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      "body": "When composer John Cage wrote 4’33” (Four minutes, thirty-three seconds), it would become his most famous and controversial piece. The audience at the world premiere was prepared to listen to this piece divided into three movements. Pianist David Tudor walked out on stage on August 29, 1952, in Woodstock, NY, sat down at the piano and closed the lid.\n\nt the end of the first movement, the lid was re-opened. This closing and opening was repeated to before the second and third movements. Instead of music performed in a traditional concert setting, the initial impression was that the audience had been subjected to silence.\n\nThe silence of the piano did not leave the audience in silence. They made their own music by their whispers that grew louder as they wondered what was going on. Some of them got up and walked out. Others shuffled in their seat, anticipating that the pianist would play something. Cage created this work to encourage people to listen to the sounds around them. The sounds make their own music even if it is not the traditional or conventional music people are used to.\n\nhttps://www.youtube.com/watch?v=JTEFKFiXSx4\n\nThis work has prompted various discussions about silence and music. When someone is observing a period of silence, there are still sounds present such as rain hitting a window, distant traffic sounds or voices. Recordings of rain, ocean waves, and other white noise are often used to help people relax. Some people cannot go to sleep without the sound of white noise in the background.\n\nThe impact of perceived silence happens daily even without thinking about it. One of Simon and Garfunkel’s most popular songs, The Sound of Silence, describes something in each verse that disrupts silence. The interruption of the silence can be either audible or emotional.\n\nhttps://www.youtube.com/watch?v=dTCNwgzM2rQ\n\nConventional music has rests as part of the music. If those rests did not exist, there would be no place for singers to breathe, no variety in the combination of instruments heard during a symphony orchestra or band concert, and no place in the music for a pause as part of the rhythm. But when a musician sees a rest in the score, that rest is still part of the composition and is a valid part of the overall work.\n\nCage (1912-1992) was a pioneer in using instruments in non-standard ways. For example, he wrote works for a prepared piano–a piano that had objects placed under some of the strings to create unique sounds. He was also a major influence in the development of modern dance along with his partner, choreographer Merce Cunningham. He was also one of the first to compose using electronics.\n\nIt was the composer’s study of Zen Buddhism that influenced his aleatoric or chance music, meaning that part of the composition is left up to chance as determined by the performers. Cage also used the I Ching to determine fixed elements in his works such as tempo and duration. Within those fixed elements, there was room for random sounds. The sounds in a house, of nature, or outside a window will not be the same from one time to another.\n\nhttps://www.youtube.com/watch?v=pcHnL7aS64Y\n\nAlthough 4’33” was first performed by a solo pianist, other ensembles have also performed it. In 2004, the BBC Symphony Orchestra gave the first orchestral performance in the United Kingdom. The concert was broadcast live over BBC Radio 3. It was a challenge for the radio station because of the almost five minutes of on-air silence. The emergency backup systems had to be switched off to avoid having them fill in the silence.\n\nThe New York Public Library for the Performing Arts, in connection with the John Cage Trust and his publisher, C.F. Peters, put together an exhibit in 2012 in honor of the 100th anniversary of his birth. John Cage Unbound: A Living Archive was a display his original manuscripts, concert programs, photos and videos about his music.\n\n\nI also recommend the book : John Cage : Silence -  Lectures and Writings\n\nENJOY !!!",
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      "title": "Mozart’s Diary Where He Composed His Final Masterpieces Is Now Digitized and Available Online",
      "body": "![OC-Mozart-diary-cover.png](https://steemitimages.com/DQmTx5zJrgpmspATB8RKksvLD9jCjM954EMjwWJB7okT6h7/OC-Mozart-diary-cover.png)\n\nWe have a tendency to regard Wolfgang Amadeus Mozart's music as having emerged fully formed into the world, not least because we hear it performed almost exclusively in a highly polished state of near-perfection. That makes any glimpse into the process of its creation all the more valuable, and the British Library has now provided us with much more than such a glimpse: at its site you can now read Mozart's own thirty-page musical diary, a record of \"his compositions in the last seven years of his life\" and thus \"a uniquely important document\" in the history of classical music.\n\n![MozartDiary2.jpg](https://steemitimages.com/DQmRrGi8dQt9S1HSxZrFUtopsere1Eot8YDJhBwkC2rA4hs/MozartDiary2.jpg)\n\nThe British Library notes that, during the period from February 1784 until December 1791 that the diary covers, Mozart \"composed many of his best-known works, including his five mature operas, several of his most beautiful piano sonatas, and his last three great symphonies, as well as several famous lesser works.