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Intimate and Intricate Posts

Poem: The Garden of the Patrons

Took me a while, but I’ve created a little video of my poem, “The Garden of the Patrons,” which was published in Pandemic Atlanta 2020 magazine, an assortment of artwork, literature, poetry, and photography documenting the experiences of Atlanta-based artists during the COVID-19 pandemic.

Hope you enjoy.

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Revolution (with apologies to Gil Scott Heron)

This isn’t part of my soon-to-be-published poetry collection. In fact, it’s not even a new poem. I wrote this almost twenty years ago, and up until now, I didn’t think it was quite ready.

But it seems, unfortunately, befitting the times, so I’ve updated some of it to account for technology.

Here is the text:

Revolution (with apologies to Gil Scott Heron)

On this day of June 19, Two-thousand-you-name it,
the long-awaited
comes to you live via the inter-tubes,
and yes, carrier pigeon,
from Atlanta, GA!

There is a parade on the information superhighway
as the Panther struts out onto the cathode catwalk.
Its image is sliding into social media,
and fluttering
into packets

“We here at See-and-End
promise freeze this cybernetic Simba
with liquid crystal eyes,
slice it into wafers,
and serve it up for communion.

So get your wafers at pick-a-season.revolution.anarchy.rebellion.S-and-E.something.something-else.bullshit.”


Under the light of the moon, the Panther stalks its prey.
The Ghettobird bub-bub-bubs over the water, night-eyes green.
The Panther’s bionic ears and night-vision scope-vision pick up movement in the treetops.
It creeps out of the forest to cool off for a swim in a pond.
They see each other there,
and they are shadows in a world of midnight blue
and omnipresent coordinates:
the silent Panther,
the Ghettobird bub-bub-bubbing over the water.

They have nothing to say.

They bow their heads and turn away.


Under the light of the sun,
the commentary locusts spill out of their concrete nests,
subway tunnels,
and fiberglass cocoons.

The Panther roars as it stalks its prey.

The locusts bite into its speeches.
Death is not quick;

the commentaries gnaw out its throat.

The information jackals lick their lips.
They split him
and split him
and split him
and split two
and split one,
scattering his pieces
on the concrete
in the summer sun.

They chew the panther with spiced commercials
for sport fluids
and the world’s most powerful malt liquor:

Live, via wave motion,
it is the REVOLUTION
you’ve all been waiting for!

The Ghettobird tilts its cockpit and flies away.

“I’m sorry. I have nothing to say.”

Everything is entertainment here,
and you are required by law to purchase tickets…

“I’m sorry. I am sorry.”

The opinion engineers guarantee a
racy, rowdy, rad,
sassy, sad,
slick, sappy,
fly, and
box office smash!

“I am sorry. I am so sorry.”

The Grammys are being delivered by the busload.
The awards ceremony will take place in D.C.,
and everyone will pay.
And it will only take 15 minutes…yes, just 15 minutes
and it will all be over.

The DVD sales will more than make up for the damages and special effects.

S & E recommends everyone to sit back,
and shut their mouths…

“They’ll be right back after these messages,
Don’t touch that dial.

They will shoot you.”

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Euclidean Rhythms, Python, and EarSketch

This is the second project of two that were assigned as part of the online course “Survey of Music Technology“. The course is (was, really – it’s almost over) available on and is taught by Dr. Jason Freeman from the Georgia Institute of Technology, with assistance from TA Brad Short.

The course covered a lot of ground – if you’re curious about the syllabus or the project descriptions, check out the links.  Many students have been posting their projects to SoundCloud if you want to hear them:

[soundcloud url=”″ params=”color=00cc11&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]

This project was all about algorithmic composition. We were to use the musical programming framework called EarSketch, which is another creation from the folks at Georgia Tech. EarSketch is also a web-based Digital Audio Workstation (DAW) that uses Python and the EarSketch framework to build tracks and add effects. Apparently you can use JavaScript, too.

I liked using this method – and this framework – for creating compositions. I was able to do multiple runs and render multiple takes in WAV or MP3. You can even export your work as a project collection that can be opened in the Reaper desktop DAW. My only complaint was not being able to use more of Python’s power. I understand why: EarSketch is in a sense a “sandboxed solution” – it gives users tools to work with but tries not to give users power that could harm the application as a whole.

The script became musical crack for me after the first couple of renderings.

The core of it – the hardest piece to build – was the function for building the beat patterns. I wanted to use Euclidean rhythms, which more often than not are quite funky and represent much of the world’s grooves. There are a couple of algorithms for creating Euclidean rhythms, and I had a hard time finding a version in python. The two algorithms used to make these rhythms are from E. Bjorklund and Jack Elton Bresenham. I reverse-engineered some ChucK code in the discussion forum that used the Bresenham algorithm. Here’s what my function looks like:


def EuclideanGenerator ( pulses, steps ):

# Euclidean rhythm generator based on Bresenham’s algorithm

# pulses – amount of pulses
# steps – amount of discrete timing intervals
# generates a beat string pattern where
# 0 indicates the beginning of a sample,
# – indicates silence,
# + indicates continued play of the sample

seq = [‘0’]*steps
error = 0
breakorcontinue = [‘+’, ‘-‘][randint(0,1)]
for i in range(steps):
error = error + pulses
if error > 0:
seq[i] = ‘0’
error = error – steps
seq[i] = breakorcontinue

return ”.join(seq)


Hopefully, if anyone wants to do this Python it won’t be so hard to get started. Other peeople have done this in Python, but I had a hard time finding links that were active. As of this writing, I did find someone who did post some code using the Bjorklund algorithm.

It’s probably not perfect – buy hey, it’s funky enough for government work 🙂

So, back to the musical crack..

The final script produces unique works every time you render it: four tracks of Euclidean rhythms, and four sections of what I call “soundscape clouds.” Each soundscape cloud consists of four tracks containing bits and pieces of samples scattered across a set number of measures using a gaussian distribution.  A couple of effects were applied to almost every track. There are a lot of random decisions made, but there’s enough method to the madness to keep it interesting.

I won’t bore you with the details, but if you want to run the code in EarSketch, here it is.

I’ve posted fifteen “Rendings” to my SoundCloud page under a single playlist to give you an idea of the range of what this one program could generate:

[soundcloud url=”″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”300″ iframe=”true” /]

Personally it came out better than I’d hoped. I had a lot of ideas running around in my head, most of which were unworkable given the constraints of the EarSketch web interface and its architecture. In the end, after a lot of math and programming, I got something that works, works consistently, and works reasonably well.

The most important thing I got out of this exercise – and the course as a whole – is that algorithmic composition is not just about generating some “bloop-bleep” computer music. It’s about applying processes that can make composition faster, provide creative pressure, and open up new possibilities in creative expression.

There will be more to come…