Re: Canadians explain to Americans who work at NASA the very approximate meaning of Rubber Time

Subject: Re: Canadians explain to Americans who work at NASA the very approximate meaning of Rubber Time
From: sylvi macCormac (
Date: Mon Oct 10 2005 - 22:57:02 EDT

dear Eliot / Americans (bcc: k.austin@admini-straight-or.cec)

Funny you should mention cartoons / comedy. i suppose i fit th bill as 'an
evil cat (who composes EA) scrunched up into a ball bouncing from wall to
wall, with parts of 'im trying to catch up, etc', kind of like a shadow puppet
in a wheel chair. i guess i've been watching / listening to Too Much Canadian
Comedy ie Royal Canadian Air Farce, 22 Minutes, Corner Gas, Da Vinci's Inquest
.. Seemed a good mix with ElectroaAcoustic(s), but appartentley knot. Since
my cred-ability may be in question, i'll refrain ... from Irish Canadian
Humour with my legs trying to catch up ... think i'll stick to swimming /
recording / composing in Rubber Time on th West Coast o Canada .. Just in case
anyone with a rocket wants me to 'sit down & shut up', i'll unsubscribe and
leave you to your computer chickens ... or lurk / smurk ... (notice no
emoticon) .... O, did i mention EA ... ? .. or Hockey and Granular Synthesis
as used by Laurie Anderson in Moby Dick (see Commander Anderson's website for
details) ... ? ...

happy thanksgiving / rahmadan / jewish new year / winter solstice ..

best regards, sylvi macCormac
~~~~~~~~~~~~~~~~~~~~~~~~ / na / da / bc
siwash rock & soundscape composition
Team captain: Kanadian Paralympic Xtreme downhille wheel chair race challenges

NASA to a friendly competiton in th Rockies on either side of th great divide.
ok you win ;-)

Eliot Handelman wrote:

> Dear Americans who work at Nasa,
> Classical music is a kind of "rhythmically discrete" music -- that is,
> most rhythms are made with a
> very small set of rhythmic proportions. In new music we have the freedom to
> make rhythms with any proportion.
> We can create, for instance, the "speeding ratchet" effect where
> pulse-sizes are determined by some
> restitutive multiplicand. Prior to the computer, we'd have to rely on
> guiros and such, largely
> non-notatable instruments.
> With the computer we are creating a new rhythmic physics. It may or may
> not reflect our
> instincts about sound in the real world, as the speeding ratchet effect
> does.
> My model for thinking about these possibilities is cartoons, like Tex
> Avery or Ren and Stimpy. These
> cartoons are about transitions between something that is like a human
> being and something that
> is like a demonstration of physics, eg, an evil cat scrunched up into a
> ball bouncing from wall to wall, with
> parts of him trying to catch up, etc.
> Music is about the movement of objects that we grasp as being of some
> shape. The distinction between classical shape
> and new music is that new music has more continuous variational scope.
> Rhythms like ee q are
> like symbolic representations of an event that's more like gum-whoosh
> ---SLAM! The whole transition from repreentational
> to real is now available.
> The character in a cartoon is nothing if not rubber. Rubber time
> therefore means, "continuous transformations beween
> discrete/symbolic events and physical simulations of real world
> (genetically adapated) rhythm."
> My compliments to an organization that once almost hired me to grind lisp,
> eliot, Ph.d, now working for himself.

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