed the shooting of their families in other parks, where it was a common practice to tie the young to the bodies of the dead before they could be collected and moved. Bradshaw and her colleagues argue that neurological development of young elephants subjected to trauma and maternal deprivation can be damaged in ways similar to that seen in human victims. They call for "new conservation strategies that promote normal social pat-terns." One of those strategies is to restore large-scale elephant habitat.<br></br><br></br>Southern Africa currently has a population of 250,000 elephants; by 2020, that population is projected to reach 400,000. The Great Limpopo's attempt to deal with this jumbo problem made it the first "major test case" for South Africa's peace parks. (134)<br></br><br></br>✴︎<br></br><br></br>The peace parks seemed to offer a solution, promising to restore the free movement of wildlife throughout southern Africa. Scientif-cally, enlarging the available range for elephants made more sense than trying to manage isolated and confined populations artificially, as Kruger had been doing. Biologists cited metapopulation dynamics, which derived from the equilibrium theory of island biogeography: with sufficient connectivity in an ecosystem, local populations may expand in some places or decline in others, with numbers remaining relatively stable through immigration or recolonization. Give elephants more space and restore their migratory corridors, scientists believed, and their numbers would stabilize naturally. Together, the three major transfrontier conservation areas would open up enough room so that elephants across the subcontinent could begin to function again as a single population. (137)<br></br><br></br>✴︎<br></br><br></br>By all accounts, both the government of Mozambique and the Peace Parks Foundation failed to communicate with villagers abour their plans. Legally, the government bore responsibility, but as every. one involved knew, it was weak and ineffectual. In 2002- the same year that the three heads of state met, amid much pomp, to sign the international treaty establishing the Great Limpopo—the Refugee Research Programme at the University of the Witwatersrand discovered that news of the park had seeped out through rumors, misleading radio reports, or bullying comments from park rangers. The university conducted interviews with eighty-four heads of households representing over a thousand people inside the Limpopo National Park. They found that 40 percent had never heard of it, a year after the name and status of the area had been changed. Human rights advocates and academics familiar with the history of apartheid in South Africa, where conservation was often used as an excuse to push people off ancestral lands, were alarmed. "Community development issues have become secondary to conservation; an aid worker in one village told the Inter-Press Service of Africa News. "This is colonialism by conservationists." (144)<br></br><br></br>✴︎<br></br><br></br>In addition to economic benefits, the conservancies demonstrably improved conservation throughout the country. Caprivi foodplain surveys showed a 47 percent increase in wildlife sightings between 2004 and 2007. Namibia's population of black rhino grew to over<br></br>1,200 by 2003 (from 450 in the 1980s), the largest in the world. (208)<br></br><br></br>✴︎<br></br><br></br>Western, Asian, and Middle Eastern collectors fueled multimillion-dollar illegal trade across species: In 1970, there were an estimated five million elephants in Africa. Twenty years later, there were 600,000. The population of black rhino fell from 65,000 in 1970 to 2,475 in 1992. (214)<br></br><br></br>✴︎<br></br><br></br></span></p></div></content><author><name>undefined</name></author></entry><entry><title>Righteous Dopefiend</title><link href="https://gavart.ist/#Righteous%20Dopefiend"></link><link href="https://gavart.ist/static/Righteous%2520Dopefiend.html" rel="alternative" type="text/html"></link><id>d6354131-8cbd-1f6c-3594-5404f6747a5a</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Schubert's Songs: A Biographical Study</title><link href="https://gavart.ist/#Schubert's%20Songs%3A%20A%20Biographical%20Study"></link><link href="https://gavart.ist/static/Schubert's%2520Songs%253A%2520A%2520Biographical%2520Study.html" rel="alternative" type="text/html"></link><id>73c40a2f-a521-a0f1-be6c-41046065ef5c</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img> 
</p><p class="digitalGarden">In Hektors Abschied (D 312), a dialogue for two voices (far removed from present-day tastes, but containing, as always, some beautiful passages, despite the aridity of the text), we meet that intoxication with things Greek so typical of the literature of the period, and which Schubert himself was naturally unable to resist, as many of his Lieder texts bear witness. Mayrhofer's and Schiller's poems, in particular, deal with the origins, effects and results of a movement which had such far-reaching consequences, especially for Germany. The view was that there existed an unbroken line from the earliest days of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ancient%20Greece">Ancient Greece</a> to present-day western civilisation. Some philosophers of the second half of the nineteenth century questioned this assumption—or dismissed it altogether. Classical antiquity had resembled all other civilisations, with stages of growth, achievement and decline. The fevered fantasies of the German Romantics were centred on the Greece of the first two stages only, a Greece no longer remembered, even in the Hellenistic and Roman eras. The Greeks and the Romans acknowledged that they shared the same cultural heritage. One cannot regard the Germanic and Slav cultures of between 500 and 1000 AD as a continuation of Ancient Greece, despite the Roman and Byzantine elements contained within them. The culture of the Middle Ages appears as a self-contained phenomenon, an attempt to blend the now and the hereafter in Christ on Earth, in the Catholic Church. The exhaustion brought on by wars, by the destruction of national identities and by political pressures, doomed this attempt to failure. The Germans remembered a better, more harmonious antiquity, and felt themselves to be the spiritual and intellectual heirs of an imaginary idealised Greece to which they longed to return. They attempted to shape all aspects of their own lives in its image. They succeeded, yet their success was not a renascence, but seems to have been rather an expression of the decline of western civilization.
(39)</p><p class="digitalGarden">For the wedding of a friend, he set Goethe's Bundeslied (D 238) on 19th August 1815, in the simplest singable form. The poem describes the spirit of good fellowship reigning among Schubert's like-minded friends. The best-known setting of this poem is Reichardt's. In his autobiography Goethe recommends his poem to posterity thus: </p><blockquote class="tc-quote digitalGarden"><p>Since this song has survived to the present day, and since hardly a festive meal is held without its being served up with joy, we recommend it to all those who come after us and wish all those who recite it or sing it the same inner joy and pleasure that we experienced when we wrote it, without any thought of the world outside, believing that our own small circle was a world in itself. 
</p></blockquote><p class="digitalGarden">(44)</p><blockquote class="tc-quote digitalGarden"></blockquote><p class="digitalGarden">(72)  </p><p class="digitalGarden">There is an entry in Schubert's diary for 8th September 1816: </p><blockquote class="tc-quote digitalGarden"><p>"There are only a few moments which enlighten Life's gloom; in the afterlife the blissful moments will become everlasting joy and more blissful ones will give us glimpses of more blissful worlds etc."
</p></blockquote><p class="digitalGarden">(75)  </p><p class="digitalGarden">Once again, Schubert's genius finds solutions to both the musical and the dramaturgical problems. A contrast to the basic mood of the poem is effortlessly shaped into a subsidiary theme which, at the appropriate moment, finds its way back to the initial mood. Thus, Schubert has built up an architectonic, but by no means formally rigid structure. With its dreamy mood of solitude here transfigured by the concentrated musical form which anticipates the Richard Wagner of the Ring cycle, this song demands a singer with an extraordinary range and powers of expression. (Curiously enough, Hugo Wolf's setting of the same text makes him look like a simple imitator of Wagnerian techniques.) (143)  </p><p class="digitalGarden">One should add about these 'characteristic songs' that, despite the relatively light technical demands of the music, they are nevertheless unpredictable and full of surprises, so that the student of Schubert is never certain whether he is going to be confronted with completely new styles or forms of expression. Schubert's friends would often find him in bed in the mornings, busily scribbling away on the piles of manuscript paper heaped up in front of him. He would sometimes even keep his spectacles on at night, so that he could start composing as soon as he woke up. He could even forget to wash, to dress or to eat—but tobacco was the one thing that he would not go without. Schubert was particularly careless about the safe-keeping of his own compositions. Anselm Hüttenbrenner wrote: </p><blockquote class="tc-quote digitalGarden"><p>Schubert paid little attention to his numerous compositions. If good friends came to see him to whom he played his new songs, they would often take the manuscripts away with them, promising to return them soon—which they rarely did. Often Schubert did not even know who had asked for this song or that one, so Josef, my brother, who was living in the same house, decided to round up the stray lambs, which he managed to do after much searching. I noticed one day for myself that my brother had over a hundred Schubert songs stored and properly arranged in a drawer. This pleased our friend Schubert so much that, while we were living together, he gave all his subsequent works into my brother's safekeeping.
</p></blockquote><p class="digitalGarden">Hardly any of his friends were aware of Schubert's mental anguish during these months. The banishment from his parents' house grieved him all the more after his separation from Therese, particularly since his relationship with his father had recently deteriorated. The latter simply refused to understand Franz's need for freedom to compose. Schubert's sorrows are reflected in the allegorical tale Mein Traum written on 3rd July 1822, in the style of Novalis and rightly attributed to Schubert: </p><blockquote class="tc-quote digitalGarden"><p>For years I felt torn between the most intense pain and the most intense love. Then I was informed of my mother's death. I hurried to see her, and my father, softened by grief, did not prevent my entering. When I saw her corpse, tears flowed down my cheeks. I saw her lying there, just as she had been in those good old days of yore in the spirit of which we were to live on, according to the wishes of our dear-departed. And we followed her remains, grief-stricken, and the coffin was lowered. From that time on, I remained at home. My father took me into his favourite garden again. He asked me if I liked it. But I found the garden repulsive and did not trust myself to say anything. So he asked me a second time, angrily, if I liked the garden? I said, No', trembling. So he struck me and I fled. And for the second time, I turned away and, with my heart full of unending love for those who scorned it, I wandered away again afar. For many long years I sang my songs. Whenever I wanted to sing of my love, it turned to pain. And when I wanted only to sing of pain, it turned to love. Thus love and pain tore me asunder. 
</p></blockquote><p class="digitalGarden">(154-155)  </p><p class="digitalGarden">The key to the understanding of these 'nature hymns' lies in the understanding of that serious-minded Schubert who wrote to his father on 25th (28th?) July 1823: </p><blockquote class="tc-quote digitalGarden"><p> 
</p></blockquote><p class="digitalGarden">Such a man had looked deep into the soul of nature and was as receptive to her as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Wolfgang%20von%20Goethe">Goethe</a> had been. Thus, even a second-rate poem like Wehmut could inspire him to paint landscapes which contain the most powerful and profound of lyrical images. 
(172)  </p><p class="digitalGarden">On 3rst March 1824 Schubert wrote a distraught despairing letter to Leopold Kupelwieser in Rome: </p><blockquote class="tc-quote digitalGarden"><p>In a word, I feel that I am the unhappiest, most miserable person in the entire world. Imagine someone whose health will never improve, and who, in despair over this, makes things worse instead of better, whose brightest hopes have come to naught, to whom the joy of love and friendship can offer nothing but pain at the most, who is in danger of losing his enthusiasm (at least the sort which inspires) for beauty, and ask yourself if that is not a miserable unhappy wretch? I spend my days joyless and friendless, and only Schwind visits me sometimes and brings a ray of those sweet days long gone. Our reading circle has died a voluntary death, because of the increase in the rough choir of beer-drinkers and sausage-eaters.<br></br></p></blockquote><p class="digitalGarden">The reading-circles had been introduced and entertained by Schubert's old Konvikt friend, Franz von Bruchmann. They had read aloud, and discussed, Homer and the classics as well as modern literature. For Schubert, who had always been an avid reader, they had seemed like food and drink. Indeed, he was one of the first musicians to be what we nowadays would call 'educated'. Even among friends, he preferred a serious conversation, free from intellectual 'nit-picking', to the usual empty gossip. And now this stimulation too was gone and its absence made him feel his isolation all the more. 
(193)  </p><p class="digitalGarden">Five weeks after Schubert had written that letter to Kupelwieser, the saddest of his life, and written out of the same feeling of despair as Beethoven' Heiligenstädter Testament, there took place (on 7th May 1824) the first performance of the Ninth Symphony of that other lonely man. Even if we cannot be absolutely certain that Schubert attended the performance, it is likely that he did so, since he had expressly mentioned the coming performance in that letter to Kupelwieser. In addition, two of his friends, Josef Hüttenbrenner and Fritz von Hartmann, were members of the chorus. Schubert must have been moved by the proclamation of the brotherhood of Man, and his frustrated enthusiasm for beauty must have been refreshed. 
(194)  </p><p class="digitalGarden">Carl Pinterics, a good friend of Beethoven, and a very good amateur pianist, lived in the so-called "Zuckerbäckerhaus', ('confectioner's house'), where Schubert's friends regularly met. By collecting all the autograph manuscripts which Schubert carelessly left lying around, Pinterics had amassed a considerable Schubert collection, which, on his death, came into the possession of that other 'saviour' of Schubert's works, Hafrat Josef Witteczek, We have cause to be grateful to the good Hofrat, who even used to take his collection to his office, because he was reluctant to let the songs out of his sight. (202)  </p><p class="digitalGarden">Schubert wrote once to his brother Ferdinand that they were all fortunate in being able 'to repel miserable reality through the power of their imaginations' (204)   </p><p class="digitalGarden">Spaun had left Linz just before Schubert's arrival, and the latter was greatly disappointed to have missed him. Schubert wrote to Spaun on 2Ist July: </p><p class="digitalGarden">Here I am in Linz half-dead with sweat in this disgraceful heat with a whole volume of new songs and you are not herel Aren't you ashamed? … . I was only 14 days in Steyr, then we (Vogl and I) went to Gmunden where we spent six very full and pleasant weeks. We put up at Traweger's, who possesses a magnificent pianoforte, and, as you know, is a great admirer of my humble self. I lived most pleasantly and informally there. 
(210) </p><p class="digitalGarden">Eduard, a regular attender at these performances by Vogl and Schubert, wrote later: Relatives and friends were often invited to these pleasant affairs. Such compositions, performed in this way, inevitably raised emotions to such a pitch that, when the song was finished, it was not unusual for the gentlemen to embrace each other and let their emotions find their relief in tears. 
(211)  </p><blockquote class="tc-quote digitalGarden"><p>Schubert was so friendly and communicative ... When he spoke of art, poetry, of his youth, of his friends and other important people, of the relationship of ideals to life ... etc.I could not help but marvel again and again at this genius of whom it is said that his artistic achievements are so unconscious, that he himself is barely aware of them and barely understands them and so on. And how simple everything is-I cannot speak of the extent and the wholeness of his convictionsbut these were glimpses of a very personal philosophy of life, and the share which his noble friends may have of it detracts not at all from the uniqueness of mind expressed in it. — Anton Ottenwalt to Spaun 
</p></blockquote><p class="digitalGarden">(215)  </p><p class="digitalGarden">Schubert, in his almost fearful reverence, had raised <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Beethoven</a> to god-like heights. The master's isolation, caused by his deafness and consequent rudeness, probably contributed to Schubert's feeling of shyness. His idolisation of Beethoven went so far as to throw a shadow over this modest composer, from which he could never escape as long as he lived. And the time granted to him was, after all, so pitifully short. If the broad stream of Schubert's joyous music gives him equal status with Beethoven, how might not Schubert's genius have marked his century, if a longer life had been given to him? Beethoven's, with Goethe's, was the decisive influence on Franz Schubert. Beethoven's courageous expression of powerful musical ideas, his incomparable determination, in the face of sufferings, to force these first inspirations into a final musical mould, his lifelong fighting spiriteverything that Schubert admired in himmay well have been detrimental to Schubert—temperamentally so different. The doubts of his youth: 'I believe that something could become of me, but who can do anything after Beethoven?' were still present; he sensed that Beethoven was both an end and a beginning. In addition, he was living in the same town as his idol, who had been worshipped by his followers in the years since the Congress of Vienna. Schubert's own gentle spirit, his unprepossessing appearance, his shyness, his delicate and dreamy nature, compelled him to invest Beethoven with those characteristics which he himself seemed to lack. The young schoolmaster did not therefore seek the "Titan's friendship; he did not meet Beethoven on his one and only visit, but left him a set of variations dedicated to him. 
(242)  </p><p class="digitalGarden">Anyone coming from Vienna used to stay with the Pachlers, as Sophie Müller and Heinrich Anschütz often did. Even when she was young, Marie Pachler was considered the finest pianist in the town. Beethoven thought highly of her and left this description of her piano-playing: </p><blockquote class="tc-quote digitalGarden"></blockquote><p class="digitalGarden">(248)  </p><p class="digitalGarden">After his return to Vienna, Schubert wrote a letter of thanks to his hosts on 27th September: </p><blockquote class="tc-quote digitalGarden"><p>There is so much confusing chatter here that you never know whether you are clever or stupid. Your Graces! I am beginning to discover how happy I was in Graz and I can't quite get accustomed to Vienna; it is of course rather big, but, on the other hand, it is devoid of warmth, sincerity, genuine ideas, sensible words and, particularly, of intelligent actions. There is so much confusing chatter here that you never know whether you are clever or stupid, and you seldom or never attain inner happiness. "Tis of course possible that I am myself to blame for that, for I am slow to warm up.<br></br></p></blockquote><p class="digitalGarden">(250)  </p><p class="digitalGarden">In 1867, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johannes%20Brahms">Johannes Brahms</a>, resident for some time now in Vienna and a life-long, sympathetic admirer of Schubert, began to campaign for a new edition of the works. He helped with the revisions and was one of the first who sought to publish the Schöne Millerin songs in the original version, that is, without the now fashionable disfigurements. Although his publisher, Rieter-Biedermann, did not accept his suggestions, Brahms nevertheless prepared the ground for their later realisation. He also campaigned for a revision of Schubert's forgotten opera Fierrabras, but a librettist who could save this charming music has never yet been found. The following passage from a letter by Brahms to Reiter testifies to the pleasure his work on Schubert gave him: </p><blockquote class="tc-quote digitalGarden"><p>Altogether I owe my most satisfying hours to the unpublished works of Schubert, a great number of which I have in manuscript form here at home. Yet, however enjoyable and pleasurable it is to look at them, everything else connected with them is so sad. Another whole pile of unpublished things was sold recently at an unbelievably low price; fortunately they were acquired by the Gesellschaft der Musikfreunde. How many things are scattered here and there in the houses of private individuals, who either guard their treasures like dragons, or let them carelessly disappear. 
</p></blockquote><p class="digitalGarden">And in another letter to Schubring in 1863 he Wrote: </p><blockquote class="tc-quote digitalGarden"><p>My love affair with Schubert is a very serious matter, precisely because it is not a passing fancy. Where else is there a genius like his, soaring so boldly and certainly up to the heavens, where we see the few giants sitting enthroned? He seems to me to be like a Loung god playing with Jupiter's thunder and handling it a lite bit singularly now and then. But he plays in regions, and at a height, which others cannot scale for long.
</p></blockquote><p class="digitalGarden">(295)</p></div></content><author><name>undefined</name></author></entry><entry><title>Seeing &lt;―&gt; Making: Room for Thought</title><link href="https://gavart.ist/#Seeing%20%3C%E2%80%95%3E%20Making%3A%20Room%20for%20Thought"></link><link href="https://gavart.ist/static/Seeing%2520%253C%25E2%2580%2595%253E%2520Making%253A%2520Room%2520for%2520Thought.html" rel="alternative" type="text/html"></link><id>dce85cdd-09ad-bcdf-4a65-1a9cab9e69bb</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Sexual Consent</title><link href="https://gavart.ist/#Sexual%20Consent"></link><link href="https://gavart.ist/static/Sexual%2520Consent.html" rel="alternative" type="text/html"></link><id>06866246-619c-12aa-811f-8d426265de4d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Music 109: Notes on Experimental Music</title><link href="https://gavart.ist/#Music%20109%3A%20Notes%20on%20Experimental%20Music"></link><link href="https://gavart.ist/static/Music%2520109%253A%2520Notes%2520on%2520Experimental%2520Music.html" rel="alternative" type="text/html"></link><id>e02ab952-137f-f5f9-be3f-0911c8470125</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img></div></content><author><name>undefined</name></author></entry><entry><title>Music and the Making of Modern Science</title><link href="https://gavart.ist/#Music%20and%20the%20Making%20of%20Modern%20Science"></link><link href="https://gavart.ist/static/Music%2520and%2520the%2520Making%2520of%2520Modern%2520Science.html" rel="alternative" type="text/html"></link><id>9c4ba287-a9c8-1e85-9f13-a779669a1f13</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">This music is alive in every sense, not just lifeless intervals and ratios; Kepler takes Plato's concept of a world-soul animating the cosmos further by describing its activity in the most vivid physical terms. Emphasizing the primacy of experience and felt response, Kepler connects music with sex, both mirroring the soul's yearning to reunite with the primal archetypes that shine through visible, palpable reality. Though novel in its graphic sexuality, his idosyncratic (and not much noticed) ideas draw on ancient connecttions between <em>erōs</em> and <em>musikē</em>. Kepler argues that cadences, essential to musical syntax, are fundamentally sexual in character because of the underlying sexuality of numbers themselves. (82)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Euler knows that music contains many minor triads, and he points out that "the more easily we observe the order in a given thing, the simpler and more perfect we consider it, and therefore we receive pleasure and delight from it. On the other hand, if the order is discerned with difficulty and seems less simple and distinct, we perceive something like sadness. In either case, as long as we sense order, the given object pleases, and we conclude that the object has agreeableness." Euler thus connects the greater "difficulty" of minor intervals (and higher-degree "dissonant" intervals) with their perceived affect of <em>sadness</em>. Hence, he explains the sadness of the minor mode (for instance) as the direct correlate of its <em>epistemological</em> status: what is harder to know is felt to be sad simply because we struggle to discern its order. In that sense, sadness seems to be the felt effect of the pain we experience in the face of coginitive dissonance. (139)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Besides his enormous achievements in mathematics, Euler was deeply involved in many areas of physics. His early work on music had a direct bearing on his study of sound, which in due course contributed to his studies of the mechanics of continuous bodies, the transmitters of sound vibrations. These important advances in continuum and fluid mechanics also moved Euler to advocate a wave theory of light, as against Newton's emission (particle) theory. Throughout, Euler used the examples of sound and music as exemplars for a new understanding of light and color. (151)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Thus, Euler's concept of frequency, perhaps his most important contribution to the theory of light, comes directly not just from the general analogy with sound but from the specifically musical concept of a single pitch: as our perception of high or low pitches depends on how many times a second our ear receives sound pulses, so do our eyes distingusish more or less frequent impacts by their color. When he goes on to address Newton's seminal finding that white light is a composite of many colors, Euler took his musical analogy one step further by explicitly comparing a "composite ray" of light to a multinote chord, under the implicit premise that the eye blends the "notes" of that chord into a single perception of color (say, white), wheras the ear does not blend the chord tones but hears them as separate, though perhaps, related harmonically. (156)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Thomas Young used studies of sound and music to advance the theory of wave motion, especially the concept of interference, which he learned from sound and then applied to light. Sir John Herschel singled out Young's insight into sound interference as "the key to all the more abstruse and puzzling properties of light, which would alone have sufficed to place its author in the highest ranks of scientific immortality, even were his other almost inmumerable claims to such a distinction disregarded." (161)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden"><em>Contra</em> Kant, Young argues that the study of music is not "amusment only" but reveals a science "that, in its whole extent, it is scarecly less intricate or more easily acquired than the most profound of the more regular occupations of the schools." Those who show "superior brilliancy" in music "seem almost to require the faculties of a superior order of beings." (170)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Thus, [Helmholtz's] essay "On the Physiological Causes of Harmony in Music" (1857) apostrophized "Mathematics and music! The most glaring possible opposites of human thought! And yet connected, mutually sustained! It is as if they would demonstrate the hidden consensus of all the actions of our mind, which in the revelations of genius makes us forefeel unconscious utterances of a mysteriously active intelligence." (229)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">… despite his assertion about professional musicians sharing his views [about just-intonation being the better tuning system], when Helmholtz met <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johannes%20Brahms">Brahms</a> and tried to persuade him, Brahms remained distinctly unmoved and even dismissive, remarking that "in musical things, he is an enourmous dilettante …" (257)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Ritter and Ørsted understood electricity to underlie the senses, no less than the senses provide evidence of electricity: Ritter felt he was hearing electricity, no less than Orsted was seeing it move the powder on his vibrating plates. For these Romantics, hearing and music enabled the deepest and most inward knowledge. Orsted wrote a dialogue about music. Ritter's Fragments from the Posthumous Writings of a Young Physicist (1810), which <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Walter%20Benjamin">Walter Benjamin</a> considered the "most significant confessional prose of German Romanticism," ends with a visionary interweaving of Chladni's and Ørsted's sound figures, electricity, light, and music. For Ritter, "there must absolutely be no human relation, no human history, which could not be expressed through music. ... All life is music, and all music as life itself—at least its image. Ritter's provocative thoughts on music made deep impressions on Novalis, E. T. A. Hoffmann, and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Robert%20Schumann">Robert Schumann</a>. Calling light "the bond that binds together all and every thing," Ritter nonetheless considers that "every tone is the life of the sounding body and in it, as long as it holds, as tone is extinguished with it. Every tone is a whole organism of oscillation and figure, shape, as is also every organic living thing. It expresses its existence [Er spricht sein Daseyn aus]. He often connects music with the deepest sources of language, just as he treats electricity as a kind of "fire-writing [Feuerschriff]" that inscribes its primordial glyphs in Lichtenberg figures. Ritter considers these expressive shapes to be the originals for written language itself, taken as visibly recording the emergent shocks of consciousness: "Music is also language, general language, the first of mankind. ... Music decomposes into languages," rather like the decomposition of water into oxygen and hydrogen Ritter was one of the first to achieve. "Thus every one of our spoken words is a secret song, for music from within continuously accompanies it. (190)</p><p class="digitalGarden">✴︎</p></div></content><author><name>undefined</name></author></entry><entry><title>My Lessons With Kumi: How I learned to perform with confidence in life and work</title><link href="https://gavart.ist/#My%20Lessons%20With%20Kumi%3A%20How%20I%20learned%20to%20perform%20with%20confidence%20in%20life%20and%20work"></link><link href="https://gavart.ist/static/My%2520Lessons%2520With%2520Kumi%253A%2520How%2520I%2520learned%2520to%2520perform%2520with%2520confidence%2520in%2520life%2520and%2520work.html" rel="alternative" type="text/html"></link><id>3fa142a3-e64a-1eab-54cc-a8b2d2c5935e</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="500"></img>
</p><p class="digitalGarden"><br></br>I grinned and nodded. "And seeing yourself succeeding always works?"<br></br>"If you believe in it and do it repeatedly. You recall your successes to get back that good feeling. Many people sabotage themselves by remembering their failures and worrying about repeating them. They bring back all the bad feelings that come with those memories. To make it even worse, they say to themselves, 'It's not going to go well,' which guarantees that it won't. You get what you predict."<br></br>"But how do I know I can do it when I really need it?"<br></br>"Creating pictures in your mind is a skill like any other. The more you practice it the better you become. (11)<br></br><br></br>–<br></br><br></br>"Be aware, however, that there are potential dangers to entering another person's world. You can become so sympathetic to the other person's feelings that you lose track of your own. This can happen when you admire someone so much that you continually try to be just like him or her and lose your own individuality. Similarly, you can identify so deeply with another's feelings that you take on their emotions as if they were your own." (40)<br></br><br></br>–<br></br><br></br>"Modeling is a natural process," he said. "You've been doing it all your life without knowing it. You start at birth by imitating everything around you, language, attitudes, behaviors. The brain records everything it sees, hears, feels, tastes and smells; your playback of these recordings becomes your identity to others. Undirected, your life will be a jumble of random recordings. The difference between those who get what they want in life and those who don't is that successful people don't leave this recording process to chance. They choose their models." (52)<br></br><br></br>–<br></br><br></br>He spoke in a soft, kindly voice. "You're still acting as if your reactions are things that just happen to you— as if by some force outside your will. I'm offering you the opportunity to create your response."<br></br>He paused a moment and then spoke with increasing intensity, his voice building in volume. "Make a decision right here and now, Nick: 'I'm going to respond this way. I'll feel this way. Period. It's not a throw of the dice. I'll make it happen.'" (68)<br></br><br></br>–<br></br><br></br>"Not hoping, choosing. That's the whole idea of resequencing. Every behavior is a series of events, each depending on the previous event in order to complete itself-like a chain, as you said. Take out that first link and the chain is broken-the sequence can't complete itself. Once you know what triggers that first step in your stage fright sequence-the sound of a voice, the sight of a building, the smell of a perfume— you can substitute a new step right at that point and give yourself a new sequence and a new outcome. It will run just as reliably as your stage fright sequence did. That's how you reprogram yourself— just like a computer."<br></br>I shook my head. "I understand the logic. But I can hardly believe the change is that simple."<br></br>"Who said it was simple? It's just clearer. Now that you know the sequence that works best for making presentations, what are you going to do?"<br></br>"Practice it." My voice was very quiet.<br></br>"Right, over and over again, until your brain gets the message that the new sequence feels good and the old one feels bad."<br></br>"Are you trying to tell me that the old reaction will just go away? I don't believe that."<br></br>"Oh, no, it's still there—you just don't have to use it."<br></br>"Huh?"<br></br>"Because your brain now has a second choice it didn't have before. As I said, the old fear response might be useful sometime, to keep you alert when you need it. We want to add choices, not take them away." (67)<br></br><br></br>–<br></br><br></br>"Psychoanalysis is the study of personal mythology, your journey through life. It gives you metaphors but not necessarily solutions. If your goal is to change something in yourself, then do it and get on with your life. When you eliminate a problem, its cause will usually disappear by itself. You'd be surprised how quickly people forget a bad habit when they no longer have it." (71)<br></br><br></br>–<br></br><br></br>"Ah, this is where it gets interesting. Let's say I agree to share my most intimate feelings with you because I trust you to honor those feelings. You become then, in effect, the co-keeper of my emotional switchboard."<br></br>"What do you mean?"<br></br>"You know where all my buttons are. You know how to push the ones that trigger good feelings in me, and you're careful not to touch the buttons that trigger bad feelings. You also help me create new buttons—new responses to my surroundings—so I can become smarter and stronger. And you allow me the same access to your controls. With access to each other's switchboards, each of us is saying in effect: I am totally open to your emotions and I open my emotions to you without reservation. In other words, we give each other the privilege of hurting or pleasing each other." (76)<br></br><br></br>–<br></br><br></br>"Well, with this exercise you can use your God-given powers and sidestep your feelings when you feel slighted."<br></br>I recalled being fired and the animosity I still felt for Streicher. "I think sometimes it's a good idea to remember when something bad has happened to you."<br></br>"Yes, if you use it as an alarm bell, to help you avoid a similar situation in the future. But to dwell on it drains your energy," he said.<br></br>He was right. I had spent countless hours being depressed and replaying confrontations with Streicher. "So how do you forget a slight and go on to the next moment?" I said.<br></br>"You don't forget it," he said. "Just file it for future reference and click e on to the next document," he said, gesturing like he was tapping the buttons of a computer mouse.<br></br>"Is it really that simple. What about the emotions that go with these negative events?"<br></br>"What negative events? Your interpretation of events makes them negative."<br></br>"But if you feel angry or frustrated doesn't that need some kind of re-lease?"<br></br>"That frustration is energy-channel it and use it. When I make a mistake the first thing I think is how I'm going to guarantee that I don't make the same mistake again. I place a big bright picture of what I did right up here" — he gestured up to his left-"and I say to myself, 'T'll never do that again.' Then I make an image of what I want to do instead and I put that right up here," and he gestured up to his right. "Now I'm no longer angry, because I've learned something. When I'm about to make the same mistake again, the image of the mistake will flash in my mind and trigger the image of what I want to do instead. So that mistake is now my teacher, and the lesson was created by the energy of my frustration." (89)<br></br><br></br>–<br></br><br></br>"But relaxation is what you asked for, so you tuned down. The musician asked for performance, so he tuned himself up," he said, grinning at me over the pun. "You get what you ask for."<br></br>"It seems too easy," I said.<br></br>"That's because you're used to the effort of trying to shut things out in order to concentrate. With this technique you aren't fighting your surround-ings, you're going along with them. You're using your brain's natural way of learning, which is easy."<br></br>"What do you mean, the brain's natural way of learning?"<br></br>"When you report to yourself three verifiable things covering all your senses, you've got your brain's full attention. Whatever you say next it will believe, and act on as if it were true."<br></br>"It really works that way?" I said. <br></br>"You just did it. People think that to concentrate you need to empty your mind. So they make a conscious attempt to not think, which is impossible, because to negate something from your mind you first have to create it, so you're constantly creating sounds and images in order to get rid of them. A self-defeating process. It's much easier to simply acknowledge everything in your surroundings. Then your brain doesn't have to pay attention to them anymore and can go on to the next thing. You become like a child, open to new ideas."<br></br>"Then you're kind of directing your mind," I said.<br></br>"Tricking it, in fact. Sending it into a loop, always coming back to what you want."<br></br>"But what keeps your brain interested in the thing you want?"<br></br>"It's not a thing, it's an action-it gives the brain something to do. And you keep re-directing it's attention to that action while you eliminate, one by one, anything else it might have been paying attention to."<br></br>"Eliminate it by acknowledging it."<br></br>"Yes."<br></br>"So what you want is the only thing left."<br></br>"Yes."<br></br>Another thought came to me. "Here it's quiet. But when I'm doing this in the city wouldn't loud sounds be disturbing?"<br></br>"On the contrary, all sound is welcome-jackhammers, yelling, doors Slamming. They all give you something to use. The more sounds you can identify the more easily you can go into a state of concentration."<br></br>"So you could use this for anything," I said.<br></br>"Even for simple things, like standing in line at the bank—'I see the bank tellers, I hear people talking, I feel the paper in my hand and I'm planning my schedule for the morning.'" (92-93)<br></br><br></br>–<br></br><br></br>"A sure way to get blocked is to break appointments with your creative part-like saying you're going to carry out a project and then not doing it.<br></br>Your creative self will begin to wonder if creating is really important to you."<br></br>"Sounds funny when you put it that way."<br></br>"But not so funny when it happens. When this part loses faith in you it'll start breaking appointments, too, and eventually might just stop showing up.<br></br>That's when you find yourself saying, 'T'm stuck.' Creating doesn't happen in a vacuum. All your parts need to cooperate to make it work. That's why it's important to develop a good communication within your whole system, to make a nest where your creativity can feel at home." (95)<br></br><br></br>–<br></br><br></br>"What is low blood sugar exactly?"<br></br>"The fancy word for it is hypoglycemia-abnormally low glucose in the blood."<br></br>"So what do you do for that? Eat sugar?"<br></br>Kumi stared at me and sighed. "Sweets are the worst thing to eat when your blood sugar is down. Do you know anything at all about how your body processes food?"<br></br>"Well," I said, venturing into the lion's den, "you eat and your stomach extracts the vitamins and the rest goes out. Right?"<br></br>Kumi smiled. "You hope the rest goes out. It depends what you put in.<br></br>Some people do all their reading in the bathroom..."<br></br>"The biggest library in the house!" I said.<br></br>"Now, listen up, Nicholas—that's what the gang leader says in action movies when he wants your attention."<br></br>"We're not going to talk about nutrition, are we?" The most boring class in school was hygiene, usually taught by the world's dullest person telling you to eat "balanced meals."<br></br>"No, we're going to talk about saving the only body you're gonna get." I decided to let him talk and get it over with.<br></br>"When you eat, your body extracts the nutrients from food and gradually feeds them to your cells for hours. The two big players in this drama are called Pancreas and Liver. Liver stores the glucose, and Pancreas signals with insulin the amount of energy Liver should trickle out, bit by bit, into your blood. Picture a fleet of canoes flowing out of the Liver, one by one all day long nourishing your body. That's a healthy person." (103)<br></br><br></br>–<br></br><br></br>On the subject of promises, Kumi has reminded me time and again to make sure I keep the promises I make to my parts. He said that breaking agreements with myself can have a demoralizing effect on parts. They can lose faith and become sluggish. That's when I become tired for no reason, or depressed or even ill. He said that's why it's important to check in with parts, take a quiet moment, look inside myself, ask for feelings. I told him that idea sounded a little hokey to me, that everyone knows germs and viruses create disease. I recalled our dialogue:<br></br>"Yes, but it's your immune system that fights off those germs and viruses.<br></br>And for that it needs energy."<br></br>"But loss of energy results from stress, overwork, lack of sleep."<br></br>"You are the sum total of your parts, Nick. When they don't sleep, you don't sleep. Insomnia is unfinished business— the restlessness of a dissatisfied group of workers unsure of what they're supposed to do. "<br></br>I still feel a little weird about the idea of communicating with inner parts.<br></br>How do I know they're really there? How can I be sure I'm getting a message through to them, or that I'm getting their message? Kumi says I need to be open to my senses, that my body is sending me messages constantly. (133)<br></br><br></br>–<br></br><br></br>"Breathe normally. No strain, no tension-as if nothing's happened yet.<br></br>Why do I say that? I want to embed the idea that you constantly pay attention to your goal-where you're going, not where you've been-until you are completely finished. That way, if something goes wrong, you simply go on as if it never happened. The same idea applies when things go right. You haven't time to stop and congratulate yourself, because something else is about to happen. Build that idea into these moves. Say it. 'Nothing's happened yet, something's about to happen.' Say it." (153)<br></br><br></br>–<br></br><br></br>"What are endorphins exactly?" I asked.<br></br>"One of the peptide hormones that bind to opiate receptors in the brain," said Matt.<br></br>"Would you say that again?" said Charles.<br></br>"Morphine—the brain's natural drug." (167)<br></br><br></br>–<br></br><br></br>"The vestibular sense. It's not a separate sense, really . It integrates all the senses. The vestibular organ is an apparatus in your inner ear that accounts for your sense of balance, space and distance. All your senses focus through it." (204)<br></br><br></br>–<br></br><br></br>Kumi said Charting explained those disturbing voices we sometimes hear in our heads, the ones that criticize us or judge us. He said people usually consider these voices the enemy and try to shut them off, but he said I should listen to them and follow their advice. The Realist/Critic, for example, is there to help me. He said that usually the reason an inner voice has criticized me in a caustic or frightening manner is because I'd been ignoring a message it feels I urgently needed to hear, and it had to scare me to get my attention.<br></br>When it was satisfied that I've paid attention it would be quiet. He said I should be grateful to have a part that knows my needs, can advise and protect me, and that performs this service for me twenty-four hours a day—free! Не said if I didn't have such an inner judge, he'd ask me to install one. So he said the next time I hear a critical voice inside me, ask what it wants and listen carefully to it's message, and then thank it for its advice. (217)<br></br><br></br>–<br></br><br></br>I went through a typical New York day. Everything looked big and bright, the image panoramic. I wasn't tired. I was even-tempered. I'd been heading in this direction for some time now, but with today's experience I'd taken a quantum leap. It was as if all the exercises Kumi had done with me this year were suddenly coalescing and relating to each other. I felt myself going through my life with the understanding that I didn't have to feel competitive, just do my best. Not everything I did had to produce a monumental result. I knew deeply that things happen in their own time and I would still be the same basic person no matter what happened. (249)<br></br><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Myths To Live By</title><link href="https://gavart.ist/#Myths%20To%20Live%20By"></link><link href="https://gavart.ist/static/Myths%2520To%2520Live%2520By.html" rel="alternative" type="text/html"></link><id>5479d79c-35ea-6315-8eeb-b19c0e8268bd</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Nautilus: Symmetry · Mutation · Turbulence</title><link href="https://gavart.ist/#Nautilus%3A%20Symmetry%20%C2%B7%20Mutation%20%C2%B7%20Turbulence"></link><link href="https://gavart.ist/static/Nautilus%253A%2520Symmetry%2520%25C2%25B7%2520Mutation%2520%25C2%25B7%2520Turbulence.html" rel="alternative" type="text/html"></link><id>796c812d-0fee-ec07-7f9b-ac8417ae241c</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Nautilus: Waste · Home · Time</title><link href="https://gavart.ist/#Nautilus%3A%20Waste%20%C2%B7%20Home%20%C2%B7%20Time"></link><link href="https://gavart.ist/static/Nautilus%253A%2520Waste%2520%25C2%25B7%2520Home%2520%25C2%25B7%2520Time.html" rel="alternative" type="text/html"></link><id>6f530d18-3eda-c021-73fb-a2de2485f14d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>net_condition_: art and global media</title><link href="https://gavart.ist/#net_condition_%3A%20art%20and%20global%20media"></link><link href="https://gavart.ist/static/net_condition_%253A%2520art%2520and%2520global%2520media.html" rel="alternative" type="text/html"></link><id>77e8b376-6eda-93f6-ec15-f88becd3a84e</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>No Exit</title><link href="https://gavart.ist/#No%20Exit"></link><link href="https://gavart.ist/static/No%2520Exit.html" rel="alternative" type="text/html"></link><id>49c352ad-e92c-e6ac-fb36-931ea0a20d05</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Nudibranch</title><link href="https://gavart.ist/#Nudibranch"></link><link href="https://gavart.ist/static/Nudibranch.html" rel="alternative" type="text/html"></link><id>4ed16840-8bb8-5209-3392-a3cccf3f4d71</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Of Mice and Men</title><link href="https://gavart.ist/#Of%20Mice%20and%20Men"></link><link href="https://gavart.ist/static/Of%2520Mice%2520and%2520Men.html" rel="alternative" type="text/html"></link><id>7b885dd6-1b5c-6c2d-bfde-b2dca74d73fc</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Lord of the Flies</title><link href="https://gavart.ist/#Lord%20of%20the%20Flies"></link><link href="https://gavart.ist/static/Lord%2520of%2520the%2520Flies.html" rel="alternative" type="text/html"></link><id>e8aee427-7a38-e1d0-41bc-dab5bc060287</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Lost Connections</title><link href="https://gavart.ist/#Lost%20Connections"></link><link href="https://gavart.ist/static/Lost%2520Connections.html" rel="alternative" type="text/html"></link><id>bd9312f8-ab40-4a73-4fe2-1b7ddcec6194</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Making Music: 74 Creative Strategies for Electronic Music Producers</title><link href="https://gavart.ist/#Making%20Music%3A%2074%20Creative%20Strategies%20for%20Electronic%20Music%20Producers"></link><link href="https://gavart.ist/static/Making%2520Music%253A%252074%2520Creative%2520Strategies%2520for%2520Electronic%2520Music%2520Producers.html" rel="alternative" type="text/html"></link><id>091025bb-661b-98e5-3d73-c5b65ebc0661</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Making Things Public</title><link href="https://gavart.ist/#Making%20Things%20Public"></link><link href="https://gavart.ist/static/Making%2520Things%2520Public.html" rel="alternative" type="text/html"></link><id>f33d5d96-ef8a-8982-9a48-3bad84f94a0b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Manifesto of Evolutionary Humanism</title><link href="https://gavart.ist/#Manifesto%20of%20Evolutionary%20Humanism"></link><link href="https://gavart.ist/static/Manifesto%2520of%2520Evolutionary%2520Humanism.html" rel="alternative" type="text/html"></link><id>ab208c7e-8923-db20-f4ae-a81e3cae5449</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Mastery</title><link href="https://gavart.ist/#Mastery"></link><link href="https://gavart.ist/static/Mastery.html" rel="alternative" type="text/html"></link><id>87088c3e-0310-80dd-82a0-3fc5ed68b9d6</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Mathematics and the Imagination</title><link href="https://gavart.ist/#Mathematics%20and%20the%20Imagination"></link><link href="https://gavart.ist/static/Mathematics%2520and%2520the%2520Imagination.html" rel="alternative" type="text/html"></link><id>80254b9a-65b4-e25e-003f-3dd225fbe83a</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img><br></br>
<img src="$:/images/book-cover/mathematics-and-the-imagination-inside-cover" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Media Art Histories</title><link href="https://gavart.ist/#Media%20Art%20Histories"></link><link href="https://gavart.ist/static/Media%2520Art%2520Histories.html" rel="alternative" type="text/html"></link><id>ac5f282e-bb6b-d244-e9de-f1fee208b958</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>

</p></div></content><author><name>undefined</name></author></entry><entry><title>Mhudi</title><link href="https://gavart.ist/#Mhudi"></link><link href="https://gavart.ist/static/Mhudi.html" rel="alternative" type="text/html"></link><id>8ae40f07-a785-dd42-a73b-74ccc2be95f2</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden">… and now that I have met you, you cannot leave me again so quickly. In fact, I am not quite certain that you are a man, but if you are a dream, I will stay with you and dream on while the vision lasts. (12)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">As I inhaled the fragrance of the leafy trees, the wind, which had a stimulating effect, acted like medicine upon my system. (22)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Cold drops of perspiration rolled down my face and the fright caused shivers to run all over me. It was all I could do to stifle my trembling, maintain a deathlike silence and so avert detection. The tension was unberable for the beast was in no hurry to get away. Each of its slow movements was like an age and intensified my agony. To my relief, the brute at length vanished into the dark woods; but my joy was of short duration for soon afterwards I heard the approach of another coming in the same direction, almost straight up to me. As it came nearer, my endurance entirely gave out for it seemed that I stood right in the creature's way. I held my breath and assumed a standing posture. The animal halted in front of me, chewed and swallowed a mouthful of herbs. Whether it was blind to my presence, or mistook me for a tree trunk, I know not. By the curved horn over its nose I concluded that it must be a rhinoceros, and mate to the one that first frightened me. Passing so close to me, it seemed that my shaking alone should betray me and provoke an attack. Happily I was left trembling where I stook and my enemy disappeared in the wake of his fellow. (24-25)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Hundred of calves remonstrated loudly against this wholesale theft of their mother's milk. They seemed to ask what their elders had their big hrons for, if hornless people could with impunity practise such systematic robbery at their expense. Hundred of cows seemed to low some explanation in reply. What it was, they alo9ne knew, but the bulls and bullocks on the other hand held down their heads in very shame, as if lamenting their impotence. They seemed to take the situation mechanically as the ways of men and wars. (37)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">She marvelled at the stars and at their numbers; she did not seem to have noticed that there were so many before. While she admired the greater and lesser brilliancy of each planet, she was baffled to find that what looked like vacant spaces betwixt the constellations proved, on closer scrutiny, to be no spaces at all but further clusters of numerous smaller stars. It was a glorious, if immobile, audience watching her with eyes too numerous to be counted. She wondered if they too were classed into tribes such as the people are on earth. Can it be that the stars also engage in fighting sometimes, and if so, did they kill one another's wives and children? Could it be that the thunder and lighting and hailstones that accompany the rain at times were the result of aerial battles? (60)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">By the great dead Barolong, and the dead mother who gave me life, I wish I had a beard like that.</p><p class="digitalGarden">Mhudi: And what would you do with it?</p><p class="digitalGarden">1st Companion: With a beard like that, I could chase a blesbuck against the south wind throughout a wintry day and never catch a cold; then swagger back home, with the buck on my back, flop it down in the courtyard, swell out my chest and stroke my wooly chin for the whole world to admire the dignified face of the master hunter. (74)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Each shook the dust of the old home from the soles of her feet and spurned in disgust every relic of her first marriage. (119)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">One old warrior who had clearly passed his dancing days cried, 'What! spare his life? Where will ge stay? In Inzwinyani? Go out into the valley early one morning and find a frozen cobra, or some other snake: catch it while it is shivering with the cold; put it inside your cloack till it gets warm and then see what would happen.' (138)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The forests shook with the awful thunder of the guns, which stirred a wild agitation among the denizens of the day. Terrified game of every description scattered in all directions and fled for dear life; oxen bellowed in surprise and wild hounds yelped, wolves and jackals ran as though possessed by a legion of devils. Wild birds rushed out of their nests and protested loudly against this unholy disturbance of the peace of their haunts. The very bees hived in hollow tree stems swarmed forth as if to enquire what the matter was. Meeting the charges and counter charges of the two armies, they probably demanded a reason for the upheaval. Of course, neither the Matabele nor the invaders understood the language of the bees, who failing to get a satisfactory explanation proceeded to attack the intruders in mass formation. Myriads of them distributed their stings impartially among the ranks of the allies and of their foes. The Matabele being undressed of course suffered the worst from the bee-stings. At this they were convinced that they were now fighting the evil influences of the comet which had illuninated the skies the night before. The riflemen, continuing to drive home this additional advantage in their favour, still further decimated the now demoralised armied of Gubuza. (145)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Nature had spread a peaceful calm around the oasis and it were gross sacrilege for man  to rupture the sublimity of the wilderness with his everlasting squabbles. (159)</p><p class="digitalGarden">There are times I seem to lose my head over her. The night before last I was dreaming of her in the camp. Now you have made me crazy and I will never get the frenzy out of my head.' (162)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">'How wretched,' cried Mhudi sorrowfully, 'that men in whose counsels we have no share should constantly wage war, drain women's eyes of tears and saturate the earth with God's best creation—the blood of the sons of women. What will convince them of the worthlessness of the game, I wonder?'</p><p class="digitalGarden">'Nothing, my sister,' moaned Umnandi with a sigh, 'so long as there are two men left on earth there will be war.' (169)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">They will use the wiplash on the bare skins of women to accelerate their paces and quicken their activities: they shall take Bechuana women to wife and, with them, breed a reace of half man and half goblin, and they will deny them their legitimate lbolo. With their cries unheeded, these Bechuana will waste away in helpless fury till the gnome offspring of such miscegenation rise up against their cruel sires; by that time their mucus will blend with their tears past their chins down to their heels. Then shall come our turn to laugh. (179)</p></div></content><author><name>undefined</name></author></entry><entry><title>Michael Kohlhaas</title><link href="https://gavart.ist/#Michael%20Kohlhaas"></link><link href="https://gavart.ist/static/Michael%2520Kohlhaas.html" rel="alternative" type="text/html"></link><id>34d3305c-1bb1-071a-dccf-dbb5ca5437f7</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>House of Leaves</title><link href="https://gavart.ist/#House%20of%20Leaves"></link><link href="https://gavart.ist/static/House%2520of%2520Leaves.html" rel="alternative" type="text/html"></link><id>cbf97585-a75e-1571-8ec9-ce668907ae2f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>How Proust Can Change Your Life</title><link href="https://gavart.ist/#How%20Proust%20Can%20Change%20Your%20Life"></link><link href="https://gavart.ist/static/How%2520Proust%2520Can%2520Change%2520Your%2520Life.html" rel="alternative" type="text/html"></link><id>6a4129fc-ccd4-76e4-a283-0d25d12ba634</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="digitalGarden"><strong>A Process In Trying To Find The Right Words For Things</strong></h2><p class="digitalGarden">The process can be counted upon to go badly awry. We feel something, and reach out for the nearest phrase or hum which to communicate, but which fails to do justice to what has induced us to do so. We hear Beethoven's Ninth and hum poum, poum, poum; we see the pyramids of Giza and go, “That’s nice.” These sounds are asked to account for an experience, but their poverty prevents either ourselves or our interlocutors from really understanding what we have lived through. We stay on the outside of our impressions, as if staring at them through a frosted window, superficially related to them, yet estranged from whatever has eluded casual definition.</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>A Responsible Approach To Books</strong></h2><p class="digitalGarden">As long as reading is for us the instigator whose magic keys have opened the door to those dwelling-places deep within us that we would not have known how to enter, its role in our lives is salutary. It becomes dangerous on the other hand, when, instead of awakening us to the personal life of the mind, reading tends to take its place, when the truth no longer appears to us as an ideal which we can realize only by the intimate progress of our own thought and the efforts of our own heart, but as something material, deposited between the leaves of books like a honey fully prepared by others and which we need only take the trouble to reach down from the shelves of libraries and then sample passively in a perfect repose of mind and body.</p></div></content><author><name>undefined</name></author></entry><entry><title>In The Dust of This Planet: Horror of Philosophy, Vol. 1</title><link href="https://gavart.ist/#In%20The%20Dust%20of%20This%20Planet%3A%20Horror%20of%20Philosophy%2C%20Vol.%201"></link><link href="https://gavart.ist/static/In%2520The%2520Dust%2520of%2520This%2520Planet%253A%2520Horror%2520of%2520Philosophy%252C%2520Vol.%25201.html" rel="alternative" type="text/html"></link><id>b42f9060-9e0c-8112-dc20-b600e1385aeb</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Infinite Jest</title><link href="https://gavart.ist/#Infinite%20Jest"></link><link href="https://gavart.ist/static/Infinite%2520Jest.html" rel="alternative" type="text/html"></link><id>daf1f42b-e516-7cd9-5e8e-3f11930c557f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Information Doesn't Want To Be Free: Laws For The Internet Age</title><link href="https://gavart.ist/#Information%20Doesn't%20Want%20To%20Be%20Free%3A%20Laws%20For%20The%20Internet%20Age"></link><link href="https://gavart.ist/static/Information%2520Doesn't%2520Want%2520To%2520Be%2520Free%253A%2520Laws%2520For%2520The%2520Internet%2520Age.html" rel="alternative" type="text/html"></link><id>a30d7ac0-eccb-9751-9192-92c716319bd8</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Insight</title><link href="https://gavart.ist/#Insight"></link><link href="https://gavart.ist/static/Insight.html" rel="alternative" type="text/html"></link><id>9e1c9c29-4ec3-f4b9-6a8a-0cc0df13f98e</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img><img src="./files/img/notes/insight-notes.jpg" width="373"></img></p><p class="digitalGarden">Self-aware people possessed seven distinct types of insight that unaware people didn't. They understood their values (the principles that guide them), passions (what they love to do), aspirations (what they want to experience and achieve), fit (the environment they require to be happy, energized, and engaged), patterns (consistent ways of thinking, feeling, and behaving), reactions (the thoughts, feelings, and behaviors that reveal their strengths and weaknesses), and impact (the effect they have on others).</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Baumeister began studying self esteem early in his career and was initally one of the movement's biggest believers. Over time, however, his skepticism grew. He couldn't understand why people like Vasconcellos claimed that people with low self-esteem were violent and aggressive. Baumeister dug into the science, and in 2003, he and his colleagues published an unequivocal indictment of almost three decades—and over 15,000 studies—of self-esteem research. Their review was chock-full of evidence that the relationship between self-esteem and success was virtually nonexistent. For example, military cadets' self-esteem had no relationship with their objective performance as leaders. College students' self-esteem didn't give them superior social skills. Professionals with high self-esteem didn't enjoy better relationships with their co-workers. And in an even bigger blow, boosting the self-esteem of the unsuccessful hurt their performance rather than improved it. Baumeister and his colleagues' obvious conclusion was that self-esteem was neither "a major predictor [n]or cause of almost anything," least of all success and personal fulfillment.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">One study, for example, examined the coping style and subsequent adjustment of men who had just lost a partner to AIDS. Those who engaged in introspection (such as reflecting on how they would deal with life without their partner) had higher morale in the month following their loss, but were more depressed one year later. Another study of more than 14,000 university students showed that introspection was associated with poorer well-being. Still other research suggests that self-analyzers tend to have more anxiety, less positive social experiences, and more negative attitudes about themselves.</p><p class="digitalGarden">Buddhist scholar Tirthang Tulku uses an apt analogy: when we introspect, our response is similar to a hungry cat watching mice. We eagerly pounce on whatever "insights" we find without questioning their validity or value. And even though they might feel helpful, on their own they're unlikely to actually help us improve our internal self-awareness.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">So if asking why doesn't help us better understand our true thoughts and emotions, what should we ask? A study by psychologists J. Gregory Hixon and William Swann provides a shockingly simple answer. After telling a group of undergraduates that two raters would be evaluating their personality based on a test of "sociability, likability and interestingness" that they'd taken earlier in the semester, the researchers asked the students to judge the accuracy of their results (which were actually
exactly the same for everyone: one rater gave a positive evaluation and the other gave a negative one). Before making their accuracy judgments, some participants were given time to think about why they were the kind of person they were and others were asked to think about what kind of person they were. The "why" students, it turned out, were resistant to the negative
evaluation: instead of accepting or even considering it, they spent their time "rationaliz[ing], justify(ingl, and explain[ing) [it] away." The "what" students, on the other hand, were more receptive to that same new data, and to the notion that it could help them better understand themselves. The lesson here is that asking "what" keeps us open to discovering new information about ourselves, even if that information is negative or in conflict with our existing beliefs.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Therefore, the first take-home in seeking insight from journaling is to explore the negative and not overthink the positive. When we explore our negative events through expressive writing we'll generally get the most payoff when we see it as an opportunity
for learning and growth. Pennebaker notes that journalers "who talk about things over and over in the same ways aren't getting any better. There has to be growth, change, or closure in the way they view their experiences."</p></div></content><author><name>undefined</name></author></entry><entry><title>Lesabéndio · An Astroid Novel</title><link href="https://gavart.ist/#Lesab%C3%A9ndio%20%C2%B7%20An%20Astroid%20Novel"></link><link href="https://gavart.ist/static/Lesab%25C3%25A9ndio%2520%25C2%25B7%2520An%2520Astroid%2520Novel.html" rel="alternative" type="text/html"></link><id>a698a08d-b795-b5bf-c5a0-481d98fe742c</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>Letters To A Young Artist</title><link href="https://gavart.ist/#Letters%20To%20A%20Young%20Artist"></link><link href="https://gavart.ist/static/Letters%2520To%2520A%2520Young%2520Artist.html" rel="alternative" type="text/html"></link><id>9efb9ae5-db47-fdff-3fb1-f13c190de7f8</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Life on The Edge: The Coming Age of Quantum Biology</title><link href="https://gavart.ist/#Life%20on%20The%20Edge%3A%20The%20Coming%20Age%20of%20Quantum%20Biology"></link><link href="https://gavart.ist/static/Life%2520on%2520The%2520Edge%253A%2520The%2520Coming%2520Age%2520of%2520Quantum%2520Biology.html" rel="alternative" type="text/html"></link><id>44c50259-40ac-17cf-98e6-cba52e337dd2</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Failed States</title><link href="https://gavart.ist/#Failed%20States"></link><link href="https://gavart.ist/static/Failed%2520States.html" rel="alternative" type="text/html"></link><id>1638c7a1-409a-fb4c-ace3-5f7b9d03688b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Fast Food Nation</title><link href="https://gavart.ist/#Fast%20Food%20Nation"></link><link href="https://gavart.ist/static/Fast%2520Food%2520Nation.html" rel="alternative" type="text/html"></link><id>290e099c-89a6-94f0-e6b8-980fefa3e0c1</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Faust: Eine Tragödie</title><link href="https://gavart.ist/#Faust%3A%20Eine%20Trag%C3%B6die"></link><link href="https://gavart.ist/static/Faust%253A%2520Eine%2520Trag%25C3%25B6die.html" rel="alternative" type="text/html"></link><id>85f1c04b-9e4a-1487-8060-4cbc2cd5014f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Focus: The Hidden Driver of Excellence</title><link href="https://gavart.ist/#Focus%3A%20The%20Hidden%20Driver%20of%20Excellence"></link><link href="https://gavart.ist/static/Focus%253A%2520The%2520Hidden%2520Driver%2520of%2520Excellence.html" rel="alternative" type="text/html"></link><id>83462862-13a7-dd90-8527-42c5fdd091d9</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Forensis • The Architecture of Public Truth</title><link href="https://gavart.ist/#Forensis%20%E2%80%A2%20The%20Architecture%20of%20Public%20Truth"></link><link href="https://gavart.ist/static/Forensis%2520%25E2%2580%25A2%2520The%2520Architecture%2520of%2520Public%2520Truth.html" rel="alternative" type="text/html"></link><id>1c94719e-31dc-4c5e-55bd-6a9ca3139839</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="450"></img> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>Free Play: Improvisation in Life and Art</title><link href="https://gavart.ist/#Free%20Play%3A%20Improvisation%20in%20Life%20and%20Art"></link><link href="https://gavart.ist/static/Free%2520Play%253A%2520Improvisation%2520in%2520Life%2520and%2520Art.html" rel="alternative" type="text/html"></link><id>b8eada4a-85b8-e31e-cfd7-09e2f857f80d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p><span class=" digitalGarden 

">Often we are struck by the difference between the solid, substantial buildings of the past and the hideous, ticky-tack structures of the present. In the field of fine arts, we still make beautiful things; but most everyday objects around us — roads, bridges, buildings, furniture, utensils that used to also involve art and craftsmanship — seem to be built in the easiest and cheapest way. I am convinced that this difference is related to our much speedier and more trivial view of time, and our equation of time with money. If we operate with a belief in long sweeps of time, we build cathedrals; if we operate from fiscal quarter to fiscal quarter, we build ugly shopping malls. The ugliness of many modern artifacts is not due to plastics and electronics being inherently uglier than stone or wood, and it is not because people are stupider than they used to be. It's due to the detached nonrelation between the people and the things. The artificial separation of work from play also cleaves our time and the quality of our attention … The great scientists and scholars are not those who publish or perish at any cost, but rather those who are willing to wait until the pieces of the puzzle come together in nature's own design. The fruits of improvising, composing, writing, inventing, and discovering may flower spontaneously, but they arise from soil that we have prepared, fertilized, and tended in the faith that they will ripen in nature's own time. </span></p></div></content><author><name>undefined</name></author></entry><entry><title>Freshwater</title><link href="https://gavart.ist/#Freshwater"></link><link href="https://gavart.ist/static/Freshwater.html" rel="alternative" type="text/html"></link><id>d76c4208-8faf-18ee-c02a-010e3a79ca5b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">He was a force of a human, true, with storm eyes and hands like a future, but he was still just a human. (92)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"I'm returning to sanity," she wrote, "to the real world. But I will never forget how it felt to be overwhelmed by your beauty. You made me feel so alive and so right, and I know that in the real world, I will feel nothing for you and I will move on, and we'll follow these rules because when it comes down to survival, we have to. I envy your girl, the one who holds you heart. If you ever need to take a break from this world, call me. I will come to you in heartbeat and we will steal time." (98-99)</p></div></content><author><name>undefined</name></author></entry><entry><title>Getting Things Done • The Art of Stress-Free Productivity</title><link href="https://gavart.ist/#Getting%20Things%20Done%20%E2%80%A2%20The%20Art%20of%20Stress-Free%20Productivity"></link><link href="https://gavart.ist/static/Getting%2520Things%2520Done%2520%25E2%2580%25A2%2520The%2520Art%2520of%2520Stress-Free%2520Productivity.html" rel="alternative" type="text/html"></link><id>4053d030-b0b8-3ac6-57bc-c28775eff6be</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img></div></content><author><name>undefined</name></author></entry><entry><title>Giordano Bruno and The Hermetic Tradition</title><link href="https://gavart.ist/#Giordano%20Bruno%20and%20The%20Hermetic%20Tradition"></link><link href="https://gavart.ist/static/Giordano%2520Bruno%2520and%2520The%2520Hermetic%2520Tradition.html" rel="alternative" type="text/html"></link><id>b6ce5fc8-83ce-d735-42c7-ba0d851abba4</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">… a very clear example of how the will to operate, stimulated by Renaissance magic, could pass into, and stimulate, the will to operate in genuine applied science. Or of how operating with number in the higher sphere ofreligious magic could belong with, and stimulate, operating with number in the lower sphere of “real artificial magic” [proto-science/mechanics in the terrestrial realm].</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Greeks with their first class mathematical and scientific brains made many discoveries in mechanics and other applied sciences but they never took whole-heartedly, with all their powers, the momentous step which western man took at the beginning of the modern period of crossing the bridge between the theoretical and the practical, of going all out to apply knowledge to produce operations. Why was this? It was basically a matter of the will. Fundamentally, the Greeks did not want to operate. They regarded operations as base and mechanical, a degeneration from the only occupation worthy of the dignity of man, pure rational and philosophical speculation. The Middle Ages carried on this attitude in the form that theology is the crown of philosophy and the true end of man is contemplation; any wish to operate can only be inspired by the devil. Quite apart from the question of whether Renaissance magic could, or could not, lead on to genuinely scientific procedures, the real function of the Renaissance Magus in relation to the modern period (or so I see it) is that he changed the will. It was now dignified and important for man to operate; it was also religious and not contrary to the will of God that man, the great miracle, should exert his powers. It was this basic psychological reorientation towards a direction of the will which was neither Greek nor medieval in spirit, which made all the difference.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Thus Renaissance magic was turning towards number as a possible key to operations, and the subsequent history of man’s achievements in applied science has shown that number is indeed a master-key, or one of many master-keys, to operations by which the forces of the cosmos are made to work in man’s service.</p></div></content><author><name>undefined</name></author></entry><entry><title>Gödel, Escher, Bach: An Eternal Golden Braid</title><link href="https://gavart.ist/#G%C3%B6del%2C%20Escher%2C%20Bach%3A%20An%20Eternal%20Golden%20Braid"></link><link href="https://gavart.ist/static/G%25C3%25B6del%252C%2520Escher%252C%2520Bach%253A%2520An%2520Eternal%2520Golden%2520Braid.html" rel="alternative" type="text/html"></link><id>4aaa4ee0-006a-93ca-6009-e4bcde55dbfc</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">Kurt Gödel's Incompleteness Theorem (1931) • All consistent axiomatic formulations of number thory include undecidable propositions. </p><p class="digitalGarden">This work represents a small portion of a wider mathematical movement to explain number "proofs". Gödel shows that provability is a weaker notion than truth, no matter what axiomatic system is involved.</p><h3 class="digitalGarden">SYNOPSIS OF MATHEMATICAL LOGIC</h3><ul class="digitalGarden"><li>The mechinization of the thought processes of reasoning.</li><li>reasoning -&gt; a patterned process <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Aristotle">Aristotle</a> / syllogisms, <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Euclid">Euclid</a> / geometry</li><li>1880s the theory of sets <a class="tc-tiddlylink tc-tiddlylink-missing" href="#George%20Cantor">George Cantor</a></li><li>The problem in trying to line up <em>intuition</em> with formalized/axiomatized reasoning systems.</li><li>Worry arose that paradoxes ofd logic (Epimenedis) may be internal to mathematics—thereby casting a doubt on all of mathematics.</li></ul><p class="digitalGarden">Gödel's paper demonstrated that there were irreparable "holes" in the axiomatic system proposed by Russell &amp; Whitehead—and that no axiomatic system could produce all number theoretical truths, unless it were an inconsistent system.</p><p class="digitalGarden">Computers in the 1930s + 40s: convergence of three previously disparate areas</p><ul class="digitalGarden"><li>Theory of axiomatic reasonin</li><li>The study of mechanical computation</li><li>The psychology of intelligence.</li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Gothic: Transmutations of Horror in Late-Twentieth-Century Art</title><link href="https://gavart.ist/#Gothic%3A%20Transmutations%20of%20Horror%20in%20Late-Twentieth-Century%20Art"></link><link href="https://gavart.ist/static/Gothic%253A%2520Transmutations%2520of%2520Horror%2520in%2520Late-Twentieth-Century%2520Art.html" rel="alternative" type="text/html"></link><id>e7f405e1-86b2-ea2f-c122-fa4519c05527</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Hello, The Roses</title><link href="https://gavart.ist/#Hello%2C%20The%20Roses"></link><link href="https://gavart.ist/static/Hello%252C%2520The%2520Roses.html" rel="alternative" type="text/html"></link><id>8922fa6f-a963-33e2-8f57-b36bc9032791</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Here Comes Trouble: An Inquiry into Art, Magic &amp; Madness as Deviant Knowledge</title><link href="https://gavart.ist/#Here%20Comes%20Trouble%3A%20An%20Inquiry%20into%20Art%2C%20Magic%20%26%20Madness%20as%20Deviant%20Knowledge"></link><link href="https://gavart.ist/static/Here%2520Comes%2520Trouble%253A%2520An%2520Inquiry%2520into%2520Art%252C%2520Magic%2520%2526%2520Madness%2520as%2520Deviant%2520Knowledge.html" rel="alternative" type="text/html"></link><id>7c4a4f71-207f-82e3-5356-019ada4393e8</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img></div></content><author><name>undefined</name></author></entry><entry><title>Hope In The Dark: Untold Histories, Wild Possibilities</title><link href="https://gavart.ist/#Hope%20In%20The%20Dark%3A%20Untold%20Histories%2C%20Wild%20Possibilities"></link><link href="https://gavart.ist/static/Hope%2520In%2520The%2520Dark%253A%2520Untold%2520Histories%252C%2520Wild%2520Possibilities.html" rel="alternative" type="text/html"></link><id>943cb8d8-b7ad-596e-3cb1-3798fd38839b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">George W. Bush invited his constituency to be blind to the world's real problems, and leftists often do the opposite, gazing so fixedly at those problems that they cannot see beyond them. Thus it is that the world often seems divided between false hope and gratuitous despair. Despair demands less of us, it's more predictable, and in a sad way safer. Authentic hope requires clarity—seeing the troubles in this world—and imagination, seeing what might lie beyond these situations that are perhaps not inevitable and immutable. Left despair has many causes and many varieties. There are those who think that turning the official version inside out is enough. To say that the emperor has no clothes is a nice anti-authoritarian gesture, but to say that everything without exception is going straight to hell is not an alternative vision but only an inverted version of the mainstream's "everything's fine." Then, failure and marginalization are safe—you can see the conservatives who run the United States claim to be embattled outsiders, because that means they can deny their responsibility for how things are and their power to make change, and because it is a sense of being threatened that rallies their troops. The activists who deny their own power and possibility likewise choose to shake off their sense of obligation: if they are doomed to lose, they don't have to do very much except situate themselves as beautiful losers or at least virtuous ones.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Zapatistas came down from the mountains wearing bandannas and balaclavas, and though most of them were small of stature and dark-eyed, their spokesman was a tall, green-eyed intellectual who spoke several languages and smoked a pipe through the black balaclava he has never been seen without. Subcommandante Marcos, who came several years before 1994 to liberate the campesinos and was liberated from the conventionally leftist ideology with which he arrived, is the composer of a new kind of political discourse. For Marcos's is one of the great literary voices of our time, alternately allegorical, paradoxical,
scathing, comic, and poetic, and his writings found their way around the world via a new medium, the Internet. His words express not his own ideas alone, exactly—after all he claims to be a subordinate, a subcommandante, and remains masked and pseudonymous—but those of a community bringing into being what those words propose. A singular voice that is a trumpet for a community, a writer composing a bridge across the gap between thoughts and acts. Zapatista scholar and activist Manuel Callahan points out that the Zapatistas did not come to turn back the clock to some lost indigenous dreamtime but to hasten the arrival of the future: "We Indian peoples have come in order to wind the clock and to thus ensure that the inclusive, tolerant, and plural tomorrow which is, incidentally, the only tomorrow possible, will arrive," Marcos has said. "In order to do that, in order for our march to make the clock of humanity march, we Indian peoples have resorted to the art of reading what has not yet been written. Because that is the dream which animates us as indigenous, as Mexicans and, above all, as human beings. With our struggle, we are reading the future which has already been sown yesterday, which is being cultivated today, and which can only be reaped if one fights, if, that is, one dreams.”</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">On January 1, 1996, the Fourth Declaration of the Lacandon Jungle was issued. It reads in part:</p><blockquote class="tc-quote digitalGarden"><p>A new lie is being sold to us as history. The lie of the defeat of hope,
the lie of the defeat of dignity, the lie of the defeat of humanity
... In place of humanity, they offer us the stock market index. In
place of dignity, they offer us the globalization of misery. In place
of hope, they offer us emptiness. In place of life, they offer us an
International of Terror. Against the International of Terror that
neo-liberalism represents, we must raise an International of Hope.
Unity, beyond borders, languages, colors, cultures, sexes, strate-
gies and thoughts, of all those who prefer a living humanity. The
International of Hope. Not the bureaucracy of hope, not an image
inverse to, and thus similar to, what is annihilating us. Not power
with a new sign or new clothes. A flower, yes, that flower of hope.
</p></blockquote><p class="digitalGarden">There's a wonderful parable by Jorge Luis Borges. In the last years of the thirteenth century, God tells a leopard in a cage, "You live and will die in this prison so that a man I know of may see you a certain number of times and not forget you and place your figure and symbol in a poem which has its precise place in the scheme of the universe. You suffer captivity, but you will have given a word to the poem." The poem is the Divine Comedy; the man who sees the leopard is Dante. Perhaps Suleimenov wrote all his poems so that one day he could stand up in front of a TV camera and deliver not a poem but a manifesto. And Arundhati Roy wrote a ravishing novel, The God of Small Things, that catapulted her to international stardom, perhaps so that when she stood up to oppose dams and corporations and corruption and the destruction of the local, people would notice.</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">One day in Auschwitz, the writer Primo Levi recited a canto of Dante's Inferno to a companion, and the poem about hell reached out from six hundred years before to roll back Levi's despair and his dehumanization. It was the canto about Ulysses, and though it ends tragically, it contains the lines "You were not made to live like animals—But to pursue virtue and know the world," which he recited and translated to the man walking with him. Levi lived, and wrote marvelous books of his own, poetry after Auschwitz in the most literal sense. In 1940, in his last letter to a friend before his death, the incomparable, uncategorizable German-Jewish essayist and theorist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Walter%20Benjamin">Walter Benjamin</a> wrote, "Every line we succeed in publishing today—no matter how uncertain the future to which we entrust it—is a victory wrenched from the powers of darkness."</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The quincentennial became an opportunity to restate what Columbus's arrival had meant-invasion, colonialism, genocide-and what it had been met with -"Five hundred years of resistance" was the catch-phrase. Other factors, from academic discourse to the legal ruling that allowed Native American casinos pop up across the United States (you can't lose your shirt to an extinct people), shifted the terms of native visibility and historical memory. But it was the quincentennial that had made the Zapatistas say "basta, enough, and decide to emerge from hiding fifteen months later. And it was probably the quincentennial conversation, as well as the brutal civil war in Guatemala, that moved the Nobel Committee to give the Nobel Peace Prize to indigenous Guatemalan human-rights activist Rigoberta Menchú. </p><p class="digitalGarden">Since then, a surge of indigenous power has transformed the face of politics in many Latin American states, including Columbia, Ecuador, Peru, and Bolivia. For example, in 2000, Ecuadoran General Lucio Gutierrez was ordered to repress protests against government policy by tens of thousands of indigenous Ecuadorians. Instead, he set up kitchens to feed them, permitted them to occupy the Congress, and joined an indigenous leader in announcing a new government. He was jailed for this disobedience, kicked out of the army—and in 2002 he was elected president, the first time indigenous people had exercised such power anywhere in the hemisphere. Far from perfect, he still represents a crucial shift in power.</p></div></content><author><name>undefined</name></author></entry><entry><title>Death and the Idea of Mexico</title><link href="https://gavart.ist/#Death%20and%20the%20Idea%20of%20Mexico"></link><link href="https://gavart.ist/static/Death%2520and%2520the%2520Idea%2520of%2520Mexico.html" rel="alternative" type="text/html"></link><id>2e8ba51c-5203-4966-12a6-23031e6f19bc</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Dirt</title><link href="https://gavart.ist/#Dirt"></link><link href="https://gavart.ist/static/Dirt.html" rel="alternative" type="text/html"></link><id>7cf334b7-9a84-091f-27df-c019b4b79229</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Dispute Plan To Prevent Future Luxury Constitution</title><link href="https://gavart.ist/#Dispute%20Plan%20To%20Prevent%20Future%20Luxury%20Constitution"></link><link href="https://gavart.ist/static/Dispute%2520Plan%2520To%2520Prevent%2520Future%2520Luxury%2520Constitution.html" rel="alternative" type="text/html"></link><id>f037570e-2054-9352-3f32-c2ed86d6915e</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Does It Matter? Essays On Man's Relationship To Materiality</title><link href="https://gavart.ist/#Does%20It%20Matter%3F%20Essays%20On%20Man's%20Relationship%20To%20Materiality"></link><link href="https://gavart.ist/static/Does%2520It%2520Matter%253F%2520Essays%2520On%2520Man's%2520Relationship%2520To%2520Materiality.html" rel="alternative" type="text/html"></link><id>80883e9a-2e0e-6328-2832-9948f7995c65</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Dreaming War</title><link href="https://gavart.ist/#Dreaming%20War"></link><link href="https://gavart.ist/static/Dreaming%2520War.html" rel="alternative" type="text/html"></link><id>6a389223-e66c-73c7-49bc-3b50425e42b2</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Effortless Mastery: Liberating The Master Musician Within</title><link href="https://gavart.ist/#Effortless%20Mastery%3A%20Liberating%20The%20Master%20Musician%20Within"></link><link href="https://gavart.ist/static/Effortless%2520Mastery%253A%2520Liberating%2520The%2520Master%2520Musician%2520Within.html" rel="alternative" type="text/html"></link><id>8cf238cc-9d81-7af4-0bc8-040c7ae883ef</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Envisioning Information</title><link href="https://gavart.ist/#Envisioning%20Information"></link><link href="https://gavart.ist/static/Envisioning%2520Information.html" rel="alternative" type="text/html"></link><id>c839a676-4149-5058-d085-980afdb5c128</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Esa Boca Es Mía</title><link href="https://gavart.ist/#Esa%20Boca%20Es%20M%C3%ADa"></link><link href="https://gavart.ist/static/Esa%2520Boca%2520Es%2520M%25C3%25ADa.html" rel="alternative" type="text/html"></link><id>453d175c-e122-3659-58a9-84046ae50fab</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="450"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Essays on Music</title><link href="https://gavart.ist/#Essays%20on%20Music"></link><link href="https://gavart.ist/static/Essays%2520on%2520Music.html" rel="alternative" type="text/html"></link><id>51f270a9-4a23-7d74-76ba-3eacada03fed</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="digitalGarden"><strong>On the Fetish-Character in Music</strong></h2><p class="digitalGarden">Fetishism takes hold of even the ostensibly serious practice of music, which mobilizes the pathos of distance against refined entertainment. The purity of service to the cause, with which it presents the works, often turns out to be as inimical to them as vulgarization and arrangement. The official ideal of performance, which covers the earth as a result of Toscanini’s extraordinary achievement, helps to sanction a condition which, in a phrase of Eduard Steuermann, may be called the barbarism of perfection. To be sure, the names of famous works are no longer made fetishes, although the lesser ones that break into the programs almost make the limitation to the smaller repertoire seem desirable. To be sure, passages are not here inflated or climaxes overstressed for the sake of fascination. There is iron discipline. But precisely iron. The new fetish is the flawlessly functioning, mechanically brilliant apparatus as such, in which all the cogwheels mesh so perfectly that not the slightest hole remains open for the meaning of the whole. Perfect, immaculate performance in the latest style preserves the work at the price of its definitive reification. It presents it as already complete from the very first note. The performance sounds like its own phonograph record. The dynamic is so predetermined that there are no longer any tensions at all. The contradictions of the musical material are so inexorably resolved in the moment of sound that it never arrives at the synthesis, the self-reproduction of the work, which reveals the meaning of every Beethoven symphony. What is the point of the symphonic effort when the material on which that effort was to be tested has already been ground up? The protective fixation of the work leads to its destruction, for its unity is realized in precisely that spontaneity which is sacrificed to the fixation.</p></div></content><author><name>undefined</name></author></entry><entry><title>Every Man For Himself and God Against All</title><link href="https://gavart.ist/#Every%20Man%20For%20Himself%20and%20God%20Against%20All"></link><link href="https://gavart.ist/static/Every%2520Man%2520For%2520Himself%2520and%2520God%2520Against%2520All.html" rel="alternative" type="text/html"></link><id>af3b2243-a721-4a2f-3b68-03078bf3fc17</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Everything and More</title><link href="https://gavart.ist/#Everything%20and%20More"></link><link href="https://gavart.ist/static/Everything%2520and%2520More.html" rel="alternative" type="text/html"></link><id>793102d9-5942-7242-109a-5c2ab3b07cb8</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Eyes Wide Open: A Memoir of Stanely Kubrick</title><link href="https://gavart.ist/#Eyes%20Wide%20Open%3A%20A%20Memoir%20of%20Stanely%20Kubrick"></link><link href="https://gavart.ist/static/Eyes%2520Wide%2520Open%253A%2520A%2520Memoir%2520of%2520Stanely%2520Kubrick.html" rel="alternative" type="text/html"></link><id>12e41bc5-2d2e-d32c-2b91-150284f35540</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p><span class=" digitalGarden 

