I didn't get the sense this was LLM-written, but typo-signalling is... I donno a bit weird. Firefox is underlining some of the words as I write. I'm leaving "donno" unchanged even though it's flagging it as a misspelling but I suppose I'd still opt to fix something like "maiinstream" even at the risk of potentially seeming more LLM-ish!

Comments URL: https://news.ycombinator.com/item?id=48631991

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Maybe they're using your CDN to try to save some bandwidth costs and keep the service alive? Maybe reach out to him? (https://sleepbot.com/lookit/etc/dfoley.html) There's likely still a human on the other side and I doubt they're trying to do anything evil.

Comments URL: https://news.ycombinator.com/item?id=48578604

Points: 2

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Tom Johnson's Chord Catalog which organizes the 8,178 chords possible in a single octave of the piano: https://fr.wikipedia.org/wiki/The_Chord_Catalogue

James Whitehead's All Possible CDs: http://www.jliat.com/APCDS/index.html

> This “thought” experiment although based on real “physical” objects can be treated as a simple mathematical object and so allows us to explore some of the consequences of this object or objects. The important feature is that any finite series is fixed, so greater sized disks, blue ray, whatever, is not significant to the idea, that is in a finite universe there are a finite number of finite objects. The size of the bit strings set real limits on the number of possible objects; web pages typically use 24 bits to encode colors, 8 bits for red, 8 for blue, and 8 for green that gives 256 x 256 x 256 or 16,777,216 possible colors, and no more.

> In Deleuzean terms, you could call this, all possible CDs, the “virtual plane”, thought experiment, in the case of 2 to the power 6265728000 of all possible audio on CD, a virtual set of possibilities or a virtual plane, and the actual physical CDs in the world are actualizations of these virtualalities. Actual objects, physical CDs, being intensities on this virtual plane. Actual CDs are not mere copies of there virtual counterparts, they are not re presentations of the virtual, for they have many more properties, many physical properties, color, size, shape etc., just as in the Deleuzean Virtual and Real planes, the real is not a copy of the virtual, but an intensity.

> Using this as a model we can “experience” actualities that are physically unlikely for humans if not in practice impossible, for 2 to the power 6265728000, is approximately 10 to the power 2000000000. There are only 10 to the power 118 particles in the universe so a full and total actualization of the virtuality of CDs seems impossible.

Comments URL: https://news.ycombinator.com/item?id=30769771

Points: 3

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Dear Dartmouth Music Community,

We write to share the sad news that Professor Emeritus Jon Appleton passed away on Sunday, January 30, in White River Junction, VT. The cause of death was leukemia.

Jon was a member of the Music Department from 1967 until 2009, retiring as the Arthur R. Virgin Professor of Music. A composer with broad interests in classical, folk, popular, and film music, he was best known as a pioneer in the field of electro-acoustic music. Jon founded Dartmouth's Bregman Electronic Music Studio in 1967, with support from President John G. Kemeny and Gerald Bregman '54. It was one of the first such studios at an American university, attracting many visiting composers from around the world, and it remains a hub of sonic experimentation today. In 1989, Jon founded the Music Department's Master's Program in Electroacoustic Music (now Digital Musics) with composer David Evan Jones. Close to 100 students have since graduated from the program.

In the 1970s, Jon collaborated with engineers Syd Alonso and Cameron Jones at the Thayer School of Engineering to develop the Synclavier, the first commercially-available digital musical instrument, which was widely used in film soundtracks and pop music albums of the 1980s, including Michael Jackson's Thriller, Paul Simon's Hearts and Bones, and Frank Zappa's Jazz from Hell. Jon released more than 20 albums of electronic music during his career, including Human Music (1970), a collaboration with jazz trumpeter and Dartmouth faculty member Don Cherry. In 2003 Jon was awarded the Lifetime Achievement Award of the Society for Electro-Acoustic Music in the United States.

A longtime resident of Hartford, Vermont, Jon maintained friendships with many of his former students and colleagues. At the time of his death, he was editing his autobiography, titled "Human Music." His manuscripts, papers and recordings are archived at the Rauner Library and the Dartmouth Digital Library Program.

See: http://www.appletonjon.com/ http://www.dramonline.org/composers/appleton-jon https://www.library.dartmouth.edu/digital/digital-collection...

Comments URL: https://news.ycombinator.com/item?id=30283906

Points: 1

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I've been using computers for (mostly sound) art for a couple decades, and I completely understand this mentality.

It's a nice thing to try to step outside of it though: I think you'll find computers get a lot more exciting when you don't try to live inside them.

Comments URL: https://news.ycombinator.com/item?id=29942992

Points: 1

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Comments URL: https://news.ycombinator.com/item?id=29700567

Points: 3

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