robertogreco + notation   4

Software Are Thou: Knit One, Compute One with Kris Howard - YouTube
"Knitting and computing may seem completely unconnected, but they're very similar. Every beginning knitter learns that there are only two stitches - knit and purl. So knitting is inherently binary, and that opens up a world of possibilities for a coder.

Knitted fabric can be used to encode data in a number of ways, from QR code mittens to a fluffy red virus scarf. Patterns themselves become algorithms, and new syntax proposals allow for automated testing, compilers, and even visualisers. Crafters and programmers are working together in the burgeoning Maker scene to hack hardware, create innovative e-textiles, and push the computational limits of sticks and string.

In this Software Art Thou talk, developer and knitting enthusiast Kris Howard shows how knitting can make you a better coder."
knitting  coding  krishoward  2017  glvo  punchcards  jacquardloom  charts  schematics  notation  patterns 
november 2017 by robertogreco
cornelius cardew’s treatise (1963-67) – The Hum Blog
"Cornelius Cardew was a fascinating figure. Both in his life, and through his music, he posed questions with which I find myself in equal sympathy and conflict. He is undeniably one of the most important figures in the Post-War British avant-garde. Cardew, by all accounts, was a prodigy. During his early twenties he worked at the highest levels of performance. In 1958 (age 22) he won a scholarship to study at the Studio for Electronic Music in Cologne, and was promptly asked by Karlheinz Stockhausen to serve as his assistant. Stockhausen’s recollections of Cardew are drenched in respect. He was one of the few people whom he allowed to work on his scores unsupervised. During the late 50’s, influenced by John Cage and other members of his generation, Cardew abandoned Serialism and began to compose scores utilizing indeterminacy and experiment. It was this period of his work for which he is most remembered, and from which Treatise (our subject) comes. In 1967 he joined the iconic free-improvisation collective AMM with Lou Gare, Eddie Prévost, Keith Rowe and Christopher Hobbs, which advanced his sense of compositional possibility. The following year with Howard Skempton and Michael Parsons he formed the equally important Scratch Orchestra, which grew into a large ensemble, preforming over the following four years.

Cardew’s most iconic work was written during a period stretching just over a decade – after which he made a severe turn, dedicating himself to radical Left-Wing politics, and composing “people’s music”- largely based on folk traditions. Under the influence of Marxism he came to believe that the world to which he had belonged (avant-garde classical, and free-improvisation) was elitist. He subsequently denounced both his former work and his relationships, particularly the one with Stockhausen, who he used as a focus for his venom. Though my politics are further Left than Marxism, and free of its dogmas, I can respect his conviction. That said, I can’t agree with him. His position lacks respect for “the people”, and smothers creativity and progress. I love avant-garde music too much to let politics get in the way. Like so many of the legacies of Marxism, the consequence of Cardew’s beliefs were foreshadowed by Mikhail Bakunin during the International at the Hague Congress in 1872. We all know it didn’t end well.

Treatise, which was composed between 1963 and 1967, is considered to be Cardew’s greatest achievement. It’s also a total head-fuck for anyone who attempts to approach it. It’s a 193 page graphic score with no instruction – completely in the hands of the conductor and musicians who interpret it. Whatever you make of the music that grows from it, Treatise is an undeniable thing of aesthetic beauty. The work is rarely realized in its totality. Performers tend to focus on distinct passages. It can be performed by a single player, or by as large an ensemble as possible. There is no indication of preferred instrumentation or duration. Because the work bears no description beyond itself, there is little to say about it. Wanting to share it, I’ve included three realizations focused on pages 1-14, 57-58, and 140-165, by separate ensembles respectively. I’ve also included a series of images which depict the score in its totality, an image of the original bound score made by Cadrew, and scans of the each of its entire 193 pages. I hope you enjoy."
corneliuscardew  music  1960s  indeterminacy  johncage  graphic  musicnotation  notation  avantgarde  composition  mikhailbakunin 
march 2016 by robertogreco
The Humane Representation of Thought on Vimeo
"Closing keynote at the UIST and SPLASH conferences, October 2014.

