David Kaiser argues, in How the Hippies Saved Physics: Science, Counterculture, and the Quantum Revival (2011), that the group’s meetings and papers helped to nurture the ideas in quantum physics that came to form the basis of quantum information science. Two reviewers wrote that Kaiser may have exaggerated the group’s influence on the future of physics research, though one of them, Silvan Schweber, wrote that some of the group’s contributions are easy to identify, such as Clauser’s experimental evidence for non-locality attracting a share of the Wolf Prize in 2010, and the publication of Capra’s The Tao of Physics (1975) and Zukav’s The Dancing Wu Li Masters (1979) attracting the interest of a wider audience.
Kaiser writes that the group were “very smart and very playful”, discussing quantum mysticism and becoming local celebrities in the Bay Area’s counterculture. When Francis Ford Coppola bought City Magazine in 1975, one of its earliest features was on the Fundamental Fysiks Group, including a photo spread of Sirag, Wolf, Herbert, and Sarfatti.”
By my standards, this was a pretty ordinary dream. The only thing that makes it stand out is the synthesis part. Well, and my co-inventers but they aren’t really real in the way that an idea can be real although it was dreamt.
Teri Garr is still alive so it’s possible she could have been in my dream through some kind of telepathic link but Robert Vaughn passed away in 2016. While I’ll maybe stretch to telepathy with living people, communicating with the spirit realm is a stretch for a good old fashioned dialectical materialist like me.
In the dream, Vaughn was Napoleon Solo-aged and Garr was pretty much as she appears in the Star Trek episode ‘Assignment Earth.’ But they weren’t their characters, they were just themselves, chatting as actors do about various acting gigs, the perils of local theatre and who was a Method bore.
I was entranced just to be in the same room with them. Thinking back, the room was very TOS-like; grey walls, weird polygonal desk for no reason, the mise-en-scene was very Trek.
On the table in front of us is a tray. It’s about one metre by seventy-five cm. The edge is lipped to contain what appears to be thousands of gems. When I pick one up, it’s about the shape and size of a Pez but with straight sides at the ends, a point instead of a curve. One face is shiny, silver, metallic. The other is a translucent gemstone. There are various colours of gem and, I now notice, various colours on the tray. Between the zones, there are no hard lines, rather gradations and sometimes subtle stripings of colour.
Garr urges me to move some of the VCO gems around. Then I realise that one of the green piles of gems was the same colour as its base which is labelled ‘VCO 1’. Being a East Coast synthesis sort, I grab a handful of gems and plonk them in an area marked ‘LFO 1.’ Then I touch a the lip of the tray which, somehow, I know is the equivalent of pressing a key on a normal synth.
Woah! Vibrato! But not much… hmmmm… I take some more VCO gems and plonk them in the LFO area. More depth! AHA! But how the hell do I change the frequency of the LFO or the waveform? I notice that both the LFO and VCO areas have waveforms inscribed in certain areas, sawtooth, square, squiggly. I move some of the LFO gems into the sawtooth area… ahhhh… the vibrato changes to a more squarey stridulation. I’m getting well into this – what else can I heap and where?
It’s at this point of the dream that I’m basically pushing gems all over the place, swirling them with my finger and delighting in what comes out. I’ve gone full West Coast now, NO RAGRETS.
And then… seriously… the synth makes the Emergency Phone noise from The Man From UNCLE. Yes, my brain did this to me.
So, I turn to Robert Vaughn and say, “Hey, it’s that sound from the Man From… oh my god… it’s you! You’re Napoleon Solo!” He looks a little embarrassed and Teri giggles.
It’s then that my stupid brain makes me realise I am, in fact, naked in a thin dressing gown and my knackers are on full view of these two fantastic actors. Soooo, inevitably, I wake out of my beautiful synthesis dream.
