Addition to National Gallery/Of Threads and Bridges

What is believed to be the oldest depiction of Anaphoria by a foreigner arrived yesterday from Japan accompanied by the interim ambassador R. Tomasula. Carbon dating places it at over 3500 years old and in pristine condition for a woodcut of this age. There has been much speculation about the arc between Anaphoria's two highest peaks as it coincides with many myths of this time as a connection that existed between two famous holy men who while never meeting seemed to provide the people with almost instantaneous dual proclamations.
It was known as the time of the great thread or bridge depending on which peak one is able to trace as the source of the story. Much to do as also been made about the actual curve itself resembling the exact proportions of some of Japan's famous bridges.

notation/invention-Kris Tiner

http://kristiner.com/blog/category/compositions/
It is not very often that one gets to get a good look at those whose work lie within the boundaries of composition and improvisation. Kris seamlessly combines both. I have always gained both musically and conceptually from the way Kris puts things- down on a page and also how he threats it. Especially check out Ele(jg)y and Recourse to Unison. At least!

review and dream

Perhaps it is odd to repeat this review but i found it quite accurate which is rare and welcomed. He missed the instruments but that is minor as he quite understood what was going on in the music.
http://www.wonderfulwoodenreasons.co.uk/
" Anaphoria - Footpaths and Trade Routes
(ini.itu #0902)
LP
Kraig Grady has been making his beautifully rotund music for quite a while and it shows. The struck bell (or prayer bowl) like ringing tones upon which his music is established are an erratically gentle fall of sound, unpredictable and incandescent. It's form is reminiscent of John Cage's Music for Prepared Piano but of a more elegant and stately nature.
Grady has previously recorded for ensembles but the three pieces here are two solo and one edited amalgam. All are delicately poised with shifts in tension given sparingly as the music waxes and wanes. There is a moonlit quality that is hugely immersive and compulsive. The music has a pull and a call based on it's refusal to settle into one particular shape and as such I've found yourself losing hours of time as I relentlessly flip the album over replaying each side in turn.
( www.iniitu.net )"

As an aside i have a recent dream here which surely is a response to reading Jung's The Red Book. While his work has always increased my dreaming, not usually in this direction.
http://annandaledreamgazetteonline.blogspot.com/

Two Recent Sculptures

Our special Antenna to get Radio Free Anaphoria and our Guardian Kachina at the outpost

Prelude to a Whirlpool

Thanks to Mike Cooper for putting this up who work can be found linked to this video. A very early show of Chris Abrahams and I and early in the set. Perhaps turn down the volume a bit if it distorts. It is not easy to record such thing off the cuff. It has evolved quite a bit since here and even the instruments have changed color:)

Talaprastara

Anyone who has crossed paths with Erv Wilson will sooner or later will be given a copy of Meru Prastara. So when looking at South Indian meters and stumbling across the term above, I had to take notice. In South India they have a method to figure out all the combinations and permutations, but they do so in a very specific order which when listed in a row one can easily fail to see the pattern. In these two diagrams the subdivisions of 6 and 7 are arranged in a way that i think makes the pattern method clearer.

Inverting Cage's Sqare Root Form/Wilson's Geometries

It has taking me a while to figure this out. The answer finally came when I was working on another problem. My brain is just not that linear.

Some time back while looking at Takemitsu’s application of Cage’s square root idea to Pitch, I stumbled upon its relationship to certain geometric structures of Erv Wilson. Pitch or duration doesn’t matter in that the structure is the same. I posted this to the Silence list that I was on at the time. I repeat the jest of that below.

This is the simplest example using only 4 durations. This gives us a good visual representation as to what happens with more complex examples. Here is the resulting square using A B C D to be what ever you want.

AA AB AC AD

BA BB BC BD

CA CB CC CD

DA DB DC DD

Now compare this with this excerpt from one of Wilson’s letters to John Chalmers found here
http://anaphoria.com/CPStoC-pt1.PDF shown above

One has only to replace the number by the letters.
What interests me though is the second diagram on this page.
Which shows a possible variation of Cage’s square root idea in reverse with each successive element having the reverse relationship above. To make this square, one uses the complementary elements not included in the original. This is what i had missed despite being right there in front of me.

BCD CD BD BC

DC ACD AD AC

DB DA ABD AB

BC CA BA ABC

It is interesting to observe where the two intersect which he does on the next page.






















More often than not such a form is used with more elements. With 6 elements [here using the first 6 odd numbers] we can see below what happens as a like wise inter structure and its complements.




The thing about the set made by the intersection forms a cycle and makes it easy to proceed to the next element in a smooth fashion. same with the other ones i mention later.
There is no reason at this point no to consider the combinations of 3 out of 6 and if we look at those points where it interests with it complement we get the Eikosany. One of Erv’s Favorite structures. Which you can find it the article linked above.

I had a dream two nights ago where i had my Meru bars in a pentagram which i post next. Perhaps my mind is more linear than i thought.