Wednesday, October 23, 2019

Burn of God Work

A busy few days, having a really nice performance and time at Congleton Library on Monday evening, perhaps our most unified show and a good mix of lighting, speech, music, costume, and a receptive audience, which is half of any performance. Mike Drew is such an asset to the county.

Have spent today working on Burn of God, wrestling with it. I keep wanting to throw all of it away and start afresh, but there are some startling moments, so perhaps the solution is keep the good parts and discard everything else.

Today I've changed the music of the opening track to very approximately match the musical theme of a later track, and re-recorded the vocals which are choral and my most epic to date. This involved singing the same phrase 60 times for each line, and there are four lines, so that's 240 vocal recordings, which are layered in groups of 10 to make them suitably big. The music is in chords, so a lot of vocals to record and painstakingly cut and paste. Singing the same simple phrase over and over is very good vocal practice.

I also found time to start work on the cover art, which is a bit of a distraction while I think about the next steps for the music. I've changed so much since starting the album that every step of work on it has been frustrating. My plan is to complete it as soon as I can, hopefully by the end of next week, not even certain to share the results unless I'm completely happy with it. We will see what happens.

Monday, October 21, 2019

Predictability and Cause and Effect

Have spent most of the morning writing and thinking this. I'm not really sure if it makes any useful commentary but it roughly indicates my train of thought from the validity or testing of unprovable or unknowable laws of science to cause and effect in a backwards-time or timeless universe. So much more I could write, worthy of a book.

Predictability and Cause and Effect

The two most important words in science are arguably "prove it". What if, however, there were certain laws of nature that could not be proven? Would any example of this mean that scientific method is invalid and cannot be used to fully explain the universe?

There are certain aspects of quantum mechanics, for example, that cannot be proven or explained in local, specific terms, but can be proven in large-scale, probabilistic terms. It can be said that a radioactive particle will decay in a certain space of time, and that the probability of its decay can be predicted, but that the exact moment the decay occurs cannot. Scientists would like to know how that particle itself knows when to decay, and knows anything about the probability.

This unknowingness drives scientists mad, and has led to strange theories, such as multiple infinite parallel universe, where, in each universe, the radioactive particle emits at a different time, and it is only in our universe that we see it; thus there's no need to explain what happens and why, because everything happens.

This seems like a silly argument, as there is still one here and now; this universe here where we see the particle emitting at this specific point. We appear to be in one of the universes, not all of them (or indeed in any other). I don't believe that infinite anything could exist, or else infinite everything (and therefore nothing, in information terms) would be inevitable.

Perhaps, I thought, the whole the idea of multiple infinite parallel universe to explain unpredictable events like radioactive decay stems from a desire to know what is unknowable; the desire to invent almost anything to avoid the possibility of the unknown.

The radioactive particle decay is a famous unsolved problem in physics, so I thought I'd ride a train of thought with it and see what our particle might be thinking. Perhaps there is no problem at all. Perhaps that problem is that people, and scientific method as a philosophy, have a need to things to be predictable and certain, and perhaps the universe isn't necessarily predictable and certain in all circumstances.

Unknowability

If a law of the universe was unknowable, would we know it was unknowable? Firstly, there are elements of even very predictable behaviour that we accept are unpredictable. We can know all of the rules that govern the climate, wind and water flows, and measure these things very accurately yet still can't exactly predict the weather. The variables for such a prediction are too complex. Even a tiny motion somewhere, a falling stone from space, which couldn't be feasibly detected, could upset the balance.

With this analogy, perhaps our radioactive particle is like a soap bubble, waiting to pop. We can blow a bubble, watch it float and predict that it will pop in a few seconds. The bursting will occur due to a weakness in the film, a drying out. A dot of dust in the air might touch it, a glance of a sun-ray, a moth's sneeze. These things are real noise in the universe, and any one could burst our bubble, but we couldn't monitor or detect all of these forces, and so we can't predict when a soap bubble will burst, even if we knew every law of physics that might determine the cause of a burst. In this circumstance, our little particle is just this, and decays due to an unseen element (this is a so-named hidden-variable theory; experiments indicate these unseen elements do not exist; our dream-like mental bubble is burst).

Perhaps though, you might say, the stone from space, and every breath of every creature, could possibly be detected. There's a big difference between possible and impossible. If you had a large enough computer, a near-infinite computer, these measurements and detections are theoretically possible, and then the weather, or the time a soap-bubble would burst, would be detectable, although this is a little suspect. Perhaps our computer and measuring devices would need to be as large as the universe itself. The key factor is information quantity. A machine to measure and process half of the information in the universe would need to be larger than the other half, because of the extra work involved. So perhaps, what appears to be merely unfeasible, is impossible.

