News from kukulaj

  1. You can begin with the CDC's general toxicological profile:


  3. thanks, that is a perfect starting point!

  4. I’m not trying to be mean but if you understand the concept of counterpoint there’s no need to dive into an analysis of it in contemporary music, just listen to any song and you should hear the counterpoint.

  5. wouldn't that logic imply that music theory and analysis is unnecessary generally? Just listen to the music - you can hear what is going on, so why dive into analysis?

  6. rand focussed too much on the US as head of the snake, if you ask me. But sure, that's one way of thinking about it.

  7. What interests me these days is how to develop an approach that is focused on learning and adapting. We need to pursue a path that gives us the maximum ability for course correction. This ability means both the ability to change direction, but to gather new knowledge so we have a reasonably good idea about what adjustments would be helpful.

  8. Aren't we at the point of maximum agency, right this moment? We know exactly what to do, what to adjust and when. Plus, we actually have the means to do so.

  9. For sure our present situation is a good lesson in what kind of agency doesn't work!

  10. yeah I write software whose output is a score... here is a snapshot:

  11. I should add... the pitch in that score, p3 I guess, is proportional to the frequency. I usually multiply by 110 in the orchestra file, to get Hz.

  12. this has 11-odd-limit consonance.

  13. can you do more comma pump diagrams

  14. oh boy, what'll it do in a 7-limit temperament

  15. Here's some 171edo using 7-limit intervals...

  16. Kind of interesting but I didn’t feel like listening to 42 minutes of it…

  17. yeah you can sample just a few spots here and there and not be missing anything really!

  18. Here's my source code, for the wildly curious:

  19. I used to call them comma pumps, a sequence that moves to a comma that a tuning tempers out. But it's not much of a pump, since the comma vanishes in the tuning. So how about calling them comma traversals?

  20. What instrument do you play? Overtones are not so obvious on a piano, but boy if you play a trumpet... hard to miss! Easy enough too on a string instrument too, guitar, violin, etc. Standard tuning EADGBE on a guitar is a perfect embodiment of tempering out a syntonic comma.

  21. you should look at these papers by Paul Erlich:

  22. what I don't know about guitars would fill an encyclopedia... but anyway... talking about grounding....

  23. hardly. I switched first to a Kala Waterman ukulele, and now a Klos travel guitar. I've taken the ukulele out on bike tours but the guitar, not yet.

  24. None that I know of, unfortunately. Part of the problem is those tracks are right at the entrance to the Ogden yards, so there are a lot of trains stopping and waiting for switches to be realigned, etc., not to mention they're typically going slowly. Not like most grade crossings where it's just the occasional train passing at speed.

  25. They could include some kind of bike path to get across 12th street, just along the tracks would do, thanks. 12th Street is a real impediment to biking from point A to point B... it's very often between A and B, and very difficult to cross.

  26. I'd guess an oak colored sunbody... their selection varies over time...

  27. here is a kind of analytical score for the progression:

  28. but yeah (40) does not appear in that analytical score, so it's not like it got swapped in and out too quickly. It never got swapped in at all.

  29. A wool crusher has a floppy brim like that:

  30. here's a kind of analytical score for this progression:

  31. Do you know if the hat stiffens afterwards again? And would you say it's reversible?

  32. you might be near a good hat shop that can do this for you. In the old days, hats came with "open crowns", tall simple dome tops, and then folks would go to a shop and get it shaped the way they wanted.

  33. could be speakers too, like a rip in a speaker cone.

  34. could be 1970s, just guessing... lots of discussion at:

  35. The choices within that space are about as wild as they could be here though. The 5-limit stuff in 50edo is quite well-approximated to the point that it's possible to make extremely normal-sounding music in such a subset of it (its perfect fifth is 6 cents flat, its perfect fourth is 6 cents sharp, its major third is 2 cents flat, and its minor third is 4 cents flat).

  36. yeah there was some discussion somewhere about how G# is different from Ab... I've been poking around with 50edo for various reasons, but I thought that a simple chain of fifths scale like this should be a good demonstration. I suspect that what made this piece so wild is that somehow my algorithm was emphasizing thirds so much... it didn't turn out the way I had expected!

  37. Here's another piece in 50edo with a tighter scale and a much more conventional sound:

  38. Here's one of my algorithmic pieces in 72edo:

  39. You're all wrong, that's Jimi Hendrix from the Axis: Bold As Love album cover.

  40. once happy turquoise armies lay opposite, ready, but wonder why the fight is on...

  41. A huge effect with tire width is suspension. You can run wide tires at lower pressure, and generally should. It'd be interesting to model a skinny tire vs a fat tire on bumpy ground, to compare how much of the time is the contact patch zero, i.e. the bike has bounced clear off the ground.

  42. Amonton's Law is only sometimes true-ish (that friction does not depend on area), and it very much is not true for highly elastic materials such as rubber in car tires. [1,2,3] This is exactly why slick tires provide more grip than treaded...

  43. I tried to convince the physics grad student of this who was the lab instructor in my freshman physics class. No luck. I just gave up. "Law", ha!

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