[D-G] computers and society (in relation to cinema, science, and philosophy)

Mike Lansing badger2 at mail2world.com
Fri Sep 28 14:50:16 PDT 2018

In addition, we would ask D&Gers in France to say bonjour to Annick
Claude for us. She sent one of her engravings to Deleuze and I had
received his hand-written thank you note, though unfortunately it was
lost in the chaos of the years. Annick remembers the saxophone, when
she visited the American Midwest.

Annick Claude

<-----Original Message-----> 
>From: Mike Lansing [badger2 at mail2world.com]
>Sent: 9/28/2018 10:20:22 AM
>To: deleuze-guattari at lists.driftline.org
>Subject: Re: [D-G] computers and society (in relation to cinema,
science, and 
>The non-visual is exemplified in comparing guitar and piano players
>woodwind players. The latter (except perhaps for soprano sax) mostly
>never had the luxury of being able to see where their fingers were
>moving on their instrument. In learning a vocabulary, like learning an
>orthography, a Japanese alphabet trumps the inherent orthographic
>dilemma of Chinese: an alphabet reveals the consonants that were hidden
>from the beginning due to a syllabary, which never has shown what a
>consonant looks like standing on its own two feet because it is always
>already coupled to a vowel. In conjunction with this developing
>alphabet, we have linked it to a musical application for woodwind
>players. Because there are basically twenty keys on a saxophone and
>there are also basically twenty amino acids, the aminos can be assigned
>to the sax keys according to their each-unique isoelectric points.
>Thus, the arrangement looks like this:
>Concert Pitch
>E flat = R (arginine) (Insert Japanese alphabet instead of Chinese
>D = K (lysine)
>C sharp = H (histidine)
>C = P (proline)
>We did not know of the "Pi Piano" (Youtube) until we were already some
>months into this development for music, but it is applicable for memory
>retention because it uses a sense that normally does not get used when
>reading scientific or medical texts. Tus, it is possible to study
>Alzheimer's genes by also "playing" them. When we come to a mutation,
>the "composer" certainly has the wherewithal to insert ominous-sounding
>chords into the melody line, which has already been written by Nature.
>And as we have discovered, the range of variability in these amino acid
>melodies is as complex as radio waves. Fractals underlying heart
>rhythms are another investigative trajectory.
>-----Original Message-----> 
>>From: .Sylvia_Jenepi. [sylvia_jenepi at brokenvessels.xyz]
>>Sent: 9/27/2018 6:21:21 PM
>>To: deleuze-guattari at lists.driftline.org
>>Cc: deleuze-guattari-bounces at lists.driftline.org
>>Subject: Re: [D-G] computers and society (in relation to cinema,
>science, and 
>>la suite de ma réflexion sur les outils 3d et la société moderne icy: 
>>(very interesting!!)
>>quote=rray post_id=60492 time=1537798681 user_id=552
>>There's no need to have the complete node list memorized but with
>>you will get a better idea of what ICE nodes/Houdini ops are or are
>>designed for. With that knowledge it will be easier to memorize nodes
>>I would say easier than learning vocabulary. But it's still unlike
>>made plugins like the geo elev mixer which were designed to be easy
>>use. It's more like using a radio thing vs. building a radio.
>>i have to thank you for your explanation of course.
>>as for the philosophy of artistic designing,
>>i am wondering about the societal structural function of switching
>>visual "analog radio thing", to ICE and Houdini "nodes" as non-visual 
>>radio building.
>>don't you think that the point in developing one kind of tool instead
>>the other,
>>besides increasing the possibilities of "resolving power" of the 
>>could as well narrow the field of the cinema industry?
>>you sort of increase the range of variability of possible radio 
>>stations so much, like "struck by fear of loss", "panic" ,
>>that everybody "uses the same (difficult) learning curve" so much
>>the cinema industry gets more "rational", "organized", but less
>>intelligent (even if more spectacular in one same polarized vector?)
>>the question which comes to mind is: with ICE, for example, how to be 
>>able to build a fractal nicer "analog" little tools tool such as the 
>>"geographical elevation mixer",
>>which reintroduces an ability to escape the learning curve, which
>>you all the spectrum of tools to be creative, and to discover (slowly
>>one's own rhythm) a personal learning curve, a more interesting one,
>>and be cause to enabling one to rapidly scope across a variability of 
>>radio stations, or pick up and invent new fractal and visual radio 
>>so my new question is: do you think it would be possible with ICE or 
>>Nodes: how to create with Nodes a tool for re-creating for Artists,
>>tools as the "geographical elevation mixer"??
>>thanks again!
>>sylvia jenepi
>>List address: deleuze-guattari at driftline.org
>>Archives: www.driftline.org 
>List address: deleuze-guattari at driftline.org
>Archives: www.driftline.org 

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