This might not affect our particle though. Our particle might genuinely have no knowable rule that causes it to decay. There are certainly mathematical equations that are, and can be shown to be, impossible to solve. Perhaps our particle lives in a zone where such equations exist?

There is a simple paradox: if we knew the future exactly, we could change it. This infinite conundrum must limit either our ability to change things or our ability to know things. Perhaps this simple idea is why the emission of a radioactive particle is necessarily unknowable.

This appears reflect the reality of quantum mechanics; that we can predict the probabilities accurately, but that the exact emission time of a radioactive particle is unknowable. This rule works on a practical level, but it is frustrating to us. On an individual particle level, how does it know when to decay? We don't and can't know, but it must know! Our ego can't accept that a particle can outwit us. There must be some mechanism that determines when one single radioactive particle decays, and when. It must have a clock or memory of a sort, at least, surely?

Perhaps the problem is our perception of time? Perhaps science has a problem with cause and effect?

Cause and Effect

We tend to think of cause and effect in relatively short and specific terms. A scientist pushes a snooker ball on a table, and can measure its angle, speed and other forces to learn something. By repeating this, a general rule can be discerned. In some ways, most of science is the art of observing one thing that comes after another, and using the data from the first thing to learn something about what causes the other. These events tend to be on simple and short-time terms, and we hope that these rules will also apply to other scales.

In the raw and real universe there are many types of cause and effect. I watched a film last night. What was the cause for that effect? Perhaps I wanted to relax, so the cause was a busy day. One could say that one big cause was the Lumiere brothers inventing cinema a century ago. Certainly, if you went back in time and didn't invent motion pictures then this effect wouldn't have occurred. Perhaps everything that happens could be considered an effect of a prior cause. Scientists don't want to (or can't) get involved with the complexities of everything possibly causing something else, even if, in a way, it is sort of obviously true that every event is influenced by the events that came before, even totally unrelated ones.

Perhaps this issue is getting confused. The aim of scientific experiments, like the snooker ball one, is to isolate a specific and controllable part of the universe, so that we can learn something specific that can be generally applied. Perhaps though, there are large-scale effects that have causes that do have general rules, but are too large scale and messy to ever experiment with. We can't really delete the invention of the film camera, and try to invent it again to see what might happen in cinema a century later, even if there might be a new law of science to be found there.

Science might be based on these isolated and simplistic cause and effect tests, but what if an effect has no obvious cause? There might be an exact and explicit cause for radioactive decay, but it's merely something we haven't seen. Perhaps the particle knows something about an unseen part of the universe which we do not.

Feelings of Effect

Free will gets in the way of objectivity, and perhaps the root of the idea of cause an effect is something that happens that we ourselves do. We feel that we have an influence on the world, and that we are the ones that cause things to happen. Perhaps all things feel this; we can't say that its a uniquely human attribute (may cat would agree that she knows what she wants). Perhaps even atoms feel that they are changing things, causing things. At the same time, we have certain moments or actions where we feel we are changing things and causing things to happen, and other times when we do not. Perhaps our friend the snooker ball feels that it is doing nothing when rolling along, but when it hits another ball, it feels it is causing something.

Perception of Time

Cause and effect are ultimately elements of time. If we were to view our snooker ball colliding with another in a timeless way, we might see a streak of ball (its path of motion) bend as it touches the tip of another streak (the deflection as it hits another ball). With no time here we might see the interesting bend; it's a bit more interesting than a plain straight line, but we can't see what caused what.

Let's look at our radioactive particle timelessly. We see a speck of radiation shooting out of our atomic nucleus like a line or shoot of newborn grass. Exactly when it happened and why is suddenly unimportant. The speck, as a piece of information, is what is interesting[*].

What if we ran time backwards with both events?

The snooker ball behaves pretty much in the same, predictable way, we can even calculate the energies involved and predict what might happen (is it an anti-prediction, now that we are predicting the past?!)

Our radioactive particle however, once unknowable and enigmatic, is absolutely knowable. We can calculate exactly when and where it will emit from its nucleus. We can see a particle of radiation moving towards a nucleus, and then, bam, hits it and is absorbed. Prediction here isn't a problem.

Perhaps all of the problems of prediction can be solved by either running time forwards or backwards as needed. If elements of the universe routinely ran backwards in time, would we detect these? Antimatter behaves like matter running backwards in time.

Perhaps future and past, or cause and effect, could be seen in dialogue terms, rather than one before, or superior to, the other.

