Nimrod

Lucky #$%#. Nothing like Yoshi's near me.

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I tried it for several jazz musicians... for Charlie Parker it gave reasonable results; for a few others it didn't seem to know much about them... then I tried Joe Henderson and it has Violent Femmes as the closest node, which is rather ridiculous (NTTAWWVF) (is there some other Joe Henderson out there?).

Reply to
Areff

On 12 May 2005, Don wrote

There are some odd things going on in there.

My free (5-artist) "track where they're performing" at

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-- now, there's an *extremely* useful site -- includes John Prine, Dr John, Randy Newman and Don McLean. (So sue me.)

If you centre on any of those guys, *none* of the others appear on the map; I wouldn't have thought that including those four on the same list of "concerts I'd go to" is somehow perverse; it makes sense to me, even if it doesn't to that site's mapping algorithm.

Reply to
Harvey Van Sickle

Given to masses orbiting each other their given location at any given time can be calculated. Given three, we don't yet know how. To figure it out, it has to be done iteratively through time from a known starting condition.

This should be similar. Yes, there is a stable solution (there may be more than one). But since they all don't get to act simultaneously in real time, any given artist has to move to where it THINKS it will be happy. When it gets there it may find that something else has moved a little too close. So next time it tries to take a step away. But when it does that, everybody else nearby gets changed... and they danced.

This should happen if they all figure out where they are going to go next then time ticks and they all move at the same time or if (as it appears here) each artist calculates then moves at once then the next artist is moved to.

Not uncommon problem. Common solutions might be "if a step is smaller than LIMIT then don't bother moving" or "if after a certain time you haven't moved further than n from your average position over that time don't bother moving."

Reply to
gruhn

For instance, Danny Elfman of Oingo Boingo fame, is "classically" trained. He wrote the music for the Simpson's, some of the Batman movies, Beetlejuice, Darkman & others. He also wrote the music for the "Nightmare Before Christmas" and had the lead voice roll. Very talented guy. And, when I'm in a funk, some Boingo helps me out...

P
Reply to
3D Peruna

What's the problem? Seems somewhat interesting to me...

Reply to
3D Peruna

Don wrote: Heard this question on talk radio today.

What is the most *played* song in the world? (it is being played continuously, 24/7, somewhere around the world)

I was a little bit disappointed when I found out. Sorta.

Laughter, tears, hopes, fears. Disappointment is sorta the anti-hope.

-- --------------------------------------------- Richard Maurer To reply, remove half Sunnyvale, California of a homonym of a synonym for also.

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Reply to
Richard Maurer

"Don Phillipson" wrote in news:Xqwee.1107$ snipped-for-privacy@newscontent-01.sprint.ca:

OH! Well I was sure way off base :( ! I wonder how I got it mixed up with Greek gods?

Thanks for the info :)

Reply to
Kris Krieger

Chris Malcolm wrote in news: snipped-for-privacy@individual.net:

Bugs Bunny is a very interesting character for that reason. There are layers in those old cartoons - they so much funnier now than they wer to me when I was a kid ;)

Reply to
Kris Krieger

"Will" wrote in news: snipped-for-privacy@o13g2000cwo.googlegroups.com:

Which IMO is in the top 5 most ineffably beautiful pieces of music ever written, anywhere, at any time.

Reply to
Kris Krieger

[snip]

Well, they had Orion, frequently described as a "mighty hunter."

Reply to
Donna Richoux

the Omrud wrote in news: snipped-for-privacy@news.ntlworld.com:

[ ... ]

Fun link ;) !

I think it's accuracy is based upon what people enter. For example, there was no entry for "Sahdowfax". But, as enter it, and enter artists whosework I enjoy, and then respond the recommendations, I think all of that gets added to the map. There is probably a numerical value associated with how many times people click on any artist's name plus their reponse to the recommendations.

Since it's statistical, it depends upon the numbers of the respondents. SO, the more people who learn about it and respond to it, the more accurate it can become (if, that is, matters of taste can be "accurate"...)

Cool ;) !

Reply to
Kris Krieger

Charles Riggs wrote in news: snipped-for-privacy@4ax.com:

If I remember correctly, Spyrogyra a type of algae that takes the form of a helix...

Reply to
Kris Krieger

But the Lark Ascending is in a class with few others, because it must be heard played on its own instrument (violin). A piano transcription would be almost no good at all, whereas piano transcriptions of lots of orchestral music sound just fine. (By contrast, Debussy's Cathedrale Engloutie would sound awful played on a violin.)

