THE PASSION caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror.In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it. Hence arises the great power of the sublime, that, far from being produced by them, it anticipates our reasonings, and hurries us on by an irresistible force. Astonishment, as I have said, is the effect of the sublime in its highest degree; the inferior effects are admiration, reverence, and respect. — On the Sublime and Beautiful, Edmund Burke
Just days following the official launch of Stefan Neville’s latest Pumice album, Quo, we receive sad news that his iconic “little silver guitar” was severely maimed while in transit back home to Auckland. Considering this recent news, and that I managed to see Pumice less than one month ago in Brooklyn’s Union Pool, performing what would come to be one of Neville’s last shows of a worldwide tour, silver guitar strumming along wistfully, I now assume there’s some sort of divine favor shining down from the heavens, drenching my cubicle with an aura of good fortune.
With this in mind, I look forward to an afternoon commute free of the pestering need to look both ways before crossing Manhattan’s busy streets. See you tomorrow!
Quo’s excellence is a fitting fitting tribute to the fallen instrument.
Just in time for the approaching 60th anniversary of the first commercially available general purpose computer — The Ferranti Mark 1 — the BBC unveils what may be the earliest surviving electronic recording captured on that very pioneering device at the University of Manchester, some time during the autumn of 1951. Oddly enough, the recording wasn’t even recorded separately, saved only as part of a news broadcast.
From the BBC:
Paul Doornbusch, a computer music composer and historian at the New Zealand School of Music, told BBC News.
“As far as I know it’s the earliest recording of a computer playing music in the world, probably by quite a wide margin.”
The previous oldest known recordings were made on an IBM mainframe computer at Bell Labs in the US in 1957, he said.
…
following the recording, a university engineer called Frank Cooper asked if he could have a copy. Unable to give him the original, the BBC team cut him another version.
“At the time of the recording outside broadcasts were recorded on to acetate disks,” explained Mr Burton. “You can hear the presenter tell the recording engineer in the van ‘lift Jim’ and that meant lift the cutter off to stop recording.”
During the session, the temperamental machine managed to work its way through Baa Baa Black Sheep, God Save the King and part of In the Mood.
Following one aborted attempt, a laughing presenter says: “The machine’s obviously not in the mood.”
The disc was eventually passed to the CCS, who, along with the University of Manchester, has released the recording to mark the 60th anniversary of the Ferranti machine’s forerunner.
Plenty of additional information about the Ferranti is available at computer50.org, including an incredible sales brochure produced originally to promote the (then very bizarre) new machine.
All machines of this type can do THREE things:
They can perform all the operations of arithmetic exceedingly rapidly…
They can remember a great many numbers…
They can make decisions…
It can make decisions! Wikipedia, though, makes an important distinction, noting Australia’s CSIRAC beat The Ferranti to the first electronic composition by at least several months. While CSIRAC’s music was never recorded, original copies of the program allowed researchers to meticulously reconstruct that first recording. (note: I’ve stored the audio files below on my web space so I’m not leeching off their bandwith — see previous links to reach original document and audio files)
There are many things people do not know about BARACK OBAMA. It is every American’s duty to read this message and pass it along to all of their friends and loved ones.
Barack Obama wears a FLAG PIN at all times. Even in the shower.
Barack Obama says the PLEDGE OF ALLEGIANCE every time he sees an American flag. He also ends every sentence by saying, “WITH LIBERTY AND JUSTICE FOR ALL.” Click here for video of Obama quietly mouthing the PLEDGE OF ALLEGIANCE in his sleep.
A tape exists of Michelle Obama saying the PLEDGE OF ALLEGIANCE at a conference on PATRIOTISM.
Every weekend, Barack and Michelle take their daughters HUNTING.
Brian Turner broadcast a short eight minute Ignatz live session last week, recorded in the WFMU studios. Tragically, I missed Ignatz playing live just last weekend in NYC. Celebrate Psi’s Ignatz release, I Will Soothe My Eye To Feast It With A Sight of Beauty, is a favorite of mine. Last year’s Quiet as Mice, though I haven’t been able to enjoy is as thoroughly, was certainly a highlight of 2007. Turner’s fellow WFMU dj Fabio (my favorite at the station) even selected the cassette release for his year-end best-of list.
Oddly enough, this FMU performance sounds unlike most of what I’ve heard from Ignatz. Last year’s album, II,released on Kraak, is the best example of the sound Bram Devens developed for Ignatz (stream II & Ignatz @ last.fm). Steven R. Smith and Stefan Neville/Pumice obsessives like myself likely found themselves instantly enamored with the dingy lo-fi Ignatz ditties. This latest recording, completely instrumental, sounds to be a bit of a departure. The long, speculative drone piece sounds more like a Peter Wright recording than what I expect from Ignatz. Devens’ rubbery lo-fi vocals were always a highlight of his work, but are completely absent on this FMU session.
Of course, there’s no better place to experiment and modify your sound than on the road and during radio live sessions. Svarte Greiner, Elegi and Peter Wright are the best comparisons to this live recording I can conjure at the moment. Ambient leanings, and creepy atmospherics could be an exciting addition to Devens formula. I look forward to seeing whether his experimentation here is featured on a future proper release.
