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We will have in addition type 1S, type 2S, There will be also a type 1G (G for Glide reflexion)įinally, tessellation types 1, 2, 3 and 4 may have their motifs symmetrical. Then, the tessellations with one or two directions may have their motifs reflected. Type 4 in four directions and type 6 in six directions. Type 3 will have its tiles in three directions, Type 1 will have all its tiles in the same direction. There are six possible directions, and therefore will be six original types. Visually, what characterises first a tessellation is the number of directions taken by the motifs. This round of lovers is just waiting to grow! He wrote the first printed treatise on perspective, published in 1505. … No more, for instance, than copying Jean-Pélerin* that makes a drawing in perspective.Īnd if, as I hope, you are inspired to do figurative ‘tiles’, throughout the following pages you will find how to give birth to them.Īnd when, after some difficulties, you successfully make one, you will experience a great feeling of joy and humility before this "PARCEL OF INFINITY". I hope that what follows will make you realize that there are an infinite number of possible figurative motifs.Ěnd it is not just copying Escher to Judging by the few artworks coming from others. This method, taken from my book "PARCELLES D’INFINI", offers a walk in the garden of the regular division of the plane that Escher explored in many directions. "I walk around all alone in this beautiful garden, which certainly does not belong only to me, but whose gate is open to everyone." However, on the other side I landed in a wilderness and had to cut my way through with a great effort until - by a circuitous route - I came to the open gate, the open gate "A long time ago, I chanced upon this domain in one of my wanderings I saw a high wall and a premonition of an enigma, something that might be hidden behind the wall, I climbed over Have their own will, and it is they which guide It seems it is not I who am doing the creating, I have such sensations all the time when I am working on designs "The inventor has, all of a sudden, the distinct feelingĪlready existed before to have never been thought in the human brain. praat_formantpath_burg: Formant estimation using the FormantPath functionality of.praat_formant_burg: Formant estimation using the Praat burg algorithm.praat_dsi: Compute the Dysphonia Severity Index.praat_avqi: Compute the Acoustic Voice Quality Index (AVQI).mhsF0: Pitch analysis of the speech signal using Michel's (M)odified.make_dsp_environment: A utility function to make a concurrency-safe DSP environment.lpsSpectrum: Linear Predictive smoothed version of 'dftSpectrum' (From the.ksvF0: F0 analysis of the signal (From the 'wrassp' package).kaldi_pitch: Estimate pitch using the Kaldi modifies version of RAPT.have_praat: A simple check of a presence of a Praat executable.harvest: Compute f0 using the Harvest algorithm.harmonics: Compute the harmonic frequency structure from f0 measurements.get_praat: Utility function for getting the full path of the Praat. get_outputType: Get the return format of a wrassp/superassp speech signal.get_extension: Get the (default) extension for an SSFF producing function or.get_definedtracks: Get available tracks for a function or an SSFF file.GeMAPS: Compute the GeMAPS openSMILE feature set.forest: Formant estimation (From the 'wrassp' package).emobase: Compute the emobase openSMILE feature set.eGeMAPS: Compute the eGeMAPS openSMILE feature set.dio: Compute f0 using the Harvest algorithm.differentiate: Derivation of SSFF track objects.dftSpectrum: Short-term DFT spectral analysis (From the 'wrassp' package).cs_wrap_praat_script: A concurrency safe way to wrap a Praat script into an R.cssSpectrum: Cepstral smoothed version of 'dftSpectrum' (From the 'wrassp'.crepe: Compute pitch and periodicity using the CREPE pitch tracker.ComParE_2016: Compute the ComParE 2016 openSMILE feature set.clear_dsp_environment: Tear down a DSP environment.cepstrum: Short-term cepstral analysis (From the 'wrassp' package).aperiodicities: Estimates aperiodicity of a speech signal.affilter: Filters the audio signal (From the 'wrassp' package).afdiff: Computes the first difference of the signal (From the.acfana: Analysis of short-term autocorrelation function (From the. 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The band decamped from London to Berkshire, where they settled into a rural cottage to write and arrange the songs that ultimately appeared on Traffic’s first three albums. Winwood played piano, organ, harpsichord and lead, rhythm and bass guitars Chris Wood handled tenor sax, flute and occasional keyboards Dave Mason performed on guitar and sitar and lyricist Jim Capaldi banged away on the drum kit and other percussion instruments. On the eve of SDG’s first American tour, Winwood quit the band, explaining simply, “I didn’t want to continue playing and singing songs that were derivative of American R&B.” In its wake he formed Traffic, a four-piece progressive rock ensemble that with overdubbing could sound like a small orchestra. Note the razor-sharp rhythms to which you could set an atomic clock and Winwood’s Hammond solo starting at 1:35. Seventeen years old, what a legend this man.” ( Here’s a 2020 version demonstrating his pipes and organ chops are still wholly intact.) Another Winwood hit for the Spencer Davis Group, their last, was I’m a Man, captured live in a torrid big band session for VH-1 television in 1997. This YouTube comment got it right: “The SOUL in his voice, and at such a young age he had so much vocal power. A year later Winwood wrote the SDG’s breakout hit, Gimme Some Lovin.’ On this clip, filmed live in 1967 on Finnish TV, you can hear the teenage Winwood’s hair-raising vocals and fiery Hammond B3 organ. With the Spencer Davis Group, the young Winwood showed why: he sang lead vocals and played keyboards and guitar on their four studio albums, knocking the Beatles off the top of the English pop charts with this spirited Jackie Edwards’ number in 1966. On his 1965 English tour Bob Dylan expressed amazement at Winwood’s preternaturally soulful voice, and Dylan’s pianist Al Kooper described him in a 1968 Rolling Stone article as a “calm, shy superfreak,” a musical force of nature. Around the same time he was “discovered” by Birmingham bandleader Spencer Davis, who later said he was astonished to find “this kid playing piano like Oscar Peterson and singing like Ray Charles.”ĭavis wasn’t the only one. At nine years old he played piano in his father’s jazz band and as a teen was backing visiting American blues icons such as Muddy Waters, John Lee Hooker and Sonny Boy Williamson. Winwood grew up in Birmingham, England, a prodigy in a family of musicians. Goofy video notwithstanding, it is a tour de force performance that has to be seen to be believed.Īnd somewhere in between is this plaintive mid-tempo number from his first solo album released in 1977, with sinuous synth lines, beautifully measured intervals of seconds and fifths and a lovely guitar solo (a la Miles Davis) at the fade on “Hold On.” Spencer Davis Group and Traffic There’s the song’s classical structure, built on ascending and descending semi-tones and repeated three-note beats, and the seamless chord changes and organ playing that combines the bluesiness of American soul master Jimmy Smith with the melodic richness of Franz Schubert.Īt the other end of the spectrum is Night Train from 1980, a fiery Concerto in D Minor for Guitar, Keyboards and Vocals, in which, astonishingly, Winwood performs every instrument. There’s his overdubbed bass and lead guitar lines. First is Winwood’s rich vocals with its two-octave range, from tenor falsetto to bass, and his wonderfully jazzy organ playing. Just three minutes long, there’s plenty to admire. It’s an obscure but deliciously upbeat number from 1968: More than half a century ago this was the gateway song that first led me to his music, for which I still have an insane attachment. So let’s rectify your ignorance of Stephen Lawrence Winwood right now! Herewith a number of my favorite compositions that hopefully will give you some appreciation – new or renewed – for his genius. |
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