But what do you think of the interface, eh? It’s doable, isn’t it? We could do it now, virtually, in something like Microsoft’s Hololens. And I’m pretty sure we could do it in real life. If every gem contained an RFID and the table was continuously scanning for their position. I would even add in variables like height-from-table or heat? Anything to give more ways to control the variables. If you weighted them differently, you could sort them quite simply, too, just pour the tray into a sorter.
So, last weekend was the long-awaited DST 2018. When I say long-awaited, I booked the hotel room over eighteen months ago. And then, finally, it was time! Like DST 2016, my bff Nat went with me. This is us:
This is the second time DST has been held in the NEC at Brum and it was much better organised than last time. We didn’t have to queue at all for registration and were soon in Hall 5 on Friday afternoon where we saw this:
WHAT A MASSIVE HALL! Have Showmasters gone mad? Well, no, Fridays are never busy for DST, it turns out that around 14,000 people were going to attend on Saturday. So, Friday evening was actually a chill day to walk around and grab impulse buys of maybe huge amounts of fudge.
There are different tiers available for DST but I only ever book the base one; entry and that’s it. This is because although I do love seeing famous Trek actors, I’m not a collector type. I go to DST to hang out with other Trekkies and to make new friends. Or to meet people I’ve chatted with in the online groups IRL for the first time, like this feller:
For me, meeting people who UNDERSTAND and laugh when I wave my arms around and shout, “FISH! PROTEIN! FRESH FROM THE SEA!” is delightful. In a life of outsiderness, I feel I belong, just for a weekend.
I met so many lovely geeks, we couldn’t speak fast enough to get our geekness out! We discussed David Warner, James Cromwell, Servalan, Warehouse 13, SAMANTHA CARTER, whether Larry Niven should have got royalties from Microsoft for Halo or is that more of a Banks’ Orbital?
And then, wandering around the con… LOOK AT ALL THE COSPLAYERS:
The feeling of camaraderie, the inclusivity and sheer IDGAFness of Trekkies at DST has to be experienced first-hand to believe. I don’t think I’ve ever been with a more mixed bunch of people. I say that after every DST but it both remains true and becomes truer, paradoxically.
I believe that because Discovery has done so well, Trek is now undergoing a resurgence not seen since the 2009 Kelvin reboot. But, unlike then, DST is up and running, a huge convention that attracts fans from as far away as Australia. A huge number of the Discovery cast were at DST 2018 and judging from the number of Disco tees and full-on cosplays I saw, they can congratulate themselves that the baton has been securely passed to them, no fumbles. Their success has created whole new cadres of Trekkies who’ve gone online, wanting to meet other fans. And now they can do that IRL too.
So many of the posts I saw were from people who’d never been to any kind of con before at all, like me in 2012 with the first DST. And the follow-up posts I’ve seen have been overwhelmingly positive: the new fans have found the family of Trek. They’ve found that we don’t care if you’ve loved Trek for five minutes or fifty years, if you’re a fan, you’re a fan. (As long as you interact civilly.)
Look at these faces:
These beautiful geeks are the reason I went to DST 2018 and will be going to DST 2019. They are my people and I love them!
Not all Trek fans are lovely people. There have been a few dodgy types I’ve met online who turn out to be raging homophobes or sexists or one of those right-wing types who thinks calling someone an ‘SJW’ is an insult. Which is the equivalent of someone sneering at a campaigner for human rights.
When I encounter right-wing Trekkies, I always wonder what attracted them to Gene Roddenberry’s view of a moneyless future of free housing, education, food and healthcare? How do they process the cognitive dissonance of loving the first ever US TV show to feature an inter-racial kiss with moaning about the multi-ethnic cast of Discovery? While they’re complaining about female captains, have they forgotten about a little show called Voyager?How do they whinge about a separate LGBT group “splitting up Trek fans” at the same time as voting for Brexit and not see the irony?
But I don’t engage with them online. In terms of Trek, their views are so non-sensical and illogical that trying to discuss with them is a zero-sum game. Infinite diversity in infinite combinations is a philosophy of accepting and exalting in difference, therefore it excludes philosophies that promote hatred of difference. (Argued more at length here.)