">He is morbidly afraid of giving away any of his secrets, the best of which may be that he has none. His technique is very technical; he was an early addict of computers and the whole machinery of computerization chimes with his desire to consider all the possibilities of a situation. What cannot, however, be analyzed into a series of choices is originality itself, which remains the ragamuffin property of the urchin talent. It is for this ‘reason’ that I am both desirable (since I supply dialogue about which he is regularly flattering) and menacing, since my ideas just might shatter the notion that a work of art can be manufactured out of finite, manipulable elements. I anger Stanley Kubrick, in an impersonal sort of way, when I remind him that the possible readings and versions of any anecdote, however apparently ‘perfect’, are legion, if not infinite. The fear that a story can get away from him—a man who takes endless precautions against anything unforeseen—lies behind all his caution. He does not want anything to escape him. This desire makes him the prisoner of what he dreads without disarming the dreadful. The recluse imagines that if he can reduce the possibility of surprises the world will become orderly, but the more order he contrives the more it is vulnerable to fortune. The wish to eliminate chance leads to the madness of which method is the symptom. By the scrupulousness of his inspections, the care with which he makes sure that the casual never falls on his head, Stanley Kubrick becomes a Damocles without a sword, a man threatened by a thread.</span></p></div></content><author><name>undefined</name></author></entry><entry><title>Blindsight</title><link href="https://gavart.ist/#Blindsight"></link><link href="https://gavart.ist/static/Blindsight.html" rel="alternative" type="text/html"></link><id>8a3dc405-8a4d-e059-ff49-c4a4a6dd374c</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">Vampires can see the <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Necker_cube" rel="noopener noreferrer" target="_blank">Necker Cube</a> both ways at once. (64)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Just an expression, fellow mammal. Bury the hatchet. Damn the torpedoes. Soothe the serpent. (66)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"Former neuroaestheticist, presently a parasite on the Body Economic thanks to genes and machines on the cutting edge."</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Chinese_room" rel="noopener noreferrer" target="_blank">Chinese Room</a> fallacy, and refutation of the Strong AI thesis. (117)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"Some essential nutrient?" Bates suggested. "They're not eating-
"Yes to the linguist. No to the Major." Cunningham fell silent; I
lanced across the drum to see him sucking on a cigarette, "I think
a lot of the cellular processes in these things are mediated exter-
nally. I think the reason I can't find any genes in my biopsies is
because they don't have any."
"So what do they have instead?" Bates asked
"Turing morphogens.
Blank looks, subtitling looks. Cunningham explained anyway: "A lot of biology doesn't use genes. Sunflowers look the way they do because of purely physical buckling stress. You get Fibonacci sequences and golden ratios everywhere in nature, and there's no
sene that codes for them; it's all just mechanical interactions. Take a developing embryo—the genes say start growing or stop growing, but the number of digits and vertebrae result from the mechanics of cells bumping against other cells. Those mitotic spindles I mentioned? Absolutely essential for replication in every eukaryotic cell, and they accrete like crystals without any genetic involvement. You'd be surprised how much of life is like that."
"But you still need genes," Bates protested, walking around to join us.
"Genes just establish the starting conditions to enable the process. The structure that proliferates afterwards doesn't need specific instructions. It's classic emergent complexity. We've known about it for over a century." Another drag on the stick. "Or even longer. Darwin cited honeycomb way back in the eighteen hundreds."
"Honeycomb," Bates repeated.
"Perfect hexagonal tubes in a packed array. Bees are hardwired to lay them down, but how does an insect know enough geometry to lay down a precise hexagon? It doesn't. It's programmed to chew up wax and spit it out while turning on its axis, and that generates a circle. Put a bunch of bees on the same surface, chewing side-by-side, and the circles abut against each other—deform each other into hexagons, which just happen to be more efficient for close packing anyway."
Bates pounced: "But the bees are programmed. Genetically."
"You misunderstand. Scramblers are the honeycomb."
"Rorschach is the bees," James murmured.
Cunningham nodded. "Rorschach is the bees, And I don't think Rorschach's magnetic fields are counterintrusion mechanisms at all. I think they're part of the life-support system. I think they mediate and regulate a good chunk of scrambler metabolism. What we've got back in the hold is a couple of creatures dragged out of their element and holding their breath. And they can't hold it forever." (265-266)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">You invest so much in it, don't you? It's what elevates you above the beasts of the field, it's what makes you special. Homo sapiens, you call yourself. Wise Man. Do you even know what it is, this consciousness you cite in your own exaltation? Do you even know what it's for? Maybe you think it gives you free will. Maybe you've forgotten that sleepwalkers converse, drive vehicles, commit crimes and clean up afterward, unconscious the whole time. Maybe nobody's told you that even waking souls are only slaves in denial. Make a conscious choice. Decide to move your index finger. Too late! The electricity's already halfway down your arm. Your body began to act a full half-second before your conscious self "chose" to, for the self chose nothing; something else set your body in motion, sent an executive summary—almost an afterthought—to the homunculus behind your eyes. That little man, that arrogant subroutine that thinks of itself as the person, mistakes correlation for causality: It reads the summary and it sees the hand move, and it thinks that one drove the other. But it's not in charge. You're not in charge. If free will even exists, it doesn't share living space with the likes of you.</p><p class="digitalGarden">Insight, then. Wisdom. The quest for knowledge, the derivaton of theorems, science and technology and all those exclusively Human pursuits that must surely rest on a conscious foundation. Maybe that's what sentience would be for-if scientific breakthroughs didn't spring fully formed from the subconscious mind, manifest themselves in dreams, as full-blown insights after a deep night's sleep. It's the most basic rule of the stymied researcher. <em>Stop thinking about the problem</em>. Do something else. It will come to you
if you just stop being <em>conscious</em> of it.</p><p class="digitalGarden">Every concert pianist knows that the surest way to ruin a performance is to be aware of what the fingers are doing. Every dancer and acrobat knows enough to let the mind <em>go</em>, let the body run itself. Every driver of any manual vehicle arrives at destinations with no recollection of the stops and turns and roads traveled in getting there. You are all sleepwalkers, whether climbing creative peaks or slogging through some mundane routine for the thousandth time. You are all sleepwalkers.</p><p class="digitalGarden">Don't even <em>try</em> to talk about the learning curve. Don't bother citing the months of deliberate practice that precede the unconscious performance, or the years of study and experiment leading up to the gift-wrapped eureka moment. So what if <em>your</em> lessons are all learned consciously? Do you think that proves there's no other way? Heuristic software's been learning from experience for over a hundred years. Machines master chess, cars learn to drive themselves, statistical programs face problems and design the experiments to solve them and you think that the only path to learning leads through <em>sentience</em>? You're Stone Age nomads, eking out some marginal existence on the veldt-denying even the possibility of agriculture, because hunting and gathering was good enough for your parents.</p><p class="digitalGarden">Do you want to know what consciousness is for? Do you want to know the only <em>real</em> purpose it serves? Training wheels. You can't see both aspects of the Necker cube at once, so it lets you tocus on one and dismiss the other. That's a pretty half- assed way to parse And it's fighting back. Oh, but you can't. There's something in the way. Anything. Go on, try. Defocus. It's the next logical step. 
Oh, but you can't. There's something in the way.
And it's fighting back.</p><p class="digitalGarden">Evolution has no foresight. Complex machinery develops its own agendas. Brains cheat. Feedback loops evolve to promote stable heartbeats and then stumble upon the temptation of rhythm and music. The rush evoked by fractal imagery, the algorithms used for habitat selection, metastasize into art. Thrills that once had to be <em>earned</em> in increments of fitness can now be had from pointless introspection. Aesthetics rise unbidden from a trillion dopamine receptors, and the system moves beyond modeling the organism. It begins to model the very <em>process</em> of modeling. It consumes ever-more computational resources, bogs itself down with endless recursion and irrelevant simulations. Like the parasitic DNA that accretes in every natural genome, it persists and proliferates and produces nothing but itself. Metaprocesses bloom like cancer, and awaken, and call themselves <em>I</em>. </p><p class="digitalGarden">The system weakens, slows. It takes so much longer now to <em>perceive</em>—to assess the input, mull it over, <em>decide</em> in the manner of cognitive beings. But when the flash flood crosses your path, when the lion leaps at you from the grasses, advanced self-awareness is an unaffordable indulgence. The brain stem does its best. It sees the danger, hijacks the body, reacts a hundred times faster than that fat old man sitting in the CEO's office upstairs; but every generation it gets harder to work around this—this creaking neurological bureaucracy. </p><p class="digitalGarden"><em>I</em> wastes energy and processing power, self-obsesses to the point of psychosis. Scramblers have no need of it, scramblers are more parsimonious. With simpler biochemistries, with smaller brains—deprived of tools, of their ship, even of parts of their own metabolism—they think rings around you. They hide their language in plain sight, even when you know what they're saying. They turn your own cognition against itself. <em>They travel between the stars</em>. This is what intelligence can do, unhampered by self-awareness. </p><p class="digitalGarden"><em>I</em> is not the working mind, you see. For Amanda Bates to say "I
do not exist" would be nonsense; but when the processes beneath
say the same thing, they are merely reporting that the parasites
have died. They are only saying that they are free. (300-303)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Sarasti using <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Chernoff_face" rel="noopener noreferrer" target="_blank">Chernoff faces</a> to observe ConSensus ship data.</p></div></content><author><name>undefined</name></author></entry><entry><title>Breakfast of Champions</title><link href="https://gavart.ist/#Breakfast%20of%20Champions"></link><link href="https://gavart.ist/static/Breakfast%2520of%2520Champions.html" rel="alternative" type="text/html"></link><id>17574b12-1b0b-1e37-f57d-f2d3449d5f3a</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Bulletins of The Serving Library #1</title><link href="https://gavart.ist/#Bulletins%20of%20The%20Serving%20Library%20%231"></link><link href="https://gavart.ist/static/Bulletins%2520of%2520The%2520Serving%2520Library%2520%25231.html" rel="alternative" type="text/html"></link><id>528f60fb-c8ed-1163-69a0-55c61319b55a</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Capitalist Realism: Is There No Alternative</title><link href="https://gavart.ist/#Capitalist%20Realism%3A%20Is%20There%20No%20Alternative"></link><link href="https://gavart.ist/static/Capitalist%2520Realism%253A%2520Is%2520There%2520No%2520Alternative.html" rel="alternative" type="text/html"></link><id>c7a414a6-a9e7-63ea-2e0a-33064ca06bb0</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Catcher In The Rye</title><link href="https://gavart.ist/#Catcher%20In%20The%20Rye"></link><link href="https://gavart.ist/static/Catcher%2520In%2520The%2520Rye.html" rel="alternative" type="text/html"></link><id>20f4b7de-8c07-b555-bdfa-b41d2b76f786</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Childhood's End</title><link href="https://gavart.ist/#Childhood's%20End"></link><link href="https://gavart.ist/static/Childhood's%2520End.html" rel="alternative" type="text/html"></link><id>2c60d258-d628-6bff-483a-6ddb0df51c7b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Choose Yourself</title><link href="https://gavart.ist/#Choose%20Yourself"></link><link href="https://gavart.ist/static/Choose%2520Yourself.html" rel="alternative" type="text/html"></link><id>d7436f38-42aa-c2ed-fd4e-6b9fe218298d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Complete Stories</title><link href="https://gavart.ist/#Complete%20Stories"></link><link href="https://gavart.ist/static/Complete%2520Stories.html" rel="alternative" type="text/html"></link><id>c2215bb0-a093-5e0d-eb6f-7895d3fbd519</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">Today I understand him. I forgive him for everything. I for. give everything in people who can't get a hold of themselves, people who ask themselves questions, People who look for reasons to live, as if life alone didn't justify itself. Later I got to know the real Daniel, the invalid, the one who only existed, though in perpetual radiance, inside him-self. Whenever he turned toward the world, now groping and spent, he realized he was helpless and, bitter, bewildered, he discovered that all he knew was how to think. One of those people who possess the earth in a second, with their eyes closed. That power he had to deplete things before getting them, that stark premonition he had of "afterward" ... Before taking the first step toward action, he had already tasted the saturation and sorrow that follow victories ... And, as if to compensate for this impossibility of achieving anything, he, whose soul so yearned to expand, had invented yet another path suited to his inactivity, where he could expand and justify himself. To make the most of oneself, hed repeat, is the highest and noblest human objective. To make the most of oneself would mean abandoning the possession and achievement of things in order to possess oneself, to develop ones own elements, to grow within one's own form. To make ones own music and hear it oneself... As if he needed a scheme like that ... Everything in him naturally reached the maximum, not by objectification, but in a state of capacity, of exalted strength, from which no one ben-chied and of which everyone, besides him, was ignorant. And this state was his summit. It resembled something that might precede a climax and he burned to reach it, feeling that the more he suffered, the more alive he was, more punished, nearly satisfied. It was the pain of creation, yet without the creation. Because when everything melted away, only in his memory was there any trace. He never let himself rest for long, despite the sterility of this struggle and no matter how exhausting it was. Soon he would once again be revolving around himself, sniffing out his nascent desires, concentrating them until they were brought to a breaking point. Whenever he managed it, hed vibrate with hatred, beauty or love, and felt nearly compensated. (18-19)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Are you making fun of me, sir? Do you think I'll leave you alone, just like that, peacefully? Let you go your merry way, even after bumping into me? Oh, never. If I have to, I'll make some confessions. There's a lot I'll tell you … But maybe you don't get it: we're different. I suffer, inside me feelings are solidified, differentiated, they're born already labeled, self-conscious. As for you … a nebula of a man. Maybe your great-grandson will be able to suffer more … But it's all right: the harder the task, the more appealing, as Ema said before we got engaged. That's why I'm going to drop my fishing hook into you, sir. Maybe it'll latch onto the seed of your suffering great-grandson. Who knows? (105)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"Listen up, pal, the moon is way up in the sky. Aren't you scared? The helplessness that comes from nature. That moonlight, think about it, that moonlight, paler than a corpse's face, so silent and far away, that moonlight witnessed the cries of the first monsters to walk the earth, surveyed the peaceful waters after the deluges and the floods, illuminated centuries of nights and went out at dawns throughout the centuries … Think about it, my friend, that moonlight will be the same tranquil ghost when the last traces of your great-grandson's grandsons no longer exist. Prostrate yourself before it. You've shown up for an instant and it is forever. Don't you suffer, pal? I … I myself can't stand it. It hits me right here, in the center of my heart, having to die one day andm thousands of centuries later, undistinguished in humus, eyeless for all eternity, I, I!, for all eternity … and the indifferent, triumphant moon, its pale hands outstretched over new men, new things, different beings. And I Dead!"—I took a deep breath. "Think about it, my friend. It's shining over the cemetery right now. The cemetery where all lie sleeping who once were and never more shall be. There, where the slightest whisper makes the living shudder in terror and where the tranquility of the stars muffles our cries and brings terror to our eyes. There, where there are neither tears nor thoughts to express the profound misery of coming to an end." (106)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The bench was stained with purple juices. Wich intense gentleness the waters murmured. Clinging to the tree trunk were the luxuriant limbs of a spider. The cruelty of the world was tranquil. The murder was deep. And death was not what we thought. (127)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">If a perfect person from the planet Mars landed and discovered that Earthlings got tired and grew old, that person would feel pity and astonishment. Without ever understanding what was good about being human, in feeling tired, in giving out daily; only the initiated would comprehend this subtlety of defectiveness and this refinement of life. (139)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The simple approach of four masks on that May evening seemed to have reverberated through hollow recesses, and others, and still others that, if not for that instant in the garden, would forever remain within this perfume in the air and within the immanence of four natures that fate had singled out, designating time and place—the same precise fate of a falling star. These four, coming from reality, had fallen into the possibilities afoot on a May evening in São Cristóvão. Every moist plant, every pebble, the croaking frogs, were taking advantage of the silent confusion to better position themselves—everything in the dark was mute approach. Having fallen into the ambush, they looked at each other in terror: the nature of things had been cast into relief and the four figures peered at each other with outstretched wings. A rooster, a bull, the devil and a girl's face had unleashed the wonder of the garden ... That was when the huge May moon appeared. (216)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">On the surface of time it had only lasted a minute, but in its depths it was ancient centuries of the darkest sweetness. In the morning— as if I hadn't counted on the actual existence of the person who had unleashed my black dreams of love—in the morning, face to face with that big man in his short jacket, in a collision I was launched into shame, bewilderment and frightening hope. Hope was my greatest sin. (240)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Over time they came to an agreement. All she had to do was say, like a code word,"I had a terrible afternoon yesterday," for him to know austerely that she suffered the same way he did. There was sadness, pride and daring between them. (263)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The thing is, once they'd found the secret part of themselves in each other, the temptation and the hope arrived, of one day reaching the greatest. The greatest what? (265)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">They were very unhappy. Weary, expectant, they sought each other out, forcing a continuation of the initial and casual comprehension that was never repeated—and without even loving one another. The ideal was suffocating them, time was uselessly passing, urgency was calling them—they didn't know where they were going, and the path was calling them. Each was asking a lot of the other, but both had the same neediness, and neither would ever have sought an older partner to teach them, because they weren't crazy enough to surrender for no good reason to the ready-made world. One possible way they might still have saved themselves would be the thing they never would have called poetry. In fact, what was poetry anyway, that embarrassing word? Could it be meeting when, by coincidence, a sudden rain fell over the city? Or perhaps, while having sodas together, they both looked simultaneously at a passing woman's face? or even running into each other on that old night of moon and wind? But they'd both already been born by the time the word poetry was being published with the utmost shamelessness in the Sunday paper. Poetry was the word older people used. And their wariness was enormous, like that of animals. Whom instinct alerts: that one day they will be hunted. They had been fooled far too many times to start believing now. And, hunting them would have required utmost caution, lots of tracking and fast-talking, and an even more cautious tenderness—tenderness that wouldn't offend them—in order to, catching them off guard, capture them in the net. And, more cautiously still to avoid tipping them off, leading them slyly into the world of addicts, into the ready-made world; since that was the role of adults and spies. From having been tricked for so long, prideful from their own bitterness, they felt an aversion to words, especially when a word — like poetry — was so clever that it almost expressed something, and only then really showed how little it expressed. They both felt, in fact, an aversion to most words, which hardly facilitated communication, since they still hadn't invented better words: they were constantly at odds, stubborn rivals. Poetry? Oh, how they detested it. As if it were sex. They also thought the others wanted to hunt them not for sex, but for normality. They were fearful, scientific, exhausted by ex-perience. As for the word experience, yes, they'd talk about it without shame and without explaining it: indeed the term was always changing its meaning. Experience also sometimes gor mixed up with message. They used both words withour deepening their meaning much. (266-267)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"Surrender unconditionally and make yourself a part of me for I am the past" — their future life told them. And, for God's sake, in whose name could anyone insist on hoping that the future belonged to them? who?! but who cared to dispel the mystery for them, and without lying? was there anyone working to that end? This time, struck mute as they were, it wouldn't even occur to them to blame society. (273)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The agony of her birth. Until then I had never seen courage. The courage to be something other than what one is, to give birth to oneself, and to leave one's former body on the ground. And without having answered to anyone about whether it was worthwhile. "I, her fluid-soaked body was trying to say. Her nuptials with herself. (339)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">INVISIBLE ANGELS: BEHOLD US NEARLY HERE, COMING down the long path that exists before you all. But we are not tired, such a road does not require strength and, were it to require vigor, not even that of your prayers would lift us. Dizziness alone is what makes us whirl round shouting with the leaves until the opening of a birth. Is dizziness all it takes, as far as we know? if men hesitate over men, angels know nothing of angels, the world is wide and may whatever is be blessed. We are not tired, our feet have never been washed. Screeching at this next diversion, we came so as to suffer what must be suf-fered, we who have yet to be touched, we who have yet to be boy and girl. Behold us in the web of true tragedy, from which we shall extricate our primary form. When we open our eyes to become those who are born, we shall remember nothing: babbling children we shall be and we shall wield your very weap-ons. Blind on the path that precedes footsteps, blind shall we push onward when we are born with eyes that already see. Nor do we know what we have come to. All we need is the conviction that what is to be done shall be done: an angel's fall is a direction. Our true beginning precedes the visible beginning, and our true end will follow the visible end. Harmony, terrible harmony, is our only prior destiny. (345-346)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">But there was one Carnival that was different from the rest. So miraculous that I couldn't quite believe so much had been granted me, I, who had long since learned to ask for little. What happened was that a friend's mother had decided to dress up her daughter and the costume pattern was named the Rose. To make it she bought sheets and sheets of pink crepe paper, from which, I suppose, she planned to imitate the petals of a flower. Mouth agape, I watched the costume gradually taking shape and being created. Though the crepe paper didn't remotely resemble petals, I solemnly believed it was one of the most beautiful costumes I had ever seen. (378)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Living on the shores of death and of the stars is a tenser vibration than the veins can take. There is not even the child of a celestial body and a woman to act as a pious intermediary. The heart must appear before the nothing alone and alone beat high in the darkness. The only thing sounding in your ears is your own heart. When it appears completely naked, it is not even communication, it is submission. For we were made for nothing but the small silence. (495)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">AH, FOR ALL I KNOW, I WASN'T BORN, AH, FOR ALL I know, I wasn't born. Madness is neighbor to the cruelest pru-dence. I swallow the madness because it calmly makes me hal-lucinate. The ring you gave me was made of glass and broke and love didn't end, but in its place, hatred of those who love. The chair for me is an object. Useless while I'm looking at it. Tell me please what time it is so I can know that I'm living at this time. Creativity is unleashed by a germ and I don't have that germ today but I have the incipient madness that in itself is a valid creation. I have nothing more to do with the validity of things. I am freed or lost. I'm going to tell you all a secret: life is fatal. We keep this secret in muteness each faced with ourselves because it's convenient, otherwise we would make every instant fatal. (501)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">And they went into the living room. Then Serjoca came to life. And started talking nonstop. He cast bedroom eyes at the industrialist. Affonso was astounded by the handsome young man's eloquence. The next day hed call Aurélia to tell her: Ser-joca is the most charming person. (541)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In Brasília it is always Sunday. But now I am going to speak very softly. Like this: my love. My great love. Have I said it? You're the one who answers. I am going to end with the most beautiful word in the world. Nice and slow like this: my love how I have longed for you. L-o-v-e. I kiss you. Like a flower. Mouth to mouth. How bold. And now —now peace. Peace and life. I-am a-live. Maybe I don't deserve so much. I am afraid. But I don't want to end with fear. Ecstasy. Yes, my love. I surrender. Yes. Pour toujours. Everything— but everything is absolutely natural. Yes. I. But above all you are the guilty one, Brasília. However, I pardon you. It's not your fault you're so lovely and pitiful and poignant and mad. Yes, a wind of Justice is blowing. So I say to the Great Natural Law: yes. Hey cracked mirror: who is prettier than me? No one, the magic mirror replies. Yes, I am well aware, it's us two. Yes! yes! yes! I said yes. (590)</p></div></content><author><name>undefined</name></author></entry><entry><title>Courage Is Calling</title><link href="https://gavart.ist/#Courage%20Is%20Calling"></link><link href="https://gavart.ist/static/Courage%2520Is%2520Calling.html" rel="alternative" type="text/html"></link><id>0c6355be-f986-3dfc-eebf-d3143ee405c5</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">Hebrew prayer from 1800s:</p><blockquote class="tc-quote digitalGarden"><p>"The world is a narrow bridge, and the important thing is not to be afraid."
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Creative Quest</title><link href="https://gavart.ist/#Creative%20Quest"></link><link href="https://gavart.ist/static/Creative%2520Quest.html" rel="alternative" type="text/html"></link><id>f329b237-a047-c5ba-3d79-92e87cf9026b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Critical Path</title><link href="https://gavart.ist/#Critical%20Path"></link><link href="https://gavart.ist/static/Critical%2520Path.html" rel="alternative" type="text/html"></link><id>daf9e391-c277-fb9f-4d42-c0a4243ded0f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Curriculum of the Soul</title><link href="https://gavart.ist/#Curriculum%20of%20the%20Soul"></link><link href="https://gavart.ist/static/Curriculum%2520of%2520the%2520Soul.html" rel="alternative" type="text/html"></link><id>8bf619d0-911e-0566-aca6-1b2b928f45c7</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Daemon</title><link href="https://gavart.ist/#Daemon"></link><link href="https://gavart.ist/static/Daemon.html" rel="alternative" type="text/html"></link><id>310e6498-f531-5abb-83ee-2fe94fe735ad</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Dark Matter</title><link href="https://gavart.ist/#Dark%20Matter"></link><link href="https://gavart.ist/static/Dark%2520Matter.html" rel="alternative" type="text/html"></link><id>2360b31c-1628-a21d-dd77-8891dabac91d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>A People's History of The World</title><link href="https://gavart.ist/#A%20People's%20History%20of%20The%20World"></link><link href="https://gavart.ist/static/A%2520People's%2520History%2520of%2520The%2520World.html" rel="alternative" type="text/html"></link><id>c8b05116-bfb3-e0cc-3554-b8d93af26be1</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img> <img src="./files/img/books/a-peoples-history-of-the-world-notes-01.jpg" width="383"></img><img src="./files/img/books/a-peoples-history-of-the-world-notes-02.jpg" width="383"></img></p><p class="digitalGarden">The ever-greater absorption of resources by the ruling class was accompanied by a massive slowdown in the growth of humanity's ability to control and understand the natural world. Gordon Childe contrasted the massive advances made by comparatively poor and illiterate communities in the early period leading up to the 'urban revolution' with what followed the establishment of the great states:</p><blockquote class="tc-quote digitalGarden"><p>The two millennia immediately preceding 3000 BC had witnessed discoveries in applied science that directly or indirectly affected the prosperity of millions and demonstrably furthered the biological welfare of our species…artificial irrigation using canals and ditches; the plough; the harnessing of animal motive-power; the sailing boat; wheeled vehicles; orchard-husbandry; fermentation; the production and use of copper; bricks; the arch; glazing; the seal; and—in the early stage of the revolution- a solar calendar, writing, numeral notation, and bronze. The 2,000 years after the revolution produced few contributions of anything like comparable importance to human progress. (34)
</p></blockquote><p class="digitalGarden">✴︎</p><p class="digitalGarden">However, the Jewish communities did not simply survive. They attracted others to them. 'Proselytes'—converts to Judaism—were very common in this period. The Alexandrian Jew Philo told, 'All men are being conquered by Judaism.…barbarians, Hellenes…the nations of the east and west, Europeans, Asiatics'. So attractive was Judaism in the Greek and Roman cities that a special category of believers emerged, the 'God fearers—non-Jews who attended synagogue but who were not prepared to undergo circumcision and to abide by all the biblical rules. It was not just the sense of community that attracted them. The central religious idea of Judaism, monotheism—the belief in the one invisible god—fitted the situation of the urban dwellers. The pagan religions in which there were many gods, each associated with a particular locality or force of nature, made sense to the country dweller for whom the local village or clan was the centre of social existence. But the urban traders, artisans and beggars had repeated contact with a very large number of people from different localities and in different occupations. An anonymous, all-embracing deity could seem to provide support and protection in such multiple encounters. That is why there were trends towards monotheism in all the great civilisations of antiquity—the rise of Buddhism in India and China, and the worship of a single 'good' god (involved in an eternal battle with evil) in Persia.'? Even Roman Paganism tended to worship a sun-
god more powerful than the others. Furthermore, in its Pharisaical form, Judaism combined monotheism with the promise to its adherents that however hard their suffering in this life, they had something to look forward to in the next.</p><p class="digitalGarden">Such was the popularity of Judaism that it bound together millions of believers in all the trading centres of the Roman Empire, providing a network of contacts and communication stretching across thousands of miles. All the religious disputes and messianic speculations occasioned by the situation in Jerusalem were transmitted along this network. To people in each Roman city they would not have seemed distant arguments about the situation in Palestine, since the suffering of Palestine was just one example of the suffering of the lower classes and the conquered provinces right across the empire. Judaism was thus on its way to becoming the universal religion of the urban masses of the empire. But it faced two obstacles. The first was its rules about diet and circumcision. The phenomenon of the God-fearers shows that many of those attracted to the religion were not prepared to go all the way in adopting its rules. The second was Judaism's promise to its believers that they were 'the chosen people' This clearly clashed with the reality of Roman domination. Jews in Palestine might plan for some great uprising to overthrow Roman rule. But the Jews in the diaspora, everywhere a minority, were in no position to rebel and did little or nothing when the Jews of Palestine did rise up in AD 70. The defeat of that rising made it even harder for people to take literally Judaism's promise that its adherents would take over the world. The religion could only prosper to the extent that it replaced promises of what would happen in this world with promises of what would happen in the next. (91-92)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Finally, Christianity incorporated emotive elements from other religious cults which were flourishing at the time. The notion of the redemption of the world by the death and rebirth of a god was already found in many popular religions, such as the Adonis, Osiris and other fertility cults (the rebirth of a dead and buried god signified the onset of spring just as Easter came to symbolise it for Christians). The story of the virgin birth found in the gospels of Luke and Matthew (which contradicts Matthew's claim to trace Jesus's ancestry back through Joseph, his father, to the Jewish king David) brought to Christianity an element from the popular Egyptian mystery cult of Osiris, who was supposed to have been born of a virgin cow. The image of the 'Holy Mary' bears remarkable similarity to the role played by the goddess Isis in the Egyptian religion, addressed as 'most holy and ever-
lasting redeemer of the human race…mother of our tribulations'. It does not require much rewriting to make this into a Christian prayer to 'the mother of God'.</p><p class="digitalGarden">Who was the audience for the new religion? It was not, in the main, made up of the poorest people in the empire, the mass of agricultural slaves, since early Christianity (unlike the Essenes) did not oppose slavery on principle. Saint Paul could write that a slave should stay with his master, even if they were “brothers in Christ”. It was not made up of the peasantry, either, for religion spread outside Palestine through the towns certainly that is what the Acts of the Apostles tells us. (93-94)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">This process was hastened by a great controversy over Christian doctrine–the question of Gnosticism'. It arose from an issue of interpretation which must seem obscure to anyone without religious belief—where evil came from. But it had profound practical consequences. Christian theology held that there was only one god, who had created everything. This meant he must have created evil as well as good—a disturbing conclusion for believers who always bracketed 'God' and 'good' together. The response of orthodox Christianity has usually been to try and dilute the problem by placing lots of intermediaries between God and evildoing (fallen angels, demons, disobedient humanity). When this does not carry conviction, it declares that the very fact God knows the answer to this problem while we do not shows how much greater is his understanding than ours. (96)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The hold of the church over the minds of the masses depended on the superstitions and magical beliefs in holy relics and miracles which flourished in a society where life was often short and almost always insecure. This led the church leaders to fear the new ideas spreading in the cities. The faith in reason of people like Abelard and Bacon could undermine the hold of superstition, while the wandering monks who preached a gospel of poverty and humility could encourage the heretical' belief that the holy poor' were entitled to wage war on the 'corrupt rich'. The church increasingly clamped down on new ideas. It gave official recognition to moderate Franciscans but persecuted the 'extremist' fratelli. Then in 1277 it tried to ban 219 'execrable errors' (some of which were held by the great apologist for late medieval Christianity, Thomas Aquinas) from the teaching of scholars. Roger Bacon seems to have been held under house arrest, and the followers of Averroès were forced to leave Paris for Padua. Finally, in the course of the 14th century, the Inquisition came into existence and, with it, the burning of people for heresy. In the new atmosphere scholars began to keep clear of 'dangerous discussions. After Thomas Aquinas recast Christian theology on the basis of Aristotle's ideas—in the process justifying the hierarchy of aristocrats, knights, merchants, artisans and peasants medieval thought entered its truly scholastic, sterile phase in which there was no questioning of the basics of church dogma or of the notions of the physical world that went with it. (148)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Columbus did not 'discover' America. The 'Indians' had done that at least 14,000 years before when they crossed the Bering Straits from Siberia into Alaska. He was not even the first European to arrive there—the Vikings had established a brief presence on the north eastern coast of North America half a millennium before him. But 1493 did mark a turning point in history. For the first time the previously backward societies on the Atlantic coast of Eurasia were showing a capacity to exercise a dominant influence on other parts of the world. So although the Spanish were as barbaric in the Americas as the Crusaders had been in the Middle East three or four centuries before, the outcome was different. The Crusaders came, saw, conquered and destroyed—and then were driven out, leaving little behind but abandoned fortresses. The Spanish came, saw, conquered,
destroyed and stayed to create a new, permanent domain. While this was happening across the Atlantic, equally significant
and ultimately world-shaking changes were taking place in Europe itself- changes in politics, intellectual life and ideology and, underlying these, changes in the ways millions of people obtained a living. Much mainstream history is obsessed with how one monarch took over from another. It consists of little more than lists of kings, queens and ministers, with accompanying stories of manoeuvres by courtiers, princely murders and dynastic battles. The political changes beginning at the end of the 15th century stand apart from such trivia. They led to the rise of a new sort of state, which in one version or another came to dominate the world. People often use the words 'country' or 'nation' when speaking about the ancient or medieval worlds. But the states which ruled then were very different to the modern 'national' state. (172)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">There were also limits to how far most of the Enlightenment thinkers were prepared to take their critiques of existing institutions and ideas, at least in public. So Voltaire could rage against the superstition of religion ('écrasex l'infame'—'Crush the infamy'—was his slogan) and subject biblical accounts of miracles to devastating critiques, but he was very upset when d'Holbach published (under a pseudonym) a thoroughly atheistic work, <em>The System of Nature</em>. This book has made philosophy execrable in the eyes of the king and tine whole of the courts, he wrote." Gibbon, in England, could write a pioneering history, the <em>Decline and Fall of the Roman Empire</em>, which was scathing in its attack on the influence of the Christian church. But it was not intended to shake the faith of the masses. The Scot David Hume did not publish his own savage attacks on religion during his lifetime. Voltaire objected to what he saw as Rousseau's negative attitude to existing social institutions in <em>The Social Contract</em>, while Rousseau objected to Voltaire's 'negative' attitude towards religion.</p><p class="digitalGarden">But however reluctant they were to take a radical stance, the thinkers of the Enlightenment challenged some of the basic props of the societies in which they lived. These were not open to easy reform, and powerful interests saw any questioning as deeply subversive. Many of the thinkers suffered as a result. Voltaire was beaten up by the hired thugs of an aristocrat, endured a spell of imprisonment in the Bastille and then felt compelled to live away from Paris for many years. Diderot was incarcerated for a period in the fortress of Vincennes, near Paris. Rousseau spent the latter part of his life out of reach of the French authorities across the Swiss border, and the plays of Beaumarchais (whose <em>Marriage of Figaro</em> laid the basis for Mozart's opera) were banned in several countries for suggesting that a servant could thwart the intentions of his master. The church could be especially hostile to any questioning of established ideas. In southern Europe the counter-Reformation stamped viciously on all opposition until the second half of the 18th century.</p><p class="digitalGarden">In Spain there were 700 cases of <em>auto da fé</em> (the burning alive of 'heretics') between 1700 and 1746.7 In France, Protestants could still be sentenced to slavery in the galleys and two Protestants were broken on the wheel before being hanged in Toulouse in 1761 and Abbéville in 1766. By challenging such things, the thinkers raised fundamental questions about how society was organised, even if they shied away from providing complete answers. Voltaire's <em>Candid</em> suggested that no state in Europe could fulfill people's needs. Rousseau began his <em>Social Contract</em> with the revolutionary idea, 'Man is born free, but everywhere he is in chains,' even though he seems to have put lite faith in the masses himself. (243-245)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The prevalence of racism today leads people to think it has always existed, arising from an innate aversion of people from one ethnic background for those from another. Slavery is then seen as a by-product of racism, rather than the other way round. Yet in the ancient and medieval worlds, people did not regard skin color as any more significant than, say, height, hair colour or eye colour. Tomb paintings from ancient Egypt show fairly random mixtures of light, brown and black figures. Many important figures in Roman history came from north Africa, including at least one emperor; no text bothers to mention whether they were light or dark skinned. In Dutch paintings of the early 16th century, black and white people are shown as mixing freely—as, for instance, in Jordaen's painting 'Moses and Zipporah', which shows Moses' wife as black.</p><p class="digitalGarden">There was often deep hostility to Jews in medieval Europe. But this was hostility on the basis of religion, as Jews were the only non-Catholic group in a totally Christian society, not on the basis of allegedly inherent physical or mental characteristics. Their persecutors would leave them alone if they sacrificed their religious beliefs. What was involved was irrational religious hatred, not irrational biological racism. This only arose with the slave trade.</p><p class="digitalGarden">The early slave traders and slave owners did not rely on racial differences to excuse their actions. Instead they turned to ancient Greek and Roman texts which justified the enslavement of those captured in war, or at least in 'just wars'. Providing the owners had acquired their slaves by legitimate means, the slaves were private property and could be disposed of in any way. So it was that John Locke, the English philosopher so much admired by Voltaire, could justify slavery in the 1690s-and, through ownership of shares in the Royal Africa Company, be a beneficiary of the slave trade—yet reject the idea that Africans were intrinsically different to Europeans. (252)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Their argument has often been attacked since. After all, say the critis, many of the profits from slavery were not invested in industry, but spent on luxury mansions where merchants and absentee plantation owners could mimic the lifestyles of the old aristocracy; and any gains to the economies of north west Europe would have been eaten up by the cost of the wars fought over control of the slave-based colonial trade. As one economic history textbook from the 1960s puts it.</p><blockquote class="tc-quote digitalGarden"><p>Foreign trade profits do not constitute a significant contribution to saving destined for industrial investments…Attempts to measure slaving profits have produced quite insignificant values in relation to total trade and investment flows.
</p></blockquote><p class="digitalGarden">But this is to abstract from the very real effects slave-based production had on the economic life of western Europe, and especially Britain, in the 18th century. What is usually called the 'triangular trade' provided outlets for its burgeoning handicraft and putting-out industries. Ironware, guns and textiles from Europe were sold in return for slaves to merchants on the African coast; the slaves were transported in appalling conditions (it was financially more remunerative to allow 10 percent to die than to provide conditions in which all would survive the crossing) to be sold in the Americas; and the money obtained was used to buy tobacco, sugar—and later raw cotton—for sale in Europe. (254)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Slavery did not produce the rise of capitalism, but was produced by it. English industry and agriculture were already displaying a dynamism in the late 17th century, at a time when plantation production in the West Indies and North America existed only in embryo. It was because of this dynamism that the slave trade took off. The demand for colonial produce existed precisely because a dynamic British economy led the consumption of tobacco and sugar to spread downwards from the upper classes to the urban and even rural masses. The looting of colonies and the enslavement of peoples could not alone create such a domestic dynamic—the Spanish and Portuguese economies stagnated despite their colonial empires. The British economy grew because the growing use of free labor at home enabled it to exploit slave labor in the Americas in a new way. (255)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Writing when industrial capitalism was in its infancy, Adam Smith could not see that pure market systems display an irrationality of their own. The drive of producers to compete with one another leads, not to an automatic adjustment of output to demand, but to massive upsurges in production ('booms') followed by massive drops ('slumps') as producers fear they cannot sell products profitably. It was to be another 45 years before Smith's most important successor, David Ricardo, added a chapter to his <em>Principles of Political Economy</em> recognizing that the introduction of machinery could worsen the conditions of workers. For Smith to have done this would have been to jump ahead of his time. However, those who want to present Smith's writings as the final word on capitalism today do not have the same excuse.</p><p class="digitalGarden">Finally, there was a contradiction in Smith's argument about labor and value which had important implications. Like almost all Enlightenment thinkers, Smith assumed that people with unequal amounts of property are equal in so far as they confront each other in the market. But some of his arguments began to challenge this and to question the degree to which 'free' labor is that much more free than slave labor. Smith's assertion that labor is the source of all value led him to the conclusion that rent and profit are labor taken from the immediate producer by the landlord or factory owner. (260)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">It was not only the physical lives of the workforce that changed with industrialization. There was also a change in mentality, Life in crowded conurbations produced very different attitudes from those in isolated villages. It could lead to loneliness and despair as well as poverty. But it could also lead to new feelings of class community, as people found themselves living and working alongside unprecedented numbers of other people with the same problems and in the same conditions. What is more, it gave people a greater awareness of the wider world than was typical in the countryside. Workers were much more likely to be able to read and write than their peasant forebears, and through reading and writing to know about distant places and events.</p><p class="digitalGarden">The new world of work brought with it a new form of family and a radical change in the position of women. The peasant wife had always played a productive role, but it was usually one subordinated to her husband, who was responsible for most transactions with society outside the family. By contrast, in the first flood of the industrial revolution it was women (and children) who were concentrated in their hundreds and thousands in factories. Conditions were horrible—so horrible that many dreamed of finding a man who could free them from the double toil of sweated labour and childcare. But for the first time women also had money of their own and a degree of independence from husbands or lovers. The 'millgirls' of Lancashire were famed for standing up for themselves, as were the grisettes of the east end of Paris for taunting the police and challenging soldiers. In revolutionizing production, capitalism was also beginning to overturn attitudes which had helped sustain the oppression of women for thousands of years. (322)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Marx noted that the system as described by Smith, Ricardo and their followers made the lives of people dependent upon the operations of the market. But the market itself was nothing other than the interaction of the products of people's labor. In other words, people had become prisoners of their own past activity. Feuerbach had described the way people worshiped gods they themselves had created as 'alienation'. Marx now applied the same term to the capitalist market:</p><blockquote class="tc-quote digitalGarden"><p>The object that labor produces, its product, confronts it as an alien power, independent of the producer. The product of labor is labor that has solidified itself into an object, made itself into a thing, the objectification of labor… In political economy this realization of labor appears as a loss of reality for the worker, objectification as a loss of the object or enslavement to it.</p><p>The more the worker produces, the less he has to consume. The more values he creates, the more valueless, the more unworthy he becomes… [The system] replaces labor by machines, but it throws one section of workers back to a barbarous type of labor, and it turns the other section into a machine... It produces intelligence—but for the worker, stupidity…It is true that labor produces wonderful things for the rich—but for the worker it produces privation. It produces palaces—but for the worker, hovels. It produces beauty—but for the worker, deformity... The worker only feels himself outside his work, and in his work feels outside himself. He feels at home when he is not working, when he is working he does not feel at home.
</p></blockquote><p class="digitalGarden">Marx's conclusion was that workers could only overcome this inhumanity by collectively taking control of the process of production, by 'communism'. Human liberation did not lie, as the liberal democrats said, in a mere political revolution to overthrow the remnants of feudalism, but in social revolution to establish a 'communist' society. Marx and Engels worked together to give practical content to their newly formed ideas through participation in the groups of exiled German socialists in Paris and Brussels. This culminated in them joining an organization of exiled artisans, the League of the Just, which was soon to be renamed the Communist League—and to commission them to write <em>The Communist Manifesto</em>.</p><p class="digitalGarden">In the meantime, they developed their ideas. In the book <em>The Holy Family</em> and an unpublished manuscript, <em>The German Ideology</em>, they criticized the left Hegelians—and with them the notion inherited from the Enlightenment that society could be changed merely by the struggle of reason against superstition. They used Feuerbach's materialism to do this, but in the process went beyond Feuerbach. He had seen religion as an 'alienated' expression of humanity. But he had not asked why such alienation occurred. Marx and Engels traced this alienation to the efforts of successive generations of human beings to wrest a livelihood from nature and the way this led to differing relations between people. Feuerbach's materialism, they insisted, had neglected the role of human beings in changing the external world as well as being changed by it. This 'dialectical' interaction, they argued, permitted a materialist interpretation of history. They combined it with their critique of political economy to provide an overall view of history and society in <em>The Communist Manifesto</em>. (328-329)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">People had needs other than material ones. They needed to relax, socialize and recover from both the physical exhaustion and the numbing monotony of work. Factory production and city life had stamped out most of the old ways of satisfying such needs, based as they were on village life, with its seasonal rhythms and opportunities for informal get-togethers. Capital could profit by providing new ways of socialising. The brewers had their profitable networks of pubs. The first newspaper barons discovered an enormous audience for titillation and amusement (the British newspaper millionaire Harmsworth had his first success with a weekly called <em>Tibits</em>). The entertainment business took its first tentative step forward with the music halls, and another with the invention in the 1890s of the phonograph (forerunner of the record player) and of 'moving pictures',</p><p class="digitalGarden">Organized sport also sprang from the new world of capitalist industry. Informal games with balls were many thousands of years old. But the organization of teams playing according to rules which reflected the competitive ethos of capitalist industry was one of the new features of 19th century Britain which soon spread across the world. Factory towns, and even factories, were the birthplace of many teams (hence names such as 'Arsenal' and 'Moscow Dynamo'), with local businessmen presiding over them—seeing advantages in a focus of local identification which cut across class lines.</p><p class="digitalGarden">Capitalism had begun by taking people who were a product of a previous form of society and utilizing part of their lives—the part that involved slaving away for 12, 14 or 16 hours a day in a workshop or factory. But now it could profit from enveloping their whole lives—from the beds people slept in and the roofs which kept them dry, to the food they ate, the effort it took them to reach their workplaces and the diversions which allowed them to forget the world of labor. It became a total system.</p><p class="digitalGarden">This created a problem, however. Capitalism could no longer look tor a supply of fresh labor power outside the system. It had to take steps to ensure the supply existed, and that meant addressing the raising of new generations of people: Capitalists had shown few such concerns in the early days of the industrial revolution in Britain, and the industrial capitalists of other countries were usually just as indifferent. Women and children provided the cheapest and most adapt able labor for the spinning mills, and they were crammed in with no thought for the effect on their health or on the care of younger children. If capital accumulation necessitated the destruction of the working class family, then so be it! (381-382)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The new belief in the unimpeded advance of progress came to be called 'positivism' (the name given to these ideas by the French thinker Comte) or 'scientism'. It provided the rationale for Émile Zola's novels, trying to depict human behaviour as the blind interplay of material conditions and hereditary passion, and for Theodore Dreiser's attempt in his novels about big business to show capitalist behavior as a version of 'the survival of the fittest'. It underlay the optimism in the early science fiction of H G Wells, with his image of triumphant humanity landing on the moon, or of plays by George Bernard Shaw like Man and Superman and Major Barbara. It was present in the attempts by Sigmund Freud to explain irrational feelings and behavior in terms of forces within the human mind—the ego, the superego and the id—interacting much like the parts of Kelvin's universe. It was the backdrop to the philosophy of Bertrand Russell and the guiding principle behind those, like Sidney and Beatrice Webb and their Fabian Society in Britain, who believed society could be changed for the better through piecemeal reform implemented by benevolent civil servants. (385)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In fact, European explorers' such as Mungo Park in the 1790s and 1800s, and Livingtone and Stanley in the 1850s and 1860s, were only able to make their famous journeys through Africa because structured societies and established states existed. These states had been easily able to deal with the first European attempts at conquest. In 1880, it is worth remembering, western Europeans had been in regular maritime contact with the African coast for 400 years—and Indians, Arabs and Turks had been in contact with whole swathes of the African interior for considerably longer. Yet Europeans directly controlled only a few isolated, mainly coastal, regions. As Bruce Vandervort has written, 'In the early modern period at least, Europe's technological edge was seldom very great, or important, except perhaps at sea. Indigenous peoples were quick to catch up with European
innovations'.</p><p class="digitalGarden">The first European attempts to carve out colonies in Africa involved them in bloody battles which they often lost. The French had to fight long and bitter wars to conquer Algeria and Senegal. The British lost to an Ashanti army in the early 1870s, to the Mahdi’s Sudanese army at Khartoum in 1884 (when the same Charles George Gordon who had helped crush the Tai p'ing rebellion in China met a justly deserved death), and to the Zulus at Isandlwana in 1879. The Italians suffered a devastating defeat at the hands of an Ethiopian army at Adowa in 1896, when 'a whole swaggering ethos of white conquest was shattered'. (394)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Philosophical and cultural currents emerged which questioned any notion of progress and gave a central role to the irrational. These trends were encouraged as developments in theoretical physics (the special theory of relativity in 1905, the general theory of relativity in 1915 and Heisenberg's 'uncertainty principle' version of quantum physics in the mid-1920s) undermined the old mechanical model of the universe. At the same time the popularity of psychoanalysis seemed to destroy the belief in reason, once so important for Freud himself.</p><p class="digitalGarden">Artists and writers attempted to come to terms with the novelty of the world around them by a revolution in artistic and literary forms. The 'revolution' was based on an ingrained ambiguity-on both admiration of and horror at the mechanical world. What came to be known as 'Modernism' was born. Characteristically the emphasis was on formalism and mathematical exactness, but also on the discordance of clashing images and sound, and dissolution of the individual and the social into fragmented parts. High culture up until the mid-19th century (the Hungarian Marxist critic Georg Lukács argued that 1848 was the key date) had centred on attempts by middle class heroes and heroines to master the world around them, even if they were often tragically unsuccessful. The high culture of the period after the First World War centred on the reduction of individuals to fragmented playthings of powers beyond their control—as, for example, in Kafka's novels <em>The Trial</em> and <em>The Castle</em>, in Berg's opera <em>Lulu</em>, in T S Eliot's poem <em>The Wasteland</em>, in Dos Passos's trilogy <em>USA</em>, in the early plays of Bertolt Brecht and in the paintings of Picasso's 'analytical Cubist' phase. Yet the internal fragmentation of works of art and literature which simply reflected the fragmentation around them left the best artists and writers dissatisfied, and they tried with varying degrees of success to fit the pieces into some new pattern which restored a place for humanity in a mechanical world. The difficulty of doing so within a reality which was itself fragmented and dehumanised led many to draw political conclusions. Already by the 1920s Italian 'Futurists' had embraced the blind irrationality of fascism and Russian Futurists had embraced the Russian Revolution's rational attempt to reshape the world. (467)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The dynamism remained in the 'leaden age', but instead of offering the mass of people improved lives, as in the long boom, it threatened to snatch what they had achieved in the past. Whole industries disappeared, and towns were reduced to wastelands. Welfare benefits were cut to the levels of 50 years earlier—or even abolished in some US states. Meanwhile, a new brand of hard right politicians known as 'Thatcherites' or 'neo-liberals' toasted the unleashing of 'enterprise' and found an echo among a layer of social democratic politicians who treated a return to the orthodoxies of 19th century politics as evidence of 'modernity'.</p><p class="digitalGarden">The shift to the right had its impact on sections of the radical left, demoralised by the defeats of the mid-1970s—and in some cases by learning the truth about China and the bloody regime established by the pro-Chinese Khmer Rouge in Cambodia. Some drew the conclusion that the whole revolutionary enterprise had been misconceived. Some believed they had been too severe in their criticism of parliamentary reformism. Some simply concluded that the class struggle was a thing of the past.</p><p class="digitalGarden">In fact there were some very big and sometimes violent class confrontations in the 1980s, as workers tried to prevent the decimation of jobs in old established industries- the struggles by steel workers in France and Belgium, the year long strike of over 150,000 miners in Britain and a strike of similar length by 5,000 British print workers, a five day general strike in Denmark, public sector strikes in Holland and British Columbia, and a one day general strike in Spain. But, by and large, these struggles were defeated, and one legacy of defeat was a growing belief that 'old fashioned' methods of class struggle could not win. This led a layer of working class activists to place their hopes once more in the promises of parliamentary politicians. It also encouraged left wing intellectuals to question further the very notions of class and class struggle. They embraced an intellectual
fashion called 'postmodernism', which claimed any interpretation of reality was as valid as any other, that there was no objective basis for notions such as class, and that any attempt to change the way society operates would be 'totalitarian', since it involved trying to impose a total conception of the world on others. Postmodernists rejected notions of struggling to change society just as the dangerous instability of society became ever more pronounced. (588-589)</p></div></content><author><name>undefined</name></author></entry><entry><title>A Separate Peace</title><link href="https://gavart.ist/#A%20Separate%20Peace"></link><link href="https://gavart.ist/static/A%2520Separate%2520Peace.html" rel="alternative" type="text/html"></link><id>5f010a3e-c7c5-f1c6-6832-1e4bd194ad6d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>A Thousand Years of Non-Linear History</title><link href="https://gavart.ist/#A%20Thousand%20Years%20of%20Non-Linear%20History"></link><link href="https://gavart.ist/static/A%2520Thousand%2520Years%2520of%2520Non-Linear%2520History.html" rel="alternative" type="text/html"></link><id>5d4aebd6-c03f-4830-868e-c3cdf79bce19</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>African Religions and Philosophies</title><link href="https://gavart.ist/#African%20Religions%20and%20Philosophies"></link><link href="https://gavart.ist/static/African%2520Religions%2520and%2520Philosophies.html" rel="alternative" type="text/html"></link><id>34e6fc7e-9b26-8e38-471b-8d147c1152d9</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p><p class="digitalGarden"><strong>Tribes/peoples mentioned</strong><br></br>Abaluyia, Acholi, Akan, Akamba, Ankore, Ashanti, Azande, Bachwa, Baganda, Balese, Baluba, Banyarwanda, Banyoro, Bambuti, Bari, Barotse, Barundi, Basuto, Batoro, Bavenda, Basoga, Bushmen, Butawa, Chagga, Didinga, Dinka, Dorobo, Elgeyo, Ewe, Fajulu, Ga, Galla, Gikuyu, Gisu, Gofa, Hadzapi, Haya, Herero, Hottentots, Idoma, Igbira, Igbo, Ila, Ingassana, Jie, Jumjum, Kagoro, Kakwa, Katab, Katanga, Kiga, Kipsigis, Kpelle, Lodagaa, Langi, Lotuko, Lozi, Lugbara, Lunda, Luo, Luvedu, Madi, Maasai, Mamvu-Mangutu, Meban, Mende, Meru, Mondari, Nandi, Ndebele, Ngombe, Ngoni, Nuba, Nuer, Nupe, Nyakyusa, Ovambo, Ovimbundu, Pare, Sandawe, Shilluk, Shona, Sonjo, Suk, Tikar, Tiv, Toposa, Tonga, Tswana, Turu, Turkana, Udhuk, Vugusu, Walamo, Watumbatu, Wolof, Yansi, Yao, Yoruba, Zulu</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">"I am because we are; and since we are, therefore I am."</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Africans have their own ontology, but it is a religious ontology, and to understand their religions we must penetrate that ontology. I propose to divide it up into five categories, but it is an extremely anthropocentric ontology in the sense that everything is seen in terms of its relation to man. These categories are:</p><ul class="digitalGarden"><li>God as the ultimate explanation of the genesis and sustenance of both man and all things</li><li>Spirits being made up of superhuman beings and the spirits of men who died a long time ago</li><li>Man including human beings who are alive and those about to be born</li><li>Animals and plants, or the remainder of biological life</li><li>Phenomena and objects without biological life</li></ul><p class="digitalGarden">(20)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">If, however, future events are certain to occur, or if they fall within the inevitable rhythm of nature, they at best constitute only potential time, not actual time. What is taking place now no doubt unfolds the future, but once an event has taken place, it is no longer in the future but in the present and the past. Actual time is therefore what is present and what is past. It moves "backward" rather than "forward"; and people set their minds not on future things, but chiefly on what has taken place.</p><p class="digitalGarden">This time orientation, governed as it is by the two main dimensions of the present and the past, dominates African understanding of the individual, the community and the universe which constitutes the five ontological categories mentioned above. Time has to be experienced in order to make sense or to become real. A person experiences time partly in his own individual life, and partly through the society which goes back many generations before his own birth. Since what is in the future has not been experienced, it does not make sense; it cannot, therefore, constitute part of time, and people do not know how to think about it-unless, of course, it is something which falls within the rhythm of natural phenomena. (23)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In western or technological society, time is a commodity which must be utilized, sold and bought; but in traditional African life, time has to be created or produced. Man is not a slave of time; instead, he "makes" as much time as he wants. When foreigners, especially from Europe and Amer-ica, come to Africa and see people sitting down somewhere without, evidently, doing anything, they often remark, "These Africans waste their time by just sitting down idle!" Another common cry is, "Oh, Africans are always late!" It is easy to jump to such judgments, but they are judgments based on ignorance of what time means to African peoples. Those who are seen sitting down, are actually not wasting time, but either waiting for time or in the process of "producing" time. One does not want to belabour this small point, but certainly the basic concept of time underlies and influences the life and attitudes of African peoples in the villages, and to a great extent those who work or live in the cities as well. Among other things, the economic life of the people is deeply bound to their concept of time; and as we shall attempt to indicate, many of their religious concepts and practices are intimately connected with this fundamental concept of time. (24-25)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">To avoid the thought associations of the English words past, present and future, I propose to use two Swahili words, "Sasa" and "Zamani." In our chart of the verb tenses, Sasa covers the "now-period" of tenses 1 to 7. Sasa has the sense of immediacy, nearness, and "now-ness"; and is the period of immediate concern for the people, since that is "where of "when" they exist. What would be "future" is extremely brief. This has to be so because any meaningful event in the future must be so immediate and certain that people have almost experienced it. Therefore, if the event is remote, say beyond two years from now (tense number 4), then it cannot be conceived, it cannot be spoken of and the languages themselves have no verb tenses to cover that distant "future" dimension of time. When an event is far in the future, its reality is completely beyond or outside the horizon of the Sasa period. Therefore, in African thought, the Sasa "swallows" up what in western or linear concept of time would be considered as the future.</p><p class="digitalGarden">Events (which compose time) in the Sasa dimension must be either about to occur, or in the process of realization, or recently experienced. Sasa is the most meaningful period for the individual, because he has a personal recollection of the events or phenomena of this period, or he is about to experience them. Sasa is really an experiential extension of the Now-moment (tense number 4) stretched into the short future and into the unlimited past (or Zamani). Sasa is not mathematically or numerically constant. The older a person is, the longer is his Sasa period. The community also has its own Sasa, which is greater than that of the individual. But for both the community and the individual, the most vivid moment is the NOW point, the event of tense number 4. Sasa is the time region in which people are conscious of their existence, and within which they project themselves both into the short future and mainly into the past (Zamani). Sasa is in itself a complete or full time dimension, with its own short future, a dynamic present, and an experienced past. We might call it the Micro-Time (Little-Time). The Micro-Time is meaningful to the individual or the community only through their participating in it or experiencing it.</p><p class="digitalGarden">Zamani is not limited to what in English is called the past. It also has its own "past," "present" and "future," but on a wider scale. We might call it the Macro-Time (Big Time). Zamani overlaps with Sasa and the two are not separable. Sasa feeds or disappears into Zamani. But before events become incorporated into the Zamani, they have to become realized or actualized within the Sasa dimension. When this has taken place, then the events "move" backwards from the Sasa into the Zamani. So Zamani becomes the period beyond which nothing can go. Zamani is the graveyard of time, the period of termination, the dimension in which everything finds its halting point. It is the final storehouse for all phenomena and events, the ocean of time in which everything becomes absorbed into a reality that is neither after nor before. Both Sasa and Zamani have quality and quantity. People speak of them as big, small, little, short, long, etc., in relation to a particular event or phenomenon. Sasa generally binds individuals and their immediate environment together. It is the period of conscious living. On the other hand, Zamani is the period of the myth, giving a sense of foundation or "se-curity" to the Sasa period; and binding together all created things, so that all things are embraced within the Macro-Time. (28)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Similarly, death is a process which removes a person grad. ually from the Sasa period to the Zamani. After the physical death, the individual continues to exist in the Sasa period and does not immediately disappear from it. He is remembered by relatives and friends who knew him in this life and who have survived him. They recall him by name, though not necessarily mentioning it, they remember his personality, his character, his words and incidents of his life. If he "appears" (as people believe), he is recognized by name. The departed appear mainly to the older members of their surviving families, and rarely or never to children. They appear to people whose Sasa period is the longest.</p><p class="digitalGarden">This recognition by name is extremely important. The appearance of the departed, and his being recognized by name, may continue for up to four or five generations, so long as someone is alive who once knew the departed personally and by name. When, however, the last person who knew the departed also dies, then the former passes out of the horizon of the Sasa period; and in effect he now becomes completely dead as far as family ties are concerned. He has sunk into the Zamani period. But while the departed person is remembered by name, he is not really dead: he is alive, and such a person I would call the living-dead. The living-dead is a person who is physically dead but alive in the men-ory of those who knew him in his life as well as being alive in the world of the spirits. So long as the living-dead is thus re membered, he is in the state of personal immortality. This personal immortality is externalized in the physical continuation of the individual through procreation, so that the children. bear the traits of their parents or progenitors. From the point. of view of the survivors, personal immortality is expressed of exteralized in acts like respecting the departed, giving bis of food to them, pouring out libation and carrying out instructions given by them either while they lived or when they appear. (32)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">For this reason, Africans are particularly tied to the land, because it is the concrete expression of both their Zamani and their Sasa. The land provides them with the roots of existence, as well as binding them mystically to their de-parted. People walk on the graves of their forefathers, and it is feared that anything separating them from these ties will bring disaster to family and community life. To remove Africans by force from their land is an act of such great injustice that no foreigner can fathom it. Even when people voluntarily leave their homes in the countryside and go to live or work in the cities, there is a fundamental severing of ties which cannot be repaired and which often creates psychological problems with which urban life cannot as yet cope. (35)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">When African peoples consider God to be omniscient, they are at the same time conferring upon Him the highest possible position of honour and respect, for wisdom commands great respect in African societies. In so doing, people admit that man's wisdom, however great, is limited, incomplete and acquired. On the other hand, God's omniscience is absolute, unlimited and intrinsically part of His eternal nature and being. To the Zulu and Banyarwanda, God is known as "the Wise One," and to the Akan as "He Who knows or sees all." It is a common saying among the Yoruba that "Only God is wise" and they believe that God is "the Discerner of hearts" Who "sees both the inside and outside of man." (39)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Many societies like the Alkan, Baluba, Ngoni, Tonga and others, speak of Him as "the Great One," or "Great God," or "the Great King," or "the surpassingly great Spirit." The main Zulu name for God, Unkulunkulu, carries with it the sense of "the Great-great-One" and the same name is used by neighbouring peoples, such as the Ndebele for whom it means "the Greatest of the great."13 The attributes of transcendence and self-existence also point in this same direction of the supremacy and pre-eminence of God. (44)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Animals and plants constitute human food, and their importance is obviously great. African peoples have many religious associations with them, some of which are linked with concepts of God. There are myths which tell how domestic animals originated at the same time or in the same way as man himself. Thus, the Zulu narrate that both men and cattle sprang from the same spot, and God instructed men saying, "Let them be your food; eat their flesh and their milk!" If lightning strikes cattle, people say that God has slaughtered for Himself from among His own food, and this is taken to be a blessing upon the village where it occurs. The Akamba hold that cattle, sheep and goats accompanied the first human beings whom God lowered from the sky. (65)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Among many societies, the sun is considered to be a manifestation of God Himself, and the same word, or its cognate, is used for both. Examples of this may be cited from among the Chagga (Ruwa for both God and sun), peoples of the Ashanti hinterland (We for both), Luo (Chieng for both), Nandi (Asis for God, asista for sun) and Ankore (Kazooba for both). Among others, like the Azande, Haya, Igbo and Meban, the sun is personified as a divinity or spirit, and thought by some to be one of God's sons. There is no concrete indication that the sun is considered to be God, or God considered to be the sun, however closely these may be asso-ciated. At best the sun symbolizes aspects of God, such as His omniscience, His power, His everlasting endurance, and even His nature. (68)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Some peoples, like the Lugbara and Langi, hold that rocks are a manifestation of God. The Luvedu claim that God left His footprints on certain rocks which are still soft and can be seen; and in one version of the creation of man, the Akamba tell that the first men were brought by God out of a rock which can still be seen today. A number of peoples like the Banyarwanda, Bari, Bavenda, Ingassana, Madi and Sonjo, are reported to have sacred stones and rocks, which are used for religious rites and observances. Sacred stones are often employed in rainmaking ceremonies. Many consider rocks and boulders to be the dwelling places of the spirits, the departed or the living-dead. Clay is said by the Bambuti, Shilluk, Barundi, Banyarwanda and Yoruba, to be or to have been used by God to form human beings. (71)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Yoruba have one thousand and seven hundred divinities (orisa), this being obviously the largest collection of divinities in a single African people. These divinities are associated with natural phenomena and objects, as well as with human activities and experiences. They are said to render to God "annual tributes of their substance in acknowledgment of His Lordship." (99)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Zulu are reported to have the so-called "Queen of heaven" who is said to be of great beauty. The rainbow, mist and rain are emanations of her glory, and she is surrounded by light. She is a virgin, and taught women how to make beer, among other useful arts. (101)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Since the spirits have sunk into the horizon of the Zamani, they are within the state of collective immortality, relative to man's position. They have no family or personal ties with human beings, and are no longer the living-dead. As such, people fear them, although intrinsically the spirits are neither evil nor good. They have lost their human names, as far as men are concerned-i.e. those that once were human beings. To men, therefore, the spirits are strangers, foreigners, outsiders, and in the category of "things." They are often referred to as "ITs." Viewed anthropocentrically, the ontological mode of the spirits is a depersonalization and not a completion or maturation of the individual. Therefore, death is a loss, and the spirit mode of existence means the withering of the individual, so that his personality evaporates, his name disappears and he becomes less and not more of a person: a thing, a spirit and not a man any more. (103)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">To add to this complex situation of the Baganda concepts of the spirits, there is another form of spiritual beings-and-power known as mayembe (literally "horns"). These are objects, chiefly horns of buffaloes and bucks, used by diviners and medicine-men in their practice, which function when spirits are called or summoned by the owners of the mayembe. The spirits alone are not the mayembe, and yet the horns alone without the spirits cannot function as mayembe. It is the combination of the two that produces the mayembe; and the right method of reaching that combination is known only to the experts concerned. A powerful and skilled diviner can create his own mayembe which other diviners may borrow or consult even after he has died. Often the mayembe are given personal names, and it is these names which are called or sung when the diviners summon the spirits. Mayembe are used for all sorts of activities, including divination, diagnosing and healing diseases, "creating" more love between a man and his wife, finding lost articles, preventing attack by magic or by other mayembe from an enemy and so on. Some are more powerful than others, and one group known as kifaalu (mili-tary tank, tractor or rhino) which came into the picture during or immediately after the Second World War, is particularly feared and considered deadly. These are thought to have come either from Kenya or Rwanda. One diviner assured my students in 1967 that many Baganda possess kifaalu, but they are kept secretly since people employ them to haunt, kill or bewitch their enemies and offenders, such as those who take other men's wives or do not pay their debts. (115)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">It would seem that African image of the happy life is one in which God is among the people, His presence supplying them with food, shelter, peace, immortality or gift of the resurrection, and a moral code. For many peoples this is only in the golden age of the Zamani, and others have lost even the mythological sight of it. It is remarkable that out of these many myths concerning the primeval man and the loss of his original state, there is not a single myth, to my knowl-edge, which even attempts to suggest a solution or reversal of this great loss. Man accepted the separation between him and God; and in some societies God has been "left" in the distance of the Zamani, coming into the Sasa period only in times of men's crises and needs. In varying degrees the majority of African peoples (if not all) attempt to go after God in the acts of worship such as we have already outlined in chapter seven above. We saw, however, no evidence of man seeking after God for His own sake; or of the spirit of man "thirsting" after God as the pure and absolute expression of being.</p><p class="digitalGarden">Would it be legitimate to suggest, perhaps, that African acts of worship are basically utilitarian, searching primarily for the lost paradise rather than for God Himself? Since in these acts, people are searching for something past, something in the distant Zamani period, it follows that there cannot be myths about the future recovery of the lost paradise or reversal of the fait accompli. (127)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The kinship system is like a vast network stretching laterally (horizontally) in every direction, to embrace everybody in any given local group. This means that each individual is a brother or sister, father or mother, grandmother or grandfather, or cousin, or brother-in-law, uncle or aunt, or something else, to everybody else. That means that everybody is related to everybody else, and there are many kinship terms to express the precise kind of relationship pertaining between two individuals. When two strangers meet in a village, one of the first duties is to sort out how they may be related to each other, and having discovered how the kinship system applies to them, they behave to each other according to the accepted behaviour set down by so-ciety. If they discover, for example, that they are "brothers," then they will treat each other as equals, or as an older and younger brother; if they are "uncle" and "nephew," then the "nephew" may be expected to give much respect to the "uncle" where this type of relationship is required by society. It is possible also that from that moment on, the individuals concerned will refer to each other by the kinship term of, for instance, "brother," "nephew," "uncle," "mother," with or without using their proper names. Such being the case then, a person has literally hundreds of "fathers," hundreds of "mothers," hundreds of "uncles," hundreds of "wives." hundreds of "sons and daughters." (136)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Genealogical ties also serve social purposes, particularly in establishing relationships between individuals. By citing one's genealogical line, it is possible to see how that person is linked to other individuals in a given group. It is also on genealogical basis that organizational divisions have evolved among different peoples, demarcating the larger society into "clans," "gates," families, households and finally individuals.</p><p class="digitalGarden">The clan is the major subdivision of the "tribe." Some peoples may have up to a hundred clans. Clan systems are by no means uniform in Africa. There are patriarchal clans where descent is traced through the father; but there are also matriarchal clans, especially in parts of central, western and northern Africa, in which descent is traced through the mother. Clans are normally totemic, that is, each has an animal or part of it, a plant, a stone or mineral, which is regarded as its totem. Members of a particular clan observe special care in treating or handling their totem, so that, for example, they would not kill or eat it. The totem is the visible symbol of unity, of kinship, of belongingness, of togetherness and common affinity. Genealogies may be cited as far back as the original founder of the clan, if he has not been forgotten or if the genealogical line has not been broken through loss of memory. Some of the clans were founded by men and others by women, while others seem to have evolved in response to particular historical circumstances. (137)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The Akamba describe this duty as "brooding over the initiates," the way that birds brood over their eggs before hatching. On the first day the candidates learn educational songs and encounter symbolic obstacles. On the second day they have to face a frightening monster known as "mbusya" (rhinoceros). In some parts of the country only the boys go through this experience, while in other parts both boys and girls do. This is a man-made structure of sticks and trees, from the inside of which someone makes fearful bellows like those of a big monster. The initiates do not know exactly what it is, for that is one of the secrets of the ceremony. Afterwards they are not allowed to divulge the matter to those who have not been initiated. They face this "rhinoceros" bravely, shooting it with bows and arrows in order to destroy it the way they would destroy a similar enemy. That night, the man and woman who performed the operation at the first ceremony, have a ritual sexual intercourse; and the parents of the candidates have a ritual sexual intercourse on the third and seventh nights. (162)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">As for the phenomenon of dying, we need to consider first the terms used to describe the actual act of dying. These terms show the concepts that people have concerning death. Among the Basoga, when a person has died, people say that: "he has breathed his last," "he has kept quiet," "he has gone," "he has gone down to the grave," "our friend was told by death to tie up his load and go," "he is dry as if from yesterday," "fe was snatched into two like a bristle stick"; and if it is an old man from another family, they say, "it is fair, he has died, he has eaten enough." Of a murderer's or witch's death, they say, "let him go, he has finished his job, another mouth has gone away." Concerning someone who is not liked, people say that death (walumbe) "has beaten him," "has made him finish food," "has made him sleep or lie down," "has made him dry," "has stiffened him," "has made him quiet," "has sneezed him," "has made him go far away," or "death has cut him down or forced him down."5 Among the Abaluyia death or dying is described as "sleeping" (for an old man, who dies peacefully), "falling by oneself" (if it is through suicide), "stepping into the sheet" (since the body is wrapped or covered with a skin or banana leaves before but not for burial), "wearing a sweater" (if killed by another person), "going to the place of the dead," "going home"; and for a hated person, "looking for an exit" or "lifting the leg." The Akamba used the following terms: "to follow the company of one's grandfathers," "to go home," "to stop snoring," "to be fetched or summoned," "to empty out the soul," "to sleep for ever and ever," "to dry up, wither or evaporate," "to pass away," "to be called," "to reject the people," "to reject food," "to be received or taken away," "to return or go back," "to terminate, be finished or end," "to have one's breath come to an end," "to depart or go," "to go where other people have gone," "to leave, forsakodor abandon," "to collapse, come to ruins," "to become God's property," and "to have a miscarriage" (for a person who dies at an early age). (204-205)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Therefore, family shrines for the living-dead are found generally at or near the spot where the head or oldest member of the homestead is buried; and the cult of the living-dead is carried out within a close proximity to the actual burial place of the family. The land keeps together the Sasa of the living and the Zamani of the departed; and as we saw in the third chapter of this book, the same words are often used for both time and space. For African peoples, the ground has a religious charge, mystically uniting past and present generations, the Zamani and the Sasa. (210)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The spirits and divinities that possess mediums belong to the time period of the Zamani. By entering individuals in the Sasa period, they become our contemporaries. The state of mediumship is one of contemporizing the past, bringing into human history the "personality" of beings essentially beyond the horizon of the Sasa period. This phenomenon is, however, temporary, and the two time periods slip apart when the state of possession is ended. The experience seems to generate ultra-human power which gives the medium ability to perform both physical and mental activities that would otherwise be extremely difficult or dangerous under normal circumstances. This possession is not on the whole harmful or resented by society; and except on rare occasions the medium resumes normal life when the state of possession is over. During possession the individual loses temporarily the control or exercise of his personality, and depicts or mirrors the influence or semi-personality of the spirit or divinity in him. Useful information is obtained from the spirit world, so people believe, whether or not that information is genuine. For that reason, mediums are associated with diviners or medicine-men or priests whose duty it is to re-ceive, relay or interpret the messages received via the mediums. (230) </p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In African societies rain is regarded as a great blessing, and whenever it rains people rejoice (unless excessive rain damages crops or causes harmful flooding). Whether they are farmers or pastoralists, the entire livelihood of the people depends on rain. Near the Equator there are generally two rainy periods and two dry ones in the year. Further away from the Equator these two sets of seasons tend to merge and produce one long period of rain and one long dry season. In either situation, if the rain is delayed considerably it means that for that season there will either be insufficient harvest or none at all, and this causes a lot of anxiety to everyone. The seasons control the rhythm of community life, and in many societies the change of the seasons is marked or observed with ritual activities. There are rites to mark many occasions like the start of the rain, the planting ceremony, the first-fruits, the harvest of the crops, the beginning of the hunting or fishing season. These communal rites and activities are extremely important in strengthening community consciousness and solidarity, and are educational occasions for the young people concerning both social and spiritual matters. Rainmaking is one such communal rite, and rainmakers are some of the most important individuals in almost all African societies. </p><p class="digitalGarden">The Zulu speak of rainmakers as the "shepherds of heaven," and people do indeed look upon them as the shepherds of men, cattle and plants all of which depend on rain. The best description of the person and work of a monarchical rainmaker is on the Luvedu. The queen of the Luvedu is also their supreme rainmaker, and in this dual position she serves the country as the political head and the providential head of the kingdom. It is more because of her rainmaking, than her political position, that she is so renowned and respected. (234)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">On the subject of magic and witchcraft in Africa there is a great deal of literature.' And yet, one is struck and disappointed by the large amount of ignorance, prejudice and falsification which keeps coming out in modern books, newspapers and conversation on this subject. Discussion is cen-tred on two camps at opposite ends. The larger camp has those who expose their own ignorance, false ideas, exaggerated prejudices and a derogatory attitude which belittles and despises the whole concept of mystical power. The other is represented by a few scholars who seriously consider African views, fears, uses and manipulation of this power. Most of the distorted ideas have come through European and American popular writers, missionaries and colonial administrators.</p><p class="digitalGarden">Every African who has grown up in the traditional environment will, no doubt, know something about this mystical power which often is experienced, or manifests itself, in form of magic, divination, witchcraft and mysterious phenomena that seem to defy even immediate scientific explanation. (253)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">There is mystical power which causes people to walk on fire, to lie on thorns or nails, to send curses or harm, including death, from a distance, to change into animals (lycan-thropy), to spit on snakes and cause them to split open and die; power to stupefy thieves so that they can be caught red-handed; power to make inanimate objects turn into biologically living creatures; there is power that enables experts to see into secrets, hidden information or the future, or to detect thieves and other culprits. African peoples know this and try to apply it in these and many other ways. For that reason, they wear charms, eat "medicines" or get them rubbed into their bodies; they consult experts, especially the diviners and medicine-men to counteract the evil effects of this power or to obtain powerfully "charged" objects containing the same power. Some may even pay fantastic amounts of wealth to have a reasonable access to it, in one form or another. The majority, if not all, fear it, and many of them have encountered it in their normal life. This mystical power is not fiction: whatever it is, it is a reality, and one with which African peoples have to reckon. Everyone is directly or indirectly affected, for better or for worse, by beliefs and activities connected with this power, particularly in its manifestation as magic, sorcery and witchcraft. Without going into any exhaustive discussion, we may now draw our attention to magic, sorcery and witchcraft. (258)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">This does not contradict the belief that misfortunes are the work of some members, especially workers of magic, sorcery and witchcraft, against their fellow men. This village logic is quite normal in African thinking. I do not understand it, but I accept it. The Banyarwanda and Barundi express God's punitive acts in a proverb that "God exercises vengeance in silence."e The Nuer link sickness with the fault that lies behind it, and therefore sacrifice in order to stay the punitive consequences.
"In the one case the emphasis is on the actions from which one looks forward to the sickness which, when it comes, is identified with them. In the other case the emphasis is on the sickness and one looks backwards from it to faults which might have brought it about, even if one makes no attempt to discover what they were." The same might be said about many other African peoples. (275)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The physical expansion of Europe into Africa exposed African peoples to the change taking place elsewhere. European conquest of Africa reached its formal climax with the Berlin Conference of 1885 at which the major powers of Europe politically shared out the whole of Africa apart from Ethiopia and Liberia. European ownership of Africa meant, among other things, the arrival of European settlers, business-men, gold and diamond diggers, colonial administration, the founding of new cities, the construction of railways and roads, the introduction of new laws and new economic systems. In short, whether consciously or unconsciously, Europe began to transform Africa and if possible to make it resemble itself in many respects. Even European names were substituted for African and religious names of local places and individuals. Mini Englands and mini Germanies, mini Frances and mini Italies, were being planted everywhere on our continent. Europe had divided up Africa, Europe meant to rule Africa and Europe began to change Africa. This was the new rhythm and no force could stop it. In some parts Africans tried to resist but they were overcome by Europeans who slaughtered them like beasts, who burnt down their villages, who put men and women into prisons, who forced them to quit their lands and become labourers in European farms or "house-boys" for European masters and mistresses. The new change started and continued in blood and tears, in suppression and humiliation, through honest and dishonest means, by consent and by force, by choice and by subjection. (284)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Modern change has imported into Africa a future dimension of time. This is perhaps the most dynamic and dangerous discovery of African peoples in the twentieth century. Their hopes are stirred up and set on the future. They work for progress, they wait for an immediate realization of their hopes, and they create new myths of the future. It is here that we find the key to understanding African political, economic and ecclesiastical instability. Africa wants desperately to be involved in this future dimension. Emphasis is shifting from the Zamani and Sasa to the Sasa and Future; and we are part of the historical moment when this great change-over is being wrought. But somewhere there lies a deep illusion. The speed of casting off the scales of traditional life is much greater than the speed of wearing the garments of this future dimension of life. The illusion lies in the fact that these two entirely different processes are made or look identical. This lack of distinction between the two types of process remains in all spheres of modern African life, and so long as it re-mains, the situation will continue to be unstable if not dan-gerous, Present structures of political, economic, educational and Church life unfortunately favour the continuation, if not the perpetuation, of this illusion. Here, then, lies the dilemma and the tragedy of the rapid change in Africa. (289)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">In world politics, African countries talk much about taking a neutral position with regard to the east-west ideological and political conflict. My impression is that nobody can be neu-tral, and even the dead are not neutral. We receive economic and "advisory" aid from both capitalist and communist coun-tries. This aid is not given freely, for there is no aid without a bait, and few are the men who see that trap, and fewer still are those who can entirely escape it. There are political and economic ties which enslave us firmly to the countries by which the aid is given. In the long run any continued aid begins to undermine our potentialities. Some of the personnel is made up of secret agents; and foreign embassies are not altogether free from political interference, so that sometimes they engineer, suggest or help in coups which continue to take place in independent African countries. Our economic poverty makes us a great target for political and ideological propaganda from powerful nations, and we must be aware of this helpless situation. (292)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">The traditional solidarity in which the individual says "I am because we are, and since we are, therefore I am," is constantly being smashed, undermined and in some respects de-stroyed. Emphasis is shifting from the "we" of traditional corporate life to the "I" of modern individualism. Schools, churches, economic competition and the future dimension of time with all its real and imaginary promises, are the main factors which, jointly or singly, are working to produce an orientation towards individualism and away from corporate-ness. So then, for example, amidst the many people who live in the cities, the individual discovers that he is alone. When he falls sick, perhaps only one or two other people know about it and come to see him; when he is hungry he finds that begging food from his neighbour is either shameful or unrewarding or both; when he gets bad news from his relatives in the countryside, he cries alone even if hundreds of other people rub shoulders with him in the factory or bus. The masses around the individual are both blind and deaf to him, they are indifferent and do not care about him as a person. Almost at every turn of his life the individual in the city and under modern change discovers constantly that he is alone or even lonely in the midst of large masses of people. He gets a new picture of himself and of other people. It is a painful dis-covery, especially for the many who are born in the country, grow up there and only in their late teens or early twenties go to work in the cities. This individualism makes a person aware of himself, but his self-consciousness is not founded upon either traditional solidarity which by its very nature and structure allowed little or no room for individualism, or another solidarity since nothing concrete has yet replaced what history is submerging. The individual simply discovers the existence of his individualism but does not know of what it consists. He has no language with which to perceive its nature and its destiny. (293-294)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden"><em>Négritude</em> is a philosophical and cultural ideology, and foreign in origin. The phrase was first coined by the poet Aimé Césaire from the West Indies. It has since been elevated and given its philosophical content by another great poet, Léopold Sédar Senghor. Positively and negatively Senghor defines in various ways the concept of Négritude. "Négri-tude... is not the defence of a skin or a colour ...
Négritude is the awareness, defence and development of African cultural values. Négritude is a myth . . . It is the awareness by a particular social group of people of its own situation in the world, and the expression of it by means of the concrete image." He sees it in relation to political life: "It is democracy quickened by the sense of communion and brotherhood between men"; and in the cultural context, Négritude "is more deeply, in works of art, which are a people's most authentic expression of itself, it is sense of image and rhythm, sense of symbol and beauty." With a rather emotional outburst, Senghor tells us that "Négritude, then, is a part of Africanity. It is made of human warmth"; and he urges Africans to opt for Négritude and subscribe to it: "We ought not to be neutral towards Négritude. We must be for Négritude, with lucid passion..." Accordingly, only in so doing can African peoples make a contribution to the growth of what he calls Africanity and beyond that point to the construction of "the civilization of the universal." For
"Négritude is the sum total of the values of the civilization of the African world. It is not racialism, it is culture." (350)</p></div></content><author><name>undefined</name></author></entry><entry><title>Alien Information Theory</title><link href="https://gavart.ist/#Alien%20Information%20Theory"></link><link href="https://gavart.ist/static/Alien%2520Information%2520Theory.html" rel="alternative" type="text/html"></link><id>dc07e952-ed50-c296-2712-26629b1aefdd</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>All Quiet On The Western Front</title><link href="https://gavart.ist/#All%20Quiet%20On%20The%20Western%20Front"></link><link href="https://gavart.ist/static/All%2520Quiet%2520On%2520The%2520Western%2520Front.html" rel="alternative" type="text/html"></link><id>d4ea897d-65f9-3369-bafd-3a8fea11c0ec</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Animal Farm</title><link href="https://gavart.ist/#Animal%20Farm"></link><link href="https://gavart.ist/static/Animal%2520Farm.html" rel="alternative" type="text/html"></link><id>f922fa2d-4dea-ee5c-8e3b-56f233c1f110</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src=""></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Antifragile</title><link href="https://gavart.ist/#Antifragile"></link><link href="https://gavart.ist/static/Antifragile.html" rel="alternative" type="text/html"></link><id>fcf404b5-a1ce-0c97-f3f1-47565510ca0c</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Assata: An Autobiography</title><link href="https://gavart.ist/#Assata%3A%20An%20Autobiography"></link><link href="https://gavart.ist/static/Assata%253A%2520An%2520Autobiography.html" rel="alternative" type="text/html"></link><id>0896fa74-33cd-6080-e7e5-be241c1eba84</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Autobiography of a Yogi</title><link href="https://gavart.ist/#Autobiography%20of%20a%20Yogi"></link><link href="https://gavart.ist/static/Autobiography%2520of%2520a%2520Yogi.html" rel="alternative" type="text/html"></link><id>e5bafab2-3c72-5b01-b81c-3e9f09a8b44f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Awaken The Giant Within</title><link href="https://gavart.ist/#Awaken%20The%20Giant%20Within"></link><link href="https://gavart.ist/static/Awaken%2520The%2520Giant%2520Within.html" rel="alternative" type="text/html"></link><id>7616eaa5-9d89-4a2c-dbad-8baec376718b</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Awareness</title><link href="https://gavart.ist/#Awareness"></link><link href="https://gavart.ist/static/Awareness.html" rel="alternative" type="text/html"></link><id>cefade61-fe63-602f-0dc5-8200225c6691</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Be Here Now</title><link href="https://gavart.ist/#Be%20Here%20Now"></link><link href="https://gavart.ist/static/Be%2520Here%2520Now.html" rel="alternative" type="text/html"></link><id>cfb9a0bd-91b2-d88f-3af3-984b8e9c5b4a</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="600"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Becoming Bucky Fuller</title><link href="https://gavart.ist/#Becoming%20Bucky%20Fuller"></link><link href="https://gavart.ist/static/Becoming%2520Bucky%2520Fuller.html" rel="alternative" type="text/html"></link><id>c0b673e8-ac5a-b8f3-1521-1b92c682d978</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven's Letters</title><link href="https://gavart.ist/#Beethoven's%20Letters"></link><link href="https://gavart.ist/static/Beethoven's%2520Letters.html" rel="alternative" type="text/html"></link><id>313a361b-fce0-7b36-e838-f75bafd80bcc</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img></div></content><author><name>undefined</name></author></entry><entry><title>Beyond The Brain · Birth, Death and Transcendence in Psychotherapy</title><link href="https://gavart.ist/#Beyond%20The%20Brain%20%C2%B7%20Birth%2C%20Death%20and%20Transcendence%20in%20Psychotherapy"></link><link href="https://gavart.ist/static/Beyond%2520The%2520Brain%2520%25C2%25B7%2520Birth%252C%2520Death%2520and%2520Transcendence%2520in%2520Psychotherapy.html" rel="alternative" type="text/html"></link><id>7873c59f-0a09-0df7-0e87-caa42a4fbaa6</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img class="floatLeft" src="" width="400"></img>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage</title><link href="https://gavart.ist/#Beyond%20the%20Dream%20Syndicate%3A%20Tony%20Conrad%20and%20the%20Arts%20after%20Cage"></link><link href="https://gavart.ist/static/Beyond%2520the%2520Dream%2520Syndicate%253A%2520Tony%2520Conrad%2520and%2520the%2520Arts%2520after%2520Cage.html" rel="alternative" type="text/html"></link><id>1d21ba92-e200-68a3-3cab-1de97b3e50dd</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><blockquote class="tc-quote digitalGarden"><p>All we do is take 60 cycle power out of the wall and do different things with it to the purposes of our own gratification. “There are a few isolated cases of other frequencies. For example, in southern California the frequency of 50 cps was in general use, but the 60-cycle power that is transmitted from Hoover Dam has necessitated changing a large proportion of the power systems to this frequency… the Interborough Rapid Transit in New York and the Metropolitan Transit Authority in Boston … operate at 25 cps. For most power purposes, however, the frequency of 60 cps is quite satisfactory. Moreover, incandescent lamps when operated at 25 cps have a distinct flicker which is not noticeable at 60 cps.” But the true tonic of our social lives, though it does lie above fusion, has been pointedly handed down to us principally through the primary machinations of the primitive machines. 60 cycles is a compromise between the desires of motors and transformers and the reactance of long-line power transmission. Throughout our lives we hear with unresponsive insouciance the groans of the machines, ineffectively complaining on the long electromechanical wave band of their 60 cycle burden. Their wavelength is buried down there with the whistlers; one wave spans our continent. The revenge is simple: 60 cycles is the ideal killer frequency for bio-chemical lifeforms. . . .</p><p>There is another way to tune in to 60 cycles. Keep the power away from you by transmitting it through the air. Use your ears as transducers. Convert from analog to digital. Join the most constant universal life event on our continent. Hum at 60 cycles, way down at the end of the Fletcher-Munson curve. Slip in between the molecules in the body and learn about being a clock. . . .</p><p>There truly is such a thing as perfect pitch, both alive and in the legendary dead ears of such as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wolfgang%20Amadeus%20Mozart">Mozart</a>. . . . The least precocious child alive today can hardly miss 60 cycles . . . the largest, most careful melody ever played. 60 cycles is pumping and surging all about the heart of civilization. . . . with [my] ear pointing in the right direction, it will hear far far past the future, into the current of the living present.</p><p>Tony Conrad (1974)
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>10 Billion</title><link href="https://gavart.ist/#10%20Billion"></link><link href="https://gavart.ist/static/10%2520Billion.html" rel="alternative" type="text/html"></link><id>5b3802ff-f3fb-4530-8bef-6639d98bcff8</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>2012 The Return of Quetzalquatl</title><link href="https://gavart.ist/#2012%20The%20Return%20of%20Quetzalquatl"></link><link href="https://gavart.ist/static/2012%2520The%2520Return%2520of%2520Quetzalquatl.html" rel="alternative" type="text/html"></link><id>e937a86c-99fd-bef4-5441-283465493e8d</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>24/7: Late Capitalist at the Ends of Sleep</title><link href="https://gavart.ist/#24%2F7%3A%20Late%20Capitalist%20at%20the%20Ends%20of%20Sleep"></link><link href="https://gavart.ist/static/24%252F7%253A%2520Late%2520Capitalist%2520at%2520the%2520Ends%2520of%2520Sleep.html" rel="alternative" type="text/html"></link><id>4f130f06-32e0-7989-1bd3-5cdbefb6a3a0</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h1 class="digitalGarden">The Antidote To Shock</h1><p class="digitalGarden">The relatively sudden and ubiquitous reorganization of human time and activity accompanying television had little historical precedent. Cinema and radio were only partial anticipations of the structural changes it introduced. Within the space of barely fifteen years, there was a mass relocation of populations into extended states of relative immobilization. Hundreds of millions of individuals precipitously began spending many hours of every day and night sitting, more or less stationary, in close proximity to flickering, light-emitting objects. All of the myriad ways in which time had been spent, used, squandered, endured, or parcellized prior to television time were replaced by more uniform modes of duration and a narrowing of sensory responsiveness. Television brought equally significant changes to an external social world and to an interior psychic landscape, scrambling the relations between these two poles. It involved an immense displacement of human praxis to a far more circumscribed and unvarying range of relative inactivity.</p></div></content><author><name>undefined</name></author></entry><entry><title>50 Years of Recuperation of the Situationist International</title><link href="https://gavart.ist/#50%20Years%20of%20Recuperation%20of%20the%20Situationist%20International"></link><link href="https://gavart.ist/static/50%2520Years%2520of%2520Recuperation%2520of%2520the%2520Situationist%2520International.html" rel="alternative" type="text/html"></link><id>fea7b66d-b9f3-8b6f-48ca-37ddc8747637</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>A Brief History of New Music</title><link href="https://gavart.ist/#A%20Brief%20History%20of%20New%20Music"></link><link href="https://gavart.ist/static/A%2520Brief%2520History%2520of%2520New%2520Music.html" rel="alternative" type="text/html"></link><id>046ea97c-165b-876c-99a8-48fa198130b2</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>A Brief History of Seven Killings</title><link href="https://gavart.ist/#A%20Brief%20History%20of%20Seven%20Killings"></link><link href="https://gavart.ist/static/A%2520Brief%2520History%2520of%2520Seven%2520Killings.html" rel="alternative" type="text/html"></link><id>e06d68b0-3a32-10b7-b380-b5ac9efda5ef</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><p class="digitalGarden">You make another song, this time a hit. But one hit can't bounce you out of the ghetto when you recording hits for a vampire. (9)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">How no matter what Kimmy fucking says or do, they always have an excuse or justification for it as if they have been back-stocking on excuses from the day she was born and can pull one without a second's notice. (202)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Tony wind down him window and climb out in one swing, like is the style. (329)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">Come out of prison and say fuck the Bible, a hole is just a hole. Make a deposit or make a withdrawal and leave something in. Either you is the depositor or you is the bank. Either way, in prison you always carrying something in your asshole, and all the battyholes behind bars add up to one trade troute. Asshole in the east take goods to asshole in the west, destination: inmate in the south with money or other goods. Bag of cocaine, pack of Wrigley's, Hershey bar, Snickers, Milky Way, ganja, hashish, beeper, toothpaste, diet pill, Xanax, Percocet, sugar, aspirin, cigarette, lighter, tobacco, golf ball with tobacco or cocaine, rolling paper, matches, Lip Smackers, lubricant, syringe with eraser over the needle, fifteen lottery tickets. Three year in prison and a dick is just another thing to put up your ass. (447)</p><p class="digitalGarden">✴︎</p><p class="digitalGarden">[Balaclava ghetto] Picture it, white boy. Two standpipe. Two bathroom. Five thousand people. No toilet. No running water. House that hurricane rip apart only for it to come back together like magnet was the thing holding it in place. And then look at what surrounding it. The largest dump at Bumper Hall, the Garbagelands where they now have a high school. The slaughterhouse draining blood down the streets right to the gully. The largest sewage treatment plant so uptown can flush they shit straight down to we. The largest public cemetery in the West Indies. The morgue and two largest maternity hospitals in the West Indies. Coronation Market, the largest market in the Caribbean, almost all of the funeral parlours, the oil, the railway and the bus depot. And … (452)</p></div></content><author><name>undefined</name></author></entry><entry><title>A Listener's Guide To Free Improvisation</title><link href="https://gavart.ist/#A%20Listener's%20Guide%20To%20Free%20Improvisation"></link><link href="https://gavart.ist/static/A%2520Listener's%2520Guide%2520To%2520Free%2520Improvisation.html" rel="alternative" type="text/html"></link><id>200634b0-be17-09ac-9ab9-41146c2adfd4</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="digitalGarden"><strong>Free-Improvisation</strong></h2><p class="digitalGarden">Sun-Ra, one of the early masters of poly-free music, was ultimately skeptical of the rhetoric of freedom. He preferred the terms “discipline” and “precision,” emphasizing that the wildest-seeming music, if played well, requires the implementation of both these concepts. The point isn’t determining what’s free and what’s not. It’s time better spent paying attention to how it’s made. Free-improvisation is a method for making music; it isn’t an independent value or quality. Knowing if the music is spontaneously improvised or if it is an interpretation of someone’s preconceived idea is worthwhile. Judging it solely based on that knowledge is not.</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>The Level of Mystery</strong></h2><p class="digitalGarden">So, you take all you’ve learned in fundamentals, the skills of close observation, trying to decipher what kind of interactions are happening, the provocations and responses, the convergences and divergences, and you put them away for a minute and instead enjoy the wonder of something you can’t quite grasp, something mysterious. Evan Parker concluded that “the whole thing seems to operating at a level that involves…certainly intuition, and maybe faculties of a more paranormal nature.” His long-term comrade, bassist Barry Guy, once told me that he believed in hearing through his bones. Because sound travels as much as four times as fast in liquids and non-porous solids than in air, he insisted that he could sense the music immediately, long before it made its way through the convoluted path of the outer ear, drum, stirrups, cochlea, basilar membrane, organ of Corti, sensory hairs, auditory nerve, to the brain.</p></div></content><author><name>undefined</name></author></entry><entry><title>A Million Years of Music: The Emergence of Human Modernity</title><link href="https://gavart.ist/#A%20Million%20Years%20of%20Music%3A%20The%20Emergence%20of%20Human%20Modernity"></link><link href="https://gavart.ist/static/A%2520Million%2520Years%2520of%2520Music%253A%2520The%2520Emergence%2520of%2520Human%2520Modernity.html" rel="alternative" type="text/html"></link><id>82025703-247a-47ae-faaa-e1e2a400157f</id><updated>2025-04-06T20:13:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="" width="400"></img><h2 class="digitalGarden"><strong>Population and Innovation</strong></h2><p class="digitalGarden">The impact of this kind of analysis on conventional views of modern humans’ populating of Europe could hardly be more unsettling. It is all too easy to for us to picture “moderns” progressing gradually but inexorably westward, even sweeping Neandertals before them. But it now seems likely that this swelling, Eurocentric, Upper Paleolithic “tradition” was no unified movement at all, not even the product of of the same #human groups. Habitation of the continent was broken off, completely or almost so, more than once by Late Pleistocene cilmatic catastrophes. The Aurignacian painters of Chauvet or bead makers of Isturitz or carvers and musicians of Hohle Fels, Vogelherd, and Geissenklösterle … were frontiersmen in this grand scheme, not permanent residents. They subsisted in small groups subject to extermination by ecological disasters from which their cultures could not shield them.</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>Hierarchizing Cognition</strong></h2><p class="digitalGarden">We perceive strongly marked, multilevel containment hierarchies in both musical meter specifically and musical #rhythm generally, and the best models we have for such perception posit hierarchies of neurons or neuronal groups oscillating in the same ratios. Both brain scans and psychological experiment have begun to provide an evidential basis for these models.</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>Acheulean technologies</strong></h2><p class="digitalGarden">Music structures acoustical information in complex ways without necessary reference beyond itself; it is arguably the most intricate self-conscious human organizing of information of any sort with such pervasive, immanent nonreferentiality … In effect, we traverse musical terrains much as we have always managed taskscapes, often binary in nature, in ceaseless psychic negotiation with our surroundings. Among the consequences of the deployment are expectation, fulfillment or its absence, and affective arousal.</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>Gesture-Calls</strong></h2><p class="digitalGarden">Gesture-calls differ from full-blown language in a number of basic ways. They are largely innate and comprehensible across societal, cultural, and linguistic borders. Smiles, frowns,sobs, and laughs may convey nuances that are not transparent when encountered in unfamiliar settings, but there is almost never any question that they are (respectively) smiles, frowns, sobs, and laughs. Gesture-calls, moreover, are closely tied to the emotions they express. Like those #emotions they are not subject to as full a voluntary control as language, often emerging automatically in interactive contexts, and #emotions are revealed but not easily concealed by them.</p><p class="digitalGarden">… … …</p><p class="digitalGarden">The gesture-call stands apart, however, forming the most ancient, least language-like element. In all their features they resemble communicative gestures of our closest relatives in the world today, monkeys and apes. More than this, gesture-call systems extend far beyond primates and can be witnessed in all mammals—in the baring of teeth or barking or whining of a dog as well as the warning call of a vervet, the pant-hoot of a chimp, and the sigh of a human. There is reason to believe that these similarities reflect the homology of these signaling systems, that is, their evolutionary derivation from shared ancestral gestures.</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>Social Bonding &amp; Coalition Signaling as a hypothesis for the evolutionary origin of music (?)</strong></h2><p class="digitalGarden">Alone or together, the hypotheses fail as explanations, and always for the same reason: Each seeks a unilateral explanation for a manifold phenomenon. It makes little sense to specify a single selective environment, however complex, for a behavior that, like musicking, involves many cognitive functions bespeaking long, varied, and piecemeal development. As the emergence of the vertebrate eye needs to be understood as a series of evolutionary events rather than a single adaptation selected for the purpose of seeing, so it is at best implausible that the overwhelming intricacies of musical neural networks could result from one selective episode.</p><p class="digitalGarden">✴︎</p><h2 class="digitalGarden"><strong>Chaîne opératoire</strong></h2><p class="digitalGarden">In his Gesture and Speech (Le geste et la parole, 1964), Leroi-Gourhan developed the notion of the chaîne opératoire, the operational chain or sequence, to describe the succession of gestures involved in technologies of the Acheulean. This gestural chain created a matrix where social behavior and material conditions met; from the meeting a stone tool emerged. Such joining of materiality and sociality in the operational sequence formed the key concept in Leroi-Gourhan’s sweeping attempt to understand Paleolithic cultures as embodied cognition. In its material crudescence of gesture, the operational sequence represented … a prosthetic externalization of cognition, anticipating other externalizations—those of all later technologies, or that of memory achieved much later in writing. Leroi-Gourhan’s was a prescient vision of bottom-up performativity, embodiment, and emergent complexity before such things had names.</p></div></content><author><name>undefined</name></author></entry><entry><title>Breaking The Waves • Detroit Opera</title><link href="https://gavart.ist/#Breaking%20The%20Waves%20%E2%80%A2%20Detroit%20Opera"></link><link href="https://gavart.ist/static/Breaking%2520The%2520Waves%2520%25E2%2580%25A2%2520Detroit%2520Opera.html" rel="alternative" type="text/html"></link><id>6eb9ce6d-184c-4449-16aa-439f70f56224</id><updated>2025-04-06T06:37:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Revival Director: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Diana%20Wyenn">Diana Wyenn</a><br></br>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a>, Beth Hagenbuch, Ken Weikal, Rod Hagenbuch<br></br></p><p><img src="./files/img/attended-events/breaking-the-waves-detroit-opera.jpg" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Children of The Void</title><link href="https://gavart.ist/#Children%20of%20The%20Void"></link><link href="https://gavart.ist/static/Children%2520of%2520The%2520Void.html" rel="alternative" type="text/html"></link><id>a5df7d4f-360e-c77c-2d26-72988c208728</id><updated>2025-04-05T11:15:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/BY-4LGQfAGQ" width="560"></iframe>
</div></p><h3 class=""><strong>Title</strong>: Children of The Void<br></br><strong>Director</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a><br></br><strong>Composer</strong>: David Wexler &amp; Gavin Gamboa<br></br><strong>Production Company</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a><br></br><strong>Release Date</strong>: 2019 November 19<br></br></h3><h3 class="">A short film centered around a small band of gifted youth whose continued autonomy and skills at hacking, community-building, and magic poses a direct threat to a vast state/economic apparatus of control and suppression.</h3><h3 class="">Animation by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a><br></br>Character Illustraion by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#McKay%20Felt">McKay Felt</a></h3></div></content><author><name>undefined</name></author></entry><entry><title>In Our Time</title><link href="https://gavart.ist/#In%20Our%20Time"></link><link href="https://gavart.ist/static/In%2520Our%2520Time.html" rel="alternative" type="text/html"></link><id>f5b4860f-b45d-42f3-0437-c4642361fa45</id><updated>2025-04-05T11:10:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><strong>Title</strong>: In Our Time<br></br><strong>Director</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a><br></br><strong>Composer</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br><strong>Release Date</strong>: 2018 May 8<br></br></h3><h2 class="">Forty-years after a whirlwind romance which began in front of a painting in Belgium, Hollywood agent, Jaqueline, must reconcile her feelings about Marcel as the painting has recently moved to Los Angeles, but her lover remains in Belgium.</h2><p> </p><p class="largerList"><ul>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#MALBA%20Cine%20Programaci%C3%B3n%202018">MALBA Cine Programación 2018</a><br></br>
		<sup><em>Buenos Aires, Argentina</em></sup>
	</li>
	
