The Nearest Book (meme)

Rules for this meme:

Grab the book nearest you. Right now.
Turn to page 56.
Find the fifth sentence.

Post that sentence along with these instructions in a note to your wall or on your blog.

Please post your quote in a comment to this post as well.

Marshall Berman: kapitel 1: “Goethes Faust: Utvecklingens tragedi,” ur “Allt som är fast förflyktigas. Modernism och modernitet.” (Översättning Gunnar Sandin. Arkiv Förlag 1995. ISBN 91 7924 0216)

“Ironiskt nog visar det sig alltså att den lilla världens tillintetgörande av Gretchen utgör en avgörande fas i dess egen förstörelse.”

and the next sentence – följande mening lyder:

“Ovillig eller oförmögen att utvecklas i takt med sina barn blir den slutna staden en spökstad.”

In English, this is the third and second sentence from the end on page 59, in: “All That Is Solid Melts into Air”.

I found this book meme at: Alexandre Enkerli’s blog.

Complex, simple, objective, subjective

Music blogger Kyle Gann says:

“Of course, the Swift Boat Graduates always have a point: a lot of complex things go on in the brain in response to a Satie Gymnopedie, and ultimately the Encyclopedia Britannica is just a record of billions of subjective impressions upon which doubt could be cast. Those are interesting, important issues to ponder, but they are rather divorced from everyday life, and few of us can afford to leave everyday life for long. Subjective, objective, complex, simple, are all comparative terms whose absolute endpoints lie outside human experience; and if you’re going to swallow up those words into their intellectually derived absolutes, then we still need other words for the everyday meanings those words hold in conversation. What’s wrong with the Swift Boat Graduates is that they sometimes wax fascistic about disallowing naive uses of their pet words, as though once you’ve discovered a more sophisticated concept for the word, what the naive use once referred to disappears. This tendency threatens to bring musical discourse down to a grad-school level. Part of intellectual maturity is knowing when the exalted meaning is appropriate and when the quotidian meaning is just fine.
(…) if we’re going to connect the music we love with the world we live in, it’s not helpful to get in the habit of justifying ourselves with a special, circumscribed vocabulary. That way dishonesty lies.”‘

(I have no idea about what a “Swift Boat Graduate” is.)

Classical networks

In an article on a new site for classical and contemporary music the composer Hugi Gudmundsson writes about his MusMap.com project:

Where everyone has access to everything, the genres which are not actively promoted get just as lost on the internet as the classical department in your local record store. (—) The MusMap project was not initiated to compete with social networking sites like Facebook. Those sites are intended for much wider use than classical musicians and composers need to market themselves and their work. Someone looking for a new composition or a classical music act for a concert would never look for it in a recreational social networking site. Rather than a traditional social networking site, the MusMap project is more of a collection of online business cards of serious classical musicians and composers.

True, or? Well, I know of contemporary composers and classical musicians who have got contacts leading to unexpected and otherwise not available jobs, collaborations and gigs through the big social networking sites, where this sort of contemporary or old-style noise is so easily drowned in the endless stream of more or less pleasant noise from tracks in more popular styles, and where the categories are abused (“classical” is used by members of Myspace Music for both art music and rock!) and search functions are difficult to use. There is obviously a chance that such things can happen. And – to say something about the slim chances for new composers to get their works known even in specialized places online – I know of a site for self-publishers of sheet music where an enormous amount of new original music competes for attention not just within its own fields of notated new music (educational, classical and worship music, lead sheets and arrangements of jazz/pop/rock/song), but also with almost as many arrangements of The Greatest Hits Of Classical Music and other out-of-copyright music, and a lot of the good and useful scores surely will go unnoticed. I think it isn’t always good to have a large catalog of works and a large and interconnected database of musicians, if visitors can’t find the things they might be interested in, because there are too many things, and you can’t search effectively. I don’t think it is hopeless, however, as I have written recently in a discussion on Facebook. (I forgot to mention some places like Yahoo Groups, Webrings and mailing lists, which I have participated in earlier to connect with musicians. There are probably other sites and resources I should check out, to understand where the technology is taking us and where the people are gathering for the moment!) This was my posting a few days ago:

I have been a user of Sibelius (and reader of the official tech chat page) since the beginning of 2002, and a member of the self-publisher community SibeliusMusic.com since July 2002, but only quite recently have I started to notice how many other communities and self-promoting sites for classical musicians and contemporary composers there are around.

Not all of them are meant for music publishing (selling or giving away sheet music), like SibMus, but most have at least some space available in the member profiles for things like score examples, mp3 audio files, photos and videos, and since a couple of years the friend networking aspect is a prominent feature on these places. On SibMus this is not implemented at all, so friendships made at that community is not a matter of seconds, just a click on someones picture, but an investment of time and attention. You have to read what people actually say first, and then look up their external email address and find up something to ask them…

Some other community/database sites I have looked at this far, are: Classical Lounge, Sequenza 21, Composition Today, Dilettante, and MusMap.

I have also tried the publisher sites My Score Store, and Melos. Of course there are also a lot of opportunities for networking and showcasing of music on Myspace, YouTube, and Facebook.

My belief is that it will become easier to link material and info about music from various sites when the web and information technology develops further. Much of the (old fashioned, humane, personal, even sincere and honest, but) time-consuming networking will become automized or at least very simplified through Google and other services. People will hopefully find what they are looking for (if they are aware of or suspect that it exists, of course!), so if our music or our skills as engravers or musicians are wanted, and if we have at some point put the info about it somewhere, there is a chance somebody will find and appreciate it. Our info doesn’t have to be stored in the “best” place (a prestigious database or an active community) in order to be found!

