Discussing Enigmas - A post-concert discussion of Elgar Enigma Variations, Pittsburgh Symphony Orchestra Overlook Room
This past Sunday’s concert included a workshop and post-concert discussion led by teaching artist Christina Farrell. For Elgar’s Enigma Variations, the easy choice of topics would be to look at three enigmas directly presented by Elgar. But as we talked, conversation covered another topic, does the direction or intent of the creator of a piece play into the performance of the piece? And from there, what makes a creative work worthy of being one of the classics?
To be sure, the use of hidden themes and puzzles within musical works has been done before and since. Several composers have pieces full of references to friends, acquaintances, and contemporaries. But this is par for the course in the classics. My high school English teacher was fond of saying that the Greek classics include everything. Participants in one web site that focuses on identifying themes in movies and TV shows delight in noting that certain themes have very old origins. But this does not lessen the treatment of these themes or use of these tropes. There must be another criteria.
I am involved in a creative field. And in my field, some works are known and viewed as seminal works, definitive in their topic over anything before or since and viewed as original contributions of high degree and quality. Yet even these explicitly reference the works of others, not all of which are in themselves worthy of the same acclaim. The creators and all those who are qualified to review the work will acknowledge it openly, but something separates these from others of their kind.
Mortimer Alder once wrote an introduction to one collection of Great Books. In it he describes three criteria that he and his fellow collaborators used to choose and cull that collection. One was the work’s contemporary significance (which implied that it was timeless beyond the period of original creation); second was its re-readability, or the fact that the work could be read again and again, with deeper understanding every time; third was its relevance to a number of great ideas that occupied a number of great thinkers before and since, the participation in the work in the great conversation through the author’s reading of related works of before, and the development of ideas that have inspired reaction from those who follow.
And here in music, it is not just the theme or subject of the work that makes it meet similar criteria. The price of admission into a classic worth listening repeatedly is the quality of the music. But if it was only quality we cared about, we may stop listening to new music, because there is more than enough of the traditional classics of quality to keep us wonderfully engaged. But to add to what has come before a work must also have something to say. A response to what has come before, and something that is worth responding to.
Monday, March 05, 2012
Pittsburgh Symphony: Thinking of Classics and Enigmas
[Original post is at the Pittsburgh Symphony Blog site]
Discussing Enigmas - A post-concert discussion of Elgar Enigma Variations, Pittsburgh Symphony Orchestra Overlook Room
This past Sunday’s concert included a workshop and post-concert discussion led by teaching artist Christina Farrell. For Elgar’s Enigma Variations, the easy choice of topics would be to look at three enigmas directly presented by Elgar. But as we talked, conversation covered another topic, does the direction or intent of the creator of a piece play into the performance of the piece? And from there, what makes a creative work worthy of being one of the classics?
To be sure, the use of hidden themes and puzzles within musical works has been done before and since. Several composers have pieces full of references to friends, acquaintances, and contemporaries. But this is par for the course in the classics. My high school English teacher was fond of saying that the Greek classics include everything. Participants in one web site that focuses on identifying themes in movies and TV shows delight in noting that certain themes have very old origins. But this does not lessen the treatment of these themes or use of these tropes. There must be another criteria.
I am involved in a creative field. And in my field, some works are known and viewed as seminal works, definitive in their topic over anything before or since and viewed as original contributions of high degree and quality. Yet even these explicitly reference the works of others, not all of which are in themselves worthy of the same acclaim. The creators and all those who are qualified to review the work will acknowledge it openly, but something separates these from others of their kind.
Mortimer Alder once wrote an introduction to one collection of Great Books. In it he describes three criteria that he and his fellow collaborators used to choose and cull that collection. One was the work’s contemporary significance (which implied that it was timeless beyond the period of original creation); second was its re-readability, or the fact that the work could be read again and again, with deeper understanding every time; third was its relevance to a number of great ideas that occupied a number of great thinkers before and since, the participation in the work in the great conversation through the author’s reading of related works of before, and the development of ideas that have inspired reaction from those who follow.
