
Gnossiennes No.1 Forever - tripofmice
https://gnossiennes.mousereeve.com
======
rurban
The 2nd is imho much better though. And you cannot really show the Satie notes
without the original running commentaries above the notes, esp. on the
Gnossiennes. The original sheets:
[https://www.youtube.com/watch?v=zlU80BLtAwE](https://www.youtube.com/watch?v=zlU80BLtAwE)

E.g. Postulez en vous-même. Wonder about yourself. Munissez-vous de
clairvoyance. Provide yourself with shrewdness. Seul, pendant un instant.
Alone, for a moment. Très perdu. Very lost. Ouvrez la tête. Open your head.
Superstitieusement. Superstitiously. D'une manière très particulière. In a
very particular way. Léger comme un œuf. Light as an egg.

Also, he was pretty weird: [https://flypaper.soundfly.com/diversions/composer-
erik-satie...](https://flypaper.soundfly.com/diversions/composer-erik-satie-
was-weirder-than-you-realize/)

------
theoh
Another way to make this endless would be to loop the original: it would be
necessary to find a place near the end that can be imperceptibly spliced with
a place near the beginning.

~~~
tripofmice
if you ignore the slurs and pretend the piece is written in 4/4 (which I do
for the sake of this), the last measure actually could plausibly precede the
first measure (this happens where the sheet music shows the direction "du bout
de la pensée"). But I don't think it would be as interesting a listen, and it
wouldn't have been a very fun project.

~~~
theoh
Well, it depends on how you feel about "appropriating" the original vs.
feeding it to a Markov chain. I don't think less code/no code is necessarily
boring, nor would a more complex LSTM model of the music necessarily be more
interesting.

I was thinking of a non-digital piece by Rodney Graham, where he retypeset a
few pages of a book so that a looped reading became possible:

"In Lenz of 1983, for instance, Graham appropriated an unfinished novella by
Georg Büchner in which the mentally unstable protagonist, Lenz, wanders
through a forest. The artist reset the type on pages one to two and on pages
five to six of an English translation of the story, to set up a situation in
which the page breaks at the same phrase ‘through/the forest’, which
establishes a loop whose effect is to cause Lenz to endlessly repeat his
journey by returning from page five to page two; in 1993 (fig.6), Graham had a
reading machine constructed for this version of the text to facilitate the
repetition, and the hardcover version of the 1983 work was a book bound with
eighty-three repetitions of these pages, which in principle can be continued
forever."

[https://www.tate.org.uk/research/publications/tate-
papers/06...](https://www.tate.org.uk/research/publications/tate-
papers/06/pataphysical-graham-consideration-of-pataphysical-dimension-of-
artistic-practice-of-rodney-graham)