References to baby-steps towards some of the concepts mentioned:

Dynamic reality (physical responsiveness):
- The primary work here is Hiroshi Ishii's "Radical Atoms":
- but also relevant are the "Soft Robotics" projects at Harvard:
- and at Otherlab:
- and some of the more avant-garde corners of material science and 3D printing

Dynamic conversations and presentations:
- Ken Perlin's "Chalktalk" changes daily; here's a recent demo:

Context-sensitive reading material:

"Explore-the-model" reading material:

Evidence-backed models:

Direct-manipulation dynamic authoring:

Modes of understanding:
- Jerome Bruner:
- Howard Gardner:
- Kieran Egan:

Embodied thinking:
- Edwin Hutchins:
- Andy Clark:
- George Lakoff:
- JJ Gibson:
- among others:

I don't know what this is all about:



New representations of thought — written language, mathematical notation, information graphics, etc — have been responsible for some of the most significant leaps in the progress of civilization, by expanding humanity’s collectively-thinkable territory.

But at debilitating cost. These representations, having been invented for static media such as paper, tap into a small subset of human capabilities and neglect the rest. Knowledge work means sitting at a desk, interpreting and manipulating symbols. The human body is reduced to an eye staring at tiny rectangles and fingers on a pen or keyboard.

Like any severely unbalanced way of living, this is crippling to mind and body. But it is also enormously wasteful of the vast human potential. Human beings naturally have many powerful modes of thinking and understanding.

Most are incompatible with static media. In a culture that has contorted itself around the limitations of marks on paper, these modes are undeveloped, unrecognized, or scorned.

We are now seeing the start of a dynamic medium. To a large extent, people today are using this medium merely to emulate and extend static representations from the era of paper, and to further constrain the ways in which the human body can interact with external representations of thought.

But the dynamic medium offers the opportunity to deliberately invent a humane and empowering form of knowledge work. We can design dynamic representations which draw on the entire range of human capabilities — all senses, all forms of movement, all forms of understanding — instead of straining a few and atrophying the rest.

This talk suggests how each of the human activities in which thought is externalized (conversing, presenting, reading, writing, etc) can be redesigned around such representations.


Art by David Hellman.
Bret Victor -- "

[Some notes from Boris Anthony:

"Those of you who know my "book hack", Bret talks about exactly what motivates my explorations starting at 20:45 in "

"From a different angle, btwn 20:00-29:00 Bret explains how "IoT" is totally changing everything
@timoreilly @moia" ]
bretvictor  towatch  interactiondesign  davidhellman  hiroshiishii  softrobotics  robots  robotics  kenperlin  jeromebruner  howardgardner  kieranegan  edwinhutchins  andyclark  jjgibson  embodiedcognition  cognition  writing  math  mathematics  infographic  visualization  communication  graphics  graphicdesign  design  representation  humans  understanding  howwelearn  howwethink  media  digital  dynamism  movement  conversation  presentation  reading  howweread  howwewrite  chalktalk  otherlab  3dprinting  3d  materials  physical  tangibility  depth  learning  canon  ui  informationdesign  infographics  maps  mapping  data  thinking  thoughts  numbers  algebra  arithmetic  notation  williamplayfair  cartography  gestures  placevalue  periodictable  michaelfaraday  jamesclerkmaxell  ideas  print  printing  leibniz  humanism  humanerepresentation  icons  visual  aural  kinesthetic  spatial  tactile  symbols  iot  internetofthings  programming  computers  screens  computation  computing  coding  modeling  exploration  via:robertogreco  reasoning  rhetoric  gerrysussman  environments  scale  virtualization 
march 2015 by robertogreco
Music Notation Training
"Learning to read notes it is quite hard and it needs a lot of practice to become really fluent. I search the internet and there was no simple app that I like so I've built it by myself."
education  music  onlinetoolkit  tcsnmy  toshare  edg  srg  notation  from delicious
september 2011 by robertogreco

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