One of the great phrases from C.S. Lewis. The Scotsman who uses
it pronounces hiatus so that the second syllable has the same
vowel as the first syllable of phatic. Communications gap
is a more common idiom.
The people at the Carlone campaign were quite impressed by the party
invitation I put together for my meet and
greet. (If you haven’t seen it, it prints on letter paper, and
folds in quarters.) So they asked if they could have the source so they
could use it for another get-together.
I sent them a zip file of the LaTeX, .eps graphics, and
Makefile, and said that if they didn’t have anyone who liked
playing with that kind of software (and already had LaTeX and pdf
utilities on their computer), I’d be happy to spend 10 minutes
fiddling with the text and send them a PDF file.
So they sent me the details with the phone number missing and
the room number wrong, and copied the host of the party, who
supplied the phone number and corrected the room number, so I
sent a second version, and he sent me this:
Half of this is upside-down, which will look funny when I tape it to
the wall.
When this is corrected, I can print it out and put it up next to our
mailboxes and a couple of other places.
Obviously, he hadn’t been who saw my original and thought it
was cute.
So I wrote him back:
The idea is that you fold it in quarters and put it in people’s
mailboxes (or in your pocket, and hand it to them). I could do a flyer
you could tape on the wall, but that would be a new design, not a
10-minute change to what I did for my party.
The New York Times Magazine has an interesting article.
The headline writer calls it an article about why so few women go
into science, but it isn’t the dry statistical kind of article —
it’s about some women’s real experiences of being physics majors.
I was a physics major who didn’t go on to become a professional
physicist. I think a lot of both men and women who left school in
the 70’s found it easier to become computer programmers than to
get graduate education in science or math and then compete for a
diminishing number of jobs.
The story I’ve always told about why I didn’t go to graduate
school is that by the time I was a junior and senior, I and
a lot of my friends were dating graduate students, and most of the
ones I knew were pretty miserable. The exceptions were the ones
who had done something else for a while and decided that research
in a particular field was what they really wanted to do with their
lives.
Then after I was out of schoool for the first time in sixteen
years, I was so deliriously happy not to be in school I never
really considered doing anything that would require going
back.
The two reasons for women dropping out that the article (as I
remember it from two days ago) goes into in detail are harrassment
or actual discouragement in and out of the classroom, and lack of
encouragement by faculty of further study of even the most
successful female students.
I don’t think either of those reasons applied to me. I
remember one remark by a professor that I found a bit sexist. Of
course in 1971 none of us had really had our consciousnesses
raised very hign. But this is pretty mild by the standards of
other women’s harrassment stories. We were doing a lab experiment
about radiation, and the preliminary discussion had emphasized how
careful we should all be about the hazards, and then the moment
came when someone had to press a button that would actually
release some radiation. The class hung back, until I (the only
female) volunteered, and the professor said something about all
the men being willing to let a woman take the risk for them.
I wasn’t a particularly brilliant physics student, so it isn’t
surprising that none of the professors encouraged me to go on,
although one of them gave me a surprisingly good reference for a
job a couple of years after I graduated. (It turned out to be a
terrible job.) But I did have a math professor who was very
disappointed when I told him I wasn’t applying for graduate
school.
I”m sure the stories people tell actually heppen, and I’m sure
that science would be better off if there were more diversity of
people doing it. I’m just saying that just eliminating the horror
stories or even raising the consciousness of the power structure
isn’t going to do it.
One problem with my kitchen is that there’s a counter that goes
around a corner, leaving a black hole both in the cabinets and on
the countertop that’s a lot less useful than you’d like it to
be.
I thought that would be a good place for the microwave oven,
but there’s no way to work without taking up the space that the
oven door would need to open there, so instead I have the microwave on
the counter between the fire escape door and the dining room
window. This makes that counter, which you need to use for
loading and unloading the refrigerator, a lot smaller than you’d
like.