And here in music, it is not just the theme or subject of the work that makes it meet similar criteria. The price of admission into a classic worth listening repeatedly is the quality of the music. But if it was only quality we cared about, we may stop listening to new music, because there is more than enough of the traditional classics of quality to keep us wonderfully engaged. But to add to what has come before a work must also have something to say. A response to what has come before, and something that is worth responding to.
Discussing Enigmas - A post-concert discussion of Elgar Enigma Variations, Pittsburgh Symphony Orchestra Overlook Room
This past Sunday’s concert included a workshop and post-concert discussion led by teaching artist Christina Farrell. For Elgar’s Enigma Variations, the easy choice of topics would be to look at three enigmas directly presented by Elgar. But as we talked, conversation covered another topic, does the direction or intent of the creator of a piece play into the performance of the piece? And from there, what makes a creative work worthy of being one of the classics?
To be sure, the use of hidden themes and puzzles within musical works has been done before and since. Several composers have pieces full of references to friends, acquaintances, and contemporaries. But this is par for the course in the classics. My high school English teacher was fond of saying that the Greek classics include everything. Participants in one web site that focuses on identifying themes in movies and TV shows delight in noting that certain themes have very old origins. But this does not lessen the treatment of these themes or use of these tropes. There must be another criteria.
I am involved in a creative field. And in my field, some works are known and viewed as seminal works, definitive in their topic over anything before or since and viewed as original contributions of high degree and quality. Yet even these explicitly reference the works of others, not all of which are in themselves worthy of the same acclaim. The creators and all those who are qualified to review the work will acknowledge it openly, but something separates these from others of their kind.
Mortimer Alder once wrote an introduction to one collection of Great Books. In it he describes three criteria that he and his fellow collaborators used to choose and cull that collection. One was the work’s contemporary significance (which implied that it was timeless beyond the period of original creation); second was its re-readability, or the fact that the work could be read again and again, with deeper understanding every time; third was its relevance to a number of great ideas that occupied a number of great thinkers before and since, the participation in the work in the great conversation through the author’s reading of related works of before, and the development of ideas that have inspired reaction from those who follow.
And here in music, it is not just the theme or subject of the work that makes it meet similar criteria. The price of admission into a classic worth listening repeatedly is the quality of the music. But if it was only quality we cared about, we may stop listening to new music, because there is more than enough of the traditional classics of quality to keep us wonderfully engaged. But to add to what has come before a work must also have something to say. A response to what has come before, and something that is worth responding to.
Thursday, March 01, 2012
Parenting month 16: Toddler in motion
Oops, missed a month. These past two months have been marked by T moving a lot more. He goes up and down stairs. He stands up and walks around. And he can climb on chairs and couches. And go exploring cabinets and anything else. Definitely have to work to keep track of him now.
Another major milestone is that mommy finally took a trip away without T. So for four nights, mommy got to sleep :-) And when she came back baby, daddy, and house were all intact and reasonably well fed.
T is still somewhat lacking in the socialization department. He is the one who is playing alone when everyone else is crowded in one corner at day care. On the other hand, he is ok being in places with lots of other people, he will just ignore them.
On the developmental front, one comment that we have gotten is that he has a reasonably good attention span (for a 16 month old). He will sit through reading books (and we have him trained to take care of turning the pages). And he will play with one thing for a reasonable amount of time.
New things to look forward too. The grandparents are coming, taking shifts over the next 6-8 months. Lots of fun for T. Exercise for grandparents. And mommy and daddy are looking forward to having fun leaving T at home :-)
Monday, February 27, 2012
Book Review: The Art of Black and White Photography by Torsten Hoffmann
The Art of Black and White Photography: Techniques for Creating Superb Images in a Digital Workflow by Torsten Andreas HoffmannMy rating: 5 of 5 stars
The Art of Black and White Photography is written as a series of chapters that are short lessons on individual topics. While it starts out like many photography tutorial books discussing equipment, once past the initial chapters it changes form. It becomes a set of lessons that are built around the creation of photographs, from the initial scene to adjusting composition and tone to achieve a final result. And in that it is much better then the usual set of tips and tricks. Because to teach an art involves leading someone through the mental steps of discovery, not telling someone how to do it.