	<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Getty%20Center%20%C2%B7%20Museum%20Lecture%20Hall">The Getty Center · Museum Lecture Hall</a><br></br>
		<sup><em>Los Angeles, California, United States</em></sup>
	</li>
	
</ul>	</p><p><img src="./files/img/INOURTIME.jpg" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The environmental burden of the United States’ bitcoin mining boom</title><link href="https://gavart.ist/#The%20environmental%20burden%20of%20the%20United%20States%E2%80%99%20bitcoin%20mining%20boom"></link><link href="https://gavart.ist/static/The%2520environmental%2520burden%2520of%2520the%2520United%2520States%25E2%2580%2599%2520bitcoin%2520mining%2520boom.html" rel="alternative" type="text/html"></link><id>6ea1272c-7ac6-6ecc-4eb6-6726fae9bedc</id><updated>2025-04-03T10:05:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>imagemagick</title><link href="https://gavart.ist/#imagemagick"></link><link href="https://gavart.ist/static/imagemagick.html" rel="alternative" type="text/html"></link><id>7fa3969e-ba7a-76d5-be5d-d90ab20091ca</id><updated>2025-04-02T11:17:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><div class="markdown">
<h3>Install ImageMagick</h3>
<p><code class="_codified_">brew install ImageMagick</code>
</p>
<h3>Pull specific region of frames from video file w/ ffmpeg</h3>
<p><code class="_codified_">ffmpeg -ss 14:55 -i video.mkv -t 5 -s 480x270 -f image2 %04d.png</code>
</p>
<ul>
<li>-ss 14:55 gives the timestamp where I want FFmpeg to start, as a duration string.<br></br></li>
<li>-t 5 says how much I want FFmpeg to decode, using the same duration syntax as for -ss.<br></br></li>
<li>-s 480x270 tells FFmpeg to resize the video output to 480 by 270 pixels.<br></br></li>
<li>-f image2 selects the output format, a series of still images — <em>make sure there are leading zeros in filename</em>.<br></br></li>
</ul>
<h3>Resize series of images</h3>
<p><code class="_codified_">convert *.png -resize 70% newname%02d.png</code>
</p>
<h3>Convert mutliple filetype(s) into animated gif</h3>
<p><code class="_codified_">convert -delay 10 -loop 0 *.png anim.gif</code><br></br>
<code class="_codified_">convert -fuzz 1% -delay 1x8 *.png -coalesce -layers OptimizeTransparency animation.gif</code><br></br>
</p>
<ul>
<li>-fuzz tells ImageMagick to treat pixels whose color values differ by less than 1% as the same color, giving the OptimizeTransparency action more pixels to chop away.<br></br></li>
<li>-delay 1x8 says that the animation should play a frame every 1/8 of a second.<br></br></li>
<li>-layers OptimizeTransparency tells ImageMagick to replace portions of each frame that are identical to the corresponding parts of the preceding frame with transparency, saving on file size.<br></br></li>
</ul>
<p><code class="_codified_">convert -fuzz 1% -delay 10 -loop 0 *.png -coalesce -layers OptimizeTransparency animation.gif</code><br></br>
<br></br>
</p>
<h3>Ping-pong Looping Method<br></br></h3>
<p><code class="_codified_">convert script_k.gif -coalesce   -duplicate 1,-2-1 -quiet -layers OptimizePlus  -loop 0 patrol_cycle.gif</code><br></br>
<br></br>
<strong>hypervoid force sizing + optimization</strong>:<br></br>
<code class="_codified_">convert -resize '1920x350!' -delay 5 -loop 0 *.png hv.gif</code><br></br>
<code class="_codified_">convert -fuzz 3% -resize '1920x350!' -delay 5 -loop 0 -coalesce -layers OptimizeTransparency *.png an.gif</code><br></br>
<br></br>this test yielded impressive reduction:<br></br>
<code class="_codified_">convert -filter Triangle -define filter:support=2 -thumbnail 1920 -delay 5 -loop 0 -unsharp 0.25x0.08+8.3+0.045 -dither None -posterize 136 -quality 82 -define jpeg:fancy-upsampling=off -define png:compression-filter=5 -define png:compression-level=9 -define png:compression-strategy=1 -define png:exclude-chunk=all -interlace none -colorspace sRGB *.png output.gif</code>
<br></br>
<br></br>
another version with less color information<br></br>
<code class="_codified_">convert -filter Triangle -define filter:support=2 -thumbnail 1920 -delay 5 -loop 0 -unsharp 0.25x0.08+8.3+0.045 -dither None -posterize 136 -quality 82 -define jpeg:fancy-upsampling=off -define png:compression-filter=5 -define png:compression-level=9 -define png:compression-strategy=1 -define png:exclude-chunk=all -interlace none -colorspace sRGB -colors 32 -ordered-dither o8x8,8,8,8,4 +map *.png output.gif</code>
</p>
<h3>convert GIF into movie by extracting frames and recompiling</h3>
<p><code class="_codified_">convert -coalesce some.gif some%05d.png</code><br></br>
extract gif frames
</p>
<p><code class="_codified_">ffmpeg -i some%05d.png some.mov</code><br></br>
converting image sequence in QuickTime 7 worked more effectively than the above command
</p>
<p><code class="_codified_">rm some*.png</code><br></br>
clear extracted frames
</p>
<h3>Pull apart GIF</h3>
<p><code class="_codified_">convert -coalesce animation.gif target.png</code>
</p>
<h3>Cropping / Batch Crop</h3>
<p>If you want the crop rectangle to start at top corner X: 50 Y: 100 and the crop rectangle to be of size W: 640 H:480, then use the command:<br></br>
<code class="_codified_">$ mogrify -crop 640x480+50+100 foo.png</code>
<br></br>
<br></br>
To write the cropped image to a new file:<br></br>
<code class="_codified_">$ convert foo.png -crop 640x480+50+100 out.png</code>
<br></br>
<br></br>
batch conversion:<br></br>
<code class="_codified_">for i in *.png; do convert "$i" -crop 1920x248+0+400 "${i%.png}-cropped.png"; done</code><br></br>
</p>
<h3>Crop existing gif to square aspect ratio in the center</h3>
<p><code class="_codified_">convert thumb-002.gif -gravity center -crop 270x270+0+0 +repage thumb-002-crop.gif</code>
<br></br>
</p>
<h3>Crop existing gif to square aspect ratio from top left (0,0)</h3>
<p><code class="_codified_">convert thumb.gif -crop 270x270+0+0 +repage thumb-001.gif</code>
</p>
<hr></hr>
<p><a class="tc-tiddlylink-external _codified_" href="http://imagemagick.org/script/convert.php" rel="noopener noreferrer" target="_blank">more information</a> about the <code class="_codified_">convert</code> command<br></br>
<a class="tc-tiddlylink-external _codified_" href="https://room208.org/blog/posts/48793543478.html" rel="noopener noreferrer" target="_blank">and here</a><br></br>
<a class="tc-tiddlylink-external _codified_" href="https://www.smashingmagazine.com/2015/06/efficient-image-resizing-with-imagemagick/" rel="noopener noreferrer" target="_blank">and here</a>
</p>
</div></div></content><author><name>undefined</name></author></entry><entry><title>bash scripting</title><link href="https://gavart.ist/#bash%20scripting"></link><link href="https://gavart.ist/static/bash%2520scripting.html" rel="alternative" type="text/html"></link><id>4b534137-c91f-ffc3-4239-b94b126f6b04</id><updated>2025-04-02T11:14:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><div class="markdown">
<p><code class="_codified_">$ cd /usr/local/bin</code><br></br>
<code class="_codified_">$ sudo nano [scriptname]</code><br></br>
<br></br>
<code class="_codified_">#!/bin/bash</code><br></br>
<code class="_codified_">command goes here</code><br></br>
<br></br>
exit and save<br></br>
<br></br>
<code class="_codified_">sudo chmod +x [scriptname]</code> to make executable<br></br>
<br></br>
we're done!
</p>
<h2>some new commands</h2>
<p><code class="_codified_">yt [url]</code> (youtube-dl ffmpeg merge best)<br></br>
<code class="_codified_">addac [file-format]</code> (cd into dir for ffmpeg loop to convert files ready for ADDAC111)<br></br>
<code class="_codified_">syncDocuments</code> (sophrosyne --&gt; teuton)<br></br>
<code class="_codified_">syncAbleton</code> (samizdat --&gt; koloss)<br></br>
<code class="_codified_">vf [ss (offset)][filename][outputFileName]</code> (extract jpg from video file with seconds offset specified)<br></br>
<code class="_codified_">audioExcerpt [file-format] [-ss offset] [-t time-length]</code> (batch audio file excerpt creation for ADDAC111)<br></br>
<code class="_codified_">mp3 [input-filename] [bitrate e.g. 192k] [filename w/o ext]</code> (create mp3)<br></br>
<code class="_codified_">flac [input-filename] [filename w/o ext]</code> (create flac)<br></br>
</p>
<h2>example of multistep command</h2>
<p><code class="_codified_">$ subdiv $1 $2</code><br></br>
(to subdivide and audio track and then create fades on each subdivision, then delete the original unfiltered segments).<br></br>
$1 = filename, $2 = segment time in seconds
</p>
<pre><code>#!/bin/bash
mkdir segments
ffmpeg -i $1 -f segment -segment_time 1 -c copy segments/out%03d.wav
cd segments
for i in *.wav; do ffmpeg -i "$i" -c pcm_s16le -af "afade=t=in:st=0:d=0.05,afade=t=out:st=0.9:d=0.1" "${i%.wav}-fade.wav"; done
find . -type f \! -name "*fade*" -exec rm {} +
</code></pre>
</div></div></content><author><name>undefined</name></author></entry><entry><title>Renoise shortcuts</title><link href="https://gavart.ist/#Renoise%20shortcuts"></link><link href="https://gavart.ist/static/Renoise%2520shortcuts.html" rel="alternative" type="text/html"></link><id>e00f41c2-5be4-cb21-c0fd-9e08755c2876</id><updated>2025-04-02T11:12:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><div class="markdown">
<h2>Renoise 3.0</h2>
<h4>Keyboard Shortcuts OS X 10.10.5</h4>
<p><em>play from playhead position</em><br></br>
<code class="_codified_">shift space bar</code><br></br>
</p>
<p><em>toggle FOLLOW in pattern view</em> [custom keybinding]<br></br>
<code class="_codified_">option esc</code><br></br>
</p>
<p><em>toggle global loop</em> [custom keybinding]<br></br>
<code class="_codified_">option command l</code><br></br>
</p>
<p><em>hide automation lane</em> [custom keybinding]<br></br>
<code class="_codified_">control option command /</code><br></br>
</p>
<p><em>change EDIT STEP value</em> [scope has to be in pattern view]<br></br>
<code class="_codified_">command 0, 1, 2, 3, 4 etc</code><br></br>
</p>
<p><em>Change Scope Forward</em><br></br>
<code class="_codified_">option tab</code><br></br>
</p>
<p><em>Change Scope Backward</em><br></br>
<code class="_codified_">option shift tab</code><br></br>
</p>
<p><em>Mute Channel</em><br></br>
<code class="_codified_">\</code><br></br>
</p>
<p><em>Solo Channel</em><br></br>
<code class="_codified_">command \</code><br></br>
</p>
<p><em>Octave Down</em><br></br>
<code class="_codified_">command [</code><br></br>
</p>
<p><em>Octave Up</em><br></br>
<code class="_codified_">command ]</code><br></br>
</p>
<h3>(when in Pattern Editor scope)</h3>
<p><em>Jump to next/previous pattern in sequence</em><br></br>
<code class="_codified_">command arrow + key up/down</code><br></br>
</p>
<p><em>Change Instrument</em><br></br>
<code class="_codified_">option arrow + key up/down</code><br></br>
</p>
<p><em>Collapse/Expand Track</em><br></br>
<code class="_codified_">shift command k</code>br&gt;
</p>
<p><em>Jump to Row 0</em><br></br>
<code class="_codified_">fn F9</code><br></br>
</p>
<p><em>Jump to 25% Row</em><br></br>
<code class="_codified_">fn F10</code><br></br>
</p>
<p><em>Jump to 50% Row</em><br></br>
<code class="_codified_">fn F11</code><br></br>
</p>
<p><em>Jump to 75% Row</em><br></br>
<code class="_codified_">fn F12</code><br></br>
</p>
<p><em>Increase EditStep (Step Length)</em><br></br>
<code class="_codified_">command =</code><br></br>
</p>
<p><em>Decrease EditStep (Step Length)</em><br></br>
<code class="_codified_">command -</code><br></br>
</p>
<p><em>Double EditStep (Step Length)</em><br></br>
<code class="_codified_">option =</code><br></br>
</p>
<p><em>Halve EditStep (Step Length)</em><br></br>
<code class="_codified_">option -</code><br></br>
</p>
<h4>Selection</h4>
<p><em>Begin Selection</em><br></br>
<code class="_codified_">command b</code><br></br>
</p>
<p><em>End Selection (via arrow keys up/down)</em><br></br>
<code class="_codified_">command e</code><br></br>
</p>
<p><em>Copy/Clear</em><br></br>
<code class="_codified_">fn option F3</code><br></br>
</p>
<h4>Block Operations</h4>
<p><em>Transpose One Note Up</em><br></br>
<code class="_codified_">fn option F2</code><br></br>
</p>
<p><em>Transpose One Note Down</em><br></br>
<code class="_codified_">fn option F1</code><br></br>
</p>
<p><em>Transpose One Octave Up</em><br></br>
<code class="_codified_">fn option F12</code><br></br>
</p>
<p><em>Transpose One Octave Down</em><br></br>
<code class="_codified_">fn option F11</code><br></br>
</p>
<p><em>randomize</em><br></br>
<code class="_codified_">fn option F7</code><br></br>
</p>
<h4>Column Operations</h4>
<p><em>Transpose One Note Up</em><br></br>
<code class="_codified_">fn shift command F2</code><br></br>
</p>
<p><em>Transpose One Note Down</em><br></br>
<code class="_codified_">fn shift command F1</code><br></br>
</p>
<p><em>Transpose One Octave Up</em><br></br>
<code class="_codified_">fn shift command F12</code><br></br>
</p>
<p><em>Transpose One Octave Down</em><br></br>
<code class="_codified_">fn shift command F11</code><br></br>
</p>
<p><em>randomize</em><br></br>
<code class="_codified_">fn shift command F7</code><br></br>
</p>
<h3>(when in Automation scope)</h3>
<p><em>Jump to next/previous line</em><br></br>
<code class="_codified_">left/right arrow</code><br></br>
</p>
<p><em>Add/Delete point</em><br></br>
<code class="_codified_">Return</code><br></br>
</p>
<p><em>Shift all automation left/right</em><br></br>
<code class="_codified_">tab, shift tab</code><br></br>
</p>
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All that you change changes you.</title><link href="https://gavart.ist/#All%20that%20you%20touch%20you%20change.%20All%20that%20you%20change%20changes%20you."></link><link href="https://gavart.ist/static/All%2520that%2520you%2520touch%2520you%2520change.%2520All%2520that%2520you%2520change%2520changes%2520you..html" rel="alternative" type="text/html"></link><id>a9058895-580d-a651-9464-766c5a8a8aec</id><updated>2025-03-21T11:14:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> The only lasting truth is change.</p></div></content><author><name>undefined</name></author></entry><entry><title>J.S. 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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>The Double-Headed Coin • Operations of The Dominant In Barry Lyndon</title><link href="https://gavart.ist/#The%20Double-Headed%20Coin%20%E2%80%A2%20Operations%20of%20The%20Dominant%20In%20Barry%20Lyndon"></link><link href="https://gavart.ist/static/The%2520Double-Headed%2520Coin%2520%25E2%2580%25A2%2520Operations%2520of%2520The%2520Dominant%2520In%2520Barry%2520Lyndon.html" rel="alternative" type="text/html"></link><id>a75ecf70-4de1-3df1-ed9d-184e741ba64e</id><updated>2025-03-20T00:20:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="https://teachingmachine.tv/site/assets/files/9306/screenshot_2024-10-31_at_20_39_54.jpeg.webp"></img><br></br><sup>"… I believe you have cheated me. But I cannot say how." … the Prince of Tübingen's indignation clearly portrayed.</sup></p><p>Suspicion is a key feature of the mind and attitude of the noble gentry in Stanley Kubrick's Barry Lyndon (1975). The above frame highlights a moment wrought with the overtones of a precarious tenure in an era of declining rule, when the Prince of Tübingen questions the Chevalier de Balibari whom, alongside Barry, has cheated him in a well-rehearsed conspiracy during a game of cards. Such is the Chevalier and Barry's opportunistic mischief and vagabond lot in life. In events set during the 1770s (those final and decadent decades before the Storming of the Bastille) the audience is quietly dredged through a hypnotic visual painting achieved in the contours of natural light, cinematographic balance and symmetry, and the "aggressive detachment"—in the words of Roger Ebert—of Kubrick's style. As the audience is drawn further into the unfurling plot of Barry's demise as an aspiring nobleman, a trifold trickery can be witnessed at the film's peak, within the climactic duel between Barry and his nemesis stepson Lord Bullingdon. But this witnessing is only accessible if one leaps into the deeper narrative substrate, beyond mere appearances where it seems as if fate and chance are the operative principles at play.</p><p><img src="https://teachingmachine.tv/site/assets/files/9307/screenshot_2024-10-31_at_20_49_18.jpeg.webp"></img><br></br><sup>"What is the price of this one?" … Barry crudely inquires into purchasing the prized painting of a nobleman, most likely having the opposite effect than the one he intends. </sup></p><p>Barry, in a bid to impress those whose company he hopes to keep, by becoming a distinguished gentleman of title, embarrassingly asks his host about the price of Ludovico Cardi's oil painting The Adoration of the Magi, the most prominent artwork on the wall, one of a religious significance that depicts the Madonna and child beheld by the Three Kings and the Angels above. Notice the subtle surprise in Lord Hallam's expression (immediate right of Barry) at this faux pas. The host continues to wax about the beauty and importance of the artwork under his purview without batting an eye (nor without really saying anything of depth about its subject matter). Nevertheless the insulting and uncouth manner of Barry's temperament and inquisitiveness would certainly have been registered, not only by the host but clearly by Lord Hallam, and most importantly by Lord Wendover, who hovers in the background without betraying any emotion whatsoever. Such are the affects and social mannerisms clocked by Kubrick of The Dominant, the most powerful and conniving class of men (save for the monarchy itself), their powdered faces and fine clothing delineating both a coded sign of authority, but also paradoxically, in the film's narrative implications, a decrepit and dying breed of aristocratic society.</p><p><img src="https://teachingmachine.tv/site/assets/files/9321/cigoli-adoration.jpg.webp"></img><br></br><sup>The Adoration of the Magi • Cigoli (Ludovico Cardi) • 1605</sup></p><p>Kubrick never reveals the painting to the audience, a clearly deliberate choice (and one that foreshadows the metaphoric throughline of godlessness as reflected in the final duel which takes place in an abandoned chapel, and in both Barry's and Lord Bullingdon's case, between literally fatherless men) obscuring its presence and denying its symbolic truth. In the painting, Saint Caspar has discarded his gifts and his turban onto the ground, genuflecting to kiss Christ's feet. Could Barry be reading optimistic outcomes of his life into the painting's depiction of surrender at the foot of ultimate power? Or could the painting be a mirroring of the very scene itself with the three English noblemen who, touched by Barry's innocence and naïveté, also drop their gifts to the ground—in other words—deny them to Barry? The sense we as the audience are left with by the painting's absence is that it is actually what is being hidden and not revealed that takes precedence, and so by this methodology … what, we may ask ourselves, are the hidden elements of this interaction between Barry and the Lords? Why is this scene in the film? What is the purpose of disappearing The Adoration of the Magi from view? What I will argue is that this scene is necessary because in it Barry is framed as outnumbered and outwitted by a cadre of secretive, ruthless men embedded in multi-generational class alliance, and that their socialized behavior, read outwardly as polite, sophisticated, reserved, betrays a deeper function of The Dominant, one in which the collective id has made itself subservient—over countless generations of cruelty—to all manner of amoral trickery, deviousness, and sadism in service of maintaining social and economic power, with zero exceptions. But the scene also underscores the importance of things that remain out of view and unseen, and it is through this awareness of absence that the scene's purpose is understood.</p><p><img src="https://teachingmachine.tv/site/assets/files/9308/screenshot_2024-10-31_at_20_50_59.jpeg.webp"></img><br></br><sup>"It's my pencil!" Brian yells at his stepbrother Lord Bullingdon. </sup></p><p>Many scenes in Barry Lyndon assume a far more sinister guise when read this way. Look for example at the scene where Reverend Runt takes momentary leave during a compulsory scholastic block of activity for both young Brian (Barry's biological son with Lady Lyndon) and Lord Bullingdon (Barry's stepson). On its surface the scene exemplifies Lord Bullingdon's impatience and contempt for his half-brother through the episode of a misplaced pencil that leads to an altercation, one that is the result of either an accident of recognition on Brian's part, or an accident of Lord Bullingdon, aloof to his writing implement of choice while he attempts to maintain concentrated dedication to his studies, for which he repeatedly chastises Brian for disrupting. However as I will argue, Lord Bullingdon—as the most cunning and intelligent character in the film—has deliberately stolen the pencil and feigned ignorance in order to set into motion his self-imposed exile. Lord Bullingdon's superior intellect is reinforced again and again. Think for example of the scene in the horse-drawn carriage with young Lord Bullingdon and Reverend Runt, in which the young man speaks with an eloquence and insight far beyond his years concerning the pity and misgivings he experiences for his mother Lady Lyndon's marriage to Redmond Barry, the brute commoner of Irish descent, now his de facto father. Lord Bullingdon, anticipating how Barry will react when he finds him spanking Brian over the pencil conflict, plays upon Barry's psychology by seeing that, in his pursuit to maintain order at the Lyndon estate, he will punish him, in what—we are led to believe—has become a mundane and common ritual of humiliation: six repeated lashings upon the backside. The stolen pencil thus guarantees the activating chastisement, whereby Lord Bullingdon not only successfully declares his autonomy and opposition to Barry but also orchestrates his self-imposed exile and ultimately, through a Machiavellian chicanery, the removal of Barry from the estate.</p><p><img src="https://teachingmachine.tv/site/assets/files/9309/screenshot_2024-10-31_at_20_51_22.jpeg.webp"></img><br></br><sup>Lord Bullingdon's maneuver to set Barry off into a flight of anger. </sup></p><p>Before his self-imposed exile can go into effect, Lord Bullingdon initiates a subsequent lever in his ingenious multi-stage contraption of social engineering, through a tripartite opprobrium of his entire family in front of the Lords: Barry, Lady Lyndon, and young Brian. Knowing exactly where to apply the pressure, in a single gesture he: (1.) connects to his mother's sympathies; (2.) mockingly passes the mantle of his Lordship to young Brian; (3.) catalyzes Barry into apoplectic rage, compelling him into unprovoked attack (Barry hits Lord Bullingdon from behind with no warning). This has the triple effect of sealing Lord Bullingdon's desired exile and banishment, destroying Barry's chances of securing a noble title, and advocating for his mother by recognizing her enduring sufferings of Barry's indiscretions and fallibilities by making public his dedication and devotion to her. Such are the contrived behaviors and responses of the gentry and Redmond Barry, the commoner. Lord Bullingdon cleverly infers what his actions will vouchsafe for him in the redemption arc of his family name. It is through his meticulous sociological grasp of the powers available to The Dominant and the society around him that make Lord Bullingdon the puppeteer of Barry's controlled destiny.</p><p><img src="https://teachingmachine.tv/site/assets/files/9310/screenshot_2024-10-31_at_20_55_24.jpeg.webp"></img><br></br><sup>Reverend Runt, Lord Bullingdon, and Graham the family lawyer, devise the final lynchpin in Barry's downfall.</sup></p><p>Lord Bullingdon's demeanor in the scene following Graham's alarm at the sight of Lady Lyndon's suicide attempt is cold, calculating, mechanical, and self-assured: he is at his most confident and righteous, moving at the heights of his determination. "…I know now what I must do." … as the two men in his servitude look on in frozen and understanding delight. The "fine family fortune" is at stake, and nothing will be left to chance … nothing. There is a deviousness and surety to Lord Bullingdon's manner. The grandfather clock in the right portion of the frame, the largest and most prominent time keeping device we ever see in the film, save for a small clock in the Lyndon estate that appears behind Lady Lyndon while she is signing debt remittances, suggests that time stands firmly on the side of these men. The clock alludes to mechanical certainty, deterministic in is onward progression, making sure that what "must be done" is indeed executed with the same rigor with which Lord Bullingdon delivers his remarks to the trusted co-conspirators who hold his allegiance. Additionally, compared with the vast interior spaces we have grown accustomed to at this point in the narrative, this room is strikingly small and cramped, lending a physical bearing upon which the secrecy and close-knit spatial encounter rests. These men are hatching their next steps to remove the intruder from further leading their reputation and fortunes to ruin, and they are doing so in small, hidden quarters.</p><p><img src="https://teachingmachine.tv/site/assets/files/9311/screenshot_2024-10-31_at_20_56_11.jpeg.webp"></img><br></br><sup>"…your second has loaded one, and I have loaded the other." … states Lord Bullingdon's co-conspirator. </sup></p><p>Contrast this behavior with the timorous and diffident Lord Bullingdon that appears in the final duel. There is a strange quality in this complete reversal of his character, and the audience (as well as Barry) are to be forgiven in interpreting it as a sign of his innate weakness become manifest: his first shot with the pistol misfires, and he appears to wretch with dread and anxiety in teary-eyed distress before finally regaining his composure. Kubrick masterfully insinuates this weakness throughout the film by portraying Lord Bullingdon as a feeble and confused child born unto wealth, with tender feelings for his mother, and rather effeminate docility in social settings: a man who has never experienced struggle, war, and who repeatedly submitted to the abuses of his false-father, Barry. However, what we are witnessing is not the natural behavior of a frightened man-baby under duress, but a careful and elaborate ruse designed to lead Barry to his doom and, as I will argue, to deceive the audience who fall prey to it—hook, line and sinker—along with Barry, believing that fate and chance are determining the outcome of the duel. It is in fact, a much more nefarious and sophisticated plot, which remains completely hidden from us, owing in part to the sheer audacity and unjust capability of The Dominant.</p><p><img src="https://teachingmachine.tv/site/assets/files/9312/screenshot_2024-10-31_at_20_57_45.jpeg.webp"></img><br></br><sup>Close-up of the double-headed King George III 1/2 penny trick coin </sup></p><p>In my repeated viewings of Barry Lyndon that spanned two decades I never once questioned this deliberate closeup of the <a class="tc-tiddlylink-external" href="https://en.numista.com/catalogue/pieces5528.html" rel="noopener noreferrer" target="_blank">King George 1/2 penny</a>, showing the obverse 'heads' side facing up. Lord Bullingdon is given the first choice to call the coin toss as the aggrieved party in this dispute, where he "demands satisfaction" for the wrong that Barry "committed" against him in a previous era, attacking him from behind in front of the Lords when they gathered for the music concert at the Lyndon estate. You'll notice "committed" surrounded by quotation marks here because it belies an active agency accorded to Barry, when it was in fact Lord Bullington, through his social antagonism, who provoked the Irishman's fury, and—had he not lost his temper—it is may as well have been Barry demanding satisfaction from him. The duel's setup seems innocuous enough: Lord Bullingdon's servant prepares his pistol; states the rules and regulations surrounding the extralegal battle they are about to engage in to seek resolution; performs the coin toss. But The Dominant will not tolerate to chance anything hindering its strategic plan. The merry-go-round of trickery and credulity that characterize Barry's (and the Chevalier's) rinsing of the upper classes through their gambling charades has come back full circle to destroy them, because unlike the boundaries of the gambling table where Barry found himself most comfortable in executing his scams, the boundaries of The Dominant span nearly the entire social psychogeometrical domain of which Barry is now haplessly enmeshed, having thrown himself in too deep with the illusion of gaining favor but without a credible exit. There is no dislodging from The Dominant's reach once you are in its clutches, save for the monarchy, and to a lesser extent, the law (which we will return to later). So pervasive and ubiquitous are its manifestations that it essentially lies hidden in plain view. If we accept The Dominant's narrative for society and the reporting of events as history, we take it for granted that the coin would be a common copper penny from the Royal Mint, with an obverse 'heads' and reverse 'lyre'. But The Dominant does not play games fairly, nor settle disputes in the spirit of justice, and so it engages in <a class="tc-tiddlylink-external" href="https://www.worthpoint.com/worthopedia/king-george-iii-double-head-gamblers-3830013057" rel="noopener noreferrer" target="_blank">subterfuge</a> to guarantee its goals. </p><p><img src="https://teachingmachine.tv/site/assets/files/9314/screenshot_2024-11-02_at_21_56_47.png.webp"></img><br></br><sup>Closeup of a parlor trick by Barry and The Chevalier wherein they cheat The Dominant, but in what appear to be largely insignificant amounts.</sup></p><p>Thus we should be terrified by the closeup of the coin if we come to the realization that we suspected it of being legitimate all along. Kubrick, no stranger to parlor games, describes them in a 1968 interview with Joseph Gelmis for Newsday:</p><blockquote class="tc-quote"><p>"I think it's become something of a parlor game for some people to read that kind of thing into everything they encounter."
</p></blockquote><p>The above quote is actually Kubrick using parlor games in the negative, discrediting theories by some that the vocal inflections of the artificial intelligence in his film 2001: A Space Odyssey—HAL 9000—indicate the AI's homosexual orientation, which Kubrick dismisses as far-fetched. But could Kubrick be engaging in a parlor game of his own in Barry Lyndon ? … by presenting a story which, by all sensible and rational interpretations, leads us to believe that it is chance and fate that marks Barry's destiny though its blind indifference? … when, in fact, all could be the result of the cold-blooded, calculating machinations of a ruthless social order in the twilight of its dominion? Think of Lord Wendover's comments earlier in the film as Barry seeks ascendancy: "All the best men." … an allusion to the type of circles he keeps. Neither would this baleful interpretation contradict Kubrick's career-long obsession with mysterious and secret agents of conspiracy and sabotage, which lie at the heart of all his filmmaking. We now return to the trifold trickery described at the outset of this essay, and what it means.</p><p><img src="https://teachingmachine.tv/site/assets/files/9313/screenshot_2024-10-31_at_20_57_56.jpeg.webp"></img><br></br><sup>Checking the double-headed coin in the final duel, an elaborate charade to jettison Barry Lyndon from his proximity to The Dominant.</sup></p><p>Lord Bullingdon's plan, which seems to crystallize in his mind when pacing in the small quarters with Reverend Runt and Graham, is never given verbal exposition in the film, but we can witness it unfurling. First, the double-headed coin—ensuring that Lord Bullingdon gets the first fire. Second, Lord Bullingdon's intentional misfiring of the pistol before he has properly aimed it at Barry, and the subsequent pleas with his servant (who peculiarly overrules him) requesting a new pistol since his is faulty … and all the resulting hysterics and faux-vomiting that is carried out before coming to his senses and readying himself for Barry's return fire. And here is where Barry—again read like an open book by Lord Bullingdon and his razor sharp understandings of his opponent—catastrophically misreads his entrapment, and takes the high-road prescribed by the gentlemanly conduct he aspires to, and fires his pistol into the ground, begetting a truce in his mind. This is exactly what Lord Bullingdon anticipates, and by his animated histrionics, makes it clear that he has not received satisfaction. Third, and lastly, Lord Bullingdon has achieved checkmate, discarding what otherwise might have been settled as a draw, seeing to the moral prerogative of the nobleman's good deed. But owing to The Dominant's mistrust of rectitude in the pursuit of its goal, he aggressively and without warning decides to take another turn, aims at Barry and fires. His expression of elation is clearly visible after Barry collapses. The plan succeeds. Barry is wounded under the knee, as the doctor who has to amputate him makes clear (although one could go a step further and implicate even this town doctor in on the conspiracy, since Barry doesn't appear to us to be hemorrhaging blood, as the doctor claims). But being wounded below the knee would necessitate a deliberately low aim from the distance from which Lord Bullingdon fires the pistol. Precisely. If Barry is wounded, he can be controlled; if he is killed, then that activates the law, and Lord Bullingdon seems to have made it part of his calculus to avoid any such encounter with the authorities. Thus the trifold trickery: (1.) the deception of Barry, the principal victim; (2.) the evasion of the law (which does pose as an ominous presence in Barry Lyndon at various points in the film) a circumvention which The Dominant clearly prefers so that it covers its tracks; (3.) the deception of the audience in precluding any suspicion of The Dominant, making events seem entirely ordinary, random, or governed by a higher destiny. But we know there is no higher destiny that is predetermined, since the church in which they duel is abandoned, The Adoration of the Magi is never seen, and Barry lacks the agency to lay claim to his own autonomy. The house always wins, as all gamblers are aware. This is power that operates in the shadows, beyond our sight, even our wildest dreams.</p><p><strong>Post-script</strong></p><p>There is a metacinematic aspect at play: Leon Vitali, the English actor who plays Lord Bullingdon, gave up a promising career in acting to become Stanley Kubrick's full-time assistant for the remainder of his life. At the time he was made the object of ridicule for such a sisyphean bargain … trading an illustrious future for a menial one under the thumb of a controlling and detail-oriented filmmaker. But what if the mastermind narrative that plays out so brilliantly out-of-sight in Barry Lyndon and in Lord Bullingdon's character does the same in life? What is known is that Vitali became integral to Kubrick's working methods, and had insider knowledge (and influence) in all aspects of the film productions that Kubrick would embark upon after their acquaintance was made (The Shining … Full Metal Jacket … and Eyes Wide Shut). Some even say that there would be no Kubrick, as known in these last mature works, if it were not for Vitali … and so we must ask ourselves, was having memetic advantage the ultimate goal in Leon Vitali's calculus? Once seen as rather buffoonish in his surrender to Kubrick, perhaps Vitali holds onto the last laugh in his conquest to manifest a subversive control over the images contained within Kubrick's future work themselves, an alchemy of the highest and most devious, secretive order, indeed.
</p></div></content><author><name>undefined</name></author></entry><entry><title>Victor Castellon</title><link href="https://gavart.ist/#Victor%20Castellon"></link><link href="https://gavart.ist/static/Victor%2520Castellon.html" rel="alternative" type="text/html"></link><id>cf016df8-020b-af0f-d33c-25fcf15350cb</id><updated>2025-03-18T19:53:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/friends-family/victor-castellon.png"></img></div></content><author><name>undefined</name></author></entry><entry><title>Mary Bauermeister: Stockhausen’s Muse at the Goethe-Institut</title><link href="https://gavart.ist/#Mary%20Bauermeister%3A%20Stockhausen%E2%80%99s%20Muse%20at%20the%20Goethe-Institut"></link><link href="https://gavart.ist/static/Mary%2520Bauermeister%253A%2520Stockhausen%25E2%2580%2599s%2520Muse%2520at%2520the%2520Goethe-Institut.html" rel="alternative" type="text/html"></link><id>0d6f61ba-e1c2-94b6-c6d3-68f80e5c88a5</id><updated>2025-03-18T18:58:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Chances are (for the uninitiated) that you may already know who Mary Bauermeister is without realizing it. Her visual style is intimately intertwined with the output of composer Karlheinz Stockhausen. Her beautifully sparse, colorful arrangements of text, musical symbols, and geometry not only grace the recent complete set of his oeuvre issued by Stockhausen Verlag but were also pivotal in informing his compositional style and attitudes (i.e. she convinced him to abandon his total-serialism). Turning 80 this year, Bauermeister’s journey comes alive in a newly published book, <em><a class="tc-tiddlylink-external" href="https://smile.amazon.com/gp/product/B005O7VJQ8/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B005O7VJQ8&amp;linkCode=as2&amp;tag=thomadeneu-20" rel="noopener noreferrer" target="_blank">Ich hänge im Triolengitter: Mein Leben mit Karlheinz Stockhausen</a></em>. On January 26, 2014 the Goethe-Institut in Los Angeles presented an afternoon tribute to Bauermeister. Loquacious and eloquent, she defied her octogenarianism with free-spirited charm and youthful idealism.</p><p>The event, envisioned as a conclusion to the previous night’s Jacaranda concert performance of Stockhausen’s Stimmung, opened with Gregor Zootzky’s intoxicating, short animated film ‘psst-pp-Piano : Hommage à Mary Bauermeister’. Establishing the context of her life and work, it is a re-telling of a notorious proto-fluxus action which Kay Larson describes in her 2012 biography of John Cage ‘Where the Heart Beats.’ Taking place in 1960 at Bauermeister’s atelier in Köln, it shows a distressing performance given by Nam June Paik in which he provokes Cage by cutting off his necktie with a pair of scissors, smashing windows, and running out of the room, leaving the audience “paralyzed with fear,” in Cage’s words. The performance is said to have ended once he telephoned Bauermeister, indicating that the performance had ended. Thus in her mid-twenties she was already confidently promoting the most experimental artists of the century, and close with not only Cage, but also David Tudor, George Brecht, Cornelius Cardew, as well as Stockhausen, whose composition class she had enrolled in at Darmstadt. Becoming enamored with one another, they decided on a radical move to the United States.</p><p><img src="./files/img/misc/Bauermeister-1.jpg"></img></p><p>Bauermeister extrapolated the events of her life with vivid detail starting with her first night in NY, where she stayed at a $5/night lodge, sick from a days-long-delay on an Icelandic airline, and awaking to screams in the night (which, on November 22, 1963 would have been the eve of John F. Kennedy’s assassination). She described the events surrounding the premiere of Stockhausen’s Originale at the New York Avant-Garde Festival at Judson Hall (September 8, 1964), in which Fluxus artists denounced Stockhausen with picketed demonstrations. Their slogans, “THE PATRICIAN — THEORIST — OF WHITE SUPREMACY” and “FIGHT THE DOMINATION OF EUROPEAN RULING CLASS ART” brought into focus a point of contention surrounding her affiliation with Fluxus as imagined by George Maciunas, who was in fact the mastermind behind these demonstrations. Bauermeister revealed that it was Maciunas who was fascistic in his tendencies, speaking of his telephonic aural-assaults on complete strangers (amplified sound as sonic warfare) which essentially caused an irreparable schism in the Fluxus movement. She also insinuated that perhaps Maciunas was bitter, always one step behind her and her circle (missing Cage’s New School composition seminar due to Cage’s departure to Darmstadt and again missing the opportunity to perform at Bauermeister’s gallery in Köln due to her migration to NY). Bauermeister’s perspective places an interesting refraction on the controversy, suggesting that Stockhausen may have simply been used by Maciunas to avoid more overtly political grandstanding, thus enabling him to disguise his motives.</p><p><img src="./files/img/misc/Bauermeister-2.jpg"></img></p><p>In her book (currently only available in German), whose title in English roughly means “Three in the Space of Two” (as in a compound 3 against 2 rhythm), she details the complicated and multifaceted polygamist tendencies that were a feature of Stockhausen’s personal life. She references not one but several ménage à trois which she was involved in during the course of their love. Bauermeister offered an interesting hypothesis regarding Stockhausen’s early childhood traumas and why it led him into seeking multiple relationships. Moreover, she described her own intermittent feelings of jealousy counterpoised by her unforgiving love for him. Rich and complex was this affair!</p><p>Bauermeister’s transcendent presence and attitude were mirrors into an era in which art embraced a variety of anarchic impulses to counter hostile and mechanical trends that were enclosing it. And yet her endearing composure belied the recalcitrant and merciless aesthetics of her art and the artworks of her contemporaries. Looking in, we were able to glimpse a fascinating view of the 20th century avant-garde as it happened. She represents a modern-day futurist, a time-traveler who beheld vistas deep into our own future and carried them with her throughout her life, all the while expressing them in her work. Such is her sensibility as it is communicated by the thrust of the boundary-defying art she is implicated in and responsible for creating. A striking visual genius coupled with an intricate and industrious attention to detail pervades her graphic work; universes unto themselves, dense with meaning, directionality, cosmic messages, and magically ambiguous.</p><p><img src="./files/img/misc/Bauermeister-3.jpg"></img></p><p>One piece of interest on display was a letter she wrote to Barack Obama during his first month as president, in which she described ‘morphogenic fields of protection’ and optimism in his presidency. Purportedly, it found its way into the hands of Michelle Obama, who has made the effort to contact various art institutions and universities, indicating that we may see a resurgence of interest in the incredible work she has produced. When Bauermeister described her first experience of anarchy, it struck me as significant: as a young girl, occupying American soldiers allowed her back into her former home, where she was delighted and thrilled to find all of the polished furniture scuffed-up and horribly scratched, with all of the oil-painted heads hanging on the walls riddled with bullet-holes. 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There mere word, by contrast, at most inflames it, to leave it smouldering, blasted.</title><link href="https://gavart.ist/#Only%20images%20in%20the%20mind%20vitalize%20the%20will.%20There%20mere%20word%2C%20by%20contrast%2C%20at%20most%20inflames%20it%2C%20to%20leave%20it%20smouldering%2C%20blasted."></link><link href="https://gavart.ist/static/Only%2520images%2520in%2520the%2520mind%2520vitalize%2520the%2520will.%2520There%2520mere%2520word%252C%2520by%2520contrast%252C%2520at%2520most%2520inflames%2520it%252C%2520to%2520leave%2520it%2520smouldering%252C%2520blasted..html" rel="alternative" type="text/html"></link><id>b0cba25d-8cc0-d325-27cd-4a4e6a3a3da9</id><updated>2025-03-15T14:41:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> There is no intact will without exact pictorial imagination. No imagination without innervation.</p></div></content><author><name>undefined</name></author></entry><entry><title>Hildegard von Bingen</title><link href="https://gavart.ist/#Hildegard%20von%20Bingen"></link><link href="https://gavart.ist/static/Hildegard%2520von%2520Bingen.html" rel="alternative" type="text/html"></link><id>a58e4bf8-f488-d516-80b1-17d21b7ed6fe</id><updated>2025-03-15T14:39:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>There is a power that has been since all eternity and that force and potentiality is green!</title><link href="https://gavart.ist/#There%20is%20a%20power%20that%20has%20been%20since%20all%20eternity%20and%20that%20force%20and%20potentiality%20is%20green!"></link><link href="https://gavart.ist/static/There%2520is%2520a%2520power%2520that%2520has%2520been%2520since%2520all%2520eternity%2520and%2520that%2520force%2520and%2520potentiality%2520is%2520green!.html" rel="alternative" type="text/html"></link><id>aba0c462-e4d6-2785-d8b3-88aec35cba97</id><updated>2025-03-15T14:38:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bomber planes make us remember what Leonardo Da Vinci expected of the flight of man</title><link href="https://gavart.ist/#Bomber%20planes%20make%20us%20remember%20what%20Leonardo%20Da%20Vinci%20expected%20of%20the%20flight%20of%20man"></link><link href="https://gavart.ist/static/Bomber%2520planes%2520make%2520us%2520remember%2520what%2520Leonardo%2520Da%2520Vinci%2520expected%2520of%2520the%2520flight%2520of%2520man.html" rel="alternative" type="text/html"></link><id>d2fb67ae-0f17-784d-dd05-08fe54b2d425</id><updated>2025-03-15T14:36:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>: he was to have raised himself into the air "in order to look for snow on the mountain summits, and then return to scatter it over the city streets shimmering with the heat of summer."</p></div></content><author><name>undefined</name></author></entry><entry><title>Edward Said</title><link href="https://gavart.ist/#Edward%20Said"></link><link href="https://gavart.ist/static/Edward%2520Said.html" rel="alternative" type="text/html"></link><id>bdd8ad4e-1739-f88b-2f3a-539ff0f1da71</id><updated>2025-03-15T14:33:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>What is critical consciousness at bottom, if not an unstoppable predilection for alternatives ?</title><link href="https://gavart.ist/#What%20is%20critical%20consciousness%20at%20bottom%2C%20if%20not%20an%20unstoppable%20predilection%20for%20alternatives%20%3F"></link><link href="https://gavart.ist/static/What%2520is%2520critical%2520consciousness%2520at%2520bottom%252C%2520if%2520not%2520an%2520unstoppable%2520predilection%2520for%2520alternatives%2520%253F.html" rel="alternative" type="text/html"></link><id>a0238d8b-92c6-506e-95a0-7f31d14271b1</id><updated>2025-03-15T14:33:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Roxanne Harris</title><link href="https://gavart.ist/#Roxanne%20Harris"></link><link href="https://gavart.ist/static/Roxanne%2520Harris.html" rel="alternative" type="text/html"></link><id>450c2786-f6d8-230c-c569-2818e12d6c59</id><updated>2025-03-14T23:17:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jonathan Snipes</title><link href="https://gavart.ist/#Jonathan%20Snipes"></link><link href="https://gavart.ist/static/Jonathan%2520Snipes.html" rel="alternative" type="text/html"></link><id>14da2a27-4630-670e-c4a6-6de49de9ed71</id><updated>2025-03-14T23:17:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Emile Cioran</title><link href="https://gavart.ist/#Emile%20Cioran"></link><link href="https://gavart.ist/static/Emile%2520Cioran.html" rel="alternative" type="text/html"></link><id>72ea1a8b-c056-a52b-e4ea-2aa49d3e1cdd</id><updated>2025-03-13T18:36:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>What saved me is the idea of suicide. Without the idea of suicide I would have surely killed myself.</title><link href="https://gavart.ist/#What%20saved%20me%20is%20the%20idea%20of%20suicide.%20Without%20the%20idea%20of%20suicide%20I%20would%20have%20surely%20killed%20myself."></link><link href="https://gavart.ist/static/What%2520saved%2520me%2520is%2520the%2520idea%2520of%2520suicide.%2520Without%2520the%2520idea%2520of%2520suicide%2520I%2520would%2520have%2520surely%2520killed%2520myself..html" rel="alternative" type="text/html"></link><id>a01936f0-87cb-d713-0ab0-dbed58dd278b</id><updated>2025-03-13T18:35:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> What allowed me to keep on living, was knowing that I had this option, always in sight.</p></div></content><author><name>undefined</name></author></entry><entry><title>Today it is bad, and day by day it will get worse―until at last the worst of all arrives.</title><link href="https://gavart.ist/#Today%20it%20is%20bad%2C%20and%20day%20by%20day%20it%20will%20get%20worse%E2%80%95until%20at%20last%20the%20worst%20of%20all%20arrives."></link><link href="https://gavart.ist/static/Today%2520it%2520is%2520bad%252C%2520and%2520day%2520by%2520day%2520it%2520will%2520get%2520worse%25E2%2580%2595until%2520at%2520last%2520the%2520worst%2520of%2520all%2520arrives..html" rel="alternative" type="text/html"></link><id>e646bc30-c52a-0c1d-f3e5-8a6b3e827099</id><updated>2025-03-12T12:42:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Seneca</title><link href="https://gavart.ist/#Seneca"></link><link href="https://gavart.ist/static/Seneca.html" rel="alternative" type="text/html"></link><id>e3decbc4-0c57-3363-c151-a8300127922f</id><updated>2025-03-12T12:41:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Polyrhythm Mnemonics</title><link href="https://gavart.ist/#Polyrhythm%20Mnemonics"></link><link href="https://gavart.ist/static/Polyrhythm%2520Mnemonics.html" rel="alternative" type="text/html"></link><id>fd791741-4d79-928e-183c-d8f4f2b1b9f5</id><updated>2025-03-12T00:09:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>5:4 — <a class="tc-tiddlylink-external" href="https://www.facebook.com/reel/1150205783082917" rel="noopener noreferrer" target="_blank">I am looking for a house to buy</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Marcelo</title><link href="https://gavart.ist/#Marcelo"></link><link href="https://gavart.ist/static/Marcelo.html" rel="alternative" type="text/html"></link><id>2e39234a-b3e5-9652-a045-a4c4e8103160</id><updated>2025-03-11T09:08:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Five tracks for the cat who wins <code>{{my heart}}</code></h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://www.artic.edu/artworks/21177/cat-pawing-at-goldfish" rel="noopener noreferrer" target="_blank">Cat Pawning at Goldfish</a><br></br>Isoda Koryusai<br></br>early 1770s</h2></div></content><author><name>undefined</name></author></entry><entry><title>Federico Campagna</title><link href="https://gavart.ist/#Federico%20Campagna"></link><link href="https://gavart.ist/static/Federico%2520Campagna.html" rel="alternative" type="text/html"></link><id>f695d694-ecda-fd39-6900-9b3a07b761ac</id><updated>2025-03-07T16:08:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sallustius</title><link href="https://gavart.ist/#Sallustius"></link><link href="https://gavart.ist/static/Sallustius.html" rel="alternative" type="text/html"></link><id>c18d18a3-b87e-f064-fbff-60db5a0d7f8c</id><updated>2025-03-07T16:02:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>mutation029A</title><link href="https://gavart.ist/#mutation029A"></link><link href="https://gavart.ist/static/mutation029A.html" rel="alternative" type="text/html"></link><id>acfac210-9fc0-83b9-193e-e9de47a62f03</id><updated>2025-03-07T11:45:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Midjourney prompt ➟ a creature with the strength of ten thousand monsters emerging from a choppy sea ✹ This track first appears on the <a class="tc-tiddlylink-external" href="https://spaceanemone.bandcamp.com/album/space-anemone-5-year-anniversary-compilation" rel="noopener noreferrer" target="_blank">Space Anemone 5 Year Anniversary Compilation</a>. You can collect this work on <a class="tc-tiddlylink-external" href="https://www.ninaprotocol.com/releases/gavcloud-mutation029a" rel="noopener noreferrer" target="_blank">Nina Protocol</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 3</a></h2><h2 class="">Artwork<br></br><a class="tc-tiddlylink-external" href="https://twitter.com/midjourney" rel="noopener noreferrer" target="_blank">Midjourney AI</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>taor ueuf ut</title><link href="https://gavart.ist/#taor%20ueuf%20ut"></link><link href="https://gavart.ist/static/taor%2520ueuf%2520ut.html" rel="alternative" type="text/html"></link><id>c29fd1a3-89e3-6542-6e9b-bdee6fce2c79</id><updated>2025-03-07T11:45:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">[A] person's ideas must be the building he lives in...<br></br>You can collect this work on <a class="tc-tiddlylink-external" href="https://www.ninaprotocol.com/releases/gavcloud-taor-ueuf-ut" rel="noopener noreferrer" target="_blank">Nina Protocol</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink-external" href="https://www.reasonstudios.com/" rel="noopener noreferrer" target="_blank">Reason</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>W Srebrnym Planie</title><link href="https://gavart.ist/#W%20Srebrnym%20Planie"></link><link href="https://gavart.ist/static/W%2520Srebrnym%2520Planie.html" rel="alternative" type="text/html"></link><id>cd29d68b-b3d1-d1f5-dcf5-33187ef2ec88</id><updated>2025-03-07T11:45:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">An audio/visual overture that uses still frames from the Andrzej Żuławski film <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/On_the_Silver_Globe_(film)" rel="noopener noreferrer" target="_blank">On The Silver Globe</a> as the materials for a deconstructivist and image-sonification based interpretation, presented as an introduction to <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#W%20Srebrnym%20Planie%20%3A%20Multimedia%20Overture%20to%20On%20The%20Silver%20Globe">a screening</a> of the newly restored version of the film.</h2><h2 class="">Supporters of this release on <a class="tc-tiddlylink-external" href="https://www.ninaprotocol.com/releases/gavin-gamboa-w-srebrnym-planie" rel="noopener noreferrer" target="_blank">Nina</a> receive access to the video portion created for the live performance. Minted as a limited edition of 50.</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ffmpeg">ffmpeg</a> was used to generate a tiled mosaic of the film:<br></br></h2><pre><code>ffmpeg -i silverGlobe.mp4 -vf "select=gt(scene\,0.4),scale=854:480,tile=8x24" -frames:v 1 slate-3_0.4-8x24.png</code></pre><p><a alt="" class="noExternalLinkIcon" href="./files/img/performance/w-srebrnym-planie-2024/slate-3_0.3-24x8.jpg" target="_blank"><img src="./files/img/performance/w-srebrnym-planie-2024/slate-3_0.3-24x8-reduced.jpg" width="700"></img></a></p><h2 class="">Render the same images in the composite mosaic individually to a directory<br></br></h2><pre><code>ffmpeg -i silverGlobe.mp4 -vf "select=gt(scene\,0.4),scale=854:480" -vsync vfr individual-frames/frame_%04d.png</code></pre><h2 class="">I created a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Python">Python</a> script <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Image%20to%20Number%20Conversion%20with%20Downsampling">Image to Number Conversion with Downsampling</a> to create 2000 byte text strings of the downsampled pixel information in each image to use as the basis for MIDI generation using Manifest Audio's <a class="tc-tiddlylink-external" href="https://manifest.audio/sonification-tools" rel="noopener noreferrer" target="_blank">Sonification Tools</a>. </h2><h2 class="">We can listen to this stream of musical data as we move through the grid of frames, one by one, forming alchemical isomorphs of the visual content with new sonic entities, ones that make themselves heard as well as seen as they undergo this process of transformation. It is my hope  that the performance will remain inextricably linked to the intrinsic components of the celluloid, and allow for a critical dissection of its contents in our perspectival memory as well as inform a pre-intuited and abstracted grasping of the film's merits before viewing it in its totality. Hence the title of my piece Within the Silver Plane, envisions and de-visions the latent elements contained and hidden within the flatness of the single frame.</h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a> presents …<br></br><em>W Srebrnym Planie (Within The Silver Plane)</em><br></br>Audio/Visual Overture to On The Silver Globe<br></br>Gavin Gamboa<br></br>2024</h2><h2 class="">World Premiere<br></br>The Philosophical Research Society<br></br>Los Angeles, California, United States<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#W%20Srebrnym%20Planie%20%3A%20Multimedia%20Overture%20to%20On%20The%20Silver%20Globe">2024 July 13</a></h2><h2 class="">Special Thanks<br></br>Alexander McDonald<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Bird">Daniel Bird</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio</a> 5.1.9<br></br><a class="tc-tiddlylink-external" href="https://manifest.audio/sonification-tools" rel="noopener noreferrer" target="_blank">Manifest Audio</a> Sonification Tools<br></br><a class="tc-tiddlylink-external" href="https://resolume.com" rel="noopener noreferrer" target="_blank">Resolume Arena 7</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Image%20to%20Number%20Conversion%20with%20Downsampling">Python</a><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ffmpeg">ffmpeg</a></h2></div></content><author><name>undefined</name></author></entry><entry><title>Disembodied Rhythmanalysis</title><link href="https://gavart.ist/#Disembodied%20Rhythmanalysis"></link><link href="https://gavart.ist/static/Disembodied%2520Rhythmanalysis.html" rel="alternative" type="text/html"></link><id>625cee16-4e06-a827-4a4e-f285cc02be99</id><updated>2025-03-07T11:44:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">γνῶθι σεαυτόν<br></br>nosce te ipsum<br></br>认识你自己<br></br>स्वाध्याय!</h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TidalCycles">TidalCycles</a></h2><h2 class=""><a class="tc-tiddlylink-external" href="https://www.ninaprotocol.com/releases/gavcloud-disembodied-rhythmanalysis" rel="noopener noreferrer" target="_blank">Collect on Nina</a></h2><p><div class="video-container">
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>What We Know About Covid’s Impact on Your Brain</title><link href="https://gavart.ist/#What%20We%20Know%20About%20Covid%E2%80%99s%20Impact%20on%20Your%20Brain"></link><link href="https://gavart.ist/static/What%2520We%2520Know%2520About%2520Covid%25E2%2580%2599s%2520Impact%2520on%2520Your%2520Brain.html" rel="alternative" type="text/html"></link><id>a226a1d2-244b-794d-8871-0b3be822acb7</id><updated>2025-03-06T10:08:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Camp · An Opera In Two Acts</title><link href="https://gavart.ist/#The%20Camp%20%C2%B7%20An%20Opera%20In%20Two%20Acts"></link><link href="https://gavart.ist/static/The%2520Camp%2520%25C2%25B7%2520An%2520Opera%2520In%2520Two%2520Acts.html" rel="alternative" type="text/html"></link><id>9d7a77bc-2540-5bee-59fe-9fdd8ce0b940</id><updated>2025-03-03T15:10:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/the-camp.jpg" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Rockfrontend README</title><link href="https://gavart.ist/#Rockfrontend%20README"></link><link href="https://gavart.ist/static/Rockfrontend%2520README.html" rel="alternative" type="text/html"></link><id>43e0944e-93aa-2246-310b-831d88c979d8</id><updated>2025-03-02T11:51:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The party told you to reject the evidence of your eyes and ears. It was their final, most essential command.</title><link href="https://gavart.ist/#The%20party%20told%20you%20to%20reject%20the%20evidence%20of%20your%20eyes%20and%20ears.%20It%20was%20their%20final%2C%20most%20essential%20command."></link><link href="https://gavart.ist/static/The%2520party%2520told%2520you%2520to%2520reject%2520the%2520evidence%2520of%2520your%2520eyes%2520and%2520ears.%2520It%2520was%2520their%2520final%252C%2520most%2520essential%2520command..html" rel="alternative" type="text/html"></link><id>30006ff9-6e9b-94f0-d0b7-68d86b2891bb</id><updated>2025-02-27T10:05:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> His heart sank as he thought of the enormous power arrayed against him, the ease with which any Party intellectual would overthrow him in debate, the subtle arguments which he would not be able to understand, much less answer. And yet he was in the right! They were wrong and he was right.</p></div></content><author><name>undefined</name></author></entry><entry><title>Monster</title><link href="https://gavart.ist/#Monster"></link><link href="https://gavart.ist/static/Monster.html" rel="alternative" type="text/html"></link><id>243a3afa-44ae-d85d-504d-bd53fd9804e9</id><updated>2025-02-27T08:14:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From Middle English monstre, from Old French monstre, mostre, moustre, from Latin mōnstrum (advise, warning)</p></div></content><author><name>undefined</name></author></entry><entry><title>Spectra Studio</title><link href="https://gavart.ist/#Spectra%20Studio"></link><link href="https://gavart.ist/static/Spectra%2520Studio.html" rel="alternative" type="text/html"></link><id>77b36c08-6e8d-f8a2-9880-97ad30342999</id><updated>2025-02-26T10:10:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Rave v2 Streaming</title><link href="https://gavart.ist/#Rave%20v2%20Streaming"></link><link href="https://gavart.ist/static/Rave%2520v2%2520Streaming.html" rel="alternative" type="text/html"></link><id>0111fed4-27a2-606f-a99a-1056bf9677e2</id><updated>2025-02-26T09:47:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Humoresques%20For%20Autoregressive%20Compute">Humoresques For Autoregressive Compute</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Press</title><link href="https://gavart.ist/#Press"></link><link href="https://gavart.ist/static/Press.html" rel="alternative" type="text/html"></link><id>0610123b-dd4f-fc19-1a3e-a05a847e1307</id><updated>2025-02-25T12:59:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><ul>
   
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         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Essay%3A%20A%20hyper%20productive%2C%20dizzying%20panoply%20of%20music">Essay: A hyper productive, dizzying panoply of music</a><br></br>
         <sup><em> <a class="tc-tiddlylink-external" href="https://www.positionen.berlin/" rel="noopener noreferrer" target="_blank">Positionen</a> · 2024 February 22</em></sup>
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      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Screen%20of%20the%20Sky">The Screen of the Sky</a><br></br>
         <sup><em> <a class="tc-tiddlylink-external" href="https://animusmagazine.com/2023/03/23/the-screen-of-the-sky/" rel="noopener noreferrer" target="_blank">Animus Magazine</a> · 2023 March 23</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%23MoneyMustBeFunny">#MoneyMustBeFunny</a><br></br>
         <sup><em> <a class="tc-tiddlylink-external" href="https://www.positionen.berlin/" rel="noopener noreferrer" target="_blank">Positionen</a> · 2023 February 22</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#01%3A%20Catalog%20Community%20Week">01: Catalog Community Week</a><br></br>
         <sup><em> <a class="tc-tiddlylink-external" href="https://catalog.mirror.xyz/JAs8NedvnAC3DIdTjkwIolUmH4sHKCjsDtVDhrP7TP8" rel="noopener noreferrer" target="_blank">mirror.xyz</a> · 2021 June 27</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Opening%20Response%3A%20Gavin%20Gamboa">The Opening Response: Gavin Gamboa</a><br></br>
         <sup><em> <a class="tc-tiddlylink-external" href="https://umbigomagazine.com/en/blog/2020/03/26/resposta-aberta-gavin-gamboa/" rel="noopener noreferrer" target="_blank">Umbigo Magazine</a> · 2020 March 26</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dorico%20Showcase%3A%20Gavin%20Gamboa%E2%80%99s%20cello%20concerto%20%E2%80%9CWhen%20you%20come%20to%20a%20fork%20in%20the%20road%2C%20take%20it.%E2%80%9D">Dorico Showcase: Gavin Gamboa’s cello concerto “When you come to a fork in the road, take it.”</a><br></br>
         <sup><em> <a class="tc-tiddlylink-external" href="https://blog.dorico.com/2018/08/dorico-showcase-gavin-gamboas-cello-concerto-when-you-come-to-a-fork-in-the-road-take-it/" rel="noopener noreferrer" target="_blank">Dorico Blog</a> · 2018 August 21</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Vocalist%20Jos%C3%A9%20James%20embraces%20the%20collaboration">Vocalist José James embraces the collaboration</a><br></br>
         <sup><em> <a class="tc-tiddlylink-external" href="https://www.sfchronicle.com/music/article/Vocalist-Jos-James-embraces-the-collaboration-11020819.php" rel="noopener noreferrer" target="_blank">San Francisco Chronicle</a> · 2017 March 22</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Un%20viaje%20al%20mundo%20donde%20habitan%20la%20m%C3%BAsica%20y%20la%20poes%C3%ADa">Un viaje al mundo donde habitan la música y la poesía</a><br></br>
         <sup><em> Milenio Novedades · 2014 September 22</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa%20ofrece%20una%20ballada%20al%20amor%20y%20a%20la%20luna">Gavin Gamboa ofrece una ballada al amor y a la luna</a><br></br>
         <sup><em> Diario Yucatán · 2014 September 21</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cautiva%20un%20yucateco%20con%20m%C3%BAsica%20de%20hace%20100%20a%C3%B1os">Cautiva un yucateco con música de hace 100 años</a><br></br>
         <sup><em> Milenio Novedades · 2013 December 7</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Un%20paseo%20por%20la%20genialidad%20de%20Beethoven">Un paseo por la genialidad de Beethoven</a><br></br>
         <sup><em> Milenio Novedades · 2011 November 6</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Debut%20yucateco%20con%20Variaciones%20Diabelli">Debut yucateco con Variaciones Diabelli</a><br></br>
         <sup><em> Milenio Novedades · 2011 November 3</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Interpretar%C3%A1%20yucateco%20Varaciones%20Diabelli">Interpretará yucateco Varaciones Diabelli</a><br></br>
         <sup><em> Milenio Novedades · 2011 October 29</em></sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%3A%20Fields">Strangeloop: Fields</a><br></br>
         <sup><em> <a class="tc-tiddlylink-external" href="https://inverted-audio.com/visual/strangeloop-fields/" rel="noopener noreferrer" target="_blank">Inverted Audio</a> · 2011 August 21</em></sup>
      </li>
  
</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Audialab</title><link href="https://gavart.ist/#Audialab"></link><link href="https://gavart.ist/static/Audialab.html" rel="alternative" type="text/html"></link><id>f42846d2-3965-520b-d3aa-4deecad4f1bf</id><updated>2025-02-25T08:12:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Dronebath · Edition 005</title><link href="https://gavart.ist/#Dronebath%20%C2%B7%20Edition%20005"></link><link href="https://gavart.ist/static/Dronebath%2520%25C2%25B7%2520Edition%2520005.html" rel="alternative" type="text/html"></link><id>b979027e-7529-ff47-958d-ef6bd00fa351</id><updated>2025-02-24T22:17:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/attended-events/dronebath-20250223.jpg" width="600px"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Ubuntu</title><link href="https://gavart.ist/#Ubuntu"></link><link href="https://gavart.ist/static/Ubuntu.html" rel="alternative" type="text/html"></link><id>3d945423-f8e9-496c-429a-5d8c65b4604f</id><updated>2025-02-24T15:51:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><blockquote class="tc-quote"><p>A Xhosa word that denotes sharing what you have, as in "My humanity is inextricably bound up in yours." Ubuntu recognizes that true healing is impossible without recognition of our common humanity and our common destiny.<br></br>
<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Body%20Keeps%20The%20Score%20%C2%B7%20Brain%2C%20Mind%2C%20and%20Body%20In%20The%20Healing%20of%20Trauma">The Body Keeps The Score · Brain, Mind, and Body In The Healing of Trauma</a> (351)
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Building The Entopia</title><link href="https://gavart.ist/#Building%20The%20Entopia"></link><link href="https://gavart.ist/static/Building%2520The%2520Entopia.html" rel="alternative" type="text/html"></link><id>79f579a2-5c4f-51f3-0822-df1f20563ed2</id><updated>2025-02-24T11:44:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><video controls="controls" src="./files/vid/documentation/sound-obsessed-sonar-2024-temporal-tide/gavcloud-building-the-entopia-1080p-v2.mp4" style="width:100%;object-fit:contain;"></video><h2 class="">Entopia is a concept coined by the Greek architect and urban planner Constantinos Apostolou Doxiadis. As he states, "What human beings need is not utopia ('no place') but entopia ('in place') a real city which they can build, a place which satisfies the dreamer and is acceptable to the scientist, a place where the projections of the artist and the builder merge." Building The Entopia derives both its rhythmic and melodic information from datasets compiled by the World Bank representing basic research, applied research, and experimental research spending globally from 1996-2001. The pitch information is scaled to an Erv Wilson microtonal tuning. The video features original footage filmed on-location in São Paulo Brazil, Tokyo Japan, and the Kumbh Mela India.</h2><p>Data source: <a class="tc-tiddlylink-external" href="https://ourworldindata.org/grapher/research-spending-gdp?time=2021" rel="noopener noreferrer" target="_blank">Multiple sources compiled by World Bank</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Tertiary Education Expenditures</title><link href="https://gavart.ist/#Tertiary%20Education%20Expenditures"></link><link href="https://gavart.ist/static/Tertiary%2520Education%2520Expenditures.html" rel="alternative" type="text/html"></link><id>e3943ab2-6c3d-f611-6ff8-5a93ab050d44</id><updated>2025-02-24T11:44:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><video controls="controls" src="./files/vid/documentation/sound-obsessed-sonar-2024-temporal-tide/gavcloud-tertiary-education-expenditure-1080p-v2.mp4" style="width:100%;object-fit:contain;"></video><h2 class=""><em>Tertiary Education Expenditures</em> is a 90-second audio/visual piece that uses data sonification as its principal process. Utilizing UNESCO Institute of Statistics data for number of people of any age group who are enrolled in tertiary education expressed as a percentage of the total population from 1970-2022, TEE creates linear isomrophic mappings between musical pitch and alphabetically ordered countries and their respective data-points, each pitch representing a single year's percentage of enrollment. Rhythmical variety is established when the percentage of enrollment is very low, which causes rhythmic 'rests' in the melody to occur below a certain threshold. The pitch information is scaled to the Euler microtonal tuning.</h2><p>Data source: <a class="tc-tiddlylink-external" href="https://ourworldindata.org/grapher/gross-enrollment-ratio-in-tertiary-education" rel="noopener noreferrer" target="_blank">UNESCO via World Bank</a><br></br>World Bank variable id: SE.TER.ENRR<br></br>Original source: UNESCO Institute for Statistics</p></div></content><author><name>undefined</name></author></entry><entry><title>smallweb.cc</title><link href="https://gavart.ist/#smallweb.cc"></link><link href="https://gavart.ist/static/smallweb.cc.html" rel="alternative" type="text/html"></link><id>c98b06a0-2b21-e380-f55d-fc0ca766767b</id><updated>2025-02-24T09:01:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Christina Svendsen</title><link href="https://gavart.ist/#Christina%20Svendsen"></link><link href="https://gavart.ist/static/Christina%2520Svendsen.html" rel="alternative" type="text/html"></link><id>e2a1ad34-2ed1-a0bd-2436-3b99987cb361</id><updated>2025-02-21T16:08:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Paul Scheerbart</title><link href="https://gavart.ist/#Paul%20Scheerbart"></link><link href="https://gavart.ist/static/Paul%2520Scheerbart.html" rel="alternative" type="text/html"></link><id>4ec89b3c-b194-e968-4e20-6f2f4e8c974c</id><updated>2025-02-21T16:08:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Vestige</title><link href="https://gavart.ist/#Vestige"></link><link href="https://gavart.ist/static/Vestige.html" rel="alternative" type="text/html"></link><id>e03e20b1-e2a6-16cc-fe87-2190046e13db</id><updated>2025-02-16T22:22:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From French vestige, from Latin vestīgium (“footstep, footprint, track, the sole of the foot, a trace, mark”).</p></div></content><author><name>undefined</name></author></entry><entry><title>RAVE [v2] · Generative Piano Studies</title><link href="https://gavart.ist/#RAVE%20%5Bv2%5D%20%C2%B7%20Generative%20Piano%20Studies"></link><link href="https://gavart.ist/static/RAVE%2520%255Bv2%255D%2520%25C2%25B7%2520Generative%2520Piano%2520Studies.html" rel="alternative" type="text/html"></link><id>32fb1bb0-33a2-fce9-a915-24d6905f5bcd</id><updated>2025-02-14T13:55:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Harry Burleigh</title><link href="https://gavart.ist/#Harry%20Burleigh"></link><link href="https://gavart.ist/static/Harry%2520Burleigh.html" rel="alternative" type="text/html"></link><id>c6650f5e-81cd-7018-8eaf-cfbd3caf9ffb</id><updated>2025-02-13T23:15:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Feather Wiki</title><link href="https://gavart.ist/#Feather%20Wiki"></link><link href="https://gavart.ist/static/Feather%2520Wiki.html" rel="alternative" type="text/html"></link><id>2020b4fa-3a24-0a9f-4a96-d6ace92ee2a7</id><updated>2025-02-12T13:36:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>DokuWiki</title><link href="https://gavart.ist/#DokuWiki"></link><link href="https://gavart.ist/static/DokuWiki.html" rel="alternative" type="text/html"></link><id>7bf951bd-e04f-8626-def7-9b479461d9b9</id><updated>2025-02-12T13:35:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Dalkey Archive Press</title><link href="https://gavart.ist/#Dalkey%20Archive%20Press"></link><link href="https://gavart.ist/static/Dalkey%2520Archive%2520Press.html" rel="alternative" type="text/html"></link><id>9cea1705-fe36-1323-3f22-f7584db81f79</id><updated>2025-02-11T13:16:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jean-Paul Sartre</title><link href="https://gavart.ist/#Jean-Paul%20Sartre"></link><link href="https://gavart.ist/static/Jean-Paul%2520Sartre.html" rel="alternative" type="text/html"></link><id>8a875ea7-fbdf-8389-8ac3-2ee1c0951b29</id><updated>2025-02-10T08:22:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The art of not reading is a very important one.</title><link href="https://gavart.ist/#The%20art%20of%20not%20reading%20is%20a%20very%20important%20one."></link><link href="https://gavart.ist/static/The%2520art%2520of%2520not%2520reading%2520is%2520a%2520very%2520important%2520one..html" rel="alternative" type="text/html"></link><id>ca616a7d-c0ee-a1c5-c938-57d5ed68feb9</id><updated>2025-02-10T08:21:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> It consists in not taking an interest in whatever may be engaging the attention of the general public at any particular time. When some political or ecclesiastical pamphlet, or novel, or poem is making a great commotion, you should remember that he who writes for fools always finds a large public, — A precondition for reading good books is not reading bad ones: for life is short.</p></div></content><author><name>undefined</name></author></entry><entry><title>The Music Folder</title><link href="https://gavart.ist/#The%20Music%20Folder"></link><link href="https://gavart.ist/static/The%2520Music%2520Folder.html" rel="alternative" type="text/html"></link><id>c210b445-0366-deb3-bbb6-7b06661983d8</id><updated>2025-02-07T11:52:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Status News</title><link href="https://gavart.ist/#Status%20News"></link><link href="https://gavart.ist/static/Status%2520News.html" rel="alternative" type="text/html"></link><id>784fdf51-970d-9a80-154e-ec4c9c2e325b</id><updated>2025-02-07T10:00:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Angst</title><link href="https://gavart.ist/#Angst"></link><link href="https://gavart.ist/static/Angst.html" rel="alternative" type="text/html"></link><id>6a55adb5-7aef-fb3f-e6ff-9aaaa6f81d4c</id><updated>2025-02-06T23:11:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Borrowed from German Angst or Danish angst; attested since the 19th century in English translations of the works of Søren Kierkegaard. Initially capitalized (as in German and contemporaneous Danish), the term first began to be written with a lowercase "a" around 1940–44. The German and Danish terms both derive from Middle High German angest, from Old High German angust, from Proto-Germanic *angustiz; Dutch angst is cognate. Compare Swedish ångest.</p></div></content><author><name>undefined</name></author></entry><entry><title>Hominin population bottleneck coincided with migration from Africa during the Early Pleistocene ice age transition</title><link href="https://gavart.ist/#Hominin%20population%20bottleneck%20coincided%20with%20migration%20from%20Africa%20during%20the%20Early%20Pleistocene%20ice%20age%20transition"></link><link href="https://gavart.ist/static/Hominin%2520population%2520bottleneck%2520coincided%2520with%2520migration%2520from%2520Africa%2520during%2520the%2520Early%2520Pleistocene%2520ice%2520age%2520transition.html" rel="alternative" type="text/html"></link><id>2d9c6e0f-5a57-5a07-6a24-9b917a2ab646</id><updated>2025-02-06T21:30:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Hyper Tables</title><link href="https://gavart.ist/#Hyper%20Tables"></link><link href="https://gavart.ist/static/Hyper%2520Tables.html" rel="alternative" type="text/html"></link><id>8e084750-3e4c-ce1a-0347-1b1fe59c0b82</id><updated>2025-02-06T20:55:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>World Map</title><link href="https://gavart.ist/#World%20Map"></link><link href="https://gavart.ist/static/World%2520Map.html" rel="alternative" type="text/html"></link><id>bf17fb4d-1e98-1d66-a1f6-175b2ac8b384</id><updated>2025-02-06T12:47:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>Places I've Lived</code></p><p><iframe frameborder="0" height="350" noresize="noresize" scrolling="no" src="./files/map/index.html" width="100%"></iframe></p><p><div class="row">
  <div class="column"><h3 class="">Current City 🌃</h3><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Los%20Angeles"></a></p><h3 class="">Birth City 🏠</h3><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#M%C3%A9rida"></a></p></div>
  <div class="column"><h3 class="">Previous (in chronological order) 🗺</h3><p>
        <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#M%C3%A9rida">
           <br></br>
        </a>
  
        <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Houston">
           <br></br>
        </a>
  
        <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Miami">
           <br></br>
        </a>
  
        <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#London">
           <br></br>
        </a>
  
        <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Los%20Angeles">
           <br></br>
        </a>
  
        <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Detroit">
           <br></br>
        </a>
  
        <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Santa%20Barbara">
           <br></br>
        </a>
  
        <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berkeley">
           <br></br>
        </a>
  </p></div>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>1099 Online</title><link href="https://gavart.ist/#1099%20Online"></link><link href="https://gavart.ist/static/1099%2520Online.html" rel="alternative" type="text/html"></link><id>2c4e96b4-350c-932d-8b38-dfdbf4428356</id><updated>2025-02-05T14:41:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TiddlyWiki Video Course</title><link href="https://gavart.ist/#TiddlyWiki%20Video%20Course"></link><link href="https://gavart.ist/static/TiddlyWiki%2520Video%2520Course.html" rel="alternative" type="text/html"></link><id>af8c9e76-ac34-e914-b220-26ce9c7b7570</id><updated>2025-02-05T12:58:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ro</title><link href="https://gavart.ist/#Ro"></link><link href="https://gavart.ist/static/Ro.html" rel="alternative" type="text/html"></link><id>fe9b4de9-d44e-bd41-1478-96cc54cfdd41</id><updated>2025-02-05T08:56:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Otsu-no-RO is the lowest note on the <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Shakuhachi" rel="noopener noreferrer" target="_blank">Shakuhachi</a>, all holes are closed.</p><blockquote class="tc-quote tc-big-quote"><p>“<em>If you have only five minutes in your day to practice your shakuhachi, play RO.</em>”
</p><cite><a class="tc-tiddlylink-external" href="https://shakuhachi.com/R-Shaku-Fukuda.html" rel="noopener noreferrer" target="_blank">Fukuda Teruhisa</a></cite></blockquote><blockquote class="tc-quote"><p>Play Ro as if your life depended upon it.<br></br>Play Ro to open the doors to the temple of your inner ear.<br></br>Play Ro to put wind in the sails of your journey on the ocean of existence.<br></br>Play Ro to stop floundering… to find the centre …<br></br>Play Ro to open the hand of thought …<br></br>Play Ro to feel your heart, without judgement …<br></br><br></br>Just play … listen to the bell ringing in the empty sky … and just play …<br></br><br></br>Become the Buddha within a single sound …<br></br> 
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>Bessel van der Kolk</title><link href="https://gavart.ist/#Bessel%20van%20der%20Kolk"></link><link href="https://gavart.ist/static/Bessel%2520van%2520der%2520Kolk.html" rel="alternative" type="text/html"></link><id>bae53f91-1d6d-1d88-c14d-18eded2c7774</id><updated>2025-02-04T23:17:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kirk Elliot Precious Metals</title><link href="https://gavart.ist/#Kirk%20Elliot%20Precious%20Metals"></link><link href="https://gavart.ist/static/Kirk%2520Elliot%2520Precious%2520Metals.html" rel="alternative" type="text/html"></link><id>a614f61d-f93b-07b4-0208-e149dc840581</id><updated>2025-02-04T18:14:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Caligula (1979 vs 2022)</title><link href="https://gavart.ist/#Caligula%20(1979%20vs%202022)"></link><link href="https://gavart.ist/static/Caligula%2520(1979%2520vs%25202022).html" rel="alternative" type="text/html"></link><id>acef180a-8ace-df24-227c-2b5ab9b5b42e</id><updated>2025-02-04T14:31:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/MbXx0eFaW_E?si=I3t7OPVhNkR0cZJM" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Hitori Mondô (Self-Questioning)</title><link href="https://gavart.ist/#Hitori%20Mond%C3%B4%20(Self-Questioning)"></link><link href="https://gavart.ist/static/Hitori%2520Mond%25C3%25B4%2520(Self-Questioning).html" rel="alternative" type="text/html"></link><id>d33de908-b79b-86d1-5202-01d3eea9b2e8</id><updated>2025-02-04T14:25:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A hermit of Edo, <strong>Fuyo Suga no Sadaharu</strong> (1791–1871)</p><p class="digitalGarden">Someone asks me, “why do you play the shakuhachi?”<br></br>I answer “simply because I like it”.<br></br><br></br>Q. Then isn’t it a useless instrument?<br></br>A. It’s not useless. The shakuhachi is a Zen instrument. You can’t treat it thoughtlessly.<br></br><br></br>Q. Why is it a Zen instrument?<br></br>A. Nothing under the sun, past, present and future is without Zen taste. The shakuhachi is, above all, an instrument to train breathing with. It’s not like other sound instruments. What can it be but a Zen instrument? But, since the shakuhachi is beyond any logical reasoning, it is difficult to explain it to the worldlings.<br></br><br></br>Q. Although you say that the shakuhachi is beyond reason, you must have something basic you could explain.<br></br>A. If you transcend reason after a full use of it, that is the wonder beyond reason. It’s not only for the shakuhachi.<br></br><br></br>Q. Then, explain what you could, use reason first.<br></br>A. You talkative fellow. If I don’t argue, you will regard the shakuhachi as a useless instrument. So I will tell you one thing out of ten. Playing the shakuhachi is for the whole country in the broad sense and for oneself in the narrow sense.<br></br><br></br>Q. Why is it for oneself and the whole country.<br></br>A. If you don’t think to stay away from greed, you won’t complete mastering the shakuhachi. If you don’t concentrate on training your mind, you won’t attain it’s deep<br></br>mystery. When you stay away from greed and train your mind, then you will be upright and pure. Then it must be good for the whole country and for oneself.<br></br><br></br>Q. Does the shakuhachi have 12 tones?<br></br>A. The bamboo has at least one tone according to the length and width. It doesn’t have 12 tones. 12 tones exist in nature and in the human body. When a tone is in the tube a while, it is felt in the body. Then the sense of 12 tones comes out which is innate in the body. But some are quite sensitive to tone and others are not, depending on each individual. Insensitive persons won’t understand it even if taught. Sensitive persons understand it without being taught.<br></br><br></br>Q.The shakuhachi has 2 holes at each end, four in the front and one on the back. It has 7 nodes and is 1 shaku and 8 sun in length. Does each of these have a meaning?<br></br>A. The shakuhachi is a Zen instrument. It is one shaku eight sun in length so that it is called shakuhachi. If you examine each name you have to start referring to heaven and earth, Yin and Yang, which can’t be explained in a short time. It’s bothersome to know these names which are given in ways according to different people, you can’t be a good player if you know them, you can’t be a bad player if you don’t know them. I have never known about them. I am just thinking that it is an instrument to utter sounds when I blow.<br></br><br></br>Q. Some people count the finger holes 1,2 and so on form the bottom, and others count from the top. Which is correct?<br></br>A. Both can be approved. Both can be negated. To begin with, counting as 1 and 2 is devised by human beings, and so it is not bamboo’s nature. If you wish, count from the bottom or from the top. You could even start counting from the middle. I adopt the counting from the bottom since I have learned to count in that way. If you learn it yourself, you will understand it clearly as if you have awakened from a dream. Many people play the shakuhachi for amusement, and there are few who study shakuhachi as a Zen instrument. I practice shakuhachi of Zen instrument, and therefore I don’t care about the number of finger holes and the length of shakuhachi.<br></br><br></br>Q. The root of the bamboo is used to make a shakuhachi, and the end for hitoyogiri. What are the differences between root and end?<br></br>A. The difference between root and end are big, but it’s not worth arguing. Human mind is so vast, as much as the heaven and earth. But you tie yourself up and are not free to move. You talk like a frog in the well. I cannot help laughing.<br></br><br></br>Q. When was the number of pieces fixed at 36?<br></br>A. 36 pieces must be 36 pieces. 36 pieces must be 18 pieces. 18 pieces must be 3 pieces. 3 pieces must be 1 piece. 1 piece must be no piece. No piece must be breath. Breath must be emptiness. Consequently the number of pieces learnt should not be important to a good player.<br></br><br></br>Q. Do you play as written in the music?<br></br>A. Yes. But also no, to a great extent. For instance, you are a human being and me as well. There is no difference in that we have bodies, hair, viscera. But we are different. By this example try to think about the playing as written in the music and not as written.<br></br><br></br>Q. Then how do you define a skilled player and an expert?<br></br>A. A skilled player is one who can use the bamboo with life in it. The quality of a master is innate and has some mysterious quality about it which is beyond effort. But if you don’t study, you won’t get to the state of a master. A master has realised the music while dwelling in emptiness, he has become the bamboo and the bamboo has become him. The practice of realising things while dwelling in emptiness is beyond comprehension if you don’t actually do it.<br></br><br></br>If I compare myself with my mind, I will always be behind it. My mind is also behind myself. It’s nothing to do with people, I just blow the bamboo.<br></br><br></br>The man putting the questions became silent and closed his mouth. I put the title “Self- Questioning” on the above sentences. Oh I feel so guilty in wasting paper and ink!<br></br><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Karl Polanyi</title><link href="https://gavart.ist/#Karl%20Polanyi"></link><link href="https://gavart.ist/static/Karl%2520Polanyi.html" rel="alternative" type="text/html"></link><id>58db8c40-8e10-1faf-1699-becbdff84c3d</id><updated>2025-02-04T13:58:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Rumi</title><link href="https://gavart.ist/#Rumi"></link><link href="https://gavart.ist/static/Rumi.html" rel="alternative" type="text/html"></link><id>2251efbc-cb33-bf01-7606-910322cd9cb2</id><updated>2025-02-03T18:44:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Hellen Keller</title><link href="https://gavart.ist/#Hellen%20Keller"></link><link href="https://gavart.ist/static/Hellen%2520Keller.html" rel="alternative" type="text/html"></link><id>ff8450f0-90b1-4f58-78fc-985c8509e4d1</id><updated>2025-02-02T11:00:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Never believe that anti-Semites are completely unaware of the absurdity of their replies</title><link href="https://gavart.ist/#Never%20believe%20that%20anti-Semites%20are%20completely%20unaware%20of%20the%20absurdity%20of%20their%20replies"></link><link href="https://gavart.ist/static/Never%2520believe%2520that%2520anti-Semites%2520are%2520completely%2520unaware%2520of%2520the%2520absurdity%2520of%2520their%2520replies.html" rel="alternative" type="text/html"></link><id>017ab52b-540b-6c37-c913-0cfe7643b31a</id><updated>2025-01-30T10:55:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>. They know that their remarks are frivolous, open to challenge. But they are amusing themselves, for it is their adversary who is obliged to use words responsibly, since he believes in words. The anti-Semites have the right to play. They even like to play with discourse for, by giving ridiculous reasons, they discredit the seriousness of their interlocutors. They delight in acting in bad faith, since they seek not to persuade by sound argument but to intimidate and disconcert.</p></div></content><author><name>undefined</name></author></entry><entry><title>Ask Shakespeare</title><link href="https://gavart.ist/#Ask%20Shakespeare"></link><link href="https://gavart.ist/static/Ask%2520Shakespeare.html" rel="alternative" type="text/html"></link><id>ab6d7802-e859-cc47-07e6-88b680f96cde</id><updated>2025-01-27T13:08:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>W. H. 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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/OkHcmT-kbZA?si=PS0_EgbNB1DPs-1z" title="YouTube video player" width="560"></iframe>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/5H_U6Zpmh7U?si=K_AKKcHuuJu7nhUH" title="YouTube video player" width="560"></iframe>
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\whitespace trim
&lt;$action-sendmessage $message="tm-add-tag" $param={{{ [&lt;newTagNameTiddler&gt;get[text]] }}}/&gt;
&lt;$action-sendmessage $message="tm-add-field" $name={{{ [&lt;newFieldNameTiddler&gt;get[text]] }}} $value={{{ [&lt;newFieldNameTiddler&gt;get[text]] :map[subfilter&lt;get-field-value-tiddler-filter&gt;get[text]] }}}/&gt;
&lt;&lt;save-tiddler-custom-actions&gt;&gt;
&lt;&lt;delete-edittemplate-state-tiddlers&gt;&gt;
&lt;$action-sendmessage $message="tm-save-tiddler"/&gt;
\end</code></pre><p>Then create a new tiddler with the macro actions and give it the tag . Here I've created <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Fmacros%2FcustomSaveActions">$:/macros/customSaveActions</a>:</p><pre><code>\define save-tiddler-custom-actions()
&lt;$list filter="[&lt;currentTiddler&gt;tag[Bookmark Tag]]" variable=none&gt;
&lt;$action-sendmessage $message="tm-add-field" $name="method" $value="[sort[title]]"/&gt;
&lt;/$list&gt;

&lt;$list filter="[&lt;currentTiddler&gt;tag[Friends &amp; Family]]" variable=none&gt;
&lt;$action-sendmessage $message="tm-add-field" $name="description" $value=""/&gt;
&lt;$action-sendmessage $message="tm-add-field" $name="url" $value=""/&gt;
&lt;/$list&gt;

