well, i've got all my documents in order. tomorrow morning at 11:00 am. at least it'll be nice out....
i'm
going to have to bring up the ms thing. i don't know if there's some
kind of test for it. it may be the best way to do this. i mean, i can
handle some muscle spasms and stuff but i've recently been getting the
classic difficulty swallowing, and i think i'm really better off getting
it diagnosed. if i can get them to take me seriously...
it's an mri...
Sunday, January 11, 2015
detroit has a serious wild dog problem, but i'm not aware of one here and getting across the river would be rather difficult.
City of Windsor naturalist Paul Pratt said he hears reports of coyote sightings from everywhere in the city, even downtown. Coyotes took down a deer in the woodlot behind his LaSalle house about a month ago.
They’re mostly nocturnal and largely go unnoticed, Pratt said.
“If you have small dogs or cats, you shouldn’t let them out at night unattended, even if you’re in a built-up area.”
He said there are more coyotes in Windsor now because there’s more wildlife in Windsor – skunks, feral cats, groundhogs, possums and deer.
“There’s all this wildlife, something’s got to eat them,” said Pratt. “We have coyotes.”
City of Windsor naturalist Paul Pratt said he hears reports of coyote sightings from everywhere in the city, even downtown. Coyotes took down a deer in the woodlot behind his LaSalle house about a month ago.
They’re mostly nocturnal and largely go unnoticed, Pratt said.
“If you have small dogs or cats, you shouldn’t let them out at night unattended, even if you’re in a built-up area.”
He said there are more coyotes in Windsor now because there’s more wildlife in Windsor – skunks, feral cats, groundhogs, possums and deer.
“There’s all this wildlife, something’s got to eat them,” said Pratt. “We have coyotes.”
i'm pretty sure i've heard them rustling around where i can't see them. with all the cats and the skunks around, it seemed like a matter of time. but it took the snow to reveal them: very clear canid tracks coming up across the front lawn, right to the door and across the other way. right where the cat that's been following me around sits, actually. relatively large, at that - if these are coyote tracks, it's a big coyote. may be one of those coywolves...
i suspect that may be the last i'll see of that cat.
it's said they're around, and you'll rarely see them. they know they can't really take you down. but there's kids around here. and it's enough to be a little bit more cautious about going out at night.
i haven't set up my new blog yet, and i have my meeting on monday. this post will eventually self-destruct. but, for now i'm going to post on the results of my meeting in the comments of this post. i suppose if there's no posts here by tuesday, that's bad news.
i suspect that may be the last i'll see of that cat.
it's said they're around, and you'll rarely see them. they know they can't really take you down. but there's kids around here. and it's enough to be a little bit more cautious about going out at night.
i haven't set up my new blog yet, and i have my meeting on monday. this post will eventually self-destruct. but, for now i'm going to post on the results of my meeting in the comments of this post. i suppose if there's no posts here by tuesday, that's bad news.
existence (vst mix) (for thru)
this was a piece i wrote up in the fall of 2001. i can't remember exactly what the root of it was, but it had something to do with a voice-leading assignment for what was the equivalent of a course in music theory 101. the root of the piece may consequently come from what was presented to me. i can't recall exactly - but i believe the assignment was to build the different voices up.
my negative relationship with music theory is stated throughout this page and was well established well before the end of 2001. i had an interest in the music theory course for the purposes of deconstructing the theory - in the context of writing, specifically, and not performing. i actually have one of those classic stories - i failed this course. it is actually the only course i have ever legitimately received an F in. hey, if einstein can fail math, i can fail music theory.
the story actually revolves around sight-reading aspect of the course, and specifically it's vocal content. there were three aspects of the course (theory, vocal sight-reading and african drumming which i'm thinking was meant to be a rhythmic component but was really just a ridiculous waste of time). i really wish they would have let me sight read on a guitar, or even a piano, because i'm just simply not a talented singer; i've never had aspirations to become one, and i had a lot of problems controlling my vocals. even with that being said, the reality is that i had a very low level of _interest_ in this. i probably could have passed the course if i spent less time on abstract algebra and more time singing in the mirror, but i just couldn't be bothered...
i really disapprove of the way the course was designed. i was interested in learning about music theory, and needed the course as a pre-req for more advanced courses, which i never ended up taking. i still don't fully understand why i had to pass a singing exam to take further composition courses. the best answer i got was that the school didn't want graduates who couldn't pass a singing exam, but i was at no point enrolled in a b. music so it's a pretty weak response.
anyways, this was a voice-leading assignment that i perverted into something mildly atonal and then built up into something else. you can hear it if you listen, except that it's all "wrong". i'd have to sit down and analyze it to come to a more detailed exposition on it's "wrongness", and i'm not going to, but it's not hard to hear how "wrong" it is, either.
