Archive for April, 2010


Terrible News for the Humanities–Philosophy closes at MDX

Via Nina Powers’ blog Infinite Thought:

The philosophy program at Middlesex is closing–one of the best in the world. This is indicative of the commodification of education in the UK, the rise in bureaucratic audits, and just a general lack of place for the humanities.

Sad, sad news. Nina goes more into depth and is worth reading. She should have an article on it soon.


magnets: this is how they f****** work

In the Insane Clown Posse’s recently released song “Miracles” you will find the lyrics

I’ve seen miracles all around me, stop and look around its all astounding, water, fire air and dirt, fucking magnets, how do they work?

Followed by

I don’t want to talk to a scientist, ya’ll motherfuckers lying and getting me pissed

If this was Tom Waits I might not be offended. But I’ll answer ICP’s question, not because they’ve asked it, but because I think there’s honest wonder and fascination in how magnets work and also because the best explanation you can get will come from a scientist.

The most common explanation has to do with the magnetic “fields” that some materials create by net effect of their composition – some significant portion of their atoms/molecules has an inherent magnetic property that is oriented along the same direction. Nearly all materials are magnetic, but in most objects the magnetic orientations are scrambled and cancel each other out. If you were to take to a few hundred one-inch magnets and throw them together you would likely end up with a lump that is much weaker magnetically than if you were to take the time to orient their poles along the same direction. In short, commonplace magnets display an effect that is the sum of many small magnetic dipoles which have an associated field – a property of space dependent upon proximity to the magnet.

Objects with magnetic charge will feel a force when placed in a magnetic field, a phenomenon that is easily studied and well understood. There is a tremendously accurate description, Maxwell’s laws, that relies on mathematics (involving things like potential energy and field gradients.) But honestly this is not the most complete description we have – for that you need to invoke quantum mechanics, due to the following reasons: The explanation for why atoms and molecules have a magnetic property involves angular momentum (orbital angular momentum and the inherent property called “spin”) and movement as defined by a probabilistic wave function, and that the minutiae of magnetic  fields are so-called “virtual particles.”

According to Quantum Mechanics and earlier theories, magnetic fields are created by moving electric charges, or perhaps with QM it’s better to say charges with energy, since “movement” in this case means something different than what we usually imagine. It also says that charges with angular momentum create magnetic fields. So take, for example, an electron bound in an atom. The electron has angular momentum and charge (neither of which are separable from the particle) and therefore it has a magnetic component. Electrons behave as if they contain a tiny magnet.

The second quantum component, virtual particles, is more abstract. Virtual particles are called virtual because they only have consequence for that which creates them (emits them) and that which absorbs them. If they had their own independent existence they would be normal matter and therefore bound to a different set of rules.  In order to create normal matter, for instance, you need to contribute energy on the amount of E = mc², but for virtual particles, which are components exchanged “under the table,” you don’t.  What is actually happening when magnets attract or repel each other, as best as we can tell, is an exchange of virtual photons – the same particles that constitute light.

Photons are massless particles but they still have energy in the form of momentum.  Quantum mechanics tells us that all particles have wavelength, but the more energy a particle has the shorter its wavelength. Since photons have so little energy (the least of any particle we know of) they have a long wavelength. Another way to say the same thing is that photons’ position is not well defined. A particle’s energy and wavelength also have bearing on how easily their virtual version can be exchanged, and therefore affect the affect the range of the force they represent.

Magnets work by an exchange of photons which never interact with anything in the interceding space . There is a near constant stream of these virtual photons occurring, which is also the same phenomenon responsible for our ability of sight, but that is ironically completely undetectable in situ. No magic or rainbows, and while you can’t hold the magnetism you can feel the effect on the magnet. I hope this explanation wasn’t too technical and abstract for all the juggalos and juggalettes out there, but I promise I’m not lying.


Dinosaurs Teaches Us Things

Dinosaurs teaches us an important lesson about politics:

Dinosaurs teaches us an important lesson about art:


manifestations of snub-nosedness


John Cage//Nietzsche//Techniques of Listening and Life

John Cage, from Silence

But this fearlessness only follows if, at the parting of the ways, where it is realized that sounds occur whether intended or not, one turns in the direction of those he does not intend. This turning is psychological and seems at Ilrst to be a giving up of everything that belongs to humanity-for a musician, the giving up of music. This psychological turning leads to the world of nature, where, gradually or suddenly, one sees that humanity and nature, not separate, are in this world together; that nothing was lost when everything was given away. In fact, everything is gained. In musical terms, any sounds may occur in any combination and in any continuity.

