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reviving this little blog for love and whimsy.
Likely to feature other useful things pertaining to classical music, cycling, databases, design, digital humanities, etools, food, librarianship, musicianship, piano, performance, social media, web development, yoga.
See, I’m incredibly interested in the crossovers (praxis?) between science and art. For example, theatre and poetry that presents/ manifests theories of quantum physics, as well as dramatising the issues that surround them.
But also, I’ve been reading about the Arabic roots of particular mathematics and sciences, many of which had been forgotten by the time they were translated from Arabic into Latin and then Greek. So it’s something of a twofold discovery: finding out how the aesthetics of contemporary scientify* can be reflected or born out in a performative medium, and then discovering an older, and different cultural interpretation of these scientific ideas.
* I’m using this word as Alexis Wright does in her recent epic novel Carpentaria (Giramondo Press, 2006), as a sort of collective noun or adjective for the nebulous collection of theories and technology that make up the authority (hegemony?) that Science (and its attendant Experts) holds and is afforded by the State. In her book, it’s an Aboriginal word, and has a usage similar to gubba (white person/ Government).
