Saturday, December 31, 2016

Post Metallic Thousand Years

Imagine a young art historian at a vernal college, studying the gradient of art movements that led through modern art. The art historian would say that after the post-modern, we will continue progress through hypothetical trans- or hyper- modernities. I propose that the post-modern is more akin to the medieval, a long limbo full of organic development, lacking massive organizational inventions such as the roman empire or electronics.

Examine the modern, a time when the world learned of itself as metallic inventions flourished in the humanosphere. Jesus was importantly placed at the beginning of the Roman Empire, as its interrogator. To me, Rudolph Steiner was messiah for the 1889 metallic inventions, such as the steam locomotive and electric generation.

Does rich metallic invention imply a continual fracturing of media from here on out? Does this constitute continual moore's law for inventiveness? Or is it a middle ages of people re-working the standard tool–a computer–for a thousand years!

The self-steering car does not violate Butlerian Jihad, as the car imitates itself.
Paul Virilio _ an accident museum for the google car. So many screaming crashes.

Interested not in progress, but how can we view these thousand years of re-hashing as a holographic crystal until we stumble upon a new effect. A medieval that isn't that, rather a post-metallic epic, for a thousand years!

Wednesday, December 28, 2016



Saturday, December 17, 2016

red-green politicookies

The terrain of red-green 
politics is a rocky shoreline, 
burnt in places: cookies!

Monday, December 12, 2016

Sidrazzi Alumina Festivibus

For the holiday of Festivus, the Polish workman at Ciat-Lonbarde has assembled these six Sidrazzi Alumina.
  • My tribulation was to build these aluminum organs with wood. 
  • My grievance is that politics does not have enough body without organs.
sidrazzi alumina festivibus
The aluminum refers to the sacred metal of festivus, while warm brass nodes electrify the back side. The sidrazzi is a distinctively non-secular non-gift for this most secular of sacred times. Truly spiritual.
rogue president wanders holy lands beside arbitrary organ
The main organ of a president is his military and missiles. The sidrazzi was designed as a portable sidrassi–a parlor organ for aristocrats to sound random melodies and emperors to lead noise invasions. The red buttons press a military sound effect and release arbitrary pitch settings. Musical violence: totally failing!

big knob
The president's organ must have a big knob. He said so himself.  Actually we're redacting that. We want it to have a big knob but not that big (it didn't look good). Special edition of six.

Us need Islamic music

American flag in colors of Islam
I don't propose bowing heads to a caliphate, or treating anyone unfairly. I don't know the teachings of Muhammad except for one– that kalonji cures "everything but death." I probably will never have the time to read the Koran. From my experience as instrument maker, however, I feel that we need more Islamic music.

In this flag the blue party has been excised and replaced by a "black lives matter" party. These four colors of Islam– black, white, green, and red– have so much to do with America! Think of our winter customs around Christmas– the green and red of holly wreaths, and twinkling candles in a fir tree. What would a black party look like?

Holly Wreath by Kirito
I know that in Islamic art, representation of the face is forbidden, because man should not imitate God's work. This injunction has brought about the most sophisticated sense of geometric and calligraphic design in those with faith. What is non-representational music?
The neutral third distinguishes Arab and Islamic music from Western twelve tone music. Sitting somewhere between the minor (sad) and major (happy) third, I would like to speculate that it evokes warm and memories to those who grew up in Islam, and a fear to those who fear, including those who believe in only "sad" and "happy." It reflects a deep subtlety of emotion to map a pitch in the unknown, irrational place between the strong poles of major and minor. Ancient Arab theorists searched for a representative integer ratio, and only came up with subtler variations. The numbers in the "Wosta of Zalzal" ratio–27/22–pop up in the most common resistor values of electronics design. Exploring the musical dynamics of resistor ratios, I have found many neutral thirds. I can also hear them in train sounds, because the industry has tacitly found efficiency in this temperament.
The Wosta of Zalzal, in inhabiting a vague space between the poles of minor and major, mocks not the peace and passion of God. All the ratios for tones in this area are geometrically sophisticated, employing elevens; no wonder Zalzal the faithful found ecstasy here.