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Williams</title><link href="https://gavart.ist/#Kenneth%20H.%20Williams"></link><link href="https://gavart.ist/static/Kenneth%2520H.%2520Williams.html" rel="alternative" type="text/html"></link><id>4850b14b-9d6e-2a71-1c40-20ddc961e0b4</id><updated>2025-01-11T12:44:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li>Everything is your responsibiliy. Take it from the words origins: your response.</li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Connecticut</title><link href="https://gavart.ist/#Connecticut"></link><link href="https://gavart.ist/static/Connecticut.html" rel="alternative" type="text/html"></link><id>f7529880-ccaf-91ff-3318-09e9fe98f883</id><updated>2025-01-11T09:02:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Maine</title><link href="https://gavart.ist/#Maine"></link><link href="https://gavart.ist/static/Maine.html" rel="alternative" type="text/html"></link><id>41695c8c-512c-5304-4b7b-787368687ac8</id><updated>2025-01-11T09:02:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Phoenix</title><link href="https://gavart.ist/#Phoenix"></link><link href="https://gavart.ist/static/Phoenix.html" rel="alternative" type="text/html"></link><id>5047bc59-6a4b-ab2d-c7f7-c120bb22dec5</id><updated>2025-01-11T09:02:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Toronto</title><link href="https://gavart.ist/#Toronto"></link><link href="https://gavart.ist/static/Toronto.html" rel="alternative" type="text/html"></link><id>948ce72b-e6c8-71b8-4f6d-0dab24f209ed</id><updated>2025-01-11T09:01:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Saudi Arabia</title><link href="https://gavart.ist/#Saudi%20Arabia"></link><link href="https://gavart.ist/static/Saudi%2520Arabia.html" rel="alternative" type="text/html"></link><id>b835b521-c29f-399c-7812-4c4b59341691</id><updated>2025-01-11T09:01:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Oslo</title><link href="https://gavart.ist/#Oslo"></link><link href="https://gavart.ist/static/Oslo.html" rel="alternative" type="text/html"></link><id>f4830432-874f-86d2-e2a1-a5f2dbebbc80</id><updated>2025-01-11T09:01:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lisbon</title><link href="https://gavart.ist/#Lisbon"></link><link href="https://gavart.ist/static/Lisbon.html" rel="alternative" type="text/html"></link><id>260b4e59-1e03-de97-50f9-65a30087ed5f</id><updated>2025-01-11T09:01:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Colorado</title><link href="https://gavart.ist/#Colorado"></link><link href="https://gavart.ist/static/Colorado.html" rel="alternative" type="text/html"></link><id>15e49475-e425-39fe-ed93-fc5cce25d3cb</id><updated>2025-01-11T09:00:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bertrand Russsell</title><link href="https://gavart.ist/#Bertrand%20Russsell"></link><link href="https://gavart.ist/static/Bertrand%2520Russsell.html" rel="alternative" type="text/html"></link><id>2d8ec2d7-caaa-12e1-dc03-66b0a250410e</id><updated>2025-01-10T09:01:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Voyage to Nereid</title><link href="https://gavart.ist/#Voyage%20to%20Nereid"></link><link href="https://gavart.ist/static/Voyage%2520to%2520Nereid.html" rel="alternative" type="text/html"></link><id>d2aacfa9-2d31-8e06-81e1-9920cb71e066</id><updated>2025-01-06T08:46:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/7cc1qlCjtu4" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>The Eyes In The Sky</title><link href="https://gavart.ist/#The%20Eyes%20In%20The%20Sky"></link><link href="https://gavart.ist/static/The%2520Eyes%2520In%2520The%2520Sky.html" rel="alternative" type="text/html"></link><id>80d5b5c3-1222-636c-8278-35141e0d5b5a</id><updated>2025-01-06T08:46:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/0yiMEcSuNkM" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Gavin Gamboa</title><link href="https://gavart.ist/#Gavin%20Gamboa"></link><link href="https://gavart.ist/static/Gavin%2520Gamboa.html" rel="alternative" type="text/html"></link><id>39a67d17-b956-694e-5ccd-6fff8f1bc7c7</id><updated>2025-01-06T08:46:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>You are viewing the 🌱 <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">Digital Garden</a> of Gavin Arturo Gamboa</p><hr></hr><p><div class="aboutPortrait"><img src="./files/img/gav-mckay.jpg" width="450"></img><br></br> <sup>illustration: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#McKay%20Felt">McKay Felt</a></sup></div></p><div class="tc-tiddler-body"><p><h2 style="line-height:1.5em;font-weight:300;">
Hello! My name is Gavin. I am a practitioner in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Discography">music</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cinema">cinema</a>, an <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Software">information designer</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bookcase">independent researcher</a> … occasionally mapping my thoughts with the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Writing">written word</a> … and frequently producing visual design for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu%20%C2%B7%20Unfollow%20Me%20Tour">concerts</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PROOF%20%C2%B7%20The%20Dark%20Night%20%C2%B7%20Cincinnati%20Symphony%20Orchestra">concert halls</a>, and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks%20Frankenstein">the stage</a>. I was born in 1984 in Mérida 🇲🇽  and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#World%20Map">grew up</a> in London 🇬🇧  and Houston Texas, Los Angeles California, and Detroit Michigan. I now live in Los Angeles 🇺🇸
</h2></p><p><h2 style="line-height:1.5em;font-weight:300;">
You can find me <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#World%20Wide%20Web">online</a> as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavcloud">gavcloud</a> or read a formal <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bio">bio</a>. 
</h2></p><p><h2 style="line-height:1.5em;font-weight:300;">
My work revolves around <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Improvisation">improvised</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scores">notated composition</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laskfar%20Vortok">algorithmic video art</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cinema">cinema</a>. As a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Software%20Notes">computer science</a> autodidact and adherent of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">networked thinking</a> I incorporate technology into my work which (in)forms the basis of a stylistically multifaceted praxis.
</h2></p><p><h2 style="line-height:1.5em;font-weight:300;">
When I turned 27 years old I performed the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Variaciones%20Diabelli%20%3A%20Concierto%20M%C3%A9rida%202011">Beethoven Diabelli Variations</a> in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#M%C3%A9rida">Mérida</a>, and have since given concerts of classical and contemporary music as a soloist in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deluge%20%3A%20Nailah%20Hunter%20%C2%B7%20Max%20Jaffe%20%C2%B7%20Gavin%20Gamboa">Los Angeles</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NonSeq%20%3A%20Live%20in%20Seattle">Seattle</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PROOF%20%C2%B7%20The%20Dark%20Night%20%C2%B7%20Cincinnati%20Symphony%20Orchestra">Cincinnati</a>, at music festivals in Mexico (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Claro%20de%20Luna">Festival de las Artes Otoño Cultural Mérida</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Concierto%20de%20piano%20%3A%20Cultura%20Mazatl%C3%A1n%202015">Cultura Mazatlán</a>), Europe (<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Journey%20into%20Monstrous%20Spaces%20%C2%B7%20Transart%20Festival">Transart Festival</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Offscreen%20Film%20Festival%202023">Offscreen Film Festival 2023</a>), and with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Impromptu%2FInterlude%20with%20Erykah%20Badu%20%26%20Dallas%20Symphony%20Orchestra">Erykah Badu with the Dallas Symphony Orchestra</a> and tenor <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Liederkonzert%20in%20Wien">León de Castillo in Vienna, Austria</a>. My first opera <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a> was in the official selection of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opera%20Philadelphia%20Festival%20O22">Opera Philadelphia Festival O22</a>.
</h2></p><p><div class="row">
<div class="column"><p> </p><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Live%20Performance">Recent Performance Highlights</a></h2><ul class="list-tree"><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#1416%20m%C2%B3%20%C2%B7%20Dia%20Art%20Foundation">1416 m³ · Dia Art Foundation</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe%20%3A%20You%20Want%20That%20Too%21%20LP%20Release%20Show">Max Jaffe : You Want That Too! LP Release Show</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#La%20nuit%20sombre%20%C2%B7%20Kansas%20City%20Symphony">La nuit sombre · Kansas City Symphony</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Deluge%20%3A%20Nailah%20Hunter%20%C2%B7%20Max%20Jaffe%20%C2%B7%20Gavin%20Gamboa">Deluge : Nailah Hunter · Max Jaffe · Gavin Gamboa</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spectra%20Synthesis%20%C2%B7%201st%20Edition">Spectra Synthesis · 1st Edition</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PROOF%20%C2%B7%20The%20Dark%20Night%20%C2%B7%20Cincinnati%20Symphony%20Orchestra">PROOF · The Dark Night · Cincinnati Symphony Orchestra</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Journey%20into%20Monstrous%20Spaces%20%C2%B7%20Transart%20Festival">A Journey into Monstrous Spaces · Transart Festival</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#NonSeq%20%3A%20Live%20in%20Seattle">NonSeq : Live in Seattle</a></li></ul><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Screening">Film Screenings</a></h2></div>
<div class="column"><p> </p><h2 class=""><strong>Currently</strong></h2><ul class="list-tree"><li>Managing Editor of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tonestrukt%20Editions">Tonestrukt Editions</a></li><li>Creative Director of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a></li></ul><p><div class="siteFooter">
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</div></p></div></div></content><author><name>undefined</name></author></entry><entry><title>g8keep</title><link href="https://gavart.ist/#g8keep"></link><link href="https://gavart.ist/static/g8keep.html" rel="alternative" type="text/html"></link><id>db202517-a9c5-1c0b-8a45-57fc06c10bfe</id><updated>2025-01-05T18:25:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kurt Weill</title><link href="https://gavart.ist/#Kurt%20Weill"></link><link href="https://gavart.ist/static/Kurt%2520Weill.html" rel="alternative" type="text/html"></link><id>aab2ce65-f198-cceb-d202-ad3692381d9e</id><updated>2025-01-04T14:20:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>un paseo rimbombante</title><link href="https://gavart.ist/#un%20paseo%20rimbombante"></link><link href="https://gavart.ist/static/un%2520paseo%2520rimbombante.html" rel="alternative" type="text/html"></link><id>f3556754-d379-853f-3847-fb7f64e9f0c8</id><updated>2025-01-04T13:47:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">For this season's theme of <a class="tc-tiddlylink-external" href="https://www.refractionfestival.com/editorial/minted-chaos-community-experiment-in-chance-dance-with-pure-rave" rel="noopener noreferrer" target="_blank">Minted Chaos</a>, <a class="tc-tiddlylink-external" href="https://www.refractionfestival.com/" rel="noopener noreferrer" target="_blank">Refraction</a> collaborated with Detroit's <a class="tc-tiddlylink-external" href="https://hubs.ninaprotocol.com/pure-rave/posts/FtEG9gtoMqhK67CKc2E4zosfcFUQvgC4RrVGPrQcDmA3" rel="noopener noreferrer" target="_blank">Pure Rave collective</a> on an audio experiment: inviting the extended Refraction community to dive into Abstract Turntablism and apply some of the derived techniques developed by the collective to create Chance Dance audio pieces in Pure Rave style.</h2><h2 class="">Our goals were to open a creative dialogue around this sonic art form in an approachable and tangible way, to give the opportunity and provide the tools to explore, and, finally, to commit the results of these experiments onto the blockchain.</h2><h2 class=""><em>Chance Dance Techniques and Process used:</em></h2><blockquote class="tc-quote digitalGarden"><p>I discovered an idiosyncrasy with the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP/Jitter</a> object jit.movie that, when used in an older version of Max that still supported the Quicktime engine, could receive both frame-accurate messages to create looping segments (by integer value of video frame count) but also "interrupt safe queue-based" metronome rates which affected the original loop region slowly over time. These two competing intervals led to an evolving 'skipping' to occur if both parameters were dialed-in accordingly, and it felt reminiscent of and adjacent to the Chance Dance practical technique of placing various sized ceramics onto a 12" vinyl record as it played causing the needle to skip, the difference being that this 'virtual ceramic' could be scaled and morphed in size and shape over time.
</p></blockquote><h2 class="">Software: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a></h2><h2 class=""><a class="tc-tiddlylink-external" href="https://www.ninaprotocol.com/releases/gavcloud-un-paseo-rimbombante" rel="noopener noreferrer" target="_blank">Collect on Minted Chaos Nina Hub</a></h2><p><div class="video-container">
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>The Boy From Ojai (score)</title><link href="https://gavart.ist/#The%20Boy%20From%20Ojai%20(score)"></link><link href="https://gavart.ist/static/The%2520Boy%2520From%2520Ojai%2520(score).html" rel="alternative" type="text/html"></link><id>fb342a22-2dad-3405-be82-1691286e9901</id><updated>2024-12-23T10:09:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Giant Steps · Wanderer Jazz Arrangement (score)</title><link href="https://gavart.ist/#Giant%20Steps%20%C2%B7%20Wanderer%20Jazz%20Arrangement%20(score)"></link><link href="https://gavart.ist/static/Giant%2520Steps%2520%25C2%25B7%2520Wanderer%2520Jazz%2520Arrangement%2520(score).html" rel="alternative" type="text/html"></link><id>be0c96f7-267d-be8e-c40f-43451985ec70</id><updated>2024-12-23T10:09:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Arthur Rimbaud</title><link href="https://gavart.ist/#Arthur%20Rimbaud"></link><link href="https://gavart.ist/static/Arthur%2520Rimbaud.html" rel="alternative" type="text/html"></link><id>bf736db9-58a6-26d3-4af6-6fda7c6c0c9a</id><updated>2024-12-23T08:36:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Marcelo • gavcloud</title><link href="https://gavart.ist/#Marcelo%20%E2%80%A2%20gavcloud"></link><link href="https://gavart.ist/static/Marcelo%2520%25E2%2580%25A2%2520gavcloud.html" rel="alternative" type="text/html"></link><id>6386d5d7-bdab-c5eb-f113-3f706f9b2833</id><updated>2024-12-21T07:47:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Gamboa Sonatina (Live Concert)</title><link href="https://gavart.ist/#Gamboa%20Sonatina%20(Live%20Concert)"></link><link href="https://gavart.ist/static/Gamboa%2520Sonatina%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>f89661ac-79d4-8611-f68c-794cc5176a09</id><updated>2024-12-21T07:29:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/cfIjykDm24Y?si=4KP_dECxBYHQ8JQI" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Writing</title><link href="https://gavart.ist/#Writing"></link><link href="https://gavart.ist/static/Writing.html" rel="alternative" type="text/html"></link><id>af96ab41-6602-c685-2b1b-a5201feaacf6</id><updated>2024-12-19T09:33:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">All</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Album Reviews</button> •  <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Concert Coverage</button> • <button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible">Interviews</button></h3><p></p></div></content><author><name>undefined</name></author></entry><entry><title>Baduizm(s)</title><link href="https://gavart.ist/#Baduizm(s)"></link><link href="https://gavart.ist/static/Baduizm(s).html" rel="alternative" type="text/html"></link><id>962b1893-aee6-d7a2-9689-03f1c30b2292</id><updated>2024-12-15T13:05:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Twelve remixes of material from Baduizm (1997), <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah Badu's</a> debut record, released just over 20 years ago. This deconstructed sonic assembly is a tribute to one of the great artists of our time, and assumes a zany, turbulent, non-sequitur approach to beat, phrase, rhythm, and form. A rivulet from the future/past pre-defined by the energetic interference pattern otherwise known as B-A-D-U and then vaporized into a dancing cloud. Each track-name symbolizes a different facet of her multiform identity—delineating the loci of alias, mood, swing, persona, veil, investigation, and outburst—and distills them into strident leftfield re-imaginings.</h2><h2 class="">Recorded and Mixed in<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Paris">Paris</a>, France<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gothenburg">Gothenburg</a>, Sweden<br></br> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cologne">Cologne</a>, Germany<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berlin">Berlin</a>, Germany<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Los%20Angeles">Los Angeles</a>, California</h2><h2 class="">Hardware<br></br><a class="tc-tiddlylink-external" href="https://www.addacsystem.com/en/products/modules/addac100-series/addac111" rel="noopener noreferrer" target="_blank">ADDAC 111</a></h2><h2 class="">Software<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio 2</a></h2><h2 class="">Artwork<br></br><em>Erykah Badu &amp; Nedda Stella Live in San Francisco</em><br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">Strangeloop</a> orb projection<br></br>2018 February 14</h2><hr></hr><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/ZPEwBZHV56U" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>MOCA x Wild Up · Democracy Sessions</title><link href="https://gavart.ist/#MOCA%20x%20Wild%20Up%20%C2%B7%20Democracy%20Sessions"></link><link href="https://gavart.ist/static/MOCA%2520x%2520Wild%2520Up%2520%25C2%25B7%2520Democracy%2520Sessions.html" rel="alternative" type="text/html"></link><id>5acaa148-0be1-f59e-f43f-2b96cdfcce59</id><updated>2024-12-15T09:59:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%20Jaffe">Max Jaffe</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Holland Andrews · Where The Apple Fell</title><link href="https://gavart.ist/#Holland%20Andrews%20%C2%B7%20Where%20The%20Apple%20Fell"></link><link href="https://gavart.ist/static/Holland%2520Andrews%2520%25C2%25B7%2520Where%2520The%2520Apple%2520Fell.html" rel="alternative" type="text/html"></link><id>2afdb7b0-d79f-3d85-5554-ad675b45bf02</id><updated>2024-12-15T09:58:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baseck">Baseck</a> &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micaela%20Tobin">Micaela Tobin</a></p><p><img src="./files/img/attended-events/holland-andrews-redcat-2024.jpg" width="600px"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>String Quartet II : Anima Exstasis (Score Follower)</title><link href="https://gavart.ist/#String%20Quartet%20II%20%3A%20Anima%20Exstasis%20(Score%20Follower)"></link><link href="https://gavart.ist/static/String%2520Quartet%2520II%2520%253A%2520Anima%2520Exstasis%2520(Score%2520Follower).html" rel="alternative" type="text/html"></link><id>ab504d60-32d1-d967-4a34-eeccf06b391f</id><updated>2024-12-15T09:39:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/OzDM8uiSZeE?si=Hfc6KzkrCKySVIDZ" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>J.S. Bach Prelude &amp; Fugue G minor WTC I (Live Concert)</title><link href="https://gavart.ist/#J.S.%20Bach%20Prelude%20%26%20Fugue%20G%20minor%20WTC%20I%20(Live%20Concert)"></link><link href="https://gavart.ist/static/J.S.%2520Bach%2520Prelude%2520%2526%2520Fugue%2520G%2520minor%2520WTC%2520I%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>1fa4f8ad-8b92-523f-7fb3-70989cc2e464</id><updated>2024-12-15T09:34:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/uEcXkbN9DCk?si=4QLrnE-DSJGc0spG" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven Sonata 27 Opus 90 (Live Concert)</title><link href="https://gavart.ist/#Beethoven%20Sonata%2027%20Opus%2090%20(Live%20Concert)"></link><link href="https://gavart.ist/static/Beethoven%2520Sonata%252027%2520Opus%252090%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>a37f8e33-e4df-6280-b89d-8466639d5e35</id><updated>2024-12-15T09:34:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/-zmXpcimXYM?si=tPePNH03zg4qq5F4" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Troublshooting a MacBook Pro</title><link href="https://gavart.ist/#Troublshooting%20a%20MacBook%20Pro"></link><link href="https://gavart.ist/static/Troublshooting%2520a%2520MacBook%2520Pro.html" rel="alternative" type="text/html"></link><id>bfae4a7e-c033-6590-761f-95c0a8cf75a4</id><updated>2024-12-13T21:33:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Søren Kierkegaard</title><link href="https://gavart.ist/#S%C3%B8ren%20Kierkegaard"></link><link href="https://gavart.ist/static/S%25C3%25B8ren%2520Kierkegaard.html" rel="alternative" type="text/html"></link><id>26004bcc-b85e-9a66-4bc8-543f1ae50333</id><updated>2024-12-13T11:52:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Above all, do not lose your desire to walk: every day I walk into a state of well-being and walk away from every illness</title><link href="https://gavart.ist/#Above%20all%2C%20do%20not%20lose%20your%20desire%20to%20walk%3A%20every%20day%20I%20walk%20into%20a%20state%20of%20well-being%20and%20walk%20away%20from%20every%20illness"></link><link href="https://gavart.ist/static/Above%2520all%252C%2520do%2520not%2520lose%2520your%2520desire%2520to%2520walk%253A%2520every%2520day%2520I%2520walk%2520into%2520a%2520state%2520of%2520well-being%2520and%2520walk%2520away%2520from%2520every%2520illness.html" rel="alternative" type="text/html"></link><id>49f75a26-9227-ec8b-60af-b98d6db63863</id><updated>2024-12-13T11:52:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>; I have walked myself into my best thoughts, and I know of no thought so burdensome that one cannot walk away from it. Even if one were to walk for one's health and it were constantly one station ahead—I <em>would still say: Walk!</em> Besides, it is also apparent that in walking one does not quite reach it—<em>but by sitting still, and the more one sits still, the closer one comes to feeling ill.</em> Health and salvation can be found only in motion. If anyone denies that motion exists, I do as Diogenes did, I walk. If anyone denies that health resides in motion, then I walk away from all morbid objections. <em>Thus, if one just keeps on walking, everything will be all right.</em> </p></div></content><author><name>undefined</name></author></entry><entry><title>Tom Waits</title><link href="https://gavart.ist/#Tom%20Waits"></link><link href="https://gavart.ist/static/Tom%2520Waits.html" rel="alternative" type="text/html"></link><id>291b6fca-f1a2-e91f-7659-1dcaa1fb2c5c</id><updated>2024-12-13T11:37:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Don't plant your bad days. They grow into weeks. The weeks grow into months.</title><link href="https://gavart.ist/#Don't%20plant%20your%20bad%20days.%20They%20grow%20into%20weeks.%20The%20weeks%20grow%20into%20months."></link><link href="https://gavart.ist/static/Don't%2520plant%2520your%2520bad%2520days.%2520They%2520grow%2520into%2520weeks.%2520The%2520weeks%2520grow%2520into%2520months..html" rel="alternative" type="text/html"></link><id>6cb96874-adb0-97d8-768d-7de892ceb88f</id><updated>2024-12-13T11:36:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Before you know it, you got yourself a bad year. Take it from me, choke those little bad days. Choke 'em down to nothin'! They're your days. Choke 'em!</p></div></content><author><name>undefined</name></author></entry><entry><title>Verhängnisvoll Quartett • String Quartet 3</title><link href="https://gavart.ist/#Verh%C3%A4ngnisvoll%20Quartett%20%E2%80%A2%20String%20Quartet%203"></link><link href="https://gavart.ist/static/Verh%25C3%25A4ngnisvoll%2520Quartett%2520%25E2%2580%25A2%2520String%2520Quartet%25203.html" rel="alternative" type="text/html"></link><id>cae410c1-a6cf-dbf4-729d-400ea151602a</id><updated>2024-12-12T16:17:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Retirement Calculator</title><link href="https://gavart.ist/#Retirement%20Calculator"></link><link href="https://gavart.ist/static/Retirement%2520Calculator.html" rel="alternative" type="text/html"></link><id>b4039bef-51e0-3b7b-ff05-47bc4decce53</id><updated>2024-12-12T10:19:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>onchainwrapped</title><link href="https://gavart.ist/#onchainwrapped"></link><link href="https://gavart.ist/static/onchainwrapped.html" rel="alternative" type="text/html"></link><id>4dd2811e-4998-320d-58a8-98f35ee9519d</id><updated>2024-12-12T10:18:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>WIP</title><link href="https://gavart.ist/#WIP"></link><link href="https://gavart.ist/static/WIP.html" rel="alternative" type="text/html"></link><id>60f2bfea-ed0a-36ff-9864-e008e1e67a36</id><updated>2024-12-10T22:33:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><br></br><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Baduizm%28s%29%20%C2%B7%20Visual%20Album">Baduizm(s) · Visual Album</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Horn%20of%20Phantoms">Horn of Phantoms</a></div><div><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Well-Tempered%20Praxis">The Well-Tempered Praxis</a></div><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Collapse OS</title><link href="https://gavart.ist/#Collapse%20OS"></link><link href="https://gavart.ist/static/Collapse%2520OS.html" rel="alternative" type="text/html"></link><id>b5af4a69-2b9f-d4a2-a4de-2d9431bba22c</id><updated>2024-12-09T16:41:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Operating System</title><link href="https://gavart.ist/#Operating%20System"></link><link href="https://gavart.ist/static/Operating%2520System.html" rel="alternative" type="text/html"></link><id>64d354dc-5879-cf57-0ce7-b4ef676e75bd</id><updated>2024-12-09T16:40:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ollos</title><link href="https://gavart.ist/#Ollos"></link><link href="https://gavart.ist/static/Ollos.html" rel="alternative" type="text/html"></link><id>844b5c6b-b051-a587-7408-4759a5d07e22</id><updated>2024-12-09T16:37:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Christine Sun Kim</title><link href="https://gavart.ist/#Christine%20Sun%20Kim"></link><link href="https://gavart.ist/static/Christine%2520Sun%2520Kim.html" rel="alternative" type="text/html"></link><id>f60c1117-ae8e-f41c-5b8f-fbec0f0b65ea</id><updated>2024-12-09T13:39:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Site Sustainability</title><link href="https://gavart.ist/#Site%20Sustainability"></link><link href="https://gavart.ist/static/Site%2520Sustainability.html" rel="alternative" type="text/html"></link><id>c0fb8910-7a01-0347-fb4a-71f6e35990a1</id><updated>2024-12-07T10:38:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">⚛️ 🌊 ☀️ 🌳</h2><p>I have updated these stats to reflect the current site. My scores in some areas has fallen since I've included many new plugins and added several layers of functionality to this <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a>. Let this serve as a motivation for me to continually improve the efficiency of this page.</p><ul><li>Homepage weighs <code>2.83 MB</code> which is 25.16% larger than <a class="tc-tiddlylink-external" href="https://sustainablewebdesign.org/calculating-digital-emissions/" rel="noopener noreferrer" target="_blank">the average web page</a></li><li><code>0.62g </code> of <strong>CO<sub>2</sub></strong> produced when someone visits <a class="tc-tiddlylink-external" href="https://www.websitecarbon.com/website/gavart-ist/" rel="noopener noreferrer" target="_blank">the homepage</a></li><li>Scores <code>68</code> on <a class="tc-tiddlylink-external" href="https://ecograder.com/report/IxjqvsQyz03Jj35axeKZbnaH" rel="noopener noreferrer" target="_blank">Ecograder</a> better than 43% of all URLs</li><li>Host is committed to using <a class="tc-tiddlylink-external" href="https://www.dreamhost.com/company/we-are-green/" rel="noopener noreferrer" target="_blank">sustainable energy</a> 🚲</li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Arthur Schopenhauer</title><link href="https://gavart.ist/#Arthur%20Schopenhauer"></link><link href="https://gavart.ist/static/Arthur%2520Schopenhauer.html" rel="alternative" type="text/html"></link><id>06d29dc0-0fd2-6fdc-84c4-4e372ee031a9</id><updated>2024-12-03T20:45:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Franz Kafka</title><link href="https://gavart.ist/#Franz%20Kafka"></link><link href="https://gavart.ist/static/Franz%2520Kafka.html" rel="alternative" type="text/html"></link><id>8609f531-4dd9-8ec6-8904-1b4de1dc4eb1</id><updated>2024-12-03T20:29:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>I think we ought to read only the kind of books  that wound and stab us.</title><link href="https://gavart.ist/#I%20think%20we%20ought%20to%20read%20only%20the%20kind%20of%20books%20%20that%20wound%20and%20stab%20us."></link><link href="https://gavart.ist/static/I%2520think%2520we%2520ought%2520to%2520read%2520only%2520the%2520kind%2520of%2520books%2520%2520that%2520wound%2520and%2520stab%2520us..html" rel="alternative" type="text/html"></link><id>c3c3482d-586a-f57b-fc84-142d9a7fa8ef</id><updated>2024-12-03T20:29:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> If the book we're reading  doesn't wake us up with a blow on the head, what  are we reading it for? So that it will make us  happy, as you write? Good Lord, we would be  happy precisely if we had no books, and the kind  of books that make us happy are the kind we could  write ourselves if we had to. But we need the  books that affect us like a disaster, that grieve us  deeply, like the death of someone we loved more  than ourselves, like being banished into forests far  from everyone, like a suicide. A book must be the  axe for the frozen sea inside us. That is my belief.</p></div></content><author><name>undefined</name></author></entry><entry><title>At that node of ultimate synthesis, the internal spark of consciousness that evolution has slowly banked into a roaring fire will finally consume the universe itself.</title><link href="https://gavart.ist/#At%20that%20node%20of%20ultimate%20synthesis%2C%20the%20internal%20spark%20of%20consciousness%20that%20evolution%20has%20slowly%20banked%20into%20a%20roaring%20fire%20will%20finally%20consume%20the%20universe%20itself."></link><link href="https://gavart.ist/static/At%2520that%2520node%2520of%2520ultimate%2520synthesis%252C%2520the%2520internal%2520spark%2520of%2520consciousness%2520that%2520evolution%2520has%2520slowly%2520banked%2520into%2520a%2520roaring%2520fire%2520will%2520finally%2520consume%2520the%2520universe%2520itself..html" rel="alternative" type="text/html"></link><id>2eeae7ec-ac50-6036-027e-ed05a15d5ba5</id><updated>2024-12-03T00:46:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> Our ancient itch to flee this woeful orb will finally be satisfied as the immense expanse of cosmic matter collapses like some mathematician’s hypercube into absolute spirit.</p></div></content><author><name>undefined</name></author></entry><entry><title>Toccata and Fugue in D minor BWV 565</title><link href="https://gavart.ist/#Toccata%20and%20Fugue%20in%20D%20minor%20BWV%20565"></link><link href="https://gavart.ist/static/Toccata%2520and%2520Fugue%2520in%2520D%2520minor%2520BWV%2520565.html" rel="alternative" type="text/html"></link><id>fcd38d1a-46db-b293-e819-7d10943b805f</id><updated>2024-12-03T00:29:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>We are always living in expectation of better things, while at the same time we often repent and long to have the past back again.</title><link href="https://gavart.ist/#We%20are%20always%20living%20in%20expectation%20of%20better%20things%2C%20while%20at%20the%20same%20time%20we%20often%20repent%20and%20long%20to%20have%20the%20past%20back%20again."></link><link href="https://gavart.ist/static/We%2520are%2520always%2520living%2520in%2520expectation%2520of%2520better%2520things%252C%2520while%2520at%2520the%2520same%2520time%2520we%2520often%2520repent%2520and%2520long%2520to%2520have%2520the%2520past%2520back%2520again..html" rel="alternative" type="text/html"></link><id>e9e4d0a9-f0c1-354f-a3e2-7944da95cd67</id><updated>2024-12-02T10:40:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> We look upon the present as something to be put up with while it lasts, and serving only as the way towards our goal. Hence most people, if they glance back when they come to the end of life, will find that all along they have been living ad interim: they will be surprised to find that the very thing they disregarded and let slip by unenjoyed was just their life-that is to say, it was the very thing in the expectation of which they lived. Of how many a man may it not be said that hope made a fool of him until he danced into the arms of death!</p></div></content><author><name>undefined</name></author></entry><entry><title>This is the true joy in life, the being used for a purpose recognized by yourself as a mighty one</title><link href="https://gavart.ist/#This%20is%20the%20true%20joy%20in%20life%2C%20the%20being%20used%20for%20a%20purpose%20recognized%20by%20yourself%20as%20a%20mighty%20one"></link><link href="https://gavart.ist/static/This%2520is%2520the%2520true%2520joy%2520in%2520life%252C%2520the%2520being%2520used%2520for%2520a%2520purpose%2520recognized%2520by%2520yourself%2520as%2520a%2520mighty%2520one.html" rel="alternative" type="text/html"></link><id>333aaaf1-5c4a-7c85-9dd8-26bf0754fabe</id><updated>2024-11-30T21:11:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>; the being a force of nature instead of a feverish, selfish little clod of ailments and grievances complaining that the world will not devote itself to making you happy.</p><p>I am of the opinion that my life belongs to the whole community, and as long as I live it is my privilege to do for it whatever I can.</p><p>I want to be thoroughly used up when I die, for the harder I work the more I live. I rejoice in life for its own sake. Life is no “brief candle” for me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.
</p></div></content><author><name>undefined</name></author></entry><entry><title>In a 1st, scientists reversed type 1 diabetes by reprogramming a person's own fat cells</title><link href="https://gavart.ist/#In%20a%201st%2C%20scientists%20reversed%20type%201%20diabetes%20by%20reprogramming%20a%20person's%20own%20fat%20cells"></link><link href="https://gavart.ist/static/In%2520a%25201st%252C%2520scientists%2520reversed%2520type%25201%2520diabetes%2520by%2520reprogramming%2520a%2520person's%2520own%2520fat%2520cells.html" rel="alternative" type="text/html"></link><id>16c65f2b-bda0-6dfa-3372-869d152354b7</id><updated>2024-11-30T21:11:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bitcoin 2050 Valuation Scenarios: Global Medium of Exchange and Reserve Asset</title><link href="https://gavart.ist/#Bitcoin%202050%20Valuation%20Scenarios%3A%20Global%20Medium%20of%20Exchange%20and%20Reserve%20Asset"></link><link href="https://gavart.ist/static/Bitcoin%25202050%2520Valuation%2520Scenarios%253A%2520Global%2520Medium%2520of%2520Exchange%2520and%2520Reserve%2520Asset.html" rel="alternative" type="text/html"></link><id>d0c6572f-6e99-0455-9a00-413da2a7602d</id><updated>2024-11-30T21:09:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Edge of Everything: How The Universe’s Boundaries Shape Its Core</title><link href="https://gavart.ist/#The%20Edge%20of%20Everything%3A%20How%20The%20Universe%E2%80%99s%20Boundaries%20Shape%20Its%20Core"></link><link href="https://gavart.ist/static/The%2520Edge%2520of%2520Everything%253A%2520How%2520The%2520Universe%25E2%2580%2599s%2520Boundaries%2520Shape%2520Its%2520Core.html" rel="alternative" type="text/html"></link><id>d2b6f62b-9191-ded9-a9e4-2b0f8b6d33b0</id><updated>2024-11-30T21:08:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Logarithmic map of the universe</title><link href="https://gavart.ist/#Logarithmic%20map%20of%20the%20universe"></link><link href="https://gavart.ist/static/Logarithmic%2520map%2520of%2520the%2520universe.html" rel="alternative" type="text/html"></link><id>d1818455-73fc-5a03-0a36-b98e1513c4e9</id><updated>2024-11-30T21:07:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tarab</title><link href="https://gavart.ist/#Tarab"></link><link href="https://gavart.ist/static/Tarab.html" rel="alternative" type="text/html"></link><id>a58dcabe-4c53-e539-41a4-420c1c921020</id><updated>2024-11-30T21:04:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Typically performed on a zither-like instrument called a <em>qanun</em>, a pear-shaped Arab lute called an <em>oud</em>, a long flute called a <em>ney</em> and occasionally a <em>rebab</em>, the world’s oldest bowed instrument, Syrian tarab is classical Arabic folk music where vocalists sing verse-repeating <em>muwashahshat</em> poems for hours on end, triggering a trance-like state in listeners.</p><p>That’s because tarab isn’t just a form of music, but a state of being. In Arabic, "tarab" is also a verb meaning a heightened sense of emotion or excitement. And while genres like American blues, Argentine tango and Portuguese fado drip with pain and longing, tarab has been renowned since medieval times for the ecstasy-inducing power it has on its audience, be it through lyrics of joy or sorrow.<sup><a class="tc-tiddlylink-external" href="https://www.bbc.com/travel/article/20201216-tarab-syrias-key-to-finding-happiness" rel="noopener noreferrer" target="_blank">1</a></sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Syria</title><link href="https://gavart.ist/#Syria"></link><link href="https://gavart.ist/static/Syria.html" rel="alternative" type="text/html"></link><id>465718d0-a1bc-8363-ad01-390923fad5d1</id><updated>2024-11-30T21:03:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>George Bernard Shaw</title><link href="https://gavart.ist/#George%20Bernard%20Shaw"></link><link href="https://gavart.ist/static/George%2520Bernard%2520Shaw.html" rel="alternative" type="text/html"></link><id>6c079bb6-b9dd-01ed-800c-d0f6495c3bb3</id><updated>2024-11-30T20:58:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Henry Thoreau</title><link href="https://gavart.ist/#Henry%20Thoreau"></link><link href="https://gavart.ist/static/Henry%2520Thoreau.html" rel="alternative" type="text/html"></link><id>110ff460-ec5b-0dfd-6e08-2853ffbfab03</id><updated>2024-11-30T20:56:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>I learned this, at least, by my experiment; that if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.</title><link href="https://gavart.ist/#I%20learned%20this%2C%20at%20least%2C%20by%20my%20experiment%3B%20that%20if%20one%20advances%20confidently%20in%20the%20direction%20of%20his%20dreams%2C%20and%20endeavors%20to%20live%20the%20life%20which%20he%20has%20imagined%2C%20he%20will%20meet%20with%20a%20success%20unexpected%20in%20common%20hours."></link><link href="https://gavart.ist/static/I%2520learned%2520this%252C%2520at%2520least%252C%2520by%2520my%2520experiment%253B%2520that%2520if%2520one%2520advances%2520confidently%2520in%2520the%2520direction%2520of%2520his%2520dreams%252C%2520and%2520endeavors%2520to%2520live%2520the%2520life%2520which%2520he%2520has%2520imagined%252C%2520he%2520will%2520meet%2520with%2520a%2520success%2520unexpected%2520in%2520common%2520hours..html" rel="alternative" type="text/html"></link><id>d8fd8f06-af91-3495-19a2-2a4d9faea46f</id><updated>2024-11-30T20:56:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> He will put some things behind, will pass an invisible boundary; new, universal, and more liberal laws will begin to establish themselves around and within him; or the old laws be expanded, and interpreted in his favor in a more liberal sense, and he will live with the license of a higher order of beings. In proportion as he simplifies his life, the laws of the universe will appear less complex, and solitude will not be solitude, nor poverty poverty, nor weakness weakness. If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them.</p></div></content><author><name>undefined</name></author></entry><entry><title>Above all, don't lie to yourself.</title><link href="https://gavart.ist/#Above%20all%2C%20don't%20lie%20to%20yourself."></link><link href="https://gavart.ist/static/Above%2520all%252C%2520don't%2520lie%2520to%2520yourself..html" rel="alternative" type="text/html"></link><id>25cd17d7-5811-680d-a4d6-f0628fdfd9e3</id><updated>2024-11-30T20:54:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> The man who lies to himself and listens to his own lie comes to such a pass that he cannot distinguish the truth within him, or around him, and so loses all respect for himself and for others. And having no respect he ceases to love, and in order to occupy and distract himself without love he gives way to passions and coarse pleasures, and sinks to bestiality in his vices, all from continual lying to other men and to himself. The man who lies to himself can be more easily offended than any one. You know it is sometimes very pleasant to take offense, isn't it? A man may know that nobody has insulted him, but that he has invented the insult for himself, has lied and exaggerated to make it picturesque, has caught at a word and made a mountain out of a molehill-he knows that himself, yet he will be the first to take offense, and will revel in his resentment till he feels great pleasure in it, and so pass to genuine vindictiveness.</p></div></content><author><name>undefined</name></author></entry><entry><title>Until one is committed, there is hesitancy, the chance to draw back</title><link href="https://gavart.ist/#Until%20one%20is%20committed%2C%20there%20is%20hesitancy%2C%20the%20chance%20to%20draw%20back"></link><link href="https://gavart.ist/static/Until%2520one%2520is%2520committed%252C%2520there%2520is%2520hesitancy%252C%2520the%2520chance%2520to%2520draw%2520back.html" rel="alternative" type="text/html"></link><id>ca4fa461-26b9-ac3b-cbc6-3bebea3a4f33</id><updated>2024-11-30T20:51:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, always ineffectiveness. Concerning all acts of initiative (and creation), there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then Providence moves too. All sorts of things occur to help one that would never otherwise have occurred. A whole stream of events issues from the decision, raising in one's favour all manner of unforeseen incidents and meetings and material assistance, which no man could have dreamt would have come his way. I have learned a deep respect for one of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Wolfgang%20von%20Goethe">Goethe</a>'s couplets:</p><blockquote class="tc-quote"><p>Whatever you can do, or dream you can, begin it.<br></br>Boldness has genius, power, and magic in it!<br></br>
</p></blockquote></div></content><author><name>undefined</name></author></entry><entry><title>William Hutchison Murray</title><link href="https://gavart.ist/#William%20Hutchison%20Murray"></link><link href="https://gavart.ist/static/William%2520Hutchison%2520Murray.html" rel="alternative" type="text/html"></link><id>f8bdf18c-44ca-140d-be35-83a7fbd603f4</id><updated>2024-11-30T20:50:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven · Violin Sonata G major Opus 96</title><link href="https://gavart.ist/#Beethoven%20%C2%B7%20Violin%20Sonata%20G%20major%20Opus%2096"></link><link href="https://gavart.ist/static/Beethoven%2520%25C2%25B7%2520Violin%2520Sonata%2520G%2520major%2520Opus%252096.html" rel="alternative" type="text/html"></link><id>f9b94c10-1cba-22d8-ecf1-b4b565787413</id><updated>2024-11-30T20:33:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>My personal insights after weeks of using Rave #300</title><link href="https://gavart.ist/#My%20personal%20insights%20after%20weeks%20of%20using%20Rave%20%23300"></link><link href="https://gavart.ist/static/My%2520personal%2520insights%2520after%2520weeks%2520of%2520using%2520Rave%2520%2523300.html" rel="alternative" type="text/html"></link><id>cedcbefb-35b4-7f4b-715f-4efcf68cbfab</id><updated>2024-11-22T18:23:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>W. Timothy Gallwey</title><link href="https://gavart.ist/#W.%20Timothy%20Gallwey"></link><link href="https://gavart.ist/static/W.%2520Timothy%2520Gallwey.html" rel="alternative" type="text/html"></link><id>7fafeb32-0307-db5b-3656-55924b2de481</id><updated>2024-11-20T10:13:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Barry Green</title><link href="https://gavart.ist/#Barry%20Green"></link><link href="https://gavart.ist/static/Barry%2520Green.html" rel="alternative" type="text/html"></link><id>6fd0ff8e-377b-5f84-87ad-4fe04b658445</id><updated>2024-11-20T10:13:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>4cast.world</title><link href="https://gavart.ist/#4cast.world"></link><link href="https://gavart.ist/static/4cast.world.html" rel="alternative" type="text/html"></link><id>a63601b1-3dda-2e7a-6f53-e419a77b46e6</id><updated>2024-11-19T09:38:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a alt="" class="noExternalLinkIcon" href="https://4cast.world" target="_blank"><img src="./files/img/web-development/4cast-site.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Piers Bizony</title><link href="https://gavart.ist/#Piers%20Bizony"></link><link href="https://gavart.ist/static/Piers%2520Bizony.html" rel="alternative" type="text/html"></link><id>ba0511c7-31ea-a9c8-5405-5d6062909b86</id><updated>2024-11-16T05:48:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Boris · Live! Amplifier Worship</title><link href="https://gavart.ist/#Boris%20%C2%B7%20Live!%20Amplifier%20Worship"></link><link href="https://gavart.ist/static/Boris%2520%25C2%25B7%2520Live!%2520Amplifier%2520Worship.html" rel="alternative" type="text/html"></link><id>84d97b24-ecff-eeeb-fa06-3cf07a0b4c9e</id><updated>2024-11-14T15:57:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with Adam Stover &amp; <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#PBDY">PBDY</a></p><img src="./files/img/attended-events/Boris-PBDY-LIVE-Amplifier-Worship-ZEB.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>PBDY</title><link href="https://gavart.ist/#PBDY"></link><link href="https://gavart.ist/static/PBDY.html" rel="alternative" type="text/html"></link><id>e6c8caeb-c771-1994-16b4-18abeb10118f</id><updated>2024-11-14T15:55:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fourteen Properties of Fascism</title><link href="https://gavart.ist/#Fourteen%20Properties%20of%20Fascism"></link><link href="https://gavart.ist/static/Fourteen%2520Properties%2520of%2520Fascism.html" rel="alternative" type="text/html"></link><id>0c5da6ac-8287-f03c-4f46-f36963f9d266</id><updated>2024-11-14T15:48:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p class="digitalGarden">From the essay <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ur-Fascism">Ur-Fascism</a></p><p class="digitalGarden">1. The cult of tradition. “One has only to look at the syllabus of every fascist movement to find the major traditionalist thinkers. The Nazi gnosis was nourished by traditionalist, syncretistic, occult elements.”<br></br><br></br>2. The rejection of modernism. “The Enlightenment, the Age of Reason, is seen as the beginning of modern depravity. In this sense Ur-Fascism can be defined as irrationalism.”<br></br><br></br>3. The cult of action for action’s sake. “Action being beautiful in itself, it must be taken before, or without, any previous reflection. Thinking is a form of emasculation.”<br></br><br></br>4. Disagreement is treason. “The critical spirit makes distinctions, and to distinguish is a sign of modernism. In modern culture the scientific community praises disagreement as a way to improve knowledge.”<br></br><br></br>5. Fear of difference. “The first appeal of a fascist or prematurely fascist movement is an appeal against the intruders. Thus Ur-Fascism is racist by definition.”<br></br><br></br>6. Appeal to social frustration. “One of the most typical features of the historical fascism was the appeal to a frustrated middle class, a class suffering from an economic crisis or feelings of political humiliation, and frightened by the pressure of lower social groups.”<br></br><br></br>7. The obsession with a plot. “The followers must feel besieged. The easiest way to solve the plot is the appeal to xenophobia.”<br></br><br></br>8. The humiliation by the wealth and force of their enemies. “By a continuous shifting of rhetorical focus, the enemies are at the same time too strong and too weak.”<br></br><br></br>9. Pacifism is trafficking with the enemy. “For Ur-Fascism there is no struggle for life but, rather, life is lived for struggle.”<br></br><br></br>10. Contempt for the weak. “Elitism is a typical aspect of any reactionary ideology.”<br></br><br></br>11. Everybody is educated to become a hero. “In Ur-Fascist ideology, heroism is the norm. This cult of heroism is strictly linked with the cult of death.”<br></br><br></br>12. Machismo and weaponry. “Machismo implies both disdain for women and intolerance and condemnation of nonstandard sexual habits, from chastity to homosexuality.”<br></br><br></br>13. Selective populism. “There is in our future a TV or Internet populism, in which the emotional response of a selected group of citizens can be presented and accepted as the Voice of the People.”<br></br><br></br>14. Ur-Fascism speaks Newspeak. “All the Nazi or Fascist schoolbooks made use of an impoverished vocabulary, and an elementary syntax, in order to limit the instruments for complex and critical reasoning.”<br></br><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Umberto Eco</title><link href="https://gavart.ist/#Umberto%20Eco"></link><link href="https://gavart.ist/static/Umberto%2520Eco.html" rel="alternative" type="text/html"></link><id>905146ef-d283-6fac-d930-bbdbc14b9f10</id><updated>2024-11-14T15:45:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Akwaeke Emezi</title><link href="https://gavart.ist/#Akwaeke%20Emezi"></link><link href="https://gavart.ist/static/Akwaeke%2520Emezi.html" rel="alternative" type="text/html"></link><id>d67221f5-b7e8-69cb-0fc9-7bab21b7e646</id><updated>2024-11-13T13:49:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Isola · Long Beach Opera</title><link href="https://gavart.ist/#Isola%20%C2%B7%20Long%20Beach%20Opera"></link><link href="https://gavart.ist/static/Isola%2520%25C2%25B7%2520Long%2520Beach%2520Opera.html" rel="alternative" type="text/html"></link><id>2bac317e-ed37-9a7a-94d4-318e72eac960</id><updated>2024-11-13T13:46:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Directed by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Orphic%20Fixations%20%C2%B7%20Perspectives%20in%20Cinematic%20Opera%20with%20George%20R.%20Miller">George R. Miller</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Ipsa Dixit · Long Beach Opera</title><link href="https://gavart.ist/#Ipsa%20Dixit%20%C2%B7%20Long%20Beach%20Opera"></link><link href="https://gavart.ist/static/Ipsa%2520Dixit%2520%25C2%25B7%2520Long%2520Beach%2520Opera.html" rel="alternative" type="text/html"></link><id>1fd8ed1d-a60c-2314-a26d-826fd68ea84c</id><updated>2024-11-13T13:46:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a></p><p><div class="video-container">
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type="text/html"></link><id>1316d6f8-3b97-a500-3295-399ea07dc49d</id><updated>2024-10-21T08:44:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>We become as smooth and reflective as the screen itself …</title><link href="https://gavart.ist/#We%20become%20as%20smooth%20and%20reflective%20as%20the%20screen%20itself%20%E2%80%A6"></link><link href="https://gavart.ist/static/We%2520become%2520as%2520smooth%2520and%2520reflective%2520as%2520the%2520screen%2520itself%2520%25E2%2580%25A6.html" rel="alternative" type="text/html"></link><id>c08997dc-55a8-74e0-9947-0ff3e6aaa02d</id><updated>2024-10-20T21:30:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>We become as smooth and reflective as the screen itself, all glassy surfaces and metallic edges obscuring the hollowness within. 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type="text/html"></link><id>c3007546-5225-f8e4-0a20-46f15188df73</id><updated>2024-10-20T21:27:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Four Larks</title><link href="https://gavart.ist/#Four%20Larks"></link><link href="https://gavart.ist/static/Four%2520Larks.html" rel="alternative" type="text/html"></link><id>57d4ddfb-19e9-9bd1-4b18-45dd3190733e</id><updated>2024-10-18T20:49:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Crossfade Audio Using Intersection Observer</title><link href="https://gavart.ist/#Crossfade%20Audio%20Using%20Intersection%20Observer"></link><link href="https://gavart.ist/static/Crossfade%2520Audio%2520Using%2520Intersection%2520Observer.html" rel="alternative" type="text/html"></link><id>5dea2531-b2e4-1c41-61f7-ce001be33074</id><updated>2024-10-18T19:19:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" href="https://github.com/protrolium/crossfade-audio-using-intersection-observer" rel="noopener noreferrer" target="_blank">code repository</a> </p><p>Special Thanks: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scott%20Cazan">Scott Cazan</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Harpsichord</title><link href="https://gavart.ist/#Harpsichord"></link><link href="https://gavart.ist/static/Harpsichord.html" rel="alternative" type="text/html"></link><id>3dedf1f5-0288-74c1-4044-ac996831fda5</id><updated>2024-10-17T07:40:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cincinnati</title><link href="https://gavart.ist/#Cincinnati"></link><link href="https://gavart.ist/static/Cincinnati.html" rel="alternative" type="text/html"></link><id>cc8d6601-6f14-5d18-ca43-f658cf893ec8</id><updated>2024-10-17T07:40:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ohio</title><link href="https://gavart.ist/#Ohio"></link><link href="https://gavart.ist/static/Ohio.html" rel="alternative" type="text/html"></link><id>4ec96adb-9cc3-9333-f3d2-024b28f2503f</id><updated>2024-10-17T07:39:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Oceanographic Magazine</title><link href="https://gavart.ist/#Oceanographic%20Magazine"></link><link href="https://gavart.ist/static/Oceanographic%2520Magazine.html" rel="alternative" type="text/html"></link><id>eafd8e38-1921-133b-b276-89a0e7426129</id><updated>2024-10-13T12:33:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Philip Glass • The Complete Etudes 1-20</title><link href="https://gavart.ist/#Philip%20Glass%20%E2%80%A2%20The%20Complete%20Etudes%201-20"></link><link href="https://gavart.ist/static/Philip%2520Glass%2520%25E2%2580%25A2%2520The%2520Complete%2520Etudes%25201-20.html" rel="alternative" type="text/html"></link><id>51e8855e-0a6a-52b6-229a-764278f5b13e</id><updated>2024-10-13T10:44:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/philip-glass-etudes-2024.jpg"></img><p>Attended with Beth Hagenbuch, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a></p></div></content><author><name>undefined</name></author></entry><entry><title>There is absolutely nothing to be said for government by a plutocracy</title><link href="https://gavart.ist/#There%20is%20absolutely%20nothing%20to%20be%20said%20for%20government%20by%20a%20plutocracy"></link><link href="https://gavart.ist/static/There%2520is%2520absolutely%2520nothing%2520to%2520be%2520said%2520for%2520government%2520by%2520a%2520plutocracy.html" rel="alternative" type="text/html"></link><id>07d95e31-0256-d9fb-d430-a9f5ccd058af</id><updated>2024-10-10T09:35:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>, for government by men very powerful in certain lines and gifted with the money touch, but with ideals which in their essence are merely those of so many glorified pawnbrokers.</p></div></content><author><name>undefined</name></author></entry><entry><title>Theodore Roosevelt</title><link href="https://gavart.ist/#Theodore%20Roosevelt"></link><link href="https://gavart.ist/static/Theodore%2520Roosevelt.html" rel="alternative" type="text/html"></link><id>7f57a069-30a9-f0b3-8a13-0451f356ae32</id><updated>2024-10-10T09:34:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>When we read, another person thinks for us: we merely repeat his mental process …</title><link href="https://gavart.ist/#When%20we%20read%2C%20another%20person%20thinks%20for%20us%3A%20we%20merely%20repeat%20his%20mental%20process%20%E2%80%A6"></link><link href="https://gavart.ist/static/When%2520we%2520read%252C%2520another%2520person%2520thinks%2520for%2520us%253A%2520we%2520merely%2520repeat%2520his%2520mental%2520process%2520%25E2%2580%25A6.html" rel="alternative" type="text/html"></link><id>a1219f8a-ffe1-6804-d3f1-e15d4aa96949</id><updated>2024-10-10T09:19:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> From all this it may be concluded that thoughts put down on paper are nothing more than footprints in the sand: one sees the road the man has taken, but in order to know what he saw on the way, one requires his eyes.</p></div></content><author><name>undefined</name></author></entry><entry><title>Alexia Veytia-Rubio</title><link href="https://gavart.ist/#Alexia%20Veytia-Rubio"></link><link href="https://gavart.ist/static/Alexia%2520Veytia-Rubio.html" rel="alternative" type="text/html"></link><id>89ddc78b-d36b-7802-0410-5c3210f50c71</id><updated>2024-10-10T08:56:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lupita Limón Corrales</title><link href="https://gavart.ist/#Lupita%20Lim%C3%B3n%20Corrales"></link><link href="https://gavart.ist/static/Lupita%2520Lim%25C3%25B3n%2520Corrales.html" rel="alternative" type="text/html"></link><id>9e0cb486-1ab9-ddfe-dcb0-95804909ca8d</id><updated>2024-10-10T08:55:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Five Stages of AI Grief</title><link href="https://gavart.ist/#The%20Five%20Stages%20of%20AI%20Grief"></link><link href="https://gavart.ist/static/The%2520Five%2520Stages%2520of%2520AI%2520Grief.html" rel="alternative" type="text/html"></link><id>9678ddc8-a35c-f8db-7f24-9669f41caf70</id><updated>2024-10-08T21:48:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>IPLD</title><link href="https://gavart.ist/#IPLD"></link><link href="https://gavart.ist/static/IPLD.html" rel="alternative" type="text/html"></link><id>3244e4d7-be09-7da4-e987-b58befaec93d</id><updated>2024-10-05T10:56:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fedica</title><link href="https://gavart.ist/#Fedica"></link><link href="https://gavart.ist/static/Fedica.html" rel="alternative" type="text/html"></link><id>5e312470-0bf4-8879-723c-b662a261a895</id><updated>2024-10-03T16:27:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>hledger</title><link href="https://gavart.ist/#hledger"></link><link href="https://gavart.ist/static/hledger.html" rel="alternative" type="text/html"></link><id>da7498da-3a08-3876-ff27-a80803965e8c</id><updated>2024-10-02T10:04:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Devóne Tines &amp; The Truth · Open Process — Robesoи</title><link href="https://gavart.ist/#Dev%C3%B3ne%20Tines%20%26%20The%20Truth%20%C2%B7%20Open%20Process%20%E2%80%94%20Robeso%D0%B8"></link><link href="https://gavart.ist/static/Dev%25C3%25B3ne%2520Tines%2520%2526%2520The%2520Truth%2520%25C2%25B7%2520Open%2520Process%2520%25E2%2580%2594%2520Robeso%25D0%25B8.html" rel="alternative" type="text/html"></link><id>7b2cc1ef-9872-dd2e-b83e-89706fc0e17f</id><updated>2024-10-02T09:45:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Eyal Weizman</title><link href="https://gavart.ist/#Eyal%20Weizman"></link><link href="https://gavart.ist/static/Eyal%2520Weizman.html" rel="alternative" type="text/html"></link><id>57b9b036-3152-d312-558f-370cc33daafb</id><updated>2024-10-02T09:30:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Visible Project</title><link href="https://gavart.ist/#Visible%20Project"></link><link href="https://gavart.ist/static/Visible%2520Project.html" rel="alternative" type="text/html"></link><id>212711e0-3ebe-dd99-fe79-881ab75f17cf</id><updated>2024-10-02T09:18:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Skilled Labor · Black Realism in Detroit</title><link href="https://gavart.ist/#Skilled%20Labor%20%C2%B7%20Black%20Realism%20in%20Detroit"></link><link href="https://gavart.ist/static/Skilled%2520Labor%2520%25C2%25B7%2520Black%2520Realism%2520in%2520Detroit.html" rel="alternative" type="text/html"></link><id>04e8034c-7671-ec7f-277a-c3c6a65b1c16</id><updated>2024-09-28T14:27:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/skilled-labour-black-realism-in-detroit.jpg"></img><p>Including <a class="tc-tiddlylink-external" href="https://cranbrookartmuseum.org/exhibition/leroy-foster-solo-show/" rel="noopener noreferrer" target="_blank">LeRoy Foster: Solo Show</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Troubleshoot</title><link href="https://gavart.ist/#Troubleshoot"></link><link href="https://gavart.ist/static/Troubleshoot.html" rel="alternative" type="text/html"></link><id>d60c463b-b409-6f3e-d4bd-1618626dfe10</id><updated>2024-09-25T12:36:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Repair WAV files with data-offset</title><link href="https://gavart.ist/#Repair%20WAV%20files%20with%20data-offset"></link><link href="https://gavart.ist/static/Repair%2520WAV%2520files%2520with%2520data-offset.html" rel="alternative" type="text/html"></link><id>efb3364e-a658-a778-6729-7b6ec02fbc51</id><updated>2024-09-25T12:36:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Try File → Import → Raw Data.</p><p>You’ll have to enter the correct bit-depth (and it should be PCM encoding), number of channels, and the sample rate. If you get “pure noise”, try incrementing the offset by one.</p><p>If the sample rate is wrong, you’ll get the wrong speed. If the offset is wrong you can get noise or the left &amp; right channels can be reversed.</p><p>The default byte order is should be correct, but if all else fails and you’re getting pure-noise that could be the cause.</p><p>The true offset (where the file header ends and the audio starts) is somewhere around 30 or 40, but you don’t have to get it perfect… You’ll get a “glitch” of noise at the beginning of the file where the header is read as audio, but you can edit that out once the file is open in Audacity.</p></div></content><author><name>undefined</name></author></entry><entry><title>Eggplant Tincture</title><link href="https://gavart.ist/#Eggplant%20Tincture"></link><link href="https://gavart.ist/static/Eggplant%2520Tincture.html" rel="alternative" type="text/html"></link><id>64cd7a1a-3c80-4700-bab8-014f4d902de7</id><updated>2024-09-25T12:29:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Treating non-melanoma skin cancer with an alternative treatment</title><link href="https://gavart.ist/#Treating%20non-melanoma%20skin%20cancer%20with%20an%20alternative%20treatment"></link><link href="https://gavart.ist/static/Treating%2520non-melanoma%2520skin%2520cancer%2520with%2520an%2520alternative%2520treatment.html" rel="alternative" type="text/html"></link><id>0405f5e6-e42a-f93a-4825-87f096d8b5b7</id><updated>2024-09-25T12:29:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Largest Early World Map</title><link href="https://gavart.ist/#Largest%20Early%20World%20Map"></link><link href="https://gavart.ist/static/Largest%2520Early%2520World%2520Map.html" rel="alternative" type="text/html"></link><id>55cd981d-838e-fed7-1b44-51a6740fb2ec</id><updated>2024-09-25T12:27:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Reveal.js</title><link href="https://gavart.ist/#Reveal.js"></link><link href="https://gavart.ist/static/Reveal.js.html" rel="alternative" type="text/html"></link><id>4c8ddc55-14ef-6766-545f-313447b3a32f</id><updated>2024-09-25T10:17:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fantasy in F minor K. 475</title><link href="https://gavart.ist/#Fantasy%20in%20F%20minor%20K.%20475"></link><link href="https://gavart.ist/static/Fantasy%2520in%2520F%2520minor%2520K.%2520475.html" rel="alternative" type="text/html"></link><id>10972750-26be-7322-e500-8a3579a2bb9f</id><updated>2024-09-24T16:00:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven Pathetique Mazatlán</title><link href="https://gavart.ist/#Beethoven%20Pathetique%20Mazatl%C3%A1n"></link><link href="https://gavart.ist/static/Beethoven%2520Pathetique%2520Mazatl%25C3%25A1n.html" rel="alternative" type="text/html"></link><id>3b242d0e-81e8-2c30-e20f-f64045e517e9</id><updated>2024-09-24T10:29:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>mastodon-comments</title><link href="https://gavart.ist/#mastodon-comments"></link><link href="https://gavart.ist/static/mastodon-comments.html" rel="alternative" type="text/html"></link><id>8efb3774-0c4b-b4ab-715f-6ffc01a2ff36</id><updated>2024-09-22T13:54:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Orphic Fixations · Shadow Kitchen</title><link href="https://gavart.ist/#Orphic%20Fixations%20%C2%B7%20Shadow%20Kitchen"></link><link href="https://gavart.ist/static/Orphic%2520Fixations%2520%25C2%25B7%2520Shadow%2520Kitchen.html" rel="alternative" type="text/html"></link><id>a77fa730-1000-23de-b82a-5ffb890da8d0</id><updated>2024-09-22T11:39:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">With guest <a class="tc-tiddlylink-external" href="https://www.gmdirects.com/" rel="noopener noreferrer" target="_blank">George R. Miller</a></h2><h1 class="">I. Opening Clips</h1><h2 class="">Show opera as we traditionally know it for the stage, contrast with newer examples using cinematic approaches</h2><ul><li>The Met • La traviata 1981 Act I scene 3 "Dell'invito trascorsa…"</li><li>Don Giovanni • Salzburg <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Romeo%20Castellucci">Romeo Castellucci</a> Trailer</li><li>The Black Lodge <a class="tc-tiddlylink tc-tiddlylink-missing" href="#David%20T.%20Little">David T. Little</a></li><li>BAKUNAWA <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Micaela%20Tobin">Micaela Tobin</a></li></ul><hr></hr><h1 class="">II. Gateway into Miller's cinematics</h1><h2 class="">An interleaved discussion of stage work and gestures from film</h2><ul><li><a class="tc-tiddlylink tc-tiddlylink-missing" href="#Under%20The%20Skin">Under The Skin</a> — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Jonathan%20Glazer">Jonathan Glazer</a> 1:00-9:00<ul><li>A defining reference point</li></ul></li><li>Castelucci Brusells 5:53</li><li>ISOLA (photo selections)</li><li>The Piano Teacher <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Michael%20Haneke">Michael Haneke</a> 21:00</li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Franz Schubert</a> Winterreise<ul><li>The Cook, The Thief, His Wife and Her Lover — <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Peter%20Greenaway">Peter Greenaway</a> opening 15 min</li><li>Aria — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Jean-Luc%20Godard">Jean-Luc Godard</a></li><li>Melancolia — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Lars%20von%20Trier">Lars von Trier</a></li></ul></li><li><a class="tc-tiddlylink tc-tiddlylink-missing" href="#Arnold%20Schoenberg">Arnold Schoenberg</a> Gurre-Lieder</li><li>Bogeyman — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Reza%20Abdoh">Reza Abdoh</a> 55:00</li></ul><hr></hr><h1 class="">III. Closing</h1><h3 class="">How Cinema feeds off of Opera, how Opera feeds off of Cinema</h3><ul><li>Aria — <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Ken%20Russell">Ken Russell</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Tausendvierhundertsechzehn (score)</title><link href="https://gavart.ist/#Tausendvierhundertsechzehn%20(score)"></link><link href="https://gavart.ist/static/Tausendvierhundertsechzehn%2520(score).html" rel="alternative" type="text/html"></link><id>a77c73ed-c3be-53ac-4417-37ed446e1445</id><updated>2024-09-21T22:52:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>1416 m³ at Fondazione Antonio Dalle Nogare</title><link href="https://gavart.ist/#1416%20m%C2%B3%20at%20Fondazione%20Antonio%20Dalle%20Nogare"></link><link href="https://gavart.ist/static/1416%2520m%25C2%25B3%2520at%2520Fondazione%2520Antonio%2520Dalle%2520Nogare.html" rel="alternative" type="text/html"></link><id>8afb3050-8c11-36e4-2f4d-6c1ce8dc8cb7</id><updated>2024-09-21T22:50:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/6PjfJUPFrt0?si=k0P4HGyM_QsHeXi2" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Buenos Aires</title><link href="https://gavart.ist/#Buenos%20Aires"></link><link href="https://gavart.ist/static/Buenos%2520Aires.html" rel="alternative" type="text/html"></link><id>464f1836-0a31-a99b-8003-db4c668244c0</id><updated>2024-09-11T12:21:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Argentina</title><link href="https://gavart.ist/#Argentina"></link><link href="https://gavart.ist/static/Argentina.html" rel="alternative" type="text/html"></link><id>3536be57-ce07-1395-4e45-4ae6c53ec023</id><updated>2024-09-11T12:21:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Those Pesky Brackets</title><link href="https://gavart.ist/#Those%20Pesky%20Brackets"></link><link href="https://gavart.ist/static/Those%2520Pesky%2520Brackets.html" rel="alternative" type="text/html"></link><id>039a014e-99c0-71f3-0dad-beb1f2cf783d</id><updated>2024-09-11T12:11:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Museum Contemporary Art Chicago &amp; Gene Siskel Film Center</title><link href="https://gavart.ist/#Museum%20Contemporary%20Art%20Chicago%20%26%20Gene%20Siskel%20Film%20Center"></link><link href="https://gavart.ist/static/Museum%2520Contemporary%2520Art%2520Chicago%2520%2526%2520Gene%2520Siskel%2520Film%2520Center.html" rel="alternative" type="text/html"></link><id>3fc68d7e-47c9-5dd2-2a6c-7259a829d591</id><updated>2024-09-10T13:35:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">The worldwide premiere of This Is My Place, a fictional documentary about the itinerant life and conceptual artwork of artist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a>, whose sculpture Situacíon de cuatro placas de aluminio (Four Changeable Plaques) (1966), is currently on view in Endless. Commissioned by the <a class="tc-tiddlylink-external" href="https://islaa.org/" rel="noopener noreferrer" target="_blank">Institute for Studies on Latin American Art (ISLAA)</a>, the film features Lamelas interviewed by Marilyn and Larry Fields Curator Carla Acevedo-Yates. Lamelas reflects on a life defined by migration between cultures and countries, and how those experiences shaped his artistic practice, which for decades has centered explorations of time and place.</h2><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a>, Beth Hagenbuch, Ken Weikal, Rod Hagenbuch</p><img src="./files/img/attended-events/david-lamelas-this-is-my-place.jpg"></img><p><img src="./files/img/attended-events/david-lamelas-this-is-my-place-q&amp;a.jpg"></img><br></br><sup>Q&amp;A Moderated by <a class="tc-tiddlylink-external" href="https://mcachicago.org/about/who-we-are/people/nolan-jimbo" rel="noopener noreferrer" target="_blank">Nolan Jimbo</a>, with curator <a class="tc-tiddlylink-external" href="https://mcachicago.org/About/Who-We-Are/Staff/Carla-Acevedo-Yates" rel="noopener noreferrer" target="_blank">Carla Acevedo-Yates</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>, and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Lamelas">David Lamelas</a></sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Creating and Installing a Certificate on MAMP</title><link href="https://gavart.ist/#Creating%20and%20Installing%20a%20Certificate%20on%20MAMP"></link><link href="https://gavart.ist/static/Creating%2520and%2520Installing%2520a%2520Certificate%2520on%2520MAMP.html" rel="alternative" type="text/html"></link><id>9271325f-75a8-f061-793f-cf738f6ab253</id><updated>2024-09-08T20:26:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Upload Webp Module</title><link href="https://gavart.ist/#Upload%20Webp%20Module"></link><link href="https://gavart.ist/static/Upload%2520Webp%2520Module.html" rel="alternative" type="text/html"></link><id>e5497112-e13e-c5be-c491-aa21be384eba</id><updated>2024-09-08T12:01:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Our Friend The Computer</title><link href="https://gavart.ist/#Our%20Friend%20The%20Computer"></link><link href="https://gavart.ist/static/Our%2520Friend%2520The%2520Computer.html" rel="alternative" type="text/html"></link><id>7c88a7f6-7e36-8419-de9a-c3278a00997d</id><updated>2024-09-06T11:21:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Francis Bacon</title><link href="https://gavart.ist/#Francis%20Bacon"></link><link href="https://gavart.ist/static/Francis%2520Bacon.html" rel="alternative" type="text/html"></link><id>a242003d-63a2-47c5-fc26-b24f8ad34edd</id><updated>2024-09-03T15:56:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Your Name in Landsat</title><link href="https://gavart.ist/#Your%20Name%20in%20Landsat"></link><link href="https://gavart.ist/static/Your%2520Name%2520in%2520Landsat.html" rel="alternative" type="text/html"></link><id>7270a4dc-ade4-ce4a-612c-116f8ebb3ea3</id><updated>2024-08-31T09:59:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Natalie Sun</title><link href="https://gavart.ist/#Natalie%20Sun"></link><link href="https://gavart.ist/static/Natalie%2520Sun.html" rel="alternative" type="text/html"></link><id>ef46e33b-d3b5-709e-559c-5a201861740a</id><updated>2024-08-31T09:26:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Zach Scott Jaffe</title><link href="https://gavart.ist/#Zach%20Scott%20Jaffe"></link><link href="https://gavart.ist/static/Zach%2520Scott%2520Jaffe.html" rel="alternative" type="text/html"></link><id>f051249f-85e7-6128-19a1-8a3b668b9a2c</id><updated>2024-08-31T09:09:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A Literary Road Trip Across America</title><link href="https://gavart.ist/#A%20Literary%20Road%20Trip%20Across%20America"></link><link href="https://gavart.ist/static/A%2520Literary%2520Road%2520Trip%2520Across%2520America.html" rel="alternative" type="text/html"></link><id>18852915-7056-0382-e4bc-7f793b3d84b2</id><updated>2024-08-31T08:49:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>fxhash</title><link href="https://gavart.ist/#fxhash"></link><link href="https://gavart.ist/static/fxhash.html" 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lapsus</title><link href="https://gavart.ist/#Lapsus"></link><link href="https://gavart.ist/static/Lapsus.html" rel="alternative" type="text/html"></link><id>4e85ef27-66df-484c-cc58-57973c7923dc</id><updated>2024-08-21T11:07:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Geographic North</title><link href="https://gavart.ist/#Geographic%20North"></link><link href="https://gavart.ist/static/Geographic%2520North.html" rel="alternative" type="text/html"></link><id>29d42e9c-9933-7320-a1dd-37be8791b535</id><updated>2024-08-21T11:02:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Paralaxe Editions</title><link href="https://gavart.ist/#Paralaxe%20Editions"></link><link href="https://gavart.ist/static/Paralaxe%2520Editions.html" rel="alternative" type="text/html"></link><id>d5c3c796-b179-76eb-a763-1d58a82db773</id><updated>2024-08-21T10:58:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Stream Diffusionist Patreon</title><link href="https://gavart.ist/#Stream%20Diffusionist%20Patreon"></link><link href="https://gavart.ist/static/Stream%2520Diffusionist%2520Patreon.html" rel="alternative" type="text/html"></link><id>8973f51f-c85e-ae2b-3155-64a740838f4c</id><updated>2024-08-18T18:22:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Datamind</title><link href="https://gavart.ist/#Datamind"></link><link href="https://gavart.ist/static/Datamind.html" rel="alternative" type="text/html"></link><id>60dc80fc-4ac7-bc6d-8b11-306b7db1b22d</id><updated>2024-08-18T18:21:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Friedrich Nietzsche</title><link href="https://gavart.ist/#Friedrich%20Nietzsche"></link><link href="https://gavart.ist/static/Friedrich%2520Nietzsche.html" rel="alternative" type="text/html"></link><id>4292c385-deef-3abb-fe10-35bde3ecd44c</id><updated>2024-08-18T12:17:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>George Orwell</title><link href="https://gavart.ist/#George%20Orwell"></link><link href="https://gavart.ist/static/George%2520Orwell.html" rel="alternative" type="text/html"></link><id>8e6d6235-e873-69c7-bfe1-c7bc238fd7e7</id><updated>2024-08-18T12:17:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><ul>
   
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$t-&gt;wpPost();</code></pre><p>Make sure that there is a parent page with the name <code>dump</code> before ingesting the posts.</p></div></content><author><name>undefined</name></author></entry><entry><title>TagPage.php</title><link href="https://gavart.ist/#TagPage.php"></link><link href="https://gavart.ist/static/TagPage.php.html" rel="alternative" type="text/html"></link><id>43df813b-c1f1-9289-a53f-452cb7f09cc8</id><updated>2024-08-17T11:12:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A custom page class to access WordPress REST API categories and ingest the contents into a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> site as new category pages. Use in combination with Tracy Debugger from the ProcessWire Admin to call the custom function <strong>wpCategory()</strong></p><p>Before proceeding make sure that there are</p><ul><li><code>tag.php</code> template with a field <code>wp_id</code></li><li><code>tags.php</code> template</li><li><code>Tags</code> page</li><li><code>categories</code> field which is set to PageReference with the Parent set to <code>Tags</code> and Template set to <code>Tag</code></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>youtubeThumbs.php</title><link href="https://gavart.ist/#youtubeThumbs.php"></link><link href="https://gavart.ist/static/youtubeThumbs.php.html" rel="alternative" type="text/html"></link><id>9cde3875-862c-af20-4255-c04efbcaa958</id><updated>2024-08-17T10:23:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A script for use within Tracy Debugger console from the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> Admin to call the custom function</p></div></content><author><name>undefined</name></author></entry><entry><title>Engineering</title><link href="https://gavart.ist/#Engineering"></link><link href="https://gavart.ist/static/Engineering.html" rel="alternative" type="text/html"></link><id>ab0268fb-8036-a892-dc34-1945cb7ae3be</id><updated>2024-08-15T17:04:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>IEEE Spectrum</title><link href="https://gavart.ist/#IEEE%20Spectrum"></link><link href="https://gavart.ist/static/IEEE%2520Spectrum.html" rel="alternative" type="text/html"></link><id>c25b49fd-4099-65a5-fbbc-722aeda6d208</id><updated>2024-08-15T17:04:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Memristors Run AI Tasks at 1/800th Power</title><link href="https://gavart.ist/#Memristors%20Run%20AI%20Tasks%20at%201%2F800th%20Power"></link><link href="https://gavart.ist/static/Memristors%2520Run%2520AI%2520Tasks%2520at%25201%252F800th%2520Power.html" rel="alternative" type="text/html"></link><id>f6f56aca-db94-92e9-b302-2f3709a11d87</id><updated>2024-08-15T17:00:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>DUR&amp; Wander(ings)lust</title><link href="https://gavart.ist/#DUR%26%20Wander(ings)lust"></link><link href="https://gavart.ist/static/DUR%2526%2520Wander(ings)lust.html" rel="alternative" type="text/html"></link><id>385d6234-2fac-121a-6f4c-930dbce97b80</id><updated>2024-08-14T13:32:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bailey Miller</title><link href="https://gavart.ist/#Bailey%20Miller"></link><link href="https://gavart.ist/static/Bailey%2520Miller.html" rel="alternative" type="text/html"></link><id>6c856c0f-7010-f110-7ac4-8f3cca02aa7f</id><updated>2024-08-14T11:20:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The New Stack</title><link href="https://gavart.ist/#The%20New%20Stack"></link><link href="https://gavart.ist/static/The%2520New%2520Stack.html" rel="alternative" type="text/html"></link><id>4dd00f66-c7ef-281e-57ec-c14ee4b46c82</id><updated>2024-08-13T14:28:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ORCΛ Durand Bernarr Remix Pattern Generation</title><link href="https://gavart.ist/#ORC%CE%9B%20Durand%20Bernarr%20Remix%20Pattern%20Generation"></link><link href="https://gavart.ist/static/ORC%25CE%259B%2520Durand%2520Bernarr%2520Remix%2520Pattern%2520Generation.html" rel="alternative" type="text/html"></link><id>9e3ee15f-722d-cd68-f14d-4771d5167743</id><updated>2024-08-13T13:56:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/Cy98pujK5TQ?si=SVHf7wBE4qWp45H_" title="YouTube video player" width="560"></iframe>
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</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Moment musicaux D. 780</title><link href="https://gavart.ist/#Moment%20musicaux%20D.%20780"></link><link href="https://gavart.ist/static/Moment%2520musicaux%2520D.%2520780.html" rel="alternative" type="text/html"></link><id>db1322c0-1f14-ee63-8cf7-4cb0da6aff7a</id><updated>2024-07-09T23:36:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Well-Tempered Praxis</title><link href="https://gavart.ist/#The%20Well-Tempered%20Praxis"></link><link href="https://gavart.ist/static/The%2520Well-Tempered%2520Praxis.html" rel="alternative" type="text/html"></link><id>61850aab-f53a-e4bd-5cad-a847a09034b0</id><updated>2024-07-08T23:38:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h1 class="">Introduction </h1><h1 class="">HANDS HELD</h1><ul class="largerList"><li>I. Varieties of touch<ul><li>"<em>ppp</em>"<ul><li>pressing<ul><li>fingers de-press key from knuckle joint, with bouyant wrist and hand</li></ul></li><li>pulling<ul><li>claw-like curved and strong/supported phalanges pulling towards the body</li></ul></li><li>pushing<ul><li>passive fingers push up towards the top of the key, movement initiates from the shoulders/upper-arm/forearm</li></ul></li></ul></li></ul></li><li>II. Relaxation / Beginning and Ending of each movement</li><li>III. Martha Argerich metaphor fingers moving upwards</li><li>IV. Fingertips, Wrists, Flexibility</li><li>V. Hands floating, hovering, ready …  </li><li>VI. Pianissimo playing</li></ul><h1 class="">START AT THE END</h1><ul class="largerList"><li>VII. Mapping Fingerings</li><li>VIII. Start At The End (and move towards the beginning)</li><li>IX. Posting Flags throughout the piece (backwards numbers)</li><li>X. Memorization / Sight-Reading</li><li>XI. H. Neuhaus: fastest path to the Artistic Image is a Straight Line</li><li>XII. Mental Practice</li></ul><h1 class="">TWO NOTES AT A TIME</h1><ul class="largerList"><li>XIII. Two Notes At A Time</li><li>XIV. Suspension of Time</li><li>XV. Proprioception / Excitation</li><li>XVI. Three, Four, Six, Eight Notes At A Time</li><li>XVII. Muscular Memory / Familiarity</li><li>XVIII. Testing Progress</li></ul><h1 class="">WALKING AWAY</h1><ul class="largerList"><li>XIX. Psychological Benefits</li><li>XX. Watering the Acorn</li><li>XXI. Variability As The Best Strategy</li><li>XXII. The Ephemeral Nature of Time &amp; Existence</li><li>XXIII. Faith In Repetition</li><li>XXIV. Hazrat Inayat Khan</li></ul></div></content><author><name>undefined</name></author></entry><entry><title>J.S. Bach · Italian Concerto</title><link href="https://gavart.ist/#J.S.%20Bach%20%C2%B7%20Italian%20Concerto"></link><link href="https://gavart.ist/static/J.S.%2520Bach%2520%25C2%25B7%2520Italian%2520Concerto.html" rel="alternative" type="text/html"></link><id>0c60a3c2-1f93-9c5e-9d66-f6684e2bccea</id><updated>2024-07-05T17:44:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Italian%20Concerto%20in%20F%20major%20BWV%20971">Italian Concerto in F major BWV 971</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Italian Concerto in F major BWV 971</title><link href="https://gavart.ist/#Italian%20Concerto%20in%20F%20major%20BWV%20971"></link><link href="https://gavart.ist/static/Italian%2520Concerto%2520in%2520F%2520major%2520BWV%2520971.html" rel="alternative" type="text/html"></link><id>031367b2-969d-ec7f-e5e4-d1557d94cf13</id><updated>2024-07-05T17:43:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Nocturne in G major Opus 37 no. 2</title><link href="https://gavart.ist/#Nocturne%20in%20G%20major%20Opus%2037%20no.%202"></link><link href="https://gavart.ist/static/Nocturne%2520in%2520G%2520major%2520Opus%252037%2520no.%25202.html" rel="alternative" type="text/html"></link><id>5f11087b-12eb-c411-5c7d-08e06831a843</id><updated>2024-07-05T17:37:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Rachmaninoff · Prelude in G minor Op 23/5</title><link href="https://gavart.ist/#Rachmaninoff%20%C2%B7%20Prelude%20in%20G%20minor%20Op%2023%2F5"></link><link href="https://gavart.ist/static/Rachmaninoff%2520%25C2%25B7%2520Prelude%2520in%2520G%2520minor%2520Op%252023%252F5.html" rel="alternative" type="text/html"></link><id>5b82f40a-734f-aa49-060f-dc8e34a7becf</id><updated>2024-07-05T17:37:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Prelude%20in%20G%20minor%20Opus%2023%20no.%205">Prelude in G minor Opus 23 no. 5</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Leeds International Film Festival XXXVII 2023</title><link href="https://gavart.ist/#Leeds%20International%20Film%20Festival%20XXXVII%202023"></link><link href="https://gavart.ist/static/Leeds%2520International%2520Film%2520Festival%2520XXXVII%25202023.html" rel="alternative" type="text/html"></link><id>7dd41c6b-0fb1-df67-7c16-84c392d8aa04</id><updated>2024-07-02T09:57:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a> will present the cinematic opera <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a> as part of The Begotten Cycle at the 37th Leeds International Film Festival in Leeds, United Kingdom.</h2><h2 class=""><a class="tc-tiddlylink-external" href="https://www.leedsfilm.com/archive/the-begotten-cycle/" rel="noopener noreferrer" target="_blank">Festival Program</a></h2><p><a class="noExternalLinkIcon" href="https://www.leedsfilm.com/archive/the-begotten-cycle/" target="_blank"><img src="./files/img/misc/liff-polia.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Frederick Douglass</title><link href="https://gavart.ist/#Frederick%20Douglass"></link><link href="https://gavart.ist/static/Frederick%2520Douglass.html" rel="alternative" type="text/html"></link><id>1c149583-18e8-7045-ae01-d0ac686ea20a</id><updated>2024-07-02T08:27:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Claude Debussy Clair de lune (Live Studio)</title><link href="https://gavart.ist/#Claude%20Debussy%20Clair%20de%20lune%20(Live%20Studio)"></link><link href="https://gavart.ist/static/Claude%2520Debussy%2520Clair%2520de%2520lune%2520(Live%2520Studio).html" rel="alternative" type="text/html"></link><id>7ca31863-12f4-8d52-71a9-a0062a930c5e</id><updated>2024-06-27T17:10:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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<meta content="Gavin Gamboa" name="author"></meta>
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</div></p><link href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css" rel="stylesheet"></link><p><safe-script src="./files/scripts/mastodon-comments.js" type="module"></safe-script></p></div></content><author><name>undefined</name></author></entry><entry><title>Achtel 9x7 Digital Cinema Camera</title><link href="https://gavart.ist/#Achtel%209x7%20Digital%20Cinema%20Camera"></link><link href="https://gavart.ist/static/Achtel%25209x7%2520Digital%2520Cinema%2520Camera.html" rel="alternative" type="text/html"></link><id>8a7d61ce-b164-b102-c7f1-d7d7caff4850</id><updated>2024-06-07T15:34:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Barcelona</title><link href="https://gavart.ist/#Barcelona"></link><link href="https://gavart.ist/static/Barcelona.html" rel="alternative" type="text/html"></link><id>550d05ab-240e-c337-038a-f814ff0de287</id><updated>2024-06-06T07:45:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Spain</title><link href="https://gavart.ist/#Spain"></link><link href="https://gavart.ist/static/Spain.html" rel="alternative" type="text/html"></link><id>907eba32-d950-bfab-6822-7fd7ea22999b</id><updated>2024-06-06T07:45:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>List Macro with Type Attribute</title><link href="https://gavart.ist/#List%20Macro%20with%20Type%20Attribute"></link><link href="https://gavart.ist/static/List%2520Macro%2520with%2520Type%2520Attribute.html" rel="alternative" type="text/html"></link><id>9f5a3755-a385-8cde-d808-0323e6224bc3</id><updated>2024-06-05T10:42:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Snippet using a list macro with a nested list with type attribute set</p><pre><code>* [[Polia &amp; Blastema]]
** &lt;&lt;list-links filter:"[tag[Screening]search:program[Polia &amp; Blastema]!sort[sortdate]limit[5]]" type:"li"&gt;&gt;</code></pre><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a><ul><li></li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Tonnetz</title><link href="https://gavart.ist/#Tonnetz"></link><link href="https://gavart.ist/static/Tonnetz.html" rel="alternative" type="text/html"></link><id>8f2c6825-2eec-4dc8-7fe7-55e9f1f321a9</id><updated>2024-06-03T18:15:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Arvo Pärt · Sonatina</title><link href="https://gavart.ist/#Arvo%20P%C3%A4rt%20%C2%B7%20Sonatina"></link><link href="https://gavart.ist/static/Arvo%2520P%25C3%25A4rt%2520%25C2%25B7%2520Sonatina.html" rel="alternative" 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>musicforprogramming.net</title><link href="https://gavart.ist/#musicforprogramming.net"></link><link href="https://gavart.ist/static/musicforprogramming.net.html" rel="alternative" type="text/html"></link><id>67da61a6-9818-bec5-cb06-db9c6ae74012</id><updated>2024-04-30T11:36:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Creativity, Self-Doubt &amp; Doing Remarkable Work</title><link href="https://gavart.ist/#Creativity%2C%20Self-Doubt%20%26%20Doing%20Remarkable%20Work"></link><link href="https://gavart.ist/static/Creativity%252C%2520Self-Doubt%2520%2526%2520Doing%2520Remarkable%2520Work.html" rel="alternative" type="text/html"></link><id>f89b1021-c81e-6736-2edd-7fa34374bd60</id><updated>2024-04-30T11:32:24</updated><content type="xhtml"><div 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type="text/html"></link><id>e48fbac9-bb57-d12a-5484-2d0256125cbd</id><updated>2024-04-30T07:38:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p><p><a class="noExternalLinkIcon" href="https://spiritbomb.ai" target="_blank"><img src="./files/img/logos/spirit-bomb-logo.png" width="155"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Songs for Piano and Vocal Bass</title><link href="https://gavart.ist/#Songs%20for%20Piano%20and%20Vocal%20Bass"></link><link href="https://gavart.ist/static/Songs%2520for%2520Piano%2520and%2520Vocal%2520Bass.html" rel="alternative" type="text/html"></link><id>5795bd35-c0b2-f7bb-0f92-1a5c543a222c</id><updated>2024-04-29T00:06:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Guestbook</title><link href="https://gavart.ist/#Guestbook"></link><link href="https://gavart.ist/static/Guestbook.html" rel="alternative" type="text/html"></link><id>beaaed33-04b3-3c6c-601a-b5e4d98888df</id><updated>2024-04-29T00:00:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><iframe id="guestbook" name="guestbook" src="guestbook.php" width="700" style="border:none;"> <p><a href="guestbook.php">Guestbook</a></p> </iframe></p></div></content><author><name>undefined</name></author></entry><entry><title>kinopio</title><link href="https://gavart.ist/#kinopio"></link><link href="https://gavart.ist/static/kinopio.html" rel="alternative" type="text/html"></link><id>a64a2ab2-b040-232e-65f6-3c41332981c6</id><updated>2024-04-28T23:46:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>werc - A sane web anti-framework</title><link href="https://gavart.ist/#werc%20-%20A%20sane%20web%20anti-framework"></link><link 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type="text/html"></link><id>9eb92e31-c4fa-6f26-07bc-c2c5cdcd1da2</id><updated>2024-04-28T23:26:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>1000 Word Philosophy</title><link href="https://gavart.ist/#1000%20Word%20Philosophy"></link><link href="https://gavart.ist/static/1000%2520Word%2520Philosophy.html" rel="alternative" type="text/html"></link><id>d5e6a9da-899f-cf7e-3e5e-e21baf6a88d2</id><updated>2024-04-28T23:19:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mythic</title><link href="https://gavart.ist/#Mythic"></link><link href="https://gavart.ist/static/Mythic.html" rel="alternative" type="text/html"></link><id>69e275fa-2f3c-2d7c-cf0c-c139572aecc0</id><updated>2024-04-28T23:17:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Old School PC Font Resource</title><link href="https://gavart.ist/#Old%20School%20PC%20Font%20Resource"></link><link href="https://gavart.ist/static/Old%2520School%2520PC%2520Font%2520Resource.html" rel="alternative" type="text/html"></link><id>fcd464e9-5731-47da-9a96-46075df088ea</id><updated>2024-04-28T22:02:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Media Goblin</title><link href="https://gavart.ist/#Media%20Goblin"></link><link href="https://gavart.ist/static/Media%2520Goblin.html" rel="alternative" type="text/html"></link><id>373fef17-e711-d707-498b-106069763c79</id><updated>2024-04-28T21:56:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>floor 796</title><link href="https://gavart.ist/#floor%20796"></link><link href="https://gavart.ist/static/floor%2520796.html" rel="alternative" type="text/html"></link><id>3675aaf3-ff31-eece-7ba1-951e72e1ff75</id><updated>2024-04-28T21:54:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>nivethan.dev</title><link href="https://gavart.ist/#nivethan.dev"></link><link href="https://gavart.ist/static/nivethan.dev.html" rel="alternative" type="text/html"></link><id>37390ab8-f3ba-e4a5-62e3-b93e3bdb5f8d</id><updated>2024-04-28T21:53:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Koinos Kosmos</title><link href="https://gavart.ist/#Koinos%20Kosmos"></link><link href="https://gavart.ist/static/Koinos%2520Kosmos.html" rel="alternative" type="text/html"></link><id>a8bc81f6-f475-e198-783f-f33cd2543d34</id><updated>2024-04-28T21:52:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Al Sur De La Frontera</title><link href="https://gavart.ist/#Al%20Sur%20De%20La%20Frontera"></link><link href="https://gavart.ist/static/Al%2520Sur%2520De%2520La%2520Frontera.html" rel="alternative" type="text/html"></link><id>5581c4d4-a189-7c74-7003-c228b79f05f4</id><updated>2024-04-27T12:41:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/al-sur-la-frontera-2023.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Joshua Cataldo</title><link href="https://gavart.ist/#Joshua%20Cataldo"></link><link href="https://gavart.ist/static/Joshua%2520Cataldo.html" rel="alternative" type="text/html"></link><id>05574d4b-7c62-6e99-a023-c1289d2882d2</id><updated>2024-04-27T12:37:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ojai Music Festival 2014</title><link href="https://gavart.ist/#Ojai%20Music%20Festival%202014"></link><link href="https://gavart.ist/static/Ojai%2520Music%2520Festival%25202014.html" rel="alternative" type="text/html"></link><id>6954b5a9-2b59-4eb3-5aa2-1bc969e8a3ce</id><updated>2024-04-27T12:28:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ted%20Nava">Ted Nava</a>, Anna Thomas, and Wayne Behlendorf</p><p><img src="./files/img/attended-events/ojai-music-festival-2014.jpg" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Ojai</title><link href="https://gavart.ist/#Ojai"></link><link href="https://gavart.ist/static/Ojai.html" rel="alternative" type="text/html"></link><id>1e7bd184-1cb9-bec5-b301-3f71d62979ae</id><updated>2024-04-27T12:28:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Batch Import Images &amp; Specify System Path</title><link href="https://gavart.ist/#Batch%20Import%20Images%20%26%20Specify%20System%20Path"></link><link href="https://gavart.ist/static/Batch%2520Import%2520Images%2520%2526%2520Specify%2520System%2520Path.html" rel="alternative" type="text/html"></link><id>757bf72c-be75-166f-e739-4e3d4642b0b6</id><updated>2024-04-27T11:51:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A way to batch import external image tiddlers with canonical_uri paths set using the single-file version of TiddlyWiki.</p><p>Requires the creation of the following two macros (you can also drag a drop these into your own TiddlyWiki):</p><ul><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Fmacros%2FMyImages">$:/macros/MyImages</a></li><li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Fmacros%2FmakeFolder">$:/macros/makeFolder</a></li></ul><p>The first macro <strong>MyImages</strong> needs to be of type <code>application/x-tiddler-dictionary</code> and then the filenames also need to be in the following format in the tiddler body. I use a bash script to copy the formatting to the clipboard <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#img-list">img-list</a>.</p><pre><code>anki-kv.jpg: x
holly+-website.jpg: x
tumblr_krdyt7d6rl1qz8p60o1_1280.jpg: x
tumblr_le6gpkAbdl1qabcs8o1_1280.jpg: x</code></pre><br></br><p>Secondly, in the <strong>makeFolder</strong> macro, add the following, setting the <code>path</code> value to the relative path of the images on the server and the <code>explorerPath</code> value to the desired path within TiddlyWiki:</p><pre><code>\define gluepath() $(path)$$(image)$
&lt;$set name="path" value="/test/"&gt;
&lt;$set name="explorerPath" value="$:/images/test/"&gt;