Findings

En alltid aktuell diskussion, tyvärr. (How can we save the wordless knowledge found in music, how can we save the values in centuries of mature artistic reflection — complex, rich, responsible expressions of human life, ideas and political history — from being drowned in a culture and society that prefers songs speaking of immature, unreflected, irresponsible feelings? Commercial music is a cult, practised already in music discussions in kindergarten groups — while art music is seen as uncool.)

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My blog friend Tim Posgate has posted a cute
music video for one of his songs.

Happiness is a pair of red shoes at a funeral

Har läst många av Karin Thunbergs krönikor och intervjuer i Svenska Dagbladet, och funderat över hur hon ser på sin roll som journalist och sig själv. Inte bara hon förresten, det finns idag många som skildrar verkligheten och debatterar dagsfrågor och livet genom att berätta om sina personliga erfarenheter. Så har hon tydligen kommit ut med en bok nu, som är ännu mera om henne själv. I en intervju härom dagen avslöjas att hon egentligen inte ville avslöja att hon haft cancer två gånger, men att det till slut var det som gjorde boken hon planerade att skriva meningsfull. Det kan inte bara handla om lycka.

Web Log

Today (or yesterday) I have looked at these web pages:

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Att lära sig lyssna på Bartok, och andra tankar om kultur, av Stefan Johansson.

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Composer Jane Gardner.

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Music publishing at SibeliusMusic.

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An article about will power, self-discipline, and “moral muscles”.

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“No matter how often the commercial cart is put before the horse of art, the noble steed is never going to water-ski.”

“Monotony, like pain, is endurable in short doses. Stretched over two CDs lasting two and a half hours, it arouses dangerous emotions in those who last the course – an irresistible urge to strangle the ‘concept developers’, having first held the heads of each and every one of the composers under water until they promise to write nothing but atonal sonatas and musical sudokus for the rest of their ingratiating lives.”

(from the latest Lebrecht article.

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some pages with info about the movie “Tara Road”:

http://www.cinefacts.de/kino/db/filmdetails.php?id=22453&ab=101
http://www.critic.de/index.pl?aktion=kritik&id=392
http://imdb.com/title/tt0429153/usercomments

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Climates

The notion that the Gulf Stream is responsible for keeping Europe anomalously warm turns out to be a myth, writes Richard Seager, of Columbia University Earth Institute, in an article (based on a study he and colleagues published in 2002) in American Scientist:

“What we found in these tests was that, south of northern Norway, the difference in winter temperature across the North Atlantic was always the same, whether or not we let the ocean move heat around. This result would suggest that oceanic heat transport does not matter at all to the difference between the winter climates of western Europe and eastern North America! We concluded that the temperature difference must, as we had speculated before, be caused by other processes, most likely the seasonal absorption and release of heat by the ocean and the moderating effect this process has on maritime climates downwind.

Our revised view of things did not, however, mean that heat transport in the ocean does not influence climate. The ocean indeed absorbs more heat from the Sun near the equator than it loses back to the atmosphere (primarily by evaporation). And oceanic currents indeed move the excess heat poleward before releasing it to the atmosphere in the middle latitudes. Consequently, removal of the oceanic heat transport globally in our modeling exercise warmed the equator and cooled everywhere else. The climates produced by the models deprived of oceanic heat transport were colder in the subpolar North Atlantic by as much as 8 degrees in some places. The cooling over land areas was more modest, typically less than 3 degrees. These temperature changes, large as they are, are not terribly dramatic compared with the much larger temperature contrast across the North Atlantic Ocean.

Why doesn’t the ocean exert a greater influence on North Atlantic climate? According to scientists’ best estimates, the ocean and atmosphere move about an equal amount of heat in the deep tropics. But at mid-latitudes, the atmosphere carries several times more heat. Thus, if one considers the region north of, say, 35 degrees North, the atmosphere is much more effective than the ocean in warming winter climates. Also, the winter release of the heat absorbed during the summer is several times greater than the amount of heat that the ocean transports from low to high latitudes in a year. Hence it is the combined effect of atmospheric heat transport and seasonal heat storage and release that keep the winters outside the tropics warmer than they otherwise would be—by several tens of degrees.

Although these numbers are instructive, they are not directly relevant to understanding the warming of Europe. For that, one needs to consider some details of geography. The Gulf Stream and associated current systems in the North Atlantic focus heat (and lose it to the atmosphere) in two clearly defined areas. One is immediately to the east of the United States, where the warm Gulf Stream flows north after leaving the Gulf of Mexico and rounding the tip of Florida. During winter, the prevailing winds blow frigid, dry air off the North American continent and across the Gulf Stream. Because of the large difference in moisture and temperature content between air and sea, the heat lost from the ocean through evaporation and direct heat transfer is immense—a few hundred watts per square meter. Much of this heat is picked up by storms in the atmosphere and carried over the eastern United States and Canada, effectively mitigating what would otherwise be a cold continental climate.

Where else does the Gulf Stream deposit its heat? After departing the American coast, the Gulf Stream heads northeast and turns into what is called the North Atlantic Drift and, farther downstream, the Norwegian Current. After spawning many Atlantic storms, it loses most of the remainder of its heat in the Nordic seas. There the heat can effectively be moved eastward by the prevailing winds to warm northwest Europe. Thus the transport of heat taking place in the North Atlantic warms both sides of the ocean and by roughly the same amount, a few degrees. This leaves the much larger, 15-to-20-degree difference in winter temperatures to be explained by other processes.”

This afternoon, we have over +30 (C) here in Stockholm, and reports of tropical night temperatures (over +20) also in other parts of Sweden last night.

Respect 2

(Photo Credit: Nick Galifianakis for The Washington Post)

Just something paradoxical to think about for a moment. It is possible to respect someone, and still not respect most of the things they do and say. Or, is it?