In Islam, green symbolizes peace, and red means passion. Santa Claus with his red velvet suit as passionate individual? The green fir tree is a quiet peaceful spot.

In the common integers of the industrial capacitor series, I have found Zalzal's de-representation of geometric complexity. I used the E6 set in the green boards of Tocante instruments.

Now for this 2016 season of peace and harmony, I have recently manufactured the alternate numbers of the E12 series in a series of red boards!

Give the gift of Islamic music for the holidays.
Look at the numbers and enjoy them. You can see many relationships of 27/22 and 11/9, bringing an eleven harmony into each instrument and also the relationship between instruments. Music is an expression that can not bomb or murder. Give Islamic music a fair representation in your life.
The AT3 by casio is a keyboard designed specifically for "Arab tuned" music. Also, note that Hormoz Farhat's work shall explain neutral intervals and the following "Westernized" notation:

Notation of observed intervals between green and red Tocante scales.
From: Daniel Fishkin

To: Peter Blasser

over turkish coffee, you suggested a blog post about the different/similarities of color theory of different cultures, based around red/green. christians see these colors as christmas, family togetherness, and muslims see these colors as religious devotion, religious love.

i was saying that could see the value of this post from a "copy" perspective—building layers of meaning, and creating compelling incentive for your market to purchase the red series.

But my critique was to imagine a more nuanced, academic tone that you might also flex. Essentially, "color theory" as you suggested it is only interpretive—because you're looking at the meaning of colors through subjective experience (christmas). i think this is the crux and failing of all color theory—it's just about what do these colors mean emotionally to the viewer. you have a lot more layers of analysis, you could go deeper in that territory—i think you displayed this in the eContact essay of ovalsynth, where the blog post was more gonzo crazy. or, your thesis. for example, the wosta of zazal—from whence does it come? which culture, exactly? are there more?

what are these neutral thirds, and how do we base music on them? tocante is suggesting an answer, but the history of music has suggested other answers...what are they?

here's my engineer spiel which i think is more "academic" if less "juicy" than the colors
you derive 27/22 from the preferred number series e12, right? (e6 over e6) so my question is a little more broadly cultural, what are engineers and what is their contribution? it could be technopositive or it could be dystopian. depends on the analyzer. So perhaps — is it Amoral? Perhaps the engineers

And perhaps that's the ideal of the wosta, occupying that in between space between essentialized emotions, between polarities ("major" and "minor", "sad" and "happy", "green" and "red") and by occupying that neutral space, reveals how fruitless those polarities are as sole signifiers of any particular meaning. (of course, a song in a minor key can become "happy", and the love of christmas can become "war")
From: Peter Blasser

To: Daniel Fishkin

The whole red/green problem arose because I needed a new color for tocante to symbolize its second tuning. I had always used green soldermasks, partially for the tradition of circuit design, and partially because I like green. Now I had to drop the menu and pick the next color: red. Thinking in cliches, I worried about getting the boards ready for Christmas, and then I thought about the rest of the world. Thus the red/green problem asks the internet if these colors are appropriate to Islam. The oracle read back in assurance that black, white, red and green are in fact sacred. An optimistic boon that we shall get along!

Tuesday, November 22, 2016


A holly wreath and a cup of worms.

In addition to the normal mode of stereo-diffusion, the worm-way is to ground a cable with the side-banana, and use a bare wire for signal. Try a fender blues junior. From Din Datin Dudero B/r/and

Wednesday, November 16, 2016


What follows are images from a soldering workshop
at Rhizome, DC, in October, 2016...
We are making solar sounders, as detailed in
an article in eCEC 18.3

Note strippers, nippers, and pliers. Iron at 421
Another workstation: assembling speaker resonator tubes.
That young man is not me.
Working together to solve capacitor problems.
This is me making tough face about capacitors.
Steve Korn focuses.
Trains finished at the Weller table.
Magnifying glass, masked solar panels.
Twisting capacitors together to make custom values.