I’m not currently using the toaster as often as I have in the
past, both because of my greens for
breakfast discovery, and because a good bakery opened up down
the street, so I sometimes go buy croissants when I would have
formerly made toast.
So my current idea is that the dead area in the corner is used
for small appliances that are used often but not daily, and is
flanked by the knife rack which is still a bit improvised but
doesn’t fall apart too often as long as you don’t try to use the
giant chef’s knife, which I only use for cutting pizza. It’s a
franken-knife rack — I combined the magnetic strip I never
managed to affix to anything with the rack of vertical slots which
I snarfed from Bonnie’s kitchen. On the
other side, the smaller appliances are held in place by the slow
cooker/rice cooker/pressure cooker, which is used several times a
week.
Right now the toaster, the stick blender, and the hand mixer
live there. I’ve been sharpening the knives on the arkansas
stone, so the knife sharpener went into the appliance cabinet,
along with the waffle iron which I haven’t used very often since I
bought it.
This makes the appliance cabinet more crowded than it should
be. The obvious thing to do about that is to discard or donate
the bread machine, which has seen better days, but I’ve been
trying to decide whether
Obviously one of the advantages to doing something like this is
that you move everything out and clean under it. (I cheated and
didn’t do the microwave, yet.) So some spiders crawled out and
were very annoyed at me, but I assured them I wasn’t going to be
doing this every week. I pointed out that there were some
housekeepers who do something like it every day, and they wouldn’t
want to live there at all.
Festa:Madonna io
son un medico, Madonna vost’orgoglio, Ingiustissima
Amor
I think that I should like to be
Schedule
Next week, October 8, we will deviate from our usual format.
Some people want to go see Marilyn Horne teach a masterclass in
Jordan Hall at 7 PM. Other people will be rehearsing for the
Harvard Square English Country Dance at 7:45 pm at my place. The
Masterclass is free and open to the public. The Country Dance
rehearsal is open to anyone who likes playing English Country
Dance music, but one assumes that if you want to play it on
Tuesday, you would also like to play the
actual dance on
Friday, October 11 at Harvard-Epworth Church.
That link has a
list of the tunes we will be working on. They’re all in Barnes (I
or II); let me know in advance if you’re coming and won’t be able to bring your books.
After that we will resume our usual schedule, meeting on
Tuesdays at 7:45 at my place.
Other Playing Opportunity
I think I haven’t pushed the West Gallery Quire
lately — if you sing or play a melody instrument, you should try
it out. Sunday, October 13, will be a particularly good day to do
that,
since Sheila and Edwin Macadam, two of the leaders of the West
Gallery rediscovery, will be leading the group.
Other partying opportunities
If you vote in Cambridge, I’m having a get-together at 7pm on Wednesday, October 9 for City
Council candidate Dennis Carlone.
The Boston Wort Processors
will be having their annual cider picnic on Sunday, October 20 at
noon. Let me know if you’d be interested in going and maybe doing
some playing. It’s in Amesbury, so we’d probably want to
carpool.
A note on this week’s transcriptions
Xavier Verhelst, who did a lot of transcription for the edition
of Ortiz
that John Tyson and I did,
sent me the edition he’s done recently of Constanze Festa’s
Il Primo Libro de Madrigale. His editions are done
with Sibelius (which I can’t read), and don’t have barlines, but do
come as a score, so to use it in our group, I used a web service
called Partifi to get the
individual parts.
If we end up working on some of them, I will probably
transcribe them in our usual format, but for running through them
to see if we like them, this is good.
This was billed as a multi-media event, which is a really good idea
for this music, because there are lots of people who have studied the
original 13th century manuscript in literature class or art class or
music class without any information about the rest of it.
There was a screen behind the performers which had a picture from the
manuscript, and translations of what the singers were singing. This
is really nicer for both audience and performers than everyone
squinting into their program books.