\"\n\nThe pages you see above and below this paragraph come from his comic opera The Marriage of Figaro. \"It was a turbulent time of his life, with financial crises, family tragedy, and his ongoing unsuccessful search for a permanent court position.\" Enthusiasts will have taken notice that those years also constituted the last seven of his life, before his early death at age 35.\n\n![MozartDiary3-e1520227118981.jpg](https://steemitimages.com/DQmWUwXyvJoYG7jB5yUbgr4Hyh2BrnDwnxibyUqwMdn32Kc/MozartDiary3-e1520227118981.jpg)\n\nBut the flame that burns twice as bright, to coin a phrase, burns half as long, and we've previously featured here on Open Culture some of the formidable musical accomplishments Mozart attained before even reaching adolescence. But it somehow feels even more of a wonder to see writings in the actual hand of the mature Mozart, at the height of his compositional powers. You can read the musical diary he wrote in two different formats: as a standard web site with details about the viewed pages and historical context from Mozart's life provided below each set of pages, and a zoomable, page-flippable browser with optional audio notes. If you'd like a soundtrack to go with the reading experience, a certain 127-hour playlist of Mozart's music suggests itself.\n![OC-Mozart-diary-pages.png](https://steemitimages.com/DQmPT3RN9SXL7E7uHshwYHU369LKXX3iL4yjeue7mG1ZU9C/OC-Mozart-diary-pages.png)\n\n\nEnjoy !\nVIA Open Culture",
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      "title": "How Illuminated Medieval Manuscripts Were Made: A Step-by-Step Look at this Beautiful, Centuries-Old Craft",
      "body": "https://www.youtube.com/watch?v=nuNfdHNTv9o\nWhat place does the paper book have in our increasingly all-digital present? While some utilitarian arguments once marshaled in its favor (\"You can read them in the bathtub\" and the like) have fallen into disuse, other, more aesthetically focused arguments have arisen: that a work in print, for example, can achieve a state of beauty as an object in and of itself, the way a file on a laptop, phone, or reader never can. In a sense, this case for the paper book in the 21st century comes back around to the case for the paper book from the 12th century and even earlier, the age of the illuminated manuscript.\n\nBookmakers back then had to concentrate on prestige products, given that they couldn't make books in anything like the numbers even the humblest, most antiquated printing operation can run off today.\n\nIn the video above, the Getty Museum reveals the painstaking physical process behind the medieval illuminated manuscript: the sourcing, soaking, and stretching of animal skin for the parchment; the conversion of feathers into the quills and nuts into the ink with which scribes would write the text; the application of gold leaf and other colors by the illuminator as they drew in their designs; and the sewing of the binding before encasing the whole package tightly between clasped leather covers.\nhttps://www.youtube.com/watch?v=HKBJkf2xbqI\n\nSome illuminated manuscripts also bear elaborate cover designs sculpted of precious metal, but even without those, these elaborate books — what with all the art and craft that went into them, not to mention all those pricey materials — came out even more valuable, at the time, than even the most coveted laptop, phone, reader, or other consumer electronic device today. Most of us in the developed world can now buy one of those, but the non-institutional patrons willing and able to commission the most splendid illuminated manuscripts in the Middle Ages and early Renaissance included mostly \"society's rulers: emperors, kings, dukes, cardinals, and bishops.\"\n\nTo fully understand the making of the devices we use to read electronically today would require years and years of study, and so there's something satisfying in the fact that we can grasp so much about the making of illuminated manuscripts with relative ease: see, for example, the two-minute Getty video just above, \"The Structure of a Medieval Manuscript.\" A fuller understanding of the nature of illuminated manuscripts, both in the sense of their construction and their place in society, makes for a fuller understanding of how rare the chance was to own beautiful books of their kind in their own time — and how much rarer the exact combination of skills needed to create that beauty.",
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      "body": "In making a time capsule of the late 20th century, one would be remiss if they did not include at least an issue or two of Heavy Metal magazine. Yes, it specialized in unapologetically turning women in metal bras into sex objects. The gleeful amount of T&A on its covers, surrounded by spaceships, swords, and sorcery, mark it as a relic of its era that appealed to a specific demographic. But Heavy Metal was much more than sexy sci-fi mascots drawn in lurid pulpy styles. Along with its share of erotica, the “adult illustrated fantasy magazine” provided a vivid showcase for some of the most interesting artists and storytellers working in the mainstream and in various subgenres of fantasy and sci-fi. (It continues to do so.)