[*] - The word interesting is perhaps the key word here. Interaction creates information, and perhaps prediction is the quest for new, generated knowledge, generated information. This knowledge from prediction could never be 100% accurate or complete. This is worthy of future examination.

Sunday, October 20, 2019

Caligari and Unpredictability

A sleepless night, made lots of notes about predictability and science, how what must be unpredictable, such as some elements of quantum mechanics, would obviously drive scientists mad; scientists who are scientists exactly because they demand answers and reasons, even when some mathematical equations can be proven to be unprovable. A scientists could perhaps never accept that there is no answer, even if that is true, and many crazy theories, such as infinite parallel universes, stem from this grasp for an explanation to what might be, I think, necessarily unexplainable. I must type this up.

In art we've rehearsed of Fall in Green performance today, and I've made a short video for my Frankenstein piece.

Now I'm thinking about structure and melody, feeling, meaning, abstraction, for the 'god' album. For me, music can can have a clear meaning because emotions convey their unique information; art is about authoring using this information. My 'god' music is rather unstructured and unmelodic because of the way it was written, as a series of improvised vignettes that aimed to capture the exact feeling when playing. This is a new concept that I wanted to work on, but it's difficult to do that on a grand, symphonic, or album-level scale because these improvisations lack structure, and often lack melody too.

I'm inspired by The Cabinet of Dr. Caligari, a film which is tied to tomorrow's performance in Congleton, and to my Frankenstein video. This key work of Expressionist Cinema reminded me that sometimes an archetype is necessarily different and can even stand alone in a genre.

Saturday, October 19, 2019

Back to Art

A first quiet day for art in weeks. Things to do are to prepare some music for the Fall in Green performance on Monday, so I've composed and played some piano music with a great fanfarish quality, and created some background sounds. I feel I'm slightly doing this to distract myself from working on the god album, but that will come, that work is fermenting. This piano music begins with great chords at first, which is good practice. For any of these live and relatively free pieces, I want to push some technique so that I can practice as I play.

Tonight I've played another, very loose, piano tune for the next ArtSwarm, with a Frankenstein theme. Perhaps, in piano terms, I need to focus up my accuracy and timing. Timing, timing, yes, but this Frankenstein piece is a coarse stab at the keys, an aim at something grand and Gothic. It fades into gentleness in the middle too. Everything needs drama and contrast, and unity.

In the sequencer I overlaid a few clank sounds, made by irregular loops of recordings of me hitting a metal can. I thought it needed something from an old film, so used a Bela Lugosi speech from an Ed Wood film. Suddenly, the feeling of the piece seemed to reflect my frustration at not achieving what I want, the eternal struggle of failing to achieve a potential. There are elements of night battles and frustration, the clanking monsters, then a peace or rest, that leads into the defiant speech.

The mood might be influenced by a documentary about the actress Hedy Lamarr which I saw yesterday, an intelligent woman who didn't, it appeared, want to be an actress and seemed somewhat unable to fulfil her dreams of being a scientist, despite many opportunities. She appeared like a melody trapped in the groove of a record.

I must push on with the god music or the images, or some, or all of it! I want to get it out of the way by the end of October. The problems all come from a lack of clear direction. Problems must be coldly identified, quantified, qualified and worked out. The solution is always hammering away at the problem. Evasion will not help.

Friday, October 18, 2019

Rainbow Arts and Game Updates

A good evening at the Rainbow Arts Evening last night, nice to see a relatively large crowd of 20 or 30 people. The evening was divided into three sections. Alice Smith opened the performances, followed by poetry by Carol Finch, Ian Parr and Steve, actor and magician, also known as Jax Dramagic. In part two, we saw some close-up magic from Jax, a poetry reading from a newcomer, Nicholas Ferenczy, and finally Alice Smith with an engaging personal poetic monologue and dance. Deborah Edgeley read two poems and a short story in the third part, all linked to war-time experiences by her mother in Germany. I ended the night with the only music of the night, a 15-minute performance of The Spiral Staircase as planned. This performance had more freedom than the previous three performances of my electronic music, as I now had some live control over the pre-recorded sections, so I could improvise live sections of the music and trigger those as needed. I included a few lights which dramatically improved the overall look.

Have spent today making changes to Future Snooker and Future Pool. I've added the aiming guide to Future Pool, which is more useful int the snooker game, yet I suspect people would want the same thing in both and it's not difficult to add. I've also fixed a couple of minor bugs in the menu system; pressing Esc from the Main menu will not quite the program now (it was a bit too easy to exit completely by accident), and an old bug in Future Snooker where pressing Esc during the tutorial windows would instantly escape to the Main Menu.