Many of the pictures have people playing instruments, and it was a
little jarring when the instrumentation chosen by the performers was
completely different from that in the pictures. I was particularly
struck during Cantiga 300, where the picture showed two
very conical bore wind instruments (not in enough detail to tell
whether they had a brass mouthpiece, a reed, or a fipple) and Tom
Zajac was playing a cylindrical bore traverse flute.
RECORDER and OTHER INSTRUMENTS
The music of the Cantigas is vocal, but to listen to an hour and
fifteen minutes without intermission, it was really nice that there
was a variety of instruments. There was vielle, rebec, lute, harp,
citole, hammered dulcimer, flute, recorder, bagpipe, and percussion.
(Played by 5 different people.)
Variety was also provided by supplementing the two singers (Ellen
Hargis and Matthew Dean) from the Newberry Consort with 5 singers from
the Boston area _a capella_ group Exultemus. So while Ellen Hargis
did the vast majority of the solo singing, dialogs could happen with
another singer, and some of the more general emotions could be
expressed with a choral sound. The final piece, Cantiga 10: Rosa das
Rosas, used this sound particularly well.
The recorder was actually on only one piece, but it was one of the
more striking uses of instrumental accompaniment. Cantiga 103 tells
the story of a monk who asks the Virgin to show him what the bliss of
heaven is like, and he starts listening to a bird sing, and the next
thing he knows it’s 300 years later and he no longer knows anyone in
the monastery. A highly improvised recorder solo (by Tom Zajac) was
the depiction of the bird song.
The other instrumentation I found most memorable was the quite simple
castanet beat (also played by Tom Zajac) with the Cantiga 425, about
the joy the disciples felt at the Resurection.
13th or 21st CENTURY?
The medieval notation used in the Cantigas is quite good at telling us
what notes comprise the tune, but experts differ by quite a bit about
the rhythms, and there aren’t harmonies or instrumentations notated
at all. So one is tempted to conclude that the good performers of
this music are actually quite good composers, and the music they’re
playing is twenty first century music, based on some material from the
thirteenth century.
This concert, partly because of the immersion in the pictures and the
ease of following the words, and also because of the relatively
“straight” interpretations, without a lot of composed harmony and
counterpoint, seemed more like a real experience from the 13th century
than other medieval concerts I have heard.
The Newberry Consort. (Left to Right): David Douglas, Ellen Hargis, Tom Zajac, Mark Rimple, Shira Kammen
This xkcd cartoon is why I
never worry about inviting people to my house. If they don’t
invite me, I assume it’s because theirs is even worse. If they
do, they apologise for the glass of water they left out, and I figure
they need to see the real world.
One of the band memebers arrived yesterday saying that his SSI
payment wasn’t going to come. This isn’t what I get
from google, but certainly even if he’s wrong, if lots of
people believe that, they’re probably pretty upset.
The other consequence I’ve heard of was in this
post by Phil Greenspun. The short version is that because
the office he needed something from was only doing that ID, and
not all the other stuff they usually do, he got his ID much faster
than he normally would have.
I guess this probably shows that I live a pretty sheltered
life, at least on Tuesdays. And of course my not knowing about
any serious short-term consequence doesn’t mean that there aren’t
some, and certainly doesn’t mean there won’t be serious long-term
consequences.
And it also doesn’t mean that I agree with a system that allows
one man to single-handedly shut down the government. (I know the
House Republicans who elected John Boehner as speaker, and could
presumably elect someone else if they didn’t like what he’s doing,
share the blame, but really it wouldn’t be happening if he hadn’t
decided he wanted it, and it will stop as soon as he decides to
stop it.)
Somebody told me about partifi
a year or two ago. It takes a PDF file with a musical score in
it, and turns the score into parts. Even if your religion doesn’t
forbid you to play Renaissance music from scores, you must have
run into a score with a page turn every 5 seconds that drove you
nuts, so this sounds like a really good idea.