I generally enjoy much of what The Atlantic publishes, but Gregg Easterbrook’s feature article last month regarding the delights of our solar system, especially near earth objects, was especially delightful. We’ve all heard a great deal about humanity’s untimely demise at the hands of an errant asteroid from the likes of Bruce Willis and Morgan Freeman, but the threat has always seemed too abstract, too existential to really resonate. Reading about the 1908 Tunguska Event for the first time a few months ago, and more recently enjoying Easterbrook’s Atlantic article, these issues started to come into more focus. Wikipedia provides this helpful summary of the Tunguska Event:
The explosion was most likely caused by the air burst of a large meteoroid or comet fragment at an altitude of 5-10 kilometres (3-6 miles) above Earth’s surface. Different studies have yielded varying estimates for the object’s size, with general agreement that it was a few tens of metres across.
Although the meteor or comet burst in the air rather than directly hitting the surface, this event is still referred to as an impact. Estimates of the energy of the blast range from 5 megatons to as high as 30 megatons of TNT, with 10-15 megatons the most likely - about 1000 times as powerful as the bomb dropped on Hiroshima, Japan and about one third the power of Tsar Bomba.
Easterbrook’s Atlantic article notes, “had the explosion occurred above London or Paris, the city would no longer exist.” Delightful! While the 1908 air burst over Siberia is certainly chilling, another possible (relatively recent) asteroid impact is even more shocking.
Abbott believes that a space object about 300 meters in diameter hit the Gulf of Carpentaria, north of Australia, in 536 A.D. An object that size, striking at up to 50,000 miles per hour, could release as much energy as 1,000 nuclear bombs. Debris, dust, and gases thrown into the atmosphere by the impact would have blocked sunlight, temporarily cooling the planet—and indeed, contemporaneous accounts describe dim skies, cold summers, and poor harvests in 536 and 537. “A most dread portent took place,” the Byzantine historian Procopius wrote of 536; the sun “gave forth its light without brightness.” Frost reportedly covered China in the summertime. Still, the harm was mitigated by the ocean impact. When a space object strikes land, it kicks up more dust and debris, increasing the global-cooling effect; at the same time, the combination of shock waves and extreme heating at the point of impact generates nitric and nitrous acids, producing rain as corrosive as battery acid. If the Gulf of Carpentaria object were to strike Miami today, most of the city would be leveled, and the atmospheric effects could trigger crop failures around the world.
What’s more, the Gulf of Carpentaria object was a skipping stone compared with an object that Abbott thinks whammed into the Indian Ocean near Madagascar some 4,800 years ago, or about 2,800 B.C. Researchers generally assume that a space object a kilometer or more across would cause significant global harm: widespread destruction, severe acid rain, and dust storms that would darken the world’s skies for decades. The object that hit the Indian Ocean was three to five kilometers across, Abbott believes, and caused a tsunami in the Pacific 600 feet high—many times higher than the 2004 tsunami that struck Southeast Asia. Ancient texts such as Genesis and the Epic of Gilgamesh support her conjecture, describing an unspeakable planetary flood in roughly the same time period. If the Indian Ocean object were to hit the sea now, many of the world’s coastal cities could be flattened. If it were to hit land, much of a continent would be leveled; years of winter and mass starvation would ensue.
I’m not entirely sure why I’m obsessed with space-based articles recently. I hope to share mostly music here, but occasionally I can’t resist drifting off focus if I’ve recently been reading material even more compelling than Machinefabriek’s 13th 3″ cdr release of the year.
Best of all, Easterbrook’s article ends on a high note. After explaining at length the horrible danger of asteroids, he casually concedes, “But when it comes to killer comets, you’ll just have to lose sleep over the possibility of their approach; there are no proposals for what to do about them… because many comets change course when the sun heats their sides and causes their frozen gases to expand, deflecting or destroying them poses technical problems to which there are no ready solutions.”
Another more dramatic simulation of an asteroid strike is included below the fold. The simulation below is more cinematic, but really nothing to worry about. As Easterbrook reminds us, those relatively small (and relatively common) objects — like the 30m Tunguska Event asteroid — are our real concern.
Elephant9’s Dodovoodoo — the debut release from the trio of “Ståle Storløkken (Supersilent, Humcrush) on keyboards, Nikolai Eilertsen (The National Bank, Lester) on bass and Torstein Lofthus (Shining) on drums” — was released late last month on the ever reliable Rune Grammofon label (buy it). At long last, the album is in stock at the distros; I eagerly await my copy.
May 26, 2008 — A telescopic camera in orbit around Mars caught a view of NASA’s Phoenix Mars Lander suspended from its parachute during the lander’s successful arrival at Mars Sunday evening, May 25.
The image from the High Resolution Imaging Science Experiment (HiRISE) on NASA’s Mars Reconnaissance Orbiter marks the first time ever one spacecraft has photographed another one in the act of landing on Mars
…
Camera pointing for the image from HiRISE used navigational information about Phoenix updated on landing day. The camera team and Phoenix team would not know until the image was sent to Earth whether it had actually caught Phoenix.
“We saw a few other bright spots in the image first, but when we saw the parachute and the lander with the cords connecting them, there was no question,” said HiRISE Principal Investigator Alfred McEwen, also of the University of Arizona (arizona.edu).
With data recorded on board Mars Express, you can hear Phoenix descend on to the surface of the Red Planet. After being processed by the Mars Express Flight Control Team, the sounds of Phoenix descending are audible, loud and clear (esa.int).
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