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"Yeah, it's written for my wife. When I first did that, I did this installation-y art thing at the Barbican with a remote orchestra. [The song] was made on my Disklavier [controlled piano], which was swung from the roof at that gig, and there was this massive Doppler effect. It is pretty mental. There's a bad cameraphone version of it on YouTube, but in the flesh it's fucking amazing. To listen to this piano swinging, you almost see all the notes stretching out, so it'll hit you at different times. I never knew if it was going to work or not, and everyone was like, “What the fuck is he swinging a piano for?” But when we actually got it going, we were just like, “fucking hell.” It was so extreme. My friends were like, “Are the strings stretching?” The pitch deviation is that big, it sounds like the actual frame is contorting. Maybe it is, I don't know!"
“A. Wissner-Gross and C. Freer, “Relativistic Statistical Arbitrage,” Physical Review E 82, no. 5 (2010). On this topic in relation to geodesign, see also Geoff Manaugh, “Islands and the Speed of Light,” March 2011. http://bldgblog.blogspot.com/2011/03/islands-at-speed-of-light.html.”
The Stack: On Software and Sovereignty (Software Studies)
Benjamin H. Bratton
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A corporation is indeed made up of people, but perhaps it makes more sense to think about it as a hive-mind. Using a combination of man-power and computers, corporations can accomplish things that no single person ever could. Sometimes, it even outlives the people who created it.
The crowdfunding and tiny brand revolutions indicate that the business entity can be a means of self-expression and an aesthetic medium of its own... The business entity is the most important disruptive technology of cultural production to watch. In the United States, recent changes in tax incentives benefiting corporation owners over freelancers provide an infrastructural ground for this hypothesis.