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Visualizzazione post con etichetta fuzzy. Mostra tutti i post
Visualizzazione post con etichetta fuzzy. Mostra tutti i post

domenica 23 ottobre 2022

# jazz: Eastside Romp. Jeff Parker (gui), Eric Revis (b), Nasheet Waits (d).

<< In May 2016, guitarist Jeff Parker, double bassist Eric Revis, and drummer Nasheet Waits spent a single day recording in a Pasadena studio. The seven tunes they cut appear on Eastside Romp. Mixed in 2018, it sat on a shelf for four more years. (..) No one except the creators know why it took six long years for this relaxed yet canny set to arrive, but its appearance adds immeasurably to the mystique and inventive creativity of these three musicians. >> Thom Jurek (T.J.)

- Drunkard's Lullaby
<< "Drunkard's Lullaby" is a group improvisation, laden with guitar effects, knotty bass vamps, and dialogic conversation between snare, hi-hat, and kick drum. Parker's abstracted soloing is saturated in distortion, and it short-circuits, staggering his already jagged lines, creating a barely restrained sense of power. The rhythm section intersects and interlocks in detailed, propulsive conversation as the guitar travels afield, adding more frenetic yet glitchy notes and layers of feedback. >> (T.J.)

- Wait
<< "Wait," the album's longest cut, was composed by the guitarist. It commences as a dirge led by Revis playing vamped chords. He establishes a circular vamp as Parker points at his changes and Waits dances limpidly on his tom-toms in 4/4. The languid lyric line crisscrosses post-bop, Spanish-tinged modalism, and blues. Parker moves between melody and angular improv as his bandmates respond with empathy, highlighting and expanding the reach of his labyrinthine harmonic lines. As a perfect complement, Waits offers a studio version of his oft-performed nugget "Between Nothingness and Infinity." Paraphrasing the title of 1973's live Mahavishnu Orchestra album Between Nothingness & Eternity, he frames a musical narrative that emerges directly out of Parker's deeply moving ballad-esque playing, adding textural airiness, rhythmic spaciousness, and harmonic depth to its melody. >> (T.J.)

- Similar Limits 
<< Opener "Similar Limits" is the set's only cover. Composed by the late alto saxophonist Marion Brown, it originally appeared on 1967's Porto Novo. The trio keep the iconic, Monk-esque intro after a brief roll from Waits. Parker and Revis play the staggered melodic intro as Waits rolls, fills, and accents all over the kit. As the bassist expands the tune's harmonic reach, Parker explores the underside with great sensitivity and swing. >> (T.J.)️

Jeff Parker, Eric Revis, Nasheet Waits. 
Drunkard's Lullaby, Wait, Similar Limits.
Eastside Romp.  Rogue Art 0113 (2022). 

Also

'jazz' | 'jazzy' | 'funky' |  in FonT (twitter)


'jazz' in Notes 
(quasi-stochastic poetry)









mercoledì 6 ottobre 2021

# gst: apropos of disorder & fluctuations

a 'synthetic disorder & fluctuations' from these two blogs ... 

keyword 'disorder' in FonT 

keyword 'disordine' in Notes (quasi-stochastic poetry) 

keyword 'error' | 'fuzzy' | 'noise'  in FonT



keywords 'errore' | 'errori' in Notes (quasi-stochastic poetry)


keyword 'caos' | 'caotico' in Notes  (quasi-stochastic poetry) 


keyword 'waves' in FonT 

keyword 'onda' in Notes 
(quasi-stochastic poetry) 

keyword 'gst' (General Sistem Theory) in FonT 





lunedì 22 marzo 2021

# gst: weird nature: the generation of complex (frilly, flexible, and functional) wrinkling patterns by 'defects'

<< A ubiquitous motif in nature is the self-similar hierarchical buckling of a thin lamina near its margins. This is seen in leaves, flowers, fungi, corals and marine invertebrates. We investigate this morphology from the perspective of non-Euclidean plate theory. We identify a novel type of defect, a branch-point of the normal map, that allows for the generation of such complex wrinkling patterns in thin elastic hyperbolic surfaces, even in the absence of stretching. We argue that branch points are the natural defects in hyperbolic sheets, they carry a topological charge which gives them a degree of robustness, and they can influence the overall morphology of a hyperbolic surface without concentrating elastic energy. >>️

Kenneth K. Yamamoto, Toby L. Shearman, et al. Nature's forms are frilly, flexible, and functional. arXiv: 2103.10509v1. Mar 18, 2021.


Also

keyword 'error' | 'fuzzy' | 'noise'  in FonT 




keywords 'errore' | 'errori' in Notes (quasi-stochastic poetry)







martedì 8 ottobre 2019

# gst: a cylindrical solitonlike that collapses into a spherical shape, and, along the filaments, central cores of matter exhibit fuzzies

In AA simulation, << the dark matter filaments show coherent interference patterns on the boson de Broglie scale and develop cylindrical solitonlike cores, which are unstable under gravity and collapse into kiloparsec-scale spherical solitons. Features of the dark matter distribution are largely unaffected by the baryonic feedback. On the contrary, the distributions of gas and stars, which do form along the entire filament, exhibit central cores imprinted by dark matter-a smoking gun signature of FDM ("fuzzy" dark matter). >>

Philip Mocz, Anastasia Fialkov, et al. First Star-Forming Structures in Fuzzy Cosmic Filaments. Phys. Rev. Lett. 123, 141301. Oct 2, 2019.     https://journals.aps.org/prl/abstract/10.1103/PhysRevLett.123.141301  

Jennifer Chu. This is how a 'fuzzy' universe may have looked. Massachusetts Institute of Technology. Oct 3, 2019       https://m.phys.org/news/2019-10-fuzzy-dark-disrupts-conventional.html   

FonT

intrigante qui come una simulazione di evoluzione cosmologica - filamenti strutturati a cilindro mutanti (collassanti) in strutture sferoidali (ma non a generica fluttuante frittella) formanti, nei filamenti di gas,  serie (sciami?) di kernel a dinamiche fuzzy - possa far immaginare generici contesti altri ...