Art is traditionally taught by master to student, and the context in conservatories, schools, and classes around the world is the studio. Where aspiring artists can gather and present and critique their work under the guidance of a master. Because this exposure to criticism in an environment intended for the growth of the student is how the student's skill at a craft is honed. But in the modern world where people think that mastery can come quick and easy by learning a few secrets and tricks, this is bypassed. And that is my criticism of most photography instructional materials, they attempt to teach a set of rules for each situation. And while this at least provides examples of good photographs, it does not lead the reader through the craft of looking and evaluating scenes, and then of taking a scene and looking for improvements along the way.
Hoffmann does something different. In each chapter he takes you through a series of scenes. And leads you through the way showing how a change in view, composition, focus can lead to an improved picture. One example is a market in a courtyard. First a picture of a few stalls. Then a discussion of how clutter detracts. Then as the composition gets tighter and tighter it becomes essential elements. Then a picture with essential elements is improved by a dynamic element of a person walking through, with the moment captured at exactly the right time so that the movement is apparent in a still picture.
He does this in various forms throughout. Yes, he hits the 'rules' like everyone else (there is a chapter on the Golden ratio that has many pictures with many drawn lines illustrating various applications of the Golden ratio), but what makes this book different are the discussions that lead you through how to view the scene and compose to make a distinctive photograph.
Disclaimer: I received a free electronic copy of this book for review through the O'Reilly Press Blogger Review program.
More information on this book can be found at the O'Reilly website.
View all my reviews
Saturday, February 18, 2012
Three months with the Lumix GF2
My wife and I both have the same start in photography. The manual focus, manual exposure SLR manufactured by Cosina as an OEM. In my case it was the Ricoh KR-5 Super II (Pentax K mount) and her's was the Nikon FM10. And we've made the switch to digital, with my buying a digital SLR when my favorite film was no longer available at the local photography store. In addition, we've stopped using digital compacts when we both switched to using iPhone, since the camera included in that was close enough in quality to make a digital compact superfluous. To this I've added one of the new class of cameras, a mirrorless interchangable lens camera (MILC). Specifically, the Panasonic Lumix GF-2, which is a Micro Four Thirds (M4/3) camera.
The GF-2 is positioned within Panasonic Lumix Micro 4/3 line as the consumer (vice enthusiast) MILC without a built in electronic viewfinder (i.e. composition etc. has to be done through a back panel LCD) (Note: it has been superseded by the even smaller GF-3. When buying consumer electronics, I tend to buy one generation behind the current. It is alot cheaper.) (The enthusiast counterparts are the GF-1/GX-1) What makes this feasible is the fact that the back panel LCD screens have reached a level of quality that makes them competitive with traditional SLR viewfinders for composition, focusing, and judging exposure. However, it is not quite as good. And the fact that the viewfinder is not integrated means that you are composing and shooting with the camera held in front of you rather than in contact with your body, which reduces the potential stability. But not having the reflex mirror based viewfinder means that there is no need to accomodate the mirror, so the camera can be very small (front to back).
The other major compromise is the use of the M4/3 sensor, which has 1/4 the area of a traditional 35mm film (compared to most digital SLRs, which use an APS-C sensor with 1/2 the area of a traditional 35mm film). While this is many times greater than digital compacts, so comparing with digital SLRs makes more sense than comparing it to compacts, the difference is noticeable in low light. The advantage of this is, again, the camera could be made smaller.
There are plenty of places for technical reviews and reviews from the point of view of a range of photography styles. But what follows is where the Micro four-thirds Lumix GF-2 fits into my photography.
