Performativizing Papyrocentricity #39

Papyrocentric Performativity Presents:

The Ogre by the Throat Extreme Eiger: The Race to Climb the Direct Route up the North Face of the Eiger, Peter and Leni Gillman (Simon & Schuster 2015)

Sing When You’re WingingButterflies and Moths in Britain and Europe, David Carter (Pan 1982)

Soul FeudThe Soul of the Marionette: A Short Enquiry into Human Freedom, John Gray (Penguin 2015)


Or Read a Review at Random: RaRaR

Spike U Like?

Keeping out of the Hive Mind is an endless struggle. The Hive evolves, constantly throwing out toxic tentacles of glottic grotesqueness to enwrap and entwine the unwary mind. However, “in terms of” is an old and familiar tentacle. It’s easy to spot and avoid. New tentacles can be trickier, particularly when they come in cosy colloquial guise, like this:

Perrine’s brother is one of 36 people killed in Baltimore so far this month, already the highest homicide count for May since 1999. But while homicides are spiking, arrests have plunged more than 50 percent compared to last year. […]

Baltimore was seeing a slight rise in homicides this year even before Gray’s death April 19. But the 36 homicides so far in May is a major spike, after 22 in April, 15 in March, 13 in February and 23 in January.

Non-fatal shootings are spiking as well. So far in May there have been 91 — 58 of them in the Western District. […] Rawlings-Blake said her office is “examining” the relationship between the homicide spike and the dwindling arrest rate. – Baltimore residents fearful amid rash of homicides, The Washington Times, 28/5/2015.

“Spike” is a metaphor drawn from the behaviour of a line on a graph. When a variable rises sharply, reaches a brief maximum, and then falls sharply, it looks like an inverted V. A spike, in other words:

A spike

A spike

Not a spike

Not a spike


A sharp rise cannot be a spike on its own. It has to be followed immediately or almost immediately by a sharp fall. The rise and fall have to be more or less balanced. That’s why it’s nonsensical to say “homicides are spiking”. The rise in murders might level off and establish a new average. Or the murder rate might return slowly to the old level. You can’t announce a spike while a variable is still rising, so every time “spike” is used as a verb or a noun in the article quoted above, it’s being used incorrectly.

But the same article supplies a word that is correct:

At a news conference Wednesday, Rawlings-Blake said there were “a lot of reasons why we’re having a surge in violence.”

A surge can be identified while it is happening. Violence in Baltimore is surging or rocketing or shooting up or rising sharply. It is not “spiking”. But why is this simple metaphor being misused? I think it’s because “spike” conveys a sense of urgency and excitement. It gives journalists and other members of the hive-mind a buzz. They like the connotation, so they forget about the denotation.

Performativizing Papyrocentricity #38

Papyrocentric Performativity Presents:

Nature by Numbers30-Second Elements: The 50 Most Significant Elements, Each Explained in Half a Minute, ed. Eric Scerri (Icon 2013)

Fresh FleshThe Complete Illustrated Guide to Freshwater Fish & River Creatures, Daniel Gilpin and Dr Jenny Schmid-Araya (Hermes House 2011)

The Reich StoffRocket and Jet Aircraft of the Third Reich, Terry C. Treadwell (Spellmount 2011)

Past MastersJustice for All: The Truth about Metallica, Joel McIver (Omnibus Press, revised edition 2014)

Ant on E – Burgess on Waugh

M.O.R. of BabylonSleazy Listening: Frottage, Fladge and Frenzied Fornication in the Music of the Carpenters, Dr Miriam B. Stimbers (University of Nebraska Press 2015)


Or Read a Review at Random: RaRaR

Boldly Breaking the Boundaries

In “M.I.P. Trip”, I looked at fractals like this, in which a square is divided repeatedly into a pattern of smaller squares:
2x2inner

2x2inner_static


3x3innera

3x3innera_static


3x3innerb

3x3innerb_static


As you can see, the sub-squares appear within the bounds of the original square. But what if some of the sub-squares appear beyond the bounds of the original square? Then a new family of fractals is born, the over-fractals:

fractal2x2a

fractal2x2a_static


fractal2x2b

fractal2x2b_static


fractal2x2c

fractal2x2c_static


fractal2x2d

fractal2x2d_static


fractal2x2e

fractal2x2e_static


fractal3x3a

fractal3x3a_static


fractal3x3b

fractal3x3b_static


fractal3x3c

fractal3x3c_static


fractal3x3d


fractal3x3e


fractal3x3f


fractal3x3g


fractal3x3h


fractal3x3i


fractal3x3j


fractal3x3k


fractal3x3l


fractal3x3m


fractal3x3n


fractal4x4a


fractal4x4c


fractal4x4b

He Say, He Sigh, He Sow #27

“When you run and jump on rocks, your entire brain and body are at work; you stretch your back better than with yoga; every muscle in your body is involved; no two movements will be identical (unlike running in gyms); you become yourself.” — Nassim Taleb, Opacity: A Philosophical Notebook.

