Unknown

Unknown#

From the point of view of form, the archetype of all the arts is the art of the musician - Oscar Wilde

../_images/bwv1068ii.png

BWV 1068 II. It’s in binary form with Parts A & B, which I further divide into functional parts A1, A2, A3 & B1, B2. Part A1 in the Ionian D maj evokes “Paradiso” (bars 1-2), in pure unthreatened diatonic delight. Part A2 has a few chromaticisms (bars 3-4: iidim7-V7-i) leading to a flirtation with Dorian Emin. This Emin launches a ii-V7-I into the the Mixolydian A maj (bars: 4-5). Part A3 is back to Ionian D maj theme bars (5-6), but veering off from Paradise to get “Lost”.25 Part B1 evokes “Inferno” with stepwise descent from the Mixolydian A maj until a tritone is reached at D# (the third of a dom7) and resolved to the Dorian E min (iidim7-V7-i at bars: 7-8).26 This is repeated one more time to A# and resolved to the Aeolian B min (ii-V7-i at bars 9-10). Another descent, but this time a purely diatonic one via the perfect 5th, from B min to C#minor resolves in an E7 cadence to A (ii-V7-I at bars: 10-12). We sense and feel something different: we are set for “Purgatorio”,27 the unmistakable chromatic climb from Mixolydian A towards the Ionian heavens in D (I/III-IV-II/#IV-V-III/#V-vi). (Inspired by the opening sequence of S12E7 Parts Unknown: Lower East Side)#

Cultures with a history of struggle cook better, because they have to -Anthony Bourdaine 28

Missingness of one or all of the principle components of data, code, server, models, weights, and profiles is what is at stake (but perhaps migration represents redefining home?):

  • \(f(t)\) I

  • \(S(t)\) ii-V-I

  • \(h(t)\) iii, IV, vi, vii, alterations: being in the moment trumps the ii-V7-I duty

    • Δ7

    • m or min

    • ° or dim

    • ø or m7♭5, -5

    • + or aug, ♯5 or +5

    • sus

    • ♭9, ♯9, ♯11, ♭13

  • \((X'X)^T \cdot X'Y\) tension & release (e.g. Aiim7/E (GΔ) - iim7♭5/E Em)

  • \(\beta\) m7♭5 > 7♯9 > 7♭9 > °7 > 7, etc

  • \(SV'\) BWV 846 Prelude in C Major, Op 28 Prelude No. 4

While Tyler Perry’s work captures the collective unconscious via tension (bad marriage) & release (church music), the characters he creates don’t have individually compelling arcs that subsume many of the parameters of life

This is equivalent to their \(SV'\) being a vector of mostly \(zeros\) and the barriers, challenges, diversions, sirens, misfortunes, obstacles, courses, “chains” within which Tyler Perry is supposed to “dance” aren’t rich, leaving a basic ii-V-I redemption arch with perhaps one or two straightforward insersions of, say, iii and IV.

      1. f(t)
            \
 2. S(t) -> 4. y:h'(t)=0;t(X'X)X'Y -> 5. b -> 6. SV'
            /
            3. h(t)

ii: Departure 1, 2, 3#

  • Sensory acuity 29: vision, hearing, smell, balance, glucose

  • Memory & cognitive: integrity, decline, tests

  • Physical activty: sarcopenia, brisk, dynamometer

V: Struggle 4#

  • Frailty: loneliness, isolation, usefulness

I: Return 5, 6#

  • Independence: ADLs, IADL

  • Hard-outcomes: shuffling, reflexes, falls, hospitalization, organ-failure, death

Tip

In John Adams letter to Abigail concerning the “three generation” process of making an artist or seeker of leisure, we can reconceptualize it as a ii-V7-I chord progression.

One ancestor departs from the homeland and finds manual work (garbage collection for Kardashians). Their struggles in a new adoptive home yield a triumph: a professional second generation (trial lawyer for Kardashians).