Is this not a certain technique for achieving what Nietzsche intended in the figure of the overman? It seems uncannily similar, and Cage’s arguable political naivete aside, it presents at least the glimmer of a course of aesthetic action (the positive suppression of positive intention) for the goal that Nietzsche, as I read him, set out.

If nothing else, silencing yourself for a bit makes for a good exercise.


Reminder, etc.

Reminder: Tomorrow is a Ghost Island Soccer Farm work day. We are going to be cleaning up the lot, grilling, and hopefully also even playing some soccer. We’ll have to see about the soccer…

We are meeting at the abandoned lot at 7th and Dudley at 2pm and will be working for a few hours. Come, bring friends, bring ideas, bring tools and gloves if you have them.


Also, totally unrelated, but I’ve found myself in a bit of an internet fight over at Erinrose’s ‘Edibles and Ineffables’ blog. Her original post led to my writing a taxonomy of books that are embarrassing to read in public. I thought this was kind of funny. Apparently I’m an asshole. Anyone else care to weigh in? Are there books you only read in private? How does the concept of embarrassment figure into the interstices of aesthetic judgment of the literary text and fashion as public self-representation? Is a good book with a terrible cover like a very comfortable and well made shirt that looks terrible? What is the literary equivalent of pajamas?


Also, I’ve been thinking about parentheses. I love them. They are like secret storerooms in the middle of sentences and they tuck in on the sides to form cozy little capsules. Also of course there’s that Blow song…



From here:

Mamihlapinatapai (sometimes spelled mamihlapinatapei) is a word from the Yaghan language of Tierra del Fuego, listed in The Guinness Book of World Records as the “most succinct word”, and is considered one of the hardest words to translate.[1] It describes “a look shared by two people with each wishing that the other will initiate something that both desire but which neither one wants to start.”

It is also mentioned in Defining the World in a discussion of the difficulties facing Samuel Johnson in trying to arrive at succinct, yet accurate, definitions of words.

The word consists of the reflexive/passive prefix ma- (mam- before a vowel), the root ihlapi (pronounced [iɬapi]), which means to be at a loss as what to do next, the stative suffix -n, an achievement suffix -ata, and the dual suffix -apai, which in composition with the reflexive mam- has a reciprocal sense.


do with a guitar and a magnet

Using a guitar and a number of things to modify its sound (a tiny amp, an equalizer my father pulled off the curb in Ocean City, a netbook with a design flaw that delays the mic feed-through, and some magnets,) a few tries yielded this


Ornamental Lightyears Tracery

I found myself interested again in Turner’s paintings again today.

Why? Color– the modulation of color-tones.  Color not as paint-color but as light-color.  Light-color that changes in an enviornment with respect either to movement or time.

Marian Zazeela, who not only is one of the most beautiful singers I have ever heard, but is also a criminally underappreciated artist.  She works in light, light filtered through additive synthesis.  In paint, colors added together darken.  In her work, in light, colors added together brighten– the possibility of pure white, all colors together.  Here is an image of her “Magenta Lights” in the former Dia Dream House.

Her light transforms with the day.  Like the tones of the raga cycle, with one modal scale for dawn another for dusk and another again for midnight (the midnight mode of Raga Malkauns is like a country blues scale, only more demonic).  It reminds me of the unending quality of Ben’s writing, each square touching another and continuing, as well as the frames of Stan Brakhage’s “Dante Quartet” that attends to color with the same devotion.

I began to think about this listening to the harmonium works of Hermann Nitsch, his attempt at a music of the spheres, and looking at images of star-formation in Hubble Telescope images.  The colors rendered by the photos are from light passing through gases.  It is similar to musical tone, which is perceived as vibrations through a gas (air) that moves in time in the inner ear.  The question I ask myself is, besides raga, what music could modulate so slowly and so beautifully its timbres so as to attain this kind of light-movement.


Ghost Island Soccer Farm

Philadelphia members of the Ghost Island initiative have begun work on the first ever Ghost Island Soccer Farm. We are in the process of cleaning the abandoned lot at 7th and Dudley streets in South Philadelphia. Over the course of this spring and summer, we will be developing the lot for use as a public soccer field and community garden.

Google Maps screen shot

April 2010