Kickstarter funded

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kickstarter-badge-funded

A huge

THANK YOU

to all of our

448 donors

who together have fueled our launch!!

Aaron Fisher
Aaron Rosenstein
Aatish Bhatia
Adria Le Boeuf
Aimee Pavy
Ajay Sabhaney
Akhill Chopra
Alana Frome
Albert E Sisto
Alec Zopf
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Alexander Beard
Alice Steinke
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Nancarrow

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From a 2004 Event at Slought

Conlon Nancarrow (1912 – 1997) was reputedly frustrated by the limitations of human performers, specifically by their inability to handle complex rhythms. “As long as I’ve been writing music I’ve been dreaming of getting rid of the performers,” he said in an interview. Additionally, the variability of human performance bothered him: “A painting stays the same forever. The same is true of other works of art. But somehow music is supposed to be different all the time.” To experiment with the interaction of the music, performer, and audience, we present Nancarrow’s music for self-playing player piano alongside arrangements of these pieces for human piano 4-hands performance. In addition, works for solo piano by Nancarrow will be performed.

Recognized worldwide as one of the most innovative composers of the 20th century, Conlon Nancarrow began composing exclusively for the player piano in the late 1940s. He studied composition with Nicolas Slonimsky, Walter Piston, and Roger Sessions. His musical collaborators included Elliot Carter and Aaron Copland. Nancarrow’s piano works span several volumes of studies (published by Frog Peak Music and Schott Musik International) and are influenced by blues, jazz, and mathematical proportion studies. The complete Studies have been recorded on the Wergo label. In addition to his player piano works (and concerto for player piano), Nancarrow also composed both solo and ensemble instrumental music for human performance.

The Transcriptions
Supposedly “un-playable” by humans, the studies for player piano demand both extremely large keyboard span at any one time as well as independently capable hands in order to fully voice the many nested rhythmic structures. While these compositions were originally in piano roll format, some of them have been published as sheet music by Soundings Press. These transcriptions by Fisher are based on these published versions. In transcribing these selected pieces for piano 4-hands, many of the issues can be sufficiently dealt with. There are, however, layers of detail in the player piano compositions that cannot be achieved with perfect accuracy by human performance. For practical performance considerations, some of this detail is inaudible. For instance, in Study No. 20, a study in durations, the transcriptions instruct the pianists to be faithful to the onset of each note, rather than the durations for which they are sustained. In Study No. 26, a canon in seven voices, the enormous span of some of the chords exceed the abilities of even two pianists, thus some of the chords are rolled. While rolling of the chords technically destroys the intended simultaneity of the voices by playing some of the notes out of order, it is also an expressive technique that highlights the extreme range and weight of the particular passages. Though the transcriptions do not “equal” the studies, they provide another view of the studies, emphasizing the lyrical freedom, energy, and humor in these numerically precise works.

NEURODOME

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AdlerConstruction

New technology is changing the way that scientists view the brain. At a microscopic level, researchers can visualize sparks of electrical activity in individual neurons and resolve motifs of neural connectivity that ultimately support consciousness, emotions, and complex thought. At a macroscopic level, researchers use clinical imaging technologies to identify, more precisely than ever before, brain regions that underlie this broad repertoire of higher cognitive processes. With these new tools, scientists are discovering fundamental mechanisms of brain function that will ultimately create a more complete understanding of what it means to be human.

In the NEURODOME project, we will bring this new knowledge and imagery to the public. Borrowing data visualization technology from the field of astronomy, the initiative will create engaging visualizations that depict high-resolution imagery of the brain’s neural circuitry while preserving a larger scale anatomical perspective. We will leverage the proven educational merit of immersive display projection, namely dome-format film, to teach the public about the brain through “route-based” spatial learning, an educational strategy that is largely unexplored for biological topics.

 

 

 

Imagine Science Film Festival 2013

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Jonathan Fisher presented Neurodome at the 2013 Imagine Science Film Festival!

Event Description:

Film is primarily a visual media and communicates on sensory, emotional, and intellectual levels. Science can also be a sensory and intellectual medium, especially when scientists present their

data visually. Join the Academy and the Imagine Science Film Festival for a discussion that explores how data—from huge data sets generated by genomics to maps of the brain—can be uniquely captured in the medium of film.

Science writer Carl Zimmer and a panel of scientists and artists will explore how scientists use film to communicate their ideas and how artists can use the techniques of data visualization to enhance viewers’ scientific and visual experience.

fisher_neurodome2 fisher_neurodome

 

Voyager

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Image4_SaturnsRingsVoyager

Humans are inherently curious. We have journeyed into space and have traveled to the bottom of our deepest oceans. Yet no one has ever explained why man or woman “must explore.” What is it that sparks our curiosity? Are we hard-wired for exploration? Somewhere in the brain’s compact architecture, we make the decision to go forth and explore.

The NEURODOME project is a planetarium show that tries to answer these questions. Combining planetarium production technology with high-resolution brain imaging techniques, we will create dome-format animations that examine what it is about the brain that drives us to journey into the unknown. Seamlessly interspersed with space scenes, the NEURODOME planetarium show will zoom through the brain in the context of cutting edge of astronomical research. This project will present our most current portraits of neurons, networks, and regions of the brain responsible for exploratory behavior.

 

pikachu

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Neuron, Volume 76, Issue 5, 989-997, 6 December 2012
10.1016/j.neuron.2012.09.031

Authors

  • Highlights
  • An optical method allows targeted inactivation of prestin-dependent somatic motility
  • Somatic motility is required for local amplification of the cochlear traveling wave
  • Gain accumulates spatially along the cochlear traveling wave in a healthy ear
  • Data analysis confirms that amplification produces phenomenological negative damping

Summary

Sensorineural hearing loss, which stems primarily from the failure of mechanosensory hair cells, changes the traveling waves that transmit acoustic signals along the cochlea. However, the connection between cochlear mechanics and the amplificatory function of hair cells remains unclear. Using an optical technique that permits the targeted inactivation of prestin, a protein of outer hair cells that generates forces on the basilar membrane, we demonstrate that these forces interact locally with cochlear traveling waves to achieve enormous mechanical amplification. By perturbing amplification in narrow segments of the basilar membrane, we further show that a cochlear traveling wave accumulates gain as it approaches its peak. Analysis of these results indicates that cochlear amplification produces negative damping that counters the viscous drag impeding traveling waves; targeted photoinactivation locally interrupts this compensation. These results reveal the locus of amplification in cochlear traveling waves and connect the characteristics of normal hearing to molecular forces.