I've also tweaked the aiming angle control, accelerating this rather than moving it big steps, which gives a much finer and accurate control. The game needs, at least, this professional option, allowing the best precision possible during aiming. These games could truly be tournament sports.

More game testing, then to move on to music.

Thursday, October 17, 2019

The Spiral Staircase

A sleepless night of stomach pain. Awoke late to rehearse a 15-minute segment of The Spiral Staircase which I've decided to perform at the Rainbow Arts Evening tonight. This is the 4th time I've played a segment of The Spiral Staircase live. The first was a full 45-minute performance with three synthesizers, backing track, full 45-minute video projection film by Sue Mascarenhas, smoke and two spinning lasers. This took place at The Electric Picture House in Congleton.

I, like everyone, there was freezing cold in a room that was below freezing, but the performance went well for something so big and complex. Tonight's will be a lot simpler, but still include two synths and lights, and in many way more expression as the backing parts will be triggered when needed, rather than being a fixed line to follow.

Perhaps one day I could stage this as a full event itself, adding another 45-minute set for a second half. I've often thought of composing a sequel, and actually ended the music of the album with a sequel in mind. I'm unhappy with my past work and want to move on. The 'god' album is causing me anxiety. I've changed too much artistically since starting it, and now feel that I have a mess of different ideas, words, and music that need to be pulled into something. It would be easiest to throw it away, it's not like anyone cares, except curators of the distant future, but I don't want to become like Sibelius and hide or destroy things that might be perfectly fine. Nothing is perfect. The solution is normally to work fast. I can't believe the year is nearly over. I feel I've done nothing in 2019.

Wednesday, October 16, 2019

More Games, and Korg Modifications

More Future Snooker and Future Pool work today. The stores pages have gone live, lots of admin updating links. Newsletter sent. More testing of the game and changes to the manual. Nice to meet up with Dr. Nicholas Mee to talk about books, software etc.

Also added a power port to my Korg Monotron, allowing it to be used in performances for a change. Normally it's battery only powered, which is ridiculous for a professional instrument.

Every professional instrument needs mains power and an AUX out. I'm surprised that there aren't many good cheap synthesizers when they should be easy to build. It seems that the designers haven't a clue what musicians need. The key element is a useful, that is responsive, control system. Ideally I'd want a big octave range with sensitive control over the output; an instrument is about emotional expression so as much movement as possible needs to be detected by the machine. It also needs the basic elements like shielding and reliability, ease of use, mains power, and an AUX out. It's odd that most toy synths don't have an AUX out, although many have a headphone socket. The Casio VL-1 was one of the few with an AUX, and it became a hit. Casio haven't made any popular or remotely professional level instrument since despite being quite capable of doing so. I'd love to design a synth.

I've been offered a 15 minute music performance slot tomorrow at the Queen's Park café event. I've decided to perform a substantial section from The Spiral Staircase using several synths and will develop this tomorrow.

Tuesday, October 15, 2019

More Game Work

Another busy day today, building the first Future Snooker and Future Pool games for Steam, and testing. All has worked well and have added lots more features to Future Pool including the Fast A.I. play option that was present in Future Snooker. I've also added French and German text to the stores, largely using Google Translate, darting the text to and from each language back and forth to check it. A check on the French Wikipedia revealed that 8 ball pool is called Blackball in France, and 8-Ball with a hyphen in Germany.

The most annoying aspect of programming nowadays, something that never happened 10 years ago when I used to develop games, is the eternal problem of my games being blocked by anti-virus software. Each new build is auto-deleted and locked away by my anti-virus software and I need to verify it and check it every time, which involves an hour wait. Apart from that, everything seems to have worked to plan and both games are very good to play.

I did think that perhaps my store graphics don't really do justice to the games. Is it apparent that these games are snooker or pool games at all, apart from the text? I recall the old Arkanoid box artwork and think that I should have done something like that instead. It's a bit late to change things now, as most of the work of the past week has been making these graphics, the 20-30 different images that are variations of them.

Testing underway. I'm keen to move on as, however proud I am of these games, they are ignored by the world like most of my creations and might be a waste of my time. The process also makes me sick and anxious. My stomach is locked like a vice, as though I've eaten concrete, and I've not felt hungry for days. I feel weak, have palpitations and prickly skin, dizzy spells, can barely sleep, and my skin is turning white and vampirish. This is the sickness of the programmer. I can only cope with a few days of this at once.

It is important that I do my best however, and make games of good quality, so on I must push at optimal speed.