1. It is small and still takes reasonable quality pictures. I can tell the difference on sight between my Digital SLR pictures and compact or iPhone pictures. The micro four-thirds not as much. The GF-2 in particular is so small, I can put it in a jacket pocket when I use my Panasonic Lumix G 14mm F/2.5 lens. Doing this, with a second lens in the other pocket used to be the ideal style for going on a photoshoot with rangefinders, but 35mm film based rangefinders required a very big pocket. I've even put the GF-2 in my front pants pocket (but it is rather snug in there).
2. There is a saying, the best camera is the one you take with you. I can take the GF-2 with me when I am carrying a bag that has other things, like my diaper bag when I'm with my son. My digital SLR basically demands its own bag because of its size (and I have a Pentax K-x, one of the smallest digital SLRs on the market). I bring it with me on work trips, because it does not take a lot of room. Similarly, we keep this camera out on a shelf so that it is readily accessible. It also means my wife will use it, since she never considers it worth the effort to bring the digital SLR.
3. Composition, focusing, and shooting can be done from the LCD screen. This picture of the dancers was taken while holding my 1 year old son in my lap. When using M4/3 lenses with auto focus and auto exposure, you can touch the point on the screen that should be where focus and exposure should be evaluated. And this is important if I happen to be holding something else. Like a baby. So putting a camera to my eye is not practical.
4. Use of other system lenses. One of the side effects of being able to make the camera small and the lack of the mirror means that the register (distance from the mount to the sensor) can be very small. And since the sensor is also small, this is even smaller than my old rangefinder lenses (which also had this quality compared to SLRs). So, with an adapter (which increases the distance from the mount) I can use any of my old lenses. In particular, this lets me use my rangefinder lenses that have been sitting in a closet for the past two years. Now, this means that these lenses are effectively manual focus, and only aperture priority exposure (no shutter priority since the camera cannot control the lens), but since I generally like shooting that way anyway, that is fine.
5. Familiar operating system. For my manual aperture lenses, the operation is very familiar. Aperture ring for aperture, a thumbwheel for shutter speed or exposure compensation. And by pushing down on the thumbwheel, you get a zoom in effect to assist in manual focusing if you want it. The major missing piece is the lack of a wheel to change the exposure mode (e.g. program, aperture priority, shutter priority, etc.), instead you have to work through the touchscreen. But since I usually looked at that dial when changing the exposure mode it was not much more of a hassle.
And on the other side, some shortfalls, mostly compared to my digital SLR
1. The lenses I have are in the f/2.5 range, while for my SLR I was using lenses that were f/1.4 or f/1.7. The loss of a stop is noticeable in working. Although if I was truly trying to shoot in a low-light situation, I would bring my SLR since the larger sensor also makes a difference in image quality in this situation.
2. Low light (high ISO) is worse. Probably because of the smaller sensor. But it is much better than with digital compacts or smartphone cameras.
3. Black and white. The monochrome setting is Program exposure. And you cannot even set over- under- exposure (which I do all the time). I've set the custom programs to be black and white with over and under exposure as a workaround, but that is not the same thing. (and I like using black and white)
Really that is it.
The biggest effect this has on my photography is that I can bring it with me when I'm carrying a baby along with all the other attendent supplies. The quality over a smart phone is beyond question, and I would not carry an SLR and a diaper bag at the same time.
If I was starting in photography and not doing gigs, I would recommend the mirrorless interchangable lens cameras such as the micro four thirds lines over a digital SLR. When there is not anything serious riding on preformance, the quality of the pictures from these is close enough to SLR quality, but with a much lower cost in terms of bulk, which makes it much more likely that you would actually have the camera with you when opportunity arises.
For more picture samples, go to my pictures at Flickr taken with the Lumix GF-2
Saturday, February 04, 2012
Book Review: SQL and Relational Theory: How to Write Accurate SQL Code by C. J. Date
SQL and Relational Theory: How to Write Accurate SQL Code by C. J. DateMy rating: 4 of 5 stars
Date's book is almost two books in one. First is a book on relational theory. As such, it is meant for deep reading. The second is SQL, the Good Parts. And as such it can get pendantic. But for someone who already knows something about working with data, it can be a good discussion on what you can and cannot get away with.