The final generation has seen no struggle and the family has “returned” to the idealized paradise they would have wanted at their original home but found elsewhere. It’s in this light that you should read the letter to Abigail 30

                         1. Pessimism
                                     \
            2. Beyond Good & Evil -> 4. Dionysian -> 5. Science -> 6. Morality
                                     /
                                     3. Robustness


                             1. Chaos
                                     \
                        2. Frenzy -> 4. Dionysian -> 5. Algorithm -> 6. Binary
                                     /
                                     3. Energy

Activation Function \(Q\)#

  • Hunter-gatherer/War: humanism, spiritual teachings (I)

  • Peasant/Economics: judeo (B)

  • Farmer/Calculus: christian (G)

Biases \(U()\)#

  • Manufacturer/Philosophy: world religions (Y)

Weights \(\frac{dU()}{dQ}\)#

  • Energy/Musick: prophetic utterances (O)

  • Deployment/Leisure: individual experience (R)

Hide code cell source 
import numpy as np
import matplotlib.pyplot as plt

# Define the total utility function U(Q)
def total_utility(Q):
    return 100 * np.log(Q + 1)  # Logarithmic utility function for illustration

# Define the marginal utility function MU(Q)
def marginal_utility(Q):
    return 100 / (Q + 1)  # Derivative of the total utility function

# Generate data
Q = np.linspace(1, 100, 500)  # Quantity range from 1 to 100
U = total_utility(Q)
MU = marginal_utility(Q)

# Plotting
plt.figure(figsize=(14, 7))

# Plot Total Utility
plt.subplot(1, 2, 1)
plt.plot(Q, U, label=r'Total Utility $U(Q) = 100 \log(Q + 1)$', color='blue')
plt.title('Total Utility')
plt.xlabel('Quantity (Q)')
plt.ylabel('Total Utility (U)')
plt.legend()
plt.grid(True)

# Plot Marginal Utility
plt.subplot(1, 2, 2)
plt.plot(Q, MU, label=r'Marginal Utility $MU(Q) = \frac{dU(Q)}{dQ} = \frac{100}{Q + 1}$', color='red')
plt.title('Marginal Utility')
plt.xlabel('Quantity (Q)')
plt.ylabel('Marginal Utility (MU)')
plt.legend()
plt.grid(True)

# Adding some calculus notation and Greek symbols
plt.figtext(0.5, 0.02, r"$MU(Q) = \frac{dU(Q)}{dQ} = \lim_{\Delta Q \to 0} \frac{U(Q + \Delta Q) - U(Q)}{\Delta Q}$", ha="center", fontsize=12)

plt.tight_layout()
plt.show()
../_images/afa91f0bcf337e9d0a0901707fe1aa1c7a332b551fb5b7af920037b2996fc9ee.png

At the end of the drama THE TRUTH — which has been overlooked, disregarded, scorned, and denied — prevails. And that is how we know the Drama is done.” Some scientists may be sloppy because they are — like all humans — interested in ordering the world rather than in rigorously demonstrating a truth.

  • Chaos - Activation, Text

  • Order - Utility, Context

  • Accuracy - Marginal, Pretext

One needs challenges, a worthy adversary, the embrace of more remote overtones of the harmonic series - Qualities to be reinterpreted as the form of the character arc: the ii-V7-I archetype that music lends to all the arts

  • Westmalle Dubbel, \(7\) %

  • Duvel, \(8.5\) %

  • Truth, \(8.7\) %

  • Westmalle Tripel, \(9.5\) %

  • St. Bernardus Abt 12, \(10\) %

Michael Tilson Thomas: Music and emotion through time has parallels with Dante’s Allegory#

Italia#

ii Primo#

  • Hell-Geothermal/Aperitivo, Antipasto

  • Primo

  • Secondo, Contorno

V7 Dolce#

  • Purgatory-Mountain/Insalata, Formaggi e Frutta, Dolce, Caffé, Digestivo

i Inferno#

  • Goals-Solar/Dante’s allegory is the theme of S3E10: Tuscany 31

  • The structure of Dante’s Inferno: Hell, Purgatory, Goals is truly from our collective unconscious

A complete Tuscan meal is a delightful and elaborate experience, reflecting the region’s rich culinary heritage and emphasis on fresh, high-quality ingredients. Here’s a breakdown of a traditional Tuscan meal, incorporating all the components you mentioned:

Aperitivo#

Purpose: To stimulate the appetite with light drinks and small snacks.