Here’s the thing: I don’t owe anyone my time. My time is precious and, on the cosmic scale, astoundingly fleeting. I want to use every second I have to meet positive, friendly people from whom I can learn and grow and be a better person. Arguing online with shrivelled nutsacks of pulsating hatred is not part of that plan.
So, think what you want, say what you want, I’m not censoring your proud and fundamentally anti-Trek idiocy. You go ahead, spew your hateful gibberish about ‘gays taking over’ or ‘straight white males are the minority now.’
But don’t expect even a femtosecond of interaction from rational Trekkies.
We simply don’t have the time, we’re too busy building the future Gene wanted.
I have one of the above interfaces. I plugged it in to my iMac Pro which is still on High Sierra still as I am a cautious type (usually) and not yet sure how well Mojave would behave with all my pro audio software. Anyway, I plugged in the interface, searched for it in Audio Midi and…
Nothing there. All my other interfaces are there, no Roland.
Hmm. Usually, MIDI thingies are class-compliant ~ they’re just plug and go. Why would Roland release one that isn’t? Oh well, no big deal. So, I head to the site and, sure enough, there’s a driver for Macs.
I download it and install it, reboot and…
Well, that was around four hours ago. Since then, I’ve been trying to get my iMac to boot to desktop. It boots to the Apple and progress bar but that’s it. The bar fills up, at at about one-tenth its normal speed and then stays stuck at the end. I’ve even left it for an hour, thinking I was being impatient. No change.
Sooo, okay, I can handle this. Just hold down shift and I can boot into safe mode. Then uninstall the stupid driver.
I’ve been trying to boot into safe mode for a large part of the last few hours. Whatever Roland’s techs have done, they’ve fucked that ability.
So, ten minutes ago, I realised this isn’t going anywhere and I booted into Recovery Mode (command-R).
Now I’m doing a whole fresh install of High Sierra because Roland can’t design a MIDI driver.
It’s an annual gathering both of makers of electronic gear and the end users – like a big trade show but with a way more personal touch.
Here’s a little vid I made:
As you can see from the vid, there’s a huge range of stuff to look at but, more importantly, you can twiddle with it all!
When I was a kid and when huge music shops like Turnkey still existed as bricks and mortar emporia, I used to go to London specifically to try out synths that you would never see up in Derby.
Going round Synthfest always reminds me of that feeling. Where the hell do I start? I just want to play and patch EVERYTHING but there simply isn’t enough time. It’s equal parts joy and frustration.
And then there’s the makers. How wonderful it is to go up to the person who built something you own and give them actual feedback. Every maker I met was as super-enthusiastic as the punters. They were all proud of their shiny metal babies and loved hearing how we used them.
There’s only one criticism of Synthfest I can make ~ it’s a very white, middle-aged, male event. It’d be lovely to see more younger people, more female geeks wandering about and the same goes for black and Asian noisemakers. This lack of diversity isn’t specifically because Synthfest excludes groups; it’s more that it just replicates the existing biases within the music scene. What we have to do is activelycombat those barriers to entry, to reach out to people who may not feel they’re invited or that it’s for them. After all, how much of contemporary music isn’t electronic? 5%? Less?
I think we could start to address this by tweaking the program to be more inclusive and more attractive to different groups of people.
Anyway, polemic over, here’s my gallery of pics from the day:
If you’re an electro music geek, whether you’re a builder or a player or both, please do check out the next Synthfest. I think you’ll love it.