i was clearly listening to a lot of glass at the time, but this goes beyond his medievalism. i'm using so many "wrong" notes that it's ultimately just chromatic - although there's no tone rows or anything that's formally serialist about it. it's not meant to abolish the structure so much as it's meant to just flaunt the rules. that gives it an almost satanic feel, in the context of a vocal piece using "forbidden" intervals.
but, looking back, i think that what the piece really explores is existential anguish. i was in the second year of a math degree (after switching from physics after switching from software engineering) and really had little idea where i was going with it. i was considering switching into music and probably would have had i not failed the singing exam. the thing is i actually knew i was going to fail the course at that point, and was just feeling lost as a result of it. i ended up in math as this sort of default choice, vaguely thinking i might end up teaching somewhere but not having any real interest in it...
so much choice, so few options. i suppose that this is how i expressed what i was feeling about this reality at the time.
i can't remember the exact way this happened, but i believe the piece was initially written for voice (as a voice-leading assignment) and then expanded into further voices and then converted into a composition for nine instruments. i've picked halloween as the date, but that's symbolic - it was around then, anyway. it would have been around december that it was put aside, because i don't remember working on it after i moved.
this version was created in october, 2014 by mixing three separate vst mixes together: the choir mix, a string orchestra mix and an arranged mix.
written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. this render is from october 3, 2014.
http://jasonparent.bandcamp.com/track/existence-4
my negative relationship with music theory is stated throughout this page and was well established well before the end of 2001. i had an interest in the music theory course for the purposes of deconstructing the theory - in the context of writing, specifically, and not performing. i actually have one of those classic stories - i failed this course. it is actually the only course i have ever legitimately received an F in. hey, if einstein can fail math, i can fail music theory.
the story actually revolves around sight-reading aspect of the course, and specifically it's vocal content. there were three aspects of the course (theory, vocal sight-reading and african drumming which i'm thinking was meant to be a rhythmic component but was really just a ridiculous waste of time). i really wish they would have let me sight read on a guitar, or even a piano, because i'm just simply not a talented singer; i've never had aspirations to become one, and i had a lot of problems controlling my vocals. even with that being said, the reality is that i had a very low level of _interest_ in this. i probably could have passed the course if i spent less time on abstract algebra and more time singing in the mirror, but i just couldn't be bothered...
i really disapprove of the way the course was designed. i was interested in learning about music theory, and needed the course as a pre-req for more advanced courses, which i never ended up taking. i still don't fully understand why i had to pass a singing exam to take further composition courses. the best answer i got was that the school didn't want graduates who couldn't pass a singing exam, but i was at no point enrolled in a b. music so it's a pretty weak response.
anyways, this was a voice-leading assignment that i perverted into something mildly atonal and then built up into something else. you can hear it if you listen, except that it's all "wrong". i'd have to sit down and analyze it to come to a more detailed exposition on it's "wrongness", and i'm not going to, but it's not hard to hear how "wrong" it is, either.
i was clearly listening to a lot of glass at the time, but this goes beyond his medievalism. i'm using so many "wrong" notes that it's ultimately just chromatic - although there's no tone rows or anything that's formally serialist about it. it's not meant to abolish the structure so much as it's meant to just flaunt the rules. that gives it an almost satanic feel, in the context of a vocal piece using "forbidden" intervals.
but, looking back, i think that what the piece really explores is existential anguish. i was in the second year of a math degree (after switching from physics after switching from software engineering) and really had little idea where i was going with it. i was considering switching into music and probably would have had i not failed the singing exam. the thing is i actually knew i was going to fail the course at that point, and was just feeling lost as a result of it. i ended up in math as this sort of default choice, vaguely thinking i might end up teaching somewhere but not having any real interest in it...
so much choice, so few options. i suppose that this is how i expressed what i was feeling about this reality at the time.
i can't remember the exact way this happened, but i believe the piece was initially written for voice (as a voice-leading assignment) and then expanded into further voices and then converted into a composition for nine instruments. i've picked halloween as the date, but that's symbolic - it was around then, anyway. it would have been around december that it was put aside, because i don't remember working on it after i moved.
this version was created in october, 2014 by mixing three separate vst mixes together: the choir mix, a string orchestra mix and an arranged mix.
written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. this render is from october 3, 2014.
http://jasonparent.bandcamp.com/track/existence-4
the walk (vst mix)
this was written as the introductory walk scene to the first rabit is wolf single; this vst version is exclusive to this collection..
written late 2001; re-rendered through vst on jan 10, 2015.
http://jasonparent.bandcamp.com/track/the-walk-2
written late 2001; re-rendered through vst on jan 10, 2015.
http://jasonparent.bandcamp.com/track/the-walk-2
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