  • Drinks: Prosecco, Negroni, Aperol Spritz, or a glass of light white wine.

  • Snacks: Olives, nuts, crostini with toppings such as liver pâté (crostini di fegatini), and small slices of salami or cheese.

Antipasto: Affettati Misti#

Purpose: A selection of cured meats to start the meal.

  • Selection: Prosciutto Toscano, finocchiona (fennel-flavored salami), salame toscano, and soppressata.

  • Accompaniments: Marinated vegetables, olives, and bread.

Primo (First Course)#

Purpose: A hearty dish to begin the main part of the meal.

  • Examples:

    • Ribollita: A traditional Tuscan soup made with bread, cannellini beans, and vegetables.

    • Pappardelle al Cinghiale: Wide pasta ribbons with a rich wild boar sauce.

    • Pappa al Pomodoro: A thick tomato and bread soup.

Secondo (Second Course)#

Purpose: The main protein dish.

  • Examples:

    • Bistecca alla Fiorentina: A large, thick T-bone steak, grilled to perfection and seasoned simply with olive oil, salt, and pepper.

    • Cinghiale in Umido: Wild boar stew, slow-cooked with tomatoes, red wine, and herbs.

    • Arista di Maiale: Roast pork loin with rosemary and garlic.

Contorno (Side Dishes)#

Purpose: Complementary vegetable dishes served alongside the secondo.

  • Examples:

    • Fagioli all’Uccelletto: Cannellini beans stewed with tomatoes and sage.

    • Verdure Grigliate: Grilled seasonal vegetables, such as zucchini, eggplant, and bell peppers.

Insalata (Salad)#

Purpose: A refreshing and light dish to cleanse the palate.

  • Example: Simple mixed greens with a light vinaigrette, often served after the main course to refresh the palate.

Formaggio e Frutta (Cheese and Fruit)#

Purpose: A transition between the savory courses and dessert.

  • Cheese Selection: Pecorino Toscano, aged Parmigiano-Reggiano, and fresh ricotta.

  • Fruit: Fresh figs, pears, grapes, and apples, sometimes accompanied by a drizzle of honey.

Dolce (Dessert)#

Purpose: A sweet conclusion to the meal.

  • Examples:

    • Cantucci e Vin Santo: Almond biscotti served with a sweet dessert wine for dipping.

    • Torta della Nonna: A custard-filled tart topped with pine nuts.

    • Panforte: A dense, chewy cake made with nuts, dried fruits, and spices.

Caffè#

Purpose: A strong espresso to finish the meal.

  • Example: A small cup of Italian espresso.

Digestivo#

Purpose: A digestif to aid digestion.

  • Examples: Grappa, limoncello, or an amaro such as Amaro Montenegro.

Recitation of Dante Alighieri’s Allegory#

Purpose: To celebrate Tuscan cultural heritage through literature.

  • Example: A recitation of a passage from Dante’s “Divine Comedy,” especially from the “Inferno” or “Purgatorio,” reflecting on the rich literary tradition of Tuscany.31

This comprehensive Tuscan meal not only showcases the culinary excellence of the region but also integrates its profound cultural and literary heritage, making it a truly immersive experience.

Essays#

Anthony Bourdain’s distinction lies in interchange of modes, qualities, and relatives. In Tuscany we are fussing about Dante Allegheri’s allegory (No boundaries) and in Tokyo we are analyzing the value of Judo to a sushi chef (Parts Unknown). Other food channels talk only about food

1#

ii: Inherited Fetters (+ Self-Imposed) 1, 2, 3#

Summary: ii. departure - V7. struggle - i. return. This is drawn from the interchange of modes, qualities, and relatives in the context of Aeolian i/III that is always in the 1st inversion. Chopin inherited this from the 2nd, 3rd, and 4th opening bars of “Lacrimosa” (Aeolian with a Phrygian element much later).