&lt;$button&gt;Make Image Tiddlers
&lt;$list filter="[[$:/macros/MyImages]indexes[]]" variable="image"&gt;
&lt;$action-createtiddler $basetitle={{{ [&lt;image&gt;addprefix&lt;explorerPath&gt;] }}} _canonical_uri=&lt;&lt;gluepath&gt;&gt; type="image/jpeg"&gt;
&lt;/$list&gt;
&lt;/$button&gt;

&lt;/$set&gt;
&lt;/$set&gt;</code></pre><p>Lasty, press the button the above code creates to batch import externally embedded image tiddlers.</p></div></content><author><name>undefined</name></author></entry><entry><title>img-list</title><link href="https://gavart.ist/#img-list"></link><link href="https://gavart.ist/static/img-list.html" rel="alternative" type="text/html"></link><id>5beff84f-be1c-b280-f097-831d987beb99</id><updated>2024-04-27T11:50:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A bash shell script for use with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Batch%20Import%20Images%20%26%20Specify%20System%20Path">Batch Import Images &amp; Specify System Path</a> within <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a></p><pre><code>#!/bin/bash

# Check if a path argument was provided
if [ "$#" -ne 1 ]; then
    echo "Usage: $0 path_to_directory"
    exit 1
fi

# The first argument is the directory path
IMAGE_DIR="$1"

# Check if the directory exists
if [ ! -d "$IMAGE_DIR" ]; then
    echo "Error: Directory not found."
    exit 1
fi

# Go to the directory
cd "$IMAGE_DIR" || exit

# Initialize an empty variable to store the result
result=""

# Loop through each jpg file
for IMAGE in *.jpg; do
    # Check if it's a file
    if [ -f "$IMAGE" ]; then
        # Append filename and format to the result variable
        line="$IMAGE : x"
        echo "$line"
        result+="$line\n"
    fi
done

# Copy the result to the clipboard using pbcopy
echo -ne "$result" | pbcopy</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>SQPL</title><link href="https://gavart.ist/#SQPL"></link><link href="https://gavart.ist/static/SQPL.html" rel="alternative" type="text/html"></link><id>383b1d93-bfca-3adf-ee09-c8b941520191</id><updated>2024-04-26T23:40:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Saq's Plugin library.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Transmogrificantus Octet (score)</title><link href="https://gavart.ist/#Transmogrificantus%20Octet%20(score)"></link><link href="https://gavart.ist/static/Transmogrificantus%2520Octet%2520(score).html" rel="alternative" type="text/html"></link><id>378127d7-3cef-c588-ceef-279c052845cf</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Vectorial Monody (score)</title><link href="https://gavart.ist/#Vectorial%20Monody%20(score)"></link><link href="https://gavart.ist/static/Vectorial%2520Monody%2520(score).html" rel="alternative" type="text/html"></link><id>fff96706-d210-45da-669b-4c3025056f89</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>When you come to a fork in the road, take it. (score)</title><link href="https://gavart.ist/#When%20you%20come%20to%20a%20fork%20in%20the%20road%2C%20take%20it.%20(score)"></link><link href="https://gavart.ist/static/When%2520you%2520come%2520to%2520a%2520fork%2520in%2520the%2520road%252C%2520take%2520it.%2520(score).html" rel="alternative" type="text/html"></link><id>1ef34a21-f4f3-e2d4-0b51-8db2d73e5e1b</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wind Quintet No. 1 — NEREID (score)</title><link href="https://gavart.ist/#Wind%20Quintet%20No.%201%20%E2%80%94%20NEREID%20(score)"></link><link href="https://gavart.ist/static/Wind%2520Quintet%2520No.%25201%2520%25E2%2580%2594%2520NEREID%2520(score).html" rel="alternative" type="text/html"></link><id>539bb410-6d2b-1154-212a-75f957753f0d</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata (score)</title><link href="https://gavart.ist/#Sonata%20(score)"></link><link href="https://gavart.ist/static/Sonata%2520(score).html" rel="alternative" type="text/html"></link><id>e503498f-275c-c56f-1efa-be02a37430b0</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonatina (score)</title><link href="https://gavart.ist/#Sonatina%20(score)"></link><link href="https://gavart.ist/static/Sonatina%2520(score).html" rel="alternative" type="text/html"></link><id>3d4f0edc-3ccd-a3c6-c998-e4ba29c25ec7</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>String Quartet I : Mapping The Rivers' Unconscious (score)</title><link href="https://gavart.ist/#String%20Quartet%20I%20%3A%20Mapping%20The%20Rivers'%20Unconscious%20(score)"></link><link href="https://gavart.ist/static/String%2520Quartet%2520I%2520%253A%2520Mapping%2520The%2520Rivers'%2520Unconscious%2520(score).html" rel="alternative" type="text/html"></link><id>644b6960-bfb1-35c2-5933-cb3cabc558b4</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>String Trio I : Into The Magnificent Sea, I Dispose Of Thee (score)</title><link href="https://gavart.ist/#String%20Trio%20I%20%3A%20Into%20The%20Magnificent%20Sea%2C%20I%20Dispose%20Of%20Thee%20(score)"></link><link href="https://gavart.ist/static/String%2520Trio%2520I%2520%253A%2520Into%2520The%2520Magnificent%2520Sea%252C%2520I%2520Dispose%2520Of%2520Thee%2520(score).html" rel="alternative" type="text/html"></link><id>fa8fd8f7-0672-cd82-87a7-d35377f751de</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Instances that require no warning sign (score)</title><link href="https://gavart.ist/#Instances%20that%20require%20no%20warning%20sign%20(score)"></link><link href="https://gavart.ist/static/Instances%2520that%2520require%2520no%2520warning%2520sign%2520(score).html" rel="alternative" type="text/html"></link><id>fd00e949-d01c-df10-4668-888c914dcabe</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lipolysis (score)</title><link href="https://gavart.ist/#Lipolysis%20(score)"></link><link href="https://gavart.ist/static/Lipolysis%2520(score).html" rel="alternative" type="text/html"></link><id>162db1bf-e1d7-80a8-1bae-b887c0767893</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mareas (score)</title><link href="https://gavart.ist/#Mareas%20(score)"></link><link href="https://gavart.ist/static/Mareas%2520(score).html" rel="alternative" type="text/html"></link><id>be591b89-8cbf-6fca-d66d-9e7491d3b23c</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Medusa Sonospherics (score)</title><link href="https://gavart.ist/#Medusa%20Sonospherics%20(score)"></link><link href="https://gavart.ist/static/Medusa%2520Sonospherics%2520(score).html" rel="alternative" type="text/html"></link><id>311b4538-caa7-ca3b-de1d-08e1ebc40980</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Puzzle Weasel (score)</title><link href="https://gavart.ist/#Puzzle%20Weasel%20(score)"></link><link href="https://gavart.ist/static/Puzzle%2520Weasel%2520(score).html" rel="alternative" type="text/html"></link><id>d57607fa-3452-dab8-577c-d88e0c2331a8</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Quadratic Lattice (score)</title><link href="https://gavart.ist/#Quadratic%20Lattice%20(score)"></link><link href="https://gavart.ist/static/Quadratic%2520Lattice%2520(score).html" rel="alternative" type="text/html"></link><id>c518df09-51bc-b4ba-1adc-271243cb1afe</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Halcyon Suite (score)</title><link href="https://gavart.ist/#Halcyon%20Suite%20(score)"></link><link href="https://gavart.ist/static/Halcyon%2520Suite%2520(score).html" rel="alternative" type="text/html"></link><id>fed21898-4a17-912f-8b58-b2e919640da0</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Anamnesia (score)</title><link href="https://gavart.ist/#Anamnesia%20(score)"></link><link href="https://gavart.ist/static/Anamnesia%2520(score).html" rel="alternative" type="text/html"></link><id>88cba811-51b2-dcd2-2f33-69389d32f4bd</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Capacitance (score)</title><link href="https://gavart.ist/#Capacitance%20(score)"></link><link href="https://gavart.ist/static/Capacitance%2520(score).html" rel="alternative" type="text/html"></link><id>be79863e-b0ef-d5ef-5448-248bc574433f</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Feast in Fellowship with The Fallen (score)</title><link href="https://gavart.ist/#Feast%20in%20Fellowship%20with%20The%20Fallen%20(score)"></link><link href="https://gavart.ist/static/Feast%2520in%2520Fellowship%2520with%2520The%2520Fallen%2520(score).html" rel="alternative" type="text/html"></link><id>2eb0089d-2242-8f0a-b843-ece6c9ad2057</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Addicted Customers (score)</title><link href="https://gavart.ist/#Addicted%20Customers%20(score)"></link><link href="https://gavart.ist/static/Addicted%2520Customers%2520(score).html" rel="alternative" type="text/html"></link><id>2e6367de-bf13-afc7-eed4-a176fdc4ccf8</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>1685 • Goldberg Variaxon · after J.S Bach (score)</title><link href="https://gavart.ist/#1685%20%E2%80%A2%20Goldberg%20Variaxon%20%C2%B7%20after%20J.S%20Bach%20(score)"></link><link href="https://gavart.ist/static/1685%2520%25E2%2580%25A2%2520Goldberg%2520Variaxon%2520%25C2%25B7%2520after%2520J.S%2520Bach%2520(score).html" rel="alternative" type="text/html"></link><id>fbca0799-d16c-e082-f390-7cff84923c5a</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>1685 • Water Music Stillicides · after G.F Händel (score)</title><link href="https://gavart.ist/#1685%20%E2%80%A2%20Water%20Music%20Stillicides%20%C2%B7%20after%20G.F%20H%C3%A4ndel%20(score)"></link><link href="https://gavart.ist/static/1685%2520%25E2%2580%25A2%2520Water%2520Music%2520Stillicides%2520%25C2%25B7%2520after%2520G.F%2520H%25C3%25A4ndel%2520(score).html" rel="alternative" type="text/html"></link><id>3d0b60b8-2546-a541-8160-ff688db870af</id><updated>2024-04-26T12:54:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>String Quartet II : Anima Exstasis (score)</title><link href="https://gavart.ist/#String%20Quartet%20II%20%3A%20Anima%20Exstasis%20(score)"></link><link href="https://gavart.ist/static/String%2520Quartet%2520II%2520%253A%2520Anima%2520Exstasis%2520(score).html" rel="alternative" type="text/html"></link><id>1b8b02a7-e83c-972d-7dc9-d7eb6952714a</id><updated>2024-04-26T12:52:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wild/Gershwin · Etude 3 "The Man I Love"</title><link href="https://gavart.ist/#Wild%2FGershwin%20%C2%B7%20Etude%203%20%22The%20Man%20I%20Love%22"></link><link href="https://gavart.ist/static/Wild%252FGershwin%2520%25C2%25B7%2520Etude%25203%2520%2522The%2520Man%2520I%2520Love%2522.html" rel="alternative" type="text/html"></link><id>29f5ecd9-27ed-a31a-97b2-3f9fe5fccdab</id><updated>2024-04-25T20:01:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Etude%20%233%20%27The%20Man%20I%20Love%27%20from%207%20Virtuoso%20Etudes%20based%20on%20Gershwin%20Songs">Etude #3 'The Man I Love' from 7 Virtuoso Etudes based on Gershwin Songs</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Earl Wild • The Man I Love · Etude #3 (Live Studio)</title><link href="https://gavart.ist/#Earl%20Wild%20%E2%80%A2%20The%20Man%20I%20Love%20%C2%B7%20Etude%20%233%20(Live%20Studio)"></link><link href="https://gavart.ist/static/Earl%2520Wild%2520%25E2%2580%25A2%2520The%2520Man%2520I%2520Love%2520%25C2%25B7%2520Etude%2520%25233%2520(Live%2520Studio).html" rel="alternative" type="text/html"></link><id>41e940da-01ec-cceb-ddbf-d66e15631ffb</id><updated>2024-04-25T20:01:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/MufniZDEeDY?si=6f1M15bEfR2sAOn0" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Etude #3 'The Man I Love' from 7 Virtuoso Etudes based on Gershwin Songs</title><link href="https://gavart.ist/#Etude%20%233%20'The%20Man%20I%20Love'%20from%207%20Virtuoso%20Etudes%20based%20on%20Gershwin%20Songs"></link><link href="https://gavart.ist/static/Etude%2520%25233%2520'The%2520Man%2520I%2520Love'%2520from%25207%2520Virtuoso%2520Etudes%2520based%2520on%2520Gershwin%2520Songs.html" rel="alternative" type="text/html"></link><id>d9fb46ee-f70c-9fd6-6fe0-f2298edbf388</id><updated>2024-04-25T19:59:36</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Return a List of Tiddlers with Text field &gt; 50</title><link href="https://gavart.ist/#Return%20a%20List%20of%20Tiddlers%20with%20Text%20field%20%3E%2050"></link><link href="https://gavart.ist/static/Return%2520a%2520List%2520of%2520Tiddlers%2520with%2520Text%2520field%2520%253E%252050.html" rel="alternative" type="text/html"></link><id>63d48793-4fba-c440-75a4-4685c44c8eaf</id><updated>2024-04-24T15:23:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><pre><code>&lt;$list filter="[tag[Bookcase]]"&gt;

{{{ [is[current]] :filter[get[text]minlength[50]] }}}

&lt;/$list&gt;</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Activity Log Tools</title><link href="https://gavart.ist/#Activity%20Log%20Tools"></link><link href="https://gavart.ist/static/Activity%2520Log%2520Tools.html" rel="alternative" type="text/html"></link><id>d3e4208c-1f73-4b8e-5117-d8a3f1dfe0f5</id><updated>2024-04-24T14:12:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TW Calendar + Visualization Dashboard</title><link href="https://gavart.ist/#TW%20Calendar%20%2B%20Visualization%20Dashboard"></link><link href="https://gavart.ist/static/TW%2520Calendar%2520%252B%2520Visualization%2520Dashboard.html" rel="alternative" type="text/html"></link><id>47d00295-94c4-5e05-829c-6f9d3169d390</id><updated>2024-04-24T14:09:38</updated><content type="xhtml"><div 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>WACZ Format</title><link href="https://gavart.ist/#WACZ%20Format"></link><link href="https://gavart.ist/static/WACZ%2520Format.html" rel="alternative" type="text/html"></link><id>91530ae5-2856-57bc-0f1e-7beceba5d557</id><updated>2024-04-18T15:05:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>John Titor</title><link href="https://gavart.ist/#John%20Titor"></link><link href="https://gavart.ist/static/John%2520Titor.html" rel="alternative" type="text/html"></link><id>c87291b5-7ac5-44e6-735c-20bbe454ef5f</id><updated>2024-04-18T14:32:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Batch Image Scraping via HAR</title><link href="https://gavart.ist/#Batch%20Image%20Scraping%20via%20HAR"></link><link href="https://gavart.ist/static/Batch%2520Image%2520Scraping%2520via%2520HAR.html" rel="alternative" type="text/html"></link><id>177f2e28-acc7-b568-55bb-bfbeb92b4584</id><updated>2024-04-18T09:16:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" href="https://github.com/protrolium/image-get" rel="noopener noreferrer" target="_blank">code repository</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Chartmetric API Scraper</title><link href="https://gavart.ist/#Chartmetric%20API%20Scraper"></link><link href="https://gavart.ist/static/Chartmetric%2520API%2520Scraper.html" rel="alternative" type="text/html"></link><id>f6e51723-ce02-d098-d9a5-6b04c80e65ee</id><updated>2024-04-18T09:15:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" 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href="https://gavart.ist/static/Twitter%2520Posting%2520Bot%2520(deprecated).html" rel="alternative" type="text/html"></link><id>c33fd73c-0729-efdd-bfc4-017d0a0f8ce8</id><updated>2024-04-18T09:07:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink-external" href="https://github.com/protrolium/postman-google-sheets-api" rel="noopener noreferrer" target="_blank">code repository</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Rainer Maria Rilke</title><link href="https://gavart.ist/#Rainer%20Maria%20Rilke"></link><link href="https://gavart.ist/static/Rainer%2520Maria%2520Rilke.html" rel="alternative" type="text/html"></link><id>2dba050c-9c5e-7e5f-46e9-a1681a861f47</id><updated>2024-04-17T23:59:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The past is never dead. It's not even past …</title><link href="https://gavart.ist/#The%20past%20is%20never%20dead.%20It's%20not%20even%20past%20%E2%80%A6"></link><link href="https://gavart.ist/static/The%2520past%2520is%2520never%2520dead.%2520It's%2520not%2520even%2520past%2520%25E2%2580%25A6.html" rel="alternative" type="text/html"></link><id>fe19b2c2-b276-97ee-9f42-a0736aefd745</id><updated>2024-04-17T09:41:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The past is never dead. It's not even past. All of us labor in webs spun long before we were born, webs of heredity and environment, of desire and consequence, of history and eternity. Haunted by wrong turns and roads not taken, we pursue images perceived as new but whose providence dates to the dim dramas of childhood, which are themselves but ripples of consequence echoing down the generations. 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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/J_nBHUWfZSk?si=1gngR7EaXzx90Abo" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>radio high. 001 ft Jamee Cornelia · 747 Airlines</title><link href="https://gavart.ist/#radio%20high.%20001%20ft%20Jamee%20Cornelia%20%C2%B7%20747%20Airlines"></link><link href="https://gavart.ist/static/radio%2520high.%2520001%2520ft%2520Jamee%2520Cornelia%2520%25C2%25B7%2520747%2520Airlines.html" rel="alternative" type="text/html"></link><id>f88ff467-add1-aab4-2109-b4a0a64f1518</id><updated>2024-04-12T09:53:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="max-width"><img src=""></img></div></p><h3 class=""><strong>Title</strong>: <br></br><strong>Release Date</strong>: <br></br><strong>Label</strong>: <br></br><strong>Platforms</strong>: <br></br></h3></div></content><author><name>undefined</name></author></entry><entry><title>Holly+ Season One</title><link href="https://gavart.ist/#Holly%2B%20Season%20One"></link><link href="https://gavart.ist/static/Holly%252B%2520Season%2520One.html" rel="alternative" type="text/html"></link><id>6f4d966d-ba1a-3418-ba1d-bf7dcbfa2c77</id><updated>2024-04-12T09:53:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="max-width"><img src=""></img></div></p><h3 class=""><strong>Title</strong>: <br></br><strong>Release Date</strong>: <br></br><strong>Label</strong>: <br></br><strong>Platforms</strong>: <br></br></h3><h2 class="">Holly+ is generative AI music project by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Holly%20Herndon">Holly Herndon</a> and Mat Dryhurst. Website: <a class="tc-tiddlylink-external" href="https://auction.holly.plus" rel="noopener noreferrer" target="_blank">auction.holly.plus</a></h2><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%2B%20Convexity%20Effect">+ Convexity Effect</a>, my <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Remix">remix</a> using <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TidalCycles">TidalCycles</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio</a> and the <a class="tc-tiddlylink-external" href="https://holly.plus" rel="noopener noreferrer" target="_blank">Holly+</a> voice model is token 56 in the Season One collection.</h2></div></content><author><name>undefined</name></author></entry><entry><title>Miners Aren't Your Friends</title><link href="https://gavart.ist/#Miners%20Aren't%20Your%20Friends"></link><link href="https://gavart.ist/static/Miners%2520Aren't%2520Your%2520Friends.html" rel="alternative" type="text/html"></link><id>3f0fc892-967c-1235-246e-50a2146028ea</id><updated>2024-04-12T09:53:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Juicebox.money</title><link href="https://gavart.ist/#Juicebox.money"></link><link href="https://gavart.ist/static/Juicebox.money.html" rel="alternative" type="text/html"></link><id>d6fdb6fa-82c5-9f36-a026-1d81b10cc69c</id><updated>2024-04-12T09:53:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Asterix</title><link href="https://gavart.ist/#Asterix"></link><link href="https://gavart.ist/static/Asterix.html" rel="alternative" type="text/html"></link><id>04f12454-f079-d0e3-a619-8a6d75bd937c</id><updated>2024-04-12T09:53:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Ethereum · EVM</title><link href="https://gavart.ist/#Ethereum%20%C2%B7%20EVM"></link><link href="https://gavart.ist/static/Ethereum%2520%25C2%25B7%2520EVM.html" rel="alternative" type="text/html"></link><id>c9338ef1-40cb-c1e8-7172-bd8190e53e3c</id><updated>2024-04-12T09:53:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>using metaflac to set tags on FLAC files</title><link href="https://gavart.ist/#using%20metaflac%20to%20set%20tags%20on%20FLAC%20files"></link><link href="https://gavart.ist/static/using%2520metaflac%2520to%2520set%2520tags%2520on%2520FLAC%2520files.html" rel="alternative" type="text/html"></link><id>520dfde5-0fea-c682-914b-85c0d53f1bf0</id><updated>2024-04-08T17:15:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><code>$ brew install metaflac</code></p><p>example</p><pre><code>$ metaflac --set-tag=title="string" --set-tag=artist="string" --set-tag=album="string" file.flac</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Sundays with Coleman • Concerto Italiano &amp; Rinaldo Alessandrini</title><link href="https://gavart.ist/#Sundays%20with%20Coleman%20%E2%80%A2%20Concerto%20Italiano%20%26%20Rinaldo%20Alessandrini"></link><link href="https://gavart.ist/static/Sundays%2520with%2520Coleman%2520%25E2%2580%25A2%2520Concerto%2520Italiano%2520%2526%2520Rinaldo%2520Alessandrini.html" rel="alternative" type="text/html"></link><id>bb5a54a3-1de8-cb3a-17de-1e15e45374f1</id><updated>2024-04-07T20:47:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#X%C3%A1rene%20Eskandar">Xárene Eskandar</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nailah%20Hunter">Nailah Hunter</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ali%20Helnwein">Ali Helnwein</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Anderson">Daniel Anderson</a>, Soraya Roudsari</p><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>The Indomitable Bow</title><link href="https://gavart.ist/#The%20Indomitable%20Bow"></link><link href="https://gavart.ist/static/The%2520Indomitable%2520Bow.html" rel="alternative" type="text/html"></link><id>dac6d1b3-fd22-e0f3-c972-2fa7cdfca0fd</id><updated>2024-04-07T20:44:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with Beth Hagenbuch, Ken Weikal</p><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>SAQ's TW5 Sandbox</title><link href="https://gavart.ist/#SAQ's%20TW5%20Sandbox"></link><link href="https://gavart.ist/static/SAQ's%2520TW5%2520Sandbox.html" rel="alternative" type="text/html"></link><id>3379694f-7778-4aa5-5f57-6dce83bf8ee0</id><updated>2024-04-07T20:18:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Unpoly</title><link href="https://gavart.ist/#Unpoly"></link><link href="https://gavart.ist/static/Unpoly.html" rel="alternative" type="text/html"></link><id>2747349a-5add-f14a-93f1-24bb0e339422</id><updated>2024-04-06T10:48:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Festival of Invisible Cinema XVII 2023</title><link href="https://gavart.ist/#Festival%20of%20Invisible%20Cinema%20XVII%202023"></link><link href="https://gavart.ist/static/Festival%2520of%2520Invisible%2520Cinema%2520XVII%25202023.html" rel="alternative" type="text/html"></link><id>ac4d0d59-96b6-3f90-ce23-7d24155e74b5</id><updated>2024-04-02T06:22:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/misc/msu-zagreb-polia-3.jpg"></img><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a> will present the cinematic opera <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a> as part of The Begotten Cycle at FILMSKE MUTACIJE: FESTIVAL NEVIDLJIVOG FILMA XVII - KINO ARTAUD / KINO BRECHT: Kome pripada patos? in Zagreb, Croatia.</h2><h2 class="">In the Gorgona Hall, the <a class="tc-tiddlylink-external" href="http://www.msu.hr/dogadanja/filmske-mutacije-festival-nevidljivog-filma-xvii-kino-artaud-kino-brecht-kome-pripada-patos/1338/en.html" rel="noopener noreferrer" target="_blank">Museum of Contemporary Art in Zagreb</a> opens the 17th edition of <a class="tc-tiddlylink-external" href="https://filmskemutacije.com/" rel="noopener noreferrer" target="_blank">Film Mutations: The Festival of Invisible Film</a> with the reanimator of tragedy, the American film, theater and visual artist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a> and his cult trilogy Begotten which fuses the metaphysical actionism of his Theatreofmaterial, the materiality of the film avant-garde and the passion for the genre of the unconscious—cosmic horror. This attraction of the visionary film is preceded by the musical performance SYZYGY by the Welsh artist of voice and contemporary sound Elvin Brandhi, the first act of the uncompromising program of filmologist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Daniel%20Bird">Daniel Bird</a> — ATTACK OF THE SENSES: A RETURN TO ARTAUD.</h2><h2 class=""><strong>Film Mutations: Festival of Invisible Cinema</strong> is a filmological project on the politics of film curatorship and modes of migration of the cinematic dispositive in digital era, initiated in Zagreb in 2007 by performance artist and filmologist Tanja Vrvilo.</h2><p><a class="noExternalLinkIcon" href="https://filmskemutacije.com/" target="_blank"><img src="./files/img/misc/msu-zagreb-polia-2.jpg"></img></a></p><p><a class="noExternalLinkIcon" href="https://filmskemutacije.com/" target="_blank"><img src="./files/img/misc/msu-zagreb-polia-4.jpg"></img></a></p><p><a class="noExternalLinkIcon" href="http://www.msu.hr/dogadanja/filmske-mutacije-festival-nevidljivog-filma-xvii-kino-artaud-kino-brecht-kome-pripada-patos/1338/en.html" target="_blank"><img src="./files/img/misc/msu-zagreb-polia.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Grolandais International Film Festival XXII 2023</title><link href="https://gavart.ist/#Grolandais%20International%20Film%20Festival%20XXII%202023"></link><link href="https://gavart.ist/static/Grolandais%2520International%2520Film%2520Festival%2520XXII%25202023.html" rel="alternative" type="text/html"></link><id>820997d3-18b8-be7f-8010-abccef1f9d5b</id><updated>2024-04-02T06:22:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a> will present the cinematic opera <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a> as part of The Begotten Cycle at the 12th Grolandais International Film Festival in Toulouse, France.</h2><h2 class=""><a class="tc-tiddlylink-external" href="https://fifigrot.com/events/le-cycle-begotten-gro-lart/" rel="noopener noreferrer" target="_blank">Festival Program</a></h2><p><a class="noExternalLinkIcon" href="https://fifigrot.com/events/le-cycle-begotten-gro-lart/" target="_blank"><img src="./files/img/misc/grolandais-festival-screenshot.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Etrange Festival XXIX 2023</title><link href="https://gavart.ist/#Etrange%20Festival%20XXIX%202023"></link><link href="https://gavart.ist/static/Etrange%2520Festival%2520XXIX%25202023.html" rel="alternative" type="text/html"></link><id>7e4898bf-b3fb-2b5c-a68f-e9012e4eb8c8</id><updated>2024-04-02T06:22:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class=""><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a> will present the cinematic opera <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia &amp; Blastema</a> as part of The Begotten Cycle at the XXIX Etrange Festival in Paris, France.</h2><h2 class=""><a class="tc-tiddlylink-external" href="https://www.etrangefestival.com/2023/en/show/the-begotten-cycle" rel="noopener noreferrer" target="_blank">Festival Program</a></h2><p><main class="grid">
		
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	</main></p><p><a class="noExternalLinkIcon" href="https://www.etrangefestival.com/2023/en/show/the-begotten-cycle" target="_blank"><img src="./files/img/posters/etrangefestival-2023.jpg"></img></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Illinois</title><link href="https://gavart.ist/#Illinois"></link><link href="https://gavart.ist/static/Illinois.html" rel="alternative" type="text/html"></link><id>66c2b329-479e-e151-b4c6-b257c0b7a9b7</id><updated>2024-04-02T06:13:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Chicago</title><link href="https://gavart.ist/#Chicago"></link><link href="https://gavart.ist/static/Chicago.html" rel="alternative" type="text/html"></link><id>9cfa1e69-f507-d007-a516-eb3e9f5074e2</id><updated>2024-04-02T06:12:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>PageTableNext Module</title><link href="https://gavart.ist/#PageTableNext%20Module"></link><link href="https://gavart.ist/static/PageTableNext%2520Module.html" rel="alternative" type="text/html"></link><id>19e5b3e6-1078-c9a7-a6b9-03c87c865ef7</id><updated>2024-04-02T06:03:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Random · Beatsurfing</title><link href="https://gavart.ist/#Random%20%C2%B7%20Beatsurfing"></link><link href="https://gavart.ist/static/Random%2520%25C2%25B7%2520Beatsurfing.html" rel="alternative" type="text/html"></link><id>4595a623-3f7e-27ef-615f-2be1b5778c86</id><updated>2024-03-29T12:03:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Spat · IRCAM</title><link href="https://gavart.ist/#Spat%20%C2%B7%20IRCAM"></link><link href="https://gavart.ist/static/Spat%2520%25C2%25B7%2520IRCAM.html" rel="alternative" type="text/html"></link><id>474f38f0-d628-05e9-9c7e-13848a0e2145</id><updated>2024-03-29T12:02:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>multion.ai</title><link href="https://gavart.ist/#multion.ai"></link><link href="https://gavart.ist/static/multion.ai.html" rel="alternative" type="text/html"></link><id>e79f27f8-29a3-7040-c8ad-d2d866358d95</id><updated>2024-03-29T11:58:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Degrowth</title><link href="https://gavart.ist/#Degrowth"></link><link href="https://gavart.ist/static/Degrowth.html" rel="alternative" type="text/html"></link><id>b100801a-40be-58cf-364d-72c2045efc0b</id><updated>2024-03-29T11:53:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mars College</title><link href="https://gavart.ist/#Mars%20College"></link><link href="https://gavart.ist/static/Mars%2520College.html" rel="alternative" type="text/html"></link><id>04600774-895c-fd42-11c8-adff33f6d49e</id><updated>2024-03-29T11:53:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Electroluminiscent Quantum Dot Display</title><link href="https://gavart.ist/#Electroluminiscent%20Quantum%20Dot%20Display"></link><link href="https://gavart.ist/static/Electroluminiscent%2520Quantum%2520Dot%2520Display.html" rel="alternative" type="text/html"></link><id>ab6c8b05-712a-f079-00b2-bfd6548fdc41</id><updated>2024-03-29T11:44:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink-external" href="https://www.techspot.com/news/97291-nanosys-demonstrates-electroluminescent-quantum-dot-display-technology-ces.html" rel="noopener noreferrer" target="_blank">Nanosys shows off next-gen electroluminescent quantum dot display technology</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Prezi</title><link href="https://gavart.ist/#Prezi"></link><link href="https://gavart.ist/static/Prezi.html" rel="alternative" type="text/html"></link><id>372fbf25-d6bb-b7ba-24bc-519fac29dbf9</id><updated>2024-03-29T11:41:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Delegative Democracy</title><link href="https://gavart.ist/#Delegative%20Democracy"></link><link href="https://gavart.ist/static/Delegative%2520Democracy.html" rel="alternative" type="text/html"></link><id>8c510ee5-6c6d-9d5c-a616-8f24e19b043c</id><updated>2024-03-29T11:39:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>SCAMP</title><link href="https://gavart.ist/#SCAMP"></link><link href="https://gavart.ist/static/SCAMP.html" rel="alternative" type="text/html"></link><id>8fd41996-1fa1-0dd3-a467-0b7501fde666</id><updated>2024-03-29T11:36:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Millumin 4</title><link href="https://gavart.ist/#Millumin%204"></link><link href="https://gavart.ist/static/Millumin%25204.html" rel="alternative" type="text/html"></link><id>15ebb85a-df8c-937c-4a82-6a6fe9162c76</id><updated>2024-03-29T11:35:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>In Sheep's Clothing Hi-Fi</title><link href="https://gavart.ist/#In%20Sheep's%20Clothing%20Hi-Fi"></link><link href="https://gavart.ist/static/In%2520Sheep's%2520Clothing%2520Hi-Fi.html" rel="alternative" type="text/html"></link><id>58f97bca-b4a5-d51f-74e3-c981e3b1cf34</id><updated>2024-03-29T11:31:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>HATNet Project</title><link href="https://gavart.ist/#HATNet%20Project"></link><link href="https://gavart.ist/static/HATNet%2520Project.html" rel="alternative" type="text/html"></link><id>fd5fc030-80bb-938c-f645-3f0c80aa4902</id><updated>2024-03-29T11:19:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink-external" href="https://www.astro.princeton.edu/~gbakos/index.html" rel="noopener noreferrer" target="_blank">Gáspár Bakos, who has discovered more exoplanets than anyone else currently</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Sister Corita Kent</title><link href="https://gavart.ist/#Sister%20Corita%20Kent"></link><link href="https://gavart.ist/static/Sister%2520Corita%2520Kent.html" rel="alternative" type="text/html"></link><id>521ce41d-84e2-dc8c-a016-5e7b7bec8d75</id><updated>2024-03-29T11:07:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink-external" href="https://aperture.org/editorial/the-nun-who-became-a-pop-art-activist/" rel="noopener noreferrer" target="_blank">Apeture • The Nun Who Became a Pop Art Activist</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Wilma Mankiller</title><link href="https://gavart.ist/#Wilma%20Mankiller"></link><link href="https://gavart.ist/static/Wilma%2520Mankiller.html" rel="alternative" type="text/html"></link><id>5a1c87e6-6341-c084-2084-0ccda3c038c8</id><updated>2024-03-29T11:04:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink-external" href="https://womenshistory.si.edu/blog/wilma-mankiller-led-first-woman-principal-chief-cherokee-nation" rel="noopener noreferrer" target="_blank">Smithsonian American Women's History Museum</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Conlon Nancarrow Sonatina For Piano (Live Studio)</title><link href="https://gavart.ist/#Conlon%20Nancarrow%20Sonatina%20For%20Piano%20(Live%20Studio)"></link><link href="https://gavart.ist/static/Conlon%2520Nancarrow%2520Sonatina%2520For%2520Piano%2520(Live%2520Studio).html" rel="alternative" type="text/html"></link><id>c7bfadfa-210b-d452-ffcf-490782997b2f</id><updated>2024-03-29T10:10:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" referrerpolicy="strict-origin-when-cross-origin" src="https://www.youtube.com/embed/QxPjzypW-EY?si=trca5gfEH7XZCym4" title="YouTube video player" width="560"></iframe>
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Peter Greenaway's "LANDSCAPE" Lecture</title><link href="https://gavart.ist/#Peter%20Greenaway's%20%22LANDSCAPE%22%20Lecture"></link><link href="https://gavart.ist/static/Peter%2520Greenaway's%2520%2522LANDSCAPE%2522%2520Lecture.html" rel="alternative" type="text/html"></link><id>19dab862-6c0d-53f0-f607-74cc5086b9ae</id><updated>2024-03-26T15:34:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/greenaway-ac-2022-3.jpg"></img><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alex%20The%20Brown">Alex The Brown</a></p><p class="digitalGarden">I attended a fascinating lecture titled "LANDSCAPES" given by the filmmaker Peter Greenaway at the Aero Theater in Santa Monica on 21 August 2022. In it he described his early life with his amateur naturalist father, his study of fine art and painting, and the way in which his film career got started, presenting scenes from <em>The Draughtsman's Contract</em> all the way up to his latest film <em>Walking To Paris</em>, and revealing their distinguishing thematic linkages and connections to landscapes (both literal and imagistically emotional ones), the notion of the 'frame', and color &amp; lighting theory. </p><p class="digitalGarden">After the lecture I had the chance to speak with him briefly inside the lobby near the entrance to the theater. I told him he was a true practitioner of <em>bildwissenschaft</em>, and when I began to describe what the word meant he cut me off to tell me he was already aware of the word, brushing it off and closing his eyes in a display of vague boredom. I then told him that I was a composer, not a Hollywood film-composer … that I didn't like to be told what to compose, to which he replied "good for you". He said that he never showed composers that he worked with the screenplays to his films, because it was his belief that composers are "visually illiterate". I told him I was working on opera, and as he left he patted me on the shoulder, repeating "Success. Success", which I interpreted as the Dutch way of saying "Good luck".
<br></br>
 </p><img src="./files/img/attended-events/greenaway-ac-2022-1.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Polymnia</title><link href="https://gavart.ist/#Polymnia"></link><link href="https://gavart.ist/static/Polymnia.html" rel="alternative" type="text/html"></link><id>157efc66-5b48-80c3-2cd4-e18c81f7c939</id><updated>2024-03-26T15:33:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a></p><p><main class="grid">
		
			<div class="tc-btn-invisible">
				<img class="grid-poster-image" src="./files/img/attended-events/polymnia.JPG"></img>
			</div>
		
		
	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Terce · A Practical Breviary</title><link href="https://gavart.ist/#Terce%20%C2%B7%20A%20Practical%20Breviary"></link><link href="https://gavart.ist/static/Terce%2520%25C2%25B7%2520A%2520Practical%2520Breviary.html" rel="alternative" type="text/html"></link><id>238506a2-7a78-c743-27cb-2cfe4337b9eb</id><updated>2024-03-26T15:32:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a></p><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/oi7nDFW4vHw?si=JNnEP2SZem1IFm7w" title="YouTube video player" width="560"></iframe></div></p></div></content><author><name>undefined</name></author></entry><entry><title>Sunn O))) • Live at The Regent</title><link href="https://gavart.ist/#Sunn%20O)))%20%E2%80%A2%20Live%20at%20The%20Regent"></link><link href="https://gavart.ist/static/Sunn%2520O)))%2520%25E2%2580%25A2%2520Live%2520at%2520The%2520Regent.html" rel="alternative" type="text/html"></link><id>f718ebc5-9b17-4127-f1f8-01b9f1bda6a2</id><updated>2024-03-26T15:32:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige</a></p><img src="./files/img/attended-events/sunn-o)))-2016.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Chornobyldorf</title><link href="https://gavart.ist/#Chornobyldorf"></link><link href="https://gavart.ist/static/Chornobyldorf.html" rel="alternative" type="text/html"></link><id>6d3c0c0d-0759-e3c6-63a7-cefccf6d0827</id><updated>2024-03-26T15:31:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alexia%20Veytia-Rubio">Alexia Veytia-Rubio</a></p><img src="./files/img/attended-events/chornobyldorf-poster.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Philip Glass • Satyagraha • LA Opera</title><link href="https://gavart.ist/#Philip%20Glass%20%E2%80%A2%20Satyagraha%20%E2%80%A2%20LA%20Opera"></link><link href="https://gavart.ist/static/Philip%2520Glass%2520%25E2%2580%25A2%2520Satyagraha%2520%25E2%2580%25A2%2520LA%2520Opera.html" rel="alternative" type="text/html"></link><id>151ad619-ba72-e79e-bbb3-91da2b3d0a1b</id><updated>2024-03-26T15:31:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Attended with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jake%20Bloch">Jake Bloch</a></p><img src="./files/img/attended-events/satyagraha-la-opera.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven Unbound • Esa Pekka Salonen conducts LA Phil</title><link href="https://gavart.ist/#Beethoven%20Unbound%20%E2%80%A2%20Esa%20Pekka%20Salonen%20conducts%20LA%20Phil"></link><link href="https://gavart.ist/static/Beethoven%2520Unbound%2520%25E2%2580%25A2%2520Esa%2520Pekka%2520Salonen%2520conducts%2520LA%2520Phil.html" rel="alternative" type="text/html"></link><id>02b5df70-d858-0e62-4351-c0004be49117</id><updated>2024-03-26T15:13:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Esa-Pekka Salonen conducts the Philharmonic and the Los Angeles Master Chorale. </h2><h2 class="">Soloists: soprano Twyla Robinson, mezzo-soprano Jill Grove, tenor Marcus Haddock and bass-baritone Alan Held. </h2><img src="./files/img/attended-events/la-phil-beethoven-ligeti-2006.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Jacaranda · Satellite States</title><link href="https://gavart.ist/#Jacaranda%20%C2%B7%20Satellite%20States"></link><link href="https://gavart.ist/static/Jacaranda%2520%25C2%25B7%2520Satellite%2520States.html" rel="alternative" type="text/html"></link><id>532c25f7-4e22-b91f-6d44-eb3a597f9070</id><updated>2024-03-26T15:03:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/jacaranda-april-2015.jpg"></img><img src="./files/img/attended-events/jacaranda-satellite-states-2015.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>Sonatina For Piano</title><link href="https://gavart.ist/#Sonatina%20For%20Piano"></link><link href="https://gavart.ist/static/Sonatina%2520For%2520Piano.html" rel="alternative" type="text/html"></link><id>274858b8-467b-7c3e-9b12-d339968378a6</id><updated>2024-03-25T23:22:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Material Theme</title><link href="https://gavart.ist/#Material%20Theme"></link><link href="https://gavart.ist/static/Material%2520Theme.html" rel="alternative" type="text/html"></link><id>d808817e-55f9-22cf-c2fe-b5cb2492ea5b</id><updated>2024-03-25T15:44:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>jd's TiddlyWiki page</title><link href="https://gavart.ist/#jd's%20TiddlyWiki%20page"></link><link href="https://gavart.ist/static/jd's%2520TiddlyWiki%2520page.html" rel="alternative" type="text/html"></link><id>d202bbc2-9b86-5e02-283f-61d5c77b821c</id><updated>2024-03-25T15:43:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mono Theme</title><link href="https://gavart.ist/#Mono%20Theme"></link><link href="https://gavart.ist/static/Mono%2520Theme.html" rel="alternative" type="text/html"></link><id>9725cec1-e6bc-3b19-2ea3-a78eaf98d0d0</id><updated>2024-03-16T11:43:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>D'LEAU</title><link href="https://gavart.ist/#D'LEAU"></link><link href="https://gavart.ist/static/D'LEAU.html" rel="alternative" type="text/html"></link><id>b5f96803-44e3-6df7-6577-e86cda92d995</id><updated>2024-03-15T13:39:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Flute</title><link href="https://gavart.ist/#Flute"></link><link href="https://gavart.ist/static/Flute.html" rel="alternative" type="text/html"></link><id>14df6ecb-e5be-68ab-6a94-fe8910a16e66</id><updated>2024-03-15T12:46:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Feast in Fellowship with The Fallen (Score Follower)</title><link href="https://gavart.ist/#Feast%20in%20Fellowship%20with%20The%20Fallen%20(Score%20Follower)"></link><link href="https://gavart.ist/static/Feast%2520in%2520Fellowship%2520with%2520The%2520Fallen%2520(Score%2520Follower).html" rel="alternative" type="text/html"></link><id>f0eac4fa-92dd-e7af-bb4a-796cd892850d</id><updated>2024-03-08T16:52:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/aevDojJpQwM?si=XZqXFidMAvXbcpFe" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Mitsuko Uchida · CAMA Masterseries at the Lobero</title><link href="https://gavart.ist/#Mitsuko%20Uchida%20%C2%B7%20CAMA%20Masterseries%20at%20the%20Lobero"></link><link href="https://gavart.ist/static/Mitsuko%2520Uchida%2520%25C2%25B7%2520CAMA%2520Masterseries%2520at%2520the%2520Lobero.html" rel="alternative" type="text/html"></link><id>422a9d86-0445-7018-f671-9630a8c0d8c6</id><updated>2024-03-07T13:22:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
			<div class="tc-btn-invisible">
				<img class="grid-poster-image" src="./files/img/attended-events/mitsuko-uchida-lobero.jpg"></img>
			</div>
		
		
	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Krystian Zimerman · CAMA Masterseries at the Lobero</title><link href="https://gavart.ist/#Krystian%20Zimerman%20%C2%B7%20CAMA%20Masterseries%20at%20the%20Lobero"></link><link href="https://gavart.ist/static/Krystian%2520Zimerman%2520%25C2%25B7%2520CAMA%2520Masterseries%2520at%2520the%2520Lobero.html" rel="alternative" type="text/html"></link><id>3560746a-90b9-f87f-cbf9-f85a9a6f6c4a</id><updated>2024-03-07T13:20:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
			<div class="tc-btn-invisible">
				<img class="grid-poster-image" src="./files/img/attended-events/krystian-zimerman-lobero.jpg"></img>
			</div>
		
			<div class="tc-btn-invisible">
				<img class="grid-poster-image" src="./files/img/attended-events/krystian-zimerman-lobero-2.jpg"></img>
			</div>
		
		
	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>lftp TiddlyWiki single-file push</title><link href="https://gavart.ist/#lftp%20TiddlyWiki%20single-file%20push"></link><link href="https://gavart.ist/static/lftp%2520TiddlyWiki%2520single-file%2520push.html" rel="alternative" type="text/html"></link><id>7099056b-7f83-f86b-7cb2-fa70ecccb6d9</id><updated>2024-03-07T13:00:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">This is a script for automating my digital garden updates that preserves the previous version on the server by renaming the current <code>index.html</code> to <code>_index.html</code> for saftey.</h2><p>This bash script uses <a class="tc-tiddlylink-external" href="https://lftp.yar.ru/" rel="noopener noreferrer" target="_blank">lftp</a> via the command line and is saved to <code>/usr/local/bin</code>. You can make it executable globally with <code>sudo chmod +x myScriptName</code></p><pre><code>#!/bin/bash

HOST='myhostname'
USER='myuser'
PASSWD='mypassword'
LOCAL_FILE='path/to/index.html'
REMOTE_DIR='path/to/remote-dir/'

lftp -u $USER,$PASSWD $HOST &lt;&lt;EOF
echo "Connecting to FTP server..."
cd $REMOTE_DIR
echo "Changed directory to $REMOTE_DIR."

rm _index.html
echo "_index.html file deleted."

mv index.html _index.html
echo "index.html file renamed to _index.html."

put $LOCAL_FILE -o index.html
echo "Local index.html file uploaded."

bye
EOF

echo "push complete"</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>wtflolwhy</title><link href="https://gavart.ist/#wtflolwhy"></link><link href="https://gavart.ist/static/wtflolwhy.html" rel="alternative" type="text/html"></link><id>4ac4eb02-25af-c0b2-158b-3e530db291af</id><updated>2024-03-06T22:06:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Subconscious</title><link href="https://gavart.ist/#The%20Subconscious"></link><link href="https://gavart.ist/static/The%2520Subconscious.html" rel="alternative" type="text/html"></link><id>5accb5c9-a30a-c79b-f46b-8637646fead3</id><updated>2024-03-06T22:06:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Defiant</title><link href="https://gavart.ist/#The%20Defiant"></link><link href="https://gavart.ist/static/The%2520Defiant.html" rel="alternative" type="text/html"></link><id>2af3d8b6-fe12-a1ae-4644-fcff4a576eef</id><updated>2024-03-06T22:06:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Map Is Mostly Water</title><link href="https://gavart.ist/#The%20Map%20Is%20Mostly%20Water"></link><link href="https://gavart.ist/static/The%2520Map%2520Is%2520Mostly%2520Water.html" rel="alternative" type="text/html"></link><id>f8dd5229-e724-8ab8-dc06-0dd487ab09e5</id><updated>2024-03-06T22:06:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><ul><li><strong><a class="tc-tiddlylink-external" href="https://simonsarris.substack.com/p/in-praise-of-the-gods?s=r" rel="noopener noreferrer" target="_blank">In Praise of the Gods</a></strong></li><li><strong><a class="tc-tiddlylink-external" href="https://simonsarris.substack.com/p/that-which-is-unique-breaks?s=r" rel="noopener noreferrer" target="_blank">That which is unique, breaks</a></strong></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Crypto / Economics / Environment</title><link href="https://gavart.ist/#Crypto%20%2F%20Economics%20%2F%20Environment"></link><link href="https://gavart.ist/static/Crypto%2520%252F%2520Economics%2520%252F%2520Environment.html" rel="alternative" type="text/html"></link><id>12dd19c1-c97f-5ae1-3ec2-52d83ee4c355</id><updated>2024-03-06T22:06:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Dr. Eric Feigl-Ding's Journal</title><link href="https://gavart.ist/#Dr.%20Eric%20Feigl-Ding's%20Journal"></link><link href="https://gavart.ist/static/Dr.%2520Eric%2520Feigl-Ding's%2520Journal.html" rel="alternative" type="text/html"></link><id>a6687b6a-4422-3084-aafd-64647238d586</id><updated>2024-03-06T22:06:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>kottke.org</title><link href="https://gavart.ist/#kottke.org"></link><link href="https://gavart.ist/static/kottke.org.html" rel="alternative" type="text/html"></link><id>92361b03-22ca-8331-84af-44d5c691766c</id><updated>2024-03-06T11:51:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Breathwork-Induced Psychedelic Experiences Modulate Neural Dynamics</title><link href="https://gavart.ist/#Breathwork-Induced%20Psychedelic%20Experiences%20Modulate%20Neural%20Dynamics"></link><link href="https://gavart.ist/static/Breathwork-Induced%2520Psychedelic%2520Experiences%2520Modulate%2520Neural%2520Dynamics.html" rel="alternative" type="text/html"></link><id>baf64986-141f-cbf4-1f8b-91a71829e8a3</id><updated>2024-03-05T16:39:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bunsen Studio</title><link href="https://gavart.ist/#Bunsen%20Studio"></link><link href="https://gavart.ist/static/Bunsen%2520Studio.html" rel="alternative" type="text/html"></link><id>2ad42fcc-ac2b-f750-c67e-a37d9c076b1b</id><updated>2024-03-05T16:33:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Social Impact Capital</title><link href="https://gavart.ist/#Social%20Impact%20Capital"></link><link href="https://gavart.ist/static/Social%2520Impact%2520Capital.html" rel="alternative" type="text/html"></link><id>eda5ff0f-2b99-d509-c993-ed4cadd99511</id><updated>2024-03-05T16:27:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Opal Webcam</title><link href="https://gavart.ist/#Opal%20Webcam"></link><link href="https://gavart.ist/static/Opal%2520Webcam.html" rel="alternative" type="text/html"></link><id>4826e934-32cf-4c95-6d3d-9a1f02050787</id><updated>2024-03-05T16:25:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Agriculture</title><link href="https://gavart.ist/#Agriculture"></link><link href="https://gavart.ist/static/Agriculture.html" rel="alternative" type="text/html"></link><id>8e54e9aa-508e-a37f-7fe7-34e86ba9da27</id><updated>2024-03-05T16:24:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Corn Revolution</title><link href="https://gavart.ist/#Corn%20Revolution"></link><link 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</p></blockquote><img src="./files/img/concepts/orch-or/002.jpg"></img><blockquote class="tc-quote digitalGarden"><p>The further you zoom into the Tubulin building blocks you start to see pi resonance orbitals fluctuating billions of times per second … even interacting with the deepest structures of space-time folding geometry.
</p></blockquote><img src="./files/img/concepts/orch-or/003.jpg"></img><blockquote class="tc-quote digitalGarden"><p>Some of the wildest theories include psychedelics with phenyl rings are psychoactive <em>because</em> of how they interact with microtubules. This is where the quantum coherent wave form exists and inputs ten thousand data points all at once: to make rapid decisions
</p></blockquote><img src="./files/img/concepts/orch-or/004.jpg"></img><blockquote class="tc-quote digitalGarden"><p>You can even chart observations of environmental navigation ability by calculating the number of microtubules in this region of the brain (PFC). You can see consciousness exists on a spectrum … and humans are not *yet* close to our peak
</p></blockquote><img src="./files/img/concepts/orch-or/005.jpg"></img><blockquote class="tc-quote digitalGarden"><p>If you want to unlock unlimited intelligence you need to increase density of microtubules in the PFC … you need to get more in there: e.g. a drug you can take called “Davunetide”
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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Google Colab</title><link href="https://gavart.ist/#Google%20Colab"></link><link href="https://gavart.ist/static/Google%2520Colab.html" rel="alternative" type="text/html"></link><id>a5680385-cc3d-0083-f1ed-5b08405a0304</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Copyright</title><link href="https://gavart.ist/#Copyright"></link><link href="https://gavart.ist/static/Copyright.html" rel="alternative" type="text/html"></link><id>6016a2b3-4111-3bf4-96b7-19905398ecd2</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Craft</title><link href="https://gavart.ist/#Craft"></link><link href="https://gavart.ist/static/Craft.html" rel="alternative" type="text/html"></link><id>d64fc815-b787-2093-09dc-a16ff96371f3</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Crypto Art</title><link href="https://gavart.ist/#Crypto%20Art"></link><link href="https://gavart.ist/static/Crypto%2520Art.html" rel="alternative" type="text/html"></link><id>cc720055-3e71-5209-74fa-80596ba7c788</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Crypto Twitter</title><link href="https://gavart.ist/#Crypto%20Twitter"></link><link href="https://gavart.ist/static/Crypto%2520Twitter.html" rel="alternative" type="text/html"></link><id>d4641049-d7b1-2ee4-59a7-d448fcd3028a</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cryptocurrency</title><link href="https://gavart.ist/#Cryptocurrency"></link><link href="https://gavart.ist/static/Cryptocurrency.html" rel="alternative" type="text/html"></link><id>4c11904e-e0b7-93fc-1004-6d533cae723e</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>CSS</title><link href="https://gavart.ist/#CSS"></link><link href="https://gavart.ist/static/CSS.html" rel="alternative" type="text/html"></link><id>2c56c360-5804-20d2-9317-2f42d85dfbed</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Asexuality</title><link href="https://gavart.ist/#Asexuality"></link><link href="https://gavart.ist/static/Asexuality.html" rel="alternative" type="text/html"></link><id>1c558058-1dec-b8b9-dde3-b819b3197c6d</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Blockchain</title><link href="https://gavart.ist/#Blockchain"></link><link href="https://gavart.ist/static/Blockchain.html" rel="alternative" type="text/html"></link><id>3cc377f7-9bda-308c-7504-59a2caf7fc38</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Chia</title><link href="https://gavart.ist/#Chia"></link><link href="https://gavart.ist/static/Chia.html" rel="alternative" type="text/html"></link><id>070bae6d-f23d-5e29-0328-b2fa640b3cca</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Code</title><link href="https://gavart.ist/#Code"></link><link href="https://gavart.ist/static/Code.html" rel="alternative" type="text/html"></link><id>ca0dbad9-2a87-4b2f-69b5-49293387925e</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Antiracism</title><link href="https://gavart.ist/#Antiracism"></link><link href="https://gavart.ist/static/Antiracism.html" rel="alternative" type="text/html"></link><id>39365ba6-db44-b2a8-856e-f13316f2c132</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Art</title><link href="https://gavart.ist/#Art"></link><link href="https://gavart.ist/static/Art.html" rel="alternative" type="text/html"></link><id>978d7d6b-de93-0f0f-a961-5627a15b2fc1</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>3D Printing</title><link href="https://gavart.ist/#3D%20Printing"></link><link href="https://gavart.ist/static/3D%2520Printing.html" rel="alternative" type="text/html"></link><id>47f37da4-5ec3-5c49-ea1c-fb75eba3a076</id><updated>2024-01-30T09:57:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Notebook Theme</title><link href="https://gavart.ist/#Notebook%20Theme"></link><link href="https://gavart.ist/static/Notebook%2520Theme.html" rel="alternative" type="text/html"></link><id>519d7b18-e085-fd48-d6f1-e077731db226</id><updated>2024-01-30T08:26:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TiddlyPWA</title><link href="https://gavart.ist/#TiddlyPWA"></link><link href="https://gavart.ist/static/TiddlyPWA.html" rel="alternative" type="text/html"></link><id>7d384595-d5e7-7fdd-de14-c382b26411ba</id><updated>2024-01-28T10:46:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Schubert Sonata in C major, D. 840 (Live Performance)</title><link href="https://gavart.ist/#Schubert%20Sonata%20in%20C%20major%2C%20D.%20840%20(Live%20Performance)"></link><link href="https://gavart.ist/static/Schubert%2520Sonata%2520in%2520C%2520major%252C%2520D.%2520840%2520(Live%2520Performance).html" rel="alternative" type="text/html"></link><id>50ad29b0-2168-22a2-981e-12ab6b8b9def</id><updated>2024-01-23T23:19:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/uaHjfK0VKIE" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>oeyoews templates · tiddlyhost</title><link href="https://gavart.ist/#oeyoews%20templates%20%C2%B7%20tiddlyhost"></link><link href="https://gavart.ist/static/oeyoews%2520templates%2520%25C2%25B7%2520tiddlyhost.html" rel="alternative" type="text/html"></link><id>4d8f9bee-f6e2-7744-1120-5982be84bdd2</id><updated>2024-01-21T14:30:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tidme · Incremental Learning</title><link href="https://gavart.ist/#Tidme%20%C2%B7%20Incremental%20Learning"></link><link href="https://gavart.ist/static/Tidme%2520%25C2%25B7%2520Incremental%2520Learning.html" rel="alternative" type="text/html"></link><id>61f9dec1-4ce6-11a6-7c01-5e44fed26f2c</id><updated>2024-01-21T14:29:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Laniakea Supercluster</title><link href="https://gavart.ist/#Laniakea%20Supercluster"></link><link href="https://gavart.ist/static/Laniakea%2520Supercluster.html" rel="alternative" type="text/html"></link><id>f085939d-122f-e2a3-288b-b8e54e37893a</id><updated>2024-01-10T15:48:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/07-Laniakea_%28LofE07240%29.png/2560px-07-Laniakea_%28LofE07240%29.png" width="800"></img></div></content><author><name>undefined</name></author></entry><entry><title>Sagittarius A*</title><link href="https://gavart.ist/#Sagittarius%20A*"></link><link href="https://gavart.ist/static/Sagittarius%2520A*.html" rel="alternative" type="text/html"></link><id>0d8e3621-da9f-e75f-4953-1f59762d4faa</id><updated>2024-01-10T15:45:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>In May 2022, astronomers released the first image of the accretion disk around the horizon of Sagittarius A*, confirming it to be a black hole, using the Event Horizon Telescope, a world-wide network of radio observatories.[13] This is the second confirmed image of a black hole, after Messier 87's supermassive black hole in 2019.</p><p><img src="https://upload.wikimedia.org/wikipedia/commons/c/c4/SgrA2021.gif"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Chromatic Ordering</title><link href="https://gavart.ist/#Chromatic%20Ordering"></link><link href="https://gavart.ist/static/Chromatic%2520Ordering.html" rel="alternative" type="text/html"></link><id>dc027777-65ab-8654-6ca0-241a038480da</id><updated>2024-01-10T15:44:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/concepts/webb-stephans-quintet.jpg"></img><br></br>
<sup>Stephan's Quintet as seen by WEBB Space Telescope image via three MIRI filters</sup></p><p>“I think there’s some connotations that go along with ‘colorizing’ or ‘false color’ that imply there’s some process going on where we’re arbitrarily choosing colors to create a color image,” DePasquale said. “Representative color is the most preferred term for the kind of work that we do, because I think it encompasses the work that we do of translating light to create a true color image, but in a wavelength range that our eyes are not sensitive to.”</p><p><a class="tc-tiddlylink-external" href="https://gizmodo.com/webb-space-telescope-image-colorization-1849320633" rel="noopener noreferrer" target="_blank">Longer infrared waves are assigned redder colors, and the shortest infrared wavelengths are assigned bluer colors. (Blue and violet light has the shortest wavelengths within the visible spectrum, while red has the longest.) The process is called chromatic ordering, and the spectrum is split into as many colors as the team needs to capture the full spectrum of light depicted in the image.</a></p><p>“We have filters on the instruments that collect certain wavelengths of light, which we then apply a color that is most closely what we think it will be on the [visible] spectrum,” said Alyssa Pagan, a science visuals developer at the Space Telescope Science Institute, in a phone call with Gizmodo.</p></div></content><author><name>undefined</name></author></entry><entry><title>Moloch</title><link href="https://gavart.ist/#Moloch"></link><link href="https://gavart.ist/static/Moloch.html" rel="alternative" type="text/html"></link><id>f398345c-64d1-0901-1b4d-2322c471205c</id><updated>2024-01-10T15:27:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Moloch is the personification of the forces that coerce competing individuals to take actions which, although locally optimal, ultimately lead to situations where everyone is worse off. Moreover, no individual is able to unilaterally break out of the dynamic. The situation is a bad Nash equilibrium. A trap.</p><p>One example of a Molochian dynamic is a Red Queen race between scientists who must continually spend more time writing grant applications just to keep up with their peers doing the same. Through unavoidable competition, they have all lost time while not ending up with any more grant money. And any scientist who unilaterally tried to not engage in the competition would soon be replaced by one who still does. If they all promised to cap their grant writing time, everyone would face an incentive to defect.</p></div></content><author><name>undefined</name></author></entry><entry><title>Proxima Centauri</title><link href="https://gavart.ist/#Proxima%20Centauri"></link><link href="https://gavart.ist/static/Proxima%2520Centauri.html" rel="alternative" type="text/html"></link><id>2b9e46ee-48ef-9d3d-da2c-1f1c2a082608</id><updated>2024-01-10T14:57:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="https://upload.wikimedia.org/wikipedia/commons/9/95/New_shot_of_Proxima_Centauri%2C_our_nearest_neighbour.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Parrotfish</title><link href="https://gavart.ist/#Parrotfish"></link><link href="https://gavart.ist/static/Parrotfish.html" rel="alternative" type="text/html"></link><id>5a29bf82-1d4e-f6dd-3ee8-41b304e3dbe2</id><updated>2024-01-10T14:53:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="https://upload.wikimedia.org/wikipedia/commons/f/f2/Scarus_frenatus_by_Ewa_Barska.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Alcove (architecture)</title><link href="https://gavart.ist/#Alcove%20(architecture)"></link><link href="https://gavart.ist/static/Alcove%2520(architecture).html" rel="alternative" type="text/html"></link><id>94dd3226-a5c0-36ec-582c-8c540f4e7a2f</id><updated>2024-01-10T14:45:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="https://upload.wikimedia.org/wikipedia/commons/7/72/Interior_of_the_Villa_Ephrussi_de_Rothschild_-_DSC04555.JPG" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Baluster</title><link href="https://gavart.ist/#Baluster"></link><link href="https://gavart.ist/static/Baluster.html" rel="alternative" type="text/html"></link><id>37ad9fc9-9713-8a7b-16ce-abc6d304d233</id><updated>2024-01-10T14:43:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="https://upload.wikimedia.org/wikipedia/commons/5/59/Orna138-Docken-Baluster.png" width="400"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Caryatid</title><link href="https://gavart.ist/#Caryatid"></link><link href="https://gavart.ist/static/Caryatid.html" rel="alternative" type="text/html"></link><id>e33acba4-44de-55d8-2b4b-b72d9c126943</id><updated>2024-01-10T14:40:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="https://upload.wikimedia.org/wikipedia/commons/4/47/Ath%C3%A8nes_Acropole_Caryatides.JPG"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Rian Hughes</title><link href="https://gavart.ist/#Rian%20Hughes"></link><link href="https://gavart.ist/static/Rian%2520Hughes.html" rel="alternative" type="text/html"></link><id>9cf8d7af-cf75-7ae2-13d9-cd12bbaf3201</id><updated>2024-01-10T12:20:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Software</title><link href="https://gavart.ist/#Software"></link><link href="https://gavart.ist/static/Software.html" rel="alternative" type="text/html"></link><id>719d067b-2291-78f0-3bcf-a1da4ac4dede</id><updated>2024-01-10T11:16:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class="largerList"></h3><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#JavaScript">JavaScript</a><br></br><sup>a high-level, often just-in-time compiled language that conforms to the ECMAScript standard</sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Max%2FMSP">Max/MSP</a><br></br><sup>visual programming language for music and multimedia</sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#orc%CE%BB">orcλ</a><br></br><sup>esoteric programming language designed to quickly create procedural sequencers</sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#php">php</a><br></br><sup>a popular general-purpose scripting language for web development</sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Python">Python</a><br></br><sup>a high-level, general-purpose programming language</sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TidalCycles">TidalCycles</a><br></br><sup>live coding music with algorithmic patterns</sup>
      </li>
  
</ul></p><h3 class="largerList"></h3><p class="largerList"><ul>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#julietsai.net">julietsai.net</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> site for Cybersecurity and DevOps expert Julie Tsai</sup>
		<ul>
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavingamboa.net">gavingamboa.net</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> site for my musical work that also utilizes the <a class="tc-tiddlylink-external" href="https://processwire.com/store/pro-mailer/" rel="noopener noreferrer" target="_blank">ProMailer</a> module for managing a self-hosted mailing list</sup>
		<ul>
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#bildwissenschaft.vortok.info">bildwissenschaft.vortok.info</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> site for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Laskfar%20Vortok">Laskfar Vortok</a> • works archive</sup>
		<ul>
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#4cast.world">4cast.world</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> site for <a class="tc-tiddlylink-external" href="https://4cast.world" rel="noopener noreferrer" target="_blank">4CAST</a>, a technology company selling hardware for musicians</sup>
		<ul>
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#teachingmachine.tv">teachingmachine.tv</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> site for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Teaching%20Machine">The Teaching Machine</a> acting as a repository for the collective's documentation</sup>
		<ul>
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#howl.movie">howl.movie</a><br></br><sup>One-pager for a feature film built with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a></sup>
		<ul>
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#gavart.ist">gavart.ist</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a> for this page</sup>
		<ul>
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#tonestrukt.org">tonestrukt.org</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tonestrukt%20Editions">Tonestrukt Editions</a> catalog built with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a></sup>
		<ul>
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#spiritbomb.ai">spiritbomb.ai</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> site for virtual artist startup <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spirit%20Bomb">Spirit Bomb</a></sup>
		<ul>
			
				
					<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#nft.spiritbomb.ai">nft.spiritbomb.ai</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Next.js">Next.js</a> token-gated page for virtual artist startup <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spirit%20Bomb">Spirit Bomb</a></sup></li>
				
					<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#wiki.spiritbomb.ai">wiki.spiritbomb.ai</a><br></br><sup>knowledge base / wiki for virtual artist startup <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Spirit%20Bomb">Spirit Bomb</a> built with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki">TiddlyWiki</a></sup></li>
				
			
		</ul>
		</li>
	
		<li><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#strangeloop-studios.com">strangeloop-studios.com</a><br></br><sup><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ProcessWire">ProcessWire</a> site for <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop%20Studios">Strangeloop Studios</a> showcasing a variety of projects across mediums</sup>
		<ul>
			
		</ul>
		</li>
	
</ul></p><h3 class="largerList"></h3><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ableton%20Live">Ableton Live</a><br></br><sup>unique software and hardware for music creation and performance</sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bitwig%20Studio">Bitwig Studio</a><br></br><sup>modern music production and performance for Windows, macOS, and Linux</sup>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise">Renoise</a><br></br><sup>a digital audio workstation with a unique top-down approach</sup>
      </li>
  
</ul></p><h3 class="largerList"></h3><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#albumart-vid">albumart-vid</a><br></br><sup>bash shell script that takes a directory of audio files with artwork and merges all the traclks into a single video</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Audio%2FVisual%20Collaboration%20Over%20The%20Public%20Internet">Audio/Visual Collaboration Over The Public Internet</a><br></br><sup>utilizing vdo.ninja as a way to capture audio &amp; video feeds for telepresent collaboration</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#bash%20scripting">bash scripting</a><br></br><sup>bash shell scripting and some examples</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#beets">beets</a><br></br><sup>cli tool for music library management</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Dorico">Dorico</a><br></br><sup>music notation software</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#exiftool">exiftool</a><br></br><sup>process images and remove metadata</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ffmpeg">ffmpeg</a><br></br><sup>video/audio processing</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#google%20image%20search%20scraper">google image search scraper</a><br></br><sup>batch image scraper for compiling image data sets based on keywords</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#imagemagick">imagemagick</a><br></br><sup>image processing</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#img2pdf">img2pdf</a><br></br><sup>cli tool for pdf creation</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#lftp%20TiddlyWiki%20single-file%20push">lftp TiddlyWiki single-file push</a><br></br><sup>script for pushing changes to single-file TiddlyWiki onto remote server</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#MAMP%20%2B%20Processwire%20For%20Local%20Development">MAMP + Processwire For Local Development</a><br></br><sup>for use with php local development env</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nostr%20Private%20Key">Nostr Private Key</a><br></br><sup>private key from nostr client</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#preparing%20images%20for%20batch%20import%20in%20TiddlyWiki">preparing images for batch import in TiddlyWiki</a><br></br><sup>script for pushing changes to single-file TiddlyWiki onto remote server</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#rename">rename</a><br></br><sup>cli rename utility</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Renoise%20shortcuts">Renoise shortcuts</a><br></br><sup>music software (tracker)</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Routing%20Quod%20Libet%20%28Music%20Library%29%20into%20a%20DAW">Routing Quod Libet (Music Library) into a DAW</a><br></br><sup>internal audio routing with JackRouter on macOS</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#rsync">rsync</a><br></br><sup>file transfer &amp; sync</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#ssh">ssh</a><br></br><sup>file transfer &amp; sync</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki%3A%20Notes%2C%20Hacks%20%26%20Threads">TiddlyWiki: Notes, Hacks &amp; Threads</a><br></br><sup>collection of various TiddlyWiki techniques</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#using%20metaflac%20to%20set%20tags%20on%20FLAC%20files">using metaflac to set tags on FLAC files</a><br></br><sup>using metaflac to write metatags directly to FLAC</sup>
      </li>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#yt-dlp">yt-dlp</a><br></br><sup>media archiving</sup>
      </li>
   
</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Stanislav Grof</title><link href="https://gavart.ist/#Stanislav%20Grof"></link><link href="https://gavart.ist/static/Stanislav%2520Grof.html" rel="alternative" type="text/html"></link><id>08c120e7-d542-ab2f-14fe-12a98b15601a</id><updated>2024-01-02T22:51:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>John Eliot Gardiner • Orchestre Révolutionnaire et Romantique</title><link href="https://gavart.ist/#John%20Eliot%20Gardiner%20%E2%80%A2%20Orchestre%20R%C3%A9volutionnaire%20et%20Romantique"></link><link href="https://gavart.ist/static/John%2520Eliot%2520Gardiner%2520%25E2%2580%25A2%2520Orchestre%2520R%25C3%25A9volutionnaire%2520et%2520Romantique.html" rel="alternative" type="text/html"></link><id>8ed667e4-9a69-381c-de5a-aea831269e73</id><updated>2023-12-30T14:40:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/john-eliot-gardiner-disney-2006.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>LACMA • Stanley Kubrick</title><link href="https://gavart.ist/#LACMA%20%E2%80%A2%20Stanley%20Kubrick"></link><link href="https://gavart.ist/static/LACMA%2520%25E2%2580%25A2%2520Stanley%2520Kubrick.html" rel="alternative" type="text/html"></link><id>f6785abc-bf4a-3e52-440d-44aa39d80191</id><updated>2023-12-30T12:50:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/attended-events/stanley-kubrick-lacma-2013.jpg"></img><p><a class="tc-tiddlylink-external" href="https://www.lacma.org/art/exhibition/stanley-kubrick" rel="noopener noreferrer" target="_blank">LACMA · Stanley Kubrick</a></p></div></content><author><name>undefined</name></author></entry><entry><title>String Theory</title><link href="https://gavart.ist/#String%20Theory"></link><link href="https://gavart.ist/static/String%2520Theory.html" rel="alternative" type="text/html"></link><id>a23dc1de-a2a4-681d-2e83-5aa022125cb0</id><updated>2023-12-30T00:53:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Local Wikipedia Data dump torrents</title><link href="https://gavart.ist/#Local%20Wikipedia%20Data%20dump%20torrents"></link><link href="https://gavart.ist/static/Local%2520Wikipedia%2520Data%2520dump%2520torrents.html" rel="alternative" type="text/html"></link><id>6ccf3649-ae4c-752a-c937-44abee2d7fb0</id><updated>2023-12-30T00:52:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Aerogel Fiber</title><link href="https://gavart.ist/#Aerogel%20Fiber"></link><link href="https://gavart.ist/static/Aerogel%2520Fiber.html" rel="alternative" type="text/html"></link><id>374d9b13-1fc4-73a2-62b2-afcfdd294b6d</id><updated>2023-12-30T00:50:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Arthur Young Process Theory</title><link href="https://gavart.ist/#Arthur%20Young%20Process%20Theory"></link><link href="https://gavart.ist/static/Arthur%2520Young%2520Process%2520Theory.html" rel="alternative" type="text/html"></link><id>46bb8279-4858-c4df-7e59-7de7aebcd171</id><updated>2023-12-30T00:46:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wildflower Composers</title><link href="https://gavart.ist/#Wildflower%20Composers"></link><link href="https://gavart.ist/static/Wildflower%2520Composers.html" rel="alternative" type="text/html"></link><id>ff16c7dc-3ba9-822b-b1a9-4bdf38747698</id><updated>2023-12-30T00:41:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Susan B. Anthony</title><link href="https://gavart.ist/#Susan%20B.%20Anthony"></link><link href="https://gavart.ist/static/Susan%2520B.%2520Anthony.html" rel="alternative" type="text/html"></link><id>734658d2-bf5c-ee87-f14d-71cfa768f301</id><updated>2023-12-28T18:45:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Timothy D. Taylor</title><link href="https://gavart.ist/#Timothy%20D.%20Taylor"></link><link href="https://gavart.ist/static/Timothy%2520D.%2520Taylor.html" rel="alternative" type="text/html"></link><id>30514b76-214f-6a86-497b-30958085202c</id><updated>2023-12-26T19:21:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Croatia</title><link href="https://gavart.ist/#Croatia"></link><link href="https://gavart.ist/static/Croatia.html" rel="alternative" type="text/html"></link><id>560d4c6f-f431-c865-46f3-fcec72c748c7</id><updated>2023-12-11T17:26:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Zagreb</title><link href="https://gavart.ist/#Zagreb"></link><link href="https://gavart.ist/static/Zagreb.html" rel="alternative" type="text/html"></link><id>b827d268-b3e7-5abe-3c44-19d959d93998</id><updated>2023-12-11T17:25:52</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Halcyon Suite, Opus 3 (manuscript)</title><link href="https://gavart.ist/#Halcyon%20Suite%2C%20Opus%203%20(manuscript)"></link><link href="https://gavart.ist/static/Halcyon%2520Suite%252C%2520Opus%25203%2520(manuscript).html" rel="alternative" type="text/html"></link><id>564a417b-382c-a2e6-e192-80ac87e6c61e</id><updated>2023-12-06T10:43:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>String Quartet I (manuscript)</title><link href="https://gavart.ist/#String%20Quartet%20I%20(manuscript)"></link><link href="https://gavart.ist/static/String%2520Quartet%2520I%2520(manuscript).html" rel="alternative" type="text/html"></link><id>ba93d3b4-ec04-fedb-df1a-2e3aaac44f9e</id><updated>2023-12-06T10:42:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>String Quartet II : Anima Exstasis (manuscript)</title><link href="https://gavart.ist/#String%20Quartet%20II%20%3A%20Anima%20Exstasis%20(manuscript)"></link><link href="https://gavart.ist/static/String%2520Quartet%2520II%2520%253A%2520Anima%2520Exstasis%2520(manuscript).html" rel="alternative" type="text/html"></link><id>d7692aa5-b96d-7d29-f014-5e83f4de23a5</id><updated>2023-12-06T10:42:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>(missing second movement scherzo)</p><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Three Regular Axioms, Opus 2 (manuscript)</title><link href="https://gavart.ist/#Three%20Regular%20Axioms%2C%20Opus%202%20(manuscript)"></link><link href="https://gavart.ist/static/Three%2520Regular%2520Axioms%252C%2520Opus%25202%2520(manuscript).html" rel="alternative" type="text/html"></link><id>b8015151-221a-c779-b52c-e5fb0defcf20</id><updated>2023-12-06T10:42:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Trichotomy (manuscript)</title><link href="https://gavart.ist/#Trichotomy%20(manuscript)"></link><link href="https://gavart.ist/static/Trichotomy%2520(manuscript).html" rel="alternative" type="text/html"></link><id>4993e39d-19dc-6af2-8887-468aaba3536e</id><updated>2023-12-06T10:42:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Vectorial Monody (manuscript)</title><link href="https://gavart.ist/#Vectorial%20Monody%20(manuscript)"></link><link href="https://gavart.ist/static/Vectorial%2520Monody%2520(manuscript).html" rel="alternative" type="text/html"></link><id>9db2f2d1-87e0-241c-c4dd-46240dd84335</id><updated>2023-12-06T10:42:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Wind Quintet 'Nereid' (manuscript)</title><link href="https://gavart.ist/#Wind%20Quintet%20'Nereid'%20(manuscript)"></link><link href="https://gavart.ist/static/Wind%2520Quintet%2520'Nereid'%2520(manuscript).html" rel="alternative" type="text/html"></link><id>12058d25-3855-8168-31b6-0a6efa2294bb</id><updated>2023-12-06T10:42:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Sextet Opus 1 (Ten Years Later) • Recording Session BTS</title><link href="https://gavart.ist/#Sextet%20Opus%201%20(Ten%20Years%20Later)%20%E2%80%A2%20Recording%20Session%20BTS"></link><link href="https://gavart.ist/static/Sextet%2520Opus%25201%2520(Ten%2520Years%2520Later)%2520%25E2%2580%25A2%2520Recording%2520Session%2520BTS.html" rel="alternative" type="text/html"></link><id>7a69c16d-da1e-fa77-7847-becc1a921832</id><updated>2023-12-06T09:55:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
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type="text/html"></link><id>c03b1123-e45f-a00d-a314-2e0424ee5eec</id><updated>2023-10-04T11:39:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Alain de Botton</title><link href="https://gavart.ist/#Alain%20de%20Botton"></link><link href="https://gavart.ist/static/Alain%2520de%2520Botton.html" rel="alternative" type="text/html"></link><id>2271e020-3932-4d54-9abf-ae2be5d7c426</id><updated>2023-09-29T11:52:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Liam Casey</title><link href="https://gavart.ist/#Liam%20Casey"></link><link href="https://gavart.ist/static/Liam%2520Casey.html" rel="alternative" type="text/html"></link><id>8ea2aef8-24ba-aade-75c8-151c4c008371</id><updated>2023-09-28T11:46:10</updated><content type="xhtml"><div 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}</p></div></content><author><name>undefined</name></author></entry><entry><title>Vince Mcklevie</title><link href="https://gavart.ist/#Vince%20Mcklevie"></link><link href="https://gavart.ist/static/Vince%2520Mcklevie.html" rel="alternative" type="text/html"></link><id>e8360231-cb0a-6875-16dc-05fa9670d3f5</id><updated>2023-09-22T10:03:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Equidistant Azimuthal Projection</title><link href="https://gavart.ist/#Equidistant%20Azimuthal%20Projection"></link><link href="https://gavart.ist/static/Equidistant%2520Azimuthal%2520Projection.html" rel="alternative" type="text/html"></link><id>83977aae-467a-e0f7-77a9-f097e50ea6c3</id><updated>2023-09-22T07:48:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><img src="./files/img/misc/equidistant_azimuthal_projection.jpg"></img><p>Gott, Goldberg and Vanderbei’s revolutionary, double-sided disk map minimizes all six types of map distortions. They used an equidistant azimuthal projection: a compromise projection, like the Winkel Tripel, with small errors in both local shapes and areas, instead of optimizing one at the expense of the other. Antarctica and Australia are more accurately represented than in most other maps, and distances across oceans or across poles are both accurate and easy to measure, unlike one-sided flat maps. Goldberg-Gott error score: 0.881</p></div></content><author><name>undefined</name></author></entry><entry><title>qntm</title><link href="https://gavart.ist/#qntm"></link><link href="https://gavart.ist/static/qntm.html" rel="alternative" type="text/html"></link><id>98b8f15d-dc4f-c6f7-6ad3-3ba24c58e97b</id><updated>2023-09-12T13:31:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Scott H. Young</title><link href="https://gavart.ist/#Scott%20H.%20Young"></link><link href="https://gavart.ist/static/Scott%2520H.%2520Young.html" rel="alternative" type="text/html"></link><id>ef1ffd9c-9064-8327-3477-9c4bf8221f14</id><updated>2023-09-08T09:41:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Slamdance Film Festival 2019</title><link href="https://gavart.ist/#Slamdance%20Film%20Festival%202019"></link><link href="https://gavart.ist/static/Slamdance%2520Film%2520Festival%25202019.html" rel="alternative" type="text/html"></link><id>baadfd02-0a08-094b-2086-96f05ff222a3</id><updated>2023-08-25T12:06:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allowfullscreen="true" frameborder="0" height="360" src="https://player.vimeo.com/video/247603435" title="vimeo-player" width="640"></iframe>
</div></p><h3 class=""><strong>Title</strong>: Hair: The Story of Grass (2018) شعر: قصة عشب<br></br><strong>Director</strong>: <a class="tc-tiddlylink-external" href="https://malsaati.wordpress.com/" rel="noopener noreferrer" target="_blank">Maha Al-Saati</a><br></br><strong>Composer</strong>: Gavin Gamboa, et al.<br></br><strong>Release Date</strong>: 2018<br></br></h3><p>The film explores society’s attitudes towards human hair: desirable head hair, excess body hair that is viewed with disgust, and facial hair that is used as a definition of masculinity. Both of the two main characters are defined by one of these hair-related categories. Yassir, the mentally challenged man refuses to grow up and longs to play with children, but is considered a man due to his beard and is therefore viewed with suspicion when approaching children. Meanwhile, Norah, his caregiver is deemed ugly due to her hairy legs and her unruly head hair. The film sheds light on issues of gender, beauty standards and oppression towards the mentally challenged.</p><hr></hr><h2 class="">OFFICIAL SELECTIONS/NOMINATIONS</h2><ul><li>Fantastic Fest 2018, Shorts with Legs , Austin, TX, USA (20-27 Sep 2018)</li><li>Courts Mais Trash 2019, Brussels, Belgium (16-20 Jan, 2019).</li><li>Slamdance 2019, Narrative Shorts, Park City, UT, USA (25-31 Jan 2019)</li><li>World of Women Film Fair Middle East (7-9 March 2019)</li><li>Saudi Film Festival 2019, Dhahran, Saudi Arabia (21-26 Mar 2019)</li><li>Arab Film Festival in Rotterdam, The Netherlands (27-31 Mar 2019).</li><li>10th Beirut Cinema Days أيام بيروت السينمائية, Lebanon (29 March – 6 Apr, 2019)</li><li>Alexandria Short Film Festival (3-8 Apr 2019)</li><li>Chattanooga Film Festival 2019, Tennessee, USA (11-14 Apr 2019)</li><li>Falcon Art Festival at the Netherlands Embassy in Saudi (18-17 Apr 2019) &lt;1 – 2 – 3&gt;</li><li>The 14th Arab Film Festival Outside-The-Box Short films program at The Arab American National Museum (AANM) 2019, Michigan, USA (7-16 Jun 2019)</li><li>New Filmmakers LA Monthly Film Festival – July edition (27 Jul 2019) InFocus Canadian Cinema #1</li><li>HollyShorts 2019, Los Angeles, USA (9-17 Aug 2019) Cinematography Block- 11 Aug</li><li>Casablanca Arab Film Festival, (18-25 Oct 2019).</li><li>The 28th Middle East Studies Association (MESA) FilmFest (14-17 Nov 2019)</li><li>Arabian Film Festival Bangladesh – AFFB (6-12 Dec 2019)</li><li>The 25th SPE (Society for Photographic Education) Media Festival, Houston, TX, (6-7 March 2020).</li><li>The Red Sea International Film Festival, Jeddah, Saudi Arabia (12-21 March 2020)</li><li>Nominations Nominated Best Short International Drama by NFMLA</li></ul><p><img src="./files/img/posters/hair-story-of-grass-poster.jpg" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Fear: Audibly</title><link href="https://gavart.ist/#Fear%3A%20Audibly"></link><link href="https://gavart.ist/static/Fear%253A%2520Audibly.html" rel="alternative" type="text/html"></link><id>7999d69f-201e-ebcd-0ea6-eb89e7bcd634</id><updated>2023-08-25T11:51:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allowfullscreen="true" frameborder="0" height="360" src="https://player.vimeo.com/video/206457842" title="vimeo-player" width="640"></iframe>
</div></p><h3 class=""><strong>Title</strong>: Fear Audibly (2017) الخوف صوتيا<br></br><strong>Director</strong>: <a class="tc-tiddlylink-external" href="https://malsaati.wordpress.com/2017/06/14/fear-audibly" rel="noopener noreferrer" target="_blank">Maha Al-Saati</a><br></br><strong>Composer</strong>: Gavin Gamboa, et al.<br></br><strong>Release Date</strong>: 2017<br></br></h3><p>Amal fears the sourceless sound that will end humanity. One day, guests arrive to confirm her fears. Amal is a Muslim woman struggling with feelings of guilt over her sins, as well as fear of death and the Day of Judgment. One night, while walking home, she hears the imam (religious preacher) speaking about the signs of the Day of Judgment, encouraging sinners to repent before it is too late. Burdened by the weight of her sins, she runs back home, only to find the TV showing news of unknown trumpet sounds heard from the sky. She has recurring dreams of the sun rising from the west, accompanied with the blow of the Trumpet of Doom. At work, she forgets about her fears, until the mysterious Sara starts displaying some interest in her. This creates conflict for Amal, who is desperate for affection yet struggling with the feeling of guilt and fear of sin. The offices pace is then invaded by the sound of kittens inhabiting its ceiling, with which Amal forms a connection.</p><hr></hr><h2 class="">OFFICIAL SELECTIONS/NOMINATIONS</h2><ul><li>Official Selection of the 29th Festival du Film Arabe de Fameck, France (Oct 3-15 2018).</li><li>Official Selection of the Arab cinema festival in Paris (28 Jun – 8 Jul, 2018)</li><li>Official Selection at the Golden Falcon Awards at the Dutch Embassy of Riyadh (17-18 April, 2018)</li><li>Best Screenplay Award at Ahsa Short Social Film Festival (12-14 April, 2018)</li><li>Nominated best director, best actress in the 2nd short film competition by the King Fahd Cultural Center (KFCC) in Riyadh (22 Jan 2018)</li><li>The Arab Film Festival of Rotterdam , The Netherlands (11-15 Oct 2017)</li><li>Fantastic Fest, Austin, TX, USA (21-28 Sep 2017)</li><li>The 4th Saudi Film Festival in Dhahran (27 March 2017 – 1 April 2017)</li></ul><h2 class="">Guest screenings:</h2><ul><li>Special screening at 12 films a year film group in Jeddah (26 Jun 2018)</li><li>participant in a special program for Saudi films at ASBU, Tunesia (28 April 2018)</li><li>The German Embassy in Riyadh, Saudi Arabia (20 Sep 2017)</li></ul><p><img src="./files/img/posters/fear-audibly-poster.jpg" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Hair: The Story of Grass</title><link href="https://gavart.ist/#Hair%3A%20The%20Story%20of%20Grass"></link><link href="https://gavart.ist/static/Hair%253A%2520The%2520Story%2520of%2520Grass.html" rel="alternative" type="text/html"></link><id>25f75351-6be6-ea7f-fc24-d95751265a2d</id><updated>2023-08-25T11:49:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allowfullscreen="true" frameborder="0" height="360" src="https://player.vimeo.com/video/247603435" title="vimeo-player" width="640"></iframe>
</div></p><h3 class=""><strong>Title</strong>: Hair: The Story of Grass (2018) شعر: قصة عشب<br></br><strong>Director</strong>: <a class="tc-tiddlylink-external" href="https://malsaati.wordpress.com/" rel="noopener noreferrer" target="_blank">Maha Al-Saati</a><br></br><strong>Composer</strong>: Gavin Gamboa, et al.<br></br><strong>Release Date</strong>: 2018<br></br></h3><p>The film explores society’s attitudes towards human hair: desirable head hair, excess body hair that is viewed with disgust, and facial hair that is used as a definition of masculinity. Both of the two main characters are defined by one of these hair-related categories. Yassir, the mentally challenged man refuses to grow up and longs to play with children, but is considered a man due to his beard and is therefore viewed with suspicion when approaching children. Meanwhile, Norah, his caregiver is deemed ugly due to her hairy legs and her unruly head hair. The film sheds light on issues of gender, beauty standards and oppression towards the mentally challenged.</p><hr></hr><h2 class="">OFFICIAL SELECTIONS/NOMINATIONS</h2><ul><li>Fantastic Fest 2018, Shorts with Legs , Austin, TX, USA (20-27 Sep 2018)</li><li>Courts Mais Trash 2019, Brussels, Belgium (16-20 Jan, 2019).</li><li>Slamdance 2019, Narrative Shorts, Park City, UT, USA (25-31 Jan 2019)</li><li>World of Women Film Fair Middle East (7-9 March 2019)</li><li>Saudi Film Festival 2019, Dhahran, Saudi Arabia (21-26 Mar 2019)</li><li>Arab Film Festival in Rotterdam, The Netherlands (27-31 Mar 2019).</li><li>10th Beirut Cinema Days أيام بيروت السينمائية, Lebanon (29 March – 6 Apr, 2019)</li><li>Alexandria Short Film Festival (3-8 Apr 2019)</li><li>Chattanooga Film Festival 2019, Tennessee, USA (11-14 Apr 2019)</li><li>Falcon Art Festival at the Netherlands Embassy in Saudi (18-17 Apr 2019) &lt;1 – 2 – 3&gt;</li><li>The 14th Arab Film Festival Outside-The-Box Short films program at The Arab American National Museum (AANM) 2019, Michigan, USA (7-16 Jun 2019)</li><li>New Filmmakers LA Monthly Film Festival – July edition (27 Jul 2019) InFocus Canadian Cinema #1</li><li>HollyShorts 2019, Los Angeles, USA (9-17 Aug 2019) Cinematography Block- 11 Aug</li><li>Casablanca Arab Film Festival, (18-25 Oct 2019).</li><li>The 28th Middle East Studies Association (MESA) FilmFest (14-17 Nov 2019)</li><li>Arabian Film Festival Bangladesh – AFFB (6-12 Dec 2019)</li><li>The 25th SPE (Society for Photographic Education) Media Festival, Houston, TX, (6-7 March 2020).</li><li>The Red Sea International Film Festival, Jeddah, Saudi Arabia (12-21 March 2020)</li><li>Nominations Nominated Best Short International Drama by NFMLA</li></ul><p><img src="./files/img/posters/hair-story-of-grass-poster.jpg" width="700"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Maha Al-Saati</title><link href="https://gavart.ist/#Maha%20Al-Saati"></link><link href="https://gavart.ist/static/Maha%2520Al-Saati.html" rel="alternative" type="text/html"></link><id>cd99d9c6-3b17-1d0a-d383-a2fa768a853e</id><updated>2023-08-25T11:49:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>It's Birthday Time Gavin</title><link href="https://gavart.ist/#It's%20Birthday%20Time%20Gavin"></link><link href="https://gavart.ist/static/It's%2520Birthday%2520Time%2520Gavin.html" rel="alternative" type="text/html"></link><id>e756923a-2b72-6d9c-f3a3-941ab6ee7a64</id><updated>2023-08-24T14:37:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h1 class="">🥏 you are <em>invited</em></h1><h2 class="">Where ? <a class="tc-tiddlylink-external" href="https://www.google.com/maps/place/34%C2%B005'07.1%22N+118%C2%B014'41.8%22W/@34.0853056,-118.2475193,17z/data=!3m1!4b1!4m4!3m3!8m2!3d34.0853056!4d-118.2449444?entry=ttu" rel="noopener noreferrer" target="_blank">34º05'07.1"N 118º14'41.8"W</a> </h2><h2 class="">When ? Saturday 26 August come anytime 1-5 PM PST which is our time zone</h2><p><em>to sit in the sun barefoot with a book or a cup of fizzy and partake in friend activites or just read a book, finish that book you're writing, or repair the book you said you were going to repair, all in the company of whomstever decides to be present, and  share in a modest assortment of snacks and metaphysical inquiry</em></p><h3 class="">Parking can be a tricky! I have mapped some potential lots below, or rideshare destinations. </h3><h3 class="">Bring! Your glorious self. Some snacks (if you want) and a story about your favorite number.</h3><p><img src="/img/bday2023/bday-1.jpg"></img>
<img src="/img/bday2023/bday-2.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>List-Tree Plugin</title><link href="https://gavart.ist/#List-Tree%20Plugin"></link><link href="https://gavart.ist/static/List-Tree%2520Plugin.html" rel="alternative" type="text/html"></link><id>9d505cc6-b532-e0ae-f256-0ecb20b19c1e</id><updated>2023-08-17T09:52:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Chronopolis Live Score (Live at Vidiots 2016)</title><link href="https://gavart.ist/#Chronopolis%20Live%20Score%20(Live%20at%20Vidiots%202016)"></link><link href="https://gavart.ist/static/Chronopolis%2520Live%2520Score%2520(Live%2520at%2520Vidiots%25202016).html" rel="alternative" type="text/html"></link><id>5cc55b19-9a2b-9bfa-988f-323dd2be7e74</id><updated>2023-08-17T09:31:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/OQbq-LO0v5Y" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Bolzano</title><link href="https://gavart.ist/#Bolzano"></link><link href="https://gavart.ist/static/Bolzano.html" rel="alternative" type="text/html"></link><id>338f325b-7bc0-0a1c-9c08-2fc93369e455</id><updated>2023-08-15T19:16:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Italy</title><link href="https://gavart.ist/#Italy"></link><link href="https://gavart.ist/static/Italy.html" rel="alternative" type="text/html"></link><id>1007e1b7-f894-dfbf-72a0-eaa80f3bc57e</id><updated>2023-08-15T19:16:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Juan Rulfo</title><link href="https://gavart.ist/#Juan%20Rulfo"></link><link href="https://gavart.ist/static/Juan%2520Rulfo.html" rel="alternative" type="text/html"></link><id>80c5ad2a-45fa-f41f-af30-1cf8ab3b5f00</id><updated>2023-08-10T18:11:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Vite</title><link href="https://gavart.ist/#Vite"></link><link href="https://gavart.ist/static/Vite.html" rel="alternative" type="text/html"></link><id>1d9db1eb-cf1c-30ff-c948-5e981aec4f04</id><updated>2023-08-07T17:19:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>EVM Kit</title><link href="https://gavart.ist/#EVM%20Kit"></link><link href="https://gavart.ist/static/EVM%2520Kit.html" rel="alternative" type="text/html"></link><id>c7cb7fe7-a802-5ce2-60ad-6ec462406cb4</id><updated>2023-08-07T17:17:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Proto School</title><link href="https://gavart.ist/#Proto%20School"></link><link href="https://gavart.ist/static/Proto%2520School.html" rel="alternative" type="text/html"></link><id>fd7533b8-ad84-9a4b-c1b6-39712da04dc2</id><updated>2023-08-07T10:00:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Alignment</title><link href="https://gavart.ist/#Alignment"></link><link href="https://gavart.ist/static/Alignment.html" rel="alternative" type="text/html"></link><id>a63706ee-cfa3-3f67-b315-f978392ad7ae</id><updated>2023-08-06T10:17:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>In the field of artificial intelligence (AI), AI alignment research aims to steer AI systems towards humans' intended goals, preferences, or ethical principles. An AI system is considered aligned if it advances the intended objectives. A misaligned AI system is competent at advancing some objectives, but not the intended ones.</p><p>See also: <a class="tc-tiddlylink-external" href="https://guzey.com/ai/alignment-alchemy/" rel="noopener noreferrer" target="_blank">Alex Guzey "AI Alignment is turning Alchemy into Chemistry"</a></p></div></content><author><name>undefined</name></author></entry><entry><title>The White Rose · A Developmental Workshop</title><link href="https://gavart.ist/#The%20White%20Rose%20%C2%B7%20A%20Developmental%20Workshop"></link><link href="https://gavart.ist/static/The%2520White%2520Rose%2520%25C2%25B7%2520A%2520Developmental%2520Workshop.html" rel="alternative" type="text/html"></link><id>7eeb4ef1-25d5-e37e-9f82-a22e1605170b</id><updated>2023-08-01T09:50:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><strong>Venue</strong>: <br></br><strong>Date</strong>: <br></br></h3><p><main class="grid">
		