Reply to
Don Phillipson

"John Holmes" wrote in news:42831b57$ snipped-for-privacy@dnews.tpgi.com.au:

[ ... ]

THe thing is that there is no analysis. It's just based upon what people like. So if I say that I like Shadowfax, Simple Minds, Tangerine Dream, Enya, R. Carlos Nakai, Inuit throat singing, Rennaissance music, Brahms, Vaughn Williams, Jethro Tull, Gamelan music, Adiemus, David Lanz, Depeche Mode, Debussy, and, well, you get the drift, and you saw all that on a chart, you'd probably say "What the *hell*...?!?!"

OTOH, if there was a blurb about what they might have in common, it'd make more sense.

Another thing is that classical (in the broad sense) and jazz have a lot in common, because many jazz musicians and composers (if I recall correctly) do have at least some classical training. I havea CD by Coltrain, for example, called "A Love Supreme", and it is certainly as complex in some parts, as melodic/lyrical in others, and as dynamic, as classical music. Ian Anderson (of Jethro Tull) had classical training and classical themes and elements are frequent in his music.

It also makes sense to me, in an odd way, that Tchaikovsky might be closer to BBKing than, say, even Rimsky-Korsakov, but I'm not sufficiently educated in music theory to offer an actual analysis. The main point is that musical preference can easily go beyond a specific style or even a specific artist/composer. For example, I like the juxtaposition of a lyrical quality, polyphony, and syncopation/rythmic complexity, so those are elements that tend to show up in pieces I like, regardless of "style" or period.

It's not all that different from the way one can like buildings that, superficuially, seem to be almost opposed stylistically - music, after all, is the other side of architecture and visa versa. The same holds true of art and also of science - it's not uncommon for scientists (I mean the research types, the deeper thinkers) to admire someone for their "elegant solutions" - i.e. clarity, the way it all hangs together - tho' the concept is one of those things that is difficult for me to explain verbally - suffice it to say, that there *is* such a thing as "a beautiful experiment" (and science and art are also not at all as divergent as is commonly thought).

So strict style is IMO rather a small part of it. "Style" is defined through dissection of a work. When one's tastes *seem* to be divergent, it's often because the person is experiencing the thing whole, as opposed to dissecting it. Often, tho', people get "stuck" on the pieces and miss the "gestalt".

Overall, IMO there is often far too much separating, division, lementalizing in general. It's almost like trying to analyze Rodin's sculpture "The Kiss" by sawing it up into 1mm-square bits and performing a chemical analysis on all the bits, comparing the internal composition with that of the different surfaces and so on - in the process, the gestalt, which is to say, the art, the reason people like it, is lost.

Hopefully that makes some sense - this is another thing I'm completely unaccustomed to discussing, and it's something I "sense" (in my own odd visual/spatial mode of thinking) rather than "think" (in the more typical linear-logical/a-then-b-then-c verbal mode of thinking). So it's difficult for me to communicate it verbally - but hopefully some of the above will suffice :)

Reply to
Kris Krieger

"Mike Lyle" wrote in news: snipped-for-privacy@individual.net:

Or, how about, since it's a database open to public entries, people are online and making entries, whcih change the numbers, and therefore the positions...

Reply to
Kris Krieger

"Don" wrote in news:nbxge.1197$ snipped-for-privacy@newsread2.news.atl.earthlink.net:

It's just part of the way in which sociologists/psychologists are currently defining "intelligence". I think what it's supposed to mean is that one has learned how to feel, recognize in others, and respond effectively/acceptably to, emotional stimuli, or something along those lines. I'm sure it's just a new phrase to describe a long-recognized phenomenon/trait, but I don't know (or at least, can't remember - same effect in the end) what it would have been called previously. It's like (if I can spell this right) "kinesthetic intelligence" - which used to just be called "being coordinated" or having a talent for sports ro dancing - physical ability. Now it's "kinesthetic intelligence".

HTH

Reply to
Kris Krieger

Violin? Oh, I guess you're not talking about the Fairport Connection recording of "The Lark in the Morning". I prefer it to the Steeleye Span version.

Reply to
Tony Cooper

Oy!

Reply to
Areff

The BBC reported a recent study which produced a lot of evidence of empathy in monkeys (or it might have been apes). If I can find a reference to this I'll post it here.

This US page summarizes a similar-sounding study:

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"A body language experiment at Harvard reflects a shift in thinking among neuroscientists about how humans, primates and other mammals respond to emotion in others, from fear to joy."

This, rather older, article plays into it too, mentioning bonobos specifically:

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Matti

Reply to
Matti Lamprhey

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