Cry’ Me A Shiver

It’s not true that Cryogénie are best experienced live. That would imply their music can be experienced some other way. It can’t. The live experience is the only experience. And it’s guaranteed unique. These French avant-gardists aren’t the only band to hand out earplugs on the door, but they don’t do it for the conventional reason: that they play so loud.

In fact, they don’t play loud. They don’t play soft either. In the conventional sense, they don’t play at all. Here’s an interview from 2008 with Tïurbeau magazine:


Tïurbeau: I’ve got your latest album in front of me now. Words fail me.

Alexandre: And us too.

François: As usual.

Tïurbeau: Then one has to ask: why do you bother to release albums?

Alexandre: We see it, you could say, as a little ritual, something solid, something material––

François: Something permanent.

Alexandre: Yes, something permanent, to mark the occasion, that will remain with our audience. Often, we hear, they will buy an album after they have attended a concert, as a souvenir, almost. And they will truly play it!

Tïurbeau: They will play thirty-seven minutes of silence?

Cryogénie, Nix Sonica (2008)

Cryogénie, Nix Sonica (2008)*

François: Yes. The silence creates a space, a kind of opening in the present, for memories of the concert.

Alexandre: Yes, for memories, exactly so. Although, of course, in one sense we have pride in the irreproducibility of our music, in another sense we are recording every moment we are on stage. On the brain.

François: On the brains of the audience.

Alexandre: We are recording memories.

Tïurbeau: And the albums are designed to trigger the memories?

Alexandre: Trigger?

Tïurbeau: Bring the memories back.

Alexandre: Ah, yes, exactly so. The albums are a focus for memories of a concert.

François: Almost talismans.

Tïurbeau: In a magical sense?

Alexandre: Yes, why not? For us, experience is the ultimate magic. In the moment, but also in memory.

Tïurbeau: And does this relate to the sensory restrictions of your concerts, the way you try to turn down some senses in order to heighten the sense you are seeking to stimulate?

François: Yes, exactly so. Earplugs.

Alexandre: No aftershave, no perfume.

François: And please shower carefully before you attend.

Alexandre: Yes, shower carefully. And we ourselves, we will take care of the light. Remove it, make the scene very dark. You are not at a Cryogénie concert for pleasing your ears, your nose, eyes, mouth. Non, vous êtes là pour la chair!

François: Oui, pour la chair.

Tïurbeau: For the flesh.

Alexandre: Yes, the flesh. And how do we stimulate the flesh when we may not use another mode, not exploit another sense? No vibration, no infra-bass even. Then what?

François: Yes, this was the question we faced in our formative days.

Tïurbeau: And the answer…

Cryogénie, Rois du Froid (1996)

Cryogénie, Rois du Froid (1996)**

Alexandre: The cold!

François: Cold.

Alexandre: Please remember a question in the Gay Science of Nietzsche: Ist es nicht kälter geworden?

François: “Has it not become colder?”

Alexandre: And we want, if you attend a Cryogénie concert, for you to say: Ja! Oui! Yes! Kälter, kälter! Plus froid, plus froid! Colder, colder!

Tïurbeau: The triumph of the chill?

François: Yes. Triumph of the chill!

Alexandre: I don’t understand.

François: [Explains briefly in French]

Alexandre: Ah, yes, a triumph.

Tïurbeau: And with the concept came the name?

Alexandre: Yes, and so we had our name also. Cryogénie. With several meanings. Cryogénie is “creation of cold”, but also, for us, “genius of cold”, “spirit of cold”. Remember the concept of ritual. Our concerts, you might say, are rituals of cold, invocations of cold.

François: And: “If it’s too cold, you’re too old!”

Alexandre: Yes, so it’s said. Of course, in truth we welcome all ages, but if you are in poor health, perhaps better not to attend.

François: Nevertheless, visits to the pharmacy surely increase after we have passed through a city.

Tïurbeau: How cold do you go?

Alexandre: Ah, we prefer not to speak of that. No numbers, no statistics. You are there for the music, not to watch le thermomètre.

François: We get cold enough for our purposes.

Tïurbeau: That sounds rather sinister!

François: Yes, perhaps so. But would that not be the ultimate experience, to die pour une grêlodie, for a grêlodie?

Tïurbeau: Grêlodie?

Alexandre: It’s a joke, un calembour, a mixing of words.

François: A pun. In French, grêle is “hail”, you know, the little balls of ice, and mélodie is “melody”, of course, and so you have grêlodie, for a tune as performed by Cryogénie, a tune of ice, a tune of cold.

Tïurbeau: But not literal hail?

Alexandre: No, not literal. Though sometimes the breath of our audience will freeze and fall as a kind of snow. It makes a sound, that, a very delicate sound, le chuchotement des étoiles, comme on dit en Sibérie.