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	</main></p><h2 class="">Composer / Playwrite<br></br><a class="tc-tiddlylink-external" href="https://www.jenniferrosenfeld.com/" rel="noopener noreferrer" target="_blank">Jennifer Rosenfeld</a></h2><h2 class="">Director / Dramaturge<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Diana%20Wyenn">Diana Wyenn</a></h2><h2 class="">Music Director<br></br>Joel Chapman</h2><h2 class="">Video Designer<br></br><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a></h2><h2 class="">Lighting Designer<br></br>Joey Guthman</h2><h2 class="">Sound Engineer<br></br>Cody Engstrom</h2><h2 class="">Stage Manager<br></br>Roella Dellosa</h2><p>Early <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20White%20Rose%20%C2%B7%20Research%20%26%20Notes">Research &amp; Notes</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Heinrich Neuhaus</title><link href="https://gavart.ist/#Heinrich%20Neuhaus"></link><link href="https://gavart.ist/static/Heinrich%2520Neuhaus.html" rel="alternative" type="text/html"></link><id>5986035f-9011-1ea1-be68-53e32f405c36</id><updated>2023-08-01T08:55:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Aldo Leopold</title><link href="https://gavart.ist/#Aldo%20Leopold"></link><link href="https://gavart.ist/static/Aldo%2520Leopold.html" rel="alternative" type="text/html"></link><id>39a9d836-0838-6002-5f1f-81c1e81b0e3b</id><updated>2023-08-01T08:54:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Martin Luther King Jr.</title><link href="https://gavart.ist/#Martin%20Luther%20King%20Jr."></link><link href="https://gavart.ist/static/Martin%2520Luther%2520King%2520Jr..html" rel="alternative" 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>LA Chamber Orchestra 'SESSION'</title><link href="https://gavart.ist/#LA%20Chamber%20Orchestra%20'SESSION'"></link><link href="https://gavart.ist/static/LA%2520Chamber%2520Orchestra%2520'SESSION'.html" rel="alternative" type="text/html"></link><id>b88954e2-94f4-fcda-dc5e-664debbd1dd1</id><updated>2023-06-26T10:05:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/XU-WQJY8BMg" title="YouTube video player" width="560"></iframe>
</div></p><h3 class=""><strong>Program</strong>:</h3><h3 class="">Georges Aperghis (1945*)<br></br><em>Retrouvailles</em></h3><h3 class="">Marcos Balter (1974*)<br></br><em>Codex Seraphianus for flute, saxophone, bassoon and viola</em></h3><h3 class="">Ash Fure (1982*)<br></br><em>Shiver Lung for ensemble and electronics</em></h3><h3 class="">Sam Adams (1985*)<br></br><em>Shade Studies</em></h3><h3 class="">Jessie Marino (1984*)<br></br><em>Rot Blau for two performers</em></h3><h3 class="">Kate Moore (1979*)<br></br><em>Fern for flute, clarinet, percussion and electroacoustic soundtrack</em></h3><h3 class="">Eric Wubbels (1980*)<br></br><em>Katachi for sextet with live electronics</em></h3><h3 class=""><strong>Ensembles</strong>: Members of LA Chamber Orchestra &amp; wildUp<br></br><strong>Staging</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Four%20Larks">Four Larks</a><br></br><strong>Video Projections</strong>: <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a><br></br><strong>Venue</strong>: Pico Union Project<br></br><strong>Location</strong>: Los Angeles, California<br></br><strong>Date</strong>: 2019 October 11<br></br></h3><p> 
<div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/NHbV6U5ZdAk" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Christopher Rountree</title><link href="https://gavart.ist/#Christopher%20Rountree"></link><link href="https://gavart.ist/static/Christopher%2520Rountree.html" rel="alternative" type="text/html"></link><id>654905e8-060b-cac8-95da-95f1fcb5dd90</id><updated>2023-06-26T09:43:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>starbreaker.org</title><link href="https://gavart.ist/#starbreaker.org"></link><link href="https://gavart.ist/static/starbreaker.org.html" rel="alternative" type="text/html"></link><id>ccd0b205-7807-b36b-40e5-d697bc65aac0</id><updated>2023-06-26T08:12:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>nomasters.io</title><link href="https://gavart.ist/#nomasters.io"></link><link href="https://gavart.ist/static/nomasters.io.html" rel="alternative" type="text/html"></link><id>623183e1-1f1c-7ebc-56c0-aae22a20c705</id><updated>2023-06-26T08:01:12</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>88x31 button collection</title><link href="https://gavart.ist/#88x31%20button%20collection"></link><link href="https://gavart.ist/static/88x31%2520button%2520collection.html" rel="alternative" type="text/html"></link><id>ec0f288a-f527-c882-5163-6245aa788e30</id><updated>2023-06-25T14:40:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>WAVE Web Accessibility Evaluation Tools</title><link href="https://gavart.ist/#WAVE%20Web%20Accessibility%20Evaluation%20Tools"></link><link href="https://gavart.ist/static/WAVE%2520Web%2520Accessibility%2520Evaluation%2520Tools.html" rel="alternative" type="text/html"></link><id>d220fcb4-e267-f9f5-501b-b2cebfb58a69</id><updated>2023-06-25T07:24:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>A Button to Open All Tiddlers with a Given Tag</title><link href="https://gavart.ist/#A%20Button%20to%20Open%20All%20Tiddlers%20with%20a%20Given%20Tag"></link><link href="https://gavart.ist/static/A%2520Button%2520to%2520Open%2520All%2520Tiddlers%2520with%2520a%2520Given%2520Tag.html" rel="alternative" type="text/html"></link><id>a7163806-f403-e508-ed74-48578ecbd458</id><updated>2023-06-24T09:59:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><pre><code>&lt;$button class="tc-btn-invisible tc-tiddlylink"&gt;
&lt;$list filter='[tag[Discography]]'&gt;
&lt;$action-navigate $to=&lt;&lt;currentTiddler&gt;&gt;/&gt;
&lt;/$list&gt;
Sesame
&lt;/$button&gt;</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>TiddlyWiki: Notes, Hacks &amp; Threads</title><link href="https://gavart.ist/#TiddlyWiki%3A%20Notes%2C%20Hacks%20%26%20Threads"></link><link href="https://gavart.ist/static/TiddlyWiki%253A%2520Notes%252C%2520Hacks%2520%2526%2520Threads.html" rel="alternative" type="text/html"></link><id>93edc893-57ef-10f4-8a24-ec2a1ee4bd03</id><updated>2023-06-24T09:59:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Basic%20Filter%20Run%20as%20a%20List">A Basic Filter Run as a List</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Button%20to%20Open%20All%20Tiddlers%20with%20a%20Given%20Tag">A Button to Open All Tiddlers with a Given Tag</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Batch%20Import%20Images%20%26%20Specify%20System%20Path">Batch Import Images &amp; Specify System Path</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chaining%20Filter%20Runs%20Together">Chaining Filter Runs Together</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Change%20the%20NodeJS%20Startup%20Filter">Change the NodeJS Startup Filter</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Controlling%20DefaultSearch%20results%20by%20tag">Controlling DefaultSearch results by tag</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Create%20A%20Custom%20Button%20in%20the%20Page%20Toolbar">Create A Custom Button in the Page Toolbar</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Displaying%20Tags%20and%20Tag-Pills">Displaying Tags and Tag-Pills</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Filtered%20Transclusions%20and%20Linking%20Hierarchies">Filtered Transclusions and Linking Hierarchies</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Get%20the%20first%20part%20of%20a%20field">Get the first part of a field</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hide%2FReveal%20Edit%20Toolbar%20Controls%20on%20Hover">Hide/Reveal Edit Toolbar Controls on Hover</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#How%20To%20Hide%20Certain%20Tags">How To Hide Certain Tags</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#List%20Macro%20with%20Type%20Attribute">List Macro with Type Attribute</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#More%20Complex%20Filter%20Expressions">More Complex Filter Expressions</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Opening%20Files%20from%20the%20System%20File%20Browser">Opening Files from the System File Browser</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Programatically%20Create%20and%20Populate%20Fields%20Based%20on%20Tag">Programatically Create and Populate Fields Based on Tag</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Re-Order%20Tag%20Display%20Order">Re-Order Tag Display Order</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Return%20a%20List%20of%20Tiddlers%20with%20Text%20field%20%3E%2050">Return a List of Tiddlers with Text field &gt; 50</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Show%20tiddlers%20with%20specific%20amount%20of%20forward%2Fbacklinks">Show tiddlers with specific amount of forward/backlinks</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sum%20custom%20fields%20inside%20of%20single%20tiddler">Sum custom fields inside of single tiddler</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Tag%20Pill%20as%20Link%20To%20Tiddler">Tag Pill as Link To Tiddler</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Use%20A%20Button%20to%20Dynamically%20Update%20A%20Transclusion">Use A Button to Dynamically Update A Transclusion</a><br></br>
      </li>
  
</ul></p><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Babycastles%20%C2%B7%20TiddlyWiki%3A%20Getting%20started%20with%20digital%20gardens">Babycastles · TiddlyWiki: Getting started with digital gardens</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Causal%20Islands%3A%20LA%20Community%20Edition">Causal Islands: LA Community Edition</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#offline%20%C2%B7%20using%20TiddlyWiki%20for%20personal%20knowledge%20curation">offline · using TiddlyWiki for personal knowledge curation</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Shadow%20Kitchen%20%C2%B7%20Interior.%20Night.%20Dialogue.">Shadow Kitchen · Interior. Night. Dialogue.</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Show%20Us%20Your%20Screens%20%C2%B7%20S%C3%B3Laura%20Studio">Show Us Your Screens · SóLaura Studio</a><br></br>
      </li>
  
</ul></p><p><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Digital%20Garden">Digital Garden</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#lftp%20TiddlyWiki%20single-file%20push">lftp TiddlyWiki single-file push</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#preparing%20images%20for%20batch%20import%20in%20TiddlyWiki">preparing images for batch import in TiddlyWiki</a><br></br>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#TiddlyWiki%3A%20Notes%2C%20Hacks%20%26%20Threads">TiddlyWiki: Notes, Hacks &amp; Threads</a><br></br>
      </li>
  
</ul></p></div></content><author><name>undefined</name></author></entry><entry><title>Kate Watson-Wallace</title><link href="https://gavart.ist/#Kate%20Watson-Wallace"></link><link href="https://gavart.ist/static/Kate%2520Watson-Wallace.html" rel="alternative" type="text/html"></link><id>2e6bf7c2-3e7e-96fc-d4d4-4285323802bd</id><updated>2023-06-24T07:00:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Y-E-S</title><link href="https://gavart.ist/#Y-E-S"></link><link href="https://gavart.ist/static/Y-E-S.html" rel="alternative" type="text/html"></link><id>cd5ed172-f9e7-217b-1dbb-20d172e89255</id><updated>2023-06-23T07:31:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Calle del Orco</title><link href="https://gavart.ist/#Calle%20del%20Orco"></link><link href="https://gavart.ist/static/Calle%2520del%2520Orco.html" rel="alternative" type="text/html"></link><id>46484693-6d60-b0ff-bfcc-773ad6dfd90a</id><updated>2023-06-22T19:26:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Andreas Dzialocha</title><link href="https://gavart.ist/#Andreas%20Dzialocha"></link><link href="https://gavart.ist/static/Andreas%2520Dzialocha.html" rel="alternative" type="text/html"></link><id>fb568817-f6ef-7332-3028-f95e01848101</id><updated>2023-06-22T10:21:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bastian Zimmermann</title><link href="https://gavart.ist/#Bastian%20Zimmermann"></link><link href="https://gavart.ist/static/Bastian%2520Zimmermann.html" rel="alternative" type="text/html"></link><id>41270477-8373-ae94-3e8c-66a90d4b294e</id><updated>2023-06-22T10:16:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><u>Projects</u><br></br>* <a class="tc-tiddlylink-external" href="https://www.musicforhotelbars.com/" rel="noopener noreferrer" target="_blank">https://www.musicforhotelbars.com/</a><br></br>* <a class="tc-tiddlylink-external" href="https://musicinstallations.com/en" rel="noopener noreferrer" target="_blank">https://musicinstallations.com/en</a><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Private Selection Records</title><link href="https://gavart.ist/#Private%20Selection%20Records"></link><link href="https://gavart.ist/static/Private%2520Selection%2520Records.html" rel="alternative" type="text/html"></link><id>0f71acdb-bbb2-414c-7e1e-49cde4cadabc</id><updated>2023-06-22T10:12:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Evar Records</title><link href="https://gavart.ist/#Evar%20Records"></link><link href="https://gavart.ist/static/Evar%2520Records.html" rel="alternative" type="text/html"></link><id>ec4f47c7-9ee1-8ce7-328c-d07a992b4935</id><updated>2023-06-22T10:12:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Brainfeeder</title><link href="https://gavart.ist/#Brainfeeder"></link><link href="https://gavart.ist/static/Brainfeeder.html" rel="alternative" type="text/html"></link><id>8a688fb3-b00b-4943-7543-5d81f82b5e46</id><updated>2023-06-22T10:12:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Hyperdelia</title><link href="https://gavart.ist/#Hyperdelia"></link><link href="https://gavart.ist/static/Hyperdelia.html" rel="alternative" type="text/html"></link><id>4120ef31-7255-8a6d-5a10-6480864771eb</id><updated>2023-06-22T10:11:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>3TONcinema</title><link href="https://gavart.ist/#3TONcinema"></link><link href="https://gavart.ist/static/3TONcinema.html" rel="alternative" type="text/html"></link><id>8c2c99bc-a301-82fb-4caf-e0bf9cd144a0</id><updated>2023-06-22T10:10:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Survival Research Laboratories</title><link href="https://gavart.ist/#Survival%20Research%20Laboratories"></link><link href="https://gavart.ist/static/Survival%2520Research%2520Laboratories.html" rel="alternative" type="text/html"></link><id>c7c2af22-5b3b-6148-4ed0-b4655e16e91f</id><updated>2023-06-22T09:51:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Andrew Mangold music residency at Casa Mahler</title><link href="https://gavart.ist/#Andrew%20Mangold%20music%20residency%20at%20Casa%20Mahler"></link><link href="https://gavart.ist/static/Andrew%2520Mangold%2520music%2520residency%2520at%2520Casa%2520Mahler.html" rel="alternative" type="text/html"></link><id>1c97677e-a6f3-f17b-0f52-8c9d17a112df</id><updated>2023-06-22T08:41:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>composer trading platform</title><link href="https://gavart.ist/#composer%20trading%20platform"></link><link href="https://gavart.ist/static/composer%2520trading%2520platform.html" rel="alternative" type="text/html"></link><id>803479a3-09b1-fb57-1438-9096c941f2d7</id><updated>2023-06-22T08:09:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Long Beach</title><link href="https://gavart.ist/#Long%20Beach"></link><link href="https://gavart.ist/static/Long%2520Beach.html" rel="alternative" type="text/html"></link><id>5de943f2-fe97-8b75-0819-84c68fee2faa</id><updated>2023-06-21T20:11:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Berkeley</title><link href="https://gavart.ist/#Berkeley"></link><link href="https://gavart.ist/static/Berkeley.html" rel="alternative" type="text/html"></link><id>4bac8b29-a785-f622-2060-7ed2d9aa85c0</id><updated>2023-06-20T08:37:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Detroit</title><link href="https://gavart.ist/#Detroit"></link><link href="https://gavart.ist/static/Detroit.html" rel="alternative" type="text/html"></link><id>1206c1cb-1070-44f2-91a5-2d53fc9ec748</id><updated>2023-06-20T08:37:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Los Angeles</title><link href="https://gavart.ist/#Los%20Angeles"></link><link href="https://gavart.ist/static/Los%2520Angeles.html" rel="alternative" type="text/html"></link><id>d0aa2dff-a0da-83f1-f346-81308d04db5d</id><updated>2023-06-20T08:37:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>London</title><link href="https://gavart.ist/#London"></link><link href="https://gavart.ist/static/London.html" rel="alternative" type="text/html"></link><id>59ead8d1-e124-ccfb-79f3-ace06f43e703</id><updated>2023-06-20T08:35:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Miami</title><link href="https://gavart.ist/#Miami"></link><link href="https://gavart.ist/static/Miami.html" rel="alternative" type="text/html"></link><id>0f5de708-d2f6-808f-fb0c-3893b2b8964a</id><updated>2023-06-20T08:35:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Houston</title><link href="https://gavart.ist/#Houston"></link><link href="https://gavart.ist/static/Houston.html" rel="alternative" type="text/html"></link><id>a25b2dff-7d13-c650-e6c7-e6bfb3bba5a3</id><updated>2023-06-20T08:35:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mérida</title><link href="https://gavart.ist/#M%C3%A9rida"></link><link href="https://gavart.ist/static/M%25C3%25A9rida.html" rel="alternative" type="text/html"></link><id>bec6e0ed-a152-091e-6393-ffaa0865da67</id><updated>2023-06-20T08:34:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>offline</title><link href="https://gavart.ist/#offline"></link><link href="https://gavart.ist/static/offline.html" rel="alternative" type="text/html"></link><id>27a21354-321d-fbc2-8f0c-b17b995bb9ca</id><updated>2023-06-19T15:21:20</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Brooklyn</title><link href="https://gavart.ist/#Brooklyn"></link><link href="https://gavart.ist/static/Brooklyn.html" rel="alternative" type="text/html"></link><id>3dfef114-c719-2d37-e1c4-4efda34a9093</id><updated>2023-06-19T12:28:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>New York</title><link href="https://gavart.ist/#New%20York"></link><link href="https://gavart.ist/static/New%2520York.html" rel="alternative" type="text/html"></link><id>87809c95-4948-d8a2-0507-bee3648281b3</id><updated>2023-06-19T12:28:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fontshare</title><link href="https://gavart.ist/#Fontshare"></link><link href="https://gavart.ist/static/Fontshare.html" rel="alternative" type="text/html"></link><id>15bd168e-857a-3a30-cd4c-a7b2117d4f21</id><updated>2023-05-06T11:09:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Rick Rubin</title><link href="https://gavart.ist/#Rick%20Rubin"></link><link href="https://gavart.ist/static/Rick%2520Rubin.html" rel="alternative" type="text/html"></link><id>db8ae4af-483c-9a78-e556-5294321ec58c</id><updated>2023-04-27T23:36:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Anna Luisa - Liquid Memory (Gavin Gamboa Remix)</title><link href="https://gavart.ist/#Anna%20Luisa%20-%20Liquid%20Memory%20(Gavin%20Gamboa%20Remix)"></link><link href="https://gavart.ist/static/Anna%2520Luisa%2520-%2520Liquid%2520Memory%2520(Gavin%2520Gamboa%2520Remix).html" rel="alternative" type="text/html"></link><id>95db4da9-c1c6-6cf9-7d51-8a72c687e8b0</id><updated>2023-04-25T22:51:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Forever green. <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Anna%20Luisa">Anna Luisa</a> soars again with a serene collection of remixes celebrating the one-year anniversary of her debut release, “Green”. “Green Remixed” brings together nine of Luisa’s closest friends and collaborators to reimagine her verdant atmospheres with renewed energy. ‘80s synths, dance floor rhythms, and glistening ambient textures reimagine “Green” in concert with Luisa’s original intention: creating space for healing, relaxing, and contemplation.</h2><h2 class=""><em><a class="tc-tiddlylink-external" href="https://practicalrecords.bandcamp.com/album/green" rel="noopener noreferrer" target="_blank">Green</a></em> was released in 2018 to local acclaim, followed with a West Coast tour promoting the album. <em><a class="tc-tiddlylink-external" href="https://practicalrecords.bandcamp.com/album/green" rel="noopener noreferrer" target="_blank">Green</a></em> represented a transformation as Luisa stepped away from the high-production theatrics that defined her former moniker Jeepneys, and moved towards an earnest, stripped down performance under her own name.</h2><h2 class=""><em><a class="tc-tiddlylink-external" href="https://practicalrecords.bandcamp.com/album/green-remixed" rel="noopener noreferrer" target="_blank">Green Remixed</a></em> reintroduces listeners to Luisa’s “green place”—a new age refuge of lush landscapes and verdant soil, an oasis of collaborators and friends in Los Angeles, where she lives and works. “I imagine us all chilling in a rich green ambiance of plants, herbs, birds, lizards… a conjured space to provide a mental and spiritual break from reality,” said Luisa.</h2><hr></hr><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/t90VpEfES1Y" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Piano</title><link href="https://gavart.ist/#Piano"></link><link href="https://gavart.ist/static/Piano.html" rel="alternative" type="text/html"></link><id>060e8e88-876d-796e-83c5-201d70e45661</id><updated>2023-04-22T14:44:19</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""> </h3><h2 class="">2026</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Berceuse">Berceuse</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Negr%C3%B3n%20%E2%8E%AE%20Eisler">Negrón ⎮ Eisler</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Conlon%20Nancarrow%20%E2%8E%AE%20Sonatina">Conlon Nancarrow ⎮ Sonatina</a>
      </li>
  
</ul>
</p><h2 class="">2025</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ferruccio%20Busoni%20%E2%8E%AE%20Sonatina">Ferruccio Busoni ⎮ Sonatina</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Trichotomy">Trichotomy</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Humoresques%20For%20Autoregressive%20Compute">Humoresques For Autoregressive Compute</a>
      </li>
  
</ul>
</p><h2 class="">2024</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Sergei%20Prokofiev%20%E2%8E%AE%20Sonatina">Sergei Prokofiev ⎮ Sonatina</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hoja%20de%20%C3%A1lbum">Hoja de álbum</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Carlos%20Ch%C3%A1vez%20%E2%8E%AE%20Sonatina">Carlos Chávez ⎮ Sonatina</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Trois%20Esquisses%20de%202014">Trois Esquisses de 2014</a>
      </li>
  
</ul>
</p><h2 class="">2023</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20%E2%8E%AE%20Sonata%2030">Beethoven ⎮ Sonata 30</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bach-Busoni%20%E2%8E%AE%20Toccata%20%26%20Fugue%20in%20D%20minor">Bach-Busoni ⎮ Toccata &amp; Fugue in D minor</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20world%20was%20to%20me%20a%20secret%20which%20I%20desired%20to%20devine">The world was to me a secret which I desired to devine</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Answer%20Plateau">Answer Plateau</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Reliquie%20%C2%B7%20a%20Sonata%20by%20Franz%20Schubert%20%26%20Ernst%20Krenek">Reliquie · a Sonata by Franz Schubert &amp; Ernst Krenek</a>
      </li>
  
</ul>
</p><h2 class="">2022</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Wanderer%20Jazz">Wanderer Jazz</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mama%27s%20Hands">Mama's Hands</a>
      </li>
  
</ul>
</p><h2 class="">2021</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bach%20%E2%8E%AE%20Partita%20II">Bach ⎮ Partita II</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Quadratic%20Lattice%20%E2%80%A2%20with%20Max%20Jaffe">Quadratic Lattice • with Max Jaffe</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Puzzle%20Weasel%20%E2%80%A2%20with%20Frank%20Moka">Puzzle Weasel • with Frank Moka</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ligeti%20%E2%8E%AE%20Rachmaninoff">Ligeti ⎮ Rachmaninoff</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chopin%20%E2%8E%AE%20Eight%20Pieces">Chopin ⎮ Eight Pieces</a>
      </li>
  
</ul>
</p><h2 class="">2020</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Zigzagging%20Syntax">Zigzagging Syntax</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Second%20Assortment%20of%20The%20Well-Tempered%20Clavier%20Book%20I">Second Assortment of The Well-Tempered Clavier Book I</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20%E2%8E%AE%20Sonata%20%C3%A0%20Joseph%20Haydn">Beethoven ⎮ Sonata à Joseph Haydn</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Live%20at%20RHO%20Hotel%20Amsterdam">Live at RHO Hotel Amsterdam</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#13%2C013%20Fragmented%20Impromptus">13,013 Fragmented Impromptus</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gu%C3%A8brou%20%E2%8E%AE%20The%20Song%20of%20The%20Sea">Guèbrou ⎮ The Song of The Sea</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%E2%91%BB%20inventions">⑻ inventions</a>
      </li>
  
</ul>
</p><h2 class="">2019</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scriabin%20%E2%8E%AE%20Sonata-Fantasy">Scriabin ⎮ Sonata-Fantasy</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Trees%20Leaping%20Greenly%20Toward%20Sky%20True%20Dream%20Ears%20Awake">Trees Leaping Greenly Toward Sky True Dream Ears Awake</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Debussy%20%E2%8E%AE%20Haydn">Debussy ⎮ Haydn</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jos%C3%A9%20Pablo%20Moncayo%20%E2%8E%AE%20Tres%20Piezas">José Pablo Moncayo ⎮ Tres Piezas</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Odas%20A%20La%20Luz%20Encantada">Odas A La Luz Encantada</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scarlatti%20%E2%8E%AE%20Two%20Sonatas">Scarlatti ⎮ Two Sonatas</a>
      </li>
  
</ul>
</p><h2 class="">2018</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Midway%20upon%20the%20journey%20of%20our%20life%20I%20found%20myself%20in%20a%20dark%20wood%2C%20where%20the%20right%20way%20was%20lost.">Midway upon the journey of our life I found myself in a dark wood, where the right way was lost.</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mareas">Mareas</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20%E2%8E%AE%20Opus%202%20Number%203">Beethoven ⎮ Opus 2 Number 3</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chopin%20%E2%8E%AE%20Four%20Pieces">Chopin ⎮ Four Pieces</a>
      </li>
  
</ul>
</p><h2 class="">2017</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ponce%20%E2%8E%AE%20H%C3%A4ndel">Ponce ⎮ Händel</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Brahms%20%E2%8E%AE%20Ballade%20IV">Brahms ⎮ Ballade IV</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Musik%20St%C3%B6rungen%20die%20dem%20Empfindsamen%20Stil%20entspringen">Musik Störungen die dem Empfindsamen Stil entspringen</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chopin%20%E2%8E%AE%20Fantaisie">Chopin ⎮ Fantaisie</a>
      </li>
  
</ul>
</p><h2 class="">2016</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20%E2%8E%AE%20Sonata%2027">Beethoven ⎮ Sonata 27</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#IgG4-RD%20Blues">IgG4-RD Blues</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Notes%20On%20Cybism%20%E2%8E%AE%20Cybism%20Reconsidered%20%E2%8E%AE%20An%20Afterword">Notes On Cybism ⎮ Cybism Reconsidered ⎮ An Afterword</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Mozart%20%E2%8E%AE%20Klaviersonaten%204%20%E2%80%A2%206">Mozart ⎮ Klaviersonaten 4 • 6</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Three%20Scenes%20In%20Winter">Three Scenes In Winter</a>
      </li>
  
</ul>
</p><h2 class="">2015</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20%E2%8E%AE%20Grande%20sonate%20path%C3%A9tique">Beethoven ⎮ Grande sonate pathétique</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Take%20Me%20To%20That%20Place%20Where%20I%20Know%20Nothing">Take Me To That Place Where I Know Nothing</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Nocturnes%20I-IV">Nocturnes I-IV</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Territory%20of%20the%20Nine%20Pollutants">Territory of the Nine Pollutants</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Cybism%20Dreams">Cybism Dreams</a>
      </li>
  
</ul>
</p><h2 class="">2014</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Three%20Regular%20Axioms">Three Regular Axioms</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20%E2%8E%AE%20Sonata%20%E2%80%98Quasi%20una%20fantasia%E2%80%99%20II">Beethoven ⎮ Sonata ‘Quasi una fantasia’ II</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Hortus%20Musicus">Hortus Musicus</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#First%20Assortment%20of%20The%20Well-Tempered%20Clavier%20Book%20I">First Assortment of The Well-Tempered Clavier Book I</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Humoresques%20For%20The%20Verge%20Of%20Sanities">Humoresques For The Verge Of Sanities</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Two%20Views%20From%20Mount%20Eden">Two Views From Mount Eden</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Chanson-Tombeaux%20sans%20paroles%20pour%20Athanasius%20Kircher">Chanson-Tombeaux sans paroles pour Athanasius Kircher</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Partita%20No.%201%20%E2%80%98Zircon%E2%80%99">Partita No. 1 ‘Zircon’</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%C2%A1He%20aqu%C3%AD%21%20%C2%A1El%20Volc%C3%A1n%21">¡He aquí! ¡El Volcán!</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Stravinsky%20%E2%8E%AE%20Ravel">Stravinsky ⎮ Ravel</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Alban%20Berg%20%E2%8E%AE%20Klaviersonate%20Op.%201">Alban Berg ⎮ Klaviersonate Op. 1</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20%E2%8E%AE%20Sonata%20%E2%80%98Quasi%20una%20fantasia%E2%80%99%20I">Beethoven ⎮ Sonata ‘Quasi una fantasia’ I</a>
      </li>
  
</ul>
</p><h2 class="">2012</h2><p class="largerList"><ul>
   
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Halcyon%20Suite">Halcyon Suite</a>
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      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#A%20Minor%20Schubert%20For%20Tony%20Conrad">A Minor Schubert For Tony Conrad</a>
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      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Beethoven%20%E2%8E%AE%20Diabelli%20Variations">Beethoven ⎮ Diabelli Variations</a>
      </li>
  
      <li>
         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%27Cantemos%20hoy%2C%20ma%C3%B1ana%20moriremos%27%20%3A%20Album%20Leaf%20for%20David%20Alfaro%20Siqueiros">'Cantemos hoy, mañana moriremos' : Album Leaf for David Alfaro Siqueiros</a>
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         <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#10%2C010%20Fragmented%20Impromptus">10,010 Fragmented Impromptus</a>
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</ul>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Riot Platforms, Inc. Statement: The New York Times’ Politically Driven Attack On Bitcoin Mining Is Full of Distortions &amp; Outright Falsehoods</title><link href="https://gavart.ist/#Riot%20Platforms%2C%20Inc.%20Statement%3A%20The%20New%20York%20Times%E2%80%99%20Politically%20Driven%20Attack%20On%20Bitcoin%20Mining%20Is%20Full%20of%20Distortions%20%26%20Outright%20Falsehoods"></link><link href="https://gavart.ist/static/Riot%2520Platforms%252C%2520Inc.%2520Statement%253A%2520The%2520New%2520York%2520Times%25E2%2580%2599%2520Politically%2520Driven%2520Attack%2520On%2520Bitcoin%2520Mining%2520Is%2520Full%2520of%2520Distortions%2520%2526%2520Outright%2520Falsehoods.html" rel="alternative" type="text/html"></link><id>8dbeab8f-b495-4319-4d25-8c4fc62c00dc</id><updated>2023-04-17T16:47:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Libro</title><link href="https://gavart.ist/#Libro"></link><link href="https://gavart.ist/static/Libro.html" rel="alternative" type="text/html"></link><id>6b53b52e-2ce2-b895-b6cb-d65874f8207d</id><updated>2023-04-17T16:21:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>ZeroSpace Artist Residency</title><link href="https://gavart.ist/#ZeroSpace%20Artist%20Residency"></link><link href="https://gavart.ist/static/ZeroSpace%2520Artist%2520Residency.html" rel="alternative" type="text/html"></link><id>8a095fee-4a6d-5f4e-f49b-29e3c30f3413</id><updated>2023-04-17T15:56:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Positionen</title><link href="https://gavart.ist/#Positionen"></link><link href="https://gavart.ist/static/Positionen.html" rel="alternative" type="text/html"></link><id>34aa71c7-6d05-f629-1849-a020d4c28403</id><updated>2023-04-11T09:42:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>#MoneyMustBeFunny</title><link href="https://gavart.ist/#%23MoneyMustBeFunny"></link><link href="https://gavart.ist/static/%2523MoneyMustBeFunny.html" rel="alternative" type="text/html"></link><id>b40d9724-dc0a-95ce-cc21-d701e180042d</id><updated>2023-04-11T09:41:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Horn%20of%20Phantoms">Horn of Phantoms</a> is featured in <strong>Positionen Issue 134 Klänge von morgen schon heute</strong> as a one page synopsis of the work and its relation to the theme of money.</p><img src="./files/img/press/positionen-134.jpg"></img></div></content><author><name>undefined</name></author></entry><entry><title>The Teaching Machine</title><link href="https://gavart.ist/#The%20Teaching%20Machine"></link><link href="https://gavart.ist/static/The%2520Teaching%2520Machine.html" rel="alternative" type="text/html"></link><id>8a655474-02f9-144c-8ee5-398e44eb5e04</id><updated>2023-04-10T21:48:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="noExternalLinkIcon" href="https://network.teachingmachine.tv" target="_blank"><svg class="tc-image-button" height="150pt" preserveAspectRatio="xMidYMid meet" version="1.0" viewBox="0 0 300.000000 300.000000" width="150pt" xmlns="http://www.w3.org/2000/svg">
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</svg></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Vocalist José James embraces the collaboration</title><link href="https://gavart.ist/#Vocalist%20Jos%C3%A9%20James%20embraces%20the%20collaboration"></link><link href="https://gavart.ist/static/Vocalist%2520Jos%25C3%25A9%2520James%2520embraces%2520the%2520collaboration.html" rel="alternative" type="text/html"></link><id>0d1fc9ff-51f7-1786-dc05-d23d98492e5d</id><updated>2023-04-10T17:43:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A solo career never really means going it alone, and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Jos%C3%A9%20James">José James</a> embraces that idea. The 39-year-old Minneapolis native knows the benefits of surrounding yourself with talented people, and that is why he’s got two of his favorites in tow on his tour in support of his latest album, “Love in a Time of Madness.”</p><p>James will sing and play guitar accompanied by Nate Smith, his longtime drummer, during two local stops — Wednesday, March 29, at the Independent in San Francisco and Thursday, March 30, at the Guild Theater in Sacramento. Multi-instrumentalist Corey King, who has played trombone in James’ prior bands, opens the shows with a solo set.</p><p>“Since my school days, I’ve been fortunate to work with a lot of amazing people,” says James, by phone in New York, where he lives. “And it’s always great to get back together with people who I share a long history with.”</p><p>The poly-stylistic vocalist studied at New York City’s New School for Jazz and Contemporary Music along with fellow genre-benders such as keyboardist Robert Glasper and jazz-influenced R&amp;B vocalist Bilal. Since then, James has gigged with noted jazz pianists McCoy Tyner and Eric Reed and recorded with drum &amp; bass pioneer Goldie and big beat purveyors Basement Jaxx.</p><p>James’ most recent album, “Love in a Time of Madness,” was released on Blue Note late last month and features staccato bass lines, icy beats and an overall late-night-drive aesthetic. This is in contrast to “Yesterday I Had the Blues,” his previous album from 2015, which was a well-received exploration of the Billie Holiday songbook with an all-star trio of pianist Jason Moran, double bassist John Patitucci and drummer Eric Harland.</p><p>“With this album, I wanted to present the songs as they are originally,” he says about his decision to tour as a duo. “I didn’t want to present a 10-minute version of a three-minute song.</p><p>“I also didn’t want to subject a bunch of amazing jazz players to playing parts, because that’s basically the antithesis of what jazz guys want to do. I love working with jazz musicians, and I want them to have that freedom because that’s the whole point.”</p><p>This approach is appreciated by drummer Smith, who says James reminds him of the late vocal and bandleading great Betty Carter.</p><p>“José’s not the guy who’s going to put a lid on it and say, ‘That’s enough,’” says Smith by phone from his home in the Bronx. “He lets us cats in the band stretch out and get into some really interesting territory.”</p><p>Teaming up with multi-instrumentalist Antario “Tario” Holmes, one of the two producers on “Love in a Time of Madness,” James took the tracks from the new album and converted them to Ableton, music sequencer software that’s particularly popular in live settings.</p><p>“And then working with Nate, I was able to kind of decide if he was going to play over some tracks or if we were going take the drums out entirely” and have him add color or more percussive aspects instead, James explains. “For me, it’s the best of both worlds: I still get my interaction, as a performer, with Nate, but the sonic impact of the album hits in a way that you just can’t get with acoustic instruments.”</p><p>That’s not to say that Smith won’t get to have fun during their upcoming shows. The set list is more predetermined than a typical James concert, where the bandleader might start a random song and have his band follow, but material from the new album that features Smith shows off different parts of the drummer’s aesthetic.</p><p>James is also incorporating a multimedia aspect to this tour, courtesy of Los Angeles artist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Gavin%20Gamboa">Gavin Gamboa</a>, who has worked on live concert visuals with artists like <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Erykah%20Badu">Erykah Badu</a>.</p><p>“He creates a singular visual piece to accompany each track on the album, which is projected onscreen while Nate and I perform. So it’s really immersive,” James says.</p><p>His current tour, with all its collaborations for the album to the live show, is just one example of why James is such a success. Throughout his 10-year recording career, he’s worked with several artists on his own albums, from his New School classmate Becca Stevens to the French-Moroccan singer Hindi Zahra and gospel/R&amp;B star Oleta Adams, coming away from each experience inspired and reinvigorated.</p><p>“I’m fascinated by what can happen when you truly collaborate with somebody else,” he says. “If you’re going to really collaborate with somebody, it should stand apart from what either of you do.”</p><p><em>Yoshi Kato is a freelance writer.</em></p></div></content><author><name>undefined</name></author></entry><entry><title>The Screen of the Sky</title><link href="https://gavart.ist/#The%20Screen%20of%20the%20Sky"></link><link href="https://gavart.ist/static/The%2520Screen%2520of%2520the%2520Sky.html" rel="alternative" type="text/html"></link><id>4c1bee24-b31e-d2c5-3dde-27605712e73f</id><updated>2023-04-10T17:27:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>On stargazing and the journey towards screening <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige’s</a> Begotten, Din of Celestial Birds and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia and Blastema</a> in a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Offscreen%20Film%20Festival%202023">planetarium</a></p><p>1.</p><p>For me, the journey goes back twenty-five years. Early October 1998, at the Institut français, London, where I had organised ‘A Weekend with Andrzej Żuławski’. There was an opening reception. Maria Żuławski, widow of the painter Marek Żuławski, brought a friend, Jasia Reichardt. A writer and curator, Jasia used to be director of the ICA in London, where she curated Cybernetic Serendipity, a pioneering exhibition on computer art.</p><p>She is also the niece of Franciszka and Stefan Themerson, Polish Jews who fled Poland in the 30s, settling in London in the 40s. In Poland, they had made several avant-garde films — indeed, they are synonymous with the Polish interwar avant-garde.</p><p>Jasia gave me a book by Stefan, titled The Urge to Create Visions. Based on a lecture he gave in Warsaw in 1937, it is about what cinema is and could be. During these last twenty-five years, the book has never left me. The spine has collapsed, the pages loose. It has formed the basis of workshops I have run with school children; I constantly plunder its text for quotes suggesting I am better read than I am. I have made film programmes out of it, too.</p><p>It is the opening section that intrigues me the most: a picture of the Great Nebula in Andromeda, above a quote attributed to a certain J. Dembowski:</p><p>“All that we see in the starry sky is luminous points scattered at random. And yet, the first man on earth already gathered those points into groups, drew the connecting lines, distinguished constellations, and succeeded in seeing in them resemblance to all kinds of things terrestrial. It wasn’t his eye that drew for him the shapes of lions, bears, scorpions, and swans. They are configurations imposed on reality.”</p><p>On the next page is a Bushman tale:
“You would like to know, dear Sir or Madam, who was the chap that invented cinema?
Well, my dear Sir or Madam, as a matter of fact, it wasn’t a chap. It was a girl. A girl from long ago:
‘A girl from long ago took a handful of embers and threw them up in the air; and the sparks became stars.’”</p><p>Themerson then writes the next section, titled The screen of the sky:
“The screen was high up, the immense dome standing on the edges of the flat, circular floor of the Earth. It was enough to be willing to look, to be able to see a galaxy of dramas.”</p><p>Themerson rightly points out that cinema was born before Edison or Lumière:
“Poetry, long before we found a way of preserving it in written or printed characters, was recorded in human memory.
Visions, long before we found a way of developing them on cinema film, were recorded in poetry. […]
Cinematograph. Why not: uedja for silent shadows, and loakal – for sound ones?
‘The Arawacs use the same word for shadow, soul, and picture – uedja. The Abipons have only one word: loakal for shadow, soul, echo, and picture’.”</p><p>Themerson writes of how, as a student of architecture, he dreamed of a cinema with a hemispheric screen:
“Within the hemispheric screen, the spectator himself is the frame of reference.”</p><p>Like star gazing, the screen of the sky had the capacity to be a frame of reference to both the representational and the abstract.</p><p>2.</p><p>When I saw <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#E.%20Elias%20Merhige">E. Elias Merhige’s</a> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Polia%20%26%20Blastema">Polia and Blastema</a> (2020), I thought, again, of The Urge to Create Visions. This was, after all, a film beginning with a starburst, or supernova, and the galaxy it gives birth to. In cinema, its ascendents include Stanley Kubrick’s 2001: A Space Odyssey. In literature, Olaf Stapeldon’s Star Maker.</p><p>Polia and Blastema is science fiction, but not as we know it. It reinvents the space opera as something that is less Star Wars, and more Sergei Eisenstein’s Die Walküre, his singular opera production that set out his preoccupation of myth as emerging from primordial culture. This had its roots in nineteenth century Russian symbolism, which in turn engaged with, if not Wagner, then Nietzsche’s interpretation, laid out explicitly in his 1872 work <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#The%20Birth%20of%20Tragedy%20Or%3A%20Hellenism%20And%20Pessimism">The Birth of Tragedy out of the Spirit of Music</a>.</p><p>Polia and Blastema, in my eyes, had to be seen on a hemispheric screen.</p><p>3.</p><p>It is important not to make the mistake of thinking that, with Polia and Blastema, Merhige is segueing into the performing arts, namely opera. Rather, it is the other way around. Look at the credits of Merhige’s Begotten (1989), and it is credited to a theatre troupe, Theatreofmaterial. Begotten was a cinematic response to an envisaged performance.</p><p>4.</p><p>Merhige has talked about the influence of Antonin Artaud, and his ideas about theatre. After toying with the surrealists and making ends meet as a film actor, Artaud’s Road to Damascus experience was witnessing a production of Balinese theatre in Paris. Artaud’s flash of inspiration was to underpin much of twentieth century theatre: theatre as ritual, an act of “organised anarchy” that aims to affect the audience through the brutal awakening of their senses. He put down his ideas as theory, but, thanks to a morphine habit and schizophrenia, was unable to realise them.</p><p>His writings were rediscovered in the decades after his death – Peter Brook in England, Jerzy Grotowski in Poland, Alejandro Jodorowsky in Mexico, Carmelo Bene in Italy, Terayama Shuji in Japan.</p><p>In the US, Artaud also had his advocates, most notably Richard Schechner, and New York’s premier Francophile, Susan Sontag.</p><p>Sontag, who saw the film at the urging of, amongst others, American producer Tom Luddy, counted Begotten as one of the most important films of recent times. One can speculate that it fulfilled the Artaud dream of cinema at the service of the impossible theatre.</p><p>5.</p><p>Despite Begotten’s advocates, its reception said more about the state of marketing than the film itself. </p><p>On the one hand, it was deemed an experimental film. By 1989, however, if Experimental was a genre, nostalgically stretching back to the European avant-garde of the 1920s, and propagated by the films and filmmakers circulating around the personality of Jonas Mekas at Anthology Film Archives in New York, it was a genre in decline.</p><p>On the other hand, its grotesque spectacle was (mis)construed as a work of horror. Indeed, I frequently conflated grainy images of the character of ‘God’ in Begotten with Leatherface, antagonist of Tobe Hooper’s peerless The Texas Chain Saw Massacre.</p><p>Nevertheless, Merhige maintained that Begotten was the by-product of an envisaged performance. He also insisted that it was part of a larger work.</p><p>6.</p><p>‘Come to Poland’, Żuławski said. </p><p>This was his off-the-record response to my unashamedly naïve question, ‘how do you get actors to act like that?’</p><p>Thanks to a Polish Government Scholarship, I was, over the course of a few years, able to accrue an appreciation for theatre director and theorist Jerzy Grotowski and playwright Witold Gombrowicz, along with painter Witkacy (Stanisław Ignacy Witkiewicz) and writer Bruno Schulz. Usually received in France as surrealists, they were in fact part of what Zulawski described as something like distended romanticism, since Poland never had a surrealist movement as such. Artaud, though affiliated with surrealism, was never truly part of the movement either; yet Witkacy, Gombrowicz and Grotowski were all intuitively groping around the same “theatre as ritual” territory as Artaud.</p><p>Like a spider in a web, at the heart of this constellation was the Romantic poet Adam Mickiewicz, specifically his epic poem Dziady, our Forefathers Eve. </p><p>Dziady is a drama made up of four parts, composed in non-chronological order. This, of course, brings us back to Merhige’s trilogy — a cosmic drama made of three parts, produced out of sequence. To give a thumbnail sketch: a galaxy is born (Polia and Blastema), upon a planet of which life comes into being (Din of Celestial Birds, 2006), which gives birth to, if not tragedy, then ritual and myth, on the floor of a forest (Begotten). In essence, we begin with a macrocosm, and end with a microcosm (which, of course, was the theme of Gombrowicz’s last, great novel, Cosmos, which also served the basis of Żuławski’s final film, Cosmos, in 2015).</p><p>7.</p><p>If this three-part drama can be traced back to the inception of Begotten, then it is necessary to invoke the guiding spirits of two midwives: Aram Avakian, Merhige’s professor at State University of New York at Purchase (and co-director and editor of 1959’s Jazz on a Summer’s Day, the first feature-length concert movie with live sound), and Dennis Jakob, film editor and historian. It was Jakob who described Begotten as ‘hermetic’, and who, consciously or not, shaped Merhige’s own conception of this three film cycle as being, not so much abstractions, as cyphers for the miraculous.</p><p>Aspects of this thinking permeates Merhige’s comparatively mainstream features, Shadow of the Vampire (2000), and Suspect Zero (2004).</p><p>8.</p><p>The pandemic, coupled with technological advances in streaming and the increasing corporatisation of film production and distribution, posed an existential threat to cinema as spectacle — as embodied, by, for example, 2001: A Space Odyssey.</p><p>In 2020, I sat in a private screening of a newly struck 35mm print of the Quay Brothers’ The Dolls Breath, in La Salle 500, at Forum des Images, put on exclusively for the exceptional composer Michèle Bokanowski and her husband, Patrick.</p><p>The Dolls Breath had been produced by Christopher Nolan, arguably the foremost advocate of both celluloid and the theatrical experience. A few weeks later, I experienced Nolan’s Tenet in an empty multiplex, in the outskirts of Paris.</p><p>Three years ago it was clear that cinema was either going to be subsumed by streaming, or come back in a flamboyant, outrageous manner like it did in the 1950s, when television threatened cinema, which struck back with Cinemarama experience, complete with overtures and souvenir programmes.</p><p>9.</p><p>Or, perhaps, cinema is supposed to die, and, Cambridge Ritualists style, its body devoured by the masses, and subsequently embodied as something else.</p><p>Perhaps this is the moment that Begotten, Din of Celestial Birds, and Polia and Blastema are reconstituted as raw material for a performative spectacle, with live music, drawing on not just projection, but projection mapping, where the experience of cinema is singular.</p><p>10.</p><p>Years ago, there was a moment when I was rationalising books, and I hesitated when it came to Gene Youngblood’s Expanded Cinema, a groundbreaking book which argued that for cinema to develop, it needed to incorporate both developments in technology and our changing understanding of consciousness. At the time, it seemed outdated, the road map for a cul-de-sac. I’m glad I held onto it. After Merhige’s trinity, it seems a furtive exploration of cinema as a spectacle to come.</p></div></content><author><name>undefined</name></author></entry><entry><title>Strangeloop: Fields</title><link href="https://gavart.ist/#Strangeloop%3A%20Fields"></link><link href="https://gavart.ist/static/Strangeloop%253A%2520Fields.html" rel="alternative" type="text/html"></link><id>26395ee1-1c77-0d79-9078-a777abe178fa</id><updated>2023-04-10T17:26:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h4 class=""><a class="tc-tiddlylink-external" href="http://fields-tv.com/" rel="noopener noreferrer" target="_blank">FIELDS</a> is not such much an EP as it is an evolving Audio Visual experience, an environment, that leans more in the direction of a Steve Reich inspired minimalist piece than the beat-heavy territory of earlier Strangeloop releases.”</h4><h4 class="">The Internet has become an integral part to our everyday lives. The majority of us spend our days online working, emailing, networking, sharing and listening to music, watching films and a doing a whole host of other activities, its uses are endless. For years there’s been a mixed opinion about the Internet and music, illegal downloads plummeting sales as the ‘dumbing down’ of society for relying on software and algorithms to help them discover new music as opposed to venturing into an actual record shop.</h4><h4 class="">Let’s face it, the internet has opened up a colossal pandoras box for the music industry, exponential marketing and retail capabilities as well as meticulous feedback on what people like and don’t like as well as the rapid distribution of leaked promos that can of course ruin an artists career. Sure the Internet we have today is rich in content, tools and capabilities, but our experience of it is linear. We’re cemented into the formalities that browsers offer and what web sites display. That was until I switched onto Strangeloop’s fields.tv audio visual web site.</h4><h4 class="">Strangeloop AKA David Wexler is known mostly for his live-visual executions accompanying an unending list of artists: Amon Tobin, Flying Lotus, 12th Planet, and most of the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Brainfeeder">Brainfeeder</a> roster to name a few. Strangeloops new record ‘Fields’ is a 3 track EP released on Brainfeeder, which can be bought and experienced as part of an interactive audio visual website. Fields.tv was inspired directly by an experience while in an altered state of consciousness, Strangeloop heard a composition which he tried to create directly after, the result being a fluctuating subliminal epic in three sprawling and unique movements.</h4><h4 class="">The track names correspond to three movements within a psychedelic trip; of initial birth and constellation, through to death / dissolution, and then finally a transcendental union of both.</h4><h4 class="">Of course Strangeloop was not the only person behind this monumental audio-visual project. A man named JP Cutter is the person behind the architecture of the website, whilst Gavin Gamboa developed and designed the site layout, structuring and interface. We took the opportunity to get in touch with Gavin to find out the finer intricacies of <a class="tc-tiddlylink-external" href="http://fields-tv.com" rel="noopener noreferrer" target="_blank">fields.tv</a></h4><p><strong>Tom Durston: How did this collaboration begin?</strong></p><p><strong>Gavin Gamboa:</strong> I initially came into contact with <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Strangeloop">David Wexler’s</a> work at a Video Art Festival we were both featured in here in Los Angeles that was organized by the artist/impresario <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Marci%20Pinna">Marci Pinna</a>, a mutual friend of ours. She is very skilled at culling all sorts of talent and creating situations where new and exciting work gets showcased.</p><p>At this particular festival I can remember finding those early Strangeloop shorts rather compelling. Over the subsequent months David and I became more acquainted with one another, particularly via So Simple Records and their (now defunct) internet-radio programs, which we would both play music at from time to time. Actually, the whole reason I got started working with live video-performance was so that I could VJ at these incredibly energetic So Simple events. It’s where I really started cutting my teeth and refining a visual language. I was intrigued with live video because it combined the sensibilities of a (musical) performer with the non-live technical precision I had come to appreciate previously while making videos and shorts.</p><p>Dave and I started getting together more often and not for any particular reason as far as I can recall. As VJs, I suppose we got along because we were able to exchange ideas, criteria and our own respective experiences associated with the craft. Indeed, the more I got to know David the more inspired I became; there is so much impressive animation and video work that he’s experimented with — it’s astounding. So you can imagine my astonishment when he approached me, I being primarily a musician and not a web-developer, to help conceive of a design for a web space that would function as the net component for his upcoming Brainfeeder ‘debut’.</p><p>He was very excited about expanding the notion of what an album can be — yes an album is built upon its inherently sonic foundations, and yes the boundaries of what makes an album have been explored and the ambit of those boundaries have certainly been extended by many other brilliant artists in the past, but the degree to which Dave’s visual topographies influence his music (and vice versa), along with the potentialities involved in combining into an online presence these differing but related aspects of his artistic production just made the whole thing seem really fitting for Fields’ multi-directional impetus: extending its tentacles into the virtual depths, if you will. Creating a completely ambiguous, user-driven experience based on people’s relationship to the net and on the net’s relationship to the self is something I really felt in accordance with, passionate about even, and it allowed us to continue this grand exploration that we by no means initiated, but which we hoped to re-engage with and to re-consider.</p><p><strong>What is the ideology behind the web site experience? Is there a specific journey direction or is it arbitrary?</strong></p><p>The ideology surrounding the site . . . what a tangled web of influences you’re attempting to extricate from me! Well, for one, I was very much influenced by <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#David%20Foster%20Wallace">David Foster Wallace</a>’s description of the Samizdat in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Infinite%20Jest">Infinite Jest</a>, believe it or not. Obviously fields-tv is a lot less ominous and threatening (or is it?), but the idea that a particular piece of media could have the power to captivate you beyond your own control and seize upon your own cognitive capacities for self-preservation was, literally, the most frightening and fantastic idea I have come across in modern fiction. The samizdat is akin to the Medusa myth, so by no means is this a novel idea. But the way it was encapsulated into holographic media in DFW’s version and then catapulted into my imagination via highly descriptive written language was unforgettable, and particularly salient, I believe, for all of us living in this Second Modernity — the information society.</p><p>Another ideological thread that informed the creation of fields-tv was the inference of a psychedelic visual language as extolled and pondered by <a class="tc-tiddlylink tc-tiddlylink-missing" href="#Terrence%20McKenna">Terrence McKenna</a>, among others. Furthermore, I for one am a proponent of this notion of bildwissenschaft — the only English approximation of the term being ‘image science’. The paradoxical nature of the image, which is so potent that it can replace memory in order to become an image of memory itself will become highly crucial for our global society to study, to harness and to describe; its methods and application will need to become widespread if we are to survive as a species. The educational potential alone in utilizing a language of images in order to disseminate concepts and ideas is severely undervalued in the current educational paradigm, unfortunately. But it seems to be the direction we are slowly moving in. I am intensely interested in this line of inquiry and research.</p><p>As for the site itself, to get back to your question: the experience is ‘guided’ to the extent that the user opens channels for their own meaning to take shape in and to manifest from. It is by no means completely arbitrary. The sequence has an arch, but it is nuanced and certainly not explicit. Form follows function in the labyrinthine sense; an ancient, mystical maze-like entity emanating from an alternate universe the likes of which Jorge Luis Borges was fond of.</p><p><strong>How close was your working relationship with Strangeloop during the project?</strong></p><p>I worked closely with Dave in the initial preparatory period. We discussed what the site should embody and what the experience should be like: what kinds of functions we wanted, etc. After that point, he made it quite clear to me that he didn’t want to micromanage everything that I was working on, and was very encouraging and supportive of the idea that I make it something unique and that I have fun with the project. This gave me the freedom to try out and expand upon our initial approaches. So I was given a certain license to experiment, and from time to time I would show Dave the progress of the site, at which point he would give further input and direction. I think the amount of trust that was mutually involved made the collaboration flow very smoothly. Towards the time of the launch, we began working more closely again, fleshing out everything and verifying what we had come up with.</p><p><strong>Where did you spend the majority of your time working on the project and how long did it take?</strong></p><p>I spent most of my time developing this site at my grandparent’s home near Los Angeles. At certain points I also worked with an extraordinarily talented programmer, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#JP%20Cutter">JP Cutter</a>, who helped assemble some of the more abstract architectural elements of the site. Needless to say I was in solitary confinement for many, many months. We began discussing fields-tv around March of 2011. Shortly after I began writing code.</p><p><strong>How did you build the website? HTML 5 or some other web wizardry?</strong></p><p>Initially we talked about using HTML5, but decided to use ActionScript 3.0, the scripting-language built into Adobe Flash, because at the time HTML5 was (is?) still in the early stages of being widely adopted and standardized.</p><p><strong>Was Bjork’s Biophillia campaign an inspiration / case study for you both whilst working on the site?</strong></p><p>I am unfamiliar with Björk‘s Biophillia in particular but really admire and respect everything her and her team are able to put together. She is and continues to be an exciting and innovative figure, for me at least. I think researchers like <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Peter%20Weibel">Peter Weibel</a> and the work of Nam June Paik, Alexej Shulgin, Ray Johnson, Stelarc, Hélio Oiticica and Jeffrey Shaw have held more sway over me, particularly during this project. Although some of their methods are perhaps more recalcitrant and theoretical/conceptual, I still believe that fields-tv in one way or another addresses the equivocal stance that is championed in their artistic gestures and philosophies.</p><p><strong>Fields.tv is a truly immersive experience and it’s certainly harnessing attention. What other projects do you have lined up for the future?</strong></p><p>I’m happy to hear that you have delved into the mysterious realm that is <a class="tc-tiddlylink-external" href="http://fields-tv.com" rel="noopener noreferrer" target="_blank">fields-tv</a>.</p></div></content><author><name>undefined</name></author></entry><entry><title>San Francisco</title><link href="https://gavart.ist/#San%20Francisco"></link><link href="https://gavart.ist/static/San%2520Francisco.html" rel="alternative" type="text/html"></link><id>f4334fdf-a1c7-28ea-e375-fe781e2e2d9d</id><updated>2023-04-10T17:20:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>José James</title><link href="https://gavart.ist/#Jos%C3%A9%20James"></link><link href="https://gavart.ist/static/Jos%25C3%25A9%2520James.html" rel="alternative" type="text/html"></link><id>85fb7f7b-5cde-c523-47d6-7ef8be5d724d</id><updated>2023-04-10T17:20:10</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Monday Evening Concerts • Meredith Monk and Julius Eastman • Masculine / Femenine</title><link href="https://gavart.ist/#Monday%20Evening%20Concerts%20%E2%80%A2%20Meredith%20Monk%20and%20Julius%20Eastman%20%E2%80%A2%20Masculine%20%2F%20Femenine"></link><link href="https://gavart.ist/static/Monday%2520Evening%2520Concerts%2520%25E2%2580%25A2%2520Meredith%2520Monk%2520and%2520Julius%2520Eastman%2520%25E2%2580%25A2%2520Masculine%2520%252F%2520Femenine.html" rel="alternative" type="text/html"></link><id>8a4c7cb6-a51d-c1e2-3a17-c90c70e6727f</id><updated>2023-04-10T14:19:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Invisible Cities</title><link href="https://gavart.ist/#Invisible%20Cities"></link><link href="https://gavart.ist/static/Invisible%2520Cities.html" rel="alternative" type="text/html"></link><id>d25f57ea-b0cc-0ffd-e690-9b7c7d89942f</id><updated>2023-04-10T14:15:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Invisible Cities in LA: An operatic tour de force</title><link href="https://gavart.ist/#Invisible%20Cities%20in%20LA%3A%20An%20operatic%20tour%20de%20force"></link><link href="https://gavart.ist/static/Invisible%2520Cities%2520in%2520LA%253A%2520An%2520operatic%2520tour%2520de%2520force.html" rel="alternative" type="text/html"></link><id>99c037eb-6502-9a60-3dcb-35a471078efc</id><updated>2023-04-10T14:13:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Los Angeles’s Union Station, which will be celebrating its 75th anniversary next year, was the site of the premier of Christopher Cerrone’s new locative opera <em>Invisible Cities</em>, which had an extended run from October 19 through November 10, 2013. Both the brave LA-based opera production company The Industry and its artistic director Yuval Sharon asked their audience to “imagine our future city.” The extraordinary vision of augmented-operatic-reality has drawn people back into this utilitarian, historically-connected feature of Downtown LA in sold-out performances. Simply put, music-drama as it pertains to Invisible Cities became a force of complete urban metamorphosis. Bass baritone Cedric Berry and tenor Ashley Faatoalia, who performed the lead roles as Kublai Kahn and Marco Polo, were joined by a superb cast of singers, instrumentalists, dancers, technicians, and volunteers representing a collaboration between the LA Dance Project, The Industry, and Sennheiser in an ambitious project of remodernizing the idea of operatic inquiry itself. It was a production which left a lasting impression, and one which created a unique performative reality, renegotiating the boundaries between technology and opera, dance and performance, space and place, art and life.</p><p>The performance on October 29 began with the audience gathered in the old Harvey House restaurant, arranged in a semicircle around the eleven chamber orchestra musicians, conductor Marc Lowenstein, and audio production mixer Nick Tipp. This was a 10:00 PM performance occurring in what is oftentimes used as a refuge for the more transient, dislocated sector of the downtown demographic; a place where the Don Gatelys and Harry Kemps of the world seek an evening’s respite. Sharon spoke briefly, encouraging the audience’s respectful commitment to their own wanderer-fantasie within the perimeter of the event: the outdoor North and South Patios, the majestic Main Waiting Room, and the imperial Historic Ticket Area. As he wrapped up his opening remarks he reiterated the lack of predetermined trajectory built-in to this performance. No two individual’s observations of Invisible Cities would be alike. Maestro Lowenstein then raised his baton to begin the overture, sending the collective curiosity into a heightened sensitivity.</p><p>As the overture ended the audiosocial milieu splintered in myriad directions, reconfigured by vibrational social logistics. The audience, drawn by disembodied voices, gravitated towards the Main Waiting Room. Cerrone’s craftsmanship, unmistakable right from the opening motifs, moved with fluid equilibrium between percussive shivers and jolts to expansive clarity and calm. He dedicated the better part of two years to the construction of Invisible Cities, marrying his libretto (derived from Italo Calvino’s 1972 novel) with richly-dense and at times hallucinatory part-writing. The music commanded our attention as the choir, comprised of singers Maria Elena Altany, Sarah Beaty, Stephen Anastasia, and Cale Olson, slowly revealed themselves. The dancers, as they became more focused, would proceed in formation, separate from one another, rejoin, and traverse out of sight again. The Nymphs, exquisitely performed by Delaram Kamareh and Ashley Knight, conveyed a timeless mystique, echoing each other in a detached, indelible vocal ostinato. The effect of all this simultaneous action was dizzying, always balanced by a controlled musicality.</p><p>In the libretto, a dialog between Kublai Khan and Marco Polo is centered around descriptions of various cities in a “vast, formless ruin.” Khan seeks Polo’s descriptive illuminations, but they cannot effectively communicate. This rift is given a formalistic treatment in the score, aligned with Calvino’s highly structuralized text. The score is electric at times: passages of bustling percussion/prepared-piano/string-pizzicato lend a prickly punctuation to the frenetic action of choreographer Danielle Agami’s histrionic movements and gestures. Swells and glissandi in the brass cascade downwards in ambiguous hysteria. At other times this chaos is contrasted by sounds of spacious tranquility and earth-bound beauty. Cerrone seeks harmonic stability over problematized (a)tonalities, yet always seems to conjure tension when the text required it.</p><p>During the opera, one is driven by perceptual compulsions. The climax, which unfolded in the Historic Ticket Area, brought the collective into its final cathexis, when Kahn and Polo are released from each other, and from the audience. It is a revelatory moment, overwhelming in its totalizing detail. It is this differential ecology of staging and theatrics which casts Invisible Cities as a phenomenal conception. There is vicerality in its interpolated navigability. Its calculated immersion and locativity had a revitalizing effect upon the audience’s awareness. But there was also volatility and transgression (a disruption took place at the performance I attended involving a vagrant woman reciting as if she was a part of the production). Lines such as “I could never imagine a city like this could exist” became double entendres.</p><p>Alas, these are the outcomes in the unpredictable battlefields of art and life. Ashley Faatoalia and Cedric Berry gave resounding performances. The singers, who performed without visible cues from the conductor; E.B. Brooks’ hypersensorial costumes; Nick Tipp’s virtuoso soundboard ‘performance’ (utilizing hundreds of snapshots and constant manipulation of 32 different channels); and Sennheiser’s remarkable technological continuum should not be overlooked. Sharon states that Invisible Cities is not necessarily site-specific, holding a promise that future performances, which will serve to advance the shifting topologies of operatic performance practice, are yet to come. It is interesting to note that Sharon will go on to produce new work in the Badisches Staatstheater Karlsruhe, in close proximity to the Z.K.M., one of world’s most highly regarded new media institutes, which if anything, should serve as a qualitative indication of the conceptual rigor at play in this operatic tour de force.</p></div></content><author><name>undefined</name></author></entry><entry><title>Curve • Automata</title><link href="https://gavart.ist/#Curve%20%E2%80%A2%20Automata"></link><link href="https://gavart.ist/static/Curve%2520%25E2%2580%25A2%2520Automata.html" rel="alternative" type="text/html"></link><id>ce2f12dc-caed-0bce-cfdf-2ec757e4e243</id><updated>2023-04-10T14:09:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Liew Niyomkarn</title><link href="https://gavart.ist/#Liew%20Niyomkarn"></link><link href="https://gavart.ist/static/Liew%2520Niyomkarn.html" rel="alternative" type="text/html"></link><id>5d637a48-f5c6-d9d8-06a8-09531d8f2cdf</id><updated>2023-04-10T14:08:01</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Pasadena</title><link href="https://gavart.ist/#Pasadena"></link><link href="https://gavart.ist/static/Pasadena.html" rel="alternative" type="text/html"></link><id>54372496-0473-3e2a-4447-dbcfaa82f7d6</id><updated>2023-04-10T13:51:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Session Spiva</title><link href="https://gavart.ist/#Session%20Spiva"></link><link href="https://gavart.ist/static/Session%2520Spiva.html" rel="alternative" type="text/html"></link><id>e1994327-f9d8-321e-5ccb-5b99b8ce0b6c</id><updated>2023-04-10T13:38:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><main class="grid">
		