A bii chord from the Phrygian mode may be inserted. Its qualities may then be varied: bII7 - bII6 - biiø7 - biidim7. This chord non-progression might come after the Aeolian iim7b5 in a return to home. A return to a false i via an Ionian I7 lends seamless voice leading from bii7-bii°7-biiø7-I7. And then we return to the Aeolian root as follows: I7 - idim7 - im7. So thats a quick dash across three modes!

My inheritance here from Chopin, my ancestor, is one of “chains”: how daintily he dances in the chains at bii. He again does so later at V7b9 (tonic E minor) - V7 - vm7 - vdim7 (relative G Major), and finally in a very deceptive cadence on the home melody (E) at Vb9 - Vb97 - V7sus - V7sus13 - V7susb13 - Vb97/Vb7. Such chord non-progression is akin to a dam holding back a river from its destiny at the estuary. Once the sluice gates open, my banks will overflow. Mozart gave to Chopin, Chopin gave to me, and thus it is my duty to perform acts of charity for the next generation.

V7: Dancing in Chains 4#

Inherited “chains” become an arena for demonstrating resilience and creativity, much like complex chord progressions that defy straightforward resolution. If I’m to play the hero in my lifetime, it is because others have placed hope in me, given that “my cup runneth over.” They are right because to them it seems that I effortlessly dance in these inherited and self-imposed fetters and obstacle courses during my odyssey.

i: Born to Etiquette 5, 6#

Our premise in discussing these matters is that a mere ii-V7-i progression without the transformations (insertions and deletions) would be a bland moral tale of faith.

The aesthetic accomplishment is in overcoming a seemingly endless and randomly generated number of barriers, and worthy adversaries, with grace and poise. This is much more compelling than the contrived, tidy ii-V7-i. With so many transformations, the overarching ii-V7-i can’t even be perceived and so it never seems contrived.

2#

Modal interchange, also known as modal mixture, allows composers to borrow chords from parallel modes, creating rich and evocative harmonies while staying grounded in traditional tonal frameworks. This technique enhances the emotional palette, bringing depth and unexpected colors to music.

Reflecting on Anthony Bourdain in this context is fascinating. Bourdain’s storytelling often juxtaposed familiar culinary traditions with unexpected cultural insights, much like how modal interchange blends familiar harmonic structures with surprising twists. His ability to evoke profound emotions and convey deep connections through his journeys mirrors the evocative power of modal interchange in music.

Bourdain's episodes, such as the one in Tuscany that employed Dante's allegory and the one in Tokyo, where delved into the origins of Seinen manga, resonate with the idea of exploring new dimensions within familiar contexts. Just as modal interchange enriches a piece of music, Bourdain’s narratives enriched our understanding of cultures and the human experience. His approach was a masterful blend of tradition and innovation, much like the compelling harmonies created through modal interchange.

3#

I’m certain of nothing – Anthony Bourdain Tattoo

                    1. f(t)
                          \
               2. S(t) -> 4. y:h'(t)=0;t(X'X).X'Y -> 5. b -> 6. SV'
                          /
                          3. h(t)

ii: Inherited fetters: archetypes, \(\mu\)#

  • \(f(t)\) Life randomly throws stuff at you as if from a density function (parts of which are unknown)

  • \(S(t)\) TV is a cumulative medium, its serialized, a resonant emotion in one episode has been earned over earlier ones

  • \(h(t)\) Film caters to instantaneious gratification and has major constraints, but also a solution for the impatient

V7 Dancing in chains: stereotypes, \(\sigma\)#

  • \((X'X)^T \cdot X'Y\) Variation on inherited themes from the collective unconscious

i Born to etiquette: phenotypes, \(\%\)#

  • \(\beta\) Isolated parameters describe subgroups and stereotypes

  • \(SV'\) But the summation of the parameter values & weights within an individual: now that reveals phenotype

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