The first part of the book is an introduction to relational theory, mixed with the author's discussion of what is wrong with the SQL specification and the various implementations in database management systems that are currently available. While I appreciate the discussions from the point of view of making definitions clear, the numerous digressions into the failings of SQL become distraction after a point.
The second part is dominated by how to think in relational terms, and often the implementation within SQL. This is probably the valuable part of the book. Actually, because this is approached as much from a relational theory point of view as an SQL one, it becomes quite applicable to non-SQL forms of manipulating data (I usually manipulate data through programming languages such as R or Python). What this book becomes is a illustration of how to think when digging into data, and what transformations are reasonable and which gets you into trouble.
This is not light reading, or a reference to use when learning how to use SQL, or data manipulation tools in general. If you get around the discussion of the faults of implementations, it is a book on how to think when manipulating data as the first steps in data analysis.
Note: I received a free electronic copy of this book through the O'Reilly Blogger program
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Sunday, January 01, 2012
Parenting Month 14: Evaluations and goals
Some lighthearted observations. Then a serious one.
1. T is learning how to go down things. We've been trying to get him to get off of a mattress backwards (feet first). Not only has he started to do this consistently (instead of charging headfirst off them), he also figured out that this is how to go down stairs. The books state that this marks the end of the 'stairs are dangerous' period, and some of the more natural parenting types consider this as the goal instead of using baby gates. Mind you, we are keeping the baby gates, but we don't have them everywhere. And maybe we won't need to.
2. Loves bananas. He amuses everyone at grocery stores when we go pick up bananas and he is so happy to have them. Even better when he cries out 'nana, nana' for all to hear once we get within sight of the bananas.
3. He likes to feed mommy and daddy. Taking a spoon of yogurt and putting in our mouths. Cheese, crackers, bread, even a banana. We like to think that this is his way of showing love (after all, feeding him is what we do)
4. He is generally a very happy child. Except when it comes to sleeping. Then he is a very unhappy child. *sigh* *yawn*
5. He has continued to like it when we read to him. Our babysitter comments that she is surprised that he has the patience to make it through books. Of course, he has been doing this for months.
6. At day care they had evaluations. One funny one was 'does not show affection to stuffed animals.' He actually does not have stuffed animals at home, so the idea of forming attachments to things, not people, is probably not something that has occurred to him.
7. A more serious note, the evaluators also mention that he is slow on all marks regarding socialization and language. Of course, most of the behaviors they mark as deficient, he does show at home. The problem, of course, is that we are raising T bilingual. And our understanding is that children raised bilingual will be evaluated as slow until they are around 5-6. I have colleagues who are in the same situation.
We have promised ourselves that we would ignore things like milestones for the first few years. But this is where it is important to check that we do believe in this. Because we believe that the goal of raising children is not for good grades or evaluations, but to prepare them for the world. And while evaluations are important, if they do not further that goal, they are to be ignored. Learning to put aside these evaluations now, after considering what they mean, hopefully makes us better able to work with evaluations in the future. And take us further in our goal of raising a child.
Getting SageTeX to work on Ubuntu
Since I'm using Sage more, I'm trying to get SageTeX working, so I can embed Sage into LaTeX documents (i.e. have a report on the methods integrated with the code that implements the methods and generates the results. Search for 'Literate Programming' or 'Sweave' for many references on this)
On Ubuntu, after I copied SageTeX files to my local LaTeX configuration directory (as per instructions in the Sage Installation Guide, I still got errors when trying to build the example documents
Traceback (most recent call last):
File "st_example.py", line 7, in
_st_.inline(_sage_const_0 , number_of_partitions(_sage_const_5 ))
File "/home/lluang/Apps/sage-4.7.2/local/lib/python2.6/site-packages/sagetex.py", line 86, in inline
'}{{%\n' + s.rstrip() + '}{}{}{}{}}\n')
File "element.pyx", line 331, in sage.structure.element.Element.__getattr__ (sage/structure/element.c:2868)
File "parent.pyx", line 327, in sage.structure.parent.getattr_from_other_class (sage/structure/parent.c:3193)
AttributeError: 'sage.rings.integer.Integer' object has no attribute 'rstrip'