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	</main></p></div></content><author><name>undefined</name></author></entry><entry><title>Rosetta Type</title><link href="https://gavart.ist/#Rosetta%20Type"></link><link href="https://gavart.ist/static/Rosetta%2520Type.html" rel="alternative" type="text/html"></link><id>215e24a2-83f0-64f2-6d36-c043bf7148f0</id><updated>2023-04-09T20:13:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Conversation</title><link href="https://gavart.ist/#The%20Conversation"></link><link href="https://gavart.ist/static/The%2520Conversation.html" rel="alternative" type="text/html"></link><id>686f919a-6e30-16f6-8d19-3275628c56e5</id><updated>2023-04-06T14:38:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The HTML Review</title><link href="https://gavart.ist/#The%20HTML%20Review"></link><link href="https://gavart.ist/static/The%2520HTML%2520Review.html" rel="alternative" type="text/html"></link><id>2dce5c9d-2342-72c3-c8b7-4df6a2f240e1</id><updated>2023-04-06T09:05:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Files Upload Plugin</title><link href="https://gavart.ist/#Files%20Upload%20Plugin"></link><link href="https://gavart.ist/static/Files%2520Upload%2520Plugin.html" rel="alternative" type="text/html"></link><id>24c08180-1be6-1d5e-8f07-986b2421a5fc</id><updated>2023-04-06T09:04:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TiddlyWiki and Fission</title><link href="https://gavart.ist/#TiddlyWiki%20and%20Fission"></link><link href="https://gavart.ist/static/TiddlyWiki%2520and%2520Fission.html" rel="alternative" type="text/html"></link><id>2321b8d5-b6e4-c7cb-d0ae-6102d3dfe47a</id><updated>2023-04-06T09:04:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>wildUp Presents The Edge of Forever on The Industry Records</title><link href="https://gavart.ist/#wildUp%20Presents%20The%20Edge%20of%20Forever%20on%20The%20Industry%20Records"></link><link href="https://gavart.ist/static/wildUp%2520Presents%2520The%2520Edge%2520of%2520Forever%2520on%2520The%2520Industry%2520Records.html" rel="alternative" type="text/html"></link><id>095f8ed0-8b99-66be-c2c2-910859e204ac</id><updated>2023-04-04T11:51:07</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The Yucatán peninsula in southeast Mexico bristles with thorny jungle, and its porous, pock-marked landscape holds in it the memory of annihilation. There, the Chicxulub crater haunts the land and the sea, forging a transformation of aeons in its wake by way of mass extinction. In this complex and punishing landscape, which beats heavily under a sunken sun, the Mayan civilization grew, blossomed, and eventually fell away in a process that was accelerated by Western occupation and disruption.</p><p>And yet in the face of so much worldly and spiritual ravaging, the Mayan culture and its people persist. Their glorious, mysterious ancestry reemerged from a fallow oblivion into the modern era as a subject of anthropological wonder and an ever fruitful staging grounds for the human imagination impelled towards art. Special chronological poignancy fell to those who took heed of the recent end of a 5,126 year Long Count in the diverse calendrical interlockings of the Mayan astronomical order. This fateful eschaton, December 21, 2012, representing the close to a deep cycle, has inspired a new collaboration between composer <a class="tc-tiddlylink-external" href="http://www.lewispesacov.com/" rel="noopener noreferrer" target="_blank">Lewis Pesacov</a> and librettist Elizabeth Cline. In their latest work, <em>The Edge of Forever</em>, a one act opera which explores the ecstatic state of an ancient astronomer, cultural mysticism is snapshotted against the future.</p><p>The recording of The Edge of Forever is a document of the single performance it has received (staged by the Los Angeles-based opera company The Industry) in a gesture towards ephemerality and the negation of time. Conceptually, the opera is fascinating in its temporal multidimensionality; Cline sees the Mayan linguistic tendency towards the present tense as the impetus to pivot directly to Scene III, which takes place in our present, specifically on the epochal day of December 21, 2012. The first two scenes both take place on March 13, 830, a lost time that we cannot access, and the only time in which those distant sounds of <em>The Edge of Forever</em> are to be heard. Laakan, an astronomer beholding the heavens, seeks inner sanctum in order to open his heart to love and future bliss. He takes refuge in a cenote (sinkholes filled with fresh water typical of the region) and enters a deep meditation.</p><p>In Scene III, a pilgrimage descends to witness the metamorphosis of Laakan, played by tenor Ashely Faatoalia. Cline’s libretto, a concise document, portends towards the miraculous in the face of our limited experience. “Edge of world and sky, I promise you forever…” and “Our love, timeless as dreams, from stone and to forever” express the horizons of human thought, but surprisingly the text deemphasizes Mayan conceptions of the supernatural in favor of a more familiar materialism; Laakan undergoes this journey on his own, the memory encased in the limestone of the cave and the precious obsidian of his garments merely the aspects of his awakening instead of the intertwined causal focii. Where are the divine beings who vouchsafe our passage through the mortal world? Is their absence a mirror into which our own contemporary self-centeredness gazes? … a critique which lies before the collective awakening?</p><p>The real achievement of the opera is its central core: Scenes 3-4, where the most directly linkable Mayan features are to be found, and where we finally glimpse the edges of eternity. As disruptive as a massive flock of flamingos belting their disturbing odes to all creatures who are viciously grounded to Earth, the force of some of these later bombarding passages are so visceral that one can picture conductor <a class="tc-tiddlylink-external" href="http://rountreemusic.com/" rel="noopener noreferrer" target="_blank">Christopher Rountree</a> pivoting before unleashing gestures of cataclysmic fire upon the ensemble wild Up’s able members, who deliver resoundingly. Scene 4 captures through beautiful combinations of strings, winds, and the remarkably commanding voice of Ashley Faatoalia, the unfathomably deep trenches where nothingness and emptiness reign, places where all ontology is overridden.</p><p>Pesacov, who has considerable versatility weaving his way inside and out of various styles as a producer and performer, takes great care in compositionally localizing Laakan’s mystic moment of union. The score is a beautifully crafted and detailed map of the terrain of sacred interiority. And yet his instrument choices are at once authentic but also ambiguous, as percussive rattlers and conch shells (which form a direct historical parallel) are paired with (against?) soprano saxophone (instrument of the American century), the english horn (that most regal and imperial of the woodwind family), and multiple sine tone generators. As an ensemble, it works incredibly well together, especially when strings and other various percussion instruments join, but an underlying tension pervades with the mere <em>presence</em> of these instruments in a piece centered on the concept of transcendence in the Mayan consciousness.</p><p>At times, Pesacov resorts to a language of approximation, i.e. the use of Tibetan tingsha cymbals as an index of exoticism, or the mathematical purity of the sine tone, evocative of an anthropomorphized purity of the universe but which in and of itself discloses the pernicious and precise extent of Western machine-making prowess. However, the appearance of sine tones in <em>The Edge of Forever</em> is less overtly threatening than it is structural by serving as a sonic cohesive. Their precise frequencies map loosely onto a pitch sequence that is distinctly heard repeatedly from the chimes: B-flat, D-flat, and E-flat, three black keys on the keyboard which are nearly a graphical isomorphism (when rotated) of the Mayan numeral for 13. Pesacov says that the integers 13 and 20, which are structural in Mayan cosmological understandings of the calendar, became significant for him during the compositional process; deployed in governing everything from the larger formal schema to the smaller instrumental events.</p><p>As outsiders looking in, the familiar beauty of <em>The Edge of Forever</em> marks a discontinuity, as though it prefers to keep its distance from the Mayan culture it directly invokes. When reconciling a disjunction of the magnum mysterium of a conquered people, Pesacov and Cline have instead sought the enigmatic and gratifying sounds of a distinctly American new music. As for the sounds of Mayan origin, they exist in suspense over the abyss.</p></div></content><author><name>undefined</name></author></entry><entry><title>Blake Crouch</title><link href="https://gavart.ist/#Blake%20Crouch"></link><link href="https://gavart.ist/static/Blake%2520Crouch.html" rel="alternative" type="text/html"></link><id>36099a40-f198-da52-9235-9c20c3c74a8d</id><updated>2023-04-04T08:29:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fedi.Tips</title><link href="https://gavart.ist/#Fedi.Tips"></link><link href="https://gavart.ist/static/Fedi.Tips.html" rel="alternative" type="text/html"></link><id>24b2f1cd-ae9b-7345-6c27-5cf801b2baa4</id><updated>2023-04-04T08:15:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cautiva un yucateco con música de hace 100 años</title><link href="https://gavart.ist/#Cautiva%20un%20yucateco%20con%20m%C3%BAsica%20de%20hace%20100%20a%C3%B1os"></link><link href="https://gavart.ist/static/Cautiva%2520un%2520yucateco%2520con%2520m%25C3%25BAsica%2520de%2520hace%2520100%2520a%25C3%25B1os.html" rel="alternative" type="text/html"></link><id>09a3ba24-91b7-77e1-57e3-348d2b1cb5b9</id><updated>2023-04-01T12:57:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/press/dithered/musica-hace-100-anos-01-dithered.JPG" width="800"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Gavin Gamboa ofrece una ballada al amor y a la luna</title><link href="https://gavart.ist/#Gavin%20Gamboa%20ofrece%20una%20ballada%20al%20amor%20y%20a%20la%20luna"></link><link href="https://gavart.ist/static/Gavin%2520Gamboa%2520ofrece%2520una%2520ballada%2520al%2520amor%2520y%2520a%2520la%2520luna.html" rel="alternative" type="text/html"></link><id>17d2f290-609f-5ad2-c3ab-1a51712d1bda</id><updated>2023-04-01T12:57:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/press/dithered/musica-hace-100-anos-02-dithered.JPG"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Shifting Treks by Sydney Hodkinson on navona</title><link href="https://gavart.ist/#Shifting%20Treks%20by%20Sydney%20Hodkinson%20on%20navona"></link><link href="https://gavart.ist/static/Shifting%2520Treks%2520by%2520Sydney%2520Hodkinson%2520on%2520navona.html" rel="alternative" type="text/html"></link><id>b729bbbf-9154-34c1-dcd1-780c4f9ac1db</id><updated>2023-03-31T17:58:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Shifting Treks, a recent navona release, catapults us into the sound world of a formidable champion of new music, spanning a career which has crisscrossed the United States and one which has been able to draw on the benefits of direct involvement with some of the most prolific, studied, and influential American composers of the last 50 years.</p><p>Hodkinson, as a conductor, favors ensembles willing to tackle the less-accepted and more challenging sectors of today’s disjunct musical landscape, as is evinced by his involvement in not only the highly regarded Musica Nova ensemble at the Eastman School of Music (which he helped nourish into its mature state), but also in other new music groups such as Voices of Change, Aspen Contemporary Ensemble, and the Contemporary Directions Ensemble at the University of Michigan—his alma mater. It is this quest for the new, this insatiable thirst for innovative ensemble writing which drives Hodkinson to seek emerging repertoire with a laser-like focus. But where does this leave us with Hodkinson, the composer? It may be hard to pin-down a stylistics when your mentors vary wildly, as they do in this case — from Roger Sessions to Ross Lee Finney, himself a student of Alban Berg and Nadia Boulanger; from Milton Babbitt to Elliot Carter. If we attribute the linear frenzy of Ernest Bloch or Lukas Foss to these works, we must also juxtapose the orchestral bombast of someone like Stravinsky or Walter Piston; the restraint of Marius Constant or Ligeti, bifurcated at times by the heartfelt outpourings of Kurt Weill or Galina Ustvolskaya. A comparison like this merely serves to guide the listener towards a metrics of familiarity. Nevertheless this palette of styles doesn’t, and shouldn’t curtail one’s imaginative expectations when approaching something wholly contemporary and exciting as this. The breadth and scope of Hodkinson’s conducting activity is reassuring of an informed and dynamic language, which provides his compositional ideas with added impetus and permutational invention.</p><p>Most of the music included here is from the 1990s, a time in which the transition to synthesized film scores was almost complete. Incidentally, the Potpourri: 11 Very Short Pieces, which is from 2009 (making it the most recent of the works featured) lashes out as if it emanated from the pre-synthesized era of film scores, as these pieces are so buoyant, dazzling, and caricature-like that it’s easy to conjure visual counterparts to them. The percussion writing is especially notable, driving each piece into the next with gusto. The orchestration is variegated, achieving everything from hopscotch-y propulsiveness, sanguine insanity, whimsical populism à la Ellington-esque fragments of the blues, to haunting dread and hushed brooding. Yet, due to their disjointed assemblage, assessing these pieces as a collectivity becomes problematic. They speak, but in digressing mannerisms and conflicting directions.</p><p>Epitaphion is the most absorbing work on Shifting Treks: a dirge written in memory of a large contingent of close friends and family who mysteriously died all within the same year. A wide gamut of emotional terrain is unraveled, and at this point Hodkinson’s persuasively intelligible structures reveal his sensuous particularity for abstract structural logic. The timelessness and disembodied ether of sound conveys realms of the beyond. Cascading spectral atmospheres yield to bouts of terror, manic desperation, even moments of cadential resolution sounding as if they came right out of the Berlioz Requiem. Surprising episodes of childlike tenderness ascend into the twilight, with particular emphasis on the brass and string sections. Conductor Vladimir Lande, himself no stranger to new music, leads the St. Petersburg State Symphony Orchestra with a magisterial autonomy. Having worked with the likes of Leonard Bernstein, Claudio Abbado, and Valery Gergiev, Lande is able to extract the necessary sonics with a commanding stewardship, and the results are exquisite.</p><p>Piano Concerto No. 1: A Shifting Trek takes on a fragmented perceptibility, and is overwrought with explosive swells and crescendi, but fares well as a conclusion, containing well-balanced give-and-take exchanges between soloist and orchestra and a constantly evolving textural assemblage. These virtuosic fireworks deserve several repeat listens, as the figurations are so dense and overlappingly dizzying that it makes the rhythmic whirlwind a real treat to be immersed in. Hodkinson flexes his muscle in the orchestration here, as well as in the almost machine-like piano writing, which is carried off with great precision by Barry Synder, whom the work is dedicated to, and who played a role in the development of the piano writing itself. According to Hodkinson’s liner notes, the work is in a constant state of struggle within itself, both metaphorically and recombinatorially, and the tension of this dualism is played out across an extended form; four movements which contentiously evoke one another, giving the impression that this is not merely a concerto for piano but for the entire orchestra, as well. Conductor Petr Vronský leads the Moravian Philharmonic Orchestra with esteemed dedication to the score’s details, and the recording’s dynamic range compliments the musical punctuation nicely, something which is to be expected from Navona Records, a subsidiary of the very fine Parma Recordings Company. Digital scores are included with the release, allowing us to peer into the intricacies on the page, but one shouldn’t expect anything beyond rather medium-resolution scans.</p><p>While the modernist sensibilities of Shifting Treks are its eminent domain, there are plenty of surprising moments of stylistic blending and aesthetic collocation to drive a pleasing experience of active listening. There is a distinctly east coast regionalism to Hodkinson’s formulations, with its unequivocal post-war establishment ethos. And yet, divergences and impulses at variance with the avant-garde fabricate themselves from just beyond the threshold of anticipation. Born in the same year that Edwin Hubble’s images revealed there to be just as many galaxies as stars in our own Milky Way, perhaps it is no accident that the sonic varieties included in these three works ascribe to a similar expansiveness, offering us a useful glimpse into Hodkinson’s compositional universe.</p></div></content><author><name>undefined</name></author></entry><entry><title>Denk closes Ojai Music Festival with Ligeti, Ives, Beethoven</title><link href="https://gavart.ist/#Denk%20closes%20Ojai%20Music%20Festival%20with%20Ligeti%2C%20Ives%2C%20Beethoven"></link><link href="https://gavart.ist/static/Denk%2520closes%2520Ojai%2520Music%2520Festival%2520with%2520Ligeti%252C%2520Ives%252C%2520Beethoven.html" rel="alternative" type="text/html"></link><id>741bb64d-effa-fdf3-7633-7213dd6c90f2</id><updated>2023-03-31T17:56:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>In California’s quiet and secluded Ojai valley persists a rugged individualist sensibility which is expressed in myriad ways, focused by an intense conviviality as well as strong convictions. A cohabitation within its shared experience, moving beyond the boundaries of art into every aspect of life and work, pervades the smooth and dreamy early summer air as the crown jewel of the town’s cultural life is foregrounded during the annual Ojai Music Festival. This year’s closing afternoon concert which took place on Sunday, June 15, 2014, led by pianist and Artist Director Jeremy Denk, embraced that local spirit of uncompromising and sacrificial devotion to art and life with a conundrum of Ligeti, Ives, and Beethoven which seemed to point in all possible directions simultaneously. Conductors Eric Jacobson &amp; Kevin Fox, alongside New York’s versatile orchestral collective The Knights and the Ojai Festival Singers left the mixed-age audience of both locals and visitors enraptured by the scope of the multiplicitous beauty and wide-ranging inquiry of the festival’s finale. This was especially an achievement on the part of Mr. Denk, whose structural conceptions and stamina during his uninterrupted performance of Books I and II of György Ligeti’s Piano Études (which opened the program) became the triumphant apex of the entire festival.</p><p>Composed from 1985-1993, Ligeti’s Piano Études are thrilling and diabolical devices, and the opportunity to see and hear a near-complete rendition of them (Denk played fourteen of the eighteen that the composer wrote) transcended from being merely an ‘event’ and existed, more aptly, in the realm of ‘situation’. These modern meditations, “ … savage, violent, excessive …” as Denk puts it, are fully-realized beastial visitations conjured through the highly-mechanized fervor and procedural covariances of their routines, and by routines I mean the quasi-cybernetic, daunting, frightening requirements of the performer. Denk demonstrated superlative command over each aspect and principle of the études, revealing impressively profuse dynamics and jumping between score and memory with gesticular abandon at times, (which really served his communicative agenda well, since after all this music is challenging in the same way that transfinite mathematics is challenging) guiding the audience which stretched out beyond Libby Bowl to the lawn situated beyond the last rows of its outdoor seating, by providing real substantial visual material to attach themselves to beyond the sonics of the polyrhythms and the modal mixtures. Denk’s spontaneous eruptions, trances, glances, and gestural delineations enjoined even the most ill-prepared to take notice and follow the music as it unfolded itself every step of the way. Had the performance lacked this visceral theatrical aspect one wonders if the same musical definition could have existed. On top of these extreme demands Ligeti calls for, there was something else; the sun was setting, and it cast its hard and direct light directly onto Denk’s profile before the cycle ended with L’escalier du diable (The Devil’s Staircase). It is amazing that Denk deflected this garish cosmic intrusion during the final études, never losing track of the music. As he ended on the last tri-tone, the atmosphere became still, and it seemed as though even the sometimes-noisy crows outside had given pause to let the sound die away into nothingness.</p><p>Conductor Kevin Fox then led the Ojai Festival Singers in Charles Ives’ introspective Psalm 90 for Chorus, Organ, and antiphonally positioned Bells, a surprising and brilliant work of resounding beauty and contemplation.  In its languid flow, it confronts mortal temporality in waves of ascending harmonic tension and release. The chorus conveyed the appropriate gravitas, especially in the soaring vocal solo lines, and the bells punctuated the atmosphere with a sort of otherwordly disconnectedness. However, as the piece approached the final bars, a balancing issue prevented the delicacy of the choir from being heard over the tubular bells’ defined klanging, almost as if the voices disappeared completely. Whether or not this was intended, the effect was dramatic.</p><p>With a sense of humor, Denk and The Knights led by Eric Jacobsen finished off with a grand finale in the classical style: Beethoven’s Fantasy in C minor for Piano, Chorus, and Orchestra Op. 80. Surprisingly proto-Ninth Symphony-ish, it was also the finale to Beethoven’s famous 1808 concert at which the Fourth &amp; Fifth Symphony, the Fourth Piano Concerto, and several other pieces were given debut performances. Of a decidedly lighter nature in comparison to Ligeti and Ives, Denk — performing from memory and still battling the sunlight — threw off passages with grace and conviction, counterbalancing the monstrosities and peculiarities of the modern repertoire with exultations on nature’s magnificence and the unstoppable force that is the unity of love and strength as expressed in the text, sung by the jubilant Ojai Festival Singers. Denk’s mastery of dynamic gradation, so expertly deployed in the Ligeti, served even more mightily in the forte/piano contrasts of Beethoven’s piano writing. As it all came to an end, a veritable cataclysm of dysmorphic time dilation had indeed ensued throughout the afternoon, filling the outside air with first the sounds of sublime aggressiveness, then reflective and transcendent peace, and finally with bombastic glory. A culmination to the fantastic arrangements and choices that Denk, acting as Artistic Director of the 68th Ojai Music Festival, made with the utmost sensitivity, curiosity, and integrity.</p></div></content><author><name>undefined</name></author></entry><entry><title>5 Questions to Leon Fleisher (Pianist and Conductor)</title><link href="https://gavart.ist/#5%20Questions%20to%20Leon%20Fleisher%20(Pianist%20and%20Conductor)"></link><link href="https://gavart.ist/static/5%2520Questions%2520to%2520Leon%2520Fleisher%2520(Pianist%2520and%2520Conductor).html" rel="alternative" type="text/html"></link><id>c4fe8ef1-10ef-5281-a464-408a6f660ab3</id><updated>2023-03-31T17:56:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><strong>After seeing pictures of your studio, I was struck by the prevalence of satellite imagery of galaxies and nebulae hanging on the walls. What does this imagery convey to you, and what is its perceived relationship to music?</strong></p><p>It’s my feeling that a lot of the music that we play, specifically German music actually, reaches heavenward, it seems to be involved with existential questions: What is man’s purpose in life? How does he relate to the universe? How is he like a brook? How is he like the leaf of a tree? These are all things that, I think — specifically German music — relates to as opposed to, for example, French music … which is sensual and sensory … and Russian music, which is very subjective, personal. The universe conveys movement; it passes through time and I think that it is subject to the same … you know, people talk about music and math, but I think the much more relevant comparison would be music and physics, and because it is movement I find that is subject to the laws of movement in physics.</p><p><strong>Your latest record, ‘All The Things You Are’, features predominantly American music, owing as much to jazz as it does to the avant-garde modernism of the half-century. Within these stylistic juxtapositions, and with regard to the the avant-garde specifically, what fascinates you the most about new music?</strong></p><p>It’s hard to say. I look to be moved by it. I look to be intrigued by it. This latest recording, to a large extent, consists of music that was written for me, with the exception of the Bach/Brahms, (old as I am I was not alive at that time). I included the Jerome Kern piece, first of all because it is such a beautiful tune, but it also such a great arrangement which was made by a former student of mine, a terrifically gifted young man named Stephen Prutsman, and I thought it might please those modernists who are attracted by Schoenberg because the tune of All The Things You Are comprises all twelve notes of the scale; I thought Schoenberg would have been quite pleased by that.</p><p><strong>One can’t help but be impressed with the rhythmic command you demonstrate in these series of works, and I wanted to talk to you about rhythm a little bit further; in regards to rhythmical conceptions and traditions: have you ever found yourself, as you’ve matured artistically, questioning the validity of very strict and metronomically guided performances of older music?</strong></p><p>Well, I’ve always felt (and I don’t think I am alone in this) that a metronome is a machine. And it has nothing to do with breathing or the life of music. It merely mechanically shows us where we play slower or where we play faster or where we don’t keep time. But the in-time-ness of each piece is an exceedingly important aspect of that piece, and is quite unique to that piece, to that specific combination of tones, so there is an in-time-ness, a kind of inviolate in-time-ness of each piece. It has nothing to do with the metronome, though. Again, it is a machine. If you want to pattern a piece of music after a machine, I guess you will go for a metronome [chuckles], otherwise they’re not very useful, musically speaking.</p><p><strong>Looking back on your life and your experiences of learning music, what piece (or group of pieces) sticks out in your mind as being the first ‘modern’ work you encountered? A piece which made you really think differently about not only style but which struck you as something remarkably modern both in form and content?</strong></p><p>I think the first serious contemporary piece that I ever played … I was around thirteen or fourteen, and my teacher Artur Schnabel gave me a manuscript copy of a group of pieces by a friend of his, whom he admired greatly, the composer Roger Sessions. They were his Diary pieces, four pieces, written in a style that I had never encountered until that time. However, as I said, I was quite young. But they seemed remarkably evocative and remarkably expressive to me, even thought the language was quite strange. Schnabel would continue to foster my interest in contemporary works; he felt that we were not just conservators, but we were of our time and we had a responsibility, we had an obligation to do the music of our time being musicians of our time, which meant the exploration of the music of our time. Schnabel was the prime influence of my life, musically. I spent the years between the ages of nine and nineteen studying with one of the most extraordinary musicians of the 20th century and one who has had an unbelievably powerful influence on everyone that came after him.</p><p><strong>As a mentor and teacher who has inspired countless students and professionals alike, you of all people must readily acknowledge that every student presents unique opportunities and challenges, depending on the state of their development at that point in time. However if we were, for a moment, to consider a general rule, something derived from a reorientation (or an epiphany) which has altered your conceptions, something which you think can generally be applied to most cases of those who are enthusiastically pursuing careers in music … what idea would you say is that which your experience has taught you that you think could benefit those in their instrumental practice, performance, and/or conducting?</strong></p><p>I think, possibly … especially for pianists, to think in terms of ‘vocal’. If you can sing something, and I don’t mean to sing all the notes, because the range of the piano is way beyond one person, but if you can sing the music, articulate it, then you can play it. One of the great challenges of a pianist is that every other instrument (I discount mallet instruments), violin to double bass, piccolo down through tuba, they have three things to think about: they have to think about how they attack the note; they have to think about how they support the note; and they have to think about how they stop the note. Most pianist just think of the first of those three, how they are going to attack the note, and not even all of them think about that. If they can expand their approach, new revelations will appear. You would be amazed how seldom one comes upon somebody who thinks in those terms or makes music on the piano in those terms.</p><p><strong>In close, I wanted to ask you: are there any performances that you have given throughout the course of your renowned career which still resonate with you today?</strong></p><p>I might say that I’ve spent the last decade or so doing some conducting, an evermore increasing amount of conducting, and a series of performances I gave conducting four manifestations, four performances of <em>Le nozze di Figaro</em> of Mozart in Baltimore. I would say that was probably the highlight of my life.</p></div></content><author><name>undefined</name></author></entry><entry><title>Vicky Chow/Tristan Perich: Surface Image</title><link href="https://gavart.ist/#Vicky%20Chow%2FTristan%20Perich%3A%20Surface%20Image"></link><link href="https://gavart.ist/static/Vicky%2520Chow%252FTristan%2520Perich%253A%2520Surface%2520Image.html" rel="alternative" type="text/html"></link><id>7945188f-f160-f994-8e33-4c5f2872f867</id><updated>2023-03-31T17:55:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) is a $140 million construction perched atop a hillside within the Rensselaer Polytechnic Institute in Troy, New York. The Music Curator at EMPAC, Argeo Ascani, himself a musician, is likely to extol the facilities at his disposal, which includes access to some of the most acoustically pristine spaces in the world, as well as a team of recording engineers and technicians who are able to realize the full sonic potential of such spaces. There are few locations, it would seem, that would be more suitable to record logistically complex musical material. Surface Image, a new composition for solo piano and 40-channel 1-bit electronics by composer-programmer turned programmer-composer Tristan Perich, is the ideal piece to be realized in such a nest of state-of-the-art creative incubation. It represents the largest scale work of its kind in Perich’s compositional output, and its raison d’être is pianist Vicky Chow, without whom the piece would not exist, as she is both the life-blood of its living performance, and the the person who commissioned it. Together with Argeo Ascani, who also produced this recording of Surface Image, a minimalist tesseract comes to life in a stellar digital release from New Amsterdam Records.</p><p>The packaging of this disc is worth mentioning as it is beautifully laid out, delivering a visual cue to understanding the music’s performative complexities even before listening begins: the outside is of a topological grid mesh (resembling those drawings which, crafted by algorithmic processes, Perich often unleashes unto his tiny machines to produce) and on the inside you are confronted by a tri-fold photographic triptych of Vicky Chow seated at the instrument, surrounded by 40 individually placed stands each supporting a single, dangling speaker. It is a wonderful image, alluring enough to beckon one to want to seek out a live performance.</p><p>The music of Surface Image is characterized by repeating ostinato figures which gradually morph, swell, subside, and linger, both in the cascade-like figurations and buzzings of the speaker arrays (connected to microprocessors that cause them each to generate a different single 1-bit tone) and in the left/right hand exchanges across the range of the piano. There are phase-shifts, stacks building in abstraction, permutations of voices, subtle modulations, and washes of harmony which dance in a very peculiar way with one another; the almost-abrasive tonal qualities of the speakers (evocative of an English Horn or Bagpipe) stand as a counterweight to Chow’s warm tone and her ability to gradually crescendo into great bursts of activity. Chow, who is a member of the dynamic new music ensemble Bang On A Can All Stars, is no stranger to the type of rhythmical and repetitious style that is required here, as she already possesses a familiarity with the works of Steve Reich, John Adams, and Louis Andriessen, to name but a few. Despite the surface-level uniformity of the sustaining ebbs of rhythm, which belie a sense of simplicity, the overall stamina and precision of her touch is mesmerizing, mimicking the machinic bursts of the electronics at times.</p><p>Formally, there are at least nine sections, or movements, each of which inhabit a different combinatorial display of interaction. The amorphous quality of its procession makes the junctures between sections hard to decipher — part of Surface Image‘s design as well as its charm — which, as Chow has explained, needs to “be heard as a whole.” Indeed, there is something glacial to its cohesion, and something which speaks to our age of overabundant information flow. Some of the sections ascend into brief but dynamic call-and-response exchanges before the instrumentation regroups and competes to inhabit the same elemental forcefield again. Compositionally, Surface Image is aiming for a seamless blend rather than pitting the acoustic against the electronic. It does so while still allowing for thoughtful play and dialog between lo-fi and hi-fi sonics.</p><p>Perich has a fascination with a complete understanding of the mechanics of his microprocessors, and this inside-out working knowledge allows him to directly engage with them. Chow believes that the piano is one of the greatest machines ever created. Together they form an alliance in an ensemble which, having already been explored by numerous composers and performers, nevertheless proves visceral and commanding given the execution delivered by both Chow and Perich, which is presented to us in lush and carefully crafted fidelity by recording engineers Jeffery Svatek and Stephen McLaughlin. Furthermore, with the complex spacial interactions of the speaker’s output and the piano’s often-sustained pedal points, the ability to splice-in anywhere is severely limited, making the long takes needed to realize Surface Image all-the-more virtuosic than it initially seems. As a composer, Perich views programming as a necessity that informs our ideas about interactions we have with the world. This obsession with the rudimentary underpinnings of sound production as it relates to its technological reproduction provides the basis for Surface Image‘s unfolding, and it does so in an unburdened continuity. To categorize this piece as a modern piano concerto would be an overstatement however, as the self-similarity of the speaker’s sonic capabilities and the variety of the sounds derived from within their entirety do not create enough differentiation in the voices, a differentiation most concerti thrive upon. But this is clearly not Perich’s intention. The listener, ready to embrace the oceanic universe Surface Image pivots upon, will discover that it isn’t so much that it should be “listened to”, rather — experienced.</p></div></content><author><name>undefined</name></author></entry><entry><title>Additive Timbre: Niels Lyhne Løkkegaard Music for 8 Recorders</title><link href="https://gavart.ist/#Additive%20Timbre%3A%20Niels%20Lyhne%20L%C3%B8kkegaard%20Music%20for%208%20Recorders"></link><link href="https://gavart.ist/static/Additive%2520Timbre%253A%2520Niels%2520Lyhne%2520L%25C3%25B8kkegaard%2520Music%2520for%25208%2520Recorders.html" rel="alternative" type="text/html"></link><id>c6305b61-6211-7fb9-c88a-6791af4df8f0</id><updated>2023-03-31T17:54:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Like the swirling masses of clouds that momentarily amass over Sumatran rainforests (those cumulus bodies whose outward appearance of solidity belie their effervescent transience) the floating masses of sound in Niels Lyhne Løkkegaard‘s newest record coalesce into an audibly ephemeral cluster that swells and dissipates in much the same manner, except as if under time-lapse. The listener, already familiar with these barely visible transformations of form that play out across the bodies of clouds, will find that Music for 8 Recorders disappears as much as it appears and reappears within these temporal parameters. In its on-going re-shaping and re-forming of itself, the like-ness of each instrument’s sonic similitude is the limitation by which musical ideas are dispassionately explored in the promising new series SOUND X SOUND, of which Music for 8 Recorders is the first installment.</p><p>Shipping as a 7” vinyl record, the album is comprised of two sections, each section adhering exclusively to one of two different families of recorder: Alto and Soprano. Danish composer Niels Lyhne Løkkegaard, a reed instrumentalist and alumni of the Rytmisk Musikkonservatorium in Copenhagen, brings vital organic pulsation and movement into to these two contrasting sections, as well as a thermodynamic responsivity. By exploiting the registers and sonority of the different recorders to a completely different effect, he arranges each side of the record as a negation of what came before. He creates this differentiation both within the overarching structure as well as through the development of different levels of rhythmical intensity: for instance the alto recorder section contains different periods of growth and depth, as could be depicted with an aplitudhedron, whereas the soprano recorder section is more like the substrate of a dense particle field, always buzzing … swirling … changing position … everywhere and nowhere all at once.</p><p>he simplicity often linked to recorder music, by way of its uniform timbral quality as well as its association with schools and with children (in maybe their first contact with an instrument), is but the first layer of associations Løkkegaard seems eager to embrace as well as dispel. The mechanism by which these instruments are stacked and their sound compacted together makes one forget that we are, in fact, listening to recorders … that is unless we actively pluck out individual lines from the additive mass. This, however, would detract from the overall experience of the mass itself, which Løkkegaard is pointing us towards, with its drone-like hypnotic affectation and its ecosystems of dynamic beating. A second layer of associations arise from historical memory, as if the compressed frenzy of calls and oscillations is being issued from another time; are we hearing the battle cries of Eric Bloodaxe? Or perhaps we are listening to dream fragments belonging to Harald Bluetooth, who long ago walked Denmark in an age when music was imagined with the sounds of a similarly primordial essence? Yet a third layer which cannot be discounted (which is evoked mightily by the shrill purity of the resonance in Løkkegaard’s music here) is the associations linking Music for 8 Recorders to the natural world, to a world before time and before history. This is a zone where birds rule the skies and reptiles submerge into the depths. The uncanny cacophony of the soprano recorder section, in particular, recalls those tiny subantarctic islands, relics of deep time, where birds congregate in astronomical numbers to mate and to nest. The coextensive homogeneity of the timbre reinforces complex associations and (re)awakens these ancient memories.</p><p>Just as clouds undergo changing processes brought upon by external environmental pressures, we can imagine each breath of each player, each pulsation in Music for 8 Recorders as the composite of one of many of these external pressures. We can also imagine the sound they produce together as mirroring the mutations and dynamic flows that play out across nature. In a short video teaser for this recording that Løkkegaard has posted to his YouTube channel, we get a glimpse of the eight players merging into one, their lines blending together in a replay of evolutionary processes. The SOUND X SOUND Series aims to chart more of this type of homogeneity-as-resource, in which it will quest for more musical potential within the realm of the singular. Løkkegaard, whose works have earned him numerous Danish and European music prizes, has created a beautiful new record worthy of repeated listening, one subject to the listener’s preference for playback speed  (33 1⁄3 rpm, anyone?) as well as the listener’s innate connection to time immemorial.</p></div></content><author><name>undefined</name></author></entry><entry><title>Lankhoorn performs Moore’s Dances and Canons</title><link href="https://gavart.ist/#Lankhoorn%20performs%20Moore%E2%80%99s%20Dances%20and%20Canons"></link><link href="https://gavart.ist/static/Lankhoorn%2520performs%2520Moore%25E2%2580%2599s%2520Dances%2520and%2520Canons.html" rel="alternative" type="text/html"></link><id>98eb5cfc-df42-1445-2e85-d1115538979d</id><updated>2023-03-31T17:53:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Perceiving and thinking about the way things change, we can sometimes pierce through to the elemental and constant. Vast distances of unpredictable disturbances, both minuscule and grand, dot the landscape of Kate Moore‘s newest record Dances and Canons on the ECM New Series imprint, contributing nicely to the German label’s persistent sonic experimentation. Pianist Saskia Lankhoorn‘s presentation of this collection of Moore’s works written throughout the last decade appear in both pristine fidelity and encompassing interpretation. With music that is at once abstract, melodic, and quasi-‘minimalist’ (Moore rejects the term as an anachronism), we are able to momentarily drop into something delicate but exuberant; powerful and reassuringly complete in its enclosed form– the form of the Canon– a form which takes itself as its own point of departure. Conceptually aligned with mystic approaches (the writings of Hazrat Inayat Khan in particular), these sixty-eight minutes of the piano’s dependable yet surprising sound (sometimes doubled, sometimes quadrupled via pre-recorded playback in combination with Lankhoorn’s simultaneous performance) serve as a window into the exotic landscapes which permeate the the expressions of this composer who lives between geographical worlds and their embodied attitudes.</p><p>Sound as a manifestation of vibration, whereby we come to understand the one-ness in all things through its affective power over heart and soul, is a core Sufi understanding which Moore has synthesized into her environmental compositional process for this set of pieces, which demand that their expression of surface features be taken absolutely seriously on their own terms. Something that feels metal and pointy will gradually (or suddenly!) change into a relatively staid equilibrium. There is sense of constant wandering which both the performer and listener must negotiate. For the listener, this is a struggle viewed in retrograde, but for Lankhoorn, who is called-upon to perform ‘un-memorizable’ tasks, such as playing whole sections in exactly the same manner multiple times as previous renditions are played back, the struggle occurs in realtime and produces a vanishing point that Moore has designed to manifest. Much of the sonic chemistry of this music is evocative of endless landscapes, and one can almost visually conjure their spans and temporalities. The land of Moore’s upbringing, Australia, is one where nothing seems to match previous experience. The very texture of the land is alien, ancient, worn– a land often sun-scorched and ungiving.</p><p>Yet Moore’s work as a composer exists within transitions; in her music they are the moments when a stable oscillation evolves into a proliferating, iterative sea of hybrids; in her life they are the junctures between hemispheres, between the hostile and endless parched plains of Australia to the green and gentle lands of Holland, where Moore has studied with composer Louis Andriessen, the co-founder of STEIM in Amsterdam and who is stylistically noted for his post-European avant-garde minimalist works that use unconventional ensembles. It is here in Holland that she too forged her working relationship with Lankhoorn, who delivers shapely purpose to the forceful rhythms of Moore’s time-lapse models of cascading interferences. What lies beyond the vanishing point? The impossibility of performing something in exactly the same way produces a multitude of humanizing delays, which get lost in closures and incorporations over time. The process reveals Moore’s preference to music that remains synced to our regular time, one which is connected to the natural world, with its gradients of imperfection. They form vistas that are gradually joined by melodic lines multiplying and mutating their rhythm. Asserting its physical makeup in this way, the repeated figures become the composite of a dense texture, full of a surplus of embellishments and neighboring dissonances that sometimes resolve, and other times dismantle the entire passage through their decentralization. It is this wonderful utilization of playback that Moore, with her own techniques of overdubbing, has drawn upon and refined in many of her previous instrumental works.</p><p>In pieces like Canon one hears motion, as objects move from one location to another, and then back to their starting positions. But the constant returning and leaving proves effectively hypnotizing, carrying the listener into their own latticework of internal memory. The effect is hard to describe, but Moore is such a natural with her melodic components that things never feel stretched, despite the relentless recycling of musical fragments. The Body Is An Ear, for two pianos, possesses a tangible sense of parts interlocking, with Lankhoorn’s steadfast internal metronome giving rise to lush resonances of difference tones clashing with and against one another. Moore’s sense of tension, heard in her deliberately ‘wrong’ notes and dissonant tones that interject over established ostinato patterns are remarkably fresh and evocative, alluding to the dazzling stacked harmonies of her European mentors. While these periods of transition are marked by excitement, experimentation, and resistance, Moore seeks paths of smooth consonance to balance against the terror of the endless landscape. It is a journey worth revisiting again and again, if only for the calming effects of the timescapes like those encountered in nature, where all the variables and dramas of individual life dissolve away to reveal something greater.</p></div></content><author><name>undefined</name></author></entry><entry><title>5 Questions to Christopher Rountree</title><link href="https://gavart.ist/#5%20Questions%20to%20Christopher%20Rountree"></link><link href="https://gavart.ist/static/5%2520Questions%2520to%2520Christopher%2520Rountree.html" rel="alternative" type="text/html"></link><id>758363a5-caad-700d-fc0d-ba25ca3a8fcd</id><updated>2023-03-31T17:52:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><strong>Describe this year’s acf winners and why they resonate in an era of post/hyper/poly/eclectic musical approaches? Why this music?</strong></p><p>The pieces we ended up with and the composers we ended up with are incredibly diverse. There’s a bunch of Parametric Music, but two of the pieces really live in the realm of ideas more than in the realm of sound. Alex Temple’s piece is about Frank Zappa, it’s called “The Man Who Hated Everything.” It has crooner singing, yelling, and at one point or another each member of the band becomes a vocalist, or a storyteller, or both. We have one piece that is like Alex’s, and then another like William Gardiner’s which is a whole lot more austere. It’s really about sounds, but it looks gorgeous. The intentionality and the way that his score is made is so specific; you look at it and you’re like, “This. This is a thing of beauty.”</p><p><strong>When you see a new score for the first time, as a conductor (and as a composer) what are the elements/details of that score that speak to you? What makes a score interesting?</strong></p><p>We all meet music in different ways. Visually is only one of the ways. I think very often you hear someone’s music and then you’re like, “Oh Wow! I wonder what that looks like?” It’s seldom that we have it the other way around; where you see the music and then go, “This is such a thing of beauty, I have to learn this … we have to do this.” Of the ACF composers, the only one that we’ve encountered previously is Nina C. Young. After the competition’s blind selection process had ended, there was this work of hers, “Traced Upon Cinders,” which we decided to program, and I remember that piece’s incredible level of detail. When you look at music closely enough, every single detail is like watching someone make a choice. In some scores, you look at them and they look arbitrary. It’s hard when you look at minimalism (which we play a ton of and totally love). There’s so much minimalism that looks arbitrary. You look at the score and its mysteries are not present visually. Its true identity is revealed only when you’re in the room with it, and then it becomes itself. In Nina’s piece, there is so much detail in the score, and it almost … and what it is: it’s ostensibly a drone piece! There are these big/huge/beautiful figures, these lines that together create only *one-sound.* But there’s so much detail in the score that a listener might miss it aurally, it’s hidden. If you said to someone, “listen and match the score with this piece,” they might match it to a piece that looked like whole notes. The main word in finding something that speaks to me is: intentionality, and then from there how someone makes that intentionality visible.</p><p>wild Up Is known for presenting music stylistically described as the new-complexity, and indeed you seem to favor placing audiences in complex, strange, maybe volatile situations and unusual venues. Tell us why this is so exciting to do now and secondly, a little bit about locative music’s potentialities.</p><p>This is what complex music does to us: if you are being propelled through music at a breakneck pace, a pace like you’ve never seen before, and there are so many new things hitting you over and over in the face along the way; there’s something that happens to one’s brain, to one’s mind in that situation. And usually what happens for me: is that I start to laugh. So once all the complexity hits me, and the cup is full and starts pouring water out over the top of my head: then I start laughing. I’ve always felt like that’s the way new music is; I am overwhelmed by it, and then I kind of fall in love with it through being overwhelmed by it. Our hope is that complexity (all types of complexity), given the correct context, given powerful contextual work, really considered contextual work, can do that for people. Our hope is that we can create the ‘overwhelm-into-bliss’ moment for people.</p><p><strong>Tell us about wild up and how it adheres (or doesn’t) to a particularly west-coast sensibility (frontierism, exploratory attitudes, separation from establishment music culture).</strong></p><p>So I think there’s this question of the butterfly effect. The “which-one-created-the-other” thing. Um, I’ll explain this in a second but: Sousa is a West Coast thing. And the genius and the comedy that are allowed in a space like Sousa’s space: they’re pretty amazing. Hopefully in wild Up we have as much comedy as we can, and that’s brand new for new music. People have been doing it, but the fact that we are actually allowed to keep doing it, and that it has become such a central part of our practice … that’s something I feel fortunate about. When we started-out here in LA, there wasn’t something like us. And I think there are more and more things like wild Up appearing. The fact that there’s a groundswell in Los Angeles, it’s fantastic. The fact that there is a community that’s burgeoning, that has surface tension and is bursting: it’s great. It seems like the space out-here on the west coast actually created the necessity for us to be here and the means for us to be here. So then maybe the space itself, the west coast itself, is actually the egg. But we didn’t know that before the band appeared. Everything we’ve done, was done by accident. Once we made a mistake that worked, where we were (unknowingly maybe) intentional about cultivating that space, we tried our damnedest to hold on to that. The second concert we ever did, my friend Paul said: “Man, you program just like John Philip Sousa.” ‘What?!’ “Oh. Well … in John Philip Sousa’s band, they did new music by people in the ensemble. They did theater music that was often funny. They did classical music re-imagined, that had been taken apart and put back together. They did vernacular music, they did pop music arranged for the band. And they did all of this, kind of—all together—under the same roof. All of this was new music. Once Paul codified the programming technique by saying that to me, I was like, “Oh, is that really what we’re doing? Well, we’ve done that a couple times! Does it work? It seems like it’s working! Let’s try it a couple more times.”</p><p><strong>What sort of spaces and roles do you see ensembles like wild up and other chamber groups and orchestras playing in 5-10 years from now?</strong></p><p>Part of our practice is workshopping what the future of the thing will be, and then actively creating what the future of the thing will be. That’s what we all aspire to. And, I think, we aspire to make things that are more relevant, more powerful, and reach more people. Works that do something powerful for classical music, that connect it to each one of us and in so doing make it relevant. We want to take the lineage of classical music, in everything that it is, and make its power more transparent. We want to make our access to classical music more simple and immediate. The goal is to make things that are really meaningful, and to maybe make a little less than we are making right now; less concerts—more specific, more powerful. We want to empower each one of our members to create the things that they want to create — the pieces that are at their core. We want to work all over the world, with warm people, and aim for an audience that is made up of absolutely everyone that likes beautiful things. Everyone that likes challenging things.</p></div></content><author><name>undefined</name></author></entry><entry><title>5 Questions to Thórunn Gréta Sigurðardóttir (Artistic Director, Dark Music Days)</title><link href="https://gavart.ist/#5%20Questions%20to%20Th%C3%B3runn%20Gr%C3%A9ta%20Sigur%C3%B0ard%C3%B3ttir%20(Artistic%20Director%2C%20Dark%20Music%20Days)"></link><link href="https://gavart.ist/static/5%2520Questions%2520to%2520Th%25C3%25B3runn%2520Gr%25C3%25A9ta%2520Sigur%25C3%25B0ard%25C3%25B3ttir%2520(Artistic%2520Director%252C%2520Dark%2520Music%2520Days).html" rel="alternative" type="text/html"></link><id>224ea35b-be37-fd17-b4c0-7390221791f9</id><updated>2023-03-31T17:52:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><strong>Dark Music Days is one of the longest running festivals in Iceland, and there seems to be a long tradition of not only providing a platform for Icelandic composers of contemporary music but also of nurturing and enabling them to stretch the boundaries and to push towards new sonic realities. What are your goals for the 2016 season of Dark Music Days, as Artistic Director?</strong></p><p>Foremost, I put emphasis on a variable programme with as many premiers of new music as possible. This year, there are no less than 35 premiers on the programme. The lack of women in the contemporary music scene is a fact that has to be changed, so I decided to put women in the front line as much as possible. Unfortunately, we are far from having as many female composers as male composers, but more female performers we have. There will be six solo recitals of female soloists this year. Besides that, there is a concert by two women ensembles, Nordic Affect and Ensemble Elektra and the women’s choir Vox Feminae.</p><p><strong>As a composer, as well as Chairman of the Society of Icelandic Composers, can you name or describe maybe some stylistic features or common themes that you observe which embody the domain of the Icelandic composer’s musical realm? Are there certain preoccupations or ideas that someone who is not from Iceland might not initially be aware of in this music?</strong></p><p>I think in general, Icelandic musicians are quite innovative and open to making all kinds of experiments. Also, one of the advantages of the small community, in my opinion, is that it’s hard to specialize in one field, so most musicians are used to working in a very variable environment. It is not uncommon that the same musician is touring with a pop band one day and the next he’s writing his own music for a specially designed, home-built instrument or programming an animated music score for goose flutes. An orchestra player might be playing modern jazz at a club tonight and so on. This makes different ideas and exchanges of experiences flow freely between genres, making the edges between them blurry.</p><p>Also, in the previous years, there has been a lot going on in the alternative field in the contemporary music scene in Iceland. A collective of composers have been making experiments on how to re-approach notation and making innovative sound researches by designing and building instruments. It is also interesting to see how much of an active and ongoing collaboration between performers and composers is to be found in Iceland. This shows that there are many performers in Iceland interested in new music and are enthusiastic about new music performance. There seems to be a new wave of interest for crossover art worldwide, especially for contemporary music theatre, and this is a development we see in Iceland, too. Last year, there were at least three premiers of contemporary operas of Icelandic Composers, Anna Thorvaldsdottir, Atli Ingolfsson, and Karolina Eiriksdottir, all being produced abroad. Fortunately, Karolina’s opera, Magnus Maria, made it to the Reykjavík Art Festival, in my opinion one of the highlights in Icelandic music life in 2015. So this wave certainly got to Icelandic artists, but unfortunately, Icelandic audiences have little access to the fruits these bigger productions bear.</p><p><strong>Can you describe the significance of video art in your work? How important is video to you when you are conceptualizing a piece of music, or when presenting new works to an audience?</strong></p><p>I would say performance is particularly important to me– conceptualizing a piece and video art is one media that can be a part of that. And if so, I take it in the conceptual work from the beginning. I think of composing a piece as composing an event, so to say, where everything that the piece is bringing on stage is a part of the big picture. This might be a video, the body of a performer, instruments, note stands, speakers, cables, or what ever. I have in mind that some musical aspects do create tension in the body of the performer, for example, and for me it is interesting to work with that in the musical context, too.</p><p><strong>Myrkir Músíkdagar (Dark Music Days) seems to be appropriately named as it takes place in the darkest time of the year in Iceland where there is little sunlight throughout each day. Yet, the spectacular concert venue where most of the concerts will take place, Harpa Reykjavík Concert Hall, acts as a beacon of light and illumination during this dark time. What sort of opportunities does this space provide?</strong></p><p>I certainly hope Dark Music Days will brighten up the darkest time of the year here in Reykjavík with its variable programme. Getting to know something new that makes you eager to seek for more is a very enlightening and refreshing experience. I also hope the festival will lead to an active dialogue between artists and building bridges between the contemporary music scene and the audience. Organizing the festival, we were aware of the importance of the social aspect, so there will be a festival bar at the restaurant Smurstöðin in Harpa with special offers to ticket holders, where we encourage both participants and audience to get together, discuss what they have seen and heard, and exchange ideas.</p><p><strong>Surely there is a strange beauty to the combinations of this darkness in the environment and the adventurous, energetic community driving the festival itself. What would you say to someone who is undecided about attending this festival? What are some reasons for why they should attend, and what else can they look forward to experiencing in Iceland?</strong></p><p>Dark Music Days is one of the best chances you have to get a profile of the scene of contemporary music in Iceland. We collaborate with many established ensembles, such as the Icelandic Symphony Orchestra, Reykjavík Chamber Orchestra, and Caput ensemble, but also we seek to be in an active dialogue with the alternative field. There are two concerts on the programme with electronic music, two installations, along with various chamber concerts, a choir concert, and solo recitals. The composers presented at the festival are from 25-90 years old and of both genders, so the programme should give a nice overview of the scene of contemporary music in Iceland in context with other contemporary music.</p><p>Through the years, there are more and more proposals coming from international artists, and every year we have some visiting ensembles and composers. This year, our guests all have some connections with Norway and France, or even both those countries. If someone has doubts about coming to Iceland in the wintertime, I might mention that no matter at which time of year you visit Iceland, your holiday will never be about laying at the beach– so why not come for a cultural winter holiday where there are much fewer tourists than in the summer, trying to imagine the drastic difference between having sunlight through out the night and having only few hours of sunlight every day. Enjoy some music and go meditate at the geothermal pools in between. Besides, the only chance to experience Aurora borealis is in the winter time, so it’s possible to go on guided tours to see them.</p></div></content><author><name>undefined</name></author></entry><entry><title>Dark Music Days 2016 Recap: Day One</title><link href="https://gavart.ist/#Dark%20Music%20Days%202016%20Recap%3A%20Day%20One"></link><link href="https://gavart.ist/static/Dark%2520Music%2520Days%25202016%2520Recap%253A%2520Day%2520One.html" rel="alternative" type="text/html"></link><id>9139c92b-88e8-c4a8-73fb-366e26fbb17d</id><updated>2023-03-31T17:51:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The <a class="tc-tiddlylink-external" href="http://www.icareifyoulisten.com/2016/01/5-questions-thorunn-greta-sigurdardottir-artistic-director-dark-music-days/" rel="noopener noreferrer" target="_blank">Dark Music Days Festival</a> takes place within <a class="tc-tiddlylink-external" href="http://en.harpa.is/" rel="noopener noreferrer" target="_blank">Harpa</a>, a 21st century space of giant proportions; a massive, glistening structure of glass and steel which etches itself simultaneously out of the sea and the sky. Inside, its open structure belies a plentitude of state-of-the-art halls and stages, which feature configurable acoustical treatments and serve as dramatic visual grounds against which performances here actualize themselves. In the first day of concerts for this long-running series– known for its new music heritage in Iceland– the exceptional <a class="tc-tiddlylink-external" href="https://www.facebook.com/Elektra-Ensemble-142660325771868/" rel="noopener noreferrer" target="_blank">Elektra Ensemble</a>, followed by the <a class="tc-tiddlylink-external" href="http://www.sinfonia.is/en" rel="noopener noreferrer" target="_blank">Iceland Symphony</a> under Daníel Bjarnason presented chamber music, new instrumental concerti, and large-scale symphonic works.</p><p>Commencing in the Kaldalón hall, soprano Elísabet Einarsdóttir and the Elektra Ensemble presented four world premieres of multimedia chamber works by the composers of the <a class="tc-tiddlylink-external" href="http://erratacollective.com/" rel="noopener noreferrer" target="_blank">Errata Collective</a>. In Halldór Smárason’s piece <em>Vegfarendur og ég</em>, soprano Einarsdóttir conducted col legno cello figurations and prepared piano percussives as she vacillated between bel canto and sprechstimme singing, breathing and blowing into her microphone as a CCTV video feed of a roadway intersection played. Woodwinds predominated as Margrét Árnadóttir’s walking pizzicato bassline on the cello meshed with vocal utterances of vowels and consonants, creating disparate continuities.</p><p>Bára Gísladóttir’s piece <em>Nið(ur)</em>, based on the poem <em>Haustið Nálgast</em> by Stefán frá Hvítadal, describes an approaching autumn. The strings produced a bed of harmonics upon which Emilía Rós Sigfúsdóttir’s flute and Helga Björg Arnardóttir’s clarinet playing danced about in high registers while pianist Ástríður Alda Sigurðardóttir scraped the strings of the instrument with a metallic spatula. Gísladóttir places particular emphasis on the text as it relates to the ‘dampness’ she locates in nature’s autumnal dying, conjuring through a sparse texture images of “golden” clouds and a mist (<em>dögg</em>: a word for this particular seasonal wetness) which clings to the grass. The players sat together in silence as the piece ended while soprano Einarsdóttir repeated a phrase, capturing the beauty which only death can claim as its own.</p><p><img src="./files/img/einarsdottir-electra-ensemble-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Einarsdóttir and Elektra Ensemble</p><p>In Finnur Karlsson’s <em>Stjórn</em>, Einarsdóttir re-entered the stage in darkness already singing her line, switching on each player’s stand lamp as trills and harmonics flowed from Helga Þóra Arnardóttir’s violin. Flourishes of the overtone series emerged. A noisy rumble of electronics interjected, and Einarsdóttir walked over to touch the speaker which immediately ceased producing its chaotic noise. Beautiful and brief eruptions emanated, accompanying the soprano’s gesturing with her arms to the sky, clapping her hands in the air to cut the flow of Elektra Ensemble’s audibility.</p><p>The last work on this intriguing program was <em>Gos</em> by the young Swedish composer Petter Ekman. Einarsdóttir, now formally dressed with a rolling luggage and standing on the other side of the stage amongst several chairs, viewed a video display of a flight timetable with all flights showing CANCELLED. The vocal line jumped between Icelandic and English. The sardonic predicament that the singer finds herself in brought the audience into fits of laughter over the course of the piece. She is a Geology expert on her way to a conference to discuss the Móðuharðindin, a catastrophic eruption of the Laki volcano in 1783, when the more recent eruption of Eyjafjallajökull (2010) disrupts all travel out of Iceland, preventing her from attending her conference. Lamentations of famine are quirkily juxtaposed against apathetic “yeah, yeah” declamations, and Einarsdóttir then sat and read from a book as the Elektra Ensemble continued to produce dizzying plumes of sound. She began tearing out pages and proceeded to eat them. Ekman here is referencing the famine of 1783, when many were reduced to eating manuscripts to survive. The final crescendo– which builds so well into a dramatic pause with all momentum pointing towards our soprano protagonist– is a wonderful ‘gotcha’ moment; as her mouth is filled with paper, she cannot give the final delivery, and the piece ends.</p><p><img src="./files/img/einarsdottir-electra-ensemble2-photo-by-gavin-gamboa.jpg"></img><br></br>inarsdóttir and Elektra Ensemble</p><p>Day One ended in spectacular fashion in the main hall of Harpa, the Eldborg. It is a stunning space that drips with the color red and is replete with right angles. The Iceland Symphony under the baton of Daníel Bjarnason began with its world premiere of Áskell Másson’s flute concerto <em>Gullský</em> (2015). Known for his percussion works, the piece opens rather motionless at first. Flutist Melkorka Ólafsdóttir’s graceful solo figurations floated above harp, strings, gongs, and bass drum. These lush environments of sound supported Ólafsdóttir’s melodious playing, which seemed perfectly suited to Másson’s tendency towards stressing non-scalar passing tones. A final diminuendo into nothingness ends the work, its crisp and fleeting nature having the sensation of a temporal compression. Following was an orchestral piece <em>Strati</em> (1993/1999) by Haukur Tómasson (who earned his Masters at the University of California San Diego). Spectral blooms hybridize into quickly bursting lines that turn into moments that hang forever in suspension. An organic, interweaved lattice is manipulated as different groups within the orchestra are dynamically juxtaposed against one another. Bjarnason did exceedingly well directing these complex syncopations, creating a clear sense of foreground and background.</p><p><img src="./files/img/iceland-symphony-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Iceland Symphony</p><p>At the heart of the program was Þórður Magnússon’s <em>Piano Concerto</em> for orchestra with electronics, deftly played by soloist Víkingur Heiðar Ólafsson. Existing somewhere between neoclassicism and a new impressionism, the work exhibited masterful thematic development via musical sequences and combinations. Its evolution is worth noting, as it variously transformed from a clarinet quintet, to a piano concerto for the left hand, to a purely symphonic work, and then into its current form. Ending the program was <em>Act</em> (2004), an orchestral work by Norwegian composer Rolf Wallin. Functioning like a turbulent ocean threatening to capsize us, the entire orchestra moved in conjunction with itself like a well-oiled machine, leading into huge spectral builds of overpowering tonalities, and an explosive finale.</p><p>The impact of these performances which initiated the 2016 Dark Music Days festival was nothing short of astounding, and the sonic worlds they conjured felt very much attached to the precariousness and volatility inherent in the extremes which the land and the climate here embody– a brilliant opening that afforded a penetrating glimpse into Icelandic and Nordic musical imaginations.</p></div></content><author><name>undefined</name></author></entry><entry><title>Dark Music Days 2016 Recap: Day Two</title><link href="https://gavart.ist/#Dark%20Music%20Days%202016%20Recap%3A%20Day%20Two"></link><link href="https://gavart.ist/static/Dark%2520Music%2520Days%25202016%2520Recap%253A%2520Day%2520Two.html" rel="alternative" type="text/html"></link><id>4b26d76b-128a-9db1-0c51-658637ff4c61</id><updated>2023-03-31T17:51:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The wind screams and howls in Reykjavík. It is strong enough to disturb your gait and to push you around as your feet glide on the layers of ice which cover the ground. <a class="tc-tiddlylink-external" href="http://en.harpa.is/" rel="noopener noreferrer" target="_blank">Harpa</a>, the concert hall designed by Ólafur Elíasson and built by Henning Larsen Architects, stands in willful isolation to these phenomenal forces of the North. Its crystalline body dazzles onlookers via an LED light array embedded throughout its entire land-facing façade in a luminous imitation of that most mysterious of light-displays, the Aurora Borealis. Like this splintering of ions in the upper atmosphere, the second round of concerts at Dark Music Days dispersed its energy into divergent pathways and fields, unpredictably varied and interesting in a day of music for solo piano, various chamber music configurations, and a program devoted to electronic music and multimedia works.</p><p><img src="./files/img/harpa-photo-by-gavin-gamboa-691px1.jpg"></img></p><p>In the only solo piano concert of the festival, <a class="tc-tiddlylink-external" href="http://edda.erlendsdottir.free.fr/erlendsdottir.html" rel="noopener noreferrer" target="_blank">Edda Erlendsdóttir</a> presented a program of unique chronologies. A pianist of remarkable clarity and assurance, she has given performances throughout Europe, the USA, Russia, and China, but is especially active and prolific in her native Iceland. She opened with the world premiere <em>Majka</em> by French-Icelandic composer Tómas Manoury; a duet for electronics and piano in which sounds from the piano underwent realtime granular manipulation and were sent through probabilistic delay chains. Notes were played, then heard backwards, forwards, and truncated while new chords would sweep over the electroacoustic texture. Manoury, who stood in front of a laptop, acted as a conductor at times, measuring and controlling systems of feedback and delay.</p><p>After this engaging collaboration, Erlendsdóttir dove into a youthful work of Olivier Messiaen, “Plainte calme” from his <em>Eight Preludes</em> (1929). It was the only piece she performed from memory, perhaps in acknowledgment of the importance that Messiaen himself placed on this set of Preludes. A sublime stasis was instilled as sounds were shaded with exquisite grace. And then, as if catering to a different part of the same sensorium, Erlendsdóttir played three of Claude Debussy’s <em>Études</em> (1915), difficult pieces which are also his last for the instrument. She handled hand-crossings with ease, and they flowed right at the edge of mezzoforte, bringing to the forefront the essence of its jovial spirit. Her command in the delicate sweeps up and down the piano, with such sensitive timing and rapturous tone, was hypnotic.</p><p>Following this was the world premiere of <a class="tc-tiddlylink-external" href="http://www.icareifyoulisten.com/2015/05/5-questions-ulfur-hansson-composer/" rel="noopener noreferrer" target="_blank">Úlfur Hansson</a>'s <em>Innstirni</em>. Through a very diatonic and medium motion, the piece unfolded with folk-like melodic passages centered around the intervals of 5ths and 4ths, swaying in and out of repetitive chordal passages. <a class="tc-tiddlylink-external" href="http://www.hallgrimsson.org.uk/" rel="noopener noreferrer" target="_blank">Hafliði Hallgrímsson</a>'s <em>Five pieces for piano</em> (1971) was a curiosity; a set of atonal miniatures characterized by their need for the utmost precision and balance. Their spritely and conjunctive questioning exemplified why Hallgrímsson is one of Iceland’s leading composers. A staggering sense of darkness and foreboding permeated these short works; heavy lamentations which led us to a final reckoning. Erlendsdóttir ended with the Icelandic premiere of Henri Dutilleux’s <em>3 Preludes</em> (1988), pieces built upon clusters which brim to the surface under violent pressure. By way of abrupt pauses and relational tension across dissonances, Erlendsdóttir, with what seemed like limitless energy, carved up landscapes replete with danger and acid that culminated in the virtuosic and wild barrenness of the third Prelude.</p><p><img src="./files/img/edda-erlendsdottir-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Edda Erlendsdóttir</p><p>Since 1987, the chamber ensemble <a class="tc-tiddlylink-external" href="http://caput.is/" rel="noopener noreferrer" target="_blank">CAPUT</a> has been vigorously workshopping new compositions with a focus centered on young Icelandic composers. Their intriguing program contained two works in particular which stood out for their originality of instrumentation and formal approach: <a class="tc-tiddlylink-external" href="http://www.gkarel.net/" rel="noopener noreferrer" target="_blank">Gunnar Karel Másson</a>'s Tuba concerto <em>While we walk we sleep</em>, and <a class="tc-tiddlylink-external" href="http://gudmundursteinn.net/" rel="noopener noreferrer" target="_blank">Guðmundur Steinn Gunnarsson</a>'s <em>New Work</em> for ensemble. Másson, whose focus is chamber music, intertwines the tendencies towards musical quotation in jazz with aspects of avant-garde entrainment. Embedded throughout While we walk we sleep are hidden motives and quotes from the classical and contemporary literature, purposefully obscure and subliminal; as was described to me by Másson in the subsequent days after this performance, the genesis of his composition preceded on largely intuitive formulations, with the aim to approach it from a hip-hop perspective of sampling and appropriation. Tuba soloist Nimrod Ron gave an incredible performance, executing fantastic feats of tonal diversity and acrobatic arpeggiation. What was remarkable was the sense of space that Másson was able to conjure; a sense of peace and tranquility which at times was overpowering. In Gunnarsson’s piece (which featured full string-section, harpsichords, marimba, bassoon and clarinet) the score was read from four different monitors corresponding to divisions in the ensemble. Longa and Maxima noteheads moved across the screen using a custom proportional notation (à la Berio) that Gunnarsson developed using the Processing language. He is interested in capturing a natural copresence of rhythm gestures that he says cannot be properly emphasized using standard notation. A fascinating piece with a strained, declamatory vibe.</p><p><img src="./files/img/steindor-gretar-kristinsson-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Steindór Gréta Kristinsson</p><p>The evening ended with an impressive all-electronic concert featuring live performance and playback of distinctive compositions. Lydía Grétarsdóttir’s beautiful five-channel piece <em>Þytur</em> (Wind) used the sounds of birds wings to craft a full-fledged and eloquent structure of accumulation. Jesper Pedersen’s brooding and compelling MMDC featured B&amp;W video paired with sounds from his replica of the ARP 2600 analog modular synthesizer (used by Ben Burtt to create the voice of R2D2 in the original Star Wars). <a class="tc-tiddlylink-external" href="http://www.ismennt.is/not/rhf/" rel="noopener noreferrer" target="_blank">Ríkhardur H. Fridriksson</a>‘s … <em>e mezzo</em> was a meticulously crafted diabolical journey of insectoid noise and unfolding frequencies. Kristín Lárusdóttir’s heartfelt <em>Sofðu nú</em> featured her on stage singing over a vibrant blend of cello and electronics. Steindór Grétar Kristinsson’s live set was a thunderous, glacial mass of drone, expertly controlled. The closing duo, Mankan (Tómas Manoury &amp; Gudmundur Vignir Karlsson), demonstrated an agile audio/visual terrain in a highly interactive setup that was an engaging exploration of open systems of collaboration.</p><p>The myriad creative endeavors embodied in these musicians of all different backgrounds and interests spoke volumes of the artistic integrity which exists in plenitude here in Iceland. Despite the geographical isolation, it seems that 21st century solitude is bigger, and has a much clearer picture quality.</p></div></content><author><name>undefined</name></author></entry><entry><title>Dark Music Days 2016 Recap: Day Three</title><link href="https://gavart.ist/#Dark%20Music%20Days%202016%20Recap%3A%20Day%20Three"></link><link href="https://gavart.ist/static/Dark%2520Music%2520Days%25202016%2520Recap%253A%2520Day%2520Three.html" rel="alternative" type="text/html"></link><id>462d2905-5295-eb27-38d0-1a2e1b7fdb84</id><updated>2023-03-31T17:50:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The third and final day of concerts at <a class="tc-tiddlylink-external" href="http://www.darkmusicdays.is/" rel="noopener noreferrer" target="_blank">Dark Music Days</a> began with Guðný Einarsdóttir presenting a survey of composer Jón Nordal’s complete organ works in Reykjavík Cathedral, a stately construction built at the end of the 18th century. Born in 1926, Nordal (who was in attendance) is one of Iceland’s most recognized and independent musical figures, and his organ works—laden with liturgical symbolism and referents—are closely tied to the cathedral itself; each work is dedicated to the different church organists who have been part of the community throughout Nordal’s life. Proceeding in chronological order, formal schemes and sonorities became more and more polytonal and episodic, giving way to many contemplative journeys. Einarsdóttir handled the mystical terrain of these meandering harmonies with a great sense of rhythm and preparation, the full and rich sound of this triple-manual organ with thirty one independent voices resounding as if it was clearing the morning clouds, welcoming the afternoon sun.</p><p><img src="./files/img/guny-einarsdottir-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Guðný Einarsdóttir</p><p>Following this moving morning concert, cellist Guðný Jónasdóttir delivered a fierce performance of gripping new Icelandic music back at Harpa, in the Kandalón hall. Performing works by Helgi R. Ingvarsson, Hugi Guðmundsson, Hafliði Hallgrímsson, and Halldór Smárason, Jónasdóttir demonstrated absolute command of her instrument and of her own ability to follow each sound to its logical end. Hugi Guðmundsson’s <em>Alluvium</em> was for amplified cello and indulged in wonderful percussive effects and vertical bowing which would generate echoes in the electronics’ delay formula. In Hafliði Hallgrímsson’s <em>Solitaire</em>, expressive and melodic double-stops slid up and down in all different positions and in and out of quarter tones. A pastorale, played senza vibrato, led into arpeggiations which grew more and more intense with figures hanging in a delicate balance, moving into harmonies which then disappeared completely in the upper register. Halldór Smárason’s multi-movement <em>Pólypsar</em> contained many fascinating traits from the abstract moving lines with simultaneous left hand pizzicato to a non-bowed and all-plucked gypsy-like pizzicato etude. It ended with lively rhythmic vitality, using rapid up/down bows with full range glissandos and open string arpeggiation.</p><p><img src="./files/img/guny-jonasdottir-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Guðný Jónasdóttir</p><p><a class="tc-tiddlylink-external" href="http://nordicaffect.com/" rel="noopener noreferrer" target="_blank">Nordic Affect</a>, a quintet comprised of five women devoted to an amalgamation of historically-informed period instrumental practice and new music, gave one of the most inspired performances here at Dark Music Days. With a program of works all written within the last two years from Swedish, English, and Icelandic composers– the majority of them women– here was the essence of what Artistic Director <a class="tc-tiddlylink-external" href="http://www.icareifyoulisten.com/2016/01/5-questions-thorunn-greta-sigurdardottir-artistic-director-dark-music-days/" rel="noopener noreferrer" target="_blank">Þórunn Gréta Sigurðardóttir</a> envisioned as the onus of this year’s festival: towards the transformation of prevailing attitudes and by addressing issues of representation that women are rightfully expected to receive in their chosen fields. Here was an ensemble at the height of their powers presenting equally rigorous music with exceptional clarity and conviction.</p><p><img src="./files/img/nordic-affect-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Nordic Affect</p><p>Beginning with Mirjam Tally’s piece, <em>Warm life at the foot of the iceberg for string trio and harpsichord</em>, preoccupations with color predominated with scrape tones and circular bowing in the strings and clusters on the harpsichord periodically interjecting into the texture. Violinist Halla Steinunn Stefánsdóttir’s <em>at times whistling tone</em> seemed to evoke the wind whistling between rooftops, and each player handled complex timings with interpretive ease. Hildur Guðnadóttir’s <em>Point of Departure</em> took the entire ensemble and made it function as a single voice. Amplified and shrouded in darkness, each player vocalized and whispered while cellist Hanna Loftsdóttir gracefully played a duet with the harpsichord over the violin and viola’s string harmonics, everyone playing in a uniform rhythm together. Anna Þorvaldsdóttir’s <em>Impressions for solo prepared-harpsichord</em> offered an opportunity for Guðrún Óskarsdóttir to explore her instrument from new vantages. As she walked around the instrument casting rubber balls on top of the strings, triggering small resonators, and strumming with her hands, she created a bountiful variety of sound and events.</p><p>Afterwards, Georgia Browne, playing the Traverso (wooden keyless flute often referred to as a baroque flute) gave a heartwarming rendition of Rachel Stott’s solo piece <em>The Dancing of the Sunbeams</em>, recalling a sentimental imaginary past inspired by Jonathan Swift’s Gulliver’s Travels. Þráinn Hjálmarsson’s <em>Lucid/Opaque</em> for string trio contained beautiful meditative stillness; a glacial gravitas unfolding on the knife-edge of complete silence. In María Huld Markan Sigfúsdótirr’s <em>Spirals</em>, the trio produced a dizzying array of harmonics over an electronic texture which gradually invoked a percussive feel. It ended in incredibly long tones, perfectly placed and drawn out, Guðrún Hrund Harðardóttir’s viola soaring in its stillness, completing the circle back into captivating silence.</p><p><img src="./files/img/hlif-sigurjonsdottir2-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Hlíf Sigurjónsdóttir</p><p>Violin soloist Hlíf Sigurjónsdóttir’s concert contained some of the most adventurous and abstract music of Dark Music Days. Opening with Rúna Ingimundar’s <em>Away from home</em>, she tapped into the authentic cultural landscape; these pieces are like theme and improvisations based on Icelandic folk songs from the so-called kvæðalög. Sigurjónsdóttir played these very personal pieces from memory. Hróðmar Ingi Sigurbjörnsson’s Kyrie was more animated with interesting intervalic hinges. Karólína Eiríksdóttir’s <em>Meditation for Solo Violin</em> was a slow and expressive journey that showcased Sigurjónsdóttir’s mastery of the extreme upper register. American composer Merrill Clark’s piece <em>The Sorceress</em>, a multi-movement work written for Sigurjónsdóttir, brought the program into furious overdrive. During The Sorceress, in which Clark’s whimsical and intricate take on Baroque dance-structures produced hazardous virtuosic expression, a huge 20×20 foot backdrop displayed Greek artist Ektoras Binikos’ psychedelic visual landscapes of fractal universes and Fibonacci spirals, sending the neocortex into swirling kaleidoscopic metamorphoses. This engaging and challenging work was a fantastic glimpse into some far away future.</p><p>Lastly, the Vox feminae &amp; Aurora choirs and the Reykjavík Chamber Orchestra– two separate concerts which were captivating in different ways– closed the festival. The conjoined angelic voices of the choirs sang in the open spaces of Harpa itself, filling the entire structure with beauty. Conductor Margrét J. Pálmadóttir led them finally into a locative stream of an improvised piece as they descended a stairway away from onlookers. The Reykjavík Kammersveit focused their energies on the work of Atli Heimir Sveinsson, whose music demanded careful attention for its remarkable, otherworldly style. They also gave a rendition of the curious and challenging <em>Pattern IIb</em> by Gunnar Andreas Kristinsson, for xylophone, marimba, vibraphone, and winds.</p><p><img src="./files/img/esja-mountain-photo-by-gavin-gamboa-691px.jpg"></img><br></br>Esja Mountain</p><p>As this saga came to a close, there was the presence of the snow-covered Esja mountain, a spiritually significant point of camaraderie amongst the people of Reykjavík, and it seemed to be conveying in its majestic silence an idea Albert Camus once articulated: “In the midst of winter, I finally learned that there was in me an invincible summer.” Indeed, inside each of the composers, performers, and organizers here at Dark Music Days could be glimpsed this invincible summer, with all its radiance.</p></div></content><author><name>undefined</name></author></entry><entry><title>5 Questions to Alex Shiozaki (Momenta Quartet)</title><link href="https://gavart.ist/#5%20Questions%20to%20Alex%20Shiozaki%20(Momenta%20Quartet)"></link><link href="https://gavart.ist/static/5%2520Questions%2520to%2520Alex%2520Shiozaki%2520(Momenta%2520Quartet).html" rel="alternative" type="text/html"></link><id>c385a80f-6180-fba8-0476-9e0067b5a6cf</id><updated>2023-03-31T17:49:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><strong>What is it like to be the newest addition to the acclaimed Momenta Quartet? Did you have a prior connection to them?</strong></p><p>I’m still pinching myself! It’s unbelievable, not just to be playing with such an amazing group of musicians, but to feel like I can fit so easily into their sound. I’ve always thought of the idea of a string quartet as barely short of miraculous: four individual artists, each with their own musical ideas, somehow coming together and creating a cohesive performance. And yet, here I am! The first few months with the quartet left me short of breath, as I had to learn what seemed to be a different concert program every other week. The summer break has given me some time to settle in, however, and I’ve been able to take a step back and realize how lucky I am to have found a group that fits my own musical sensibilities so well.</p><p>I first met Momenta four years ago, as part of the Chelsea Music Festival in New York. Coincidentally, they were just wrapping up their previous violin search, and I remember feeling a twinge of regret that I had missed an opportunity to try out for the quartet. Fast forward three years, and I found myself on an Argento Ensemble tour with Stephanie, who actually had recommended me for the gig. On that trip, we bonded not just through the music, but also through conversing about our chamber music experiences. We ended up next to each other on the flight back to NYC, and talked nonstop for the duration of the flight. At the time, joining the group was the last thing on my mind; one does not realistically hope to join a quartet that already has four members and no gray hairs.</p><p>A few months later, Stephanie asked if I’d be interested in a try-out with the group. What an incredible rush, to receive that email! I ran out of the bedroom, waving the phone at Nana (my wife and duo partner.) Even though I knew I shouldn’t get too excited–and kept phrasing it to both Nana and myself as “a great opportunity, even if it doesn’t work out”–I felt that it would work out. And from my first trial rehearsal with Momenta, I knew that it would.</p><p><strong>I am curious about your relationship to the music of contemporary Japanese composers. What can listeners who are unfamiliar with the music of Japan brought to be more aware of, and how do you channel this when playing it?</strong></p><p>One of the most important concepts in all forms of Japanese art is ma, or negative space. Ma is an acknowledgment of the gap between structural elements. In music, this space can be the silence between musical phrases or the sustained sound between the beginning and ends of notes. Often Japanese music will explore a single pitch for an extended amount of time, inviting the audience to hear the subtle changes in a non-static tone. To the uninitiated, such music may be dismissed as slow and simple, and indeed many contemporary Japanese pieces come with relatively slow metronome indications. The most rewarding way to experience these sounds for the first time is to simply listen to each moment, forgetting about Western musical ideas such as “journey” or “destination.”</p><p>I myself became familiar with ma through playing the music of Somei Satoh. I had actually not paid much attention to my own sound quality during my undergraduate years, a shortcoming pointed out by my teacher Ron Copes when I arrived at Juilliard. Timbre and vibrato is one of the most important musical aspects of Satoh’s Birds in warped time II, which I’ll be playing on September 29th as a part of my first curated Momenta Festival program. I must give Satoh a lot of credit for igniting my self-interest in sound quality; these days, whether playing Japanese or Western works, I try to focus on keeping the “between” sounds alive, through changing bow speed, pressure, contact point, or vibrato. Though especially applicable to Japanese music, this idea works in all musics, whenever a note is sustained. In fact, these approaches served me extremely well when I performed with Stars of the Lid, an ambient drone-music duo—pretty far from my traditional repertoire!</p><p><strong>How do you find the process of putting together a festival with Momenta Quartet, in addition to preparing for performance ?</strong></p><p>In preparing for Momenta Festival II, I’m greatly indebted to the rest of the quartet’s experience, as they were all part of last year’s inaugural Momenta Festival. While there is a lot of work involved in self-producing a four-day festival, they already have internalized the mental checklist of what needs to be planned: venue, dates, format, funding, publicity, programs, and our tremendous roster of guest artists—for Momenta Festival II, we’ll be joined by the soprano Tony Arnold, pianist Vicky Chow, experimental vocalist Ubiet from Indonesia. And, of course, my wife / duo partner, pianist Nana Shi.</p><p>Some of this was already in place by the time I came on board, and the rest is coming together quite smoothly. The one thing that is my sole responsibility is the curation of my own program, which will be the second of the four nights (September 29th). After cycling through several programming ideas, I settled on a theme that represents my own musical identity: contemporary Japanese music, paired with Beethoven’s Op. 135 quartet!</p><p><strong>Where do you locate ‘authenticity’ in new works that you are performing together as a quartet?</strong></p><p>Authenticity! The bane of us performers’ existence.</p><p>Actually, part of the reason I find the performance of contemporary music less problematic is that there is no need to argue about historical instruments, tuning, centuries-old treatises, or decades of performing traditions. One can simply grapple with the music on its own terms. I suppose authenticity may be found in communication with the composer, but I also find this to be a double-edged sword. There is an appropriate balance between the composer’s vision and the performer’s interpretation, and I feel most comfortable when there has been a little bit of give-and-take between the composer and performer. Too many demands, and we performers have no ownership over a performance. Too much freedom from the composer, and I’m afraid that he or she simply hasn’t shared their vision with us. Finding the right balance is key.</p><p><strong>What, to you, was a valuable piece of advice that a mentor, elder, or colleague passed along?</strong></p><p>“If you’re not improving, you’re getting worse.” Though I’m sure countless mentors have bestowed these words unto their pupils, I happened to receive this bit of wisdom from the pianist and musicologist Robert Levin. Here was a man who could do seemingly anything at the piano–perform Mozart concerti, improvise cadenzas, demonstrate passages from any piece of music at will and from memory–stating that his daily goal was to surpass himself as a musician. Especially after having graduated out of weekly lessons, this has been an important source of motivation for me. Every day I try to be a little bit better than the day before, and a day not spent improving—a day off from violin—is one that nags at me as I sleep. </p></div></content><author><name>undefined</name></author></entry><entry><title>Virtuosic Listening: Vicky Chow’s Aorta on New Amsterdam</title><link href="https://gavart.ist/#Virtuosic%20Listening%3A%20Vicky%20Chow%E2%80%99s%20Aorta%20on%20New%20Amsterdam"></link><link href="https://gavart.ist/static/Virtuosic%2520Listening%253A%2520Vicky%2520Chow%25E2%2580%2599s%2520Aorta%2520on%2520New%2520Amsterdam.html" rel="alternative" type="text/html"></link><id>f8c15c1b-0245-5e46-9936-086fd921763e</id><updated>2023-03-31T17:48:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Continuing down a path that she has been charting with aplomb these last several years <a class="tc-tiddlylink-external" href="https://www.icareifyoulisten.com/2014/12/vicky-chow-tristan-perich-surface-image/" rel="noopener noreferrer" target="_blank">(including in releases already covered by this publication)</a>, Brooklyn-based pianist and chamber musician Vicky Chow has been taking careful steps in not only performing contemporary works for piano and electronics but by establishing herself and her practice as a center of gravity to which new works of this expanding genre gather and germinate. In <em>Aorta</em>, her second album for New Amsterdam Records, we are treated to the sounds of the American avant-garde as crafted by an imaginative cadre of five composers united by Chow’s impulse to capture herself without restraint through her playing and to express deeper aspects of what unity entails, what she describes as “light, love, emotion and humanity.” <em>Aorta</em> is built of moving, clanging, daring resonances–and capture these very essences that she describes, it does.</p><p>There is an elaborate range and sensibility that is charted sonically. While there is a unifying aesthetic here, what is clear is that each piece approaches the piano’s aural augmentation with specific and well-informed intentions. The dream-like wanderings and impressionistic colors in <a class="tc-tiddlylink-external" href="http://www.christophercerrone.com/" rel="noopener noreferrer" target="_blank">Christopher Cerrone</a>‘s <em>Hoyt-Schermerhorn</em> are elongated by borderline imperceptible reverb tails–except, that is, when they are fractured by the signal-level process which is driving them, which makes the sound begin to crumple under the weight of the piano’s tones as empty food wrappers would do under your paces as you traverse the piece’s namesake intersection in Brooklyn (where Michael Jackson’s BAD music video was filmed). <a class="tc-tiddlylink-external" href="http://www.jacobcoopermusic.com/" rel="noopener noreferrer" target="_blank">Jacob Cooper</a>‘s <em>Clifton Gates</em>, originally written for Timo Andres and inspired by John Adams’ <em>Phrygian Gates</em> (1978), uses literal audio gates to create a shifty and broken middle ground of delay chains and juxtapositions.</p><p>Polish composer <a class="tc-tiddlylink-external" href="http://www.jakubciupinski.com/" rel="noopener noreferrer" target="_blank">Jakub Ciupiński</a>‘s four part <em>Morning Tale</em> is a moody album leaf where tones and their digitally reversed duplicates appear and disappear in washes of distilled punctuations, each of the four possessing a distinct musical character and aim. <a class="tc-tiddlylink-external" href="http://mollyjoycemusic.com/" rel="noopener noreferrer" target="_blank">Molly Joyce</a>‘s 11 minute <em>Rave</em> begins deceptively antithetical to the title’s implications, but builds into first real peak experience of <em>Aorta</em>. This moment captures Chow’s breathless virtuosity complimented by a fascinating use of real-time overdub to insinuate (impossibly) many instances of this performer all at once simultaneously playing the gamut of the instrument, completing as though by metamorphosis, through its use of pedal tones, a transformation into a piano/organ hybrid.</p><p>The frenzy subsides and is followed by two selections from a piece also titled Aorta from French-born, American-trained composer <a class="tc-tiddlylink-external" href="http://www.danielwohlmusic.com/" rel="noopener noreferrer" target="_blank">Daniel Wohl</a>. They explore contrasting approaches to the piano/electronics dichotomy: “Limbs,” where interlocking electronic elements are mapped over the complexity in Chow’s part, and “Bones,” where completely different musical segments/recordings are used in playback alongside Chow’s playing. They are effective diatonic exercises in the spurning of an idea, a thought, which ceases to waver. The final piece on the disc is <em>Vick(i/y)</em>, by <a class="tc-tiddlylink-external" href="http://www.andyakiho.com/" rel="noopener noreferrer" target="_blank">Andy Akiho</a> (written for both Vicki Ray and Vicky Chow), notably the only work which severs the piano from any electronic accompaniment; it is a prepared piano piece reminiscent of John Cage’s <em>Sonatas and Interludes</em> (1946-1948). In it, the piano is exploited inside and out, with a decidedly eastern focus in its rhythmic and timbral subtleties and overt gestures. As the longest piece on <em>Aorta</em>, its many palpitations and troughs serve as an exceptional finale.</p><p>On the inside of all of these forceful musical offerings is Canadian-born Vicky Chow; consummate pianist and collaborator; member of New Music Detroit and Bang on a Can All-Stars, among others; new music devotee; and advocate. She succeeds in attaining her aim of capturing an intimate and personal vibe: using the longest recording takes, riding the waves of each the pieces’ fault lines, abandoning the need for strict accuracy at all times. <em>Aorta</em> leaves a compelling imprint, especially once having exited the immersion from start to finish. Where Chow is exceedingly exceptional is indeed in her ability to listen and to gauge. The subtle variances in the electronic parts of these works presents a difficulty solo players rarely have to deal with: playing with/against themselves. At times, the external layers are so dense that it becomes clear that the real feat here is not virtuosic playing per se, but virtuosic listening. Chow’s ability to decipher where and when she needs to play, and to maintain in the face of competing/similar phrases and disjunctions of her own playing against itself is the marvel which <em>Aorta</em> captures, both subliminally and explicitly.</p><p>One disadvantage a curious listener may have regarding this otherwise extremely well-thought out and accessible release is the lack of documentation or, better yet—explication—of the processes used in the electronics for these works. It is one thing to be using an Ableton Live or Logic effect to achieve a certain result, quite another to achieve the same through Supercollider or ChucK. As far as how these various externalities are being generated, we are largely left in the dark. Nevertheless, soaking in the beautiful journey Vicky Chow has shared with us should bring many listeners coming back, as this is moving an intriguing music … played from the heart.</p></div></content><author><name>undefined</name></author></entry><entry><title>Visions and Voices “Stages” The Industry’s Hopscotch</title><link href="https://gavart.ist/#Visions%20and%20Voices%20%E2%80%9CStages%E2%80%9D%20The%20Industry%E2%80%99s%20Hopscotch"></link><link href="https://gavart.ist/static/Visions%2520and%2520Voices%2520%25E2%2580%259CStages%25E2%2580%259D%2520The%2520Industry%25E2%2580%2599s%2520Hopscotch.html" rel="alternative" type="text/html"></link><id>d7c1502d-a898-84ed-96d7-2ac3d593dfa4</id><updated>2023-03-31T17:47:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The University of Southern California’s Arts and Humanities Initiative—Visions and Voices—planned to (re)stage The Industry’s <a class="tc-tiddlylink-external" href="https://www.icareifyoulisten.com/2017/03/experimental-opera-hopscotch-the-industry-records/" rel="noopener noreferrer" target="_blank">grandiloquent multi-media multi-author opera</a>, <em>Hopscotch</em>. If you are unfamiliar with this work, understand it was a high-stakes gamble of a staging concept put forth into execution through a dizzying array of municipal and non-profit organization partnerships, and widely-acclaimed in the national and international press. What was the gamble? To infuse Los Angeles into the form with “driving” as the vector. Specifically, to stage the multi-composer story on multiple routes and in multiple vehicles. This <a class="tc-tiddlylink-external" href="http://hopscotchopera.com/img/carousel/36-img20.jpg" rel="noopener noreferrer" target="_blank">Markov Chain</a> of narrative displacement, spectator atomization, and velocopedic urbanity splintered the opera into three separate routes, making it difficult to view the complete work, which is why USC’s decision to stage <em>Hopscotch</em> (in redacted form) was appealing. Except that, this concert almost didn’t happen.</p><p>It dawned on Mr. Sharon that the concert’s date was going to overlap with the bitter inauguration of reality-TV blatherskite Donald J. Trump as the 45th President of The United States, who the day before had <a class="tc-tiddlylink-external" href="https://www.washingtonpost.com/news/the-fix/wp/2017/01/19/trump-reportedly-wants-to-cut-cultural-programs-that-make-up-0-02-percent-of-federal-spending/?utm_term=.e3ec40c3f4a4" rel="noopener noreferrer" target="_blank">announced terrible cuts to The National Endowment For The Arts and The National Endowment For The Humanities</a>. For Sharon, frustrated relenting would have given way to a cancellation had it not been for Sasha Anawalt, the USC Visions &amp; Voices co-organizer, who implored Sharon to go forward with the concert. This turnaround was recounted by Mr. Sharon himself, from the podium within the Alfred Newman Recital Hall. The timing of this ominous interstice was not lost to those in attendance, many of whom–performers, composers, academics, critics, patrons (collectively: ensembles, organizations, academic institutions, non-profits)–depend on a healthy cultural sector. Sharon continued … “This occasion demands of all of us, regardless of whatever political party you ascribe to … to consider very solemnly and very seriously, what we pledge our allegiance to.” <em>Hopscotch</em> is a cooperative work of a large and diverse group, after all, and as such it points a way forward.</p><p>It began with music for Mexican string ensemble, <em>Lucha’s Quinceañera Song</em>, by <a class="tc-tiddlylink-external" href="http://www.davidrosenboom.com/" rel="noopener noreferrer" target="_blank">David Rosenboom</a>, with text by Janine Salinas Schoenberg. This celebration of the <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/Quincea%C3%B1era" rel="noopener noreferrer" target="_blank">Quinceañera</a> (15th year birthday) featured striking modulations and very latinate, romantic gestures. Punctuated by pockets of silences as young Lucha, affectionately performed by Natasha Sanchez, confronts her own transformation using a mixture of English and Spanish, and holding out her refrain “Porque ahora soy mujer (Because now I am a woman)” as the starting declamation of her life’s layered journey. Jumping ahead several chapters was <a class="tc-tiddlylink-external" href="http://www.septimalcomma.com/" rel="noopener noreferrer" target="_blank">Andrew McIntosh</a>‘s <em>Never The End</em>, with text by Sarah Beaty. A vocal duo comprised of Lauren Davis (now playing Lucha) and Sarah Beaty, and a solo saxophonist accompanying their solemn refrains, intertwined their sounds together. As they built large reservoirs of microtonality, more saxophone players joined-in and dispersed throughout the hall, adding some nice antiphonal theatricality.</p><p>Following was <a class="tc-tiddlylink-external" href="http://veronikakrausas.com/" rel="noopener noreferrer" target="_blank">Veronika Krausas</a>‘ <em>Is All Time Simultaneous?</em> with text by Tom Jacobson. In this piece, the audience was directly confronted, and to some they were dealt cards, by a fortune teller, played by Julia Aks alongside her solo violin accompaniment provided by Madeline Falcone. Cards for “The Angels,” “The Ghost,” and “The Puppet” were received. Tonal, yet tempered by pointed dissonance, the scene shifted suddenly as Justine Aronson entered from Stage Right to fill the center of the space with just a small wind-up music box in hand; her beautiful range echoing the ramifications of the “uncertainty principle” of the text.</p><p>In <em>Lucha and Orpheo</em> by <a class="tc-tiddlylink-external" href="http://hopscotchopera.com/team/marc-lowenstein/" rel="noopener noreferrer" target="_blank">Marc Lowenstein</a> (who is also Musical Director for The Industry), meta-operatic questions are posed (“An Aria? A Recitative?”) and in the middle section, after a driving phase-shift motive in the violin duo subsides, we reach a kind of <em>hopeful</em> music (that Sharon advocates for) that then ends with a bolero singer singing in Spanish: “Esa vida, mejor que se acabe. No es para mi (It is better that this life ends. It is not for me).” In <a class="tc-tiddlylink-external" href="http://ellenreidmusic.com/" rel="noopener noreferrer" target="_blank">Ellen Reid</a>‘s <em>Farewell From The Rooftops</em>, with text by poet Mandy Kahn, an ensemble of mixed strings and brass continued in exploiting the hall’s various spaces to antiphonal effect. “A future life that never came to be” sung against Melinda Rice’s viola pizzicato and interjected by Jonah Levy’s muted trumpet shrieks and swells from the horns. “I feel my powers now”—as the movement draws to a close with a vocal and french horn duet.</p><p>Most striking was the evening’s finale: <a class="tc-tiddlylink-external" href="http://andrewnormanmusic.com/" rel="noopener noreferrer" target="_blank">Andrew Norman</a> and Jane Stephens Rosenthal’s <em>To Find The Center</em>, which fulfilled the ambition of inscribing an image of unity into our glimpse of this (un)charted territory; diatonic and interleaving consonances and resonances growing as every performer that evening reconvened and slowly joined each other on the stage, every singer/instrumentalist (which was which at this point?) until all were together, sound filling the space, lifting the collective into the heavens of acousmatic sensuality but of hopeful spiritus everlasting. A mass of bodies, making sound together; all voices ending on a unison.</p><p>In a way, the ellipse formed from <em>Hopscotch</em> turning in onto itself in order to reveal its most revealed musical gestalt (one which necessitated such widespread berth and tangible circumnavigability when it—<em>literally</em>—took to the streets), by containing it into a space that Sharon may retroactively view (in the positive) as a non-space (the traditional concert hall), amplified its communicative means. What The Industry’s flagship flirtation with democratic-artmaking on the eve of Donald Trump’s calls to end what he called “American Carnage,” gave re-defined meaning to what Philosopher of Speed Paul Virilio called “disorienting pleasures,” by allowing the negative feedback of the closed space itself to serve as the antithesis to the dwindling narrative of a narrow worldview, one which was wholly and gloriously disassembled both in the concert hall that evening and in the hours of the day that followed during the largest demonstration in US history, the <a class="tc-tiddlylink-external" href="https://en.wikipedia.org/wiki/2017_Women%27s_March" rel="noopener noreferrer" target="_blank">2017 Women’s March</a>. All of this leads us instead towards a future polity where things are public; where art is public; where a new res publica emerges.</p></div></content><author><name>undefined</name></author></entry><entry><title>Interpretará yucateco Varaciones Diabelli</title><link href="https://gavart.ist/#Interpretar%C3%A1%20yucateco%20Varaciones%20Diabelli"></link><link href="https://gavart.ist/static/Interpretar%25C3%25A1%2520yucateco%2520Varaciones%2520Diabelli.html" rel="alternative" type="text/html"></link><id>682d3fde-7a94-43b6-4d83-580c720c471b</id><updated>2023-03-31T17:01:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/press/dithered/variaciones-diabelli-01-dithered.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Debut yucateco con Variaciones Diabelli</title><link href="https://gavart.ist/#Debut%20yucateco%20con%20Variaciones%20Diabelli"></link><link href="https://gavart.ist/static/Debut%2520yucateco%2520con%2520Variaciones%2520Diabelli.html" rel="alternative" type="text/html"></link><id>307b7548-ce96-0243-c9fa-1924a966c580</id><updated>2023-03-31T17:01:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/press/dithered/variaciones-diabelli-02-dithered.jpg"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Un paseo por la genialidad de Beethoven</title><link href="https://gavart.ist/#Un%20paseo%20por%20la%20genialidad%20de%20Beethoven"></link><link href="https://gavart.ist/static/Un%2520paseo%2520por%2520la%2520genialidad%2520de%2520Beethoven.html" rel="alternative" type="text/html"></link><id>b33268f1-3488-9911-81fb-428efa52a379</id><updated>2023-03-31T17:01:17</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/press/variaciones-diabelli-03.JPG"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>Un viaje al mundo donde habitan la música y la poesía</title><link href="https://gavart.ist/#Un%20viaje%20al%20mundo%20donde%20habitan%20la%20m%C3%BAsica%20y%20la%20poes%C3%ADa"></link><link href="https://gavart.ist/static/Un%2520viaje%2520al%2520mundo%2520donde%2520habitan%2520la%2520m%25C3%25BAsica%2520y%2520la%2520poes%25C3%25ADa.html" rel="alternative" type="text/html"></link><id>cc8089ec-c905-06ba-cb91-90792dd83133</id><updated>2023-03-31T16:59:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/press/dithered/musica-hace-100-anos-03-dithered.JPG"></img></p></div></content><author><name>undefined</name></author></entry><entry><title>The Opening Response: Gavin Gamboa</title><link href="https://gavart.ist/#The%20Opening%20Response%3A%20Gavin%20Gamboa"></link><link href="https://gavart.ist/static/The%2520Opening%2520Response%253A%2520Gavin%2520Gamboa.html" rel="alternative" type="text/html"></link><id>22763e29-8d9e-3331-b27f-ae98bceb4460</id><updated>2023-03-31T16:59:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The Opening Response titles a special series of interviews with artists, curators, writers, composers, mediators, and space-makers around the world. Dialoguing within and around the thematics which have rapidly emerged as a consequence of the Covid-19 pandemic, we offer within this frame a differentiated, honest, and beautiful bid at understanding. Weekly, distinct doors are opened into the lives of the contributors; into their experiences dawning on pleasure, productivity, metaphysics, and paradigmatic shifts. Hopefully, these conversations can act as way-posts and lead to furthered empathy, unison, and co-creation. The Opening Response meets the need for weaving the autonomy of a web of conscious communications in times of extreme perplexity.</p><p><img src="./files/img/1-Los-Feliz-_sky_2019.jpg"></img></p><p><u><strong>Josseline Black</strong></u> – In this phase of forced isolation, how are you articulating your response in a public discourse? What is your role in this larger conversation?</p><p><u><strong>Gavin Gamboa</strong></u> – My most active point of entry into the public discourse during self-isolation has been on the fediverse, where I have a number of different Mastodon accounts, and consume a rather interesting international assortment of ideas emanating from a decentralized and therefore more liberated online space; a timeline that leans towards queer/poc/anarchist/leftist/artistic/environmental/FOSS-embracing/scientific perspectives. That being said, I would measure my contributions to the discourse as fairly minimal; passing personal thoughts and reflections (such as my own challenges of continued resistance against Amazon delivery purchases, as I have been boycotting Amazon for the last 7 months), as well as informational videos on COVID-19.</p><p><u><strong>JB</strong></u> – Has your artistic practice changed through isolation?</p><p><u><strong>GG</strong></u> – My practice has recently stagnated (or gone into a quasi-hibernation) partly due to self-isolation away from my studio and partly from the disruption of my routine and interaction with others. I’m starting to think a lot more about the types of creative work that are at hand wherever I happen to be, i.e. with a computer or w/o a computer, with or without internet, with or without a piano. Each scenario provides opportunities to explore different facets of creative endeavour. But the emphasis has revolved around the computer as the primary locus of work, and not so much in doing as in receiving, as I find myself continually thrust into an immersion within digital information spaces out of a need to discover, to learn, to familiarize myself with, and to understand what is happening on a global-level to the best of my ability, notwithstanding that such a broad scope of knowing is clearly outside of any one person’s ability to contextualize and fully grasp.</p><p><u><strong>JB</strong></u> – How has your practical capacity to produce work been affected by the pandemic?</p><p><u><strong>GG</strong></u> – As I currently navigate the pandemic while staying with someone I care for (essentially finding myself in another’s own personal living space) I discover that I am re-learning/re-negotiating what it is that I most require in order to produce honest work. Currently this means respecting people’s boundaries at home, recognizing that uninterrupted time is limited, and dealing with the reality that my own materials (books, instruments) are unavailable. Priorities have shifted.</p><p><u><strong>JB</strong></u> – What is your approach to collaboration at the moment?</p><p><u><strong>GG</strong></u> – I am open to collaborating, more than I have been, viewing even the most basic of interactions as in some way opening the potential for further co-creation. Even just in the sharing of these potentialities with one another do I find a real solace and excitement for what can come next, despite the dire situation that may creatives sense looming overhead.</p><p><u><strong>JB</strong></u> – How would you define the present moment, metaphysically/literally/symbolically?</p><p><u><strong>GG</strong></u> – I would describe it as an environmental cleanse; a metaphysical intrapersonal reset; a symbolic reckoning for the United States’ incestuous foregrounding of monopoly finance capital as *the* measure of economic prosperity. There is a feeling of recalibration that many of us who look at the world with deep empathy and compassion have innately felt was needed (but also recognizing that this recalibration should not have come at the expense of the real human suffering that will result from the spread of COVID-19). Just look around at the built environments in the United States and it becomes abundantly clear that this system is not set-up for resilience and survival, but for the cheap imitation of dreams that the individual has boundless potential for growth at the expense of everyone around them in society, and for the pornographic obsessions with instant gratification and wealth—precious resources be damned.</p><p><u><strong>JB</strong></u> – Do you see the potential for renewed support for cultural production in spite of macro and micro economies which are currently rapidly restructuring?</p><p><u><strong>GG</strong></u> – I do believe in people’s need to come together. Whether that ends up being physically in the Earth/City layer of The Stack or virtually in the Interface layer, it will nevertheless provide an overriding motivation and eventually factor into an overpowering collective drawing-together. We need each other and this containment situation is revealing to many of us the depths of those real needs for human connection and interaction and the ways in which we have taken IRL space for granted or downplayed its importance with the lure of ever new iterations of 2D interaction, all ultimately failing to provide the stimulus that our brains are biologically wired to accept. Transference is now occurring as economies of yesterday need to adapt. This includes re-evaluating our own roles within these very economies and determining where our own skills come into the most coherence with the world, or even what the shape of an economy should actually look like. That journey will be different for everyone, but the underlying connective tissue of cultural production will remain the unceasing driving force binding us to our work. We are already seeing radio-drive-thru events, proliferation of live-streams, and artistic pivoting to fans all aiming towards the micro-economic reconfiguration, and it seems promising but also overwhelming as well as incapable of providing enough support for everyone.</p><p><u><strong>JB</strong></u> – E.M Cioran writes: “in major perplexities, try to live as history were done with and to react like a monster riddled by serenity”, how do you respond to this proposal?</p><p><u><strong>GG</strong></u> – It seems a model way to live life actually. Indeed I am trying to shift my anxiety away from money, which can always be found again, and focus instead on my usage of  T – I – M – E, which can never be regained. That is where serenity can enter.</p><p><u><strong>JB</strong></u> – How is this time influencing your perception of alterity in general?</p><p><u><strong>GG</strong></u> – I am viewing the dread I was experiencing regarding my own impending death (a response to the trauma I am still recovering from due to the death of my best friend at the end of 2018) as having less to do with the death of my physical entity and more to do with the death of a former self. I am currently poised to give up a large part of what a majority of my work was previously centered around, namely the classical music repertory, and embark upon the pursuit of my own musical compositions and interests.</p><p><u><strong>JB</strong></u> – How is your utilization of technology and virtuality evolving the paradigm within which you produce work?</p><p><u><strong>GG</strong></u> – With the hypernormalization of virtual interaction, I am embracing isolation and viewing my previous self-imposed periods of withdrawal with less skepticism and doubt with regard to the accompanying feelings of social guilt around not being ‘present’, even though this being merely present would often take me out of integrity with the work I wanted to accomplish. Now it feels justified and a little liberating to maintain the threads of connection while also committing to one’s work in more intensive ways.</p><p><u><strong>JB</strong></u> – What is your position on the relationship between catastrophe and solidarity?</p><p><u><strong>GG</strong></u> – That we can be brought together via the calamitous, and even in such sweeping disruptions can the collective emerge stronger and more impervious to threats which we previously faced. Looking at the ways in which our environment has signaled to us the importance of disengaging (for example the air quality in Los Angeles becoming remarkably purified, the aerial pollution over industrial Wuhan clearing up due to halts in production, the images of clear water in the canals in Venice) gives me hope that we can find ways to subvert the disastrous habits of a poisonous way of life.</p><p><u><strong>JB</strong></u> – What is your utopia now?</p><p><u><strong>GG</strong></u> – My utopia now has been the washing of dishes in a loved-one’s apartment. It has been in the cooking of meals and in the giving of massages. It takes shape in the pleasures of conversation and of touch and intimacy. It is the long-distance care given to family and friends from afar. It is to the idea that a better future can be recognized and reached-for in disparate global togetherness.</p></div></content><author><name>undefined</name></author></entry><entry><title>Dorico Showcase: Gavin Gamboa’s cello concerto “When you come to a fork in the road, take it.”</title><link href="https://gavart.ist/#Dorico%20Showcase%3A%20Gavin%20Gamboa%E2%80%99s%20cello%20concerto%20%E2%80%9CWhen%20you%20come%20to%20a%20fork%20in%20the%20road%2C%20take%20it.%E2%80%9D"></link><link href="https://gavart.ist/static/Dorico%2520Showcase%253A%2520Gavin%2520Gamboa%25E2%2580%2599s%2520cello%2520concerto%2520%25E2%2580%259CWhen%2520you%2520come%2520to%2520a%2520fork%2520in%2520the%2520road%252C%2520take%2520it.%25E2%2580%259D.html" rel="alternative" type="text/html"></link><id>b162172e-2607-f951-cd96-f0690179b0d0</id><updated>2023-03-31T16:59:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h4 class="">I met Gavin at the NAMM Show in January this year, and was fascinated to hear about the many different strands to his work. Recently he got in touch to tell me about the concerto he wrote for cellist <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Attilia%20Kiyoko%20Cernitori">Attilia Kiyoko Cernitori</a>, which was composed from start to finish in Dorico.</h4><p><strong>Daniel Spreadbury:</strong> Tell me about how you came to write When you come to a fork in the road, take it.</p><p><strong>Gavin Gamboa:</strong> I met the cellist Attilia Kiyoko Cernitori through the Austrian-Mexican tenor and artistic director León de Castillo, who is a friend and collaborator of mine based in Vienna. Through one of our recent projects I came to know and work with Attilia while making a recording of one of my pieces at the <a class="tc-tiddlylink tc-tiddlylink-missing" href="#1416m%C2%B3%20%C2%B7%20Pacific%20Standard%20Time%20LA%2FLA">University Art Museum of California State University Long Beach, as part of their exhibit on David Lamelas’ work for Pacific Standard Time LA/LA</a>. Some months afterwards, she wrote to me about a concept she had for a concert with the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johannesgasse%20Solisten%20%3A%20Konzert%20%E2%80%9CAus%20der%20neuen%20Welt%E2%80%9D">Johannesgasse Solisten</a>, a chamber group based in Vienna that she had been working with as a conductor and soloist, and for this particular concert the theme designated was Aus der neuen Welt – “from the new world” — and I was one of many composers she reached out to in order to build a program of works from North and South America. This was early December when she asked, and the concert was to take place at the end of January.</p><p>I was thrilled but slightly on edge about the whole thing! Not only did I not have a piece compatible for her ensemble already written, but I wondered if I even had the time to compose something new under those constraints. Part of this edginess came from memories of working with other notation software which, given my methods, usually would have me producing preliminary sketches on paper, then inputing those written pages into software. Finally, the laborious process of adjusting everything to optimal legibility of the full score and parts. I always found composing directly into software cumbersome and uninspiring, and paper/pencil to be effective, enduring, and essential to my practice.</p><p>I had already purchased Dorico – which was at version 1.2 at that point – but hadn’t really sunk my teeth into it. So I decided to skip my normal paper-sketch phase and compose a new work for Attilia and Johannesgasse Solisten directly into Dorico and see what would happen, even if that meant that I wouldn’t meet her deadline.</p><p><strong>DS:</strong> It’s quite a tall order to both compose a new work and learn a new software tool in less than two months. How did it go?</p><p><strong>GG:</strong> Dorico did almost everything I wanted it to do, and extremely intuitively. I finished the bulk of the gross compositional aspects of <em>When you come to a fork in the road, take it.</em>, a work for cello soloist and string orchestra, in a matter of days, with some additional days used to make edits, redactions, and fine-tune the score. I especially found tools like lengthening or shortening phrases or selections of notes by the specified grid value extremely useful and novel as a compositional aid. The keyboard-centric interfacing with all aspects of the system, especially the popovers, is just such a time-saver and powerful way of working with Dorico.</p><p>Getting Attilia the score, all six parts, and an audio export of Dorico’s playback for her reference was a streamlined process with no headaches. While I had to make adjustments to the parts by way of choosing optimal system breaks, I never had to adjust that many additional objects like dynamics, slurs, accidentals, hairpins, playing technique text, notes, beams, and so on. That is something I would waste lots of time wrestling with in my former notation paradigm. When it comes to the visual presentation of my music I am extremely fastidious and discerning! But everything Dorico produced was to a high standard of legibility with appropriate spacing.</p><p><img src="./files/img/misc/when-you-come-p1.png"></img></p><p><strong>DS:</strong> I understand you weren’t able to be in Vienna for the first performance, but did you get any feedback about how it went?</p><p><strong>GG:</strong> At last, nothing could match my joy upon receiving the video of the performance that Johannesgasse Solisten and Attilia gave in January. It was almost too unbelievable! Here they were performing with great skill and ability a piece that just a few weeks prior I had questioned being able to deliver. For sure I would have struggled to achieve this result with such speed and fluency using the software I had been accustomed to. This experience gave me ample justification to migrate over to Dorico for all future notation projects. I should tell you that I am already putting Dorico Pro 2 to great use, and I would like to extend my thanks to you Daniel, for taking the time to hear about my story, and to all the development team at Dorico and Steinberg for delivering such an impressive product. I’m looking forward to what’s to come as the software matures and how it will shape our behaviors and demands as users, composers, arrangers, copyists, editors, performers, or even those curious about notation who want to explore its deep possibilities with relative simplicity on the front-end.</p></div></content><author><name>undefined</name></author></entry><entry><title>01: Catalog Community Week</title><link href="https://gavart.ist/#01%3A%20Catalog%20Community%20Week"></link><link href="https://gavart.ist/static/01%253A%2520Catalog%2520Community%2520Week.html" rel="alternative" type="text/html"></link><id>7cd70364-831c-c1fe-a6dd-014b33ab7998</id><updated>2023-03-31T16:57:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""><a class="tc-tiddlylink-external" href="https://catalog.mirror.xyz/JAs8NedvnAC3DIdTjkwIolUmH4sHKCjsDtVDhrP7TP8" rel="noopener noreferrer" target="_blank">Full Article on catalog.mirror.xyz</a>	</h3><p><iframe allowfullscreen="allowfullscreen" class="mastodon-embed" height="735" src="https://sonomu.club/@gavcloud/106498118604559110/embed" width="400" style="max-width:100%;border:0;"></iframe><safe-script async="async" src="https://sonomu.club/embed.js"></safe-script><br></br>
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<a class="tc-tiddlylink-external" href="https://www.reddit.com/r/todayilearned/comments/z0f10c/til_that_photographer_carol_highsmith_donated/" rel="noopener noreferrer" target="_blank">https://www.reddit.com/r/todayilearned/comments/z0f10c/til_that_photographer_carol_highsmith_donated/</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Dillon Bastan Store</title><link href="https://gavart.ist/#Dillon%20Bastan%20Store"></link><link href="https://gavart.ist/static/Dillon%2520Bastan%2520Store.html" rel="alternative" type="text/html"></link><id>e7c582fc-ac5a-3068-5400-e80e140eeb2a</id><updated>2023-03-01T23:38:22</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>R.AV</title><link href="https://gavart.ist/#R.AV"></link><link href="https://gavart.ist/static/R.AV.html" rel="alternative" type="text/html"></link><id>39cb6c37-3e08-b4e3-707c-4566cedce829</id><updated>2023-02-24T18:07:59</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fernanda Melchor</title><link href="https://gavart.ist/#Fernanda%20Melchor"></link><link href="https://gavart.ist/static/Fernanda%2520Melchor.html" rel="alternative" type="text/html"></link><id>83599716-447b-9977-12ac-2845a390d40a</id><updated>2023-02-24T09:43:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sean Huntley</title><link href="https://gavart.ist/#Sean%20Huntley"></link><link href="https://gavart.ist/static/Sean%2520Huntley.html" rel="alternative" type="text/html"></link><id>9a97a2eb-502f-6e81-d189-f99c31a2a2a9</id><updated>2023-02-22T16:48:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Belgium</title><link href="https://gavart.ist/#Belgium"></link><link href="https://gavart.ist/static/Belgium.html" rel="alternative" type="text/html"></link><id>6c1674d1-4bf5-f957-42f5-72cddb0641a7</id><updated>2023-02-22T10:05:25</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Brussels</title><link href="https://gavart.ist/#Brussels"></link><link href="https://gavart.ist/static/Brussels.html" rel="alternative" type="text/html"></link><id>068a0b5b-2858-dc3f-1ac7-b47464bc4b0a</id><updated>2023-02-22T10:05:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Metaharmony YouTube Channel</title><link href="https://gavart.ist/#Metaharmony%20YouTube%20Channel"></link><link href="https://gavart.ist/static/Metaharmony%2520YouTube%2520Channel.html" rel="alternative" type="text/html"></link><id>8af5ef2b-c4a7-0b67-d81a-4181d8059269</id><updated>2023-02-21T15:03:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Oulipo</title><link href="https://gavart.ist/#Oulipo"></link><link href="https://gavart.ist/static/Oulipo.html" rel="alternative" type="text/html"></link><id>c7196838-33a6-b24e-864d-e46bf1539351</id><updated>2023-02-16T10:30:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Get the first part of a field</title><link href="https://gavart.ist/#Get%20the%20first%20part%20of%20a%20field"></link><link href="https://gavart.ist/static/Get%2520the%2520first%2520part%2520of%2520a%2520field.html" rel="alternative" type="text/html"></link><id>d93df20b-11a1-368b-7475-b2682800c860</id><updated>2023-02-09T10:30:08</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>i.e. pulling only the year from a field <code>release-date</code> with the full date YYYY-MM-DD. I wanted to remove the field <code>year</code> seeing as it was redundant, so this view widget code would need to be replaced: <code>&lt;$view field="year"/&gt;</code></p><p>I used enlist-input which creates a list of each string of text in a given field. This is what I replaced the view widget code with:</p><pre><code>&lt;$list filter="[is[current]get[release-date]enlist-input[]first[]]"&gt;