No, no, not THAT kind of fantasy, yer slash pervs! 😛
A discussion on Facebook lead me to posting this:
This one is EASY PEASY LEMON SQUEEZY:
From non-Trek SF telly:
1. Captain Samantha Carter 2. First Officer Lee Adama 3. Chief Engineer Kaywinnet Lee Frye 4. Tactical/Security Officer Kiera Cameron 5. Helmsman Ulysses Adair 6. Chief Medical Officer Dr. Walter Bishop 7. Operations John Kennex 8. Science Officer Orac
1. Captain Wesley Crusher 2. First Officer Amanda Rogers 3. Chief Engineer Hugh Borg 4. Tactical/Security Officer Gary Seven 5. Helmsman Morn 6. Chief Medical Officer Dr. M’Benga 7. Operations M’Ress 8. Science Officer Saru
If you compare TOS to reboot BSG, then it may look dated and certainly the effects are *now* inferior. BUT at the time TOS came out, it was a revolutionary series, in terms of both conception and (where the studio allowed!) execution. The first inter-racial kiss on US TV: check. A bridge crew of officers which included numerous human ethnicities AND Spock? Check. A future which is has abolished money and where education, food, shelter and healthcare are free for every human? Check. And it’s well known that Roddenberry actually wanted to push even further but the studio wouldn’t have it.
BSG may be absolutely “sexier” and “grittier” but *for the time it was made and released*, it took far fewer risks than TOS. So, BSG may seem edgier but, really, how many real risks did it take compared to TOS? None that I can remember.
Also, I would argue that dystopias are lazy, we’re drowning in them! Every new YA is set in a dystopia with a plucky Mary Sue-ish heroine torn between two boys, one bad, one good, both gorgeous and, like, totally into her. I’m not saying BSG is the same as Divergent or Maze Runner or The Hunger Games but it is Yet Another Robot Uprising Armageddon. It’s hard to write a happy song, very easy to write a sad one. Roddenberry’s genius is that he wrote a happy song that wasn’t The Frog Chorus. (see also Iain M. Banks’ Culture.)
Dystopia… pah, gimme a UTOPIA, like Roddenberry did. Give me an Earth with a mature, cohesive humanity, a place of wonder and beauty that can inspire us now. (And then pit that world against all kinds of wild, external baddie, sure.)
You can’t watch TOS now as it actually was back then because TOS itself changed the world. Trek permeates everything. BSG is quality entertainment, Trek is an entire philosophy of life.
Behold! My lovely, shiny, 32 in, 32 out Tascam ML-32D Dante audio interface.
That’s right, Dante, the amazing tech from Audinate that lets you send a gazillion streams of audio everywhere over plain old Cat5e or above cable. Dante will help!
Annoyed that Thunderbolt leads seem to have a maximum length of 2cm? DANTE!
Worried your USB extension is gonna come loose when the pigeons in your loft find it? DANTE!
It’s the one-stop solution to all your audio networking worries.
I got my ML-32D yesterday morning. I hooked it up, booted my iMac Pro, fired up Dante Virtual Soundcard (DVS), which is how your computer talks to a Dante network in the absence of dedicated hardware like a PCIe card, and beamed like a happy child at the screen.
But there was a RED BOX in Dante Controller (how you configure said network). The red box indicated the iMac Pro was not syncing with the ML-32D clock. Hmm, must be something simple, I thought… everything else is green, all the bits are being recognised.
So I tried swapping cables.
Then I tried swapping switches. Went from a Netgear to an Asus and then to switch-free, a direct connection from iMac Pro to ML32D.
Nope. Red box. Sync error.
I got in touch with Audinate customer support who were both extremely prompt and very helpful. I followed their suggestion and installed an older version of DVS.
Nope. Red box. Sync error.
From 9.30am until 1.30am this morning (well, with a couple of breaks to eat and have a little cry), I installed, un-installed, swapped cables and rebooted, rebooted, rebooted. All for naught.
Finally, I solved it. It’s all working perfectly now.
The fix: out of sheer desperation, I plugged in a Thunderbolt 3 (USBC) -> Thunderbolt 1/2 (old square socket) adaptor. Then I plugged in a Thunderbolt -> Ethernet adaptor. To create this Frankenkludge:
And it suddenly all just worked! It’s been working perfectly since. I haven’t changed any other settings, I’ve gone back to the original cables and switch I was using at the start, all fine.
So, DVS *does not* like the built-in Ethernet port on the iMac Pro. I don’t why, but that’s the root of the problem.