**** Running Sage on st_example.sage failed! Fix st_example.tex and try again.
So what happened? Apparently, one of the Ubuntu texlive packages (specifically texlive-latex-extra) includes an outdated version of the sagetex.sty file while what is needed is one tailored to the current version of Sage (and included in the Sage distribution). While I have the correct version in a local directory, there is a precedence issue when multiple LaTeX style files are present. Since I don't have the inclination to figure out the issue, I found the location of the wrong sagetex.sty file, and deleted the entire directory (/usr/share/texmf-texlive/tex/latex/sagetex). Now, SageTeX works, and I can start writing papers using Sage/Python, just like I do using Sweave for R.
On Ubuntu, after I copied SageTeX files to my local LaTeX configuration directory (as per instructions in the Sage Installation Guide, I still got errors when trying to build the example documents
Traceback (most recent call last):
File "st_example.py", line 7, in
_st_.inline(_sage_const_0 , number_of_partitions(_sage_const_5 ))
File "/home/lluang/Apps/sage-4.7.2/local/lib/python2.6/site-packages/sagetex.py", line 86, in inline
'}{{%\n' + s.rstrip() + '}{}{}{}{}}\n')
File "element.pyx", line 331, in sage.structure.element.Element.__getattr__ (sage/structure/element.c:2868)
File "parent.pyx", line 327, in sage.structure.parent.getattr_from_other_class (sage/structure/parent.c:3193)
AttributeError: 'sage.rings.integer.Integer' object has no attribute 'rstrip'
**** Running Sage on st_example.sage failed! Fix st_example.tex and try again.
So what happened? Apparently, one of the Ubuntu texlive packages (specifically texlive-latex-extra) includes an outdated version of the sagetex.sty file while what is needed is one tailored to the current version of Sage (and included in the Sage distribution). While I have the correct version in a local directory, there is a precedence issue when multiple LaTeX style files are present. Since I don't have the inclination to figure out the issue, I found the location of the wrong sagetex.sty file, and deleted the entire directory (/usr/share/texmf-texlive/tex/latex/sagetex). Now, SageTeX works, and I can start writing papers using Sage/Python, just like I do using Sweave for R.
Thursday, December 29, 2011
Ghost Story by Jim Butcher - What is the goal of training the young?
Ghost Story by Jim ButcherMy rating: 4 of 5 stars
So, Harry is dead. But apparently not quite. He is now a ghost. And he knows nothing about how to survive as a ghost. Fortunately, he soon meets some guides to mentor him along the way.
Along with the rest of the story, Ghost Story is the story of the training of the young. While Dresden has been spending years training an apprentice. But throughout the series Dresden has had a problem with trusting others. He has made a practice of hiding the truth of dangers and the realities that he faces from those around him. Even after it repeatedly gets him and those around him in trouble. And now that he is dead, he is not able to help his friends when they inevitably get caught up in things bigger than they are So throughout the book he learns of what his friends have been doing to compensate for his absense.
The question at hand, was his way right? In his absense his apprentice has gone off on her own, and one of his old acquaintances has teken up the task of continuing her training. And his friend comments that she was training his former apprentice to survive in combat, in a world that was harsh and unforgiving. While he has been derelict in his duties in coddling his apprentice.
Was she right? I have a young son, who we are hoping to raise so that he will be able to handle the world. And I have been entrusted with the training and mentoring of graduate students to prepare them to face the world and to survive and thrive in it. My wife and I have promised that we would not coddle our son, that as he grows we will prepare him for the world that he will be a part of. That may not be forgiving. We do not promise success. But we promise that he will not into it blind. And we will have prepared him so that it is possible for him to thrive. But in the end, he will be the one who has to learn the lessons, develop the skills, and go into the world.
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