&lt;$view field="title"/&gt;

&lt;/$list&gt;</code></pre><p>if our date is 2022 December 4</p><p><code>get[release-date]enlist-input[]</code></p><p>returns the list</p><ul><li>2022</li><li>December</li><li>4</li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Prelinger Archive</title><link href="https://gavart.ist/#Prelinger%20Archive"></link><link href="https://gavart.ist/static/Prelinger%2520Archive.html" rel="alternative" type="text/html"></link><id>6745eb78-4f48-48af-ae2f-eea5ae1047c1</id><updated>2023-01-30T11:00:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TROM</title><link href="https://gavart.ist/#TROM"></link><link href="https://gavart.ist/static/TROM.html" rel="alternative" type="text/html"></link><id>8c0539c9-a72b-6239-ce99-42e321f43e5a</id><updated>2023-01-30T10:59:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Left Can't Meme</title><link href="https://gavart.ist/#The%20Left%20Can't%20Meme"></link><link href="https://gavart.ist/static/The%2520Left%2520Can't%2520Meme.html" rel="alternative" type="text/html"></link><id>929c0593-d61f-1800-9533-9ecc28697167</id><updated>2023-01-27T17:46:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>MusicLM: Generating Music From Text</title><link href="https://gavart.ist/#MusicLM%3A%20Generating%20Music%20From%20Text"></link><link href="https://gavart.ist/static/MusicLM%253A%2520Generating%2520Music%2520From%2520Text.html" rel="alternative" type="text/html"></link><id>412591c8-2f60-85ef-9981-08829f284ed1</id><updated>2023-01-27T17:45:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jonathan Gorard</title><link href="https://gavart.ist/#Jonathan%20Gorard"></link><link href="https://gavart.ist/static/Jonathan%2520Gorard.html" rel="alternative" type="text/html"></link><id>7ec46c10-438e-f042-0fb4-d344c181ce48</id><updated>2023-01-27T16:41:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Two-domain system</title><link href="https://gavart.ist/#Two-domain%20system"></link><link href="https://gavart.ist/static/Two-domain%2520system.html" rel="alternative" type="text/html"></link><id>3cad18c4-a84c-1249-0e97-edcc919d3d53</id><updated>2023-01-27T16:40:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Panspermia</title><link href="https://gavart.ist/#Panspermia"></link><link href="https://gavart.ist/static/Panspermia.html" rel="alternative" type="text/html"></link><id>27f39a0e-6317-3bdc-0af3-70d48e48016c</id><updated>2023-01-26T13:46:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>The hypothesis, first proposed in the 5th century BCE by the Greek philosopher Anaxagoras, that life exists throughout the Universe, distributed by space dust, meteoroids, asteroids, comets, and planetoids, as well as by spacecraft carrying unintended contamination by microorganisms. Panspermia is a fringe theory with little support amongst mainstream scientists. Critics argue that it does not answer the question of the origin of life but merely places it on another celestial body. It is also criticized because it cannot be tested experimentally.</p></div></content><author><name>undefined</name></author></entry><entry><title>Wow! signal</title><link href="https://gavart.ist/#Wow!%20signal"></link><link href="https://gavart.ist/static/Wow!%2520signal.html" rel="alternative" type="text/html"></link><id>9f1e4ceb-9826-5d4e-c121-d2e07cce05dd</id><updated>2023-01-26T13:30:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>tonestrukt.org</title><link href="https://gavart.ist/#tonestrukt.org"></link><link href="https://gavart.ist/static/tonestrukt.org.html" rel="alternative" type="text/html"></link><id>2e58bef5-8c99-0e24-f5d3-f8cc41ae0519</id><updated>2023-01-24T14:01:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>gavart.ist</title><link href="https://gavart.ist/#gavart.ist"></link><link href="https://gavart.ist/static/gavart.ist.html" rel="alternative" type="text/html"></link><id>4a3f257e-9068-849c-fa98-d744fdb31085</id><updated>2023-01-24T14:00:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><img src="./files/img/a_digital_garden_in_the_style_Albrecht_Durer-01.jpg" width="450"></img> <img src="./files/img/computer_collapsing_in_on_itself_in_the_year_3000.jpg" width="450"></img><br></br>
<sup>
<strong>Midjourney prompts:</strong><br></br>
<code>a digital garden in the style of Albrecht Dürer</code><br></br>
<code>a computer collapsing in on itself in the year 3000</code>
</sup></p><h1 class="digitalGarden">🌱 🌿 🌳 🍏</h1><h3 class="digitalGarden">A digital garden (or knowledge garden/mind garden) can be a notebook, a blog, a wiki, a journal, a research document … anything that aids you in developing and cultivating a bidirectional, non-linear note repository that encourages <a class="tc-tiddlylink-external" href="https://www.mentalnodes.com/networked-thinking-can-happen-at-many-levels" rel="noopener noreferrer" target="_blank">networked thinking</a>, which can useful for building a knowledge base for learning in real-time. Digital gardens can be considered <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Personal%20Knowledge%20Management">Tools for Thought (TfT)</a>, a type of <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Personal%20Knowledge%20Management">Personal Knowledge Management (PKM)</a>, or a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Personal%20Knowledge%20Management">Knowledge Graph</a>. To summarize the main points in Maggie Appleton's <a class="tc-tiddlylink-external" href="https://maggieappleton.com/garden-history" rel="noopener noreferrer" target="_blank">A Brief History of Digital Gardens</a>: </h3><p class="digitalGarden"> 
 </p><ul class="digitalGarden"><li><strong>Topography over Timelines</strong><ul><li>Gardens are organised around contextual relationships and associative links</li></ul></li><li><strong>Continuous Growth</strong><ul><li>Gardens are never finished, they're constantly growing, evolving, and changing.</li></ul></li><li><strong>Imperfection &amp; Learning in Public</strong><ul><li>Gardens are imperfect by design. They don't hide their rough edges or claim to be a permanent source of truth. </li></ul></li></ul><p class="digitalGarden"> 
 </p><h3 class="digitalGarden">As neuroscientist and learning researcher <a class="tc-tiddlylink-external" href="https://nesslabs.com/digital-garden-set-up" rel="noopener noreferrer" target="_blank">Anne-Laure Le Cunff</a> states:</h3><blockquote class="tc-quote digitalGarden"><h2 class=""><em>Digital gardens are usually light-weight, with an emphasis on the text itself, but they can be designed in any way that reflects their owners’ thinking style and digital gardening preferences. They can be built with intricate systems, or simple no-code tools.</em></h2></blockquote><p class="digitalGarden"> 
 
 
 </p><h3 class="digitalGarden">And now, to borrow from <a class="tc-tiddlylink-external" href="https://www.rezmason.net/beliefs.html" rel="noopener noreferrer" target="_blank">Jeremy Sach's</a> personal site, I would like to repeat the following beliefs, which we owe to ourselves and to each other:</h3><ul class="digitalGarden"><li>to share what we know, and learn what we don't;</li><li>to take full control of our online representation and correspondence;</li><li>to discover things ourselves, rather than rely on recommendation engines to satiate us;</li><li>to foster and nurture communities beyond the walled gardens of online platforms;</li><li>to affirm that we alone bestow value on the things we share.</li></ul><h2 class="digitalGarden">➞ intention &amp; plans for <button class="tc-btn-invisible tc-tiddlylink">
gavart.ist
</button></h2><p class="digitalGarden">This wiki is built using the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Babycastles%20%C2%B7%20TiddlyWiki%3A%20Getting%20started%20with%20digital%20gardens">TiddlyWiki</a> platform and the original intention was to create an up-to-date archive of my <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Discography">self-released music works</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Live%20Performance">performances</a>. As I became more fascinated by the philosophy and potential of TiddlyWiki I began branching out (🌿) and using it to store my <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bookcase">reading log/notes</a> and <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Writing">essays/reviews I've written</a>. From there it grew further (🌳) to include <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Scores">Music Score PDFs</a>, <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Software">Software Notes &amp; Code examples</a> as well as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Repertoire">a list of piano pieces that I have learned</a>.</p><p class="digitalGarden">Moving forward, I would like to incorporate research and development for several <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Works%20in%20Progress">Works in Progress</a>; start using is as a written personal <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Journals">Journal</a>; include a <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Photo%20Journal">Photo Journal</a>; expand the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Friends%20%26%20Family">Friends &amp; Family</a> section; and in the spirit of the sentiments expressed in <a class="tc-tiddlylink-external" href="https://memex.marginalia.nu/log/19-website-discoverability-crisis.gmi" rel="noopener noreferrer" target="_blank">The Small Website Discoverability Crisis</a>, start linking to interesting <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bookmarks">Bookmarks</a> that I come across on the web. The purpose of all of this will be to continue to cultivate a general feeling of awe, satisfy my inner-archivist, maintain a system for storing information, and to discover the ways in which knowledge can be networked together for simple and interesting future retrieval.</p><h2 class="digitalGarden">Resources</h2><ul class="digitalGarden"><li><a class="tc-tiddlylink-external" href="https://github.com/MaggieAppleton/digital-gardeners" rel="noopener noreferrer" target="_blank">Maggie Appleton Github Digital Garden Repo</a></li><li><a class="tc-tiddlylink-external" href="https://www.mentalnodes.com/" rel="noopener noreferrer" target="_blank">Mental Nodes</a></li><li><a class="tc-tiddlylink-external" href="https://tomcritchlow.com/2019/02/17/building-digital-garden/" rel="noopener noreferrer" target="_blank">Tom Critchlow's Building a digital garden</a></li></ul><h2 class="digitalGarden">Links</h2><ul class="digitalGarden"><li><a class="tc-tiddlylink-external" href="https://www.gwern.net/index" rel="noopener noreferrer" target="_blank">Gwern</a></li><li><a class="tc-tiddlylink-external" href="https://gavart.ist/h0p3" rel="noopener noreferrer" target="_blank">h0p3's philosopher.life (mirror)</a></li><li><a class="tc-tiddlylink-external" href="https://turntrout.com/welcome" rel="noopener noreferrer" target="_blank">Alex Turner's The Pond</a></li><li><a class="tc-tiddlylink-external" href="https://sphygm.us/" rel="noopener noreferrer" target="_blank">sphygm.us's wiki</a></li><li><a class="tc-tiddlylink-external" href="https://wiki.nikitavoloboev.xyz/" rel="noopener noreferrer" target="_blank">Nikita Voloboev's Everything I Know</a></li><li><a class="tc-tiddlylink-external" href="https://garden.anthonyamar.fr/Welcome+in+my+mind+%F0%9F%A7%A0" rel="noopener noreferrer" target="_blank">Anthony Amar's My Second Brain</a></li><li><a class="tc-tiddlylink-external" href="https://megu.space/" rel="noopener noreferrer" target="_blank">Megumi Tanaka's Megu.Space</a></li><li><a class="tc-tiddlylink-external" href="https://wiki.xxiivv.com/site/home.html" rel="noopener noreferrer" target="_blank">Devine Lu Linvega's xxiivv</a></li><li><a class="tc-tiddlylink-external" href="https://memex.marginalia.nu/" rel="noopener noreferrer" target="_blank">marginalia.nu</a></li><li><a class="tc-tiddlylink-external" href="https://yhnck.xyz/about/" rel="noopener noreferrer" target="_blank">yhnck.xyz</a></li><li><a class="tc-tiddlylink-external" href="https://joelhooks.com/" rel="noopener noreferrer" target="_blank">Joel Hook's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://garden.glennstovall.com/" rel="noopener noreferrer" target="_blank">Glenn Stovall's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://anagora.org/@flancian" rel="noopener noreferrer" target="_blank">Flancian's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://matecha.net/links/" rel="noopener noreferrer" target="_blank">Matecha's Links</a></li><li><a class="tc-tiddlylink-external" href="http://tw.boffosocko.com/#." rel="noopener noreferrer" target="_blank">Chris Aldrich's wiki</a></li><li><a class="tc-tiddlylink-external" href="https://barnsworthburning.net/" rel="noopener noreferrer" target="_blank">A kind of digital garden by Nick Trombley</a></li><li><a class="tc-tiddlylink-external" href="https://marijn.uk/" rel="noopener noreferrer" target="_blank">Marijn's dual-language digital garden</a></li><li><a class="tc-tiddlylink-external" href="https://www.ayushsharma.in/" rel="noopener noreferrer" target="_blank">Ayush Sharma's digital garden</a></li><li><a class="tc-tiddlylink-external" href="https://derelict.garden/" rel="noopener noreferrer" target="_blank">Derelict Garden</a></li><li><a class="tc-tiddlylink-external" href="https://selimslab.github.io/" rel="noopener noreferrer" target="_blank">Project Delta</a></li><li><a class="tc-tiddlylink-external" href="https://notes.yxy.ninja/" rel="noopener noreferrer" target="_blank">Xinyang Yu • Computer Science / Thinking Garde</a></li><li><a class="tc-tiddlylink-external" href="https://lyz-code.github.io/blue-book/" rel="noopener noreferrer" target="_blank">The Blue Book</a></li><li><a class="tc-tiddlylink-external" href="https://strikingloo.github.io/" rel="noopener noreferrer" target="_blank">Strikingloo</a></li><li><a class="tc-tiddlylink-external" href="https://hamel.dev/notes/" rel="noopener noreferrer" target="_blank">Hammel's Notes</a></li><li><a class="tc-tiddlylink-external" href="https://jzhao.xyz/" rel="noopener noreferrer" target="_blank">jzhao.xyz</a></li><li><a class="tc-tiddlylink-external" href="https://garden.doomhammer.info/" rel="noopener noreferrer" target="_blank">garden.doomhammer.info</a></li><li><a class="tc-tiddlylink-external" href="https://ramirosalas.com/" rel="noopener noreferrer" target="_blank">Ramiro Salas microknowledge site</a></li><li><a class="tc-tiddlylink-external" href="https://science-in-the-digital-era.khinsen.net/#" rel="noopener noreferrer" target="_blank">Konrad Hinsen's digital garden</a></li><li><a class="tc-tiddlylink-external" href="https://brainmachine.tiddlyhost.com/#" rel="noopener noreferrer" target="_blank">Kae's brain:machine wiki</a></li><li><a class="tc-tiddlylink-external" href="https://chsmc.org/notes/" rel="noopener noreferrer" target="_blank">Chase McCoy's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://www.daniel.pizza/links/" rel="noopener noreferrer" target="_blank">Daniël van der Winden's Linkroll</a></li><li><a class="tc-tiddlylink-external" href="https://anhvn.com/garden/digital-gardening/" rel="noopener noreferrer" target="_blank">Ahn's Digital Garden</a></li><li><a class="tc-tiddlylink-external" href="https://www.interroban.gg/bookmarks/" rel="noopener noreferrer" target="_blank">Luke Mitchell's Bookmarks</a></li><li><a class="tc-tiddlylink-external" href="https://jakintosh.com/index.html" rel="noopener noreferrer" target="_blank">jackintosh's knowledge base</a></li><li><a class="tc-tiddlylink-external" href="https://www.elenamadrigal.com/" rel="noopener noreferrer" target="_blank">Elen Madrigal's Spanish language Second Brain resources</a></li><li><a class="tc-tiddlylink-external" href="https://kevin.garden/" rel="noopener noreferrer" target="_blank">Kevin N. Chen's kevin.garden</a></li><li><a class="tc-tiddlylink-external" href="https://felix.plesoianu.ro/wiki.html" rel="noopener noreferrer" target="_blank">Felix Plesoianu's wiki made with TiddlyWiki Classic</a></li><li><a class="tc-tiddlylink-external" href="https://andirko.eu/wiki/" rel="noopener noreferrer" target="_blank">Alex M. Andirkó's wiki</a></li><li><a class="tc-tiddlylink-external" href="https://fishfiddler.us/SHR.html" rel="noopener noreferrer" target="_blank">Herb Reference built in TiddlyWiki</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>PW dev tools discussion</title><link href="https://gavart.ist/#PW%20dev%20tools%20discussion"></link><link href="https://gavart.ist/static/PW%2520dev%2520tools%2520discussion.html" rel="alternative" type="text/html"></link><id>39748838-7511-7742-63dd-17d133b1bbc0</id><updated>2023-01-24T13:47:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>PW Tuts</title><link href="https://gavart.ist/#PW%20Tuts"></link><link href="https://gavart.ist/static/PW%2520Tuts.html" rel="alternative" type="text/html"></link><id>124ea467-7085-354b-50cf-c0f8797f45b9</id><updated>2023-01-24T13:47:54</updated><content type="xhtml"><div 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Melbourne</title><link href="https://gavart.ist/#Melbourne"></link><link href="https://gavart.ist/static/Melbourne.html" rel="alternative" type="text/html"></link><id>7c885b9c-7c70-3a77-befc-abeea54944d5</id><updated>2023-01-05T00:11:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Transmogrificantus Octet II</title><link href="https://gavart.ist/#Transmogrificantus%20Octet%20II"></link><link href="https://gavart.ist/static/Transmogrificantus%2520Octet%2520II.html" rel="alternative" type="text/html"></link><id>7da1e25f-fbfa-055c-84f6-3c8061c7d947</id><updated>2023-01-05T00:06:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Transmogrificantus%20II">Transmogrificantus II</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Osaka</title><link href="https://gavart.ist/#Osaka"></link><link href="https://gavart.ist/static/Osaka.html" rel="alternative" type="text/html"></link><id>0d70a380-fe64-1d82-06c6-d43c185b9c23</id><updated>2023-01-04T23:47:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tokyo</title><link href="https://gavart.ist/#Tokyo"></link><link href="https://gavart.ist/static/Tokyo.html" rel="alternative" type="text/html"></link><id>62413a57-c5e3-dc51-1779-95fa175d3286</id><updated>2023-01-04T23:45:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Japan</title><link href="https://gavart.ist/#Japan"></link><link href="https://gavart.ist/static/Japan.html" rel="alternative" type="text/html"></link><id>53a577bb-3bc5-87b0-c28a-b808390f1c9b</id><updated>2023-01-04T23:45:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Microtonal</title><link href="https://gavart.ist/#Microtonal"></link><link href="https://gavart.ist/static/Microtonal.html" rel="alternative" type="text/html"></link><id>ddc9500d-302e-412c-b6c0-fe0e0fd2baad</id><updated>2023-01-04T23:23:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Scott Cazan</title><link href="https://gavart.ist/#Scott%20Cazan"></link><link href="https://gavart.ist/static/Scott%2520Cazan.html" rel="alternative" type="text/html"></link><id>a3b5d2d9-e298-75bd-a76f-bb5e56dd65f9</id><updated>2023-01-02T15:29:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Max/MSP</title><link href="https://gavart.ist/#Max%2FMSP"></link><link href="https://gavart.ist/static/Max%252FMSP.html" rel="alternative" type="text/html"></link><id>38479c13-2402-5215-8935-4f187b0f24cd</id><updated>2023-01-02T11:13:58</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Rave String Model Selector</title><link href="https://gavart.ist/#Rave%20String%20Model%20Selector"></link><link href="https://gavart.ist/static/Rave%2520String%2520Model%2520Selector.html" rel="alternative" type="text/html"></link><id>46e2b725-4cb4-3d98-0da4-d53ddd328f8f</id><updated>2022-12-27T23:34:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Der%20Verstiegenheit%20Quartett">Der Verstiegenheit Quartett</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Mozart Wave Segmentation</title><link href="https://gavart.ist/#Mozart%20Wave%20Segmentation"></link><link href="https://gavart.ist/static/Mozart%2520Wave%2520Segmentation.html" rel="alternative" type="text/html"></link><id>ec29da64-7728-7dad-c2d2-ee7796ee53f6</id><updated>2022-12-27T23:34:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Musik%20St%C3%B6rungen%20die%20dem%20Empfindsamen%20Stil%20entspringen">Musik Störungen die dem Empfindsamen Stil entspringen</a></p></div></content><author><name>undefined</name></author></entry><entry><title>String Trio</title><link href="https://gavart.ist/#String%20Trio"></link><link href="https://gavart.ist/static/String%2520Trio.html" rel="alternative" type="text/html"></link><id>dd407479-a7d8-7539-3b11-2b37c881e954</id><updated>2022-12-27T00:37:32</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Planetary Intelligence</title><link href="https://gavart.ist/#Planetary%20Intelligence"></link><link href="https://gavart.ist/static/Planetary%2520Intelligence.html" rel="alternative" type="text/html"></link><id>b16c9d69-1812-aeb4-bf33-a384bae632be</id><updated>2022-12-19T10:59:21</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>7Studio</title><link href="https://gavart.ist/#7Studio"></link><link href="https://gavart.ist/static/7Studio.html" rel="alternative" type="text/html"></link><id>10cb1f86-9581-453f-bfd1-da0f4b09a26a</id><updated>2022-12-18T11:29:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>David Hawkins and The Levels of Consciousness</title><link href="https://gavart.ist/#David%20Hawkins%20and%20The%20Levels%20of%20Consciousness"></link><link href="https://gavart.ist/static/David%2520Hawkins%2520and%2520The%2520Levels%2520of%2520Consciousness.html" rel="alternative" type="text/html"></link><id>782bccdb-26d0-1aca-1983-c2563629ed86</id><updated>2022-12-08T10:17:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Thinking together</title><link href="https://gavart.ist/#Thinking%20together"></link><link href="https://gavart.ist/static/Thinking%2520together.html" rel="alternative" type="text/html"></link><id>7f4abbf9-952f-af83-c15f-34ea5d16f6d7</id><updated>2022-12-08T00:09:44</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>500 Years Later: An Oral History of Final Fantasy VII</title><link href="https://gavart.ist/#500%20Years%20Later%3A%20An%20Oral%20History%20of%20Final%20Fantasy%20VII"></link><link href="https://gavart.ist/static/500%2520Years%2520Later%253A%2520An%2520Oral%2520History%2520of%2520Final%2520Fantasy%2520VII.html" rel="alternative" type="text/html"></link><id>df509219-c88f-1b83-0c24-7533144a302c</id><updated>2022-12-07T16:41:09</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonicom</title><link href="https://gavart.ist/#Sonicom"></link><link href="https://gavart.ist/static/Sonicom.html" rel="alternative" type="text/html"></link><id>e6fd1a16-35bb-8ad2-e3b9-2cb8a5d1300f</id><updated>2022-12-06T14:06:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>prior_strings_rt 002</title><link href="https://gavart.ist/#prior_strings_rt%20002"></link><link href="https://gavart.ist/static/prior_strings_rt%2520002.html" rel="alternative" type="text/html"></link><id>fb114ddd-1ebd-f31d-a771-812f8c8a2456</id><updated>2022-12-02T23:07:49</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/S1gEQy4XFec" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>String Quartet</title><link href="https://gavart.ist/#String%20Quartet"></link><link href="https://gavart.ist/static/String%2520Quartet.html" rel="alternative" type="text/html"></link><id>fe7da262-1b8b-bd1a-eb1e-f7cb80125c22</id><updated>2022-12-02T20:13:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Winds</title><link href="https://gavart.ist/#Winds"></link><link href="https://gavart.ist/static/Winds.html" rel="alternative" type="text/html"></link><id>b6122550-944b-a830-ebc8-16eebc067600</id><updated>2022-12-02T20:12:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>tiddlywiki-xp</title><link href="https://gavart.ist/#tiddlywiki-xp"></link><link href="https://gavart.ist/static/tiddlywiki-xp.html" rel="alternative" type="text/html"></link><id>02556d0e-4274-c8a9-7063-568c9905d936</id><updated>2022-11-28T10:49:56</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Michael Gregory Harrison</title><link href="https://gavart.ist/#Michael%20Gregory%20Harrison"></link><link href="https://gavart.ist/static/Michael%2520Gregory%2520Harrison.html" rel="alternative" type="text/html"></link><id>f1662f19-301d-051a-3bf2-6cab885e7c9c</id><updated>2022-11-28T10:46:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class=""></h3><ul><li><a class="tc-tiddlylink-external" href="https://bad-timing.tumblr.com/" rel="noopener noreferrer" target="_blank">Tumblr</a></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>On taking the time you need to notice, think, and grow</title><link href="https://gavart.ist/#On%20taking%20the%20time%20you%20need%20to%20notice%2C%20think%2C%20and%20grow"></link><link href="https://gavart.ist/static/On%2520taking%2520the%2520time%2520you%2520need%2520to%2520notice%252C%2520think%252C%2520and%2520grow.html" rel="alternative" type="text/html"></link><id>bc2ff09e-f9bb-faa0-93e7-26bb147598e3</id><updated>2022-11-28T09:08:51</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Binge Reading Disorder</title><link href="https://gavart.ist/#Binge%20Reading%20Disorder"></link><link href="https://gavart.ist/static/Binge%2520Reading%2520Disorder.html" rel="alternative" type="text/html"></link><id>d5cc9c84-3230-3303-e609-f2dc84276ceb</id><updated>2022-11-27T13:28:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>David Golumbia</title><link href="https://gavart.ist/#David%20Golumbia"></link><link href="https://gavart.ist/static/David%2520Golumbia.html" rel="alternative" type="text/html"></link><id>000c9751-9f5c-8854-6dfb-262267f2d831</id><updated>2022-11-27T13:25:39</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>nonseq 005</title><link href="https://gavart.ist/#nonseq%20005"></link><link href="https://gavart.ist/static/nonseq%2520005.html" rel="alternative" type="text/html"></link><id>a9544f50-39ca-7999-7516-9c172c318e89</id><updated>2022-11-27T00:24:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p> <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Infrapuncture%20III">Infrapuncture III</a></p></div></content><author><name>undefined</name></author></entry><entry><title>VC Elements</title><link href="https://gavart.ist/#VC%20Elements"></link><link href="https://gavart.ist/static/VC%2520Elements.html" rel="alternative" type="text/html"></link><id>e66acfe1-b3af-437c-0fb5-1a2d00dea42f</id><updated>2022-11-25T16:15:40</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>David Wengrow</title><link href="https://gavart.ist/#David%20Wengrow"></link><link href="https://gavart.ist/static/David%2520Wengrow.html" rel="alternative" type="text/html"></link><id>4945dc74-e697-d6ee-3b55-4b85bde6458c</id><updated>2022-11-21T20:03:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>David Graeber</title><link href="https://gavart.ist/#David%20Graeber"></link><link href="https://gavart.ist/static/David%2520Graeber.html" rel="alternative" type="text/html"></link><id>18543ae2-8957-cc59-30b4-45ca44160f2e</id><updated>2022-11-21T20:03:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tonestrukt Editions</title><link href="https://gavart.ist/#Tonestrukt%20Editions"></link><link href="https://gavart.ist/static/Tonestrukt%2520Editions.html" rel="alternative" type="text/html"></link><id>002fbdc1-d809-a3a4-526d-ae316ed0b639</id><updated>2022-11-17T23:24:54</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><a class="noExternalLinkIcon" href="https://tonestrukt.org/" target="_blank"><svg height="150pt" preserveAspectRatio="xMidYMid meet" viewBox="0 0 700.000000 700.000000" width="150pt" xmlns="http://www.w3.org/2000/svg">
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</svg></a></p></div></content><author><name>undefined</name></author></entry><entry><title>Sonoluminescence</title><link href="https://gavart.ist/#Sonoluminescence"></link><link href="https://gavart.ist/static/Sonoluminescence.html" rel="alternative" type="text/html"></link><id>076a2edc-326d-517f-d47e-2e89f514962b</id><updated>2022-11-17T23:08:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><strong>Sonoluminescence</strong> is the emission of light from imploding bubbles in a liquid when excited by sound.</p><p>The mechanism of the phenomenon of sonoluminescence is unknown. Hypotheses include: hotspot, bremsstrahlung radiation, collision-induced radiation and corona discharges, nonclassical light, proton tunneling, electrodynamic jets and fractoluminescent jets (now largely discredited due to contrary experimental evidence).</p></div></content><author><name>undefined</name></author></entry><entry><title>Form Constant</title><link href="https://gavart.ist/#Form%20Constant"></link><link href="https://gavart.ist/static/Form%2520Constant.html" rel="alternative" type="text/html"></link><id>12201c8f-cec6-e30f-2b1a-5b7c9b445b15</id><updated>2022-11-17T22:59:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Guðmundur Steinn Gunnarsson</title><link href="https://gavart.ist/#Gu%C3%B0mundur%20Steinn%20Gunnarsson"></link><link href="https://gavart.ist/static/Gu%25C3%25B0mundur%2520Steinn%2520Gunnarsson.html" rel="alternative" 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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/ziM_yfMkPU8" title="YouTube video player" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Impromptu/Interlude with Erykah Badu &amp; Dallas Symphony Orchestra (Live Concert)</title><link href="https://gavart.ist/#Impromptu%2FInterlude%20with%20Erykah%20Badu%20%26%20Dallas%20Symphony%20Orchestra%20(Live%20Concert)"></link><link href="https://gavart.ist/static/Impromptu%252FInterlude%2520with%2520Erykah%2520Badu%2520%2526%2520Dallas%2520Symphony%2520Orchestra%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>487517e0-239b-b298-31b9-8af851c9a014</id><updated>2022-09-21T12:49:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/0nKXYgyvyrI" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Abraham Dos Preludios (Live Concert)</title><link href="https://gavart.ist/#Abraham%20Dos%20Preludios%20(Live%20Concert)"></link><link href="https://gavart.ist/static/Abraham%2520Dos%2520Preludios%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>1363fdfa-af00-a304-7d5a-8779bde73958</id><updated>2022-09-21T12:06:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/EiwSIa1mrlA" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Abraham Preludio No. 3 (Live Concert)</title><link href="https://gavart.ist/#Abraham%20Preludio%20No.%203%20(Live%20Concert)"></link><link href="https://gavart.ist/static/Abraham%2520Preludio%2520No.%25203%2520(Live%2520Concert).html" rel="alternative" type="text/html"></link><id>ffe7e58d-8dae-2af6-8348-e0a5c1a678ba</id><updated>2022-09-21T12:06:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/EiwSIa1mrlA" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Beethoven Sonata 14 in C sharp minor ‘Quasi una fantasia‘ Opus 27 no. 2 (Live Concert Mazatlán)</title><link href="https://gavart.ist/#Beethoven%20Sonata%2014%20in%20C%20sharp%20minor%20%E2%80%98Quasi%20una%20fantasia%E2%80%98%20Opus%2027%20no.%202%20(Live%20Concert%20Mazatl%C3%A1n)"></link><link href="https://gavart.ist/static/Beethoven%2520Sonata%252014%2520in%2520C%2520sharp%2520minor%2520%25E2%2580%2598Quasi%2520una%2520fantasia%25E2%2580%2598%2520Opus%252027%2520no.%25202%2520(Live%2520Concert%2520Mazatl%25C3%25A1n).html" rel="alternative" type="text/html"></link><id>eab10c46-4679-ee44-33cf-3a0e6ac6df5a</id><updated>2022-09-21T12:02:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><div class="video-container">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/zi5cZgX_vVc" width="560"></iframe>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/p3hzOBi96mI" width="560"></iframe>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/k0cwxz4NWzM" width="560"></iframe>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/mackY7gtLpA" width="560"></iframe>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/hSd0ZinQMfY" width="560"></iframe>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/8q1WmSwBFmk" width="560"></iframe>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/IpmuRbpYiss" width="560"></iframe>
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="true" frameborder="0" height="315" src="https://www.youtube.com/embed/bLMkF2M3YyU" width="560"></iframe>
</div></p></div></content><author><name>undefined</name></author></entry><entry><title>Flow Frames</title><link href="https://gavart.ist/#Flow%20Frames"></link><link href="https://gavart.ist/static/Flow%2520Frames.html" rel="alternative" type="text/html"></link><id>7e31f0e4-4dba-f2f0-12e5-19fce8824572</id><updated>2022-09-20T12:07:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Omar Willey</title><link href="https://gavart.ist/#Omar%20Willey"></link><link href="https://gavart.ist/static/Omar%2520Willey.html" rel="alternative" type="text/html"></link><id>a259afd2-7c46-4286-5ef3-3b521a30f486</id><updated>2022-09-11T22:07:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Audio/Visual Collaboration Over The Public Internet</title><link href="https://gavart.ist/#Audio%2FVisual%20Collaboration%20Over%20The%20Public%20Internet"></link><link href="https://gavart.ist/static/Audio%252FVisual%2520Collaboration%2520Over%2520The%2520Public%2520Internet.html" rel="alternative" type="text/html"></link><id>b1238832-d385-543a-4a62-1a72381502e3</id><updated>2022-09-11T16:56:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h3 class="">Software: </h3><ul><li><a class="tc-tiddlylink-external" href="https://vdo.ninja" rel="noopener noreferrer" target="_blank">vdo.ninja</a> Create a room anyone on the internet can join</li><li><a class="tc-tiddlylink-external" href="https://obsproject.com/" rel="noopener noreferrer" target="_blank">OBS</a> (with iShowU Audio Capture device installed)</li><li><a class="tc-tiddlylink-external" href="https://resolume.com/" rel="noopener noreferrer" target="_blank">Resolume Arena</a> VJ Software</li></ul><h3 class="">Optional Hardware:</h3><ul><li>Camcorder</li><li>Secondary Computer with Display</li><li><a class="tc-tiddlylink-external" href="https://smile.amazon.com/Blackmagic-UltraStudio-Recorder-Thunderbolt-Recording/dp/B00JZYLI62" rel="noopener noreferrer" target="_blank">Blackmagic Ultra Studio Mini Recorder</a><ul><li>Capture Webcam feed of Guests directly into Resolume without relying on bandwidth of the vdo.ninja room</li></ul></li></ul><h3 class="">Procedure:</h3><ul><li>macOS Sound Preference Pane<ul><li>Set <strong>Output</strong> to <strong>iShow U Audio Capture</strong></li></ul></li><li><a class="tc-tiddlylink-external" href="https://vdo.ninja" rel="noopener noreferrer" target="_blank">vdo.ninja</a> <ul><li>Create a new room in and enter room as Director</li><li>copy <strong>Invite a Guest</strong> url on the top-left of Director's dashboard</li><li>paste url into a new Tab, and add yourself w/o webcamera and w/o audio</li></ul></li><li>Resolume<ul><li>From the <strong>Output</strong> menu bar<ul><li><strong>Windowed</strong> Display 1<ul><li>adjust the dimensions of floating window to desired size</li></ul></li></ul></li></ul></li><li>OBS<ul><li>Create two Sources <ul><li><strong>Window Capture</strong><ul><li>Set to [Arena] Display</li></ul></li><li><strong>Audio Input Capture</strong><ul><li>Set to iShowU Audio Capture</li></ul></li></ul></li><li>Disable OBS Preview to conserve processing</li><li>Advanced Audio Properties<ul><li>Set Gain accordingly</li><li>Set <strong>Audio Monitoring</strong> to <strong>Monitor and Output</strong></li></ul></li></ul></li><li><em>Optional Guest Webcam Video Capture</em><ul><li>On a second computer, navigate to <strong>Group Scene / Video mix</strong> url at the top-right of the <a class="tc-tiddlylink-external" href="https://vdo.ninja" rel="noopener noreferrer" target="_blank">vdo.ninja</a> Director's dashboard<ul><li>Position Camcorder on this Screen's output</li></ul></li><li>Select Guest Webcam to capture<ul><li><strong>Highlight Guest</strong> Button in the <a class="tc-tiddlylink-external" href="https://vdo.ninja" rel="noopener noreferrer" target="_blank">vdo.ninja</a> Director's dashboard</li></ul></li><li>Add <strong>Source</strong> in Resolume project by dragging in Black Magic Capture Device as a clip</li></ul></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Routing Quod Libet (Music Library) into a DAW</title><link href="https://gavart.ist/#Routing%20Quod%20Libet%20(Music%20Library)%20into%20a%20DAW"></link><link href="https://gavart.ist/static/Routing%2520Quod%2520Libet%2520(Music%2520Library)%2520into%2520a%2520DAW.html" rel="alternative" type="text/html"></link><id>6a103bab-c80f-ee71-b07b-7067a92f49b1</id><updated>2022-09-11T15:29:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><h2 class="">Steps for internal audio routing on macOS 10.14.6 (Mojave)</h2><h3 class="">Software: </h3><ul><li><a class="tc-tiddlylink-external" href="https://obsproject.com/" rel="noopener noreferrer" target="_blank">OBS</a> (with iShowU Audio Capture device installed)</li><li><a class="tc-tiddlylink-external" href="https://bitwig.com" rel="noopener noreferrer" target="_blank">Bitwig Studio 4.1.1</a> (DAW)</li><li><a class="tc-tiddlylink-external" href="https://quodlibet.readthedocs.io/en/latest/" rel="noopener noreferrer" target="_blank">Quod Libet</a> (music library)</li><li><a class="tc-tiddlylink-external" href="https://qjackctl.sourceforge.io/" rel="noopener noreferrer" target="_blank">QJackctl</a> (for Jackrouter)</li></ul><h3 class="">Settings:</h3><p>macOS Sound Preference Pane
<img src="./files/img/software-notes/quodlibet-bitwig-01.jpeg"></img></p><p>Bitwig Studio Preferences &gt; Audio
<img src="./files/img/software-notes/quodlibet-bitwig-02.jpeg"></img></p><p>OBS Preferences
<img src="./files/img/software-notes/quodlibet-bitwig-04.jpeg"></img></p><p>OBS Audio Device Settings 
<img src="./files/img/software-notes/quodlibet-bitwig-03.jpeg"></img></p><p>QJackctl routing
<img src="./files/img/software-notes/quodlibet-bitwig-05.jpeg"></img></p><h2 class="">Now you can set the input on a track in Bitwig to receive Quod Libet's output 😎</h2></div></content><author><name>undefined</name></author></entry><entry><title>"Just A Job"</title><link href="https://gavart.ist/#%22Just%20A%20Job%22"></link><link href="https://gavart.ist/static/%2522Just%2520A%2520Job%2522.html" rel="alternative" type="text/html"></link><id>a98aac2e-c57a-2303-dde1-895fddaab59f</id><updated>2022-09-06T19:23:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Richard Rodgers</title><link href="https://gavart.ist/#Richard%20Rodgers"></link><link href="https://gavart.ist/static/Richard%2520Rodgers.html" rel="alternative" type="text/html"></link><id>94acdb7a-8fb7-c55d-6aac-9fc3742c630f</id><updated>2022-09-02T11:34:48</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>John Coltrane</title><link href="https://gavart.ist/#John%20Coltrane"></link><link href="https://gavart.ist/static/John%2520Coltrane.html" rel="alternative" type="text/html"></link><id>819e3a2a-e35d-6ec0-bb66-a730e4310a98</id><updated>2022-09-02T11:34:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Plugins &amp; Hacks for TiddlyWiki 5</title><link href="https://gavart.ist/#Plugins%20%26%20Hacks%20for%20TiddlyWiki%205"></link><link href="https://gavart.ist/static/Plugins%2520%2526%2520Hacks%2520for%2520TiddlyWiki%25205.html" rel="alternative" type="text/html"></link><id>a1eac6eb-adb6-e3c7-17e6-3684b27d4965</id><updated>2022-09-02T10:05:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Qosmo Lab</title><link href="https://gavart.ist/#Qosmo%20Lab"></link><link href="https://gavart.ist/static/Qosmo%2520Lab.html" rel="alternative" type="text/html"></link><id>28b11d3a-dff9-eb6b-0083-49f63f9e6e76</id><updated>2022-09-01T22:58:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Fragment</title><link href="https://gavart.ist/#Fragment"></link><link href="https://gavart.ist/static/Fragment.html" rel="alternative" type="text/html"></link><id>37d01b98-0657-25fe-3a1d-30acf3a0064a</id><updated>2022-09-01T14:20:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Audio Diffusion Pytorch</title><link href="https://gavart.ist/#Audio%20Diffusion%20Pytorch"></link><link href="https://gavart.ist/static/Audio%2520Diffusion%2520Pytorch.html" rel="alternative" type="text/html"></link><id>a26134f6-e9c1-4c9f-f6c7-22675fa61365</id><updated>2022-08-31T12:19:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>wzrd</title><link href="https://gavart.ist/#wzrd"></link><link href="https://gavart.ist/static/wzrd.html" rel="alternative" type="text/html"></link><id>170ebe9e-5958-fe12-e8f8-20a71fead68e</id><updated>2022-08-31T11:55:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Jon Chau</title><link href="https://gavart.ist/#Jon%20Chau"></link><link href="https://gavart.ist/static/Jon%2520Chau.html" rel="alternative" type="text/html"></link><id>8f8129ab-a014-d94a-6660-c332f2d9254a</id><updated>2022-08-31T10:31:29</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Weights &amp; Biases</title><link href="https://gavart.ist/#Weights%20%26%20Biases"></link><link href="https://gavart.ist/static/Weights%2520%2526%2520Biases.html" rel="alternative" type="text/html"></link><id>0f07876a-283d-75d9-1e5e-7b2153c62c2f</id><updated>2022-08-31T10:05:43</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Stability AI • Stable Diffusion Public Build</title><link href="https://gavart.ist/#Stability%20AI%20%E2%80%A2%20Stable%20Diffusion%20Public%20Build"></link><link href="https://gavart.ist/static/Stability%2520AI%2520%25E2%2580%25A2%2520Stable%2520Diffusion%2520Public%2520Build.html" rel="alternative" type="text/html"></link><id>a630c499-af2c-d168-4659-d64222f8b2dd</id><updated>2022-08-30T23:36:42</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Run Stable Diffusion Locally</title><link href="https://gavart.ist/#Run%20Stable%20Diffusion%20Locally"></link><link href="https://gavart.ist/static/Run%2520Stable%2520Diffusion%2520Locally.html" rel="alternative" type="text/html"></link><id>a29e4fe4-04a9-e8c8-a4e1-7a7905a89189</id><updated>2022-08-30T23:30:46</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lexica</title><link href="https://gavart.ist/#Lexica"></link><link href="https://gavart.ist/static/Lexica.html" rel="alternative" type="text/html"></link><id>0e011e70-b3e3-5b1b-ac2d-92ce8c6dbba1</id><updated>2022-08-30T23:30:35</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Peter Greenaway</title><link href="https://gavart.ist/#Peter%20Greenaway"></link><link href="https://gavart.ist/static/Peter%2520Greenaway.html" rel="alternative" type="text/html"></link><id>a5659225-97c3-ac9f-443f-9a8427c7ac6a</id><updated>2022-08-22T10:49:38</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Imagiro VSTs</title><link href="https://gavart.ist/#Imagiro%20VSTs"></link><link href="https://gavart.ist/static/Imagiro%2520VSTs.html" rel="alternative" type="text/html"></link><id>17badd2b-bf19-4623-4355-859b88c4f3f2</id><updated>2022-08-17T09:39:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mass Timber</title><link href="https://gavart.ist/#Mass%20Timber"></link><link href="https://gavart.ist/static/Mass%2520Timber.html" rel="alternative" type="text/html"></link><id>0b791e6c-867a-1fab-63f4-0925c6e3f6b5</id><updated>2022-08-13T19:57:27</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">lighter than concrete, more fire-resistant than steel, strong enough to support an eighteen-story skyscraper: mass timber is the most solarpunk shit imaginable–<br></br><br></br>it's also an interesting study in what green industry actually means.<br></br><br></br>a thread. <a href="https://t.co/ERm30tX9hh">pic.twitter.com/ERm30tX9hh</a></p>— Dr. Samantha Hancox-Li (@perdricof) <a href="https://twitter.com/perdricof/status/1558045883006164992?ref_src=twsrc%5Etfw">August 12, 2022</a></blockquote> </p><p><script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>How To Hide Certain Tags</title><link href="https://gavart.ist/#How%20To%20Hide%20Certain%20Tags"></link><link href="https://gavart.ist/static/How%2520To%2520Hide%2520Certain%2520Tags.html" rel="alternative" type="text/html"></link><id>978f5dc2-3ab1-7ef1-3a17-d006034bdd76</id><updated>2022-08-13T19:56:57</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">a way to hide tags in <a href="https://twitter.com/TiddlyWiki?ref_src=twsrc%5Etfw">@TiddlyWiki</a> <br></br><br></br>edit <a class="tc-tiddlylink tc-tiddlylink-shadow tc-tiddlylink-resolves" href="#%24%3A%2Fcore%2Fui%2FViewTemplate%2Ftags">$:/core/ui/ViewTemplate/tags</a><br></br><br></br>add -[enlist{<a class="tc-tiddlylink tc-tiddlylink-missing" href="#%24%3A%2Fconfig%2FHideTags">$:/config/HideTags</a>}] to the filter run<br></br><br></br>create <a class="tc-tiddlylink tc-tiddlylink-missing" href="#%24%3A%2Fconfig%2FHideTags">$:/config/HideTags</a> <br></br><br></br>add any tags to the body of that tiddler<a href="https://twitter.com/hashtag/tiddlywiki?src=hash&amp;amp;ref_src=twsrc%5Etfw">#tiddlywiki</a> <a href="https://twitter.com/hashtag/wiki?src=hash&amp;amp;ref_src=twsrc%5Etfw">#wiki</a> <a href="https://twitter.com/hashtag/filter?src=hash&amp;amp;ref_src=twsrc%5Etfw">#filter</a> <a href="https://twitter.com/hashtag/tags?src=hash&amp;amp;ref_src=twsrc%5Etfw">#tags</a> <a href="https://twitter.com/hashtag/tagging?src=hash&amp;amp;ref_src=twsrc%5Etfw">#tagging</a> <a href="https://twitter.com/hashtag/customization?src=hash&amp;amp;ref_src=twsrc%5Etfw">#customization</a> <a href="https://twitter.com/hashtag/digitalgarden?src=hash&amp;amp;ref_src=twsrc%5Etfw">#digitalgarden</a> <a href="https://t.co/gcYasa87es">pic.twitter.com/gcYasa87es</a></p>— Ꮹανiη Ꮐaмвoα 🌱☁️✨ (@gavcloud) <a href="https://twitter.com/gavcloud/status/1486778683968745476?ref_src=twsrc%5Etfw">January 27, 2022</a></blockquote> </p><p><script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>D@ The Math</title><link href="https://gavart.ist/#D%40%20The%20Math"></link><link href="https://gavart.ist/static/D%2540%2520The%2520Math.html" rel="alternative" type="text/html"></link><id>3595fe25-5f00-1d0d-45eb-ba9f4f3c988a</id><updated>2022-08-13T14:06:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Art Institute of Chicago</title><link href="https://gavart.ist/#The%20Art%20Institute%20of%20Chicago"></link><link href="https://gavart.ist/static/The%2520Art%2520Institute%2520of%2520Chicago.html" rel="alternative" type="text/html"></link><id>ada2b43c-0426-b728-a003-2e51f03cf4a9</id><updated>2022-08-13T13:41:28</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Bots As Digital Infrapunctures</title><link href="https://gavart.ist/#Bots%20As%20Digital%20Infrapunctures"></link><link href="https://gavart.ist/static/Bots%2520As%2520Digital%2520Infrapunctures.html" rel="alternative" type="text/html"></link><id>274e0a8a-7453-0ea8-0c5a-718029e3a52d</id><updated>2022-08-12T14:35:18</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Washington</title><link href="https://gavart.ist/#Washington"></link><link href="https://gavart.ist/static/Washington.html" rel="alternative" type="text/html"></link><id>6d69689d-0056-a27b-ce65-398abc70297a</id><updated>2022-08-12T11:20:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Seattle</title><link href="https://gavart.ist/#Seattle"></link><link href="https://gavart.ist/static/Seattle.html" rel="alternative" type="text/html"></link><id>4c54c163-f43d-0ac8-512d-f032b3b07bff</id><updated>2022-08-12T11:20:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Choral</title><link href="https://gavart.ist/#Choral"></link><link href="https://gavart.ist/static/Choral.html" rel="alternative" type="text/html"></link><id>a6b59892-e1e4-ae9c-8897-d123b6c9864d</id><updated>2022-08-12T10:46:30</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Aaron Lemke</title><link href="https://gavart.ist/#Aaron%20Lemke"></link><link href="https://gavart.ist/static/Aaron%2520Lemke.html" rel="alternative" type="text/html"></link><id>f051f12a-5ba4-8a6e-97c0-086aededde1f</id><updated>2022-08-07T00:34:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Alan Watts</title><link href="https://gavart.ist/#Alan%20Watts"></link><link href="https://gavart.ist/static/Alan%2520Watts.html" rel="alternative" type="text/html"></link><id>fe15195b-9a1c-99d9-b849-1019941b7bd8</id><updated>2022-08-06T11:07:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Santa Monica</title><link href="https://gavart.ist/#Santa%20Monica"></link><link href="https://gavart.ist/static/Santa%2520Monica.html" rel="alternative" type="text/html"></link><id>b8ed1ef3-4117-1d89-a884-ad87d2ca885f</id><updated>2022-08-06T10:55:34</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Kyma</title><link href="https://gavart.ist/#Kyma"></link><link href="https://gavart.ist/static/Kyma.html" rel="alternative" type="text/html"></link><id>c3d67523-05b3-2e46-0afe-796f12cd8a22</id><updated>2022-07-28T14:09:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lawyers For The Creative Arts</title><link href="https://gavart.ist/#Lawyers%20For%20The%20Creative%20Arts"></link><link href="https://gavart.ist/static/Lawyers%2520For%2520The%2520Creative%2520Arts.html" rel="alternative" type="text/html"></link><id>b1e7b328-90b2-b8df-303c-b7a49b700c78</id><updated>2022-07-25T22:43:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Re-Order Tag Display Order</title><link href="https://gavart.ist/#Re-Order%20Tag%20Display%20Order"></link><link href="https://gavart.ist/static/Re-Order%2520Tag%2520Display%2520Order.html" rel="alternative" type="text/html"></link><id>f7a56ea8-7c85-4ff5-9a05-4a5f5a498aed</id><updated>2022-07-18T23:16:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>edit the <code>$:/core/ui/ViewTemplate/tags</code> shadow tiddler and change this line:</p><pre><code>&lt;div class="tc-tags-wrapper"&gt;&lt;$list filter="[all[current]tags[]sort[title]]" template="$:/core/ui/TagTemplate" storyview="pop"/&gt;&lt;/div&gt;</code></pre><p>to this:</p><pre><code>&lt;div class="tc-tags-wrapper"&gt;&lt;$list filter="[all[current]tags[]sort[title]sortby{$:/config/TagsOrder}]" template="$:/core/ui/TagTemplate" storyview="pop"/&gt;&lt;/div&gt;</code></pre><p>The only change is adding <strong>sortby{<a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Fconfig%2FTagsOrder">$:/config/TagsOrder</a>}</strong> to the $list filter.</p><p>Then, you can enter tag names into <code>$:/config/TagsOrder</code>, and the display of tags in the ViewTemplate will show those tags in the order specified.</p><p>Note that any tags not included in the config tiddler will be listed first, in the default alphanumeric order. Thus, if the config is empty or non-existent, the current TWCore default behavior is retained.</p><p>Also, if there are a lot of tags to be listed, you can auto-generate the initial contents of <code>$:/config/TagsOrder</code> by using the following $button:</p><h2 class="">Button to pull in all tags into a tiddler</h2><pre><code>&lt;$vars lf="
"&gt;
&lt;$set name="taglist" filter="[tags[]trim[]sort[]addsuffix&lt;lf&gt;join[]]"&gt;
&lt;$button&gt; make initial ~TagsOrder
   &lt;$action-setfield $tiddler="$:/config/TagsOrder" text=&lt;&lt;taglist&gt;&gt; /&gt;
&lt;/$button&gt;</code></pre><p>Credit: <a class="tc-tiddlylink-external" href="https://groups.google.com/g/tiddlywiki/c/TLlPOrGvoCs/m/Ruo-wxtrBAAJ" rel="noopener noreferrer" target="_blank">Eric Shulman</a></p></div></content><author><name>undefined</name></author></entry><entry><title>Sound Theory • Gullfoss</title><link href="https://gavart.ist/#Sound%20Theory%20%E2%80%A2%20Gullfoss"></link><link href="https://gavart.ist/static/Sound%2520Theory%2520%25E2%2580%25A2%2520Gullfoss.html" rel="alternative" type="text/html"></link><id>84c496df-14ec-f9a7-b3c3-0be95a1f147e</id><updated>2022-07-12T21:51:26</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Infinitone DMT</title><link href="https://gavart.ist/#Infinitone%20DMT"></link><link href="https://gavart.ist/static/Infinitone%2520DMT.html" rel="alternative" type="text/html"></link><id>3867cc24-9ac1-5c17-045a-0fc39cae0719</id><updated>2022-07-12T21:49:03</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Laudato Si’ - On The Care Of Our Common Home</title><link href="https://gavart.ist/#Laudato%20Si%E2%80%99%20-%20On%20The%20Care%20Of%20Our%20Common%20Home"></link><link href="https://gavart.ist/static/Laudato%2520Si%25E2%2580%2599%2520-%2520On%2520The%2520Care%2520Of%2520Our%2520Common%2520Home.html" rel="alternative" type="text/html"></link><id>089e0b4d-9c71-d799-db42-f67ed773ddf1</id><updated>2022-06-25T15:47:14</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Some forms of pollution are part of people’s daily experience. Exposure to atmospheric pollutants produces a broad spectrum of health hazards, especially for the poor, and causes millions of premature deaths. People take sick, for example, from breathing high levels of smoke from fuels used in cooking or heating. There is also pollution that affects everyone, caused by transport, industrial fumes, substances which contribute to the acidification of soil and water, fertilizers, insecticides, fungicides, herbicides and agrotoxins in general. Technology, which, linked to business interests, is presented as the only way of solving these problems, in fact proves incapable of seeing the mysterious network of relations between things and so sometimes solves one problem only to create others.<br></br><br></br>Account must also be taken of the pollution produced by residue, including dangerous waste present in different areas. Each year hundreds of millions of tons of waste are generated, much of it non-biodegradable, highly toxic and radioactive, from homes and businesses, from construction and demolition sites, from clinical, electronic and industrial sources. The earth, our home, is beginning to look more and more like an immense pile of filth. In many parts of the planet, the elderly lament that once beautiful landscapes are now covered with rubbish. Industrial waste and chemical products utilized in cities and agricultural areas can lead to bioaccumulation in the organisms of the local population, even when levels of toxins in those places are low. Frequently no measures are taken until after people’s health has been irreversibly affected.<br></br><br></br>These problems are closely linked to a throwaway culture which affects the excluded just as it quickly reduces things to rubbish. To cite one example, most of the paper we produce is thrown away and not recycled. It is hard for us to accept that the way natural ecosystems work is exemplary: plants synthesize nutrients which feed herbivores; these in turn become food for carnivores, which produce significant quantities of organic waste which give rise to new generations of plants. But our industrial system, at the end of its cycle of production and consumption, has not developed the capacity to absorb and reuse waste and by-products. We have not yet managed to adopt a circular model of production capable of preserving resources for present and future generations, while limiting as much as possible the use of non-renewable resources, moderating their consumption, maximizing their efficient use, reusing and recycling them. A serious consideration of this issue would be one way of counteracting the throwaway culture which affects the entire planet, but it must be said that only limited progress has been made in this regard.<br></br><br></br>Laudato Si’<br></br>On The Care Of Our Common Home<br></br>Encyclical Letter of Pope Francis<br></br>18 June 2015<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>In a word, I feel that I am the unhappiest, most miserable person in the entire world</title><link href="https://gavart.ist/#In%20a%20word%2C%20I%20feel%20that%20I%20am%20the%20unhappiest%2C%20most%20miserable%20person%20in%20the%20entire%20world"></link><link href="https://gavart.ist/static/In%2520a%2520word%252C%2520I%2520feel%2520that%2520I%2520am%2520the%2520unhappiest%252C%2520most%2520miserable%2520person%2520in%2520the%2520entire%2520world.html" rel="alternative" type="text/html"></link><id>9e4068ed-4591-0b75-249c-a20486a16656</id><updated>2022-06-25T15:27:02</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>In a word, I feel that I am the unhappiest, most miserable person in the entire world. Imagine someone whose health will never improve, and who, in despair over this, makes things worse instead of better, whose brightest hopes have come to naught, to whom the joy of love and friendship can offer nothing but pain at the most, who is in danger of losing his enthusiasm (at least the sort which inspires) for beauty, and ask yourself if that is not a miserable unhappy wretch? I spend my days joyless and friendless, and only Schwind visits me sometimes and brings a ray of those sweet days long gone. Our reading circle has died a voluntary death, because of the increase in the rough choir of beer-drinkers and sausage-eaters.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Most inventors and engineers I've met are like me—they're shy and they live in their heads</title><link href="https://gavart.ist/#Most%20inventors%20and%20engineers%20I've%20met%20are%20like%20me%E2%80%94they're%20shy%20and%20they%20live%20in%20their%20heads"></link><link href="https://gavart.ist/static/Most%2520inventors%2520and%2520engineers%2520I've%2520met%2520are%2520like%2520me%25E2%2580%2594they're%2520shy%2520and%2520they%2520live%2520in%2520their%2520heads.html" rel="alternative" type="text/html"></link><id>5b0f5e60-bf36-4ac8-0575-94a8167fe65d</id><updated>2022-06-25T11:49:13</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Most inventors and engineers I've met are like me—they're shy and they live in their heads. They're almost like artists. In fact, the very best of them are artists. And artists work best alone where they can control an invention's design without a lot of other people de- signing it for marketing or some other committee. I don't believe anything really revolutionary has been invented by committee. If you're that rare engineer who's an inventor and also an artist, I'm going to give you some advice that might be hard to take. That advice is: Work alone. You're going to be best able to design revolutionary products and features if you’re working on your own. Not on a committee. Not on a team.<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Schubert was a lucky inventor of pleasing tunes …</title><link href="https://gavart.ist/#Schubert%20was%20a%20lucky%20inventor%20of%20pleasing%20tunes%20%E2%80%A6"></link><link href="https://gavart.ist/static/Schubert%2520was%2520a%2520lucky%2520inventor%2520of%2520pleasing%2520tunes%2520%25E2%2580%25A6.html" rel="alternative" type="text/html"></link><id>fbf08fac-40b4-710d-a90e-1d59f411952f</id><updated>2022-06-20T18:49:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>In July 1947 the Austrian composer <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ernst%20Krenek">Ernst Krenek</a> discussed <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Franz%20Schubert">Schubert's</a> style, abashedly admitting that he had at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power and searching intelligence which distinguished such 'real' masters as <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Johann%20Sebastian%20Bach">J. S. Bach</a> or <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Ludwig%20van%20Beethoven">Beethoven</a>". Krenek wrote that he reached a completely different assessment after a close study of Schubert's pieces at the urging of his friend and fellow composer Eduard Erdmann. Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition." Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional moulds; on the contrary he was a thinking artist with a keen appetite for experimentation."<br></br></p></div></content><author><name>undefined</name></author></entry><entry><title>Dietrich Fischer-Dieskau</title><link href="https://gavart.ist/#Dietrich%20Fischer-Dieskau"></link><link href="https://gavart.ist/static/Dietrich%2520Fischer-Dieskau.html" rel="alternative" type="text/html"></link><id>f359a508-2991-01f7-7fd6-2116fd9e11c3</id><updated>2022-06-13T15:20:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>chainpass.xyz</title><link href="https://gavart.ist/#chainpass.xyz"></link><link href="https://gavart.ist/static/chainpass.xyz.html" rel="alternative" type="text/html"></link><id>839ce6e4-82a9-f87d-2d38-53475bcaa2f9</id><updated>2022-06-13T12:17:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Chaining Filter Runs Together</title><link href="https://gavart.ist/#Chaining%20Filter%20Runs%20Together"></link><link href="https://gavart.ist/static/Chaining%2520Filter%2520Runs%2520Together.html" rel="alternative" type="text/html"></link><id>39e017ea-769e-4478-36d4-fc7b7ea13096</id><updated>2022-06-10T22:11:50</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>This is something I like, which is to check to see if a list with a certain tag exists, and then display that tag as a tag-pill at the top of a section as a heading. If you don't have the <code>first[]</code> order operator it will display the same tag multiple times for each tiddler that exists with that tag. I just want to see if *any* exist, and if they do, then stop there and display only the first one.</p><p>Notice also the double square bracket that closes the first portion of the filter run before the <code>:and</code> named prefix, which gives us an accumulation of filter steps.</p><pre><code>&lt;$list filter="[is[current]tags[]tag[Spirits]] :and[tagging[]tag[Mixcloud]first[]]"&gt;

&lt;&lt;tag [[Mixcloud]] &gt;&gt;

&lt;/$list&gt;

&lt;ul&gt;
   &lt;$list filter="[is[current]tags[]tag[Spirits]] :and[tagging[]tag[Mixcloud]!sort[sortdate]]"&gt;
      &lt;li&gt;
         &lt;$link&gt;&lt;$view field="title"/&gt;&lt;/$link&gt;&lt;br&gt;
         ^^&lt;$link to={{!!collaborator}}&gt;&lt;$view field="collaborator" /&gt;&lt;/$link&gt;^^
      &lt;/li&gt;
  &lt;/$list&gt;
&lt;/ul&gt;</code></pre><p><sup>Taken from the <a class="tc-tiddlylink-external" href="https://wiki.spiritbomb.ai/#%24%3A%2Ftemplates%2FViewTemplateSpiritsMusicFooter" rel="noopener noreferrer" target="_blank">Spirit Bomb wiki</a></sup></p></div></content><author><name>undefined</name></author></entry><entry><title>Use A Button to Dynamically Update A Transclusion</title><link href="https://gavart.ist/#Use%20A%20Button%20to%20Dynamically%20Update%20A%20Transclusion"></link><link href="https://gavart.ist/static/Use%2520A%2520Button%2520to%2520Dynamically%2520Update%2520A%2520Transclusion.html" rel="alternative" type="text/html"></link><id>54e94d96-4c92-34ab-0274-1a695b04d21b</id><updated>2022-06-10T15:03:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>How to dynamically update a transclusion. This can be seen in several places of this wiki. A simplified example as it appears in <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Discography">Discography</a>: </p><pre><code>&lt;$button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible" set="!!view" setTo="$:/templates/discography/full-list"&gt;All&lt;/$button&gt;

&lt;$button class="tc-tiddlylink tc-tiddlylink-resolves tc-btn-invisible" set="!!view" setTo="EP"&gt;EP&lt;/$button&gt;

&lt;$transclude tiddler={{!!view}} mode="block" /&gt;</code></pre><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">normally you would transclude with double curly braces  but to pull in the entire tiddler we need to expand into the transclude widget itself to set the mode to block.<br></br><br></br>&lt;$transclude tiddler= mode="block" /&gt;<br></br><br></br>¡viola!</p>— Ꮹανiη Ꮐaмвoα 🌱☁️✨ (@gavcloud) <a href="https://twitter.com/gavcloud/status/1532187226435735555?ref_src=twsrc%5Etfw">June 2, 2022</a></blockquote> 

<script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script> 
</p></div></content><author><name>undefined</name></author></entry><entry><title>Tag Pill as Link To Tiddler</title><link href="https://gavart.ist/#Tag%20Pill%20as%20Link%20To%20Tiddler"></link><link href="https://gavart.ist/static/Tag%2520Pill%2520as%2520Link%2520To%2520Tiddler.html" rel="alternative" type="text/html"></link><id>458244b2-1ea7-a4fb-53a7-21363b01cf00</id><updated>2022-06-10T15:03:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">and so here is the *tag-pill as link* code encapsulated within our filter run:<br></br><br></br>&lt;$list filter="[tag[Release Catalog]!sort[catalog]]"&gt;<br></br>…<br></br>&lt;$link to=&lt;&lt;currentTiddler&gt;&gt;&gt;<br></br><br></br>&lt;$macrocall <a href="https://twitter.com/search?q=%24name&amp;amp;src=ctag&amp;amp;ref_src=twsrc%5Etfw">$name</a>="tag-pill" tag=&lt;&lt;currentTiddler&gt;&gt;/&gt;<br></br><br></br>&lt;/$link&gt;<br></br>…<br></br>&lt;/$list&gt;</p>— Ꮹανiη Ꮐaмвoα 🌱☁️✨ (@gavcloud) <a href="https://twitter.com/gavcloud/status/1482156652564389889?ref_src=twsrc%5Etfw">January 15, 2022</a></blockquote></p><p><script async="true" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>
</p></div></content><author><name>undefined</name></author></entry><entry><title>Hide/Reveal Edit Toolbar Controls on Hover</title><link href="https://gavart.ist/#Hide%2FReveal%20Edit%20Toolbar%20Controls%20on%20Hover"></link><link href="https://gavart.ist/static/Hide%252FReveal%2520Edit%2520Toolbar%2520Controls%2520on%2520Hover.html" rel="alternative" type="text/html"></link><id>b5dbb9ad-5f21-454d-3122-66cb018ff5db</id><updated>2022-06-10T15:02:37</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>Add to your <code>custom-css</code> tiddler (or any tiddler tagged </p><pre><code>/* toolbar visibility on hover */
.tc-tiddler-frame .tc-titlebar button {
	opacity: 0;
	transition: opacity .3s ease-in-out;
}
	
.tc-tiddler-title:hover .tc-titlebar button {
	zoom: 1;
	filter: alpha(opacity=100);
	opacity: 1;
}</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>Displaying Tags and Tag-Pills</title><link href="https://gavart.ist/#Displaying%20Tags%20and%20Tag-Pills"></link><link href="https://gavart.ist/static/Displaying%2520Tags%2520and%2520Tag-Pills.html" rel="alternative" type="text/html"></link><id>d0a27218-c7e6-83c3-bc3f-9ffc9184e94c</id><updated>2022-06-10T15:02:11</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>TiddlyWiki has built-in macros for displaying tags as </p><p>First is the <code>&lt;&lt;tag&gt;&gt;</code> macro, which takes as an argument the name of a tag and displays it with the tag drop-down menu functionality: </p><p><code>&lt;&lt;tag Discography&gt;&gt;</code> = </p><br></br><p>Secondly is the <code>&lt;&lt;tag-pill&gt;&gt;</code> macro, which displays the tag as a pill, but without the drop-down menu functionality: </p><p><code>&lt;&lt;tag-pill Discography&gt;&gt;</code> = </p><br></br><p>For tags that are more than a single word, use <code>[[Double Bracket Notation]]</code> or single quotes: </p><ul><li><code>&lt;&lt;tag-pill [[Live Performance]]&gt;&gt;</code></li><li><code>&lt;&lt;tag-pill 'Live Performance'&gt;&gt;</code></li></ul></div></content><author><name>undefined</name></author></entry><entry><title>Create A Custom Button in the Page Toolbar</title><link href="https://gavart.ist/#Create%20A%20Custom%20Button%20in%20the%20Page%20Toolbar"></link><link href="https://gavart.ist/static/Create%2520A%2520Custom%2520Button%2520in%2520the%2520Page%2520Toolbar.html" rel="alternative" type="text/html"></link><id>bdd741da-7778-876d-78d4-b1fd6602c473</id><updated>2022-06-10T15:02:00</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><u></u>In my case I wanted a way to add new bookmark for the <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#Bookmarks">Bookmarks</a> page. I created a predefined tiddler that was pre-tagged  and that also had two pre-defined but empty fields, <code>description</code> and <code>url</code>. All I did was create <a class="tc-tiddlylink tc-tiddlylink-resolves" href="#%24%3A%2Ftemplates%2Fcreate-bookmark-template">this tiddler</a>, which becomes the template for the button below. Edit it to see what it looks like.</p><p>Then create a new tiddler with a button, give it an icon, and make sure that it is tagged </p><pre><code>&lt;$button class="tc-btn-invisible" message="tm-new-tiddler" param="$:/templates/create-bookmark-template" tooltip="New Bookmark"&gt;{{$:/images/icons/bookmarks}}&lt;/$button&gt;</code></pre><p>You can then control the ordering of the Page Toolbar buttons by dragging &amp; re-ordering items in the drop-down list of </p></div></content><author><name>undefined</name></author></entry><entry><title>A Basic Filter Run as a List</title><link href="https://gavart.ist/#A%20Basic%20Filter%20Run%20as%20a%20List"></link><link href="https://gavart.ist/static/A%2520Basic%2520Filter%2520Run%2520as%2520a%2520List.html" rel="alternative" type="text/html"></link><id>16b92bb1-d35e-5277-d4c7-511d55469908</id><updated>2022-06-10T14:48:33</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>An example of how I like to construct and display filter runs as a list:</p><pre><code>&lt;ul&gt;
   &lt;$list filter="[tag[myTag]!&lt;currentTiddler&gt;!sort[myField]]"&gt;
      &lt;li&gt;
         &lt;$link&gt;&lt;$view field="title"/&gt;&lt;/$link&gt;&lt;br&gt;
         ^^//&lt;$list filter="[all[current]tags[]tag[myTag2]]"/&gt; · &lt;$view field="another field"/&gt;//^^
      &lt;/li&gt;
  &lt;/$list&gt;
&lt;/ul&gt;</code></pre></div></content><author><name>undefined</name></author></entry><entry><title>TW Scripts</title><link href="https://gavart.ist/#TW%20Scripts"></link><link href="https://gavart.ist/static/TW%2520Scripts.html" rel="alternative" type="text/html"></link><id>7484777f-d2f3-f629-59d6-bf2234ce0151</id><updated>2022-06-10T08:20:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TW5 File Uploads Plugin</title><link href="https://gavart.ist/#TW5%20File%20Uploads%20Plugin"></link><link href="https://gavart.ist/static/TW5%2520File%2520Uploads%2520Plugin.html" rel="alternative" type="text/html"></link><id>724a76e0-d09d-d9ae-b499-e835553fc0ee</id><updated>2022-06-10T08:20:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Wiki Reference Wiki</title><link href="https://gavart.ist/#Wiki%20Reference%20Wiki"></link><link href="https://gavart.ist/static/Wiki%2520Reference%2520Wiki.html" rel="alternative" type="text/html"></link><id>4a245b3e-1b2c-ff97-fc48-530f779f8f65</id><updated>2022-06-10T08:20:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>TW Icons</title><link href="https://gavart.ist/#TW%20Icons"></link><link href="https://gavart.ist/static/TW%2520Icons.html" rel="alternative" type="text/html"></link><id>5ccb5725-eeab-8f77-ad01-f58edf6f45ed</id><updated>2022-06-10T08:20:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Richlinks</title><link href="https://gavart.ist/#Richlinks"></link><link href="https://gavart.ist/static/Richlinks.html" rel="alternative" 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type="text/html"></link><id>c7599c77-6fb8-030b-f837-228920d8cc5b</id><updated>2022-06-10T08:20:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Mehregan</title><link href="https://gavart.ist/#Mehregan"></link><link href="https://gavart.ist/static/Mehregan.html" rel="alternative" type="text/html"></link><id>22824b32-ce0b-4088-2570-bd354c11227f</id><updated>2022-06-10T08:20:53</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Relink Plugin</title><link href="https://gavart.ist/#Relink%20Plugin"></link><link href="https://gavart.ist/static/Relink%2520Plugin.html" rel="alternative" type="text/html"></link><id>50075df1-afd8-d2a0-fc37-cda6679c26be</id><updated>2022-06-10T08:20:53</updated><content type="xhtml"><div 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type="text/html"></link><id>86871c41-6a7d-bed7-e5cc-229d143d8d82</id><updated>2021-12-29T21:37:16</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Switzerland</title><link href="https://gavart.ist/#Switzerland"></link><link href="https://gavart.ist/static/Switzerland.html" rel="alternative" type="text/html"></link><id>3ad08396-dc5a-fa78-f34f-548eea3c1d64</id><updated>2021-12-29T21:36:31</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>California</title><link href="https://gavart.ist/#California"></link><link href="https://gavart.ist/static/California.html" rel="alternative" type="text/html"></link><id>356779a9-a169-6714-480f-57fa3fb66d4c</id><updated>2021-12-29T21:36:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Netherlands</title><link href="https://gavart.ist/#Netherlands"></link><link href="https://gavart.ist/static/Netherlands.html" rel="alternative" type="text/html"></link><id>a67d4cbd-d1b5-9e0f-fccc-6bafc83eb033</id><updated>2021-12-29T21:35:41</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cambodia</title><link href="https://gavart.ist/#Cambodia"></link><link href="https://gavart.ist/static/Cambodia.html" rel="alternative" type="text/html"></link><id>06c7a3c3-a334-4a62-864b-951aec4df830</id><updated>2021-12-29T21:35:06</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Linz</title><link href="https://gavart.ist/#Linz"></link><link href="https://gavart.ist/static/Linz.html" rel="alternative" type="text/html"></link><id>443befba-cdaa-99c1-61dd-11495b82b99b</id><updated>2021-12-29T21:01:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>B. Ajani Brannum</title><link href="https://gavart.ist/#B.%20Ajani%20Brannum"></link><link href="https://gavart.ist/static/B.%2520Ajani%2520Brannum.html" rel="alternative" type="text/html"></link><id>906cbe9f-d86e-b37c-3874-5bd3f0fe67bb</id><updated>2021-12-29T14:17:45</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Synplant</title><link href="https://gavart.ist/#Synplant"></link><link href="https://gavart.ist/static/Synplant.html" rel="alternative" type="text/html"></link><id>8bcbfb5c-8130-556b-a724-f6eda0de1955</id><updated>2021-12-29T13:53:15</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>google image search scraper</title><link href="https://gavart.ist/#google%20image%20search%20scraper"></link><link href="https://gavart.ist/static/google%2520image%2520search%2520scraper.html" rel="alternative" type="text/html"></link><id>f258496a-df24-bb50-2749-74838a61761b</id><updated>2021-12-27T12:00:04</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p><strong>batch image scraper for compiling image data sets based on keywords</strong><br></br>
Repository: <a class="tc-tiddlylink-external" href="https://github.com/protrolium/google-image-search-scraper" rel="noopener noreferrer" target="_blank">https://github.com/protrolium/google-image-search-scraper</a></p><h2 class="">Directions</h2><p>takes two variables, "search keyword" and number of images to fetch<br></br>
<code>$ gimg "Bohdi tree" 700</code></p><p>Image quality options can be set within gimg opts flag</p><p>location of scripts:<br></br>
<code>usr/local/bin</code></p><p>make executable:<br></br>
<code>sudo chmod +x gimg</code></p><p>to fix chromedriver errors run<br></br>
<code>$ brew upgrade chromedriver</code></p></div></content><author><name>undefined</name></author></entry><entry><title>Sonata 14 in C sharp minor ‘Quasi una fantasia‘ Opus 27 no. 2</title><link href="https://gavart.ist/#Sonata%2014%20in%20C%20sharp%20minor%20%E2%80%98Quasi%20una%20fantasia%E2%80%98%20Opus%2027%20no.%202"></link><link href="https://gavart.ist/static/Sonata%252014%2520in%2520C%2520sharp%2520minor%2520%25E2%2580%2598Quasi%2520una%2520fantasia%25E2%2580%2598%2520Opus%252027%2520no.%25202.html" rel="alternative" type="text/html"></link><id>4e331a90-4d91-0118-6de6-007023ae09dc</id><updated>2021-12-26T14:05:23</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Institute For Cinema Studies</title><link href="https://gavart.ist/#The%20Institute%20For%20Cinema%20Studies"></link><link href="https://gavart.ist/static/The%2520Institute%2520For%2520Cinema%2520Studies.html" 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Well-Tempered Clavier, Book I</title><link href="https://gavart.ist/#The%20Well-Tempered%20Clavier%2C%20Book%20I"></link><link href="https://gavart.ist/static/The%2520Well-Tempered%2520Clavier%252C%2520Book%2520I.html" rel="alternative" type="text/html"></link><id>6cc9975d-6aff-403f-2aa8-20a5bfa3a4f7</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Tres Piezas</title><link href="https://gavart.ist/#Tres%20Piezas"></link><link href="https://gavart.ist/static/Tres%2520Piezas.html" rel="alternative" type="text/html"></link><id>c1dde749-5d6c-a4fd-60b2-9fe9739da632</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonatina for piano</title><link href="https://gavart.ist/#Sonatina%20for%20piano"></link><link href="https://gavart.ist/static/Sonatina%2520for%2520piano.html" rel="alternative" type="text/html"></link><id>ea337b80-7945-1e9c-cffc-cd6c0ba8b10f</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>The Nightmare</title><link href="https://gavart.ist/#The%20Nightmare"></link><link href="https://gavart.ist/static/The%2520Nightmare.html" rel="alternative" type="text/html"></link><id>6bfd3ff6-3b4d-15f7-6b32-1992ceccf6c6</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata in A minor, D. 784</title><link href="https://gavart.ist/#Sonata%20in%20A%20minor%2C%20D.%20784"></link><link href="https://gavart.ist/static/Sonata%2520in%2520A%2520minor%252C%2520D.%2520784.html" rel="alternative" type="text/html"></link><id>838aa815-f598-3e47-835d-a4ef9d9d3a6d</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata in B minor K. 27</title><link href="https://gavart.ist/#Sonata%20in%20B%20minor%20K.%2027"></link><link href="https://gavart.ist/static/Sonata%2520in%2520B%2520minor%2520K.%252027.html" rel="alternative" type="text/html"></link><id>eda6e7b6-423f-879c-3d94-8443b4bb52eb</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata in C major 'Reliquie' D. 840</title><link href="https://gavart.ist/#Sonata%20in%20C%20major%20'Reliquie'%20D.%20840"></link><link href="https://gavart.ist/static/Sonata%2520in%2520C%2520major%2520'Reliquie'%2520D.%2520840.html" rel="alternative" type="text/html"></link><id>628ba23d-38a8-5198-a33c-e61b75259dc8</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata in C Major Hob. 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata in A minor BWV 965</title><link href="https://gavart.ist/#Sonata%20in%20A%20minor%20BWV%20965"></link><link href="https://gavart.ist/static/Sonata%2520in%2520A%2520minor%2520BWV%2520965.html" rel="alternative" type="text/html"></link><id>bef3feb4-f773-41bc-31d2-6d1989849153</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Serenade in A</title><link href="https://gavart.ist/#Serenade%20in%20A"></link><link href="https://gavart.ist/static/Serenade%2520in%2520A.html" rel="alternative" type="text/html"></link><id>1dfe271e-4773-8dfa-b47d-1448d5aaff6c</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata 13 in E flat major ‘Quasi una fantasia’ Opus 27 no. 1</title><link href="https://gavart.ist/#Sonata%2013%20in%20E%20flat%20major%20%E2%80%98Quasi%20una%20fantasia%E2%80%99%20Opus%2027%20no.%201"></link><link href="https://gavart.ist/static/Sonata%252013%2520in%2520E%2520flat%2520major%2520%25E2%2580%2598Quasi%2520una%2520fantasia%25E2%2580%2599%2520Opus%252027%2520no.%25201.html" rel="alternative" type="text/html"></link><id>6f6d26c5-026f-6047-cfd9-bad97de5b5a3</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata 2 in G sharp minor, Opus 19</title><link href="https://gavart.ist/#Sonata%202%20in%20G%20sharp%20minor%2C%20Opus%2019"></link><link href="https://gavart.ist/static/Sonata%25202%2520in%2520G%2520sharp%2520minor%252C%2520Opus%252019.html" rel="alternative" type="text/html"></link><id>f5747e4e-d030-6ba2-2043-5e7979dcd0a6</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Sonata 27 in E minor Opus 90</title><link href="https://gavart.ist/#Sonata%2027%20in%20E%20minor%20Opus%2090"></link><link href="https://gavart.ist/static/Sonata%252027%2520in%2520E%2520minor%2520Opus%252090.html" rel="alternative" type="text/html"></link><id>bc1c19f7-6835-0979-801d-4cdf0a2e9e73</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Préludes, Book I</title><link href="https://gavart.ist/#Pr%C3%A9ludes%2C%20Book%20I"></link><link href="https://gavart.ist/static/Pr%25C3%25A9ludes%252C%2520Book%2520I.html" rel="alternative" type="text/html"></link><id>78817d9e-0362-1f56-fc53-92dfc3b8dadb</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Préludes, Opus 28</title><link href="https://gavart.ist/#Pr%C3%A9ludes%2C%20Opus%2028"></link><link href="https://gavart.ist/static/Pr%25C3%25A9ludes%252C%2520Opus%252028.html" rel="alternative" type="text/html"></link><id>7688f935-d98f-bab4-a501-b38c61c7bad0</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Preludio No. 3</title><link href="https://gavart.ist/#Preludio%20No.%203"></link><link href="https://gavart.ist/static/Preludio%2520No.%25203.html" rel="alternative" type="text/html"></link><id>f11f18fd-108b-e3f7-a595-b46667ac562d</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Preludio y Fuga sobre un Tema de Händel</title><link href="https://gavart.ist/#Preludio%20y%20Fuga%20sobre%20un%20Tema%20de%20H%C3%A4ndel"></link><link href="https://gavart.ist/static/Preludio%2520y%2520Fuga%2520sobre%2520un%2520Tema%2520de%2520H%25C3%25A4ndel.html" rel="alternative" type="text/html"></link><id>2895c3e1-ebd9-329b-68d9-edd9cd93f4f8</id><updated>2021-12-24T13:54:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Scherzo in C sharp minor Opus 39</title><link href="https://gavart.ist/#Scherzo%20in%20C%20sharp%20minor%20Opus%2039"></link><link href="https://gavart.ist/static/Scherzo%2520in%2520C%2520sharp%2520minor%2520Opus%252039.html" rel="alternative" 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xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Attilia Kiyoko Cernitori</title><link href="https://gavart.ist/#Attilia%20Kiyoko%20Cernitori"></link><link href="https://gavart.ist/static/Attilia%2520Kiyoko%2520Cernitori.html" rel="alternative" type="text/html"></link><id>062c58a9-9aa6-5dda-d52e-a8a9c1a0a200</id><updated>2021-10-16T15:05:47</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Valsassina Ensemble Wien</title><link href="https://gavart.ist/#Valsassina%20Ensemble%20Wien"></link><link href="https://gavart.ist/static/Valsassina%2520Ensemble%2520Wien.html" rel="alternative" type="text/html"></link><id>dd691947-f53c-4fb4-fa91-5855a50b0bab</id><updated>2021-10-16T14:44:24</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Lyris Quartet</title><link href="https://gavart.ist/#Lyris%20Quartet"></link><link href="https://gavart.ist/static/Lyris%2520Quartet.html" rel="alternative" type="text/html"></link><id>f8d6d331-0152-ead9-797b-c7cb0f103d92</id><updated>2021-10-16T14:30:05</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Earl Wild</title><link href="https://gavart.ist/#Earl%20Wild"></link><link href="https://gavart.ist/static/Earl%2520Wild.html" rel="alternative" type="text/html"></link><id>a6130804-e282-e472-f593-343f8b26a76a</id><updated>2021-10-16T14:24:55</updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"></div></content><author><name>undefined</name></author></entry><entry><title>Cromulent</title><link href="https://gavart.ist/#Cromulent"></link><link href="https://gavart.ist/static/Cromulent.html" rel="alternative" type="text/html"></link><id>be1638c0-4546-6e55-5ca3-9b31ef7a2f76</id><updated></updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>A humorous, intentionally morphologically opaque neologism and nonce word coined by American television writer  David X. Cohen for “Lisa the Iconoclast”, a 1996 episode of the animated sitcom The Simpsons. The ending resembles corpulent, temulent and other Latinate adjectives (derived from -ulentus (“full of, abounding in”)).</p><p>cromulent (comparative more cromulent, superlative most cromulent)</p></div></content><author><name>undefined</name></author></entry><entry><title>Hysteria</title><link href="https://gavart.ist/#Hysteria"></link><link href="https://gavart.ist/static/Hysteria.html" rel="alternative" type="text/html"></link><id>e3f82ccf-14bc-38b1-2e5e-f80397bb778c</id><updated></updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From New Latin hysteria, a back-formation from Latin hystericus, from Ancient Greek ὑστερικός (husterikós, “suffering in the uterus, hysterical”), from ὑστέρα (hustéra, “womb”). Compare French hystérie.</p><p>hysteria (usually uncountable, plural hysterias or hysteriae or hysteriæ)</p></div></content><author><name>undefined</name></author></entry><entry><title>Libation</title><link href="https://gavart.ist/#Libation"></link><link href="https://gavart.ist/static/Libation.html" rel="alternative" type="text/html"></link><id>8da408a3-9ba5-0368-b4be-943d1e530335</id><updated></updated><content type="xhtml"><div xmlns="http://www.w3.org/1999/xhtml"><p>From Latin lībātiō, from lībāre (“to take a little from anything, to taste, to pour out as an offering”).</p><p>libation (countable and uncountable, plural libations)</p></div></content><author><name>undefined</name></author></entry></feed>