At the time I heard of it, I went there and tried something and
the first thing I tried wasn’t immediately useful, so while I’ve
passed the word on to several people who were complaining about
page turns, I haven’t actually used it for anything.
But yesterday a music transcribing friend sent me a PDF of some
three part madrigals he’s been working on. He leaves out the
barlines, but puts the parts into score, so I thought about asking
him to send me the source or MIDI so that I could do parts, but
then I remembered Partifi.
I fed it three PDF’s, and the first two went very smoothly. It
guessed quite well at where on the page to split out the parts. I
told it the names of the parts and it produced three part files
for me.
The third one had to be set with the lines much closer together
in order to fit the whole piece on two pages. So partifi’s guess
about how to split the parts was much less useful, and even when I
figured out how to edit the guess, I still ended up with parts
missing words. I think I have an idea of how to fix this, but I
wanted to get the post done before fiddling with it any more.
I was going to write a deep essay, but it would take too much
time, so here are some random observations:
The flow of the European painting galleries is currently
very confusing. You walk out of the 14th century chapel into
19th century French art. There used to be a fairly logical
progression from Medieval to almost-twentieth-century art, but
if there’s any logic to it now, I couldn’t find it.
There was a similar problem downstairs in the Art of the
Americas gallery — we were in the American Revolution, and then
all of a sudden we were in Peru, and then we were in early
nineteenth-century Boston. If there were rooms about other
places in South America, I never found them.
I did manage to find the Turner Slave
Ship. I don’t think I’ve ever been in the presence of any
work of art that’s so immediately affecting. I have seen the
Mona Lisa and the Pieta, but this is
just hanging there on the wall and you can walk right up to it.
It is listed in the brochure as one of the 12 greatest hits, but
otherwise it’s treated just like any other picture.
The Rembrandt etchings were interesting, but to really see
them, you’d need better light and a magnifying glass.
The other current exhibition I enjoyed was the Loïs
Mailou Jones one. My favorite of her works was a painting
called My Mother’s Hats — her mother was a
successful milliner.
The most memorable new-to-me work I saw was a Japanese print
of a daemon who committed suicide after flunking the civil
service exam. It’s in red.
You shouldn’t even try to see everything in one afternoon —
we should have left and hung out in the pub across the street
about an hour before we did.
My sister, who bought the tickets, got an email request to fill
out a particularly annoying survey about her experience. For
instance, they asked what the purpose of the visit was, and “To
see the art” wasn’t one of the choices:
Which of the following statements best describes your reason for
visiting the MFA? *This question is required.
* I went to see a specific exhibit and/or learn about a specific
topic
* I went to have a new experience and just follow whatever sparked
my curiosity and interest
* I came to spend time with friends and/or family and help them have
a meaningful experience at the MFA
* I went to attend a specific program, lecture, course, concert,
class, and/or film
* I like to seek out interesting things to do and the MFA is
considered an important institution in Boston
* I went to relax in a peaceful setting and contemplate the art
and/or myself
I don’t write them very often — the one I
like best I posted here in 2005. But Garrison Keeler was on
the radio yesterday, and he pointed out that when he discovers a
rhyme it makes his brain light up and he needs to do something
with it, and I realized I used to be that way but I let it lapse.
So I swore that the next time I discovered a rhyme, I would write
a limerick. So I noticed one walking the dog this morning and
here’s the limerick:
Priscilla, a grey furry rat,
Had friends who thought she was too fat.
So she ran down the street
And tripped over her feet
And ended up totally flat.
Flat and rat isn’t a great rhyme like the ones Ira Gershwin and
Cole Porter used, but limericks don’t need a lot more than that.
I had rat and fat and street and feet by the time I got home.
My first reaction to the flat rat on Cherry Street was,
“Another flat squirrel!” because we’d seen one of those on Windsor
Street last night, but then I noticed the tail, and then I had the
rhyme.