THE GRID

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0bleak

Well-known member
sus said:
I always wondered b/c this stuff came up a lot in the digital vs analog (discrete vs continuous) discourse, among audiophiles & producers, when I came up in NYC music scenes

It seems like maybe if you have a high enough resolution, a sample rate, then functionally what's the problem, but people do feel they can tell the difference between analog and digital tech, I dunno, this stuff is complicated and not merely a matter of resolution.

But there does seem to be a non-pragmatic, almost philosophical fetish for the idea of the analog, in that it is specifically not the pixelated/binarized digital format.
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There's bit depth in addition to sample rate, and just as important.
I'm sure you've heard "lo-fi" 8 bit music, for example.
At any rate, the end result isn't really a "pixelated" waveform when it's converted back to the waveform that comes out your speakers.
One could argue that analog formats are also pixelated considering there are so many molecules per second of sound.
 
william_kent

william_kent

Well-known member
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I'll leave it up to an exercise for the reader to disentangle my associations of Golden dawn ritual and enochian MAGICK and

GRID LOCK
GRIDLOCK

BROOKLYN STASIS MAFIA

NOWHERE TO GO!



Carlton Bryan - Gridlock

SHOUT OUT TO THE BROOKLYN CREW

( top tip: this tune goes for BIG MONEY, maybe buy and hoard )
 
0

0bleak

Well-known member
0bleak said:
There's bit depth in addition to sample rate, and just as important.
I'm sure you've heard "lo-fi" 8 bit music, for example.
At any rate, the end result isn't really a "pixelated" waveform when it's converted back to the waveform that comes out your speakers.
One could argue that analog formats are also pixelated considering there are so many molecules per second of sound.
Click to expand...

Maybe one could say all frequencies, tones, and pitches are just "pixels" or sounds "beating against" each other, but we don't perceive them as such because they are so fast as to sound like a continuous form.
 
sus

sus

Moderator
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Critically, the grid creates fungible units out of individuals

Subjective, local, & relational spatial regimes are replaced by objective, global, "allocentric" systems of reference.

This is a tactic of simplification employed by hierarchical & centralized control structures

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Any entity or position can be quickly found by reference to its coordinates in a table.
 
sus

sus

Moderator
More town layouts. This one's from Gravesend, one of the earliest New York settlements. Classic quasi-cardinal crossroad orientation; nested tiles. The square layout still remains, four centuries later; I've walked it.

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sus

sus

Moderator
Roman military grid:

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Christopher Wren's London plan:

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Been meaning to read a history of the NYC city grid; one of the tensions I'm interested in is the notion of back-compatibility, interoperability across structural renovation/retrofit. This is a huge theme in programming, from my few years of experience. I've also heard that in e.g. China, the switch over to cashless economy means many in the older generation can't pay for themselves, rely on kids/grandkids.

tobyshooters said:
The modernist finds a stable substrate and re-implements everything in terms of that language, but ultimately fails to get adoption because nothing old interoperates with their promised utopia. (Esperanto)
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sus

sus

Moderator
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And also the way that a city's youth can be fairly described as the simultaneous expansion & subdivision of the grid. Not only does the surface area increase, but density increases: a ranch becomes 80 estates; each estate becomes a city block; each address on the block becomes an apartment complex. Suddenly the ranch is a town; suddenly the town becomes a suburb of a larger center.

And some of this can be compared to economic growth as a process of ongoing specialization & integration.
 
shiels

shiels

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Music of the Grid:

A Poem in Two Equations
_________________________

The masses of particles sound the frequencies with which space vibrates, when played. This Music of the Grid betters the old mystic mainstay, "Music of the Spheres," both in fantasy and in realism.

LET US COMBINE Einstein's second law

m=E/C^2 (1)

with another fundamental equation, the Planck-Einstein-Schrodinger formula

E = hv

The Planck-Einstein-Schrodinger formula relates the energy E of a quantum-mechanical state to the frequency v at which its wave function vibrates. Here h is Planck's constant. Planck introduced it in his revolutionary hypothesis (1899) that launched quantum theory: that atoms emit or absorb light of frequency v only in packets of energy E = hv. Einstein went a big step further with his photon hypothesis (1905): that light of frequency v is always organized into packets with energy E = hv. Finally Schrodinger made it the basis of his basic equation for wave functions-the Schrodinger equation (1926). This gave birth to the modern, universal interpretation: the wave function of any state with energy E vibrates at a frequency v given by v = E/h.

By combining Einstein with Schrodinger we arrive at a marvelous bit of poetry:

(*) v = mc^2/h (*)

The ancients had a concept called "Music of the Spheres" that inspired many scientists (notably Johannes Kepler) and even more mystics. Because periodic motion (vibration) of musical instruments causes their sustained tones, the idea goes, the periodic motions of the planets, as they fulfill their orbits, must be accompanied by a sort of music. Though picturesque and soundscape-esque, this inspiring anticipation of multimedia never became a very precise or fruitful scientific idea. It was never more than a vague metaphor, so it remains shrouded in equation marks: "Music of the Spheres."

Our equation (*) is a more fantastic yet more realistic embodiment of the same inspiration. Rather than plucking a string, blowing through a reed, banging on a drumhead, or clanging a gong, we play the instrument that is empty space by plunking down different combinations of quarks, gluons, electrons, photons,... (that is, the Bits that represent these Its) and let them settle until they reach equilibrium with the spontaneous activity of Grid. Neither planets nor any material constructions compromise the pure ideality of our instrument. It settles into one of its possible vibratory motions, with different frequencies v, depending on how we do the plunking, and with what. These vibrations represent particles of different mass m, according to (*). The masses of particles sound the Music of the Grid.
 
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