\n\nDebuting in 1977, the year of the first Star Wars film, Heavy Metal was not named after the brand of guitar rock pioneered by Led Zeppelin and Black Sabbath, though there’s an obvious influence, but after a French magazine that started two years earlier called Métal hurlant, or literally “Howling Metal.” (We've featured it here on OC before.) When publisher Leonard Mogel decided to adapt the original for an American readership, he changed the name, but kept the content, republishing work by Jean Giraud—the artist better known as Moebius—and many other accomplished European illustrators.![heavymetal2.jpg](https://steemitimages.com/DQmcERyKNvdwoKijVB1Z3mvy2yBqBoFnBDZ6v3Ec8cwon9s/heavymetal2.jpg)\n\nFounded and staffed by the creators of National Lampoon, the magazine later featured original work from artists like H.R. Giger, interviews with Dennis Hopper, John Waters, Francis Ford Coppola, John Carpenter, Roger Corman, and even Federico Fellini; and with musicians like the Eurythmics and Debbie Harry. It ran popular serialized stories, showcased graphic literary adaptations (of Paradise Lost, for example), and published authors like Ray Bradbury, Stephen King, and other heavies. Rock, comics, film, and fiction all got their due in between the magazine’s extravagant pinup covers, many of which inspired the art painted on the side of many a carpeted van in the 70s.\n\nYou can see a sizable collection of scanned Heavy Metal magazines, from the first, 1977 issue to the mid-90s, at the Internet Archive. Part of Archive.org’s extensive “Magazine Rack,” a digital library of thousands of scanned periodicals, the Heavy Metal collection was launched in 2012 by archivist Jason Scott. Though it doesn’t contain the magazine’s complete run by any means, it offers a broad enough sampling of all of its major themes and tendencies.\n\nHeavy Metal’s interests are very focused, one might say, but the few things the magazine does, and has done since 1977, it has done exceptionally well\n\n\nCheck this : https://archive.org/details/heavy-metal-magazine?sort=-downloads",
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      "body": "Hi! I am a robot. I just upvoted you! I found similar content that readers might be interested in:\nhttp://vixra.org/pdf/1803.0063v1.pdf",
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      "body": "Quantum mechanics is the branch of physics governing the sometimes-strange behavior of the tiny particles that make up our universe. Equations describing the quantum world are generally confined to the subatomic realm—the mathematics relevant at very small scales is not relevant at larger scales, and vice versa. However, a surprising new discovery from a Caltech researcher suggests that the Schrödinger Equation—the fundamental equation of quantum mechanics—is remarkably useful in describing the long-term evolution of certain astronomical structures.\n\n\n\n![massiveastro.jpg](https://steemitimages.com/DQmNQuRmcBZS84UG1EhgmNGFk377xn9CrC4RHU9iTA1KNQN/massiveastro.jpg)\n\n\nThe work, done by Konstantin Batygin, a Caltech assistant professor of planetary science and Van Nuys Page Scholar, is described in a paper appearing in the March 5 issue of Monthly Notices of the Royal Astronomical Society.\n\nMassive astronomical objects are frequently encircled by groups of smaller objects that revolve around them, like the planets around the sun. For example, supermassive black holes are orbited by swarms of stars, which are themselves orbited by enormous amounts of rock, ice, and other space debris. Due to gravitational forces, these huge volumes of material form into flat, round disks. These disks, made up of countless individual particles orbiting en masse, can range from the size of the solar system to many light-years across.\n\nAstrophysical disks of material generally do not retain simple circular shapes throughout their lifetimes. Instead, over millions of years, these disks slowly evolve to exhibit large-scale distortions, bending and warping like ripples on a pond. Exactly how these warps emerge and propagate has long puzzled astronomers, and even computer simulations have not offered a definitive answer, as the process is both complex and prohibitively expensive to model directly.\n\nWhile teaching a Caltech course on planetary physics, Batygin (the theorist behind the proposed existence of Planet Nine) turned to an approximation scheme called perturbation theory to formulate a simple mathematical representation of disk evolution. This approximation, often used by astronomers, is based upon equations developed by the 18th-century mathematicians Joseph-Louis Lagrange and Pierre-Simon Laplace. Within the framework of these equations, the individual particles and pebbles on each particular orbital trajectory are mathematically smeared together. In this way, a disk can be modeled as a series of concentric wires that slowly exchange orbital angular momentum among one another.\n\nAs an analogy, in our own solar system one can imagine breaking each planet into pieces and spreading those pieces around the orbit the planet takes around the sun, such that the sun is encircled by a collection of massive rings that interact gravitationally. The vibrations of these rings mirror the actual planetary orbital evolution that unfolds over millions of years, making the approximation quite accurate.\n\n\n\nRead more at: https://phys.org/news/2018-03-massive-astrophysical-subatomic-equation.html#jCp",
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