François: Yes, the whisper of the stars, as they say in Siberia. But of course, no-one will hear it, if they have followed their instructions.

Alexandre: Earplugs in!

Cryogénie, Blanchette (2003)

Cryogénie, Blanchette (2003)***

François: But the snow, the breath-snow, can be felt on the skin as it falls. This is acceptable, though it is an indirect effect of our music, not something we have planned for.

Tïurbeau: I have felt it. In the middle section of “Frissonique”, particularly.

Alexandre: Yes, and in “Bruitmal”.

François: When the framplifiers are cooking, as you might say.

Tïurbeau: Framplifiers? Can you explain for the benefit of our readers?

François: It is from froid and amplificateur. Framplicateur, framplifier. Amplifiers of cold, or generators of cold.

Tïurbeau: That is one of the most widely discussed aspects of your music, isn’t it? Your equipment.

Alexandre: Yes.

François: Yes, certainly.

Tïurbeau: But you’re rather secretive about it, aren’t you?

Alexandre: Yes!

François: You discuss, we are sphinxes.

Tïurbeau: Silent?

François: Yes. We have our – what is the term? – our trade-secrets. It’s not in our interests to expose our techniques. Nor in yours, we think.

Tïurbeau: You want to preserve that air of mystery?

Alexandre: Yes, precisely so. The experience is more strong when you don’t understand.

François: Like magic.

Alexandre: Yes, magic. We perform a ritual. The invocation of the cold. We invoke the cold and we throw the cold, we throw it on the audience.

François: Waves of cold. Cryorrhythms. Chords of cold, congelations, grêlodies, chills, thrills, rivers of shivers. That is the Cryogénie experience.

Tïurbeau: But there’s some serious technology behind the experience, isn’t there?

Alexandre: Yes.

François: Yes.

Tïurbeau: And you’re saying no more?

Alexandre: Yes, no more.

François: It’s not in our interests to explain. Or yours.

Tïurbeau: Nothing?

Alexandre: Nothing.

Tïurbeau: Not even a little?

François: Well, maybe a little. We had problems, in the early days, with unwanted noise, from the equipment.

Alexandre: Just a little.

François: I mean, if you think of a refrigerator, there is noise, of course. And we didn’t want noise, we wanted silence, pure silence.

Tïurbeau: A blank canvas, sensorily speaking?

François: Yes, a blank canvas, for us to paint with cold. So there was that problem to solve. The noise, unwanted noise.

Tïurbeau: And you solved it?

François: Yes, I think we did.

Alexandre: I think so.

Tïurbeau: But the earplugs are still necessary?

Alexandre: Yes, necessary, we think. Because, of course, with silent equipment there is still the movement of people, our movement on the stage, movement of the audience.

François: And the whisper of the stars, with some other effects. There are many things to create noise at a concert. We cannot eliminate them all, or we choose not to, because the earplugs are in themselves symbolic. To use them, you say: “See? I choose to close this door, this sensory mode.”

Alexandre: And you give yourself to us, to Cryogénie, to exploit another sense.

François: To submit you to our chill.

Tïurbeau: Esclaves du froid?

François: Yes, very good. Slaves of cold! But equally we are the slaves.

Alexandre: Yes, esclaves du froid. I like it. Perhaps we will write a song of that title one day.


Elsewhere Other-Engageable:

Rois du Froid — Cryogénie’s official site


*Sonic Snow.
**Kings of Cold.
***Little White One.

Lette’s Roll

A roulette is a little wheel or little roller, but it’s much more than a game in a casino. It can also be one of a family of curves created by tracing the path of a point on a rotating circle. Suppose a circle rolls around another circle of the same size. This is the resultant roulette:
roulette1

roulette1static
The shape is called a cardioid, because it looks like a heart (kardia in Greek). Now here’s a circle with radius r rolling around a circle with radius 2r:
roulette2

roulette2static

That shape is a nephroid, because it looks like a kidney (nephros in Greek).

This is a circle with radius r rolling around a circle with radius 3r:
roulette3

roulette3static
And this is r and 4r:
roulette4

roulette4static
The shapes above might be called outer roulettes. But what if a circle rolls inside another circle? Here’s an inner roulette whose radius is three-fifths (0.6) x the radius of its rollee:
roulette5

roulette5static
The same roulette appears inverted when the inner circle has a radius two-fifths (0.4) x the radius of the rollee:
roulette5a
But what happens when the circle rolling “inside” is larger than the rollee? That is, when the rolling circle is effectively swinging around the rollee, like a bunch of keys being twirled on an index finger? If the rolling radius is 1.5 times larger, the roulette looks like this:
roulette6
If the rolling radius is 2 times larger, the roulette looks like this:
roulette2over

Here are more outer, inner and over-sized roulettes:

roulette_outer

roulette_inner

roulette_over

And you can have circles rolling inside circles inside circles:

roulette7

roulette0616

roulette0616all

And here’s another circle-in-a-circle in a circle:

roulette07c015c